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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 


**** 


Digitized  by  the  Internet  Archive 

in  2009  with  funding  from 

Media  History  Digital  Library 


http://www.archive.org/details/photoplay3031movi 


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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 


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by  long  odds. 


flashlight  nights 


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Every  worth-while  flash- 
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Eveready  improvement.  Ever- 
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flashlight  when  not  in  use. 
Greatest  flashlight  convenience 
in  years.  Safety-lock  switch, 
proof  against  accidental  light- 
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To  get  all  the  newest  fea- 
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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 

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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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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 

O'Hara.  Mike  Donlin  and  hundreds  of 

others. 

From  the  famous  adventure  novel, 
"Moby  Dick"  by  Herman  Melville 

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 
Costello,  the  appealing  heroine,  who  illumines  the  picture  with  the  glory 
of  young  love,  and  justifies  the  prediction  that  she  is  to  become  one  of 
the  screen's  most  illustrious  actresses.  Truly,  your  round  of  entertain- 
ment is  not  complete  unless  you've  seen  "The  Saa  Beast ".  It'sa  Warner 
Bros.  Production. 


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 


s 


duOMsl 
Dtffl 


Opportunity  Is  Knocking  at  Your  Door 


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Brief  Reviews   of  Current   Pictures 


SHORT -STORY    WRITING 

Particulars    of    Dr.   Esenwein's    famous   forty- 
lesson  course  in   writing  and  marketing  of  the 
pie  copy  of  The  Writer's 


Springfield.  Mz 


[  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- 
lieve ray  eyes!"  "It's  the  most 
astounding  thing  I've  ever  seen!" 
"How  in  the  world  is  it  possible!" 

These  are  some  of  the  exclama- 
tions of  onlookers  who  witnessed  a 
demonstration  of  the  new  discov- 
ery hailed  as  the  most  amazing 
beauty  miracle  of  the  century. 

Think  of  it!  A  new  complexion 
while  you  wait!  Your  skin  made 
young  in  fifteen  minutes!  Black- 
heads and  enlarged  pores  elim- 
inated! Flabby,  sagging  muscles 
toned  and  restored!  Wrinkles 
smoothed ! 

And  what  magical  compound 
brings  these  incredible  results? 
MILK!  Yes,  the  secret  of  a  love- 
ly skin  has  been  discovered  in  the 
natural,  beautifying  properties  of 
milk,  extracted  and  put  into 
concentrated  form,  combined  with 
other  ingredients. 


Milk  has  always  been 
known  as  a  complexion 
beautifier.  The  famous 
actress  Lillian  Russell, 
noted  for  her  exquisite, 
youthful  complexion  and 
other  renowned  beauties 
used  the  milk  bath  treat- 
ment. 

But  never  has  it  been  possible 
to  use  t lie  beautifying  properties 
of  milk  in  such  marvelously  effec- 
tive form  as  in  the  Magic  Milk 
Mask. 

Lovely  Beyond  Your  Dreams 
in  Fifteen  Minutes! 

How  can  words  describe  the 
wonder-working  powers  of 
the  Magic  Milk  Mask!  A  single 
application     absolutely     trans- 
forms the  ekin!      You  simply 
cover  your  face  with   this  de- 
lightful,     pure-white,     creamy 
compound.    Then  relax  while  it 
dries.     You  can  actually  feel  it 
at    work    as    it   gently    draws 
blackheads,  dirt  and  waste  mat- 
ter from  the  pores.    It  lifts  off  and  absorbs  the  dry, 
withered  skin  scales.  It  closes  and  tightens  the  pores, 
firms  the  tissues.     It  whitens  and  purifies  the  com- 
plexion and  brings  a  rosy  bloom  to  the  cheeks. 

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Brief  Reviews   of  Current  Pictures 


[  CONTINUED  FROM  PAGE  13 


; 'Bow  Legs  and  Knock- 
Knees"  Unsightly 

Send  for  booklet  showing  photos 
of  men  with  and  without  THE 
PERFECT  LEG  FORMS. 

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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.) 


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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, 
spirited  girl  forced  into  a  marriage  with  a  man 
she  despised.  And  when  a  man  she  could 
really  love  suddenly  entered  her  life — 

5  "His  Hour**— Under  the  spell  of  the  sensuous 
Egyptian  night,  she  heard  the  Sphinx  whisper: 
"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 
Elinor  Glyn  could  have  handled  this  dangerous 
theme  with  such  soul-stirring  and  convincing 
art. 

7  "The  Point  of  View'*— You  will  follow  with 
breathless  interest  the  romantic  adventures  of 
this  tempestuous  Russian  lover.  A  great 
human,  throbbing  story  that  you  won't  forget. 

8  "Red  Hair** — The  wild  escapades  of  this 
heroine!  who  had  a  reckless  disregard  for  the 
conventions,  will  hold  you  enthralled  from  first 
to  last. 

9  "Love  Itself"— The  wonders  of  true  love  as 
revealed  in  this  absorbing  novel  proves  Elinor 
Glyn  a  past-mistress  of  sweet  romance. 

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 
alone  is  $2.00  a  copy. 

Yet  for  only  a  dollar  more,  you  can  now  gefnot  only 
"This  Passion  Called  Love,"  but  also  the  other  nine 
novels  that  are  listed  here.  Think  of  it.  Ten  thrilling 
novels — actuallv  sold  in  the  original  edition  for  $20.00 
—now  all  for  only  $2.98. 

These  10  volumes  are  not  tiny  paper  booklet?  with 
soft  covers — they  are  handsomely  bound  in  genuine 
Royal  Blue  Cloth  over  stiff  board  covers — Artistically 
stamped  in  gold — finely  printed  from  FULL  SIZE 
PLATES  on  high  grade  Antique  book  paper.  Bett«  r 
looking  books  than  the  original  $20.00  edition! 

But  if  you  want  to  take  advantage  of  this  extraor- 
dinary offer,  you  will  have  to  act  quickly.  Naturally 
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?       ** 

adaPtat,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. 

cReckless  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 

"JUf  as  the  m«,  woos  an 


mess  **  .  Koroma 
Amen«n  6 


>tby 


LOTH   ^£*r^*t£& 


Inspiration  Pictures  Inc.,    presents 

RICHARD 

BARTHELME8S 

milk 

DOROTHT  MACKA1LL 

in 

RANSON'S 

FOLLT 

Jdaphdf™,  the  for,/  bH  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- 
mercially possible  with  ordinary  toilet  soap. 

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. 

Within  a  week  or  ten  days  after  beginning 
to  use  Woodbury's,  you  will  notice  an  improve- 
ment in  your  complexion.  Get  a  cake  today- 
begin  tonight  the  treatment  your  skin  needs. 

Your  Woodbury  Treatment 
for  ten  days 

NOW— THE  NEW  LARGE-SIZE  TRIAL  SET 


The  Andrew  Jergens  Co., 
507  Spring  Grove  Ave.,  Cincinnati,  Ohio 

For  the  enclosed  wc  please  send  me  the  new  large- 
size  trial  cake  of  Woodbury's  Facial  Soap,  the  Cold 
Cream,  Facial  Cream  and  Powder,  and  the^  treat- 
ment booklet,  "A  Skin  You  Love  to  Touch." 
If  you  live  in  Canada,  address  The  Andrew  Jergens 
Co.,  Limited,    cpj    Sherhrooke  Street,  Perth,  Ont. 


Name . 


City . 


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 


Qjashioned 

to  express  its 
fineness -this  be- 
witching new  cake 

of  IVO  RY 

IN  every  detail  of  its 
dainty  new  form,  Quest 
Ivory  represents  the  per- 
fect soap  for  face-and- 
hands. 

It  is  pure,  mild,  kind  to 
sensitive  skin — as  Ivory- 
has  been  for  nearly  half  a 
century. 

It  is  skilfully  modeled  for 
slender  fingers,  and  its 
outward  appearance  pays 
tribute  to  the  perfection 
of  the  soap  from  which 
it  is  formed. 

Quest  Ivory  is  a  luxurious 
economy — it  costs  but 
five  cents. 

PROCTER    &    GAMBLE 


Quest  IVORY 

(t)br  the  face,  and  hands  frjfcjine  m  soap  can  be 

99 "Zoo %  Pure    ^\P     Tt  "Floats 


Volume   XXX 


The  cIS[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! 

PT"'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 


T1 


(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 


T1 


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  ] 


ffi  I  """Mfc 


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  "Location11  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  „  „  fron\ 

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  .  free?    Mail  couponjor  tui,eS  0f 

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      > 

may  be  had  in  seven  smart 

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 


"I  DID  competitive  swimming 
and  diving.  I  met  with  an  acci- 
dent which  confined  me  in  a  hos- 
pital for  one  month.  Afterwards  I 
was  very  weak  and  tired  so  easily. 
Previous  to  my  accident  I  had 
found  yeast  strengthening.  So  I 
decided  I  would  make  yeast  a  daily 
hahit.  I  now  eat  from  one  to  three 
cakes  a  day.  I  feel  I  need  it,  as  I 
exercise  so  much.  My  specialist 
said  I'd  never  compete  again;  but 
after  six  months  of  yeast  I  was 
back  in  the  swimming  game.  Now 
I  feel  so  strong  that  Friday  night 
I  swam  a  mile.  I  credit  my  'pep* 
to  Fleischmann's  Yeast." 

Mrs.  Betty  Kurzwellv, 

Chicago,  111. 


Dynamos  of 

Human  Energy . . . 


'*% 


"MY  ENTIRE  BODY,  on  account 
of  chronic  constipation,  was  complete- 
ly run  down.  This  condition  brought 
about  heartburn,  a  coated  tongue, 
dull  eyes,  a  sallow  skin  blotched  with 
pimples  and  recurrent  boils,  not  to 
mention  undue  fatigue  and  headaches. 
On  the  advice  of  a  specialist  in  stom- 
ach and  skin  diseases,  I  began  to  take 
two  yeast  cakes  every  day.  The  re- 
sult: Within  five  weeks  my  stomach 
was  restored  to  normal  working  order 
Today  my  body  is  strong,  vigorous, 
and  healthful." 

R.  W.  Helser,  Philadelphia,  Pa. 


Buoyant,  vital,  thousands  have 
conquered  constipation,  corrected 
skin  and  stomach  disorders,  with 
the  aid  of  one  simple  food 

NOT  a  "cure-all,"  not  a  medicine  in  any 
sense — Fleischmann's  Yeast  is  simply  a 
remarkable  fresh  food. 

The  millions  of  tiny  active  yeast  plants  in 
every  cake  invigorate  the  whole  system.  They 
aid  digestion — clear  the  skin — banish  the  poi- 
sons of  constipation.  Where  cathartics  give 
only  temporary  relief,  yeast  strengthens  the 
intestinal  muscles  and  makes  them  healthy  and 
active.  And  day  by  day  it  releases  new  stores 
of  energy. 

Eat  two  or  three  cakes  regularly  every  day 
before  meals:  on  crackers — in  fruit  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  latest 
booklet  on  Yeast  for  Health.  Health  Research 
Dept.  19,  The  Fleischmann  Company,  701 
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When  you  write  to  advertisers  nUast-  mention  rnoTi>T'!..\Y  MAG  \7.\sr.. 


"I  SUFFERED  from  terrible  skin  erup- 
tions. I  was  giving  up  all  hope  when  some 
one  told  me  about  eating  Fleischmann's 
Yeast  for  the  complexion.  I  tried  it.  Soon 
I  noticed  an  improvement.  In  less  than 
two  months  there  was  nothing  left  of  the 
skin  trouble  that  had  tortured  me  for  six 
years.  I  have  been  taking  Fleischmann's 
Yeast  regularly  ever  since.  I  can  eat  and 
drink  anything  now.  I  feel  like  a  different 
person."    W.  L.  Dunbar,  New  York  City. 


THIS  FAMOUS  FOOD  tones  up  the  en- 
tire system — aids  digestion — clears  the 
skin — banishes  constipation. 


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 
ulacy  and  exquisiteness  under  the  most 
trying  conditions,  offering  3  features 
un\nown  before,  including  easy  disposal 


Easy 
Disposal 

and  2  other 
important  factors 


as  .1  piece  of  tissue 
—thus  ending  the 
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disposal. 


Bj  ELLEN  J.  BUCKLAND 
Qradualc  Nurse 


TO  MEET  every  day  at  your  best,  to 
wear  your  gayest  frocks  with  a  care-free 
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fear! — do  you  wish  it? 

Millions  of  women — eight  out  of  every  ten 
in  the  better  walks  of  life — have  adopted  this 
new  way.  A  way  that  supplants  the  inse- 
curity of  the  old-time  sanitary  pad  with  a 
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It  has  changed  the  hygienic  habits  of  the 
world.  It  will  make  a  great  difference  in  your 
life,  in  your  peace  of  mind  and  your  health. 

j  unique  features  unknown  before  .  .  . 
obtainable  no  other  way 
This  new  way  is  Kotex,  the  scientific  sanitary 
pad.    Nurses  in  war-time  France  first  discov- 
ered  it.     It   is  made  of  the  super-absorbent 
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It  absorbs  and  holds  instantly  sixteen  times 
its  own  weight  in  moisture. 

It  is  five  times  as  absorbent  as  ordinary 
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Each  Kotex  pad  is  deodorized  by  a  new 
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There  is  no  bother,  no  expense,  of  laun- 
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If  you  have  not  tried  Kotex,  please  do.  It 
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Any  substitute  you  may  be  offered  will  be 
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I  in  moisture;  5  times  that  of 
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"Ask  for  them  by  name" 

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PROTECTS— DEODORIZES 


,  Easy  to  buy  anywhere.*  Many 
/stores  keep  them  ready- 
wrapped  in  plain  paper  — 
simply  help  yourself,  pay  the 
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No  laundry — discard  as 
easily  as  a  piece  of  tissue 


.vrite  to  adver 


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 
es  as  a  consultant  to  give  authentic 
ardine  the  care  of  the  skin  and  the 
per  use  of  beauty  preparations. 


(~I  RECENTLY  overheard  one  of  my 
C/  friends  say  to  another:  "You,  for  one, 
need  no  rouge,  my  dear.  What  lovely 
natural  coloring!"  But  the  truth  was  this 
—  like  thousands  of  other  women,  she  had 
found  a  rouge  that  gave  her  cheeks  the 
exquisite  natural  coloring  of  a  girl  in  her 
'teens.   That  rouge  is  Pompeian  Bloom. 

Today  women  everywhere  realize  the 
necessity  of  using  rouge  that  matches 
perfectly  their  natural  skin-tones.  And 
when  they  use  the  right  shade  of  Bloom 
the  wholly  natural  effect  is  achieved. 

From  the  shade  chart  you  can  easily 
select  the  particular  shade  of  Pompeian 
Bloom  for  your  type  of  complexion. 

SHADE  CHART  for  selecting 
your  correct  tone  of  Pompeian  Bloom 

Medium  Skin:  The  average  American 
woman  has  the  medium  skin-tone — pleas- 
antly warm  in  tone,  with  a  faint  sugges- 

When 


tion  of  old  ivory  or  sun-kissed  russet. 
The  Medium  tone  of  Pompeian  Bloom 
just  suits  this  type  of  skin. 

If  you  are  slightly  tanned,  you  may  find 
the  Orange  tint  more  becoming.  And 
sometimes  women  with  medium  skin  who 
have  very  dark  hair  get  a  brilliant  result 
with  the  Oriental  tint. 

Olive  Skin:  Women  with  the  true  olive 
skin  are  generally  dark  of  eyes  and  hair — 
and  require  the  Dark  tone  of  Pompeian 
Bloom.  If  you  wish  to  accent  the  bril- 
liancy of  your  complexion,  the  Oriental 
tint  will  accomplish  it. 

Pink  Skin:  This  is  the  youthful  skin, 
most  often  found  in  blondes  or  red-haired 
women,  and  should  use  the  Oriental  tint. 

White  Skin:  If  you  have  this  rare  type 
of  skin,  use  the  Light  tone  of  Bloom. 

Special  Note:  An  unusual  coloring  of 
hair  and  eyes  sometimes  demands  a  dif- 
ferent selection  of  Bloom-tone  from  those 
above.  If  in  doubt,  write  a  description  of 
your  skin,  hair  and  eyes  to  me  for  special 
advice. 

Pompeian  Bloom,  6oc  (slightly  higher 
in  Canada).  Purity  and  satisfaction 
guaranteed. 


3° 


The  blonde  tcith  very  fair 
skin  finds  a  natural  tone 
for  her  cheeks  in  the  new 


-SPECIAL    OFFER. 

applications   of  Bloom 


for  only   ioc 


the 
We 


C7SNT  Mme.  Jeannette  right  in  str 
^  importance  of  matching  your  skin- 
urge  you  to  act  on  her  advice — let  your  own  eyes 
convince  you  how  charming  and  natural  in  appear- 
ance Pompeian  Bloom  will  make  your  cheeks.  To 
make  this  trial  easy  and  convenient  for  you,  we 
make  this  unusual  offer: 

Send  us  ioc  and  the  coupon.  We  will  send  you 
a  trial  cake  of  Pompeian  Bloom  containing  enough 
rouge  for  30  applications  in  a  dainty  little  con- 
tainer, not  too  big  to  be  carried  in  your  purse; 
and  in  addition  a  liberal  sample  of  Pompeian 
Beauty  Powder.  It  will  never  be  easier  to  tear  off 
the  coupon  than  NOW,  before  you  turn  the  page. 


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 
Beauty  Powder  and  your  Beauty  Booklet. 

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 
made  solely  for  one  purpose; 
to  foster  good  complexions. 

In  France,  home  of  cosmetics, 
Palmolive  is  the  second  largest 
selling  soap  and  has  supplanted 
French  soaps  by  the  score.  In 
beauty-wise  Paris,  Palmolive  is  the 
"imported"  soap. 


RIGHT  living,  right  diet  and  proper 
.  exercise  are  the  factors  leading  ex- 
perts urge  for  physical  perfection.  For 
skin  perfection  these  experts  urge  natu- 
ral ways  in  skin  care. 

Thus,  on  expert  advice,  the  artificial 
beauty  methods  of  yesterday  have  largely 
been  discarded. 

Foremost  beauty  authorities  have  found 
beauty  i  nsurance  starts  with  proper  cleans- 
ing  of  the  skin.  They  urge  the  soothing 
lather  of  olive  and  palm  oils  as  blended 
in  Palmolive  as  the  safe,  natural  way  in 
skin  care.  Most  of  the  pretty  skins  you 
see  today  are  due  to  it. 

Use  Palmolive  according  to  the  simple 
rule  here  given.  Note  the  difference  a 
single  week  will  make.  It  is  nature's  for- 
mula to  "Keep  That  Schoolgirl  Com- 
plexion." 

Start  today  with  this  simple  care — 
Note  bow  your  skin  improves 

Wash  your  face  gently  with  soothing 
'almolive  Soap,  massaging  the  lather 
softly  into  the  skin.  Rinse  thor- 
oughly, first  with  warm  water,  then 
with  cold.  If  your  skin  is  inclined 
to  be  dry,  apply  a  touch   of  good 


cold  cream-  that  is  all.  Do  this  regularly, 
and  particularly  in  the  evening.  Use 
powder  and  rouge  if  you  wish.  Bu: 
never  leave  them  on  over  night.  They 
clog  the  pores,  often  enlarge  them. 
Blackheads  and  disfigurements  often  fol- 
low.  They  must  be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treat- 
ment given  above.  Donotthinkanygreen 
soap,  or  one  represented  as  of  olive  and 
palm  oils,  is  the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake !  So  little 
that  millions  let  it  do  for  their  bodies 
what  it  does  for  their  faces.  Obtain  a  cake 
today.  Then  note  what  an  amazing  dif- 
ference one  week  makes. 

Soap  from  trees! 

The  only  oils  in  Palmolive  Soap  are  the 
soothing  beauty  oils  from  the  olive  tree, 
the  African  palm,  and  the  coconut  palm — 
and  no  other  fats  whatsoever.  That  is  why 
PalmoliveSoap  is  the  natural  color  that  it 
is — for  palm  and  olive  oils,  nothing  else, 
give  Palmolive  its  natural  green  color. 

The  only  secret  to  Palmolive  is  its 
exclusive  blend— and  that  is  one  of  the 
world's  priceless  beauty  secrets. 


Retail  Price 


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- 
quisite and  perfect  a  powder  as  money 
can  buy.  Yet  the  price-  mark, will 
amaze  you— it's  50c  ....  Sample-size 
box  in  your  own  shade  sent  for  10c 
stampsorcoin.  AddressThe  House  of 
Tre-Jur,  19  West  18th  St.,  New  York. 

TRE-JUR 

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 

Photoplay 


250  Art  Portraits 

of  Leading  Moving  Picture  Stars 

Beautiful   Art    Portraits  reproduced   in  Rotogravure 
from  the  latest  and  best  photographs,  on  Primoplate 
paper.    Handsome  dark  blue  book  binding  with  gold 
lettering.    The   portraits  are  alphabetically  arranged, 
and   below  each   is  printed    a    clear   and   compre- 
hensive sketch  of  the  career  of  each  star  presented. 
Altogether,   the  volume  constitutes  a  combined   art 
gallery  and  brief  biography  of  all  tbe  leading  players. 

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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 
for  them.  No  other  cigarette  is  like  Camels.  They  are  the 
overwhelming  choice  of  experienced  smokers. 


WHEN  the  noisy  shouts  and 
songs  of  freedom  burst 
forth  on  Independence  Day. 
And  bands  and  parades  and 
booming  cannon  join  in  the 
joyous  celebration.  When 
you  think  again  that  our 
country  and  the  men  in  it 
must  be  free — haveaCamel! 

For  no  other  cigarette 
ever  brought  such  liberation 
to  so  many  millions  of 
smokers.  On  the  day  of  its 
birth,  Camel  decreed  the 
end  of  tired  taste,  of  ciga- 
retty  after-taste.  Mild  and 
mellow  flavor,  full  enjoy- 
ment have  made  Camel  the 
most  celebrated  name  in  the 
history  of  smoking. 

So  this  Independence 
Day,  as  you  watch  our  coun- 
try's defenders  march  by  in 
inspiring  parade  —  know 
then  the  deepest  goodness 
that  ever  came  from  a  ciga- 
rette. Have  the  utmost  in 
smoking  enjoyment. 

Have  a  Camel! 


©1926 


Our  highest  wish,  if  you 
do  not  yet  know  and  en- 
joy Camel  quality,  is 
that  you  may  try  them. 
We  invite  you  to  com- 
pare Camels  with  any 
cigarette     made    at    any 

R.   J.   Reynolds  Tobacco 

Company 

Winston-Salem,  N.  C. 


Smoothest  Powders  in  the  World 


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blend  with  the  skin  invisibly.  The  allure  of  artless-  powders  are  insisted  upon  by  millions  of  women, 
ness  is  yours — so  little  of  this  powder  suffices,  since 

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Powders  of  such  utter  fineness  are  attained  only  Melba  beauty  preparations,  to  gratify  you  in  all  the 

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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"  withT.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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When  Women  Smile 

Dazzling  white  teeth  and  pretty 
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Ocean  Waves  Cannot 
Wash  Off  TANGEFS 
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water  removes  this  lovely  natural 
make-up. 

Speaking  of  Summer  Suns  .  .  .  you 
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Other  Tangee  "Friends  of  Beauty"  are 
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sample  of  Tangee  Creme  Rouge,  and  (3)  "The 
Art  of  Make-up"  written  by  a  famous  beauty 
expert.  (Your  dealer's  name  will  be  appreciated.) 
Dept.  85,  the  george  w.  luft  co., 

417  FIFTH  AVENUE,  NEW  YORK 


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 
to  believe  any  such  story  about  her. 


HINDS 

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He  liked  her  until—! 

He  met  her.  Blew  around  ami  took  Just  pat  it  on — then  powder.  Then 

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If  this  young  lady  had  but  known  skin— safeguard  it  from  sun,  wind, 
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-this  lovely  tinted  lustre! 

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Such  is  Fashion's  edict!  And 
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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. 

rT,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.  From  1 6  to  30  you  need  from  7  J  2  to 
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gently.  Don't  rub  it  off.  Use  only  at 
night  before  retiring — wear  old  gloves 
on  hands.  You  will  be  astonished. 
Your  friends  will  comment  on  the  re- 
markable change  in  the  appearance 
of  your  skin  with  th  is  simple  common- 
sense  treatment.  Under  no  conditions 
use  any  other  cream  while  you  are 
making  this  test. 

III.  For  the  face,  give  our  cream  two 
weeks'  exclusive  use.  Write  the  date 
on  the  label  so  that  you  may  watch  re- 
sults carefully.  Use  no  other  cream  of 
any  kind.  Wash  your  face  at  night 
with  lukewarm  water  and  Ingram's 
Milkweed  Cream  Soap.  Rub  cream  in 
gently;  don't  rub  it  off.  Use  morning 
and  night,  using  water  only  at  night 
to  cleanse  face.  Blotches,  blemishes, 
blackheads,  redness,  tan,  wind,  and 
sunburn  will  go  if  you  follow  the  diet 
suggested  and  use  Ingram's  Milkweed 
Cream  exclusively. 

Women  today  will  tell  you  this 
simple  treatment  gets  results.  We 
have  thousands  of  letters  over  a  period 
of  40  years  that  back  up  our  state- 
ments. And  today  thousands  are  en- 
joying the  beauty  insurance  which 
this  simple  method  brings. 

IV.  If  you  have  a  good  beauty  shop 
operator,  stay  with  her.  But  insist 
that  she  use  your  own  jar  of  Ingram's 
Milkweed  Cream.  Infections  are  dan- 
gerous. Not  one  woman  in  a  hundred 
has  a  scientific  beauty  operator. 

We  are  always  glad  to  answer  ques- 
tions— to  help  those  who  have  been  un- 
successful in  their  search  for  skin  love- 
liness. Particularly  those  who  want  to 
protect  their  beauty  over  a  long  period 
of  years. 

If  you  are  in  doubt,  take  no  chances. 
Do  your  own  facials,  arms,  neck,  hand 
and  shoulder  treatments  at  home.  We 
will  teach  you  how  in  our  little  book 
that  comes  with  each  jar  of  Ingram's 
Milkweed  Cream. 


A 


Your  Arms 

shoulders 
neck  and  hands 

may  be  beautiful,  ivory  white 
.   .  .  ^wTWOWEEKS! 


A3 


^S  last  year,  afternoon  and  evening 
frocks  leave  the  arms,  neck  and 
upper  back  exposed.  To  be  truly  charm- 
ing, beautiful — you  must  have  this! 
Smooth,  satiny,  ivory-white  skin  — 
so  utterly  charming  to  men! 

Ingram' s  Milkweed  Cream  has  done  just  this, 
for  over  a  million  women — in  this  country  alone. 
Use  it  daily  on  your  hands,  on  your  arms,  neck 
and  shoulders.  You  too  will  notice  pleasing  re- 
sults, often  within  two  short  weeks. 

Read  the  four  common-sense  beauty  secrets 
in  the  column  at  the  left.  It  tells  you  how.  Then 
obtain  a  jar  of  Ingram's  Milkweed  Cream  at 
your  favorite  store.  Get  it  in  the  50  cent  or 
dollar  size.  The  dollar  size  is  more  economi- 
cal. Start  using  it  now.  And  remember: 
You  need  only  one  cream     .     .     Ingram's! 


Frederick  F.  Ingram  Co. 

Established  1S85 
Windsor.  Ont..  233  Tench  Si 

Canada  Detroit,  Mid 


k 


V 


mm  y 


team* 


PHOTOPLAY  MAGAZINE. 


I  10 


Photoplay  Magazine — Advertising  Section 


MakeYburSkin 

Ivory-white 


in  3  Days 


I  have  the  honor  10  announce  the 
most  important  beauty  disco\  ery  of  the 
age  ...  a  wonderful  new-type  lotion 
that  clears  the  skin  of  every  blemish 
and  makes  it  as  smooth  and  white  as 
ivory.  Every  woman  who  wants  a 
glorious  complexion  can  now  have  it  in 
three  to  six  days. 

NOW  .  .  .  a  New  Kind  of  Lotion 
Skin  Whitener 

Now  you  can  have  the  smooth,  Bawlesscomplexion 
you  have  always  longed  for  .  .  .  the  exquisite 

white  skin  you  see  only  infamous  beauties.  The 
kind  of  skin  that  powder  cannot  give!  The  skin  itself 
must  be  soft,  smooth  and  white.  My  marvelous  dis- 
w  gives  you  this  striking  complexion  in  just 
three  to  six  days.  It  smooths  the  skin  to  soft,  silky- 
texture.     It  whitens  the  skin  to  ivory  whiteness. 

Freckles  and  Tan  Vanish ! 

All  trace  of  freckles,  tan.  blackheads,  roughness. 
and  redness  disappear  almost  as  if  you  had  wished 
them  away.  Never  before  have  women  had  such  a 
preparation!  Mild,  gentle  and  guaranteed  site  and 
harmlessl  Apply  it  in  just  three  minutesat  bedtime. 
Every  woman  should  have  it.  Then  is  not  on.'  com- 
plexion in  a  thousand  that  will  not  he  clearer. 
smoother,  more  radiant  through  its  use. 

Test  It  .  .  .  Whiten  Your  Neck 

Test  il\is  preparation  on  your  arm,  hands,  or  on 
your  neck  where  the  skin  is  usually  much  darker  than 
on  the  face.  S-x>  what  an  amazing  improvement  three 
days  make.  Use  my  Lotion  Face  Bleach  any  way 
you  like  for  six  days.  Then  if  you  are  not  simply  de- 
lighted. 1  ask  you  to  let  me  refund  your  money. 

Large  Bottle  .  .  .  Low  Price  .  .  . 
Guaranteed! 

Send  no  money — simply  mail  coupon.  When  pack- 
age arrives  pay  postman  only  $1.50  tor  the  regular 
large-size  bottL-.  Use  this  wonderful  cosmetic  six 
days.  Then,  if  not  delighted,  return  it.  and  I  will 
refund  vour  monev  without  comment.  Mail  cup* mi 
today  to  (Mrs.)  GERVAISE  GRAHAM.  Dept.  P-7, 
25  W.  Illinois  St.,  Chicago. 

GERVAISE  GRAHAM 

Jetton  FACE  BLEACH^ 

(Mrs.)  GERVAISE  GRAHAM. 

Dept.  P-7,  25  W.  Illinois  St.,  Chicago. 

Send  me.  postage  paid,  one  Lotion  Face  Bleach. 
On  arrival.  I  will  pay  postman  only  SI. 50.  If  not 
delighted  after  six  days'  use  I  will  return  it  and  you 
will  at  once  refund  my  money. 

Name 


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 
'-Jthe  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" 


irwiiMttoapfili^ 
Qeodo  emu 


then  hours  of  immaculate  freshness 

by  Letitia  Hadley 

We've  made  you  a  new  powder  deodorant  —  so  easy  to  apply  that, 
even  if  you're  the  busiest  woman  in  the  world,  you  can  find 
time  to  use  it  every  day !  And  then  you  will  know  that  you  are  fresh  and 
dainty  always  —under  all  conditions. 

Deodo  is  a  fine  white  powder,  delicate  and  luxurious.  Dust  it  over 
your  body  and  rub  it  under  your  arms  while  you  are  dressing.  It  does 
not  seal  the  pores.  It  simply  absorbs  and  neutralizes  the  odors  of  the 
body,  instantly  and  safely.  One  application  continues  effective  for  an 
entire  day. 

Deodo  is  soothing  and  healing  to  the  skin.  It  will  not  harm  your 
clothes.  Used  on  sanitary  napkins,  it  will  safely  and  effectively  solve 
your  most  annoying  problem ! 

Deodo  is  sold  at  most  druggists'  and  toilet  goods  counters.  Or  I  will 
gladly  send  you  a  miniature  container,  holding  a  generous  supply,  free! 
Mail  the  coupon  today. 


A  MULFORD    PRODUCT 


prevents  and  destroys  body  odors 


H.  K.  MULFORD  COMPANY 
Mulford  Building,  Philadelphia,  Pa. 

Please  Bend  me  the  free  sample  of  Deodo. 
Name 


Street 


FREE  — MAIL   THIS   COUPON    NOW! 


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 
violet  rays  that  tan,  freckle,  burn  and  blister 
the  skin. 

Mine.  Helena  Rubinstein — who  stands  out 
pre-eminent  as  the  world's  leading  beauty- 
scientist — has  made  one  of  the  greatest  con- 
tributions to  feminine  beauty  in  her  "sun- 
proof" cream  —  which  neutralizes  the  violet 
rays  —  so  that  after  applying  an  invisible 
film  of  this  cream  you  may  swim,  golf,  drive 
and  tennis — without  tanning,  freckling  or 
becoming  sunburnt. 

The  following  Helena  Rubinstein  creations  mil 
keepyour  skin  smooth  and  while  all  summer  long 
and  will  counteract   shine   and  super-oiliness. 

To  prevent  tan,  freckles,  sunburn 

VALAZE  SUNPROOF  C  REAM— apply  before  swim- 
ming, golfing,  boating  or  any  outdoor  exposure.  By 
neutralizing  the  "burning"  rays  of  the  sun,  this  re- 
markable cream  keeps  the  skin  free  from  all  signs  of 
tan,  freckles,  blisters  and  sunburn.  1.00. 
VALAZE  SUNPROOF  LIQUID  POWDER— besides 
imparting  a  delightful  finish,  this  liquid  powder,  ap- 
plied before  exposure,  also  sunproofs  your  complexion 
against  tan,  freckles,  sunburn,  and  is  cooling  and 
soothing  to  the  skin.     1.50, 

Oily  skin — shiny  nose 

VALAZE  LIQUIDINE— instantly  removes  shine  and 
greasiness.  Frees  the  pores  of  excess  secretions,  cor- 
rects oiliness,  closes  pores,  whitens  and  imparts  a 
soft,  "mat-like,"  flattering  finish.     1.50. 

Clear  and  bleach 

VALAZE  BEAUTIFYING  SKINFOOD— "the  skin- 
clearing  masterpiece.'"  Lightens,  purifies  and  refines 
the  skin.  Clears  away  sallowness,  iight  freckles,  dark- 
ened skin  pigment — and  is  also  the  perfect  beauty 
cream  for  daily  use.     1.00. 

VALAZE  FRECKLE  CREAM— removes  even  dark, 
obstinate  freckles — stimulates  and  tones  skin.     1.50. 

Blackheads — enlarged  pores 

VALAZE  BEAUTY  GRAINS— a  marvelous  soap 
substitute.  Clears  clogged  pores — removes  black- 
heads, whiteheads,  greasiness,  impurities — and  refines 
coarsened  skins,  creating  a  delicate  smooth  com- 
plexion.    1.00. 

If  you  cannot  procure  Valaze  preparations 
locally,  order  direct. 

Today — send  for  free  copy  of  P-7,  the 
Summer  Beauty  Calendar,  with  full  in- 
structions for  keeping  your  skin  fair  and 
unweathered.  Simply  write  to  New  York 
address  below. 

Salon  de  Beaute  Valaze 

46  West  57th  Street,  New  York 
PARIS  NEWPORT  LONDON 

CHICAGO— 30  N.Michigan  Blvd. 

DETROIT— 1540  Washington  Blvd. 
BOSTON— 234  Boylston  St. 

NEWARK.  N.  J— 951  Broad  St. 
PHILADELPHIA— 1710  Chestnut  St. 


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— 

"You  should  be  very  proud 
of  the  Golden  State  Limited*' 


Read  this  tribute  from  a  world-famous  celebrity 
to  a  world-famous  transcontinental  train.  Qolden 
State  Limited  operates  daily  between  Chicago  and 
Los  Angeles  over  the  direct  Golden  State  route. 
This  train  becomes  increasingly  popular  among 
travelers  who  recognize  the  finest  in  service 
and  equipment.  ' '  There  is  also  the  new  Apache 
and  the  Californian  daily  over  this  route. 


Los  Angeles 


Low  Roundtrip  Fares 

— in  effect  all  summer. 
Limit  October  31. 


Southern  Pacific  Lines 

,  Passenger  Traffic  Manager,  Southern  Pacific  Company,  San  Francisco,  California 
ce-President  and  Passenger  Traffic  Manager,  Rock  Island  Lines,  Chicago.  Illinois 


F.S.McGi 
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 


Tint  Those  Gray 
Hairs  to  Their 
Original  Shade 

and  look  5  to  10  years  younger 


The  advantage  o!  Brownatone  is  that  your  closest 
friends — your  own  family  -cannot  detect  its  use. 
<  Mlier  preparal  ions  may  uive  your  hair  some  strik- 
ingly different  and  unbeenmim:  color,  but  Browna- 
tone  reproduces  its  e\:ici  original,  youthful  shade, 
making  vmi  look  from  live  to  ten  years  younger. 
K.  Neighbors,  of  Souoni,  Kentucky,  is  i 


has  given  the  ■:<itisf<trH,>n  that  firoicn atone  Itax.' 


1 


Everybody  knows  the  woman  who  spends  much 
money  and  time  in  ear  ins:  for  her  complexion  and 
who  still  looks  old,  nut  bee-iiLse  .she  is  old  or  feels  oil 
but  because  her  hair  is  laded,  streaked  and  gray. 
Thcv  do  not  rcali/.i-jl  bat  beauty  Is  youl  b  w  bile  Cray, 
din-v  hair  is  tin-  badj-'e  nl  :i^e.  '■Jiri<ir/ia/i.-/ie"  say- 
liatlie  B.  Tucker,  of  Greensboro,  Ala.,  "is  easily 
the  best  preparation  1  hare  ever  used  for  gray  hair. 
It  cannot  help  giving  perfect  sat::' act  ion." 


Brownatone  does  not  merely  coat  or  cover  each 
strand  of  hair.  It  does  not  rub  off  or  wash  out  be- 
cause it  is  absorbed;  each  strand  i*  saturated.  And, 
although  used  by  hundreds  of  thousands  of  women 


Blonde  to  Medium  Brown,  or  for  Dark  Brown  to 
Black.  To  be  had  at  dnm  and  toilet  minds  counters 
everywhere  in  two  .sizes,  ".lie  and  Sl.oO.  "Please 
write  to  my  druggist.  I  have  rccommnuh-,1  Bnmna- 
tonr  to  him  as  the  finest  //air  tint  that  anyone  can  use 
J'  "  -Mrs.  Walter 


Clip   the  cowpon   below 

and  mail  with  10c  for  a     t/ \ 
test  bottle  of  Brounatone.    h>  ~s?s 

V  The  Kenlon  Pharmacal  Co.  ^ 
Dept.  F-3  Covington,  Ky..  U.  S.  A. 
(Canada  Address:  Windsor,  Ont.) 
Enclosed  is  10c  for  test  bottle  of 
Brownatone. 
(    )  Blond  to  Medium  Brown. 


GUARANTEED    HARMLESS 

BROWNATONE 

TINTS    GRAY    HAIR   ANY    SHADE 


Community  Clothes 


[  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 

Ended  for  you  by  this  new  and  TOTALLY 
Different  way  of  removing  cold  cream 


PLEASE  ACCEPT- 7-day  supply  to  try, 
the  only  way  that  removes  ALL  germ- 
laden    accumulations   from   the   pores 


THE 
SOILED  TOWEL 

METHOD 
Rubs  germ  accu- 
mulations    back 


N  the  last  few- 
months,  an  aver- 
age of  10,000  women 
a  day,  have  adopted 
this  new  and  totally 
different  way  of  re- 
moving cold  cream 
from  the  skin. 

Virtually  every  im- 
portant beauty  expert 
in  America  urges  this 
inviting  scores  or    new  way.    Scarcely  a 
imperfections.  .    '  .■' 

prominent    motion 

picture  or  stage  star 
today  but  employs  it.  It  marks  one  of 
the  most  sensational  beauty  successes 
in  years. 

It  lightens  a  darkish  skin  several 
shades  or  more.  It  keeps  "make-up" 
fresh  hours  longer  than  before.  It  curbs 
oily  skin  and  nose  conditions  amazingly. 

Please  accept  a  full  7-day  supply  to 
try.  It  will  end  for  you,  two  crimes 
against  skin  beauty  most  women  who 
use  cleansing  creams  have  unconsciously 
been  practicing  for  years. 

1 — Rubbing  germ-laden  matter  back 
into  the  skin  with  towels,  cloths,  etc., 
which  lack  in  absorbency ;  2 — irritating 
your  skin  by  rubbing  cold  cream  off 
with  harsh  material.  Scores  of  skin 
imperfections  now  are  largely  traced  to 
these  factors.  Stop  them,  and  you'll  be 
amazed  at  the  difference. 


THE 

HARSH  CT.OTH 

METHOD 


A  scientific  discovery 
This  new  way  is 
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for     the     removal     of        causes     enlarged 

cold  cream  correctly      nes^'etc."  r°US 
from  the  skin. 

It  has  27  times  the  absorbency  of  the 
ordinary  towel.  It  is  the  only  way  yet 
discovered  that  properly  removes  all  dirt 
and  germ-laden  matter  from  the  pores. 

It  quickly  curbs  oily  nose  and  skin 
conditions.  For  those  are  largely  caused 
by  cold  cream  left  in  the  skin  which  the 
pores  thus  constantly  exude. 

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A  7-day  supply  will  be  sent  you.     Note 
results  yourself. 

Kleenex  'Kerchiefs — absorbent — come 
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your  dressing  table  drawer  ...  in  2  sizes: 
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absorbent — as  offered. 


Name.. 
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I'lKlTirl'LAY  MAGAZINE. 


i  16 


Photoplay  Magazine — Advertising  Section 


"If 


FREQUENTLY  you  hear  a  man  say,  "If  Fatimas 
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Splendidly  -written  short  stories,  some  of  which  you  will  see 
acted  at  your  moving,  picture  theater. 
Brief  reviews  with  the  casts  of  current  photoplays. 
The  truth  and  nothing  but  the  truth,  about  motion  pictures, 
the  stars,  and  the  industry. 

You  have  read  this  issue  of  Photoplay,  so  there  is  no  necessity 
for  telling  you  that  it  is  one  of  the  most  superbly  illustrated, 
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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. 


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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 

UNIVERSAL  PICTURES 

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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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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." 

rPHE  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. 


UAI  f?"  / 


Marvelous,  unbelievable  radiance 
for  your   hair,  by  the   use    of 

a  touch  of  henna  in  the  shampoo 


C\fOT  until  you  have  seen  in  your 
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can  you  believe  what  a  miracle  of  beau- 
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can  perform.  This  secret  is  used  in  the 
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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, 


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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- 

Every  advertisement  in  rrjOTOrLAY  MAGAZINE  is  guaranle 


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  knewr  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 
blast  ripped  out  from  the  siren,  at  which  the 
pavement  cleared  like  magic.  Into  doorways, 
onto  the  running  boards  of  the  parked  cars, 
anywhere  and  everywhere  the  scattered  frag- 
ments of  the  crowd  took  themselves  as  that 


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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." 


J25 


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 

..how  they're  kept 
free  from  corns . . 


Ann  Pennington's  Famous  Dancing  Feet 


"I  have  always  considered  a 
corn  a  social  error,"  writes  Ann 
Pennington,  beautiful  Ziegfeld 
dancing  star. 

'Tor  a  corn  is  an  evidence  of 
personal  neglect.  Why  should 
anyone  keep  one  —  when  a 
dainty  Blue=jay  plaster  will 
remove  it  so  quickly,  so  ur- 
banely  and  comfortably?" 
1     t 

For  a6  years  good  old  Blue=jay  has  been  keep- 
ing the  feet  of  the  famous  fit.  It  is  the  stand- 
ard home  corn-remover,  approved  not  only  by 
the  millions  but  by  physicians  and  chiropodists. 
Prove  it  tonight  on  your  most  stubborn  corn. 
Blue»jay  always  welcomes  a  contest  with  an 
"old  offender."  :  ;  s  -.  .  At  all  drug  stores. 

Blue=jay 

THE     SAFE     AND     GENTLE     WAY     TO     END     A     CORN 
2)1926 


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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 

v  advertisement  in  photoplay  magazine  Is  guaiante 


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 


California   lemons   are   richest 
in  juice  and  best  for  the  rinse. 

How  To  Do  It 


Add  the  juice  of  tw 
ordinary  washbowl  of 
rinse  with  this,  followi 
plain  water. 


California  lemons  to  an 
ater  (about  4  qts.)  and 
g  with  thorough  rinse  in 


I  California  Fruit  Growers  Exchange, 
Sec.  1107,  Lea  Angeles,  California. 

I  Please  send  me  free  book.  "Lemon — the  Natural 
('osmetic. '*  tellinK  how  to  use  lemon  for  the  skin. 
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Keeps  your  Wave 
always  chief 


'•■a?*        <~>?  sPray  on  r 

1/ i xo- gen 

A  perfected  "setting  lotion"  for 
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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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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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tiny  dancing  lights  that  somehow  suggest  auburn,  yet  which  is  really  no  more 
actual  color  than  sunlight.  It's  only  when  the  head  is  moved  that  you  catch  the 
auburn  suggestion — 'the  fleeting  glint  of  gold. 

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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 
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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. 

rT"rHE  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. 


Every  advertisement   in  PII0T0PL.AY   MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


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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if  you  want  the  real  news  of 
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pHOTOPLAY  is  made  the  most 
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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- 


False  modesty  keeps 
some  women  from 

learning  the  facts  about 
modern  feminine  hygiene 

DESERVING  of  sympathy  is  the  woman 
who  shrinks  from  the  facts  of  life,  who 
is  cut  off  from  the  knowledge  possessed  by 
other  women  around  her.  Because  her 
false  modesty  robs  her  of  membership  in 
the  intimate  Bond  of  Womanhood.  How 
can  such  a  woman  learn  the  truth  about  so 
personal  a  subject  as  feminine  hygiene? 
How  can  she  know  that  the  great  risk  to 
women  today  comes  from  the  use  of  poi- 
sonous antiseptics  like  bichloride  of  mer- 
cury and  carbolic  acid  in  its  various  forms? 

Every  doctor  will  tell  you  this 

Until  recently  there  was  nothing  to  take 
the  place  of  these  poisonous  compounds  in 
the  practice  of  feminine  hygiene.  Every 
woman  who  sought  real  surgical  cleanli- 
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these  risks  are  a  thing  of  the  past,  now 
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Yet  Zonite  is  actually  far  stronger  than 
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safely  applied  to  the  body.  Ask  your  phy- 
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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, 
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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 

r  advertisement   in   PHOTOPLAY  MAGAZINE  is  euarant 


Pho 

Kraly  is  probably  the  only  man  who  has  ever 
been  placed  on  the  same  pedestal  in  the  sce- 
nario world  with  such  immortals  as  Frances 
Marion  and  June  Mathis.  Kraly  is  doing 
splendid  work  and  getting  record  prices  for  his 
scripts. 


toplay  Magazine — Advertising  Section  i  35 

"for  the  hair  of  women  who  care" 


Perfect  Behavior  in 
Hollywood 

[  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. 


The  Second  Set  of  Pictures  in 

Photoplay's  $5,000  Cut  Picture  Puzzle  Contest 

Will  Be  Found  in  This  Issue 


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Photoplay  Magazine — Advertising  Section 


'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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140 


Photoplay  Magazine — Advertising  Section 


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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. 


Even-  advertisement  in  PHOTOPLAY  MAGAZINE  is   guaranteed. 


Photoplay  Magazine — Advertising  Section 


"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 

expression  in  "The  Sporting  Lover,"  the  first  of  a  series  for  First  National 

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Photoplay  Magazine — Advertising  Section 


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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;    jor;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. 


Sanitation 
demands  this 
precaution 


It  is  not  enough  to  keep  the 
toilet  bowl  clean.  The  hidden 
trap,  too,  must  be  purified  — 
especially  in  hot  weather. 

Brushes  cannot  reach  the  trap. 
ButSani-Flushcan.  Itdoesaway 
with  sediment  and  foul  odors. 
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back-bending.  Simply  sprinkle 
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Sani-Flush  is  a  household  ne- 
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Buy  Sani-Flush  at  your  gro- 
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or  send  25f  for  a  full-size  can. 
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mention  PHOTOPLAY  MAGAZINE). 


144 


Photoplay  Magazine — Advertising  Section 


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DYSPEPSIA  TABLETS 


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. 

v„n  write  to  advertisers  please  mention  PHOTOPLAY  magazine. 


Freckles 

Secretly  and  Quickly  Removedl 


VOU  can  banish  those  annoying, 
-*-  embarrassing  freckles,  quickly 
end  surely,  in  the  privacy  of  your 
own  boudoir.  Your  friends  will  won- 
der how  you  did  it. 

Stillman's  FreckleCream  bleaches 
them  out  while  you  sleep.  Leaves  the 
skin  soft  and  white,  the  complexion 
fresh,  clear  and  transparent,  the  face 
rejuvenated  with  new  beauty  of 
natural  coloring. 

The  first  jar  proves  its  magic  worth. 
Results  guaranteed,  or  money  re* 
funded.  At  all  druggists,  50c  and  $1. 


s  Yreddi 


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[  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. 


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FRECKLES 


Tells   How  to   Get   Rid  of  These   Ugly 
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Simply  get  an  ounce  of  Othine  from  any 
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while  the  lighter  ones  have  vanished  entirely.  It  ia 
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Photoplay  Magazine — Advertising  Section 


Mellin's  Food- 

A  Milk  Modifier 

A  nursing  mother  takes  Mellin's  Food  and  milk  between 
meals  and  at  bedtime,  resulting  in  an  increased  supply  of 
breast  milk  and  a  more  comfortable  baby. 
Another  nursing  mother,  whose  breast  milk  is  insufficient,  uses 
Mellin's  Food  and  milk  as  a  supplementary  diet  or  complemented 
feeding,  and  at  once  notices  that  her  baby  is  better  satisfied  and  that 
the  gain  in  weight  increases,as  a  resultof  this  additional  nourishment. 

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

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

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

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PEKFUMES 


O      F 


YOUTH 


Cappi  Face  Powder 
— blending,  lusting, 
fragrant  —  SOC  and 
$i.  ToiletWater— 
exhilarating,  re- 
freshing— $1.50. 


Creams, created  by  Cher- 
amy  .cleanse, nourish  and 
protect  the  skin  and  keep 
it  -young.  Cleansing,  75c; 
Tissue  Building— $i;and 
Vanishing  Cream — 60c. 


rdtr  of  urtanrus^ 
l^afumt  of  youth 

1IKE  a  persistent  little  love-song,  the  fragrance  of 
j  Cappi  comes  Stealing  over  the  spirit  and  the 
senses — provocative,  gay  yet  tender;  with  under- 
tones of  wistful  yearning  that  youth,  the  wide-world 
over,  knows. 

Cappi  is  the  perfume  of  youth.  It  is  unlike  any 
other,  for  to  those  who  breathe  its  fragrance,  Cappi 
reveals  the  hope,  the  dream — the  ecstasy  of  youth. 

At  a  shop  nearby,  you  will  find  gay-flowered  boxes, 
crystal  bottles,  and  shining,  jewel-like  compact  cases 
breathing  the  delicate  fragrance  of  Cappi.  They  hold 
fine,  clinging  powders,  rouge  in  natural  shades,  smart 
little  lip  sticks,  bath-crystals,  perfume  and  toilet  water. 
You  will  like  the  Cappi  things — every  one. 

CHERAMY 


Cappi  Talc— soft,  fine, 
caressing — 25c;  glass  jar 
50c.  Double  Compact — 
rouge  and  face  powdei — 
in3  naturalshacics$l.50. 


NEW      YORK 


.  \ypsl.  ohcr&rtPS 


CappiPerfume— Youth's 
eloquent  appeal — $r.2<i, 
$2.50  and  $5.  Cappi  Bath 
Salts — clear  crystals  that 
dissolve  in  a  mis!  of  de- 
lightful perfume-  essen- 
tial  to  well- groomed  ioie- 
liness — $1  and  $1.75. 

Prices  quoted  apply  to 
U.S.  A.  only 


1026  Cheramy  Inc. 


C   A   S    H    M 


BO    U   Q.  U   E  T 


'    C00rec    °°Tt6t  The   linc^  and 

"  ^^^  worse  than  birth- 

^T*  H  '"  betray  i 

c7\(oz^^rhis  fine  hard -milled  soap  keeps 
your  skin  smooth  •  fragrant  ■  youthful 

Look  closely  at  an  exquisite  com-       is  "  hard-milled,"  which  means  the       mere  Bouquet  so  safe  for  your  daily 

plexion  —  the  kind  you'd  wish  for       cake  is  hard  and  firm  — not  the       use.     Before    this    "hard-milled" 

if  you   had   a   fairy  god-mother.       least  bit  squdgy.    With  Cashmere       cake  is  ready  for  you  it  is  pressed 

Notice  its  clean,  fine  texture,  deli-       Bouquet  only  enough  soap  pene-       into  almost  marble  firmness.  Secret 

cate   as   the   petals    of  a    flower.       trates  the  pores  to  cleanse  them.       essences  are  added  to  give  that  in- 

Pores  are  practically  invisible.  Thus  no  soap  stays  in  the  pores.       describable  fragrance  that  prompts 

Th    S  1    t  B  It  all  dissolves,  bringing  dust  and       so  many  to  lay  a  cake  of  Cashmere 

T    '  "7  dirt  out  with  it,  leaving  the  pores        Bouquet  among  their  choicest  silks 

as  nature  meant  them  to  be.  and  other  fabric  treasures. 

Cleanliness   is   the  surest  way  to 

enviable  skin.     But  cleanliness  is       Expert  dermatologists,  physicians  who  But  let's  get  back  to  the  subject  of 

not  mere  application  of  soap  and       know  all  about  skin  treatments,  say  Cashmere  Bouquet  and  your  skin. 
water.     Care  in  the  soap  you  use       that  water  and  the  right  soap  should 
is  most  important.                                  be  used  every  day  to  keep  the  skin  Try  this  Treatment — 

smooth  and  youthful.  Watch  Results 

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- 

A  Book  of  Beauty  Secrets  soap.     Its    fragrant    lather    is    so  quet  lather.     Massage  this  lather 

™„  "„n"'™ibEvkai  au!  ©"»«<li^^.       gentle,  so  cleansing,  that  it  fairly  into  the  skin  with  the  fingertips 

thoritv  on  beauty.  ^    <?■        ^^BUB^  ,-  or 

Ever,-  statement  is  an-  .y^</v**  ^^S^  caresses   your   skin   and  until  the  skin  feels  refreshed  and 

?prSaiisbtyasend'°fortyon;  .  JXg£.  ^^^T^^^^^      leaves  it  soft  and  lovely.  alive.    Rinse  in  warm  water.  Then 

rmoutTheroupon.  Soap'  ^'X' ""  .  1   "'^.^7  a  dash  of  cold  water.    Pat  the  face 

*  '>*'*'«'  We  wish  you  could  see  dry  with  a  soft  towel.    If  the  skin 

58?FiffhA^"'\P'"79'  <X        '4'"       m    the  Careful  SpeC'aI  FOC"  ^  inclined  to  be  dty,  rub  in  a  little 

»3S;.*im,r-J*»»2 1°'L > '         /  ™   esses  which  make  Cash-  Colgate's    Charmis   Cold    Cream. 

lotoi,  am."  *     °Jk""-  " Nature's  to«y  to/  "•*  ^M  Other  beauty  secrets  in  booklet. 

^•"™ - /  & 

QAdd"»— ____  ^^^&^  i^M  Tin-   peculiarly   en.  \  alSo    i„     elite's    Tt,  Ic. 

Cum  ~"     ^^5^5-^  *<     fragrance  I      ,.      p„„der.     Perfume, 

*-"y Slat!...  r^^^^-      7  ....•    B..U-  I tUatvr  Sachet.  Ban- 

— ^=5-  '  quet    is  obtainable       I  -  khne  and  Briltantine 


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 


jm\G  LBER1 

LA  BOHEME. 


in 


Brilliant  Supporting  Cast  Includes 

Renee  Adoree  and  Karl  Dane  of  "The 
Big  Parade",  Roy  D'Arcy  of  "The  Merry 
Widow",  Frank  Currier  of  "Ben  Hur", 
as  well  as  George  Hassell  and  Edward 
Everett  Horton. 

Screen  story  by  Fred  De  Gresac  based 
on  Henri  Murger's  "Life  in  the  Latin 
Quarter." 


METRO-GOLDWYN-MAYER'S 

PARADE  OF  HITS 

IS  COMING 


KING  VIDOR'S  production  of 

STUDIO  days  in  Paris 

GOLDEN  days  of  love,  laughter  and  tears  .... 

AND  through  it  all 

A  great  undying  love. 

COMING  to  your  theatre 

AFTER  a  record  breaking  $2.00  run 

AT  the  Embassy  Theatre 

BROADWAY'S  most  exclusive  playhouse 

^xxq^oldwyn^g/cx 

"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-*^  *  WT*e 

■"Si*"—  -*-'     GtouP  ot 


""jy\ALCOL.M  ST.  CLAIR'S 

THE 
SHOW-  /      ^ 
OFF   (= 

with.  .  -. 

FORD  M  lUi, 
STERLING  lr 

totuse 
Brook*  .' 


[WERE  IN  THE  NAVY1 
NOW    <£2 

WALLACE 

BEERY 

^RAYMOND 
I    HATTON  " 


dhmmount^ictures 

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 


c^7//  Jf oily  wood  is  talking  about 

this  fairest  of  Sve's  daughters  ! 

Ever  since  Eve  listened  to  the  serpent,  woman  has  worshipped  the 
raiment  that  makes  her  fairest,  and  man  has  worshipped  woman 
thus  adorned.  In  the  person  of  beautiful  young 

OLIVE   -SORDEN 

millions  of  screen  devotees  will  have  found  a  new  sub- 
ject for  their  adoration.  As  revealed  in  the  William  Fox 
Pifture 


9ig  Leaves 

She  has  youth,  radiant  and  unfettered,  love- 
liness of  a  rare  degree,  a  high   quality  of 
dramatic  artistry — and  oh,  oh — how  she 
can  wear  her  clothes!  A  new  screen  "find"' 
that  the  wise  ones  are  all  rejoicing 
over!  In  "Fig  Leaves"  this  young 
actress  is  co-featured  with  one  of 
your  old  favorites 


C^EORGE 
(9'BRIEN 


Well  remembered  and  loved  for  his  per- 
formance in    "The  Iron  Horse"  and 
other  Fox  pictures.  Here  George  scores  in  a  new 
type  of  role.  "Fig  Leaves"  is  a  gorgeously  dressed 
photoplay,  beautiful  girls  in  lavish  imported  creations  shown 
in  full   color,   and  a  novel    scene  in   the   Garden  of  Eden.     Directed  by 
Howard  Hawks,  with  Phyllis  Haver,  Andre  de  Beranger  and  other  good 
supporting  players. 


Forthcoming  Fox  Films 
every  one  should  see: 

WHAT  PRICE  GLORY 

THE  MUSIC  MASTER 

7TH    HEAVEN 

all  made  from  renowned  stage  successes 

3  BAD  MEN 
staged  by  John  Ford,  who  directed  "The  Iron  Horse 

ONE  INCREASING  PURPOSE 

jrom  the  best-selling  book  of  the  year  by  the 
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 


l3 


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  ] 


See  your  skin 

turn  mil  kv  white 


in  15 1 

mutes 


The  Macuc  Mwle  Mask 


wi 


Read  This 

Sensational 

GUARANTEE 

The  Magic  Milk  Mask  is  abso- 


thered  dermis  and 
al  the  beautiful, 
in  beneath. 

combat  wrinkles. tc 
ng   muscles   and   6 


^\         smooth,  fresh  and  beautiful. 


OMEN  gasp  in 
amazement  at  this 
newest  wonder  of 
beauty  science.  Every- 
where The  Magic  Milk 
Mask  is  the  talk  of  the  day. 
Never  before  has  anything 
like  this  amazing  discovery 
been  known.  Never  before 
has  radiant  complexion 
beauty  been  brought  within 
such  easy  reach  of  every 
woman. 

Think  of  it!  You  simply 
apply  this  delightful, 
creamy  compound  to  your 
face.  It  covers  the  face 
like  a  mask.  You  relax 
while  it  does  its  work.  Re- 
move it  in  fifteen  minutes 
— and  be  prepared  for  the  surprise  of  your 
life!   For  here  is  what  you  will  see: 

A  skin  so  strikingly  lovely  that  it  will 
seem  as  if  your  old  complexion  has  sud- 
denly grown  young!  Such  freshness!  Such 
softness  and  smoothness!  And  that  won- 
drous milk-white  beauty  that  is  the  dis- 
tinctive glory  of  the  world's  most  beautiful 
women!  Yes,  and  that  enchanting  "peaches 
and  cream"  glow  in  the  cheeks  that  is  the 
gorgeous  treasure  of  youth! 

All  this  and  more  you  will  see  as  you  look 
in  the  mirror  after  the  Magic  Milk  Mask 
has  been   removed.     You   have   been 
troubled  with  blackheads?   You 
will  wonder  at  their  complete 
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every  one  has  been 
gently  drawn 
out    and 


V^  absorbed  by  the  Magic  Milk 
Mask.  Was  your  skin  in- 
clined to  be  sallow  and  mud- 
dy? Now  it  is  as  clear  and 
white  as  purest  alabaster! 
Wrinkles?  See  how  they 
have  been  smoothed — how 
the  skin  has  regained  its 
youthful  firmness  and  elas- 
ticity. 

How  the  Magic  Milk  Mask 
Purifies  the  Skin 
Milk,  you  know,  has  al- 
ways been  known  as  a  nat- 
ural beautifier.  Anna  Held, 
Lillian  Russell  and  other  fa- 
mous beauties  owed  their 
exquisite  complexions  to 
its  daily  use. 
And  now  a  great  beauty  scientist  has  discovered  in 
milk  those  special,  mysterious  elements  that  possess 
such  marvelous  beautifying  powers.  He  has  put 
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into  a  fragrant,  plastic  compound!  He  has  given  to 
womankind  the  most  astounding  beauty  discovery  of 
the  century ! 

Try  it  at  Our  Risk 

How  can  you  believe  that  the  Magic  Milk  Mask  will 
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kly,  belorethis  Introdud 

MAISON  MADELEINE 

Dept.  C-188,  9th  and  Spruce  Sts„  Philadelphia,  Pa. 
^s\  ^Si^.   >a^v  J£Zi<p 


This 

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Only  a  limited  number  of  pack-   ^ 
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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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PIKITCII'LAY   MAGAZINE. 


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 


PHOTOPLAY    MAGAZINE   is   guaranteed. 


Photoplay  Magazine — Advertising  Section 


Jionth  after  Jionth  First  National  Brings  %u 


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He 


_  _[£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 
Griffith  in  the  sumptuous,  swirling 
splendor  of  the  pre-war  Russian 
court. 


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ASHER,SMALL 

and  ROGERS 


present 

Corinne 
Griffith 

<J*  in 

'into  Her 
'IflngdoiHa 

Jdapted  to  the  Jctten  by  CAREY  WILSON 
from  theStoryby  RUTH  COMFORT  MITCHELL 

,i\  *,  ^Directed  by 

SVEND  GADE 


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tfrtuat  notionol  Picture 


When  you  write  to  ad\ 


Photoplay  Magazine— Advertising  Section 


IN    WASHINGTON     D.C. 


At  thejlj ay  flower 

135  women  Guests 

tell  why  they 

prefer  this  soap 

for  their  skin 


c/T  IS  ONE  of  the  thrilling  sights  of  Wash- 
ington— the  dining-room  of  the  Mayflower 
Hotel. 

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

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

ti  OW  DO  THE  women  guests  of  The  Mayflower 
take  care  of  their  skin?  What  soap  do  they  find, 
pure  enough  and  fine  enough  to  trust  their  com- 
plexion to? 

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

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

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

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  commer- 
cially possible  with  ordinary  toilet  soap. 

A  25-cent  cake  of  Woodbury's  lasts  a  month  or 
six  weeks.  Around  each  cake  is  wrapped  a  booklet 
of  famous  skin  treatments  for  overcoming  common 
skin  defects. 

Within  a  week  or  ten  days  after  beginning  to 
use  Woodbury's,  you  will  notice  an  improvement 
in  your  complexion.  Get  a  cake  of  Woodbury's 
today,  and  begin  tonight  the  treatment  your  skin 
needs ! 


"  White  shoulders,  jewels — a  brilliant  kaleidoscope  of  fa 


NOW —  THE    NEW     LARGE-SIZE     TRIAL    SET 


The  Andrew  Jergens  Co., 

50S  Spring  Grove  Ave.,  Cincinnati,  O. 

For  the  enclosed ioc  please  send  me  the  new 
large-size  trial  cake ofWood bury 's Facial  Soap, 
the  ColdCream.FacialCream  and  Powder  and 
the  booklet  "A  Skin  You  Love  to  Touch." 

In  Canada,  address  The  Andrew 
Jergens  Co..  Limited,  50S  Sherbrooke  St., 
Perth,  Ont. 


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- 
ment stores?  Because  Ivory  is  pure,  mild,  gentle. 

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 


9irl 

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  il  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 


,  uv^ 

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   ByHerb«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 


jgrS 

■  /4^P__aj|; 

s  ■ 

Fffl 

r    »*■ 

m    M 

1 

^H^r    0    ^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  her  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 


0 


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 
1231 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 
Russian  calfskin.—  stra />  a  ml  applique  of 

I  mil;,   Calf,  ii' i!h  il  smart,  hiivklc  (U  the  side. 

Sizes  3S.    AAA-D.    $10.50 


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  and  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- 
fully—  though  you  stay  in  the  hottest  sun 
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- 
lows every  Pond's  cleansing,  except  the  one 
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 
smooth  finish,  takes  your  powder  evenly  and 
holds  it  long,  and— of  greatest  importance  to 
you  now — protects  your  sensitive  tissues  from 
all  irritation,  from  the  burning  rays  of  the 
sun  and  parching  wind. 

Free  Offer:  "'"'/■!i  ""/""  ani  *>*"' 

•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 

of  one  food 

NOT  a  "cure-all,"  not  a  medicine  in  any 
sense — Fleischmann's  Yeast  is  simply 
a  remarkable  fresh  food. 

The  millions  of  tiny  active  yeast  plants  in 
every  cake  invigorate  the  whole  system. 
They  aid  digestion — clear  the  skin  —  banish 
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 

last  fall, 

I  suddenly 

broke 

■>ut  with 

boils.    I 

tried  Fleisc 

hmann's 

Yeast.  In 

a  month 

the  boils  h 

id  disappeared  co 

mpletely. 

Like  many 

athletes 

I  am  gr 

iteful  for 

the  benefit 

s  of  Yeas 

t-for-Hea 

1th." 

Charle 

Bietsc 

),  New  York  City. 

'*I  WAS  in  a  run-down  condi- 
tion and  very  nervous  as  the 
result  of  chronic  indigestion.  I 
also  had  pimples  on  my  face 
and  suffered  from  insomnia. 
I  decided  to  try  Fleischmann's 
Yeast.  After  about  two  months 
I  found  that  the  pimples  had 
left  my  face.  I  slept  much 
better  and  that  tired  feeling 
and  I  had  become  strangers. 
Now  my  indigestion  has  al- 
most entirely  disappeared  and 
I  look  forward  to  meal  time 
with  pleasant  expectancy." 
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  nevrer 
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 


87 


"The  Djer-Kiss" 

INTERPRETED  BY 
R.  F.  SCHABELITZ 

Here  you  behold  the  charm 
one  gains  by  the  use  of  my 
beauty-aids,  Madame!  Made- 
moiselle! "The  Djer-Kiss"  so 
subtly  whispers  my  message, 
that  I  have  asked  the  world's 
great  artistes  to  express  it — 
each  in  his  own  manner. 
Watch  for  these  illustrations, 
and, as  you  use  my  creations, 
watch  in  your  mirror  for  the 
beauty  which  inspires  "The 
Djer-Kiss"!    (Signed) 

KERKOFF,  Paris 


Parfum  Djer-Kiss  in  grace 

ful  crystal  container. 

Talc  Djer-Kiss -in 

can,  or  crystal  bottle. 

Face  Powder  Djer-Kiss— Rachel, 

Chair  (Naturelle),  Blanche. 


^Beauty  Irresistible.... 
with  "Djer-Kiss! 

WOULD  you  know  the  secret  of  alluring  charm?  It's  not 
difficult  to  attain — if  you  will  only  take  care  to  choose,  and 
use,  the  right  beauty  aids! 

Parfum  Djer-Kiss — to  endowyour  personality  with  exquisite  appeal. 
A  touch  to  your  handkerchief,  your  boutonniere,  and — -voila! 
you  take  on  a  new  loveliness. 

Talc  Djer-Kiss— created  and  packaged  in  France— to  make  shoulders 
and  arms  satin-smooth;  slim  slippers  more  comfortable! 
Face  Powder  Djer-Kiss — made  and  boxed  in  France.  See  the  dif- 
ference as  you  begin  to  use  it!   Your  skin  takes  on  an  exquisite, 
natural  beauty,  a  clear  and  lovely  color. 

And — as  the  use  of  one  odeur  is  smartest — Sachet,  Bath  Crystals, 
Bath  Powder,  and  Toilet  Water,  too! — each  exquisite  with 


CyjCERKOFF  -  PARIS8 


"Silver"  Double  Vanity— nickel-silver, 
with  two  mirrors  (one  magnifying). 
Carries  without  spilling  the  same 
loose  Djer-Kiss  Face  Powder  you  use 
at  home.  Rouge  Compact  Re-fills  may 
be  chosen  at  your  favorite  store    -    - 

ALFRED  H.  SMITH  CO.,  Sole  Importers 
418  West  25th  Street,  New  York  City 

photoplai  magazine. 


CH 


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 


89 


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 
frocks  and  gowns  without  a  second's  thought. 
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 
unsafe  or  unsanitary  makeshift  methods. 

There  is  no  bother,  no  expense  of  laundry. 
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 
department  stores  everywhere.  Comes  in  sani- 
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?0^ 

HM 

l4> 

'Supplied  also  in  personal  service  0 
West  Disinfecting  Co. 


"Ask  for  them  by  name" 

KOTGX 


PROTECTS  —  DEODORIZES 


Kotex  Regular! 
65c  per  dozen 
Kotex-Super: 
90c  per  dozen 


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 


91 


Are  you  a  slave 
to  a  whisk-broom? 

MOST  of  us  know  that  dandruff  is 
unsightly  —  not  all  of  us  realize 
what  a  very  unhealthy  condition  dan- 
druff indicates.  To  merely  brush,  brush, 
brush,  is  a  sign  of  defeat. 

There  is  one  way  to  really  remove  dan- 
druff. The  simple  YYildroot  treatment 
has  been  famous  for  years  among  well- 
groomed  people  who  object  to  dandruff 
— and  refuse  to  be  slaves  to  a  whisk- 
broom. 

A  very  interesting  thing  happens  with 
the  first  few  applications  of  YVildroot. 
The  accumulated  dandruff  loosens  up 
and  is  temporarily  more  apparent —  but 
soon  disappears  under  regular  treatment. 
This  shows  how  quickly  Wildroot  works. 

After  applying  to  the  scalp,  dress  your 
hair  with  Wildroot,  to  renew  the  lustre 
and  beauty.  Get  some  Wildroot  Hair 
Tonic  at  your  druggist's  or  barber's 
today.    And  stop  brushing  dandruff! 


important  note 

It  is  incorrect  to  suppose 
rhatWildrootgrowshair. 

Only  a  healthy  scalp  can 
groiv  hair.  Wildroot  re- 
moves the  very  unhealthy 
condition  of  dandruff, 
and  thus  prevents  the  to*s 
cf  hair  that  is  sure  to 
follow  dandruff 


JOj 


WILDROOT< 


HAIR. 


T     O     N     I 


W^ 


When  you  write  io  ativerlisers  pie 


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 


jgftand 
urishmnken 

after  repeated 
washings 


V'ORTS  WOOLENS  —  gay -colored,  smart — stay  like  new 
all  season  long  —  washed  in  sparkling,  bubbling,  safe  Lux.' 


Jil/c  stockings  more  sheer  than 
ever,  more  delicate  in  coloring! 
Woolen  ones  have  bizarre, color' 
/uI  designs.  Launder  both  kinds 
the  safest  way! 


jummer  scarfs  of  light  wool 

and  cashmere  are  now  being 

worn  by  all  smart  women. 


WOOLEN    scarfs,    hosiery, 
sweaters — in  every  woman's 
wardrobe,  whether  she  is  an  active 
sportswoman  or  an  interested  mem- 
ber of  the  gallery ! 
_P*  You  probably  own  one  of  the 

_^B        adorable  new  flannel  dresses,  too, 
___  and  a  costly  little  woolen  sports  suit. 

Keep  these  expensive  clothes  and 
accessories    immaculate   and    trim-looking    all 
through  the  season!    Nothing  is  more  dowdy 
than  a  faded,  shrunken  sports  dress,  nothing 
more  uncomfortable  than  rough,    scratchy 
woolen  stockings !  Their  charm ,  their  smartness 
depend  so  much  on  the  way  you  launder  them. 
Wool  is  even  more  sensitive  to  washing  than 
silk!    Rubbing  with  cake  soap  mats  the  tiny 
interlocking  wool  fibres,  shrinks  them,  destroys 
the  trim  line  of  your  smart  new  dress,  makes 
your  gay-colored  stockings  harsh  and  rough. 
With   Lux    there   is   no      _________ 

ruinous  rubbing.' Just  a  few 
flakes  whip  up  quickly  into 
a  bowlful  of  rich,  bubbling, 
cleansing  Lux  suds.  Then 
a   gentle   dipping   up   and 


Designs  in  /dscinating  color 
combinations  are  woven  into 
the  newest  sweaters  from 
Paris.  Frequent  washing  inLux 
keeps  them   trim,    impeccable. 


down  and  your  precious  woolens  are  restored 
to  you  as  soft  and  fluffy,  as  fresh  and  unfaded 
as  the  day  you  first  took  them  from  their  en- 
folding tissues! 

Even  after  repeated  Lux  washings  woolens 
stay  like  new.  At  the  season's  end  your  sports 
clothes  are  trim,  immaculate,  presentable  on 
all  occasions.  Use  Lux  today.  Follow  the 
directions  on  the  package  for  washing  woolens 
and  keep  yours  fresh  and  unshrunken. 

Silks  are  just  as  safe  in  Lux  as  woolens  are ! 
Frequent  tubbings  in  gentle  Lux  suds  leave 
them  fresh,  unfaded  as  the  day  you  bought 
them.  You  know  Lux  won't  harm  anything 
water  alone  won't  harm. 

For  all  of  Monday's  laundry,  too! 

Even  everyday  things  are  so  costly  nowadays 

that  women  find  it  economical  to  use  Lux  on 

Monday  as  well  and  get  more  service  from 

everything.    They  use  Lux, 

too,    because  it   saves  their 

hands — unlike  harsh  laundry 

soaps    which    roughen    and 

_H      redden.     Lever    Bros.   Co., 

^r      Cambridge,   Massachusetts. 


HOW     THE     BIG,     HEW     PACKAGE,     TOO 


wi-He  lo  advertli 


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  ] 


Sweetest  Story  Ever  Sold  / 

Summer  or  winter — outdoors  or  indoors — with  old 
or  young— Baby  Ruth  satisfies  the  daily  demand 
for  pure,  wholesome  candy. 

The  finest  peanuts  from  the  South  — roasted,  then 
toasted;  the  richest  chocolate  from  the  East;  the 
choicest  milk  from  the  prize  herds  of  the  North;  the 
best  butter  from  the  dairy  centers  of  the  West;  the 
first  grade  of  sugar  from  the  canefieldsof  the  Tropics 
—it  takes  the  best  in  all  the  world  to  make  the 
world's  most  popular  candy— Curtiss  Baby  Ruth. 

CURTISS  CANDY  COMPANY 

New  York  CHICAGO  San  Francisco 

Boston  Los  Angeles 


\>    Proud  to  say— 

"This  is  Mother 


v 


The  reward  that  comes  to 
many  mothers — unconscious 
tribute  from  the  younger 
generation  to  the  woman 
who  has  retained  her  youth 


'  I  'HAT  youth  can  longer 
*-  be  retained,  as  experts 
know  and  urge,  is  proved 
on  all  sides  today.  It  is  be- 
ing done  by  women  every- 
where. Start  now  with  the 
simple  skin  care  printed 
at  the  right.  The  result  in 
youthful  charm  and  skin 
clearness  will  amaze  you. 


Retail  Price 


Palmolive  Soap  is  untouched  by  human  hands  until 
you  break  the  wrapper —  it  is  never  sold  unwrapped 


MODERN  mothers  have  learned  not 
to  look  their  part.  Competing  in 
youihiul  allure  with  daughters  of  debu- 
tante age,  they  prove  that  charm  no 
longer  admits  the  limitation  of  years. 

That  is  because  protective  skin  care  has 
become  the  rule  of  the  day.  Natural  ways 
have  supplanted  the  often  aging,  artificial 
ways  of  yesterday.  It's  been  discovered 
that  Youth  can  be  safeguarded. 

The  following  rule  is  probably  credited 
with  more  youthfulcomplexions,pastthe 
thirties  and  into  the  forties,  than  any  other 
method  known.  Leading  beauty  experts 
agree  that  skin  beauty  starts  with  clean- 
liness, pores  that  have  been  kept  health- 
fully clean  with  softening  lather  of  olive 
I  palm  oils  as  blended  in  Palmolive. 
In  fairness  to  yourself,  try  this. 

Do  this  for  one  week 
Mark  the  difference  that  comes 
Wash  your  face  gently  with  soothing 
Palmolive  Soap,  massaging  the  lather 
softly  into  the  skin.  Rinse  thoroughly, 
first  with  warm  water,  then  with  cold. 
It  your  skin  is  inclined  to  be  dry,  apply 
a  touch  of  good  cold  cream  — that  is  all. 
Do  this  regularly,  and  particularly  in  the 


evening.  Use  powder  and  rouge  if  you 
wish.  But  never  leave  them  on  over 
night.  They  clog  the  pores,  often  enlarge 
them.  Blackheads  and  disfigurements 
often  follow.  They  must  be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treat- 
ment given  above.  Do  not  think  any  green 
soap,  or  one  represented  as  of  olive  and 
palm  oils,  is  the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies 
what  it  does  for  their  faces.  Obtain  a 
cake  today.  Then  note  what  an  amazing 
difference  one  week  makes. 

Soap  from  trees! 

The  only  oils  in  Palmolive  Soap  are 
the  soothing  beauty  oils  from  the  olive 
tree,  the  African  palm,  and  the  coconut 
palm — and  no  other  fats  whatsoever. 
That  is  why  Palmolive  Soap  is  the  natural 
color  that  it  is — for  palm  and  olive  oils, 
nothing  else,  give  Palmolive  its  natural 
green  color. 

The  only  secret  to  Palmolive  is  its 
exclusive  blend  —  and  that  is  one  of  the 
world's  priceless  beauty  secrets. 


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 


Also  lightens  cloudy 
teeth  remarkably 

Accept,  please,  full  10-day  tube  of 
this  scientifically-proved,  film-re- 
moving dentifrice,  urged  by  world's 
dental  authorities.  Note  the  great 
difference  in  your  teeth  and  gums. 


GLORIOUSLY  clear  teeth,  gums 
like  coral  to  contrast  them!  Add 
their  attractiveness  to  your  smile.  Do 
this  for  social  and  business  reasons. 

Modern  dental  science  now  proves 
teeth  seldom  are  naturally  "off  color" — 
simply  clouded  with  a  film  coat  that 
ordinary  dentifrices  do  not  clear  off 
successfully.  Clouded  teeth  now  are 
given  sparkling  whiteness,  and  one's 
whole  appearance  thus  often  changed. 

A  way  scores  of  motion  pictures' 
noted  stars  use  to  whiten  teeth  before 
going  on  a  scene.  A  way  leading  den- 
tists of  the  world  now  are  widely  urging. 

Just  a  film  dulling  them  and 
inviting  gum  troubles 

Dental  science  now  traces  scores  of 
tooth  and  gum  troubles  to  a  germ-laden 
film  that  forms  on  teeth.  Run  your 
tongue  across  your  teeth  and  you  will 
feel  it —  a  slippery,  viscous  coating  that 
covers  them. 

That  film  absorbs  discolorations  from 
food,  smoking,  etc.  And  that  is  why 
your  teeth  look  "off  color,"  dingy  and 
noticeably  unattractive. 

It  clings  to  teeth,  gets  into  crevices 
and  stays.  It  lays  your  gums  open  to 
bacterial  attack.  Germs  by  the  millions 
breed  in  it.  And  they,  with  tartar,  are 
a  chief  cause  of  pyorrhea  and  decay. 

Old  ways  won't  clear  it  off 

Mere  brushing  is  not  enough.  And  even 
ordinary    dentifrices    won't    fight    film 


successfully.  Feel  for  it  now  with  your 
tongue.  Note  how  your  present  cleans- 
ing method  is  failing  in  its  duty. 

Now  new  methods  are  being  used.  A 
dentifrice  called  Pepsodent  —  entirely 
different  in  formula,  action  and  effect 
from  any  other  known. 

Largely  on  dental  advice,  the  world 
has   turned   to  this   new   method. 

Clears  film  off — 

Firms  the  Gums 

It  accomplishes  two  important  things 
at  once.  Removes  that  film,  then  firms 
the  gums. 

A  few  days'  use  will  prove  its  power 
beyond  all  doubt.  Send  the  coupon. 
Clip  it  now  before  you  forget  and  mail 
at  once. 

See  what  a  difference  10  days  will 
make  in  the  whiteness  of  your  teeth. 


FREE  Pg-psadgivt 

Mail  this     The  New_Day  Quauty  Dentifrice 

lor  1  o-Uay  EndoTSed  fc  World's  Dental  Authorities 
I  uoe  to 


THE   PEPSODENT   COMPANY. 

Dept.  71S.1101  S.  Wabash  Ave..  Chicago,  III..  U.  S.  A. 


Name.. 


Address.... 
Only 


The  Pepsodent  Co..  Ltd.,  137  Clarence! 
1  Office  and  Laboratories:  lot  Qeortte  St.,  Toronto,  Can. 


t. .  Sydney.  N.  S.  W.,  Australia 

London  Office:  42  Southu'ark  Bridge  RJ. .  London,  S.  E.  1 


when  you  write  to  sdvertlsera  please  mention  IMIuTorLAY  magazine. 


Photoplay  Magazine — Advertising  Section 


AMAGICTOUCH 
TO  YOUR  SKIN 

A   touch  of  exquisite 
loveliness  awaits  your 
command.       Just    as 
easily    as    Aladdin    ful- 
filled   his     desires     thru 
the  "touch  of   his  lamp" 
so    may    you   bring    the 
joy    of    a    new    Beauty 
to  your  skin  and  com- 
plexion.    It  takes  but 
a    moment   for 

GOURAUD'S 

0PIENTA1 
CREANT 

to  wipe  the.  dull,  ordinary  com- 
plexion away  forever.  To  see 
blemishes  and  defective  features 
forgotten  under  the  lure  of  a  be- 
witching, seductive  appearance. 

Far  Superior  to  face  powders 
and  ordinary  creams.  Its  action  is 
highly  antiseptic  and  astringent, 
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. 


Not  a  trace  of  infection 

The  dentist  is  equipped  to  detect  the 
minutest  indication  of  trouble  in  the 
mouth.  He  can  prevent  serious  teeth 
decay  and  search  out  hidden  poison 
pockets  dangerous  to  the  health.  See 
him  at  least  twice  a  year  if  for  nothing 
more  than  to  cet  a  clean  bill  of  health. 


Pyorrhea  attacks 

4  out  of  5 

Four  out  of  five  of  your  friends  past  forty,  and 
many  younger,  succumb  to  the  assault  of  grim 
pyorrhea.    And  carelessness  alone  is  to  blame. 

Resolve  today  to  remove  pyorrhea 's  menace  by 
brushing  teeth  and  gums  regularly  night  and 
morning  with  Forhan's  for  the  Gums. 

Forhan's  keeps  pyorrhea  away  or  checks  its 
course  if  used  regularly  and  used  in  time.  It  con- 
tains Forhan's  Pyorrhea  Liquid  which  dentists 
use  to  fight  pyorrhea. 

It  is  a  pleasant  tasting  dentifrice  the  entire 
family  likes.  It  firms  the  gums  and  keeps  them 
pink  and  healthy.  It  cleanses  the  teeth  thorough- 
ly and  gives  them  that  sparkling  whiteness  which 
is  such  an  asset  to  your  smile. 

Remember,  four  out  of  five  is  pyorrhea's  count. 
Delay  may  mean  no  end  of  trouble  and  expense. 
Why  not  start  today  with  Forhan's  as  a  safeguard? 
At  all  druggists  35c  and  60c  in  tubes. 

Formula  of  R.  J.  Forban,  D.  D.  S. 
Forhan  Company,  New  York 

IMiatfs 


FOR  THE  GUMS 

MORE     THAN     A    TOOTH     PASTE     • 
on  write  to  advertisers  please  mention  photoplay  magazine. 


IT    CHECKS    PYORRHEA 


Photoplay  Magazine — Advertising  Section 


LOVELY  Color  that 
won't  wash  off,  is 
either  Nature's  or 
Tangee — but  only 
she  who  has  it  ever 
knows  which  it  is — 

FRIENDS  OF 
BEAUTY 

Tangee  Crime  Rouge  changes 
color,  as  you  put  it  on,  to  blend 
with  your  own  individual  com- 
plexion.   $1.00 

Tangee  Lipstick,  orange  magic 
that  turns  to  blush -rose  on 
your  lips — and,  like  the  rouge, 
is  waterproof,  rubproof  and 
permanent $1.00 

Tangee  Day  Cream,  the  best 
thing  tor  sunburn— or  to  prevent 
it — also  a  wonderful  base  for 
powder  $1.00 

If  you  would  like  to  be  more 
beautiful  tomorrow,  get  these 
"Friends  of  Beauty"  today! 


T—  Mons      Doriot 

AN  555 

(Be  Beautiful  aith^Jai-iqee 


oiitr  yott  "lomflliiris 
OJ  seed."  All  subtli- 
1  art    inferior.    Look 


Introductory  Offer 

If  your  dealer  cannot  supply  you.  send  us  one 
dollar  for  (1)  a  full  size  Tangee  Lipstick,  and 
we  will  send  you  in  addition  (2)  a  generous  free 
sample  of  Tangee  Creme  Rouge,  and  (3)  "The 
Art  of  Make-up"  written  by  a  famous  beauty 
expert.  (Vour  dealer's  name  will  be  appreciated.) 

Dept.  86.  THE  GEORGE  W.  LUFT  CO., 
417  FIFTH  AVENUE.  NEW  YORK 


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?" 


Golden  State 


imited 


All-Pullman 

California  Train 

Favorite,  of  the 
people  you  read  about 

Here's  a  "thought  for  to- 
day" from  Harold  Lloyd — 
a  thought  well  worth  re- 
membering when  you  plan 
your  next  California  trip. 

Tickets  and  reservations  at 

Hollywood  Ticket  Office  Los  Angeles  Ticket  Office 

6768  Hollywood  Blvd.  212  West  Seventh  St. 

Phone  Granite  1801-1802  Phone  Metropolitan  2000 

B.  F.  Coons.  General  Agent 

Rock  Island  Lines 

809  Van  Nuys  Bldg. 

Phone  Broadway  2465 

Log  Angeles,  Calii. 

.    t    _  P.W.Johnston 

A.  I.  Poston  Gen.,  A  ,/paS8.r  Depl 

General  Agent  Rock  Island  Lines 

^SSSnE  I "  ^rViT  '"  Knickerbocker  Bldg. 

2015  Benenson  Bldg.  Broadway  and  42nd  Street 

165  Broadway  Phone  Wisconsin  2515-6 

New  York  City  N<;w  york  CiIy 


IKJSmf 


/s/and 


.OtVv^° 


0/   <v* 


ttAMS^ 


rilllTiin.AY  M  M'.AZIM 


I  12 


Photoplay  Magazine — Advertising  Section 


Jo  wft  and fragrant. . 

mtjo  w/c  mil  M//z/ 

Use  Deodo  every  day! 

by  Letitia  Hadley 

No  doubt  you've  sometimes  said  to 
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it,  I  know — but  do  try  Deodo!  It's  a  new 
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prevents  and  destroys  body  odors 
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Please  send  me  the  free  sample  of  Deodo. 

Name 


City. 


■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 


Notox  is  sold  and  applied  in 
beauty  shops  and  sold  in  drug  and 
department  stores.  The  makers  of 
Notox  aill,  upon  request,  recom- 
mend a  shop  near  you  where  you 
may  have  Notox  expertly  applied^ 


(j  lie  Dreaded  Daylight 
Until  J\[otox  Was  Explained 


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..  De0t, 


'  York  City 


PHOTOPLAY  MAGAZINE. 


1 14 


Photoplay  Magazine — Advertising  Section 


,(/ /resistible  . 
isthtcharmqf 
a  smooth  dear  skin 

T^O  other  elemenl  of  beau- 
ty has  the  alluring  ap- 
peal of  a  fresh,  veh  ety  skin, 
glowing  wiili  health  ami 
Color.      Every  man  admires 

it  and  nature  intended  ev-    V 
ery  woman  to  possess  it. 

But  no  skin,  however  lovely,  will 
retain  its  beauty  unaided  and  thou- 
sands of  women  have  found  the  solu- 
tion <>f  their  problem  in  the  daily  use 
of  Resinol  Soap,  There  are  three  ex- 
cellent reasons  w  hyl  his  soap  appeals 

SO  si  rongly  to  1  he  woman  who  wish- 

rs  to  preserve  or  restore  the  fresh, 
youthful  eh, inn  of  her  complexion. 

First,  ii  is  ,i  decidedly  pleasing 
toilet  soap  giving  a  quantity  of 
creamy,  pore-searching  lather  that 
invigorates  while  it  cleanses. 

Then  its  ingredients  are  absolutely 
pure  and  wholesome.    There  is  no 

trace  of  free  alkali—  that  harsh,  di  \  - 
ing  chemical  which  makes  so  many 
ordinary  soaps  injurious  to  the  .-km 

m\*\  hair. 

But   best   of  all    it    contains    the 

soothing  Resinol  properties  which 
give  it  that  distinctive,  refreshing 

fragrance  and  rich  color,  ami  cause 
it  to  keep  the  skin  char  ami  velvety. 


Resinol 


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- 

-Ljlaw  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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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. 


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remembering 
is  dangerous 


Sorry  that  he  met  a  beautiful  girl  ? 
Howcan  a  man  ever  regret  such  a  pleas- 
ure? How  can  he  want  to  forget  it? 

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 
is  ever  on  the  alert  against  that  dis- 
astrous thing  which  can  so  quickly  turn 
masculine  admiration   into   disgust. 

If  soap  and  water  alone  could 
keep  you  from  offending  with 
the  deadly  odor  of  underarm 
perspiration  and  the  ugly  stains 
of  moisture,  few  people  would 
offend. 

But  ordinary  cleanliness  has 
no  effect  on  perspiration.  No 
make-shift,  temporary  measures 

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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" 


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"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 
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"The  Old  Soak"-  starring  JEAN  HER- 
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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 
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(To  be  continued  next  I 


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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 


j  FREE  BOOK!  JS?* 

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I 


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-J 

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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" 


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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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Just  as  these  pictures  star  many  of  filmdom's  favorites — 
so  do  they  feature  the  works  of  many  leading  authors  and 
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122 


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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.  Yres,  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- 


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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  sensible  stories  you  might  as  well 
-'-stay  home,  but  if  John  Patrick,  Dorothy 
Devore  and  Montague  Love  are  your  favorites, 
get  in  line  at  the  box  office.  This  purports  to 
be  a  comedy  but  it's  a  tragedy  and  vice  versa. 
A  word  to  the  wise  is  sufficient. 


Joining  the  wires  in  a  great  trunk  nerve  between  New  York  and  Chicago 


The   Nerves  of  a   Nation 


The  magnitude  of  our  present 
system  of  telephone  communica- 
tion was  beyond  the  thoughts  of 
men  fifty  years  ago.  While  at 
that  time  Bell,  the  inventor,  had 
a  prophetic  vision  of  places  and 
houses  and  factories  connected 
by  telephone,  even  he  could  not 
have  foreseen  the  American  city 
of  skyscrapers  with  more  tele- 
phones in  one  building  than  are 
to  be  found  in  many  a  foreign 
country. 

The  massed  multitudes  of  the 
modern  city  can  no  longer  be 
served  by  wires  strung  in  the  air. 
We  now  have   telephone  cables 


no  bigger  than  a  man's  wrist 
each  containing  2400  thread-like 
wires,  carrying  beneath  the  city 
streets  their  millions  of  spoken 
messages.  Long  distance  cables 
overhead  and  underground  con- 
nect cities  with  one  another  by 
storm-proof  conductors,  now  be- 
ing extended  into  a  country-wide 
network. 

At  the  present  time  nine-tenths 
of  the  45,000,000  miles  of  tele- 
phone wire  in  the  Bell  System 
are  in  cable.  The  service  of  each 
telephone  user  has  become  more 
and  more  reliable  with  the  exten- 
sion of  this  cable  construction. 


American   Telephone  and  Telegraph  Company 
and  Associated   Companies 


BELL 


SYSTEM 


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Dissolve  —  Don't  Cut 
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Something  different 
for  fobbed  Hair 

There  is  a  tremendous  difference  in  bobs.  Some 
are  wonderfully  attractive  and  becoming,  while 
others,  well  —  which  kind  is  vours  ? 

I  wish  you  could  picture  the  becoming  kind  I 
have  in  mind  —  the  sort  that  makes  men  turn  to 
admir*.  I  can't  tell  you  what  the  color  is,  but 
it'sfullof  those  tiny  dancing  lights  that  somehow 
suggest  auburn,  yet  which  are  really  no  more  ac- 
tual color  than  sunlight.  It's  only  when  the  head 
is  moved  that  you  catch  the  auburn  suggestion— 
the  fleeting  glint  of  gold. 

You  have  no  idea  how  much  your  bob  can  be 
improved  with  the  "tiny  tint "  Golden  Glint 
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[  CONTINUED  FROM  PAGE  I05  ] 


heavy,  square  shoulders  has  a  coarse  skin  with 
a  scant  growth  of  hair.  The  legs  are  short  and 
stocky,  and  the  hair  begins  to  fall  out  in  early 
life. 

The  gastric  secretions,  blood  pressure,  pulse 
rate  and  temperature  vary  so  markedly  with 
different  types  that  according  to  Dr.  Joel  E. 
Goldthwait,  "to  study  all  individuals  from  the 
same  point  of  view  must  lead  to  much  confu- 
sion and  explain  in  part  the  different  reports 
which  are  made  of  seemingly  similar  invest  iga 
tions." 

It  is  this  difference  in  type  that  explains  the 
different  effects  of  the  same  diet  upon  a  group 
of  women.  That  one  becames  fat  while  an- 
other remains  thin,  that  one  suffers  distress 
while  another  thrives  upon  the  same  diet  is  due 
to  other  things  beside  the  food  consumed. 

These  are  the  reasons  that  the  short,  stocky 
woman,  no  matter  how  self-sacrificing  she  may 
be,  cannot  and  should  not  have  the  slim  lines  of 
her  narrow-backed  girl  friend.  Moreover,  she 
would  and  will,  if  she  values  her  health,  weigh  a 
good  deal  more  than  the  slender  type,  perhaps 
twenty  pounds,  and  a  few  pounds  more  than 
the  medium  type. 


The  old  hour-glass  figure  of  our  grandmothers 
was  an  unwise  and  silly  one.  Their  aim  was  to 
make  their  figures,  publicly,  as  unlike  a  man's 
as  possible.  They  padded  out  their  busts,  pad- 
ded out  their  hips,  pulled  in  their  waists,  wore 
bustles  and  all  the  rest  of  the  nonsense.  The 
girl  today  wants  a  "boyish"  form.  That  shows 
the  difference  in  viewpoint. 

Dr.  Clelia  Mosher  in  a  survey,  printed  in  the 
American  Medical  Association  Journal,  discov- 
ered that  the  height  of  the  average  college  girl 
has  increased  more  than  two  inches  since  1905. 
Her  general  health  is  better,  her  posture  much 
improved. 

It  is  perfectly  possible  for  the  modern  girl  to 
be  useless,  but  she  never  looks  as  much  so  as 
her  maiden  aunt  did  in  her  younger  years.  So, 
instead  of  her  looking  to  her  mother  as  the 
model  of  deportment  and  style,  Mother  is  look- 
ing to  her.  Xo  woman  of  today  wants  to 
"dress  old."  But  she  can't  make  herself  look 
really  young  by  simply  peeling  weight  off  her- 
self. She  must  do  it  so  that  her  figure  is  in  pro- 
portion or  she  is  lost. 

So  very  little  has  weight  interested  any  but 
the   insurance   companies   up   to   the   present 


HEIGHTS      WOMEN'S  WEIGHTS  ACCORDING  TO  AGE  PERIOD 

Ft. 

Ins. 

20-24 

25-29 

30-34 

35-39 

40-44 

45-49 

50-53 

54-56 

57-59 

5 

1 

124 

117 

111 

109 

108 

110 

111 

110 

109 

5 

2 

129 

121 

115 

114 

113 

115 

115 

115 

114 

5 

3 

133 

126 

121 

120 

119 

121 

121 

121 

120 

5 

4 

138 

131 

127 

127 

126 

127 

127 

127 

126 

5 

5 

143 

133 

133 

133 

132 

134 

134 

134 

132 

5 

6 

146 

140 

139 

139 

139 

140 

141 

141 

141 

5 

7 

148 

144 

144 

144 

145 

146 

147 

148 

148 

5 

8 

150 

147 

148 

149 

150 

152 

153 

155 

155 

5 

9 

153 

151 

151 

153 

154 

156 

157 

159 

160 

5 

10 

156 

155 

155 

156 

157 

160 

161 

163 

164 

5 

11 

156 

156 

157 

158 

159 

163 

165 

167 

169 

6 

0    156    156    159    160    161 

166  !  169    170 

172 

To  calculate  your  normal  weight,  find  your  height  in  feet  and  inches  in  the  left  hand  column, 
then  follow  that  column  to  the  right  until  you  meet  your  age  period  at  the  top;  there  you  will 
find  your  normal  weight.  Example:  5  ft.,  8  in.,  in  the  left  hand  column  gives  a  normal  weight  of 
150  at  any  age  from  40  to  44. 


However,  there  is  hope.  Dr.  Goldthwait 
says  that  the  slender  type  is  on  the  increase. 
"  One  has  only  to  study  any  considerable  group 
of  school  children  of  the  present  time  to  see 
how  commonly  the  slender  type  is  found.  That 
this  was  not  formerly  the  case  is  suggested  at 
least  by  the  study  of  the  engravings  of  indi- 
viduals of  from  fifty  to  a  hundred  years  ago,  in 
which  the  broad  or  round-faced  type  is  about 
the  only  one  shown." 

Here,  then,  is  reason  for  many  of  our  styles 
and  most  of  our  reduceomania.  Youth  rules 
America,  the  young  girl  in  particular,  ruling 
American  home  life.  It  is  not  Mother,  but 
Mother's  daughter,  who  is  the  ideal  today. 

Students  have  noted  that  when  a  race 
ascends  the  scale  of  civilization,  the  two  sexes 
tend  to  become  similar,  not  only  in  viewpoint 
but  in  actual  physical  characteristics.  It  was 
true  in  ancient  Greece  and  it  is  true  to  a  con- 
siderable extent   in   the   United   States  today. 

l.i.  iy   advertisement  in  PHOTOPLAY  MAGAZINE  is  eunrant 


time,  however,  that  the  tables  they  have  kept 
are  the  only  ones  generally  used. 

Now  the  American  Medical  Association  is 
engaged  in  gathering  data  for  new  weight 
tables.  To  do  this  they  will  have  to  examine 
thousands  of  individuals  of  all  builds,  races, 
heights  and  ages,  with  reference  to  their  inher- 
itance and  medical  history.  Dr.  Haynes  Har- 
old Fellows  of  the  Metropolitan  Life  Insurance 
Company  told  me  he  thought  it  might  take 
from  ten  to  fifteen  years  to  compile  a  really 
authoritative  set  of  tables. 

The  present  weight  tables,  however,  not  ap- 
plied too  rigidly  to  the  individual,  can  give 
women  a  general  idea  of  what  they  should 
weigh.  In  the  center  of  this  page  you  will  find 
the  one  compiled  by  the  Metropolitan  Life 
Insurance  Company  and  used  by  the  Life  Ex- 
tension Institute,  which  examines  thousands  of 
people. 

The  ideal  figure  from  the  point  of  view  of  the 


Photoplay  Magazine — Advertising  Section 


I25 


insurance  companies  is  the  figure  that  of  me- 
dium, large  or  slender  framework,  tips  the  scales 
at  its  full  or  even  a  little  more  than  its  full 
normal  weight  for  the  particular  build.  After 
thirty  it  should  thin  out  to  normal  or  a  little 
under  until  middle  age  finds  it  like  the  lean 
horse  that  wins  the  race. 

This  is  important  because  for  a  long  time  it 
has  been  considered  natural  for  women,  and 
men,  too,  to  grow  a  little  stouter  with  age. 
People  do  get  stouter  as  they  grow  older,  but 
they  shouldn't.  After  thirty,  all  other  things 
being  equal,  the  women  who  have  gradually 
lost  weight  instead  of  gaining  it  are  the  ones 
who  will  live  the  longest. 

Fat  people  are  not  as  susceptible  to  tuben  u- 
losis  or  diseases  of  the  lungs.  Young  girls,  who 
are  particularly  susceptible  to  tuberculosis, 
should  be  overweight  rather  than  underweight. 
On  the  other  hand,  in  middle  age,  it  is  the  fat 
women  who  are  susceptible  to  diseases  qf  the 
heart  and  the  kidneys  and  the  thin  women  who 
are  better  off. 

When  consulting  weight  tables,  remember 
this.  If  your  weight  is  all  right  for  your  height 
but  underweight  for  your  age,  that's  fine. 

A  WOMAN  five  feet  tall,  for  example,  and 
over  thirty,  of  medium  build  and  weight, 
may  find  that  she  does  not  weigh  the  full  i  2 1 
pounds  which  the  average  table  shows  under  the 
ages  30-40.  She  may  weigh  only  impounds, the 
rate  for  twenty-year-olds.  According  to  the 
insurance  companies,  if  that  woman  is  in  good 
physical  condition,  she  has  reason  to  congratu- 
late herself  on  keeping  her  youthful  figure  of 
twenty  and  on  having  lowered  her  chance  for 
death  by  five  years. 

The  age  of  thirty  is  the  great  divide  for  fig- 
ures. After  thirty  for  a  woman  to  retain  her 
figure  means  not  starvation  or  suicidal  reduc- 
tion methods,  but  an  intelligent  knowledge  of 
good  values,  a  constant,  not  too  drastic,  vigi- 
lance as  regards  diet,  and  a  steady  routine  of 
simple  exercises  for  those  who  lead  sedentary 
lives. 

The  weights  given  are  for  persons  of  medium 
or  normal  build.  The  other  two  types  of  slen- 
der and  of  heavy  weight  framework  are  recog- 
nized by  a  leewaj'  of  ten  per  cent  or  about  ten 
pounds  below  or  above  the  weight  in  the  table. 
That  is,  the  average  weight  of  a  woman  five 
feet  tall  at  the  age  of  thirty  would  be  about  1 20 
pounds,  if  she  is  of  medium  build.  But  if  she  is 
of  the  narrow-shouldered  light-boned  type,  she 
would  not  be  underweight  at  ro8  or  no 
pounds.  If  she  is  of  the  broad-shouldered, 
heavy-boned  type,  she  would  not  be  over  weight 
at  130  or  132  pounds. 

Do  not  use  this  table  as  an  absolute  guide  to 
your  correct  weight.  It  will  simply  give  you  a 
general  idea  of  whether  or  not  you  are  over  or 
under  weight,  but  before  making  any  drastic 
decision  to  reduce,  consult  your  doctor. 

For  simple  directions  for  simple,  rational 
reduction,  look  for  the  third  article  in  this 
series  in  Photoplay  next  month. 


What  Is  Immorality 
In  Pictures? 


\  CONTINUED  FROM  PAGE   102  ] 

by,  considering  its  present  questionable  status. 
"The  speaking  theater  is  just  a  small  item,"  he 
said.  "  It  draws  a  few  thousand  every  night  in 
New  York  and  a  few  other  cities,  but  essen- 
tially it  has  passed  into  eclipse.  On  the  other 
hand,  the  screen  is  a  mighty  force.  Again,  it  is 
impossible  to  regulate  the  spoken  drama  with 
any  degree  of  surety.  You  can  cut  lines  one 
day,  and  that  night  an  actress  can  change  the 
whole  meaning  of  the  new  lines  with  a  single 
gesture.  But  once  a  picture  play  is  regulated 
it  remains  regulated.    See  the  difference?'' 

I  asked  the  canon  to  point  out  a  few  ap- 
proved motion  pictures. 


/ 


or  the 
uncorseted  figure 


OHORT  skirts  ...  no  corset  .  .  . 
J  stockings  over  the  knee  instead  of 
rolled — they  must  be  smooth  and 
straight  or  the  whole  ensemble  is 
spoiled ...  so  it  all  depends  on  the  right 
garter — and  that  means  the  Girdlon. 

The  Girdlon  is  made  in  dainty  shades 
of  webbing  and  shirred  ribbon  to  har- 
monize with  your  lingerie.  It  is  most 
comfortable — there  is  no  pinching  at 
the  waist,  for  it  is  worn  around  the 
hips  where  it  is  hardly  felt,  and  it  is 
so  designed  it  simply  cannot  slip  down. 

If  you  do  not  find  the  Girdlon  at  your  favorite 
shop,  write  us,  giving  hip  measure  and  color  desired. 
Shirred  ribbon  #2.00   and  #2.50,   rayon   frill   elastic 
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Jobyna  Ralston  hopes  so,  and  gives 
you  some  "prize-winning"  advice: 

HELLO,  everybody!   Are  you  trying 
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Let  Dennison's  help  you.  They  have 
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ntlon  PHOTOPLAY  MAGAZINE. 


I  26 


Photoplay  Magazine — Advertising  Section 


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"I  don't  see  as  many  pictures  as  I  ought  to," 
he  admitted.  "I've  been  wanting  to  see  'Ben 
Hur'  but  I  haven't  found  time  yet. 

"Take  'Stella  Dallas,'"  he  went  on.  "That 
was  good  in  its  emphasis  on  mother  love  but  it 
was  unnecessary  and  perverted  to  have  Stella 
go  off  with  that  race  track  tout  in  the  end.  It 
was  overwrought.    It  wasn't  true  to  life. 

"Mind  you,  we  are  not  asking  perfection  in 
pictures.  We  want  truth.  Truth  isn't  a  pic- 
ture of  a  barnyard.  Filth  is  only  a  tiny  fraction 
of  life.  We  want  truth,  which  is  an  emphasis 
upon  the  higher  part  of  human  nature.  Service 
for  others,  for  instance.  That  can  be  made 
thrilling. 

"/"\XE  of  the  good  plays  was  'The  Covered 
^— 'Wagon.'  That  was  injured,  though,  by  the 
drinking  scene  between  the  two  scouts.  I 
don't  believe  that  was  historically  or  psycho- 
logically true.  It  was  just  a  sop  to  the  bad  ele- 
ment in  the  film  clientele. 

"In  similar  way  there  was  'Daddy  Long 
Legs.'  That  was  a  sweet,  nice  story  spoiled  by 
the  boy  and  girl  getting  drunk  on  cider.  All 
that  was  unnecessary." 

I  asked  about  sex  on  the  screen. 

"Over-emphasis,"  said  Canon  Chase.  "Xo, 
that's  not  it.  It  isn't  over-emphasis.  Sex  is 
two-thirds  of  life  and  naturally  it  must  be  a  big 
part  of  pictures.  At  my  time  of  life  you  realize 
all  that  clearly.  Wrong  emphasis  on  sex, 
that's  better. 

"There's  'Stella  Dallas.'  That  was  wrong 
emphasis,  when  the  wife  ran  off  with  that  man. 

"The  screen  is  constantly  justifying  the  girl 
going  wrong  to  save  someone.    That  is  break- 


Bagdad?  No,  that  glorified  a  thief,  to  a  cer- 
tain extent,  anyway." 

Canon  Chase  smiled.  "Sometimes  my  co- 
workers, young  men,  you  know,  are  shocked  by 
the  clothes  worn  by  actresses  in  films.  That 
doesn't  seem  to  me  to  be  a  serious  thing.  It  is 
the  basic  truth  I'm  after. 

"I  know  when  I  went  to  see  'The  Queen  of 
Sheba'  the  young  man  who  accompanied  me 
was  much  distressed  at  the  way  the  star  was 
dressed.  What  I  objected  to  there  was  the 
taking  and  spoiling  of  a  Biblical  character 
without  historical  authority.  No,  the  question 
of  clothes  doesn't  worry  me. 

"The  failure  of  'Foolish  Wives'  had  a  good 
effect  upon  production.  It  was  advertised  as 
costing  a  million  and  it  never  paid  for  its  ex- 
ploitation. That  proves  my  argument.  Our 
work  has  had  its  effect  upon  pictures.  We  are 
making  producers  be  better,  whether  or  not 
they  like  it. 

"Why  haven't  pictures  achieved  more  than 
they  have?  "  the  canon  demanded.  "Why  has 
a  man  like  Thomas  Edison  been  forced  out? 
Why  is  the  whole  business  in  the  hands  of  less 
than  a  half  dozen  men:  Zukor,  Loew,  Fox, 
Laemmle  and  Lasky? 

"V\  71".  must  ha  ve_  regulation.  Don't  forget 
W  that  and  don't  call  it  censorship.  It 
has  come  to  be  a  habit  for  Americans  to  cry 
censorship  against  any  law  that  does  some- 
thing we  don't  want  done. 

"  Remember  that  the  mass  of  the  public  must 
have  consideration  in  making  pictures.  The 
motion  picture  is  the  greatest  thing  since  the 
invention  of  printing.    Remember  that  one  of 


down  the  things  on  which  our  civilization  is     the  first  books  printed  was  the  Bible,  for  print- 


built.    It  is  even  an  insult  to  call  it  Orientalism 
It  isn't  American." 

Canon  Chase  returned  to  specific  films. 
"  'The  Iron  Horse',"  he  said.  "That  was  free 
from  evil.  'The  Freshman'!  That  was  excel- 
lent and  very  funny.  Lloyd  is  almost  invari- 
ably clean,  although  it  hurt  me  to  sec  him  use 
those  drunken  men  for  comedy  purposes  in 
'For  Heaven's  Sake.'  Still,  Lloyd  is  a  nice 
boy,  I  guess.  'Abraham  Lincoln'  is  a  splendid 
example  of  a  good,  clean,  instructive  picture 
that  has  succeeded.     Let's  see.    'The  Thief  of 


ing  was  immediately  appreciated  and  used  to 
good  purpose  by  the  church.  Motion  pictures 
have  wandered  along  for  thirty  years,  unham- 
pered and  in  the  hands  of  less  than  a  half  dozen 
men.    It's  all  wrong." 

What  do  you  think?  Here  is  a  temperate 
presentation  of  the  canon's  charges,  given  ex- 
actly as  he  offered  them.  Do  you  want  the 
screen  transformed  into  a  pulpit?  Do  you 
want  censorship  under  the  canon's  sugar- 
coated  term  of  regulation? 

Do  you  want  entertainment  or  sermons? 


Questions  and  Answers 


CONTINUED  FROM  PACE  94  ] 


B.  H.  S.,  Sioux  City,  Calif.— Write  to 
Fred  Thomson  at  the  F.  B.  O.  Studios,  780 
Gower  St.,  Hollywood,  Calif. 

D.  G.,  Chicago. — I'm  sorry  I  can  not  be  of 

assistance  to  you.  To  obtain  photographs  of 
the  stars  you  will  have  to  write  to  them  per- 
sonally, enclosing  twenty-five  cents  for  each 
photograph.  Charlie  Chaplin  receives  his  mail 
at  the  Chaplin  Studio,  Hollywood,  Calif. 
Jackie  Coogan's  mail  may  be  sent  to  516  South 
Western  Ave.,  Los  Angeles,  Calif. 

R.  C,  Sharpsburg,  Pa. — Have  a  heart, 
lady.  How  many  addresses  do  you  think  I  can 
give  you?  Only  five.  Mary  Pickford,  7100 
Santa  Monica  Blvd.,  Hollywood,  Calif. ;  Paul- 
ine Starke,  Metro-Goldwyn-Mayer  Studios, 
Culver  City,  Calif.;  Richard  Dix,  Paramount 
Studio,  Pierce  Ave.  and  Sixth  St.,  Long  Island 
City,  N.  Y.;  Corinne  Griffith,  Metropolitan 
Studios,  1040  La  Palmas  Ave.,  Hollywood, 
Calif.;  Pola  Negri,  Lasky  Studio,  Hollywood, 
Calif.    Write  me  again  for  the  remainder! 

A  Friend,  Tampa,  Fla. — So  you  think  fif- 
teen berries  a  week  is  a  lot  of  dough!  Not  when 
you  have  a  wife  and  five  children  to  support. 
I  suppose  that's  another  startling  revelation 
for  all  my  readers.  Have  I  ever  seen  Richard 
Dix,  face  to  face?  Didn't  you  know  that  Dick 
and  I  were  pals?  Don't  miss,  "Let's  Get 
Married."     It's  one  of  the  funniest  pictures 


that  Dick  ever  made.  His  next  picture  will  be 
"Say  It  Again."  And  Dick  has  a  new  leading 
lady,  that  charming  person,  Alyce  Mills.  I 
have  a  slight  suspicion  he  whispers  sweet  noth 
ings  in  her  ear — judging  from  the  title.  All 
women  love  to  be  told  sweet  tidings  over  and 
over  again.  THE  Marquise,  etc.,  etc.,  etc., 
otherwise  known  as  Gloria  Swanson,  is  twenty- 
eight. 

D.  B.,  Memphis,  Tenn. — I  felt  the  same 
way  about  your  favorite,  Greta  Garbo.  But  I 
have  been  somewhat  relieved  by  receiving  a 
lovely  letter  from  the  fair  lady.  I  did  not  have 
the  pleasure  of  meeting  her  on  her  arrival  in 
New  York.  I  dropped  her  a  line  and  now  she's 
caught  me  with  her  hook,  line  and  sinker — so 
much  so  that  I  can  hardly  answer  questions 
any  more.  Greta  was  born  in  Stockholm, 
Sweden,  in  1906.  She  is  five  feet,  six  inches  in 
height  and  weighs  125  pounds.  Good}-,  goody, 
she's  not  married.  Yes,  I  get  childish  now  and 
then. 

J.  B.,  Chevy  Chase.  Md. — Write  to  Percy 
Marmont,  Paramount  Studios,  Astoria,  L.  I., 
and  maybe  lie  will  send  you  the  particular  pic- 
ture that  you  want. 

Brown  Eyes,  Miami,  Fla. — Why  are  you 
blue?  Or  aren't  you?  Ben  Lyon's  address  is 
First  National  Pictures,  383  Madison  Avenue, 
New  York,  N.  Y. 


PHOTOPLAY    MAGAZINE  is  cuarantwd. 


Photoplay  Magazine — Advertising  Section 


Second  Sight 


[  CONTINUED  FROM  PACE   76  ] 

Which  she  vehemently  denies. 

I  suppose  if  I  had  said  it  was  because  she  had 
such  pretty  curly  hair  (which  she  lias)  or  such 
lovely  big  brown  eyes  (ditto)  everything  would 
have  been  all  right. 

But,  though  she  was  one  of  America's  suc- 
cessful playwrights,  and  has  been  editorial 
director  of  a  huge  producing  company,  like 
First  Xational,  and  with  Sam  Rork  is  now  pro- 
ducing pictures  herself,  Marion  Fairfax  is  so 
essentially  feminine  that  she  objects  violently 
to  being  told  that  she  has  a  logical  mind. 

There  is  another  solid  foundation,  also,  for 
her  uncanny  judgment.  During  the  early- 
years  of  pictures  she  and  William  de  Mille  and 
Hector  Turnbull  (now  head  of  the  Lasky 
scenario  department)  spent  several  years  in 
the  scenario  department  at  Lasky's,  given 
full  rein  by  Jesse  L.  Lasky  to  develop  a  tech- 
nique of  screen  writing.  All  three  were  suc- 
cessful playwrights,  and  Mr.  Lasky  wanted 
them  to  discover  the  basic  necessities  of  writing 
screen  plays.  They  didn't  entirely  succeed, 
but  such  scenario  technique  as  we  have  is  very 
largely  based  upon  those  early  efforts. 

'An  odd  fact,  by  the  way,  is  that  practically 
every  one  of  our  great  women  scenario  writers — 
and  there  is  no  question  that  women  are 
supreme  in  that  branch — has  started  out  to 
act.  Frances  Marion  played  heavies  with 
Mary  Pickford  before  she  began  to  write 
scenarios  and  she  and  Mary  formed  that  part- 
nership which  gave  to  the  world  the  greatest 
Pickford  features  and  made  both  Mary  Pick- 
ford  and  Frances  Marion.  Jeanie  McPherson 
started  as  an  extra  in  pictures.  June  Mathis 
was  a  musical  comedy  ingenue  and  stage  lead- 
ing lady.  Jane  Murfin  went  to  New  York  to 
act,  and  there  she  and  Jane  Cowl  wrote  "Lilac 
Time"  and  "Smilin'  Through,''  before  Jane 
became  one  of  our  best  scenarists.  Bess 
Meredyth,  who  gets  much  credit  for  "Ben 
Hur"  and  all  for  "The  Sea  Beast,"  was  a 
favorite  screen  comedienne  ten  years  ago. 

MARION  FAIRFAX,  born  in  Richmond, 
Va.,  educated  in  Chicago,  ran  away  from 
college  in  Boston  to  go  on  the  stage.  While  she 
was  playing  the  ingenue  in  "  The  Gay  Parisians  " 
she  met  Tully  Marshall,  who  was  in  the  same 
company,  and  at  the  end  of  the  season  they  were 
married  and  have  been  ever  since.  They  are 
one  of  those  couples  who  make  you  believe  in 
marriage. 

Soon  after  this,  Miss  Fairfax  wrote  her  first 
play,  "The  Builders,"  and  it  was  a  huge  suc- 
cess. She  also  played  the  ingenue  role,  and, 
because  she  was  so  young  and  inexperienced 
that  she  feared  it  might  affect  the  success  of 
the  play,  she  tried  to  keep  the  authorship  a 
secret.  (Personally  I  think  it  was  because 
somebody  might  think  she  was  a  blue  stock- 
ing.) Anyway,  it  leaked  out  and  in  spite  of  it 
the  play  was  a  huge  success  and  Miss  Fairfax 
came  into  a  glare  of  publicity  and  prominence. 

Her  other  most  successful  plays  were  "The 
Chaperon,"  "The  Talker"  and  "Mrs. 
Boltay's  Daughter." 

When  she  dropped  into  a  movie  theater  and 
saw  Griffith's  "The  Birth  of  a  Nation"  her 
heart  was  instantly  won  to  pictures,  and  she 
came  west  to  join  the  Lasky  scenario  depart- 
ment. 

Among  the  big  screen  successes  that  she  has 
written  and  in  some  cases  supervised  were 
"The  Chorus  Lady,"  "The  Black  List,"  with 
Blanche  Sweet  and  Tommy  Meighan;  "The 
Valley  of  the  Giants"  and  "The  Roaring 
Road"  series  for  Wally  Reid,  "River's  End," 
"Dinty,"  "A  Lady  of  Quality,"  "Flaming 
Youth"  and  "The  Lost  World." 

Now  she  and  Sam  Rork  are  producing  pic- 
tures. The  present  one  is  "The  Desert  Heal- 
er." 

It  ought  to  be  good. 


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Guide  to  Perfect  Behavior  in  Hollywood 


[  CONTINUED  FROM  PAGE  45  1 


B 


play  called  "Abie's  Irish  Rose"  it  would  be 
advisable  if  instead  of  having  a  Jewish  boy 
f  Abie)  fall  in  love  with  an  Irish  girl  (Rose),  you 
have  an  Irish  boy  (Mike)  fall  in  love  with  a 
Jewish  girl  (Sadie).  That  will  make  it  quite 
different. 

UT  let  us  suppose  that  you  want  even  a 

more  original  plot  than  that  of  "Abie's  Irish 
Rose."  Let  us  suppose  that  you  want  a  plot 
centering  around  the  love  affair  of  a  young 
optician  named  Cabin  Coolidge  and  a  mysteri- 
ous lady  dentist  named  Madame  X.  Now  in 
addition  to  everything  else  this  optician  wants 
to  be  president  of  the  United  States,  but  un- 
fortunately there  already  is  a  president  of  the 
United  States  named  Coolidge  and  the  poor 
optician  does  not  know  where  to  turn.  Grad- 
ually he  loses  interest  in  his  optical  work  and 
complains  of  headaches  and  a  curious  whizzing 
sensation  which  some  doctors  diagnose  as 
"  Mumps.''  but  which  other  equally  well  known 
physicians  call  "Bright's  Disease."  Calvin  is 
desperate  and  at  that  moment  in  walks  a  very 
near-sighted  young  girl  who  announces  herself 
as"Pippa,"  but  is  really  Madame  X,  the  well 
known  dentist,  and  the  best  Charleston  dancer 
in  Cleveland. 

"Well,"  says  Dr.  Coolidge,  groaning,  "what 
can  I  do  for  you?" 

"Oh,  doctor,"  says  the  lady,  "I  want  some 
glasses." 

So  the  doctor  rings  for  glasses  and  some 
cracked  ice  and  while  they  are  watting,  he  asks 
her  if  she  can  read  the  third  line  from  the 
bottom. 

"  No,"  replies  she. 

"What  does  it  say?"  asks  the  doctor. 

"KFLGHN  A  B  X,"  replies  the  lady, 
"and  only  a  little  White  Rock." 

"Now,"  says  Coolidge,  after  they  have  had 
another  drink. 

"  Tell  me,  can  you  read  the  fourth  line  from 
the  bottom?" 

"No,"  replies  the  lady,  "but  I  can  do  some 
wonderful  card  tricks." 


"Indeed,"  says  the  doctor,  "let  me  see  your 
tongue." 

So  the  lady  sticks  out  her  tongue  at  the 
doctor,  and  then  the  doctor  sticks  out  his 
tongue  at  the  lady  and  the}'  make  faces  at  each 
other  until  you  would  die  laughing  and  then  it 
is  time  for  lunch. 

So  much  for  the  plot. 

Now  in  order  to  make  that  particular  plot 
adaptable  for  screen  purposes  changes,  which 
only  a  "master  craftsman"  who  understands 
"audience  reactions"  can  realize,  must  be  made. 

In  the  first  place,  it  would  never  do  to  call 
your  hero  Calvin  Coolidge,  because  the  audience 
would  think  your  picture  was  a  News  Weekly 
and  they  would  become  restless  after  the  fifth 
or  sixth  reel,  and  wonder  why  there  weren't 
any  pictures  of  the  United  States  Navy  at 
target  practice.  This  can,  of  course,  be  rem- 
edied by  bringing  the  Navy  into  the  plot  of 
your  picture,  as  was  done  in  "The  Midship- 
man" and  other  successful  pictures  of  that 
type,  but  it  would  be  much  simpler  in  the  long 
run  to  change  the  name  of  your  leading  char- 
acter from  Calvin  Coolidge  to  something 
easier,  like  "  Abraham  Lincoln."  The  majority 
of  the  audience  know  that  Lincoln  is  dead,  and 
that  will  assure  them  that  the  picture  is  not 
a  Xews  Reel. 

TOO,  it  would  never  do  to  make  your  hero 
an  Optician.  In  the  first  place,  Optician 
is  a  long  word  and  very  hard  to  pronounce  and 
in  the  second  place  an  Optician  is  not  a  sym- 
pathetic character.  Opticians,  as  we  know,  go 
around  making  people  wear  glasses  and  glasses 
arc  always  falling  off  and  breaking,  and  there- 
fore an  Optician  is  not  a  sympathetic  character. 

Having  therefore  changed  the  name  and  the 
occupation  of  your  leading  "male"  character 
you  are  ready  to  proceed  with  the  "develop- 
ment" of  your  plot,  which  will.  I  hope,  be  dis- 
cussed in  next  month's  issue. 

One  more  word  can  be  added  this  month  to 
vour  "movie"  vocabularv,  to-wit: 

Adapt— to  lift. 


Bold,  but  Not  Brazen 


CONTINUED  FROM  PAGE  47  ] 


It  would  be  the  host,  more  than  likely,  who 
would  lead  off  with: 

"A  great  chap — Bill.  Knew  him  in  New 
York.  Played  on  Broadway  for  a  number  of 
years."  Then,  turning  to  the  grey-haired  man 
with  the  aquiline  nose,  "Remember  him  in 
'Spanish  Love'?  Critics  gave  him  one  of  the 
ten  best  performances  of  the  year." 

"Don't  remember  him  in  that.  Must  have 
been  in  England  then.  First  time  I  met  him 
was  at  the  Lambs'  Club.  One  of  their  favor- 
ites, you  know.  Witt}',  amiable.  All  sorts  of  a 
jolly  fellow." 

Then  the  girl  who  had  been  sitting  in  the 
shadows  would  say: 

"His  eyes  are  most  fascinating.  Have  you 
noticed?" 

And  lapse  again  into  silence. 

The  radiant  haired  woman,  with  the  assur- 
ance of  women  who  openly  declare  themselves 
ugly,  would  next  speak: 

"It's  not  the  eyes,  my  dear.  It's  their  droop- 
ing lids.  Rather  boldly  confident — and  yet  not 
brazen.  Saw  him  in  a  picture  once,"  she  spoke 
tersely,  trimming  her  speech  to  skeleton  size, 
"and  he  dominated  it  from  start  to  finish. 
Amazing,  too.  He  was  a  villain — Italian. 
Dressed  in  fol-de-rols.  Splendid  characteriza- 
tion.   He  saved  the  picture  for  me." 

"That  was  '  Romola',"  said  our  host.    " Bill 


spent  a  year  in  Italy  on  that  picture.  Played 
77/0,  you  know.  Quite  mad  about  Italy. 
That's  where  he  met  Ronald  Colman.  They've 
been  friends  ever  since.  Dick  Barthelmess,  too. 
The  three  of  them  are  a  great  bunch  of  lads 
..."  the  host  would  then  stir  the  fire  and 
smile  reminiscently. 

"He's  just  finished  playing  in  'Beau  Geste. ' 
Good  role — Baldini,  an  oily  suave  sort  of  chap. 
Bill  analyzed  him  the  way  he  does  all  of  his 
characters.  Good  idea — that.  Was  telling  me 
about  this  one  before  he  left  for  location. 
'Baldini,'  reasoned  Bill,  'is  a  cheap  fellow.  The 
kind  who  slips  up  to  you  on  a  Paris  street  and 
hands  you  the  address  of  a  lady  of  joy.  He  has 
no  stamina.  In  a  crisis  he  would  break  down 
and  cry.  Weak.  Vacillating.'"  This  from 
the  tall  man  with  the  aquiline  nose.  And 
then:  "Hear  they  had  quite  a  time  on  the 
desert  making  the  picture." 

THAT  would  be  my  cue.  I  would  tell  how 
Bill  was  the  life  of  the  camp  that  was 
thirty  miles  from  nowhere  in  the  center  of  a 
scorching  Arizona  desert.  I  would  tell  of  the 
gloom  that  overcame  the  cast  when  it  came 
time  for  Bill — his  role  completed — to  return  to 
Hollywood  two  weeks  early.  Of  the  ludicrous, 
laughable,  torn-fool  things  he  did  to  keep  up 
the  morale  of  the  city-bred  men  whose  spirits 


Ever?   advertisement  in  PHOTOrLAT  MAGAZINE 


Photoplay  Magazine — Adyehtisinu  Section 


were  lagging  from  the  monotony  of  the  desert. 

It  was  Bill  who  wrote  the  notice  and  posted 
it  prominently  in  Brenon  Square.  And  wrote 
it  with  his  tongue  in  his  cheek,  as  Bill  would. 
But  first  one  must  introduce  "Pardner"  Jones, 
old  plainsman  and  sharpshooter.  He  did  the 
expert  rifle  work  in  "Beau  Geste."  Tom  Mix 
permits  "Pardner"  to  shoot  at  a  watch  over 
his  heart  and  Harry  Carey  lets  him  shoot 
apples  from  his  head.  Can  more  be  said? 
"Pardner"  is  clever  at  shooting  cigarettes 
from  lips.  Of  this  Bill  was  aware  when  he 
wrote  the  following: 

Rule  No.  i.  Look  out  for  whereabouts  of 
"Pardner"  Jones. 

Rule  Xo.  2.  Do  not  step  on  empty  cartridge 
shells  at  fort  with  your  bare  feet. 

Rule  No.  3.  Disregard  Rule  No.  2  if  you 
wear  shoes. 

•Rule  No.  4.  Look  out  for  whereabouts  of 
"Pardner"  Jones. 

Rule  No.  5.  Do  not  sit  at  the  end  of  the 
mess  table  so  you  will  not  have  to  pass  the  food. 

Rule  No.  6.  Look  out  for  the  whereabouts  of 
"Pardner"  Jones. 

Bill  is  such  an  affable  man-of-the-world.  Yet 
he  was  born  in  Pittsburgh.  And  educated  in 
Kansas  City.  Such  is  the  power  of  environ- 
ment. And  don't  forget  the  famous  chirrup 
that  "travel  broadens  one." 

The  family  decided  when  Bill  was  six  months 
old  that  he  was  to  be  educated  for  the  bar 
(legal) .  This  because  of  a  raucous  yell  and  a  few 
bellicose  syllables  given  from  his  highchair. 
Undoubtedly  accompanied  by  the  beating  of 
his  pewter  mug  to  emphasize  the  roar. 

In  high  school  Bill  took  a  public  speaking 
course  and  won  the  part  of  Captain  Jack 
Absolute  in  "The  Rivals."  The  bar  (legal) 
faded  from  his  vision  when  he  read  the  critics' 
reviews.  Blackstone  was  not  for  him.  The 
family  objected,  so  Bill  penned  a  twenty-three 
page  letter  to  an  aunt  in  Pennsylvania  request- 
ing $700.00,  temporarily,  for  rail  fare  to  New 
York  and  tuition  in  a  school  of  drama.  Thus 
the  potent  Powell  power  was  exercised  for  the 
first  time. 

Today  it  stands  as  a  living  monument  to 
the  school  system  of  Kansas  City. 

Bill  got  the  money  and  spent  half  of  it  on 
railroad  fare  to  New  York.  The  other  half 
went  to  the  American  Academy  of  Dramatic 
Arts.    What  he  lived  on  during  his  school  davs 


we  leave  to  your  imagination.  Haunting  his 
diploma  he  secured  his  first  stage  engagement 
in  "The  Ne'er- Do-Well."  The  play  lived  up  to 
its  name  and  in  its  short  life  Bill  played  five 
roles,  adding  whiskers  and  what-not  as  the  acts 
grew.  Then  six  months  in  vaudeville  which 
gave  him  much  experience  and  little  else. 

For  another  six  months  he  was  jobless.  He 
walked  the  streets.  Perhaps  that  explains  why 
Bill  would  rather  motor  now.  He  met  Ralph 
Barton,  now  a  nationally  known  illustrator. 
They  pooled  their  funds  and  sauntered  forth 
with  twenty-five  cents  between  them  for  the 
evening  meal.  But  the  quarter  was  bum. 
Their  only  hope  was  a  near-sighted  delicates- 
sen proprietor.  They  found  one  and  purchased 
a  nickel's  worth  of  candles  to  light  their  little 
room,  ten  cents'  worth  of  lemon  wafers  and  ten 
of  apricots.  After  they  ate  them  they  drank 
water.  Plenty  of  it.  It's  surprising  how  apri- 
cots and  wafers  expand.    So  did  these. 

Bill  was  usually  flat  broke  in  those  days. 
Two  jumps  ahead  of  the  landlord,  whose  ten- 
ants were  actors  and  artists  waiting  to  "make 
good."  In  1914  his  luck  changed.  He  played 
English  Eddie  in  "Within  the  Law"  with  a 
company  touring  the  country.  He  played  in 
stock  companies  in  Pittsburgh,  Portland,  Ore- 
gon, Buffalo,  Detroit,  North  Hampton  and 
Boston.  Always  villains.  Always  bad  men. 
Then  Broadway  and  an  engagement  with  Leo 
Dietrichstein  in  "The  Judge  of  Zalamea."  His 
luck  flopped  again  for  a  time  and  his  next  good 
role  was  in  "Spanish  Love"  and  Bill  became  a 
figure  on  Broadway. 

It's  been  a  topsy-turvy  path  to  eminence. 
Up  one  day — down  the  next.  And  I  often 
wonder  how  far  Bill  would  have  gone  if  he  had 
taken  himself  too  seriously.  That  indomitable 
sense  of  humor  must  have  been  springs  to  the 
one-hoss  shay  of  success  on  many  an  occasion. 

Now  Bill  is  in  pictures.  Playing  villainous 
roles  with  an  air  that  makes  fair  heroines 
cringe.  You've  seen  him  in  "Sherlock  Holmes," 
"When  Knighthood  Was  in  Flower,"  "Under 
the  Red  Robe,"  "Romola."  With  Richard 
Dix  in  "Too  Many  Kisses." 

Paramount  felt  the  potent  Powell  power, 
first  demonstrated  (to  our  knowledge)  in  the 
instance  of  his  aunt,  and  signed  him  to  a  long 
contract  which  placed  him  in  "Aloma  of  the 
South  Seas,"  "Beau  Geste"  and  now  "Tin 
Gods." 


Close'Ups  and  Long  Shots 


CONTINUED  FROM  PACE  42 


The  first  evening  I  saw  a  sweet  soul  named 
Mother  Goddam,  who  murdered  her  child  in 
"The  Shanghai  Gesture."  The  second  evening 
I  was  entertained  by  a  refined  lady  in  "Bride 
of  the  Lamb"  who,  after  a  petting  party  with 
the  pastor,  proceeded  to  poison  her  husband 
with  shoe  polish.  And  on  the  third  gay  eve- 
ning I  beheld  a  colored  boy  throttle  his  high 
yeller  gal  in  her  own  bed  in  "  Lulu  Belle. " 
It  was  too  much  for  one  reared  amid  the  happy 
endings  of  Hollywood.  And  so,  as  soon  as  my 
physicians  would  permit,  I  boarded  a  train 
back  to  the  land  of  purity,  where  it  is  still  a 
sin  to  kiss  for  more  than  a  hundred  feet. 

HPHE  best  way  to  win  movie  converts  is  to 
■*■  send  people  to  New  York  shows.  If  these 
spectacles  don't  win  them  to  God  and  the 
movies  they  are  hopeless  and  will  go  straight 
to  what  the  censors  call  "the  naughty  place." 


A  GIRL  should  bring  her  baby  pictures  to 
-*»•  Hollywood.  They  usually  tell  all.  There 
was  a  time  when  we  were  ashamed  of  those  in- 
fant portraits  which  revealed  our  more  per- 
sonal dimples  to  a  gaping  world.  Now  we 
know  mama  was  right — there's  nothing  to  be 
ashamed  of  in  earning  a  living. 

"DUT  it  takes  a  Broadway  show 
■*-" to  reveal  Eden  as  it  was  before 
the  hiss  of  the  dressmaker. 

Can  you  remember  the  days  when 
depraved  old  bald  heads  sat  in  the 
first  row  to  catch  a  glimpse  of  ankles? 
But  now  nobody,  however  low,  ever 
thinks  of  looking  at  ankles. 

In  fact,  you  can't  tell  what  they're 
looking  at  from  where  they  sit. 


A  TIP  TO  CUT  PICTURE  PUZZLE  FANS! 

The  awards--  $5,000  in  all  —  will  be  announced 
in   the  January   Photoplay,   out   December   15. 

THIRD   SET  OF  PICTURES  IN  THIS   ISSUE 


MakeYourSkin 

Ivory-white 


in  3  Days! 


I  have  the  honor  lo  announce  the 
most  important  beauty  discovery  of  the 
age  ...  a  wonderful  new-type  lotion 
that  clears  the  skin  of  every  blemish 
and  makes  it  as  smooth  and  white  as 
ivory.  Every  woman  who  wants  a 
glorious  complexion  can  now  have  it  in 
three  to  six  days. 

NOW  .  .  .  a  New  Kind  of  Lotion 
Skin  Whitener 

NOW  you  can  have  the  smooth,  flawless  complexion 
you  have  always  longed  for  ...  the  exquisite 
white  skin  you  see  only  infamous  beauties.  The 
kind  of  skin  that  powder  cannot  givel  The  skin  itself 
must  be  soft,  smooth  and  white.  My  marvelous  dis- 
covery now  gives  you  this  striking  complexion  in  just 
three  to  six  days.  It  smooths  the  skin  to  soft,  silky 
texture.     It  whitens  the  skin  to  ivory  whiteness. 

Freckles  and  Tan  Vanish! 

All  trace  of  freckles,  tan,  blackheads,  roughness, 
and  redness  disappear  almost  as  if  you  had  wished 
them  away.  Never  before  have  women  had  such  a 
preparation!  Mild,  gentle  and  guaranteed  safe  and 
harmless!  Apply  it  in  just  three  minutes  at  bedtime. 
Every  woman  should  have  it.  There  is  not  one  com- 
plexion in  a  thousand  that  will  not  be  clearer, 
smoother,  more  radiant  through  its  use. 

Test  It  .  .  .  Whiten  Your  Neck 

Test  this  preparation  on  your  arm,  hands,  or  on 
your  neck  where  the  skin  is  usually  much  darker  than 
on  the  face.  See  what  an  amazing  improvement  three 
days  make.  Use  my  Lotion  Face  Bleach  any  way 
you  like  for  six  days.  Then  if  you  are  not  simply  de- 
lighted, I  ask  you  to  let  me  refund  your  money. 

Large  Bottle  .  .  .  Low  Price  .  .  . 
Guaranteed ! 

Send  no  money — simply  mail  coupon.  When  pack- 
age arrives  pay  postman  only  $1.50  for  the  regular 
large-size  bottle.  Use  this  wonderful  cosmetic  six 
days.  Then,  if  not  delighted,  return  it,  and  I  will 
refund  vour  money  without  comment.  Mail  coupon 
today  to  (Mrs.)  GERVAISE  GRAHAM,  Dept.  P-8, 
25  W.  Illinois  St.,  Chicago. 

GERVAISE  GRAHAM 

JjptiOtl  FACE  BLEACH 


(Mrs.)  GERVAISE  GRAHAM, 

Dept.  P-8,  25  W.  Illinois  St.,  Chicago. 

Send  me,  postage  paid,  one  Lotion  Face  Bleach. 
On  arrival,  I  will  pay  postman  only  $1.50.  If  not 
delighted  after  six  days'  use  I  will  return  it  and  you 
will  at  once  refund  my  money. 


Name. .. 
Address. 


PHOTOPLAY   MAGAZINE, 


130 


Photoplay  Magazine — Advertising  Section 


A  dainty  new 
creme  deodorant 
—  stops  odor  all  day 

"No,  I  am  never  bothered  with  perspira- 
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never  was  there  a  greater  mistake.  Just 
because  you  are  not  annoyed  with  perspi- 
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you  are  free  from  all  trace  of  odor.  Every- 
one must  watch  this  danger. 

And  here,  now,  is  a  delightful  creme 
that  keeps  you  fresh  and  dainty  all  day 
long.  Creme  Odorono  annuls  every  trace 
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It  is  delightful  to  use  —  so  creamy  soft 
and  smooth.  You  can  use  it  any  time 
when  dressing;  it  is  not  greasy  and  will 
not  stain.  Try  it  when  you  want  quick  ac- 
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Name.. 
Addres. 


eft 

Kid  White 


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SUBSCRIBE  FOR  PHOTOPLAY 

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COUPON  WILL  BE  FOUND  ON  PAGE  15 


What  Price  Tonsillitis? 


[  CONTINUED  FROM  PAGE  43  ' 


better  behaved  movie  stars!  As  the  Princess 
rolled  up  to  the  Moreno  mansion  in  a  big  lim- 
ousine, maybe  you  think  she  wasn't  glad  she 
hadn't  had  her  tonsils  removed!  What  price 
tonsillitis! 

Be  that  as  it  may,  the  Princess  enjoyed  the 
elegant  dinner  without  a  twinge  of  tonsils  or 
conscience.  It  was  a  great  occasion;  everyone 
used  the  right  fork  and  nobody  outraged  the 
dignity  of  a  royal  presence  by  getting  up  and 
doing  a  Charleston. 

THE  Princess  was  charming.  More  charm- 
ing than  Michael  Arlen  or  Anthony  As- 
quith. 

She  agreed  with  everyone,  did  Beatrice.  She 
could  afford  to  be  gracious,  especially  in  her 
promises  about  her  royal  cousin,  Kins  Al- 
phonso.  She  told  Mrs.  Moreno,  confidentially 
of  course,  that  Alphonso  was  planning  to  visit 
Hollywood  and  would  undoubtedly  pay  them  a 
call.  To  another  guest,  she  volunteered  to 
persuade  the  King  to  appear  in  a  picture,  made 
under  his  direction.  Provided,  of  course,  the 
King  could  play  the  role  of  a  King  and  not  be 
made  to  put  on  a  Wallace  Beery  make-up. 

Hollywood  believed  it.  Why  not?  Other 
genuinely  titled  persons  had  sponged  upon  its 
hospitality,  without  even  attempting  to  be  as 
gracious  and  pleasant  as  the  fake  princess. 

It  wasn't  such  bad  acting  for  an  eighteen- 
year-old  girl. 

When  the  tragedy  descended,  it  struck  like 
lightning.     House  detectives  at  the  Biltmore 


Hotel,  while  snooping  ingloriously  around  the 
royal  suite,  discovered  that  the  Princess  had 
very  few  clothes  for  an  around-the-world  tour. 
Nor  did  they  see  any  crowns  hanging  in  the 
clothes  closet. 

The  detectives  did  further  investigating. 
The  Spanish  consul,  who  had  been  deceived, 
too.  discovered  his  terrible  mistake.  He  wanted 
to  send  in  his  resignation.  He  also  prayed  for 
earthquakes  and  volcanoes. 

Now  let  us  turn  to  the  heroine  of  the  scenario 
— Mrs.  Antonio  Moreno.  When  Mrs.  Moreno 
learned  of  the  mean  trick  that  had  been  played 
upon  her,  she  had  every  right  to  go  around  and 
demand  that. Beatrice  be  thrown  into  the  cooler 
to  think  it  over. 

But  Mrs.  Moreno  did  no  such  thing.  She 
was  just  as  kind  to  plain  Beatrice  Otero  as  she 
was  to  the  Princess  Beatriz  y  Braganza.  She 
saw  that  Beatrice  was  comfortably  lodged  at 
the  Hollywood  Studio  Club.  She  paid  the 
girl's  expenses  back  to  San  Francisco.  She 
interceded  for  her  with  her  employers  so 
that  the  girl  got  her  old  job  back  again.  She 
forgave  the  pretender  and  told  her  to  go  home 
and  be  good.  Beatrice  is  now  living  at  the 
Y.  W.  C.  A.  in  San  Francisco.  And  maybe  she 
hasn't  some  interesting  tales  to  tell  the  girls 
during  the  long  evenings! 

Automatically,  Mrs.  Moreno  becomes  the 
life  president  of  the  Good  Sports'  Club. 

And  the  moral  of  the  story  is  this:  If  you 
think  you  are  so  smart,  would  you  know  a  real 
princess  yourself? 


Ben  Hurry 


COKTDfUED  PROM   PAGE  g2  ] 


"But  when  I  orders — " 

"  You  can  order,  Orifice,  an'  what  you  orders 
gits  done.  But  if  you  goes  over  my  head  like 
this,  I  quits." 

"You  whiches?" 

"I  quits!  I'se  finished,  th'oo  an' done.  You 
can  fight  all  the  battles  you  want,  but  you  caint 
make  me  ridiculum  befo'  the  company.  Now, 
what  you  say?" 

Clump's  attitude  did  nothing  to  lessen  the 
anger  of  the  chief  executive.  And,  of  course, 
his  hands  were  tied.  He  knew  Clump,  and 
realized  that  the  dynamic  little  man  did  not 
speak  idly.  And  so  Latimer  stormed  from 
Clump's  office  and  as  he  emerged  on  the  lot  his 
eye  came  to  rest  on  a  group  near  the  men's 
dressing  room  section. 

In  the  group  were  Opus  Randall,  Florian 
Slappey,  Eddie  Fizz  and  two  of  the  mechanical 
staff.  Opus  was  speaking  and  the  others  lis- 
tened with  broad  smiles.  As  Latimer  appeared, 
their  smiles  faded — and  the  president  took  it 
for  granted  that  he  had  been  the  subject  of 
ribaldry. 

Orifice  R.  Latimer  was  long  on  dignity.  _  He 
possessed  an  overplus  of  it — and  he  determined 
to  find  out  immediately  and  positively  whether 
the  portly  actor  was  indeed  boasting  that  he 
handled  the  reins.  Wherefore  he  singled  out 
Opus  and  demanded  an  interview. 

Opus  responded  instantly  and  happily.  He 
attempted  to  put  an  arm  over  the  presidential 
shoulder,  but  Latimer  shrugged  it  off.  Mr. 
Randall  frowned  and  wondered  what  was  what. 

In  the  glorific  office  of  the  president,  that 
dignitary  transfixed  Mr.  Randall  with  a  stern 
disapproving  stare. 

"Opus  Randall,"  he  said  severely.  "How 
come  you  has  gotten  so  uppity  recently?" 

"Me?"  Opus  was  surprised.  "  Gosh,  Orifice, 
they  aint  nothin'  uppity  about  me. " 


"Oh!  there  aint,  aint  there?" 

"Absotively  not." 

"Is  it  true  that  you  have  been  snoopin' 
around  the  lot  tellin'  folks  how  you  put  some- 
thin'  over  on  me  an'  that  you  is  makin'  me  do 
what  you  wants  me  to?" 

Mr.  Randall  sensed  anger,  and  a  somewhat 
guilty  conscience  caused  his  face  to  flush. 

"Well  now,  Orifice — " 

"Don't  well  me,  Big  Boy!  Answer  me 
straight:   Did  you  did,  or  did  you  didn't?" 

"Lemme  'splain — you  don't  understand. 
You  see — " 

""VT.H,  I  see.    I  know  good  an'  well  that  you 
J-  has  been  doin' such.   An' all  the  time  when 
you  has  been  pretendin'  to  be  fond  of  me — " 
"You  is  the  fondest  person  I  is  of!" 
"Yah!    Tell  that  to  yo'  gal— mebbe  she'll 
b'lieve  you.    Well  now  you  listen  to  me,  Opus 
Randall — I'se  had  enough  an'  plenty  of  this 
hcah  fumandiddles.    I  aint  gwine  stan'  fo'  no 
mo'.    Fum  now  hencefor'd  you  gits  no  favors 
offen  me  and  I  reckon  it  aint  gwine  take  Mid- 
night long  to  'scover  who's  boss  aroun'  heah." 
Now  it  was  Opus  Randall  who  departed  in 
fury.    There  was,  of  course,  a  measure  of  truth 
in  Latimer's  indictment — but  not  to  the  extent 
the  president  believed.     Opus  realized   that 
there  was  bitter  hostility  in  the  president's 
manner,  and  that  it  did  not  augur  well  for  his 
immediate  future.    Latimer  was,  after  all,  the 
real  power  on  the  lot. 

There  started  then  on  the  Midnight  lot  a 
petty  civil  warfare  which  the  keen  eye  of  Wel- 
ford  Potts  observed.  Mr.  Potts  did"  not  hesi- 
tate to  conjecture  about  the  situation.  He 
even  shed  a  few  crocodile  tears  in  Opus  Ran- 
dall's boarding  house  one  night. 

"It's  a  shame  the  way  Orifice  Latimer  is 
doin'  you,  Opus.    I  woul'n't  stan'  fo'  it." 


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"I  got  to,  Welford.  They  aint  nothin'  else 
I  can  do." 

"No-o,  tha's  true.  But  you  can  keep  right 
on  doin'  it." 

With  Florian  Slappey,  Mr.  Potts  waxed 
gleeful. 

"Boy!  aint  I  done  somethin?  I  ast  you! 
Them  two  fellers  is  just  nachelly  insane." 

"Yeh.  ..."  Florian  was  inclined  to  be 
pessimistic.  "But  if  you  don't  watch  out, 
they's  libel  to  git  together  an'  recover  their 
sanity." 

"What  you  mean?" 

"Just  this,  Welford:  Fust  off  them  fellers 
was  friends,  then  they  was  enemies.  Then 
they  was  friends  again — an'  when  they  come 
back  to  being  good  friends,  they  was  closer 
than  a  fly  to  a  piece  of  sticky  paper.  An'  I  got 
a  hunch  that  unless  somethin'  mo'  is  done 
which  would  keep  them  two  fellers  fum  gittin' 
together  an'  tryin'  to  find  out  where  all  this 
rumor  come  fum — they  is  likely  to  be  frien'ly 
once  mo'.  An'  does  they  come  to  be  so — sweet- 
smellin'  lilies  fo'  Welford  Potts!" 

"Hmph!"  Mr.  Potts  shook  his  head.  "I 
aint  never  said  nothin'  that  wa'n't  true." 

"No-o.    But  if  they  should  think  youhad — " 

Welford  moved  away.  "  Reckon  I  got  to  git 
my  brain  back  fum  vacation  an'  start  it  workin' 


"I  guess  you 


again. 

"Uh-huh,"  agreed  Florian. 
better  had." 


THERE  was  wisdom  in  Florian's  prophecy. 
And  Welford  was  afraid  of  a  resumption 
of  friendly  relations  between  the  president 
and  Opus  Randall.  Such  a  friendship  was  an 
unfailing  source  of  agony  to  Mr.  Potts — for 
when  it  flamed  he,  Welford  Potts,  was  forced  to 
play  roles  subordinate  to  those  acted  by  Opus 
Randall.  It  was  a  scourge  to  the  professional 
soul  of  the  attenuated  little  comedian;  here 
in  this  very  picture  he  was  a  mere  feeder  for 
Opus's  elephantine  comedy;  it  was  Welford 
who  was  doing  the  dirty  work  and  Opus  who 
would  draw  the  plaudits. 

Welford  felt  sincerely  that  his  cause  was  just. 
He  was  content  to  share  and  share  alike  with 
Opus,  but  it  irritated  him  to  see  favors  thrown 
to  the  other  man.  If  only  this  present  feeling 
of  bitterness  could  be  caused  to  continue  be- 
yond the  end  of  the  present  picture — if  only  he 
could  once  be  cast  in  a  dorm'nating  role  with 
Opus  playing  in  support,  he  felt  that  the  world 
would  be  well  lost  for  the  sheer  delight  which 
would  be  his.  "  An'  after  such,"  he  murmured, 
"I  woul'n't  care  what  happened.  But  right 
now,  ev'ybody  is  wonderin'  why  I  stan's  fo' 
it  all." 

Which  was  quite  true.  Save  for  J.  Caesar 
Clump,  who  was  concerned  solely  with  results, 
every  man  and  woman  on  the  lot  sympa- 
thized with  Welford.  They  felt  that  he  was 
being  given  the  raw  end  of  the  deal,  and  they 
made  no  secret  of  the  fact  that  they  considered 
the  present  ill-feeling  between  Randall  and 
Latimer  would  be  of  brief  duration  and  that  the 
portly  star  would  rise  once  again  to  royal 
favor. 

Clump  had  nothing  to  say  and  he  said  it 
consistently.  He  was  immersed  in  the  current 
production;  he  walked  from  the  carpenter  shop 
and  issued  orders  for  a  meeting  of  the  company. 
They  filed  into  his  office  and  seated  themselves 
about  the  walls:  a  motley  throng  in  the  cos- 
tumes of  ancient  Rome.  Mr.  Clump  glared 
upon  them  and  his  voice  crackled  through  the 
room. 

"Tomorrow,"  he  announced,  "we  takes  the 
chariot  race.  It's  the  big  scene  of  the  pitcher, 
an'  I  want  ev'ry  one  of  you  to  know  that  I  aint 
noways  satisfied  with  how  things  has  been 
goin'  sense  we  started.  The  weather  forecast 
fo'  tomorrow  is  fair  an'  warm.  That  bein'  the 
case,  we  all  gits  out  to  Blue  Lake  Park  at  eight 
o'clock  sharp  so's  we  c'n  begin  shootin'  at  nine. 
We'll  dress  out  yonder.  An'  anybody  which  is 
late  gits  a  ten  dollar  fine." 

He  paused  to  glare  impressively  upon  the 
would-be  tardy  ones,  then  went  ahead  to 
sketch  tersely  and  graphically  the  action  which 
was  to  be  filmed  the  following  day. 


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"An'  the  way  it  finishes  up  is  this,"  he  ex- 
plained. "  Welford  and  Opus  is  chariot  drivers 
which  is  rivals  fo'  the  hand  of  the  Roman 
Emp'rer's  daughter — which  President  Latimer 
hisse'f  is  gwine  to  be  the  Emp-rer.  Well,  they 
has  made  a  bet  that  which  one  wins  the  chariot 
race  gits  the  laurel  wreath  an'  the  gal  an'  the 
other  one  gits  chucked  in  the  lake.    Kerrlump." 

"Kerflump!"  It  was  Welford's  sepulchral 
voice.    "Tha's  me!" 

"Now,  how  things  goes  is  like  this,"  the  di- 
rector continued  severely.  "Welford  is  the 
villain  an'  he  tried  to  put  one  over  on  Opus. 
So  the  night  befo'  the  race  he  slips  into  Opus's 
stall  an'  swipes  his  hawses  an'  puts  in  a  couple 
of  lady  mules  instead.    He — " 

HEY!  Wait  a  minute!"  The  gargantuan 
figure  of  Mr.  Randall  was  very  much  in 
evidence.  "What  kind  of  animals  was  you 
mentionin',  Caesar?" 

"Mules!"  snapped  the  director. 

"Mules?" 

"Yeh,  mules."  Then  with  exquisite  sarcasm 
— "Them  is  the  step-chillun  of  hawses." 

"Oh  Lawsy  .  .  .  I  caint  drive  no  mules  in 
no  chariot  race." 

"Caint  don't  mean  nothin'  to  me.  Tomor- 
row you  does  so.  An'  the  funny  part  of  it  is 
that  them  mules  wins  the  race  over  the  hawses 
which  Welford  drives." 

Opus  Randall  surveyed  the  room.  His  eyes 
roved  from  the  triumphantly  grinning  counte- 
nance of  Welford  Potts  down  the  line  of  smiling 
faces.  "Wh-who  thought  of  my  hawses  bein' 
mules?"  he  queried  miserably. 

"President  Latimer,"  came  the  prompt  re- 
sponse. 

Somebody  laughed  aloud  and  a  great  and 
pervading  anger  suffused  the  enormous  frame 
of  Opus  Randall.  He  protested  loudly  and 
passionately  that  he  would  not  drive  mules, 
but  J.  Caesar  Clump  could  not  be  swayed. 
And  so,  when  the  meeting  broke  up,  it  was  a 
fiercely  angry  star  who  stalked  off  by  himself 
and  vowed  that  if  Latimer  tried  one  more  thing 
— just  one  li'I  teeny  mo'  stunt — he'd  take  mat- 
ters into  his  own  hands. 

Welford  Potts  trailed  his  co-star.  Mr.  Potts 
was  gleeful.  Things  seemed  to  be  coming  his 
way — but  even  yet  he  was  not  entirely  satis- 
fied. His  plan  was  working  excellently,  but  it 
needed  a  final  artistic  touch. 

That  night  Mr.  Potts  ate  in  solitary  gran- 
deur at  Bud  Peaglar's  Barbecue  Lunch  Room 
&  Billiard  Parlor,  and  devoted  himself  to  a  very 
intensive  period  of  thinking.  A  chariot  race 
seemed  to  afford  possibilities  .  .  .  infinite 
possibilities.  If  only  he  could  evolve  a  scheme 
to  terminate  once  and  for  all  any  possibility  of 
further  presidential  favor  to  Opus.    .    .    . 

Mr.  Welford  Potts  did  not  crawl  between  the 
sheets  until  after  midnight.  But  when  he  did 
there  was  a  triumphant  smile  on  his  lips.  And 
he  was  wearing  that  smile  the  following  morn- 
ing when  he  called  for  Florian  Slappey  and  they 
started  together  toward  Blue  Lake  Park  where 
the  hippodrome  was  to  be  staged.  Florian  was 
inquisitive — 

"Where  was  you  at  las'  night,  Welford?" 

"Busy." 

"Doin  which?" 

"Thinkin' — an'  workin'." 

"On  what?" 

"Oh,  somethin'." 

'"Splain  to  me,  cullud  boy:  'splain  to  me." 

Welford  chuckled.  *"Xemmin'  no  'splana- 
tions,  Florian.    You  is  gwine  see  fo'  yo'  se'f." 

"See  which?" 

"What  I  was  contemplatin'  about  las' 
night." 

"Aw,  c'mon — " 

"  Don't  cajole  me,  Han'some.  All  I  tells  you 
is  this:  keep  yo'  eye  on  them  chariot  race. 
Tha's  all." 

"You — you  is  fixin'  fo'  Opus  an'  Orifice  to 
split  wider?" 

"I  aint  said  nothin'  an'  I  refuse  to  repeat  it. 
You  just  watch!" 

And  that  was  all  the  information  Mr.  Slap- 
pey could  extract  from  his  friend. 

Blue  Lake  Park  was  seething  with  friends, 


Romans  and  countrymen  when  Welford  and 
Florian  arrived.  The  wardrobe  mistress  was 
busy  dispensing  costumes  and  pinning  them  up 
into  some  semblance  of  proper  shapelessness. 

In  front  of  the  grandstand  Welford  Potts 
strutted  proudly,  chocolate  forehead  banded 
by  a  broad,  gleamy  satin  ribbon. 

Opus  Randall  was  less  prominent.  He 
lounged  in  his  elongated  nightshirt  and  satin 
bandeau  against  a  fence  where  his  eye  com- 
manded a  view  of  the  gilded  chariot  which  he 
was  to  drive.  Attached  to  the  forepart  of  that 
noble  vehicle  were  two  sad-eyed  mules  of 
ancient  vintage.  They  seemed  to  strip  the 
occasion  of  all  magnificence,  and  Opus  was  the 
possessor  of  an  uncomfortable  hunch  that 
something  was  destined  to  be  filmed  which  was 
not  in  the  scenario.  He  even  sought  the  gor- 
geously white-robed  figure  of  Orifice  R.  Lati- 
mer, the  Roman  Emperor. 

"What  you  fixin'  to  do  to  me,  Latimer?" 

The  president  frowned.  "You  says  words, 
Opus — but  they  don't  mean  nothin'." 

"Wasn't  it  yo'  idea  changin'  my  hawses  fo' 
mules?" 

"Uh-huh." 

"Why?" 

The  president  replied  blandly.  "Guess 
milks  is  funnier  fo'  a  chariot  race,  aint  they?" 

"Huh!  Why  didn't  you  make  Welford 
drive  'em?" 

"You  is  the  lead  in  this  pitcher,  Cpus. 
An'  you  gits  all  the  funniest  part — like  the 
mules." 

There  was  a  taunt  in  the  executive  voice  and 
Opus  whirled  away  furiously.  "You  better 
watch  out,  Orifice."  he  flung  back  over  his 
shoulder.  "You  sho'ly  better  not  try  to  put 
nothin'  over  on  me." 

Florian  was  cast  as  one  of  the  spectators. 
He  dressed  slowly  and  emerged  reluctantly 
from  the  dressing  room.  Mr.  Slappey  felt 
vaguely  indecent.  Somehow,  a  long  white 
robe  seemed  a  poor  costume  indeed  in  which  to 
face  the  clear  light  of  day:  "Dawg-gone  ol' 
nightgown — tha's  all  they  give  me  to  wear. 
'Taint  proper!" 

GRADUALLY  this  maidenly  embarrass- 
ment wore  away  and  he  commenced  to 
take  an  interest  in  what  was  transpiring  on 
the  racetrack  where  the  chariot  contest  was  to 
be  staged.  Out  there  the  two  cameramen  were 
led  onto  the  track  and  set  in  position  for  the 
filming  of  the  start. 

Florian's  eyes  were  all  for  Welford  Potts. 
That  little  fellow  seemed  to  have  banished  his 
uneasiness.  He  strutted  here  and  there  with 
vast  pompousness  and  cast  an  occasional  de- 
risive glance  toward  his  fellow  actor.  Florian's 
brain  was  busy;  he  was  set  for  something — he 
didn't  know  what!  Welford  had  fathered  a 
scheme  having  for  its  object  the  permanent  dis- 
comfiture of  Opus  Randall.  Mr.  Slappey  was 
not  minded  to  miss  the  hidden  drama. 

The  filming  of  the  first  scenes  proceeded 
rather  slowly.  The  mules  which  Opus  drove 
seemed  disinclined  to  overcome  their  inertia,  a 
fact  which  did  not  seem  to  worry  the  little 
director.  He  took  the  start  of  the  race  three 
times;  the  fairly  active  team  of  horses  which 
Welford  drove  getting  away  each  time  to  an 
excellent  start.  Then  the  cameraman  took 
several  shots  of  the  spectators  cheering  en- 
thusiastically and  finally  a  few  long  shots  of  the 
chariots  and  spectators  combined. 

Then  came  a  more  tense  portion  of  the  pic- 
ture. According  to  the  plot,  the  heroic  Opus, 
who  was  in  the  process  of  being  defeated,  was 
supposed  to  lash  his  steeds  with  a  long  whip 
provided  for  the  occasion.  Clump  handed  Mr. 
Randall  the  whip,  after  first  readying  the 
cameras. 

Opus  accepted  it  guilelessly,  he  was  quite 
positive  that  even  a  well-wielded  whip  could 
not  unduly  excite  the  mules. 

The  crowd  moved  over  and  massed  within 
camera  range  and  the  action  started;  Welford 
and  his  horses  came  tearing  down  the  track  fol- 
lowed by  Opus's  lazily  lumbering  mules.  Then, 
while  one  camera  continued  to  crank  on  the 
long  shot,  the  other  filmed  a  closeup  of  Opus 


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era-king  his  whip  against  the  flanks  of  the 
muk's. 

Something  happened!  The  pair  of  mules  re- 
sponded with  immediate  and  amazing  alacrity. 
Opus  was  pitched  to  a  sitting  posture  and  for 
perhaps  forty  feet  of  track  he  clung  terrifiedly 
to  the  nethermost  portion  of  his  chariot.  The 
crowd  howled  with  genuine  excitement  as  Mr. 
Randall  regained  his  feet  and  struggled  to  get 
his  mules  under  control.  Eventually  they 
paused  quiveringly  and  Opus  dismounted. 

Ayf  R.  RANT)  ALL  was  not  without  suspicions. 
•'•"■He  gave  the  whip  a  careful  inspection  and 
his  fondest  apprehensions  were  realized.  In  the 
very  tip  of  the  weapon  he  discovered  a  small 
piece  of  lead. 

He  boiled  wrathfully.  So  this,  then,  had 
been  done  to  him.  Director  Clump  had  fur- 
nished him  with  a  loaded  whip.  No  wonder 
the  mules  had  responded.  Mr.  Randall  de- 
scended angrily  upon  the  grinning  group  near 
the  camera. 

"I  thought,"  he  roared  to  Clump,  "that  you 
was  just  givin'  me  a  regular  whip." 

The  director  smiled.  "  I  aint  responsible  fo' 
what  you  think." 

"  Did  you  put  lead  in  the  end  of  that  whip?  " 

"I  did,"  responded  Clump  candidly. 

"I  knew  it!  The  minute  them  mules  got 
active  I  knowed  it  wa'n't  no  plain  whip." 
Opus  moved  menacingly  closer.  "How  come 
you  to  double-cross  me  that  away — not 
warnin'  me  about  it?" 

J.  Caesar  waved  airily.  "Latimer's  orders," 
he  said. 

It  was  perhaps  fortunate  that  Mr.  Latimer 
was  not  at  the  moment  in  the  immediate 
vicinity,  else  Midnight  might  have  stood  in 
need  of  a  new  president.  The  fact  that  others 
in  the  company  made  no  attempt  to  control 
their  mirth  did  nothing  to  lessen  Opus's  agony 
of  soul.  As  from  a  distance  he  heard  the  di- 
rector's voice — 

"All  right,  folks — us  goes  back  across  the 
track  an'  takes  the  finish  in  front  of  the  gran'- 
stan'.  You,  Welford,  kind  of  slow  them  hawses 
down  so's  Opus's  mules  can  git  by.  I  crave  to 
see  Opus  win  by  a  length — I  guess  that'll  be 
easy;  them  mules  is  kind  of  waked  up  now." 

The  finish  of  the  race  was  filmed  amid  much 
hilarity.  The  mules  not  only  finished  first  but 
did  not  stop  until  they  had  circled  half  around 
the  track.  Opus  left  them  where  they  were 
and  strode  magniloquently  across  the  infield 
toward  the  grandstand,  his  toga  fluttering  in 
the  breeze,  face  dark  as  a  thundercloud. 

He  spoke  to  nobody.  Meanwhile,  Florian 
Slappey  had  cornered  Welford  Potts.  Mr. 
Slappey  was  grinning. 

"  So  it  was  you  put  the  lead  in  the  end  of  that 
whip,  was  it?" 

Welford  shook  his  head.    "  Nope. " 

"You  didn't?" 

"Nary  lead.  I  didn't  have  nothin'  to  do 
with  it." 

"But  I  thought  you  said — " 

"I  said  that  what  I  has  got  in  my  head  is 
brains.  An'  if  you  is  willin'  that  I  should  get 
suggestive,  I'd  say  fo'  you  just  to  keep 
watchin'." 

J.  Caesar  Clump  was  busying  himself  in 
front  of  the  grandstand.  In  the  royal  box  sat 
the  ponderous  and  expansive  Orifice  R.  Lati- 
mer, the  Roman  Emperor.  Beside  him  was  his 
scenario  daughter — trophy  of  the  chariot  race. 
Various  courtiers  stood  around  in  various  night 
garments.  The  populace  was  massed  in  the 
background. 

"An'  now,"  megaphoned  J.  Caesar,  "we 
takes  the  scene  where  the  victor  gits  a  laurel 
wreath  an'  also  the  gal.  There's  gwine  to  be 
two  cam'ras  on  this:,  one  takin'  the  closeup 
an'  the  other  shootin'  the  crowd — so  don't  no- 
body cease  bein'  enthusiastic." 

"You,  Opus,  be  standin'  in  yo'  chariot.  You 
bows  to  the  Emp'rer  an'  th'ows  a  kiss  to  the 
gal.  Then  you  get  out  and  walk  across  the 
track.  While  he  is  doin'  that,  Welford — you 
stan'  out  yonder  and  register  mis'ableness,  on 
account  two  soljers  has  grabbed  you  an'  is 


gittin'  ready  to  th'ow  you  into  the  lake.  Does 
ev'ybody  understand?" 

There  was  a  general  nodding  of  heads. 
Caesar  turned  to  the  royal  president. 

"You  also  undcrstan',  President  Latimer?" 

"Uh-huh." 

"Has  you  got  the  wreath?" 

"I  aint  got  nothin'  else." 

"Good!"  Clump  stepped  out  of  range  and 
once  again  the  megaphone  went  to  his  lips. 
"Ready  ev'ybody!    Action!    Cam'ra!" 

The  crowd  commenced  howling  and  cheer- 
ing. Florian,  seated  well  away  from  the  royal 
box,  watched  closely — wondering  at  the  tri- 
umphant smile  which  decorated  the  lips  of 
Mr.  Welford  Potts.  He  viewed  the  glowering 
approach  of  the  fat  and  victorious  charioteer; 
he  saw  Latimer  and  the  princess  snap  into 
action  in  a  highly  professional  manner. 

He  was  sorry  indeed  that  he  could  not  hear 
the  speech  which  Latimer  was  making  to 
Opus. 

Clump  was  bellowing  directions  and  the 
crowd  was  applauding. 

Then,  following  directorial  orders,  Florian 
saw  Opus  Randall  kneel  at  the  feet  of  his 
emperor.    Latimer  stood. 

It  was  an  impressive  tableau:  Latimer  hold- 
ing the  laurel  wreath  over  Opus's  head:  Mr. 
Randall  kneeling  humbly,  awaiting  his  decora- 
tion. 

"All  right!"  Clump's  voice  rose  above  the 
din,  "put  the  wreath  on!" 

Latimer  did. 

He  crushed  it  solidly  on  the  head  of  Mr. 
Opus  Randall! 

For  the  briefest  fraction  of  an  instant  Opus 
did  not  move. 

Then  his  mouth  opened  and  a  wild  yell 
split  the  morning.  He  leaped  backward  and 
President  Latimer  followed,  pressing  the  wreath 
more  firmly  on  Opus's  head. 

Another  wild  howl  pealed  from  Mr.  Randall's 
lips. 

Then  another  and  another. 

While  the  cameras  cranked  merrily  Opus 
tried  to  pull  away — and  as  fast  as  he  retreated 
the  Roman  Emperor  followed. 

Then  came  a  highly  dramatic  windup  to  the 
great  feature  picture.  Mr.  Opus  Randall, 
charioteer,  hooked  snappily  with  his  right. 
The  blow  landed  flush  on  the  royal  jaw.  Mr. 
Latimer  staggered,  then  leaped  into  battle. 
The  crowd  roared  deliriously  and  surged  closer 
— only  by  sheer  strength  did  Clump  and  his 
associates  clear  a  path  so  that  the  camera  could 
miss  none  of  the  action. 

HTHERE  in  front  of  the  royal  box  a  decidedly 
-*-  interesting  rough-and-tumble  battle  was 
staged.  Emperor  and  subject  rolled  all  over 
the  place — first  one  on  top  and  then  the  other. 
Fists  flew,  blows  landed  on  human  flesh,  pro- 
fanity rent  the  air.  And  finally,  when  sufficient 
footage  had  been  obtained,  Clump  permitted 
someone  to  separate  the  gory  combatants. 
Inwardly,  the  director  was  chuckling.  This 
was  a  rare  and  delicious  bit  of  realism  which 
was  certain  to  improve  the  picture  immeasure- 
ably. 

Latimer  and  Opus,  both  decidedly  worse  for 
wear,  were  led  away  by  noisily  sympathetic 
friends. 

And  on  the  outskirts  of  the  group  which 
hovered  in  the  vicinity  of  the  royal  box,  Mr. 
Welford  Potts  seized  the  arm  of  his  friend, 
Florian  Slappey. 

"Hot  diggity  Dawg!"  exulted  Welford.  "I 
done  it!" 

"Done  which?" 

"Caused  that  fight.  You  see,  Florian,  it 
was  this  away — "  Welford's  voice  dropped  con- 
fidentially— "I  made  that  laurel  wreath  my- 
ownself." 

"You  did?" 

"I  sure  did.  And  it  was  lined  with  pieces  of 
cloth  which  was  held  together  by  safety  pins." 

Florian  shook  his  head.  "I  still  don't 
understan' — " 

"Course  you  don't.  But  you  will  when  I 
'splains  to  you  that  them  safety  pins  was  open." 


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The  Cinderella  Girl 


[  CONTINUED  FROM  PAGE  3 1  ] 


overwhelming  success.  Applause  on  every  side. 
Encouragement  on  every  lip.  Stories  that 
ranged  from  "Flaming  Youth"  to  "So  Big" — 
that  proved  Colleen  was  not  merely  a  perfect 
flapper  but  a  real  actress.  An  actress  with  real 
"artistic  ability." 

And  her  dressing  room  now.  Not  grey  or 
bleak  or  little.  But  a  three  room  bungalow 
furnished  in  green,  lined  with  silks,  carpeted 
with  soft  piled  rugs.  A  piano,  paintings,  a  fire- 
place, cushions.  Even  a  patio  with  a  tiny 
trickling  fountain.  Nothing  to  be  desired. 
All  this  on  the  United  Studio  lot  where  First 
National,  whose  brightest  star  is  Colleen, 
makes  its  pictures. 

Then  comes  the  amazing  thing — all  done  in 
whirlwind  fashion,  as  is  Hollywood's  way.  The 
United  Studios  sold  to  Lasky's  and  all  its 
tenants  must  vacate.  First  National  must 
build  a  new  studio.  They  decide  on  a  huge  site 
in  Rurbank.  Iiut  their  players  must  be  housed 
while  they  erect  the  buildings. 

SO  back  to  Fine  Arts  Studio  Colleen  is 
whisked  after  nine  years — back  to  the  same 
little  dressing  room — still  grey,  still  bleak. 
The  old  studio  may  be  crowded  back,  hidden 
by  shops  that  flaunt  gay  awnings  in  derision  ai 
the  weather-stained  green  boards,  but  the 
dressing  room  is  still  there  as  it  was  when  Col- 
leen first  entered  it.  And  Colleen,  dream-dust 
blurring  her  eyes,  halts  the  workmen  for  a 
moment.  Her  little  dressing  room  is  to  be  re- 
decorated. Partitions  are  to  be  torn  out  It  is 
to  be  remodelled  and  furnished  for  a  star.  She 
is  the  star. 

All  this  for  the  little  girl  who  dreamed  her 
dreams  within  those  very  walls  and  whose 
dreams  came  true. 

A  workman  tears  down  the  cupboard  and 
Colleen  again  can  see  those  dresses,  hung  so 
evenly.  The  shoes,  side  by  side.  She  sees  her- 
self tottering  out  on  her  first  high  heels.  Bobby 
Harron  .  .  .  Constance  Talmadge  .  .  .  Alma 
Rubens  .  .  .  dear,  kind  Mrs.  Lucy  Brown  .  .  . 

"I  can  remember  that  first  day  so  well.'' 
Colleen  says,  and  a  half-wistful  smile  crosses 
her  lips.  "Mrs.  Brown  had  charge  of  all  the 
girls  on  the  lot.  She  mothered  them  and  they 
confided  their  woes  to  her. 

"She  put  her  arm  around  me  as  we  stood 
in  the  middle  of  the  lot.  It  looked  so  big  to  me. 
Funny!  this  morning  I  walked  out  to  the 
'back  lot.'  It  seemed  like  only  a  step.  I  used 
to  think  it  was  blocks  away. 

"As  Mrs.  Brown  and  I  stood  there  a  little 
blonde  head  peeked  from  behind  a  stage. 
'Come  here,  Bessie!  I  want  you  to  meet  the 
new  girl.  Colleen,  this  is  Bessie.'  And  so  I  met 
Bessie   Love.     Another   blonde   head   peeped 


from  behind  the  stage  and  above  it,  two  blue 
eyes  peered. 

"  'Dorothy!  Lillian!  Come  over  here!  I 
want  you  to  meet  the  new  girl.  Girls,  this  is 
Colleen.  I  hope  you  will  like  it  here  with  us." 
And  so  under  Mrs.  Brown's  guidance  I  met  all 
the  girls.  Everyone  was  so  kindly — so  good 
— and  informal. 

"  Carmel  Myers  lived  near  us  and  we  walked 
the  half  mile  to  the  studio  together.  'Yoo  hoo! 
Are  you  ready,  Colleen?'  she  would  call.  And 
I'd  dash  out,  grab  her  hand  and  we  would  dash 
along  as  if  we  were  going  to  school. 

-"IT'S  different  now.  Everyone  is  changed. 
■■■Formality  has  sprung  up.  That  old  spirit  of 
camaraderie  has  gone. 

"But  there  are  ghosts.  This  passageway 
holds  them.  I  meet  them  on  every  hand. 
These  stairs  have  been  hallowed  by  real  people, 
but  their  ghosts  still  patter  up  and  down 
them." 

Colleen  paused  and  looked  over  the  railing 
down  at  the  big  stage  where  Griffith  used  to 
direct  Lillian  Gish  and  Bobby  Harron.  Where 
Paul  Powell  directed  Dorothy  Gish.  Where 
Chet  Withcy  and  Eddie  Dillon  started. 
( ihostly  hosts  that  had  peopled  the  arena. 

"We  used  to  stand  here  with  pea  shooters 
and  blow  peas  down  at  them,"  said  Colleen 
with  a  reminiscent  giggle.  And  then,  with 
sudden  seriousness:  "I'm  glad  I  didn't  have 
to  redecorate  my  little  dressing  room  myself. 
Something  would  happen  if  I  did.  Something 
always  happens.  There  is  a  hoodoo  in  it." 
And  I  thought  I  heard  the  wail  of  a  banshee, 
but  it  must  have  been  a  ghost  whispering  to 
itself  as  it  hastened  by. 

"It's  never  failed.  Every  time  I  decorate 
my  dressing  room  some  bad  luck  occurs.  It 
started  here.  Mildred  and  I  had  no  sooner 
fixed  up  that  little  room  than  the  studio  closed. 
I  went  to  Selig's  and  the  same  thing  happened. 
It  has  happened  over  and  over  again.  Finally 
I  got  my  First  National  contract  three  years 
ago. 

"  'Don't  you  dare  change  that  dressing 
room!  '  I  ordered,  but  changes  were  made  here 
and  there  and  soon  it  was  an  orchid  heart's  de- 
sire. Nothing  happened  and  I  thought  the 
spell  was  broken.  Then  a  new  contract  was 
signed  with  the  same  company  and  as  a  bonus 
I  was  given  a  dressing-bungalow.  I  moved 
into  it,  reluctantly,  I'll  admit.  It  was  so  lovely. 
I  didn't  ever  want  to  leave  it.  Then  the 
LTnited  Studios  were  sold.  You  should  see  the 
bungalow  now!  It  is  to  be  moved  to  the  new 
studio  in  Burbank  and  it  stands  like  a  shame- 
less bathing  girl  on  high  stilts,  waiting  for  the 
dray." 


The  Daddy  of  Them  All 


CONTINUED  FROM  PAGE  3$  , 


"I've  been  May  Allison's  father  more  often 
than  the  father  of  any  other  screen  star,"  he  went 
on.  "I  guess  that's  because  May  Allison  is  the 
sort  that  always  has  a  father.  And  I  want  to  tell 
you  that  she  is  one  of  the  finest,  sweetest  girls 
that  ever  lived,  on  and  off  screen.  I  almost 
feel  like  I  was  a  real  father  to  her,  do  you  know 
I  do?  Never  saw  her  do  an  unkind  thing, 
never  heard  her  say  an  unjust  one,  in  all  the 
time  I've  known  her.  And  working  on  pictures 
together  brings  out  and  shows  up  a  girl's  real 
character.  If  I  could  just  go  wandering  around 
the  world  and  pick  me  out  a  daughter  for  my 
very  own,  it  would  be  May  Allison. 

"One  thing  I'm  sorry  about.    I  regret  that 


I've  never  been  Colleen  Moore's  father.  I 
think  very  highly  of  that  young  lady's  work. 
If  I  played  her  father  I  would  be  able  to  tell  if 
she  is  as  fine  an  artist  as  I  think  she  is.  She  has 
a  great  future. 

"  Another  girl  that's  very  dear  to  my  fatherly 
screen  heart  is  Viola  Dana.  I  was  two  seasons 
with  Viola  on  the  stage  as  her  father  in  'The 
Poor  Little  Rich  Girl,'  and  I  want  to  tell  you 
right  now  that  one  of  the  saddest  things  that 
ever  happened  was  that  Viola  left  the  speaking 
stage.  She's  a  fine  little  actress  in  pictures, 
that's  true.  But  when  she  went  into  the  silent 
drama,  she  gave  up  her  greatest  gift — her 
speaking  voice.    In  all  my  years  on  the  stage, 


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l3S 


I  have  never  heard  a  more  attractive  voice 
than  Viola's,  or  one  that  lent  itself  to  more  ex- 
pression. It  used  to  amaze  everybody  in  the 
company — what  Viola  could  do  with  her  voice. 

"But  I  was  always  glad  to  be  cast  as  Viola's 
father — am  yet.  Never  any  chance  for  dull 
care  or  the  blues  to  get  hold  of  you  when  you've 
got  a  daughter  like  that  one  around.  She's  a 
sure  cure  for  the  blues.  And  that's  every  day, 
all  day  long,  too. 

"And  Anna  Q.  Nilsson  is  another  screen 
daughter  I  love  dearly.  Anna  Q.  would  give  a 
friend  her  last  dime,  and  I  think  I  have  just 
about  seen  her  do  it.  Her  heart  is  as  big  as — ■ 
all  outdoors.  Mother  just  loves  Anna  Q., 
don't  you,  Mother?" 

Mother  agreed,  from  a  distance,  that  she  did. 

"Curious,  some  of  the  trails  I've  crossed  in 
my  fifty  years.  For  instance,  I  was  Milton 
Sills'  first  father  on  the  legitimate  stage,  and 
then  I  was  his  first  screen  father,  back  in  the 
old  Metro  days,  and  now  I've  just  been  the 
father  of  Doris  Kenyon,  who  plays  his  sweet- 
heart in  '  Men  of  Steel.'  She's  a  nice,  lady-like 
girl,  by  the  way. 

MILTON  has  always  been  a— little  diffi- 
cult, as  a  son.  He  knows  so  much.  You 
know  a  father  hates  to  admit  that  hisson  knows 
more  than  he  does.  And  I  must  admit  that 
Milton  has  gone  beyond  me.  He  can  discuss 
intelligently  and  by  their  right  names  all 
sorts  of  scientific  and  academic  subjects  that 
I  don't  know  much  about. 

"I  think  my  two  favorite  sons,  if  I  really 
have  favorites  when  I  like  them  all  so  well,  are 
perhaps  Richard  Dix  and  John  Gilbert. 

"  As  I  grow-  older,  the  quality  I  value  most  in 
a  man  is  sincerity.  And  Richard  and  Jack  are 
so  much  themselves.  Richard  is  the  sort  of 
a  son  a  father  can  make  a  pal  out  of.  You  feel 
young  again,  the  same  age  as  he  is  when  you're 
with  Richard. 

"I  admire  Richard  a  lot  as  an  actor,  too. 
I  hope  people  won't  forget,  in  all  these  light 
charming  comedies  he's  doing,  the  magnificent 
work  Richard  did  in  'The  Christian'  and  'The 
Ten  Commandments.'  My  heart  bled  for  him 
in  those  two  parts,  as  one  actor  to  another.  I 
think  the  part  he  played  in  'The  Ten  Com- 
mandments' was  the  most  difficult  and  thank- 
less role  I  ever  saw  given  a  screen  star.  And 
Richard  did  it  better  than  any  other  actor  I 
know  could  have  done. 

"And  Jack  Gilbert  is  the  sort  of  son  a  man 
loves.  They  say  Jack  is  a  sort  of  nut,  as  they 
put  it  in  the  slang  phrase  of  today.  I  guess  he 
is.  But  so  lovable,  so  sincere.  I  don't  mind  if 
he  gets  a  Hawaiian  orchestra  to  play  to  him 
when  he  wants  to.  Because  he'll  turn  around 
and  do  some  big,  fine  thing  the  next  minute. 
He  is  more  like  the  old  stage  actors  than  most 
other  screen  actors  in  his  work.  And  he  takes 
his  work  more  seriously  than  any  other  screen 
actor  I  have  ever  been  a  father  to.  We  used  to 
work  out  scenes  many  a  time  together." 

Currier  went  into  pictures  in  1013,  his  first 
picture  being  with  Vitagraph  in  their  old  Long 
Island  studio.  He  had  a  home  down  on  Long 
Island  and  during  the  summer,  when  he  wasn't 
playing  in  the  theater,  he  worked  in  pictures. 
An  old  stage  pal  of  his,  John  Bunny,  first  got 
him  interested. 

During  that  year  he  played  father  to  Maurice 
Costello,  Norma  Talmadge,  Anita  Stewart, 
Clara  Kimball  Young,  Earle  Williams  and 
Lillian  Walker. 

He  went  back  on  the  stage  the  following 
year  in  Paul  Armstrong's  great  hit,  "The  Deep 
Purple,"  and  then  came  west  to  play  at  the  old 
Metro  studio,  where  he  fathered  such  celebri- 
ties as  Lionel  Barrymore,  Madame  Nazimova, 
Viola  Dana,  May  Allison  and  Harold  Lock- 
wood. 

You  can  actually  see  tears  in  his  eyes  when 
he  speaks  of  Harold  Lockwood.  "That  was  a 
great  loss,  my  boy,"  he  said,  "a  great  loss.  If 
he'd  been  spared,  he'd  be  up  at  the  top  today, 
I  promise  you  that." 

Bessie  Love,  Ethel  Clayton,  Tony  Moreno, 
Conrad  Nagel,  Eugene  O'Brien,  Jack  Mulhall, 


LONG  HOURS,  late  hours;  much  on  the 
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day.  When  they're  just  working  up  a 
strike  ENO  steps  in  and  removes  the 
grievance.  It  is  a  wise  and  conciliatory 
laxative.  For  more  than  fifty  years 
people  all  over  Europe  have  regarded 
ENO  as  a  trusted  friend. 

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136 


Photoplay  Magazine — Advertising  Section 


Feenamint 

The  Cheioine  LAXATIVE 


Why 


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Jack  Holt,  Shirley  Mason — these  were  a  few 
more  he  remembered  a  little  at  a  time  as  having 
been  among  his  family. 

"I  get  along  with  all  of  them,"  he  said, 
smiling.  "It's  very  simple.  I  love  them,  you 
know.  I  think  they  realize  that.  I  try  never 
to  criticize.  People  hate  to  be  criticized.  If 
something  is  wrong,  I  wait  for  a  good  moment 
to  tell  them,  when  it  comes  in  naturally  and  I 
can  make  them  see  it  to  their  advantage.  I 
try  to  understand  their  problems. 

"The  wise  king  of  the  Bible  was  right  when 


he  prayed  for  'an  understanding  heart.' 
That's  the  thing  I've  always  prayed  for,  that 
any  father,  a  real  one  or  a  make-believe  one 
like  me,  should  always  pray  for.  A  heart  to 
understand." 

We  sat  a  little  silent,  watching  the  surging 
river  of  Hollywood  Boulevard  at  our  feet. 

"I  hope  I  play  Dolores  Costello's  father 
soon — think  of  it,  Maurice  Costello's  little 
baby  girl,  grown  up  now  and  a  star  herself. 
Dear,  dear,  it  seems  to  me  it's  about  time  I 
started  playing  grandfathers." 


They  Called  Her  Melisande 


[  CON'TIN'CED  FROM  PAGE   IO7  ] 


He  had  taken  Florence  that  evening  to  one 
of  the  glittering  new  dance  places,  buoyed  up 
by  a  big  contract  he  had  just  closed.  Florence, 
looking  like  a  stray  moonbeam  in  a  blue  and 
silver  frock — left  over  from  the  season's  stock 
of  Freidsam  Bros.,  and  sold  to  her  at  wholesale 
price,  special  discount  to  models  in  the  trade — 
smiled  up  at  him  and  said: 

"Do  you  think  I'm  pretty?" 

"Pretty!"  Dave's  arm  tightened  about  the 
slim  form.  "You've  got  everything.  Good 
looks  and  brains  don't  travel  together  often 
but  when  they  do — wow!  And  the  best  of  it 
is  you  can  act  like  Dora,  the  beautiful  dumbbell, 
when  that's  the  best  play.  You're  crazy  in  the 
head  if  you  stick  around  Kaminsky's  much 
longer." 

pLORENCE  regarded  the  young  man  with 
-*-  wide,  serious  eyes.  They  had  gone  back  to 
their  table  and  Florence  drew  about  her 
shoulders  the  blue  and  silver  wrap,  trimmed 
in  mole  bands,  which  Mrs.  Kaminsky  had 
given  her  to  "show"  tonight. 

"But,  Dave,"  she  said,  "what  else  could  I 
do?" 

"Do?"  He  stared  at  her  for  a  moment  to 
make  sure  she  was  not  joking.  "Don't  tell  me 
you  haven't  heard  of  the  real  places — Colette's 
and  Jean  Boulanger's?" 

"No,"  Florence  shook  her  head.  "I  haven't." 

"Colette's  and  Boulanger's  aren't  whole- 
sale," Dave  explained.  "They  make  clothes 
for  society  women.    See  what  I  mean1 " 

"Oh!"  said  Florence  thoughtfully.  "Yes, 
I  see.  Do  you  think  I  should  have  gone  there 
first?" 

"No,  Kaminsky's  was  the  right  place  to 
start.  Everyone's  got  to  learn  how  to  walk, 
and  how  to  carry  clothes.  Nothing  but  routine 
teaches  you  that — you  got  to  model  or  be 
taught  in  one  of  these  swell  boarding  schools. 
But  you're  ready  for  the  big  time  now.  Have 
a  cigarette?" 

Florence  shook  her  head.  "No,  I  don't 
smoke.  I  wish  you'd  tell  me  something, 
Dave." 

"  Best  thing  I  do,"  Dave  returned  cheerfully. 
"Shoot." 

"Do  you  think  that  big  time  folks  are  born, 
or  ...  or  can  they  be  made?" 

"  Born — always.  What's  the  matter?  You 
don't  think  you're  small  time,  do  you?" 

"I  wasn't  thinking  about  myself.  It  was 
some  one  else." 

"Well,  if  you've  got  to  wonder  about  him," 
Dave  pronounced,  "you  can  be  pretty  sure  he's 
small  time.  Big  time  folks  have  it  written  all 
over  them — way  you  have.  Lord!"  he 
whistled  regretfully,  studying  her  wistful  pro- 
file, the  pale  gold  cloud  of  her  hair,  "if  you 
weren't  so  pretty  I'd  ask  you  to  cut  the  whole 
show  and  marry  me." 

"Why  .    .    .  what  do  you  mean,  Dave?" 

"This,"  he  waved  a  vague  hand  at  the  bi- 
zarre room,  with  its  black-and-gold  decorations, 
marvelously-gowned  women,  perfumed  air, 
"this — and  other  things.  What  I  mean,  we'd 
many  and  settle  down  all  nice  and  happy,  see! 
Then  some  guy  with  a  bunch  of  monej-  would 

Brer?  advertisement  in  PHOTOPLAY  MAGAZINE  is  guarantee* 


come  along.  By  that  time  you'd  be  tired  of 
taking  care  of  the  fiat,  tired  of  the  kind  of 
clothes  I  could  buy  you,  so  it'd  be — blooey! 
Not  your  fault.  Not  my  fault.  Just  New 
York." 

"I  suppose  so.    Just  New  York." 

"But  if  you  go  to  one  of  these  up-town 
places,"  Dave  resumed,  "some  rich  dame'll  be 
foolish  enough  to  come  in  there  one  day  with 
her  husband  in  tow,  or  her  son — and  there  you 
are!  If  you  play  the  game  like  you're  playing 
it  now  it'll  be  wedding  bells  for  you,  a  big 
house  on  the  right  street,  society,  an  Isotta 
Frachini  car  and  the  things  that  go  with  it. 
See?" 

Florence  said  that  she  did. 

Jean  Boulanger's  is  one  of  those  exquisite, 
new  palaces  in  the  prohibitive  Fifties — pro- 
hibitive, that  is,  unless  your  income  is  so  large 
that  it  forces  even  bank  presidents  to  be  re- 
spectful. Curtains  of  priceless  lace  veil  the 
Boulangcr  windows  from  all  but  favored  eyes. 
From  carriage  man  to  door  man  to  boy-in- 
buttons  you  are  passed  along — providing  your 
pocketbook  is  well  lined — to  a  great  marble 
staircase  winding  upward  to  a  mulberry- 
velvet-and-old-lace  atelier.  Stately  women  in 
black  velvet  conduct  you  to  the  easiest  of  easv 
chairs  and  bring  tea  in  fragile  china.  Soft 
music  floats  in  from  nowhere  in  particular  and, 
as  though  wafted  on  the  music-laden  air,  they 
drift  along,  these  wonderful  models  of  Boulan- 
ger's— wearing  such  gowns  and  hats  and  wraps 
as  only  a  poet  like  Jean  Boulanger  could 
create, 

(^\F  course,  the  models  change  frequently. 
^Perhaps  it's  the  Spanish  beauty  with  the 
wonderful  eyes  who  is  no  longer  seen.  One  asks 
questions.  One  is  told  she  has  gone  to  the 
Follies,  or  been  claimed  for  one  of  the  little 
revues.  Or  it  may  be  that  she  marries.  In 
such  cases  Jean  Boulanger  is  commissioned  to 
prepare  the  trousseau.  He  does  so — bowing 
low  before  beauty  which  has  demanded  and 
achieved  the  high  price  of  a  wedding  ring. 

"Oh,  ain't  she  be-autiful!"  the  wife  of  a 
Texas  oil  king  gasped,  clutching  at  her  com- 
panion's arm  as  a  girl  came  drifting  down  the 
room.  White  lace  was  folded  softly  about  her. 
From  her  pale  gold  hair,  held  by  a  silver  band, 
a  snowy  aigrette  drooped  to  a  snowy  shoulder. 
"Ain't  she  just  beautiful." 

The  companion  turned  to  Mile.  Yvonne — 
the  nom  de  plume  which  disguised  Mary  Anne 
Halloran,  astute  head  of  the  Boulanger  sales- 
women. 

"What's  her  name?"  she  demanded.  "That 
one  coming  now?  " 

Mile-  Yvonne  threw  out  her  hands  in  a  well- 
simulated  French  gesture. 

".Ah,  that  one!"  she  breathed.  "Melisande! 
Eet  ez  so  Monsieur  Boulanger  have  name  her. 
Melisande,  the  beautiful,  the  hapless  one!" 

Mrs.  Oil  King  nudged  her  companion.  "Did 
she  say  Melisande?  Somebody  wrote  a  piece 
about  her.  didn't  they?    What  was  it?" 

"I  dunno,"  the  companion  returned.  "Take 
a  look  at  that  lace,  will  you!" 

Farther  down  the  room  other  and  even  more 


Photoplay  Magazine — Advertising  Section 


37 


critical  eyes  were  observing  the  approach  of 
Melisande. 

"Look,"  said  Mrs.  Stuyvesant  Cutting  to 
her  son,  "at  that  wonderful  point  d'Alenam." 

CHARMING,"  agreed  Stuyvesant  Cut- 
ting, 3rd,  "charming!"  but  his  eyes  were 
not  on  the  robe  which  enfolded  Florence  Bishop. 
He  was  looking  into  limpid  blue  eyes  raised  to 
his,  wondering  at  the  sheen  on  pale  gold  hair 
held  by  a  silver  band. 

Mrs.  Cutting  motioned  the  girl  nearer, 
murmuring,  "A  crime  to  show  such  lace  pub- 
licly." 

Florence  swayed  a  step  toward  them, 
mysterious,  aloof.  The  hard  young  eyes  of 
Stuyvesant  Cutting,  3rd,  came  alive.  Little 
points  of  flame  leaped  up  in  them. 

Mrs.  Cutting  said  to  the  hovering  salesper- 
son: "Ask  Monsieur  Boulanger  to  come  here 
for  a  moment,  please.  I  wish  to  talk  with  him. 
This  gown." 

"Alas,  Madame!  Monsieur  is  but  now  on 
his  way  from  Paris.  The  gown  arrive  this 
morning.    Is  it  not  beautiful?" 

"Very."  Mrs.  Cutting  lifted  her  lorgnette 
for  another  appraisal.  "Do  you  by  chance 
know  of  its  price?" 

The  salesperson  raised  expressive  hands. 

"The  price,  Madame,  no  one  knows  but 
Monsieur  I  but  know  that  a  robe  of  the 
.Union,  less  beautiful  than  this,  we  sell  to 
Mile.  Lavorska  of  the  Opera.  A  little  gown," 
the  velvet  shoulders  shrugged  it  into  outer 
darkness,  "but  chic.  The  price  of  that  one  was 
eighteen  thousand  dollars,  but  it  could  not 
compare,  as  Madame  of  course  see — " 

The  voice  of  the  Oil  King's  lady  rose  in 
agonized  protest.  "For  Pete's  sake!  Do  you 
mean  to  tell  me  you're  going  to  charge  me 
forty-five  dollars  for  them  plain  suede  pumps, 
no  buckles  nor  nothing!  I  won't  do  it! 
Harry'd  think  I'd  gone  stark,  raving  crazy. 
Fifteen  dollars  is  enough  to  pay  for  any  shoe 
that  was  ever  wore!" 

Some  one,  with  pacifying  words,  hurried  the 
irate  lady  toward  the  seclusion  of  a  fitting 
room. 

Mrs.  Stuyvesant  Cutting  rose. 

"You  may  call  my  secretary  when  Monsieur 
Boulanger  arrives,"  she  directed.  "I  shall 
wish  to  speak  with  him  of  the  Alcncon  robe. 
Do  not  ....  er  ...  .  show  it  again  until 
I  have  done  so." 

"  But  no,  Madame." 

Salespersons  bowed  low  as  Mrs.  Stuyvesant 
Cutting  made  her  stately  exit  down  the  marble 
stairway.  While  the  great  lady  was  being 
passed  from  boy-in-buttons  to  door  man  to 
carriage  man  Mile.  Yvonne,  nee  Mary  Anne 
Halloran,  listened  intently  to  something  which 
Stuyvesant  Cutting,  3rd,  told  her,  nodded 
understanding^  and  then  went  back  to  per- 
sonally supervise  the  wardrobe  needs  of  a  new 
young  dancer,  whose  name  had  just  gone  up  in 
white  lights  on  Broadway. 

"And  that's  how  things  are,  Ted,"  Florence 
ended  her  recital  a  bit  breathlessly. 

She  was  sitting  across  from  him  in  a  little 
table  d'hote  place — a  place  quite  different  from 
the  black-and-gold  palace  which  Dave  Ettin- 
ger  had  shown  her  and  very,  very  different 
from  the  smart  supper  clubs  where  Stuyvesant 
Cutting,  3rd,  had  taken  her  to  dance  and  sup. 

Ted's  eyes  were  studying  her. 

He  said,  "So  you've  made  up  your  mind  to 
marry  this  man  you've  been  telling  me  about?" 

"Yes,"  the  word  was  a  whisper. 

"You  aren't  in  love  with  him?" 

"No — I'm  not  in  love  with  him." 

A  little  silence  fell. 

Florence  said,  "  Why  didn't  you  write  to  me, 
Ted?    I  ....  I  was  sure  you'd  write  to  me." 

"I  wanted  you  to  have  time  to  think  things 
over." 

"Oh!  Did  you  think  I'd  go  back  to  Rock- 
icrd?" 

"Perhaps." 

Another  silence. 

"Did  you  buy  the  Weston  paper,  Ted? 
Mother  wrote  that  you'd  gone  away  and  Amy 
Wilson  said  no  one  knew  where  you  were." 


"No  ....  I  didn't  buy  it." 

"What  have  you  been  doing  all  this  time?" 

"Working  on  a  newspaper." 

"In  a  little  town?" 

"Why  .  .  .  some  folks  think  it's  a  little 
own." 

"Are  you  going  to  stay  there?" 

"Yes." 

Again  silence — a  silence  alive  and  vibrant 
with  the  aching  pain  in  two  young  hearts. 
Florence  drew  the  black  satin  wrap  more 
closely  about  her,  hiding  her  hands  in  the 
fringe  that  Ted  might  not  see  how  they  were 
trembling. 

Out  of  her  pain  one  fact  was  emerging. 

She  had  failed — failed!  And  she  had  been 
so  certain  of  success. 

The  miracle  had  not  happened.  Ted  was 
letting  her  go,  letting  her  go  right  out  of  his 
life  without  protest! 

She  had  never  imagined  such  an  end  to  her 
dreams.  She  had  been  so  sure  that  Ted  would 
come  some  time  to  tell  her  she  was  worth  working 
for,  worth  the  price  she  had  put  upon  herself. 
He  would  come  to  New  York,  she  had  said, 
find  his  place  in  the  great  world,  learn  the  joy 
of  the  big  fight. 

Some  day  her  pride  in  Ted  should  equal  her 
love  for  him.  .  .  . 

Even  when  she  waited,  hurt  and  bewildered, 
for  some  word  from  him  she  had  believed  that 
things  would  come  right  for  them,  some  time. 
Things  must  come  right,  says  the  heart  of 
Eighteen  even  when  the  eyes  of  Eighteen  are 
wet  with  tears. 

Well,  they  hadn't. 

TT  had  been  with  a  shock  of  joy  that  Florence 
-^listened  to  Ted's  voice  on  the  telephone  that 
morning. 

"Hello,  Florence!    This  is  Ted." 

"Ted!"  she  gasped.  "Oh,  Ted,  you're 
really  here!" 

"Yes,  I'm  here.    Did  you  expect  me?" 

"I've  been  expecting  you  for  months  and 
months!    Why  didn't  you  write  to  me?" 

"I'll  tell  you — tonight.  I'm  coming  to  take 
you  to  dinner." 

"No,  not  tonight,  Ted.    I'm  sorry,  but — " 

"I'll  be  at  that  place  you're  living  at  six- 
thirty;"  the  receiver  clicked  ominously. 

"No,  Ted,  let  me  tell  you,"  Florence  began. 
"You  see — " 

"Party's  gone,"  said  an  impersonal  voice. 

Florence  turned  helplessly  to  the  dressing 
woman  who  waited,  a  gown  of  white  chiffon, 
frosted  in  silver,  in  her  expert  hands. 

Ted  was  here,  at  last ! 

While  Melisande,  in  white  and  silver, 
swayed  languidly  down  the  atclkr  Florence 
Bishop's  thought  raced  madly. 

Ted  was  here. 

She  would  see  him,  tonight! 

And  tonight  Stuyvesant  Cutting,  3rd,  would 
ask  her  to  marry  him!  He  had  said  as  much 
when  he  telephoned  this  morning.  All  other 
offers  had  been  made — and  rejected.  There 
had  been  gifts,  glittering  promises,  impas- 
sioned lovemaking.  Florence  had  for  a  week 
refused  to  see  him  but,  at  last,  was  granting 
him  one  evening.  What  a  pity  Ted  had  not 
telephoned  earlier!  Well,  it  couldn't  be  helped. 
Inwardly  she  blessed  the  dinner  which  would 
detain  Stuyvesant  Cutting  until  eleven.  Before 
eleven  o'clock  she  would  have  heard  from  Ted's 
lips  the  thing  she  most  wanted  to  hear — that 
he,  too,  had  learned  that  only  the  big  things 
of  life  are  worth  winning.  .  .  . 

Mile.  Yvonne  spoke:  "Melisande,  darling, 
will  you  step  here  for  just  a  moment?  Madame 
wishes  to  see  the  gown  nearer." 

Respect.     Honeyed  words. 

How  surprised  they  would  be  when  they 
learned  the  truth! 

For  weeks  Boulanger's  had  looked  on  breath- 
lessly and  shrewdly  discussed  the  hectic 
course  of  Stuyvesant  Cutting's  love-making. 
They  were  "for"  Florence,  all  of  them.  It 
began  to  look  as  though  another  Boulanger 
model  would  walk  from  the  atelier  of  Monsieur 
to  the  wider  stage  afforded  by  the  drawing 
rooms  of  New  York,  London,  Paris. 


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8-26 


Everyone  advised  Florence,  made  sugges- 
tions. Had  she  done  this?  It  might  be  wise 
to  do  so.  When  she  told  the  models  and  sales- 
women one  day  that  she  was  no  longer  seeing 
Stuyvesant  Cutting  a  wail  went  up  which 
shook  the  polite  draperies  at  the  jealously- 
guarded  windows. 

What  did  she  mean?  Didn't  she  know  there 
was  a  chance  he  might  marry  her? 

Only  Mile.  Yvonne  remained  calm.  She 
silenced  the  clamor  with  a  vigorous,  "Be  still 
now,  all  of  you!  Sure  Melisande  knows  what 
she's  about.  Haven't  I  been  watchin'  her? 
Not  another  girl  in  New  York  could  a  landed 
Stuyvesant  Cutting  like  she  has — haven't  they 
tried?  'Tis  the  cool  and  cautious  way  that 
does  it,  every  time."  Mary  Anne  Halloran 
patted  Florence's  hand  approvingly.  "Keep 
on  cool  and  cautious  for  just  a  bit  longer, 
dearie,  and  we'll  yet  see  you  comin'  in  here  to 
order  gowns,  grand  and  genteel  with  your  old 
frozen-face  mother-in-law,  and  us  breaking 
our  necks  to  serve  you!" 

\A  EI.ISANDE  sighed,  languidly,  half  turned 
■'■''''■before  a  great  mirror,  gently  waved  the 
huge  fan  of  emerald  green  feathers,  furled 
it  and  continued  on  her  triumphal  way. 

Mrs.  Stuyvesant  Cutting,  3rd,  would  have 
wealth,  a  great  house  in  the  East  Seventies  .  . 
Southampton  .  .  .  Paris  .  .  .  the  Cutting 
jewels.  .  .  . 

And  in  her  heart  Florence  Bishop  knew  she 
could  turn  her  back  on  all  these  things — 
gladly,  joyfully — were  Ted  Merrill  to  claim  the 
gifts  life  holds  for  the  taking. 

He  had  not  claimed  them.  Ted  seemed  not 
to  notice  the  two  hands  she  held  toward  him 
when  she  came  into  the  stuffy  little  boarding 
house  parlor,  where  he  waited. 

He  spoke  in  a  curious,  stilted  sort  of  voice. 

"How  are  you.  Florence?  I  heard  some  news 
about  vou  todav — after  I'd  telephoned." 

"Oh"!    What  news?" 

Ted,  watching  the  color  flood  swiftly  across 
her  exquisite  face,  yearned  savagely  l"  sweep 
Florence  into  his  arms  and  carry  her  off,  in 
the  way  of  a  certain  young  man  called  Loch- 
invar,  but  he  only  said: 

"I  heard  that  you  are  going  to  be  married" 

"Did  you?"  for  the  life  of  her  Florence  could 
say  nothing  else. 

"Yes  ...  is  it  true?" 

A  sudden  red  flame  of  anger  swept  through 
Florence,  shaking  her  like  a  leaf.  How  dare 
he!  How  dare  Ted  talk  to  her  like  this?  He 
who  had  never  once  written,  never  come  to 
claim.  .  .  . 

"Yes,"  she  said  quietly,  "it  is  true." 

There  was  silence  between  them  for  a  few 
moments. 

Ted  broke  it  at  length: 

"Shall  we  go  to  dinner?"  he  said.  "I'm 
sorry  I  insisted  on  claiming  your  evening.  I 
did  not  know  .   .  .  then." 

"It's  perfectly  all  right,"  Florence  returned 
indifferently.  "I  shall  see  Mr.  Cutting  later 
in  the  evening." 

Sitting  opposite  Ted  in  the  little  table  d'hote 
place,  Florence  told  him  quite  calmly  of  the 
successive  steps  in  her  New  York  life — steps 
which  were  leading  toward  a  great  house  in  the 
East  Seventies. 

In  her  heart  a  voice  kept  repeating:  "Oh, 
why  doesn't  he  slop  me?  Why  doesn't  he  say 
he  will  not  let  me  marry  this  man?  Why 
doesn't  he  say  that  he  loves  me?" 

Aloud  she  said:  "It's  quite  wonderful,  isn't 
it?" 

Ted  replied  in  a  careful,  colorless  voice, 
"Yes,  very." 

Silence. 

After  a  time  Ted  spoke  again:   "If  I   had 


come  to  New  York,  when  you  wanted  me  to 
come  .  .  .  and  had  won  .  .  .  would  you  have 
been  content  to  marry  me?" 

For  a  moment  Florence  was  silent,  struggling 
desperately  with  the  tears  which  threatened  to 
reach  her  eyes  and  brim  over,  then  she  faced 
him  bravely  enough:     "Yes,  Ted." 

He  rose  abruptly. 

"Let's  get  out  of  this.  I  ...  I  don't  like 
it  here.  Anyway,  I  suppose  you're  in  a  hurry 
to  get  back." 

"Oh,  Ted!" 

The  whisper  did  not  reach  Ted's  ears. 
Resolutely  Florence  locked  her  lips  on  a  sob 
and  walked  beside  him  in  silence  to  the  door. 

The  crowds  in  the  street  had  thinned.  New 
York  had  dined  and  hurried  on  to  the  pictures, 
opera,  the  theater.  The  March  evening  was 
mild,  balmy.  In  the  florist's  windows,  dog- 
wood, tulips  and  slender  narcissus  announced 
the    passing   of   winter. 

Above  the  roaring  streets  spring  drifted 
down  (he  wind. 

Ted  beckoned  a  taxi. 

"It's  not  yet  eleven,"  he  said,  "would  you 
like  1o  drive  in  the  park  for  a  little  while?" 

"Yes.     Yery  much." 

Again  silence.  The  whir  of  passing  motors 
was  a  hopeless  sound,  beaten  out  by  the  feet 
of  pain. 

Ted  spoke:  "There's  something  I  might  as 
well  tell  you.  I  hadn't  intended  to,  but  ...  I 
suppose  it  doesn't  matter  especially.  You  see, 
I — well,  I  came  to  New  York  some  time  ago." 

"You  did  what?"  She  turned  toward  him 
swiflly.    "What  are  you  saying,  Ted?" 

"I  came  to  New  York.  I've  been  here  for 
some  time.  I  .  .  .  couldn't  stand  Rockford 
after  you'd  gone  ...  so  I  made  up  my 
mind.  .  .   " 

"Yes,  Ted.     Go  on.  pleaset" 

"I  began  to  see  that  you'd  been  right  .  .  . 
lhi.se  things  you  said  .  .  .  that  it's  only  the 
big  struggle  which  counts,  and  ...  so  I 
1  ame." 

"Oh,  why  didn't  you  tell  me?" 

"Pride,  I  suppose."  He  laughed  harshly. 
"I  wanted  to  do  something,  to  have  something 
lo  show  you.  I  wanted  to  say,  'Look,  this  is 
what  I've  done  for  you.'" 

"Yes,"  the  girl  beside  him  said  softly,  "yes, 
of  course  you  did!" 

"Y\  TELL,  I  haven't,  yet.     I  went  to  work 

W  on  a  newspaper  here.  I've  tried  hard 
enough,  the  Lord  knows,  and  some  time,"  the 
young  face  was  set  in  resolute  lines,  "I'll  make 
good;  I  know  it.  New  York's  got  me  and  I'm 
on  my  way.  There  isn't  a  thing  on  earth  can 
stop  me  now — not  even  losing  yon.  Why, 
Florence!    What  have  I  said?    What — " 

"Oh,  Ted!  Ted!"  Florence  was  holding 
his  hands  tightly,  sobbing,  laughing,  all  in  one 
breath.  "Don't  you  sec?  That's  all  I  want. 
I  know  you'll  win.  I've  always  known  it. 
All  I  wanted  was  to  see  you  begin  to  fight!" 

"You  mean  to  say — "  Ted's  hands  were  on 
her  shoulders,  shaking  her,  "you'll  wait  for 
me?    You  mean  that?" 

"Why,  of  course  I'll  wait — if  you  want  me 
to.  But  .  .  .  but  why  can't  we  be  married 
now?  I  mean — "  the  next  words  were  smoth- 
ered against  Ted's  shoulder. 

After  a  while  he  said:  "I  suppose  you  ought 
to  go  home  and  tell  the  Cutting  person  he's 
out." 

Florence  sighed  blissfully. 

"Let's  not  bother  about  the  Cutting  per- 
son," she  murmured.  "I  want  to  drive  with 
you  through  the  park.  Ted — forever." 

Another  interval.  Then  Ted  said.  "You  can 
telephone  him  tomorrow,  after  the  City  Hall 
opens.     We'll  be  married  then." 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


l39 


"PADLOCKED"  —  Paramount.  —  From 
the  story  by  Rex  Beach.  Adapted  by  Becky 
Gardiner.  Directed  by  Allan  Dwan.  The 
cast:  Henry  Gilbert,  Noah  Beery;  Monte  Her- 
man, Charles  Lane;  Norman  Van  Pelt,  Allan 
Simpson;  Frank  Clark,  Richard  Arlen;  ".Sunny" 
Galloway,  Douglas  Fairbanks,  Jr.;  Lorelli, 
Andre  Lanoy;  Edith  Gilbert,  Lois  Moran;  Mrs. 
Lois  Aleotl,  Louise  Dresser;  Belle  Galloway, 
Helen  Jerome  Eddy;  Mrs.  Alice  Gilbert,  Flor- 
ence Turner;  Mrs.  Galloway.  Josephine  Crowell; 
Blanche  Galloway,  Charlotte  Bird;  Pearl 
Gates,  Irma  Kornelia. 

"GOOD  AND  NAUGHTY"— Paramount. 

— Adapted  from  the  stage  play  by  Avery  Hop- 
wood.  Scenario  by  Pierre  Collings.  Directed 
by  -Malcolm  St.  Clair.  Photography  by  Bert 
Glennon.  The  cast:  Gcrmaine  Morris,  Pola 
Negri;  Gerald  Gray,  Tom  Moore;  Bunny  West, 
Ford  Sterling;  Claire  Fcnton,  Miss  Dupont; 
Thomas  Fcnton,  Stuart  Holmes;  Chouchou 
Rouselle,  Marie  Mosquini;  "Bad  News"  Smith, 
Warner  Richmond. 

"THE  DEVIL  HORSE"— Pathe— Story 
by  Hal  Roach.  Directed  by  Fred  Jackman. 
Photography  by  Floyd  Jackman,  A.  S.  C,  and 
George  Stevens.  The  cast:  King  of  Horses, 
Rex;  Lady,  A  Silver  Mare;  The  Killer,  A  Black 
and  White;  Dave  Garson,  Yakima  Canutt; 
Marion  Morrow,  Gladys  McConnell;  Prowling 
Wolf,  Robert  Kortman;  Major  Morrow,  Roy 
Clements;  Young  Dave,  Master  Fred  Jackman. 

"SILENCE"  —  Producers  Dist.  Corp. — 
From  the  play  by  Max  Marcin.  Adaptation 
by  Beulah  Marie  Dix.  Directed  by  Rupert 
Julian.  Photography  by  Peverell  Narley.  The 
cast :  Norma  Drake,  Norma  Powers,  Vera  Rey- 
nolds; Jim  Warren,  H.  B.  Warner;  Harry  Sil- 
vers, Raymond  Hatton;  Phil  Powers,  Rock- 
cliffe  Fellowes;  Arthur  Lawrence,  Jack  Mulhall; 
Mollic  Burke,  Virginia  Pearson. 

"SPARROWS"— United  Artists.— Origi- 
nal story  by  Winifred  Dunn.  Adaptation  by 
C.  Gardner  Sullivan.  Directed  by  William 
Beaudine.  Photography  by  Charles  Rosher, 
Hal  Mohr  and  Karl  Struss.  The  cast:  Mama 
Mollic,  Mary  Pickford;  Grimes,  Gustav  von 
Seyffertitz;  Richard  Wayne,  Roy  Stewart; 
Doris  Wayne,  Mary  Louise  Miller;  Mrs. 
Grimes,  Charlotte  Mineau;  Ambrose  Grimes, 
Spec  O'Donnell;  Bailey,  Lloyd  Whitlock;  Bis 
Confederate,  A.  L.  Schaeffer;  Hog  Buyer,  Mark 
Hamilton;  Splutters,  Monty  O'Grady;  The 
Sparrows:  Muriel  McCormac,  Billy  Jones, 
Cammilla  Johnson,  Mary  McLane,  Billy  Butts, 
Jack  Lavine,  Florence  Rogan,  Sylvia  Bernard, 
Seessel  Anne  Johnson. 

"SAY  IT  AGAIN"— Paramount.  —  Orig- 
inal story  by  Luther  Reed  and  Ray  Harris. 
Scenario  by  Ray  Harris  and  Dick  Friel. 
Directed  by  Gregory  La  Cava.  Photography 
by  Ed.  Cronjager.  The  cast:  Bob  Howard, 
Richard  Dix;  Princess  Elena,  Alyce  Mills; 
PrinccOlto  V,  Chester  Conklin;  Gunner  Jones, 
"Gunboat"  Smith;  Baron  Ertig,  Bernard  Ran- 
dall; Count  Tanza,  Paul  Porcasi;  Marguerite, 
Ida  Waterman;  Prime  Minister  Stcmnder, 
William  Ricciardi. 

"ELLA  CINDERS"— First  National.  — 
Adapted  from  the  comedy  strip  by  William 
Conselman  and  Charles  Plumb.  Directed  by 
Alfred  E.  Green.  The  cast:  Ella  Cinders, 
Colleen  Moore;  Waite  Lifter,  Lloyd  Hughes; 
"Ma"  Cinders,  Vera  Lewis;  Lotla  Pill,  Doris 
Baker;  Prissy  Pill,  Emily  Gerdes;  Film  Studio 
Gateman,  Mike  Donlin;  the  Mayor,  Jed  Prouty; 
The  Fire  Chief,  Jack  Duffy;  The  Photographer, 
Harry  Allen;  The  Editor,  D'Arcy  Corrigan;  Al 
Green,  Director,  By  Himself. 


"PARIS"  —  Metro-Goldwyx-Mayer.  — 
Story  by  Edmund  Goulding.  Director,  Ed- 
mund Goulding.  The  cast:  Jerry.  Charles  Ray; 
The  Girl,  Joan  Crawford;  The  Cat,  Douglas  Gil- 
more;  Rocco.  Michael  Visaroff;  Marcellc,  Rose 
Dione;  Pianist,  Jean  Galeron. 

"LOVEY  MARY"  —  Metro-Goldwyn- 
Mayer. — Story  by  Alice  Hegan  Rice.  Di- 
rected by  King  Baggot.  Adapted  by  Agnes 
Christine  Johnston  and  Charles  Maigne.  The 
cast:  Mary  Rider,  Bessie  Love;  Kate  Rider, 
Eileen  Percy;  Billy  Wiggs,  William  Haines; 
Mrs.  Wiggs,  Mary  Alden;  Miss  Hazy,  Vivian 
Ogden;  Stubbins,  Russell  Simpson;  Miss  Bell, 
Martha  Mattox;  Tommy,  Jackie  Combs;  Baby 
Tommy,  P'reddie  Cox. 

"  RANSON'S  FOLLY  "  —  First  National. 
— From  the  story  by  Richard  Harding  Davis. 
Scenario  by  Lillie  Hayward.  Directed  by  Sid- 
ney Olcott.  The  cast:  Lieutenant  Ranson, 
Richard  Barthelmess;  Mary  Cahill,  Dorothy 
Mackaill;  Cahill,  the  post  trader,  Anders  Ran- 
dolf;  Sergeant  Clancy,  Pat  Hartigan;  Lieuten- 
ant Crosby,  Wm.  Norton  Bailey;  Lieutenant 
Curtis,  Brooks  Benedict;  Colonel  Bolland,  Col. 
C.  C.  Smith,  U.  S.  A.;  Mrs.  Bolland,  Pauline 
Neff;  Mrs.  Trucsdalc,  Billie  Bennett;  Post 
Adjutant.  Frank  Coffyn;  Judge  Advocate.  Capt. 
John  S.  Peters;  Capt.  Carr,  Taylor  Duncan; 
Colonel  Patten,  Jack  Fowler;  "Pop"  Hender- 
son, E.  W.  Borman;  Abe  Fisher,  Bud  Pope; 
Drummer,  Forrest  Seabury;  Indian  Pete. 
Chief  Eagle  Wing;  Chief  Standing  Bear,  Chief 
Big  Tree. 

"A   TRIP   TO   CHINATOWN"— Fox  — 

From  the  play  by  Charles  Hoyt.  Scenario  by 
Beatrice  Van.  Directed  by  Robert  P.  Kerr. 
The  cast:  Alicia  Guyer,  Margaret  Livingston; 
Wetland  Strong,  Earle  Foxe;  BenjaminStrong, 
J.  Farrell  McDonald;  Ohtai,  Anna  May  Wong; 
Norman  Blood,  Harry  Woods;  Rose  Blood, 
Marie  Astaire;  Marion  Haste,  Gladys  McCon- 
nell; Gayue  Wilder.  Charles  Farrell;  Henrietta 
Lott,  Hazel  Howell;  Slavin,  Wilson  Benge; 
Tulung,  George  Kuwa. 

"THE  BROWN  DERBY"  —  First  Na- 
tional.— Story  by  Bert  Wheeler.  Adaptation 
by  F.  S.  Merlin  and  Brian  Marlowe.  Directed 
by  Charles  Hines.  The  cast:  Tommy  Burke, 
Johnny  Hines;  Edith  Worthing,  Diana  Kane; 
Betty  Caldwell,  Ruth  Dwyer;  Aunt  Anna,  Flora 
Finch;  John  J.  Caldwell,  Edmund  Breese; 
Captain  Shay,  J.  Barney  Sherry;  Robert  Farrell, 
Bradley  Barker;  Adolph  Plummer,  Herbert 
Standing;  Frank  Boyle,  Harold  Foshay;  Sam, 
Bob  Slater. 

"UP  IN  MABEL'S  ROOM "  —  Producers 
Dist.  Corp. —  From  the  stage  play  by  Will- 
son  Collison  and  Otto  Harbach.  Directed  by 
E.  Mason  Hopper.  Photography  by  Hal 
Rosson  and  Alex.  Phillips.  The  cast:  Mabel 
Ainsworth.  Marie  Prevost;  Garry  Ainsworth, 
Harrison  Ford;  Sylvia  Wells,'  Phyllis  Haver; 
Jimmy  Larchmont,  Harry  Myers;  Alicia,  Sylvia 
Breamer;  Leonard  Mason,  Paul  Nicholson; 
Arthur  Walters,  Carl  Gerard;  Henrietta,  Maud 
Truax;  Hawkins,  William  Oi\a.monA;  Simpson, 
Arthur  Hoyt. 

"MISS  NOBODY"— First  National.  — 
Adapted  from  the  story  by  Tiffany  Wells. 
Directed  by  Lambert  Hillyer.  The  cast:  Bar- 
bara Brown,  Anna  Q.  Nilsson;  Bravo,  Walter 
Pidgeon;  Mazie  Raleigh,  Louise  Fazenda;  Har- 
mony, Mitchell  Lewis;  Bertie,  Clyde  Cook; 
Happy,  Arthur  Stone;  /.  B.  Hardiman,  Anders 
Randolf;  Ann  Adams,  Claire  du  Brey;  The 
Farmer,  Jed  Prouty;  His  Wife,  Caroline  Ran- 
kin; The  Sheriff,  George  Nichols;  Miriam  Ar- 
nold, Oleta  Otis;  Police  sergeant,  James  Gordon; 
Sideshow  Spieler,  Fred  Warren. 


[a rr Li ola  Master 


heater/ 


WHETHER  it's  soft  music  on  the 
water  or  dizzy  jazz  inside,  the  Carry- 
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pack  it  into  auto,  trunk  or  duffel  bag. 
It's  strong — treat  it  rough  and  take  it 
anywhere.  Enjoy  big  model  performance 
at  a  fraction  of  the  cost. 
The  Carryola  Master  is  the  ideal  "portable.  ' 
Carries  easily.  PackB  easily.  Holds  15  full-sized 
records.  Plavs  all  makes.  Comes  in  four  attractive 
colors  and  black— all  in  Genuine  Du  Pont  Fabn- 
koid  with  2  Tone  Embossed  Art  Cover  and  Record 
Album. 


Sold  at  the  b. 


One  Drop 

Stops  most  painful  corn 
in  3  seconds 


HERE  is  a  new  and  totally  dif- 
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You  wear  tight  shoes,  walk,  dance, 
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like  a  local  anaesthetic;  really  amazing. 

Then  soon  the  corn  shrivels  and 
loosens.  You  peel  it  off  with  your 
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Works  alike  on  any  corn  or  callus, 
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rnOTOPLAY  MAGAZINE. 


i  ,  o  Photoplay  Magazine — Advertising  Section 

CLASSIFIED    ADVERTISING 


Rate  40  cts.  per  word. 
FORMS  FOR  OCTOBER  ISSUE  CLOSE  AUGUST  TENTH 


AGENTS    AND    SALESMEN 


IF  YOU  WANT  TO 
i  in  the  selling  field, 
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Just  the  book  that  over  50.000.000  movin  fans  have 
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PATENTS 


INVENTORS  DESIRING  TO  SECURE  PATENTS 
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PATENTS— WHITE  FOR  FREE  GUIDE  BOOKS 
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Publishers'  Address:  Dept.  PM8,  750  No.  Michigan  Ave.,  Chicago 


On  Sale  at  All 
ewsstands 


"THE  WISE  GUY"— First  National.  — 
Story  by  Jules  Furthman.  Directed  by  Frank 
Lloyd.  The  cast:  Mary,  Mary  Astor;  Guy 
Watson,  James  Kirkwood;  Hula  Kate,  Betty 
Compson;  Horace  Palmer,  George  F.  Marion; 
Ala  Palmer,  Mary  Carr  The  Bozo,  George  F. 
Cooper. 

"THE  UNKNOWN  SOLDIER"  —  Pro- 
ducers Dist.  Corp. —  From  the  story  by 
Dorothy  Farnum.  Adaptation  by  James  J. 
Tynan.  Directed  by  Renaud  Hoffman.  The 
cast:  Fred  Williams,  Charles  E.  Mack;  Mary 
Phillips,  Marguerite  de  la  Motte;  Mr.  Phillips, 
Henry  B.  Walthall;  His  Sister,  Claire  Mc- 
Dowell; Mrs.  Williams,  Ethel  Wales. 

"THE  FLAME  OF  THE  YUKON"— Pro- 
ducers Distributing  Corp. — From  the  story 
by  Monte  Katterjohn.  Adapted  by  Finis  Fox 
and  Will  M.  Ritchey.  Directed  by  George 
Melford.  The  cast:  The  Flame,  Seena  Owen; 
George  Fowler,  Arnold  Gray;  Black  Jack  Hovey, 
Matthew  Betz;  Sour  Dough  Joe,  Jack  McDon- 
ald; Solo  Jim,  Vadin  Uraneff;  Dolly,  Winifred 
Greenwood. 

"THE  LOVE  THIEF"— Universal.— 
Based  on  the  story  by  John  McDermott. 
Directed  by  John  McDermott.  The  cast: 
Prince  Boris  Alexander  Emanuel  Augustus, 
Norman  Kerry;  Princess  Flavia  Eugenia 
Marie,  Greta  Nissen;  Prince  Karl,  Marc  Mc- 
Dermott; Countess  Leopold  Marjcnka,  Cissy 
Fitzgerald;  King  Ladislov,  Augustino  Borgato; 
Queen,  Carry  Daumery;  Captain  Emanuel 
Menisurgo,  Nigel  Barrie;  Napoleon  Alexander 
Caesar  Yladmir  Glut:,  Charles  Puffy;  Prince 
Mil  had,  Clarence  Thompson;  BerzojJ,  Al- 
phonse  Martel;  Aide  to  King,  Anton  Vaverka; 
Captain,  Lido  Manetli. 

"SHIPWRECKED"  —  Producers  Dist. 
Corp.  —  Story  by  Langdon  McCormick. 
Adaptation  by  Finis  Fox.  Directed  by  Joseph 
Henabery.  The  cast:  Lois  Austin,  Seena 
Owen;  Larry  O'Xcil,  Joseph  Schildkraut;  Capt. 
Klodel,  Matthew  Betz;  Red  Gowland,  Clarence 
Burton;  Zanda,  Laska  Winter;  John  Beacon, 
Lionel  Belmore;  Chumblcy,  Erwin  Connelly. 

•THE  FRONTIER  TRAIL"  —  Pathe.— 
Story  by  E.  Richard  Schayer  and  Basil  Dickey. 
Directed  by  Scott  R.  Dunlap.  Photography 
by  Sol  Polito,  A.  S.  C.  The  cast:  Jim  Cardi- 
gan, Harry  Carey;  Dolly  Mainard.  Julienne 
Mabel  Scott;  Capl.  Black-well,  Ernest  Hilliard; 
Shad  Donlin,  Frank  Campeau;  Pawnee  Jake, 
Nelson  McDowell;  Major  Mainard,  Charles 
Hill  Mailes;  Sergeant  O'Shea,  Harvey  Clark; 
Mrs.  O'Shea,  Aggie  Herring;  Chief  Gray  Wolf, 
Chief  Big  Tree. 

"BUCKING  THE  TRUTH"— Universal. 
— Story  by  J.  Inman  Kane.  Directed  by  Mil- 
bourne  Morante.  Photography  by  Richard 
Fryer.  The  cast:  Slim  Duanc,  Pete  Morrison; 
"Coarse  Gold"  Charlie,  Brimsley  Shaw;  Mali 
Holden,  Bruce  Gordon;  Ebcn  Purkiss,  William 
La  Roche;  Red  Sang,  Charles  Whittaker;  Anne, 
lone  Reed;  Tom  Bailey,  O.  Robertson;  Sheriff 
Findlay,  Vester  Pegg. 

"THREE  WEEKS  IN  PARIS"— Warners. 
— Story  by  Gregory  Rogers.  Scenario  by 
Darryl  Francis  Zanuck.  Directed  by  Roy  del 
Ruth.  Photography  by  David  Abel.  The 
cast:  Oswald  Bales,  Matt  Moore;  Mary 
Brown.  Dorothy  Devore;  Gus  Billikins,  Wil- 
lard  Louis;  Dolly  Winters,  Helen  Lynch;  Duke 
Laporlc.  Gayne  Whitman;  Bruce  Gordon,  John 
Patrick;  Alex  Darrows,  Frank  Bond;  Mrs. 
Brown,  Nora  Cecil. 

"RUSTLER'S  RANCH"  —  Universal.  — 
Story  by  W.  C.  Tuttle.  Scenario  by  E.  Rich- 
ard Schayer.  Directed  by  Cliff  Smith.  Photog- 
raphy by  Eddie  Linden.  The  cast:  Lee 
Crush.  Art  Acord;  Lois  Shawn,  Olive  Has- 
brouck;  Ephraim  Boggs,  Duke  R.  Lee;  Bud 
Harvey,  George  Chesbro;  Mary  Shawn,  Edithe 
Yorke;  Clem  Allen,  Matty  Kemp;  Mike  Car- 


Evers  advertisement  In  rnoTOrLAT  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


ney,  Albert  Prisco;  "Bull"  Dozicr,  Stanton 
Heck;  Tcssie,  Lillian  Worth;  SlicriJJ  Collins, 
Red  Bassett. 

"  CHASING  TROUBLE  "  —  Universal.— 
From  the  story  by  Frank  Beresford.  Directed 
by  Milbourne  Morante.  Photography  by  Jack 
Young.  The  cast:  "Blizz"  'Ballard,  Pete 
Morrison;  Emily  Gregg,  lone  Reed;  Jerome 
Garrett,  Tom  London;  Judge  Gregg,  Roy  Wat- 
son; Sal  Karney,  Frances  Friel;  Steve  Karney, 
Elmer  Reel;  Sheriff  Blynn,  Milton  Fahrney; 
Carnegie  MeCue,  Jew  Bennett;  Sleek,  J.  A. 
Wiley;  O'Riclly,  Al  Richmond;  Munn,  Skeeter 
Bill  Robbins;A/~<7  Flaherty,  Lily  Harris;  Bar- 
tender, Fred  Gamble. 

"HANDS  ACROSS  THE  BORDER"— F. 
B.  O  —  Story  by  Frank  M.  Clifton.  Directed 
by  David  Kirkland.  Photography  by  Ross 
Fisher.  The  cast:  Fred  Drake,  Fred  Thomson; 
John  Drake,  Tyrone  Powers;  Ysdbel  Castro, 
Bess  Flowers;  Grimes,  William  Courtwright; 
Don  Castro,  Clarence  Goldert;  Brecn,  Tom 
Santschi. 

"GLENISTER  OF  THE  MOUNTED"  — 
F.  B.  O. — Story  by  Arthur  Guy  Empey. 
Directed  by  Harry  Garson.     The  cast:    Ser- 


geant Richard,  Lefty  Flynn;  Elizabeth  Danrock, 
Bess  Flowers;  Jack  Danrock,  Lee  Shumway; 
Thorald  Danrock,  Walter  James;  Rafferty, 
Jim  Gibson;  Sergeant  Major  Willis,  Arthur 
Millette. 

"THE  GENTLE  CYCLONE"  —  Fox.  — 
From  the  story  by  F.  W.  Buckley.  Scenario  by 
Thomas  Dixon,  Jr.  Directed  by  W.  S.  Van 
Dyke.  The  cast:  A.  E.  M.  Wales,  Buck  Jones; 
June  Prowitt,  Rose  Blossom;  Marshall  Senior, 
Will  Walling;  Marshall  Junior,  Reed  Howes; 
Wilkes  Senior,  Stanton  Heck;  Wilkes  Junior, 
Grant  Withers;  Mary  Wilkes,  Kathleen  Myers; 
Adcle  Marshall,  Marion  Harlan;  Sheriff  Gar- 
field, Oliver  Hardy;  Judge  Summerficld,  Jay 
Hunt. 

"THE  MARRIAGE  CLAUSE"  —  Uni- 
versal.— From  the  story  by  Dana  Burnett. 
Scenario  by  Lois  Weber.  Directed  by  Lois 
Weber.  Photography  by  Hal  Mohr.  The 
cast:  Barry  Townscnd,  Francis  X.  Bushman; 
Sylvia  Jordan,  Billie  Dove;  Max  Ravenal,  War- 
ner Oland;  Mildred  LeBlanc,  Grace  Darmond; 
Dr.  Dickson,  Henry  LaGarde;  Pansy,  Caroline 
Snowden;  Sam,  Oscar  Smith;  Critic,  Andre 
Cheren;  Secretary,  Robert  Dudley;  Stage  Man- 
ager, Charles  Meakin. 


Brief  Reviews   of  Current   Pictures 


[  CONTINUED  FROM  PAGE  1 5  ] 


SEVENTH  BANDIT,  THE— Pathe.— A  splendid 
Western  that  grownups  and  children  should  not  over- 
look. Harry  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.) 

SHAMROCK  HANDICAP,  THE  —  Fox."— Trot 

yourself  down  to  the  first  theater  showing  this  if  you 
want  an  evening's  fun — and  that's  not  blarney. 
(July.) 

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.) 

SILKEN  SHACKLES— Warner  Bros.— A  splendid 
cast  gone  to  the  four  winds  because  of  a  poorly  de- 
veloped plot.     (July.) 

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.) 

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.) 

SOCIAL  CELEBRITY,  A— Paramount.— Adolphe 
Menjou.  as  an  ambitious  young  shaver,  borrows  some 
clothes  and  becomes  the  toast  of  New  York.  Another 
fascinating  Menjou  picture.     (July.) 

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— Metro-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  ILISTEN— 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  you  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.) 

TIME,  THE  COMEDIAN— M-G-M.— Worth  see- 
ing for  the  good  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.) 

TONY  RUNS  WILD— Fox.— Tom  Mix  in  an 
average  Western.     (July.) 

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  new  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.) 


Irene  Rich,  Clive  Brook,  in  Compromise, 
a  Warner  Brothers  production 

Their  hair  defies 
summer  breezes 

LONG  evenings,  hatless,  out- 
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takes  more  than  ordinary  brushing 
to  keep  your  hair  smooth,  in  place. 
Defy  summer  breezes — with 
Stacomb!  Keep  your  hair  lus- 
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comb counteracts  dandruff,  too. 
In  jars,  tubes  and  liquid  form.  All 
drug  stores. 

FREE  OFFER 

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Send  free  sample  of  Stacomb  as  checked  :— 
Cream  form  D-        Liquid  form  Q. 


Nan 


Has  No  Gas  Now! 

Once  a  woman  of  her  age  had  to  be  careful. 
Today,  she  eats  anything  she  wants!  A  Stuart 
tablet — and  after-eating  distress  vanishes. 

Chew  a  Stuart  tablet  after  the  heartiest  meal, 
and  you,  too,  can  smile  at  indigestion.  Stops  all 
gas  and  belching.  Ends  sour  risings,  belching. 
A  little  alkaline  is  all  your  stomach  needs! 

Full  Box  FREE! 

Every  druggist  has  Stuart's  tablets,  25c  and 
60c.  Or,  a  full  ban  free  if  you  write  the  F.  A. 
Stuart  Company.  Dept.  256,  Marshall,  Mich. 
Get  a  metal  box  of  Stuart's  for  the  pocket — and 
keep  it  filled!  Hearty  eaters— hard  smokers — 
high  livers — find  Stuart's  a  boon  and  blessing! 

STUARTS 

DYSPEPSIA  TABLETS 


a.lvertlwrs  please  mention  PTTOToPI.AY  MAGAZINE. 


142 
at  mm 


Photoplay  Magazine — Advertising  Section 


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

TUMBLEWEEDS— 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  Kenyon  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.) 

UNTAMED  LADY,  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  photograph v 
lift  it  above  the  ranks.      (June.) 

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.) 

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.) 

WET  PAINT— Paramount.— Raymond  Griffith  in 
a  great  film  for  those  to  whom  fun  is  fun.     (July.) 

WHEN  LOVE  GROWS  COLD— F.  B.  O  — 
Natacha  Rambova  (Mrs.  Rudolph  Valentino)  docs 
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  ac  the  cast — H.  B.  Warner, 
John  Bowers,  Lillian  Rich  and  Ltlvan  Tashman. 
{May.) 

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

WILD    TO    GO— F.     B.     O.— Tom    Tyler    and 

Fmnkie  Darro  prove  to  be  n  splendid  combination  in 
Westerns.     It's  worth  seeing.     (July.) 

WILDERNESS  WOMAN,  THE— First  National. 
— Mild  entertainment.  Chester  Conklin  gives  an  ex- 
cellent performance  as  a  rough  miner  with  a  million. 
[July.) 

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  ajzain,  especially  the  children.  Olive  Borden. 
the  heroine,  is  most  appealing  and  attractive.  (April.) 

YELLOW    FINGERS— Fox.— There    is    a    little 

beauty  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.) 


Brickbats  and  Bouquets 


(  CONTINUED  FROM  PAGE  12  ] 

do  not  drain  their  date's  flask — do  not  neck  all 
evening — do  not  swim  at  a  party  "a  la  nature" 
and — oh,  a  million  other  things  equally  thrilling 
to  think  about,  but  not  so  hot. 

I'll  admit  we  make  our  first  house  parties  at 
the  age  of  fourteen,  and  smoke  a  little,  drink 
less  (and  that  in  private)  and  "PET"  ugh! — 
not  at  all,  if  we  want  to  "rate." 

Xow  this  sounds  like  a  morality  lesson  or  a 
"keep  clean  girls"  lecture,  but  it's  not! 

We're  just  mad.  Aren't  there  other  college 
towns  like  this  one? 

Mrs.  Robert  Kilcore. 


rnoTol'i.AY  MAQAZTNE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Praising  and  Panning 


Minneapolis.  Minn. 

I  really  have  a  brickbat  and  two  bouquets. 
Bouquet  No.  i.  We  all  want  more  of  William 
Haines.  He  is  a  splendid  actor  and  to  me 
typifies  just  the  kind  of  a  boy  every  girl  likes. 
In  "Mike"  he  was  wonderful.  I  have  seen 
it  twice  already.  But  in  "  Brown  of  Harvard" 
he  surpassed  all  other  efforts.  He  acted  so 
human  and  so  unusually  natural.  I'll  bet  he 
enjoyed  making  that  picture.  And  above  all 
he  certainly  cried  as  if  his  heart  were  broken 
when  Doolittlc  died. 

Brickbat  No.  i.  I  just  saw  "The  Untamed 
Lady"  yesterday  and  I  think  most  of  it  was 
awful.  The  photography  seemed  very  poor. 
Glorials  skin  was  "muddy"  looking,  and  her 
clothes  were  in  poor  taste,  with  the  exception 
of  the  white  affair.  She  has  a  pronounced 
lump  at  the  back  of  her  neck  and  I  didn't 
think  much  of  either  hers  or  Lawrence  Gray's 
acting. 

So  much  for  that,  and  here  is  bouquet  No.  2. 
I'm  for  Buddy  Rogers.  He  looks  like  a  find 
to  me,  too,  and  here's  hoping  he  gets  what  he 
deserves  in  Hollywood. 

Regina  Esterly. 

Ouch,  What  a  Brick 

Duquesne,  Pa. 

Alas!  a  pedestal  turns,  an  idol  falls,  Richard 
Barthelmess.  our  Dick,  hits  the  floor  with  a 
thud.  Pathetic,  isn't  it?  Has  success  gone 
to  his  head?  For  years  I  have  been  an  ardent 
Richard  Barthelmess  fan.  Then  came  "Just 
Suppose."  Oh,  what  a  disappointment.  Has 
Richard  Barthelmess  been  added  to  the  "High 
Hats"  of  Hollywood?  We  must  admit  that 
such  a  dazzling  uniform  as  he  wore,  combined 
with  his  looks,  is  apt  to  turn  anybody's  head. 
Well,  Dick,  too  bad,  but  you  simply  must  be 
yourself! 

Here's  to  Gloria  Swanson  and  Jack  Gilbert — 
mav  thev  never  fall  victim  to  the  "High  Hat." 
G.  G.  F. 

Stage  and  Screen 

San  Francisco,  Calif. 
A  year  ago  I  could  have  been  numbered 
among  those  who  insisted  that  the  movies,  due 
to  bad  plays,  bad  acting,  commercialism,  etc., 
were  fast  going  to  the  bow-wows.  Since  then 
I  have  seen  many  successful  so-called  "legiti- 
mate" plays,  the  last  of  which  was  "Desire 
Under  the  Elms."  Shades  of  Realism!  Now 
I  am  a  movie  fan  again.  This  past  month  I 
saw  "The  Big  Parade,"  "Stella  Dallas,"  "The 
Black  Pirate,"  and  "La  Boheme," — each  dis- 
tinctly different  and  each  a  classic.  Perhaps 
there  is  better  cooperation  now  between  pro- 
ducer, director  and  player.  There  is  Art  in  the 
movies ! 

Rose  Kellogg. 

A  Lesson  to  Managers 

Franklin,  Indiana. 

The  manager  of  the  most  popular  house  in 
our  town  was  in  the  habit  of  showing  a  second 
rate  western  Saturday  nights  as  a  means  of 
economy.  The  high  priced  features  ran 
through  the  week.  Ours  being  a  country  town 
he  felt  sure  of  his  Saturday  crowd  of  farmers, 
clerks,  day  laborers,  eager  for  recreation  after 
a  week's  work.  His  competitor  did  the  same, 
forgetting  that  competition  would  come  from 
other  sources.  Forty  minutes  away  is  a  large 
city.  Our  amusement  seekers  left  home  and 
went  there.  Both  our  houses  began  to  lose 
prestige.  The  first  manager  learned  a  lesson. 
Now  he  makes  Saturday's  program  as  inter- 
esting as  the  rest  of  the  week's. 

A  few  inferior  pictures  make  both  a  pro- 
ducer and  a  theater  lose  ground.  The  public 
is  willing  to  pay,  but  they  expect  value  re- 
ceived when  they  do. 

Mrs.  Y.  R.  B. 


Colleen  and  Marion 

Los  Angeles,  Calif. 

I  just  saw  Marion  Davies  in  "Beverly  of 
Graustark"  and  then  Colleen  Moore  in 
"Irene." 

I  always  have  been  a  fan  for  either  or  both 
of  them.  But  now,  seeing  Marion's  work 
spoiled  Colleen's.    What  a  shame! 

Both  are  great  actresses,  but  now  I  think 
Marion's  work  greatly  outshines  that  of  Miss 
Moore.  Miss  Davies  seems  still  to  have  a 
spontaneity  that  is  lacking  in  "Irene."  Col- 
leen Moore's  smile  seems  to  be  pasted  there. 
Why  doesn't  she  flash  it  on  and  off  a  bit  as  she 
used  to? 

Of  course,  it  seems  queer  to  compare  two 
great  actresses  of  such  different  abilities,  but 
still  are  the)'  not  all  sisters  under  the  skin? 

Colleen  Moore  is  beginning  to  look  bored 
with  her  lot,  isn't  she?         Gertrude  Stein. 


Gray  Glory 

Austin,  Texas. 

Here's  to  our  foremost  actor,  Lawrence 
Gray!  I  certainly  think  he  deserves  a  place  in 
Stardom — make  room  for  a  wonderful  actor! 
In  "Stagestruck,"  with  our  Gloria  rather 
disappointing,  Lawrence  Gray  went  through 
with  "flying  colors."  I  think  he  is  a  talented 
actor. 

His  performance  in  "The  Untamed  Lady" 
and  in  "Stagestruck,"  with  Gloria  Swanson, 
and  in  "The  Palm  Beach  Girl,"  with  Bebe 
Daniels,  was  wonderful,  and  cinched  him  a 
place  among  our  famous  stars.  We  want  to 
see  more  of  his  plays.  Keep  up  the  good  work, 
Lawrence,  we're  rooting  for  you. 

Bess  Baily. 

Not  Agreeing  With  Adolphe 

Rutland,  Yt. 

I  have  just  read  Adolphe  Menjou's  reasons 
for  a  sophisticated  man  being  attractive  to 
American  women.  I  certainly  do  not  agree 
that  American  women  "  fall"  for  this  type. 

Admittedly,  a  well-groomed  man  is  an  at- 
tractive one,  but,  being  well-groomed  does  not 
necessarily  mean  a  handkerchief  in  the  cuff,  a 
jewelled  cigarette  case,  and  an  athletic  eye- 
brow. Let  this  type  appear  before  a  group 
of  American  women,  young  or  old,  accom- 
panied by  a  more  conservatively  dressed  young 
man,  who  has  the  appearance  of  a  Harvard 
football  star,  or  a  successful  young  American 
business  man,  and  I'll  bet  Mr.  Menjou,  dollars 
to  doughnuts,  that  the  latter  will  get  the  ladies' 
vote,  whether  the  test  be  made  in  the  Bilt- 
more,  at  Palm  Beach,  a  Childs  restaurant  in 
Chicago,  or  a  quick-lunch  in  Oshkosh. 

Yermonter. 

Take    Note,     Directors    Seeking 
Praise 

Jamestown,  N.  Y. 
If  some  kind-hearted  director  would  spe- 
cialize in  making  enough  wholesome  juvenile 
pictures  to  keep  the  young  folks  busy,  mothers 
would  welcome  him  with  open  arms.  What 
with  passionate  Valentino  love-scenes  and 
Elinor  Glyn-t  atmosphere,  mothers  have  a 
grave  problem  before  them.  Children  make 
up  fully  a  third  of  the  average  audience  and  it 
is  not  more  than  fair  to  give  them  clean,  inter- 
esting entertainment.  Can't  we  have  more 
pictures  like  "Mickey,"  Charlie  Chaplin's 
"The  Kid"and  "Helen's  Babies"?  Also  fairy 
tales  like  "Jack  and  the  Beanstalk,"  that  just 
hold  the  little  ones  spell-bound?  To  give  real 
pleasure  to  the  kiddies  release  more  pictures 
they  can  understand  and  enjoy.  To  make  a 
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and  Doug,  also  Syd  and  Charlie,  Douglas 
McLean  and  Harold  Lloyd,  but  can't  we  have 
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Mary  V.  Markiel. 


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144 


Photoplay  Magazine — Advertising  Section 


Stars 

of  the 

Photoplay 


250  Art  Portraits 

of  Leading  Moving  Picture  Stars 

Beautiful  Art   Portraits  reproduced  in  Rotogravure 
from  the  latest  and  best  photographs,  on  Primoplate 
paper.    Handsome  dark  blue  book  binding  with  gold 
lettering.    The  portraits  are  alphabetically  arranged, 
and  below  each   is  printed   a   clear   and  compre- 
hensive sketch  of  the  career  of  each  star  presented. 
Altogether,  the  volume  constitutes  a  combined  art 
gallery  and  brief  biography  of  all  the  leading  players. 

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mail  C.  O.  D.  if  desired.    If  it  does  not  come  up  to  your 

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advertisement  In  PHOTOrLAY   MAGAZINE  is  guarantor,!. 


When  you're  taken 

a  plunge  in  the  cool,  bracing  surf — 

and  battered  and  wet  with 

spray,  you  climb  out  on 

the  welcoming  sand 

— have  a  Camel! 


Camels  contain  the  very  choicest  tobaccos  grown  in  all  the  world. 
Camels  are  blended  by  the  world's  most  expert  blenders.  Nothing  is 
too  good  for  Camels.  In  the  making  of  this  one  brand  we  concentrate 
the  tobacco  knowledge  and  skill  of  the  largest  organization  of  tobacco 
experts  in  the  world.  No  other  cigarette  made  is  like  Camels.  They 
are  the  overwhelming  choice  of  experienced  smokers. 


WHEN  the  surf  is  running 
in  from  the  sea.  And  you 
plunge  in  to  shoulder  aside 
the  foam  -  topped  rollers. 
When  you  climb  out,  glow- 
ing, and  join  the  crowds  on 
the  beach — have  a  Camel! 

For  after  healthful  exer- 
cise, no  other  cigarette  in 
the  world  satisfies  the  taste 
like  Camels.  Camel  mild- 
ness and  mellow  fragrance 
is  the  awaited  award  of  mil- 
lions of  experienced  smok- 
ers. Camels  are  rolled  of 
the  choicest  tobaccos  nature 
grows — they  never  tire  the 
taste.  Camels  are  the  expert 
blend  that  did  away  with 
cigaretty  after-taste. 

So  this  sparkling  day  as 
you  start  for  the  cool,  rest- 
ful beach.  When  with  meas- 
ured strokes  you  have  tried 
your  strength  against  the 
breakers  —  know  then  the 
most  fragrant  mellowness 
ever  made  into  a  cigarette. 

Have  a  Camel! 


yet 

enjoy    Camel   quality,    it 
that   you    may   try   them. 
We    invite    you    to    com- 
pare    Camels     with     any 
other    cigarette    made    at 
any  price. 
R.  J.  Reynolds 
Tobacco    Co. 
WinstonSalem,  N.  C. 


Your  Hair  Appears  Twice  as 

Beautiful— when  Shampooed  this  way 

Try  this  Quick  and  simple  method  which  thousands  now  use.    See  the  difference 
it  makes  in  the  appearance  of  your  hair. 

Note  how  it  gives  new  life  and  lustre,  how  it  brings  out  all  the  wave  and  color. 
See  how  soft  and  silky,  bright  and  glossy  your  hair  will  look. 


THE  alluring  thing  about  beautiful  hair 
isn't  the  way  it  is  worn. 

The  real,  IRRESISTIBLE  CHARM  is 
the  life  and  lustre  the  hair  itself  contains. 

Fortunately,  beautiful  hair  is  no  longer  a 
matter  of  luck. 

You,  too,  can  have  beautiful  hair  if  you 
shampoo  it  properly. 

Proper  shampooing  is  what  makes  it  soft 
and  silky.  It  brings  out  all  the  real  life  and 
lustre,  all  the  natural  wave  and  color,  and 
leaves  it  fresh-looking,  glossy  and  bright. 

When  your  hair  is  dry,  dull  and  heavy,  life- 
less, stiff  and  gummy,  and  the  strands  cling 
together,  and  it  feels  harsh  and  disagree- 
able to  the  touch,  it  is  because  your  hair 


has  not  been  shampooed  properly. 

While  your  hair  must  have  frequent  and 
regular  washing  to  keep  it  beautiful,  it  can- 
not stand  the  harsh  effect  of  ordinary  soaps. 
The  free  alkali  in  ordinary  soaps  soon  dries 
the  scalp,  makes  the  hair  brittle  and  ruins  it. 

That  is  why  thousands  of  women,  every- 
where, now  use  Mulsified  cocoanut  oil  sham- 
poo. This  clear,  pure  and  entirely  greaseless 
product  cannot  possibly  injure,  and  it  does 
not  dry  the  scalp  or  make  the  hair  brittle, 
no  matter  how  often  you  use  it. 

If  you  want  to  see  how  really  beautiful  you 
can  make  your  hair  look,  just  follow  this 
simple  method. 

A  Simple,  Easy  Method 

FIRST,  wet  the  hair  and  scalp  in  clear, 
warm  water.  Then  apply  a  little  Mulsified 
cocoanut  oil  shampoo,  rubbing  it  in  thor- 
oughly all  over  the  scalp,  and  all  through 
the  hair. 

Two  or  three  teaspoonfuls  will  make  an 
abundance  of  rich,  creamy 
lather.  This  should  be 
rubbed  in  thoroughly  and 
briskly  with  the  finger  tips, 
so  as  to  loosen  the  dandruff 
and   small   parfH;?s   of   dust 


Mulsified 

Cocoanut  Oil  Shampoo 


More  than  a  Shampoo, 

it's  "BEAUTY  INSURANCE" 


and  dirt  that  stick  to  the  scalp. 

After  rubbing  in  the  rich,  creamy  Mulsified 
lather,  give  the  hair  a  good  rinsing.  Then 
use  another  application  of  Mulsified,  again 
working  up  a  lather  and  rubbing  it  in 
briskly  as  before.  After  the  final  washing, 
rinse  the  hair  and  scalp  in  at  least  two 
changes  of  clear,  fresh,  warm  water.  This  is 
very  important. 

You  will  find  that  after  a  Mulsified  shampoo 
your  hair  will  dry  quickly  and  evenly  and 
have  the  appearance  of  being  much  thicker 
and  heavier  than  it  really  is. 

If  you  want  to  always  be  remembered  for 
your  beautiful,  well-kept  hair,  make  it  a  rule 
tc  set  a  certain  day  each  week  for  a  Mulsified 
cocoanut  oil  shampoo.  This  regular  weekly 
shampooing  will  keep  the  scalp  soft  and  the 
hair  fine  and  silky,  bright,  fresh-looking  and 
fluffy,  wavy  and  easy  to  manage. 

You  can  get  Mulsified  cocoanut  oil  sham- 
poo at  any  drug  store  or  toilet  goods  counter, 
anywhere  in  the  world.  A  4-ounce  bottle 
should  last  for  months. 


Mail  This  Coupon  and  Try  it  FREE 

26M-34 


is  BEAUTY  INSURANCE.' 


Address Slate. 


Canadian  address:  402  Wellington  St..  West.  Toronto.  2-Ontatio 


The  cISlationdl  Quide  to  ^Motion   Pictures 


6m>  6m 

EPTEMBER       25 


yhejrat/i 

about  Real 

Sirens 

of  the  Screen 


fiction 
Stories 


^Marion 
T)avies 


tjjasmowz 


Pe 


Photoplay  Magazine — Advertising  Section 


erhaps  you  need  a  rest— 

but  what  your  gums  need  is  work 


Soft,  modern  food  gives 
them  too  little  exercise,  and 
robs  them  of  their  vigor 
and  their  health. 


SUMMER  takes  us  out-of-doors  to 
lead  a  life  more  active.  We  exer- 
cise our  bodies— we  wax  healthy  and 
develop  the  power  to  resist  disease. 

But  our  gums,  the  year  round,  lack 
the  exercise  and  stimulation  they 
need  to  keep  them  fit.  Winter  and 
summer,  the  food  we  eat  is  too  soft. 
It  is  too  highly  refined.  It  contains 
no  coarse,  fibrous  elements.  And  so 
gums  become  tender  and  weak— 
"pink  toothbrush"  appears— leading 
to  those  more  serious  gum  troubles  so 
widely  prevalent  today. 

Why  the  dentists  recommend 
massage  with  Ipana 

Dentists  have  learned  that  massage — 
a  gentle  frictionizing  of  the  gums 
night  and  morning — serves  in  most 
cases  as  a  complete  protection  against 
gum  diseases. 

And  thousands  of  dentists  will  tell 
you  that  this  massage  is  best  accom- 
plished with  Ipana  Tooth  Paste  after 
the  usual  cleaning  with  Ipana  and 
the  toothbrush.  Because  of  its  con- 
tent of  ziratol— a  hemostatic  and 
antiseptic  much  used  by  dentists  in 
their  professional  work— Ipana  is  of 


<~At  the  first  sign  of 
trouble  consult  your 
dentist,  and  even  if 
your  gums  never  bother 
you,  begin  today  to  use 
Ipana.  The  best  time 
A  r  :$y"  to  fight  gum  troubles 
\    /         is  before  they  start. 


definite  value  in  restoring  weakened 
gum  tissue  to  normal. 

Massage  with  Ipana  relieves  the 
congestion  of  the  small  capillaries 
and  a  brisk  flow  of  fresh,  clean  blood 
is  brought  to  the  gum  walls.  The 
whole  gum  structure  steadily  im- 
proves in  health  and  in  resistance 
to  disease. 

Switch  to  Ipana  for  one  month 

You  will  like  Ipana's  fresh  flavor. 
Moreover,  you  will  experience  a  new 
sense  of  oral  cleanliness,  which  is  due 


both  to  the  wholesome  effect  of 
Ipana  and  massage,  and  to  the  power 
of  Ipana  itself  as  a  cleanser  of  teeth. 
A  ten-day  trial  tube  will  be  sent  if 
you  mail  the  coupon.  But  that's 
really  not  enough  to  demonstrate 
what  Ipana  can  do.  Better  buy  a  full- 
size  tube  from  your  druggist.  That's 
enough  to  last  thirty  days— long 
enough  to  prove  to  you  that  Ipana  is 
not  only  a  delicious  dentifrice,  but 
that  it  will  aid  remarkably  in  safe- 
guarding and  improving  the  firmness 
and  health  of  your  gums. 


IPANA  Tooth  Paste 


<8>  Bristol-Myers  Co.,  1916 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 

When  all   the  world  is 


/nmoq 7& 


,^_ 


>/i# » 


A  Victor  Fleming  Production 
MANTRAP 

with  Clara  Bow,  Ernest  Torrence 
and  Percy  Marmont.  From  the 
novel  by  Sinclair  Lewis.  Screen 
play  by  Adelaide  Heilbron. 


An  Allan  Divan  Production 
of  Rex  Beach's 
PADLOCKED 

with  Lois  Moran,  Louise  Dresser 
and  Noah  Beery.  Adaptation  by 
Becky  Gardiner  and  James  Shelley 
Hamilton. 


A  Malcolm  St.  Clair 

Production 
THE  SHOW  OFF 

With  Ford  Sterling,  Lois  Wilson, 
Louise  Brooks  and  Gregory  Kelly. 
From  the  play  by  George  Kelly. 
Screen  play  by  Pierre  Collings. 


THOMAS  MEIGHAN  in 
TIN  GODS 

With  Renee  Adoree  and  Aileen 
Pringle.  An  Allan  Dwan  Produc- 
tion. From  the  play  by  William 
Anthony  McGuire.  Screen  play 
by  Paul  Dickey  and  Howard  Em- 
mett  Rogers. 


VARIETY 


Blue  days  and  over-busy  days, 
remember  what  all  work  and 
no  play  did  to  the  well-known 
Jack!  So  don't  be  a  dull  boy 
but  call  up  your  wife  and 
make  a  date  with  Paramount 
and  her! 

Outings  with  Paramount 
make  better  innings  for  work 
at  office  and  home  and  the 
world  is  right-side  up  once 
more  with  smiles  riding  easier 
than  frowns. 

Capsize  Gloom  and  see  a 
Paramount  Picture  tonight ! 


Four  Big  Paramount 
Specials  Coming 

Florenz  Ziegfeld's 

KID  BOOTS 

with  Eddie  Cantor 


A  Victor  Fleming  Production 
THE  ROUGH  RIDERS 


WE'RE  IN  THE 
NAVY  NOW 

with  Wallace  Beery  and  Raymond 
Hatton.  An  Edward  Sutherland 
Production. 


A  Herbert  Brenon 

Production 

BEAU  GESTE 

with  RONALD  COLMAN,  Alice 
Joyce,  Neil  Hamilton,  Noah  Beery, 
Mary  Brian,  William  Powell,  Nor- 
man  Trevor,  Ralph  Forbes  and 
Victor  McLaglan.  From  the  novel 
by  Percival  C.  Wren. 


With  Emil  Jannings  and  Lya  de 
Putti.  Written  and  directed  by 
E.  A.  Dupont.  An  Ufa  Production. 


^paramount  pictures 

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

it's  a  Paramount  Picture  its  the  best  show  in  town/'' 


Every  advertisement  in   riTOTOPI.AT    MAGAZINE  is  eua 


:ii'£k 


m 


m  ':$ 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


JAMES  R.  QUIRK,  Editor 


IVAN  ST.  JOHNS 


Vol.  XXX 


No.  4 


Contents 

September,  1926 

Cover  Design:  Marion  Davies 

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 

Bebe   Daniels,    Ken  Maynard,    Milton   Sills,   Mary 

Brian,  Helene  Chadwick,  William  Haines,   Ricardo 

Cortez 

Speaking  of  Pictures  (Editorials)  James  R.  Quirk    27 

The  Real  Sirens  of  the  Screen  Agnes  Smith    28 

A  Contrast  Between  the  Vamps  and  the  Good  Little  Girls  of  Film- 
land 

Wholesale  Murder  and  Suicide  Catherine  Brody    30 

The  Third  of  a  Series  of  Great  Articles  on  Reduceomania 

Sure,  You  Can  Make  Money  in  California,  But  Try  and 

Keep  It  Tom  Mix    34 

All  About  Bunco  Artists  in  Broncho  Language 

Gilda  Gray  (Photograph)  36 

The  Gotten  Goat  (Fiction  Story)         Octavus  Roy  Cohen    37 

Further  Hilarious  Adventures  of  "The  Midnight  Pictures  Corpo- 
ration" 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.,  Distributing  Agents,  5  Bream's  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  Postofnce  at  Chicago,  III.,  under  the  Act  of  March  3,  1879. 

Copyright,  1926,  by  the  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 

Men  of  Steel First  National 

The  Road  to  Mandalay 

Metro-Goldwyn-Mayer 
Mantrap Paramount 

Page  55 

Variety UFA-Famous  Players 

So  This  Is  Paris Warner  Bros. 

Fig  Leaves Fox 

Page  56 

Lew  Tyler's  Wives .  .  Preferred  Pictures 

The  Sea  Wolf.  .  .  Producers  Dist.  Corp. 

Bigger  than  Barnum F.  B.  0. 

Born  to  the  West Paramount 

Puppets First  National 

The  Lucky  Lady Paramount 

Page  57 

Senor  Dare-Devil F'irst  National 

Poker  Faces Universal 

Meet  the  Prince.  Producers  Dist.  Corp. 

Sweet  Daddies First  National 

Footloose  Widows Warner  Bros. 

It's  the  Old  Army  Game 

Famous  Players 
Page  120 

The  Dead  Line F.  B.  O. 

The  Dangerous  Dub 

Associated  Exhibitors 

The  Two-Gun  Man F.  B.  O. 

Sunny  Side  Up.    Producers  Dist.  Corp. 

More  Pay  Less  Work Fox 

The  Better  Man F.  B.  O. 

The  Speeding  Venus 

Producers  Dist.  Corp. 
Page  121 

The  Man  in  the  Saddle Universal 

The  Jade  Cup F.  B.  O. 

The  Sporting  Lover First  National 

Under  Western  Skies Universal 

The  Clinging  Vine  Producers  Dist.  Corp. 
The  Flame  of  the  Argentine.  .  ,F.  B.  O. 


Contents — Continued 

Close-Ups  and  Long  Shots  Herbert  Howe    40 

Witty  Comment  on  Screen  Personalities 

Our  Ambrose  Goes  Straight  Myrtle  West    41 

Mack  Swain  Talks  About  the  "Good  Old  Days" 

Sex — With  a  Sense  of  Humor  Ruth  Waterbury    42 

Aspirations  of  Malcolm  St.  Clair 

Charles  Chaplin  and  Raquel  Meller  (Photograph)  43 

Donald  Ogden  Stewart's  Guide  to  Perfect  Behavior  in 

Hollywood  44 

The  Hands  Speak  Dorothy  Spensley    46 

The  Most  Dramatic  Ones  in  All  Hollywood,  Those  of  ZaSu  Pitts 

The  Lark  of  the  Month  47 

Tom  Mix  Speaks  Spanish— the  Rio  Grande  Kind 

Illustrated  by  Frank  Godwin 

Studio  News  and  Gossip) — East  and  West  Cal  York    48 

What  the  Screen  Folk  Are  Doing 

The  Brave  Old  Pioneers  (Photographs)  52 

The  Shadow  Stage  54 

The  Department  of  Practical  Screen  Criticism 

$5,000  in  Fifty  Cash  Prizes  58 

Rules  for  Photoplay's  Great  Cut  Picture  Contest 

Rotogravure :  59 

Alberta  Vaughn,  Cut  Picture  Puzzles,  Pauline  Fred- 
erick 

What  Has  Happened  to  Pauline  Frederick? 

Adela  Rogers  St.  Johns    63 
A  Great  Character  Sketch  of  a  Great  Actress 

Sure  Fire  (Photographs)  64 

Miscast  (Fiction  Story)  Rita  Weiman    65 

Part  Two  of  a  Gripping  Two-part  Novelette 

Illustrated  by  Harley  Ennis  Stivers 

Stars  Who  Came  Back'  Ruth  Waterbury    68 

The  Story  of  Those  Who  Dropped  out  of  Filmland  and  Then  Came 
Back — With  More  Glory  Than  Ever 

Buy  on  Fifth  Avenue  Through  Photoplay's  Shopping 

Service  70 

This  Service  Will  Help  You  Complete  or  Change  Your  Wardrobe 

Barberous  Treatment  to  the  Girls  (Photographs)  72 

Still  the  Most  Eligible  Young  Man  Cal  York    74 

That's  Richard  Dix 

Harlem — South  Sea  Islands  (Photographs)  76 

The  Devil  to  Pay— at  the  Box  Office  (Photographs)  78 

Trouping  With  Maude  Adams  Douglas  MacLean    81 

A  Picture  of  the  Gentle  Woman  of  the  Stage 

What  Was  the  Best  Picture  of  1925?  82 

Cast  Your  Ballots  for  the  Photoplay  Medal 

Clara  Bow  (Photograph)  84 

Black  Magic  from  Rex  Ingram  (Photographs)  86 

Girls'  Problems  Carolyn  Van  Wyck    88 

The  Department  of  Personal  Service 

Questions  and  Answers  The  Answer  Man    91 

The  Girl  on  the  Cover:  Marion  Davies  Cal  York    94 

Casts  of  Current  Photoplays  140 

Complete  for  Every  Picture  Reviewed  in  This  Issue 

Addresses  and  working  programs  of  the  leading  picture  studios 
will  be  found  on  page  98 


fGVl- 


=«*rM5 


How  They 
Proposed 

In  the  October  issue 
of  PHOTOPLAY  you 
will  find  the  little 
stories  of  their  most 
romantic  off-screen 
moments.  It  tells  you 
just  when  and  where 
and  how  the  stars 
popped  the  fatal  ques- 
tion. Here  are  just  a 
few : 

"  We  can't  go  to  California 
together  in  the  Tin  Lizzie  unless 
we're  married,"  said  a  now 
prominent  Hollywood  director 
to  the  fair  young  extra. 

"  Then  let's  get  married  and 
save  carfare,"  she  answered 
with  the  practical  sense  that 
afterwards  helped  her  to  fame. 

■8 

/(  was  moonlight  in  Cali- 
fornia and  there  was  soft  music 
in  the  distance. 

"  What  a  perfect  nightl"  he 
murmured  politely  to  the  young 
lady  to  whom  he  had  just  been 
introduced. 

"  We  can  be  married  immedi- 
ately," replied  the  quick 
thinker. 

They  aren't  divorced  yet. 

■8 

"  You  may  think  you're  a 
great  director  but  you've  abso- 
lutely murdered  the  best  parts 
of  my  script,"  stormed  the 
scenario  writer. 

"Darling,"  answered  the 
diplomat,  '  I  am  so  in  love 
with  you  that  I  don't  know 
what  I  am  doingl" 

He  won. 

"Dearest,"  pleaded  the  hand- 
some hero,  "  if  you'll  marry  me 
I'll  let  you  have  all  the  longest 
close-ups." 

The  poor  sap  did  but  she  has 
now  retired  from  the  screen  to 
devote  all  her  time  to  the  kiddies. 


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Photoplay  Magazine — Advertising  Section 


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SEPT.  12th -18th 

THIS  week 

MORE  people  will  see 

M  ETRO-Gold  wyn-Mayer 

PICTURES 

THAN  all  other 

MOTION   pictures 

PUT  together. 


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When  you  write  to  advertiflera  please  mention  PnOTOrLAY  MAGAZINE. 


Brief  Reviews  of  Current  Pictures 


ALOMA  OF  THE  SOUTH  SEAS— Paramount.— 
The  startling  beauty  of  th"  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.) 

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  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  the  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— 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.) 

BEVERLY  OF  GRAUSTARK— Metro-Goldwyn- 
Mayer. — A  light,  frothy,  romantic  piece  of  nonsense 
this,  spiced  with  the  presence  of  Marion  Davies  and 
Antonio  Moreno.    See  it.     (July.) 

BIG  SHOW,  THE— Associated  Exhibitors— Don't 
waste  your  time.     (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.) 

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.) 

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. 

Li!. i  Lee  is  the  only  familiar  player  in  the  cast.  (May.) 

BROWN  DERBY,  THE— First  National 
light  entertainment  for  those  who  prefer  the  sudden 
loud  laugh  to  the  slow  smile.     (August.) 

BROWN  OF  HARVARD  — Metro-Goldwvn- 
Mayer.— College  life.  Hip  and  lively,  against  the  real 
background  of  Harvard  College.  Tine  entertainment. 
(July.) 

BUCKING  THE  TRUTH— Universal  —  \  story 
of  tin-  great  West  with  quite  some  riding  atid  excite- 
ment.    Pete  Morrison  is  the  star.      (August.) 


CAT'S    PAJAMAS,     THE — Paramount.— Betty 
Bronson  Ins  advanced  from  a  Barry  heroine  into  a 

bed omedy  heroine.    The  result— see  it  and  be 

convinced.     (June.) 


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. 


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  storv.     (April.) 


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

COMBAT— Universal.— He  who  likes  a  lively 
romping  tale  crammed  with  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.) 

COWBOY  AND  THE  COUNTESS,  THE— Fox. 

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

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  tin-  pint,  but  it  establishes  Conrad  Nagel  as  a 
splendid  comedian.  It's  too  sexy  for  the  children. 
{April.) 

DANCER  OF  PARIS.  THE— First  National.— 
Written  bj  Michael  Arlen  and  as  you  might  have 
BUSpected  there  is  plenty  oi  jazz,  bachelor  apartment 
iuriirs,  love  scenes  and  nudity.  Not  the  least  bit 
impressive.      (May.) 

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

DANGER  GIRL,  THE— Producers  Dist.  Corp. 
—  PriscUIa  Deanasa  clever  secret  service  lady  in  a 
Rood  mystery  yarn.  She  has  able  support  from  John 
Bowers,  I  issy  Fitzgerald  and  Arthur  Hoyt.     (April.) 

DESERT  GOLD— Paramount.— A  melodrama  of 

tin  ere.it  open  spaces  adapted  from  a  Zane  Grey 
novel.     Fair.      (June.) 

DEVIL  HORSE,  THE—  Pathe.— A  picture  that  is 
worth  your  money.  A  family  picture — one  that  we 
recommend.      (August.) 

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- Goldwyn-Mayer.— The  title  tells 
vou.  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.) 

ELLA  CINDERS  —  First  National.  —  Colleen 
Moore  breaks  into  the  movies  in  this  enjoyable  Cin- 
derella story.    Take  the  children.     (August.) 

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.) 

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.) 

EXOUISITE  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.)  [  CONTINUED  ON  PAGE  16  ) 


Photoplay  Magazine — Advertising  Section 


^I^TT^Z^r^iry&L^^-^^-^T^ 


%3^g^^4^?^T^^ 


Ci  Message 
From  E.W.Hammons 
'To  the  readers  of 
Photoplay  Magazine 


IF  you  were  connected  with  the  great  motion 
picture  industry— if  you  were  a  star  or  a 
director  or  a  business  executive — what 
would  be  your  greatest  ambition?  Would  your 
fondest  dream  be  that  some  day  you  would  be 
responsible  for  the  "biggest  and  grandest" 
spectacle  the  screen  had  ever  produced? 

Perhaps  on  first  thought  you  will  quickly 
answer  "yes,  of  course."    But  that  isn't  my 
chief  ambition — and  it  never 
has  been.   I'd  like  to  tell 
you  why. 


The  motion  picture  industry, 
in  my  opinion,  has  one  function 
to  perform  that  is  more  impor- 
tant than  any  other  consideration 
— to  provide  you  and  the  rest  of 
the  great  picture-loving  public 
with  consistently  fine,  wholesome 
entertainment  and  amusement. 
Of  course,  you  want  to  see  the 
fine  big  feature  spectacles.  But 
you  also  want  to  be  sure  that 
whenever  you  care  to  spend  an 
evening  at  the  "movies,"  you  can 
count  on  having  a  fine  evening's 
entertainment  all  through  the 
whole  show. 

And  that's  why  it  always  has 
been  my  chief  ambition  to  have 
Educa  r/ona/provide  for  you  the 
finest  possible  entertainment  in 
the  comedies,  novelties  and  other 


ROMANCE  PRODUCTIONS 

HAMILTON  COMEDIES 

LUPINO  LANE  COMEDIES 

BOBBY  VERNON  COMEDIES 

JIMMIE  ADAMS  COMEDIES 

BILLY  DOOLEY  COMEDIES 

CHRISTIE  COMEDIES 

MERMAID  COMEDIES 

(Jack  White  Productions) 

JUVENILE  COMEDIES 

TUXEDO  COMEDIES     CAMEO  COMEDIES 

LYMAN  H.  HOWE'S  HODGE-PODGE 

FELIX  THE  CAT  CARTOONS 

ROBERT  C.  BRUCE  SCENIC  NOVELTIES 

LIFE 
Cartoon  Comedies 


Short  Features  that  make  up  "The  Spice  of  the  Pro- 
gram." In  the  many  years  that  Educational  has 
played  a  part  in  the  motion  picture  industry,  it  has 
never  handled  a  long  feature  picture,  and  I'm  mighty 
proud  of  the  fact  that  it  has  grown  to  its  present 
position  among  the  leaders  of  the  industry  through 
specializing  in  the  briefer  pictures  that  go  to  balance 
the  ideal  picture  program  and  that  provide  such  a 
large  part  of  your  film  entertainment. 

You  have  shown  that  you  want — that  you  demand  — ■ 
the  finest  entertainment  all  through  the  show;  and 
that's  why  most  of  the  country's 
better  theatres  are  showing 
Educational  Pictures  today. 
That's  also  the  reason  why  the 
Greater  Movie  Season  that  is 
just  beginning  will  bring  to  the 
screen  for  your  entertainment  a 
still  bigger  and  finer  group  of 
Educational  Pictures. 


CURIOSITIES 
The  Movie  Side-sho 

KINOGRAMS 
The  NEWS  REEL  Built  Like  i 


Newspaper 


EDUCATIONAL  FILM  EXCHANGES,  INC. 

E.  W.  Hammons,  President 
Executive  Offices,  370  Seventh  Ave.,  New  York,  N.  Y. 

•n  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Your  favorite  theatres  can  tell 
you  what  Short  Features  they 
are  going  to  show  as  well  as 
which  longer  feature.  And  if 
you'll  consider  them  all  in  de- 
ciding "where  to  go,"  you'll  find 
that  you  get  more  consistent  en- 
joyment out  of  your  movie  eve- 
nings. You'll  be  impressed  by  the 
beauty  and  story  value  of  the 
Romance  Productions  in  natural 
colors,  such  as  "The  Vision.  "You'll 
always  get  a  hearty  laugh  out  of 
any  of  Educational' s  comedies 
or  cartoons.  Any  program  is  a 
better  show  that  includes  some  of 
the  Short  Features  that  make 
up  "The  Spice  of  the  Program." 


Last  Minute  7s[ews  from  East  and  V/est 


to  iress 


EDDIE  SUTHERLAND,  boy  director, 
marries  Louise  Brooks.      They  met 
while  he  was  directing  "It's  the  Old 
Army  Game,"  in  whichMissBrooksappeared. 

"DEBE  DANIELS  is  engaged  to  marry 
-*- Charley  Paddock,  internationally 
known  sprinter.  Bebe  says  it  is  positive 
this  time. 


TV/TAE  MURRAY'S  husband, 
■^■'-'■Prince  David  Mdivani,  has 
gone  to  work.  A  report  from 
Hollywood  says  that  David  is  act- 
ing at  the  Mack  Sennett  studio  in 
a  film  called  "Ginsberg  and 
Murphy  Film  De  Luxe."  He  has 
changed  his  name  to  David 
Manor. 

TJURRY  UP  YOST,  famous 
■*■  ■'■Michigan  coach,  has  been  en- 
gaged as  special  adviser  for  Rich- 
ard Dix's  picture,  "The  Quarter- 
back." 

XX7ILL  ROGERS,  now  in  Eu- 
"  rope,  will  play  a  role  in  Doro- 
thy Gish's  new  picture,  "Tiptoes," 
now  being  made  in  London. 

TT  is  reported  that  Monta  Bell 
■•■wants  Lillian  Gish  to  play  the 
role  of  Lorelei  Lee  in  "Gentlemen 
Prefer  Blondes." 

/TPHE  latest  word  from  Germany 
■*■  is  that  Emil  Tannings  will 
arrive  in  Hollywood  in  November 
for  his  first  American  film. 

TUTALCOLM  ST.  CLATR  will  di- 
■'■"'rect  Florence  Vidor  in  a 
snappy  one  called  "The  Popular 
Sin." 

TV/TAY  McAVOY  has  nervous 
■'■"■'■breakdown  on  coast  and  must 
rest  for  at  least  a  month. 

TV/TARION  DAVIES  to  do  com- 
""•'■edy  based  upon  the  comic 
strip,  "Tillie  the  Toiler." 

r^ECIL  DE  MILLE  continues  se- 
^lecting  cast  for  "The  King  of 
Kings."  Besides  H.  B.  Warner  as 
Christ,  the  cast  will  include  Victor 
Varconi  as  Pontius  Pilate  and 
Joseph  Schildkraut  as  Judas. 

10 


/"^ORINNE  GRIFFITH  making  her  next 
^-'two  pictures  in  New  York. 

"DEPORTS  that  Eric  Von  Stroheim  may 
■*-*-be  the  director  chosen  by  Famous  to 
film  Dreiser's  "American  Tragedy." 

JAMES  CRUZE  signs  new  directorial  con- 
tract with  Famous. 


T_TAROLD  LLOYD  to  have  a  new  leading 
woman,   Jobyna  Ralston's  three  year 
contract  now  terminating. 


w 


HLARD    LOUIS    died    suddenly    in 
California,  July  twenty-second. 


Intern  :iti( 

After  a  tempestuous  and  ardent  courtship, 
Ben  Turpin  married  Babette  Dietz  in 
Hollywood  recently.  Ben  had  been  a 
widower  less  than  a  year.  Notice — you 
can't  help  it — the  snappy  suit.  He'll  never 
be  able  to  look  his  wife  in  the  eye 


TX7ARWICK  WARD,  the  English  actor 
prominent  in  "Variety,"  is  coming  to 
America. 


TRENE  RICH  reported  engaged 
to  David  Blankenhorn,  a  Pasa- 
dena millionaire.  It  is  said  wed- 
ding will  occur  as  soon  as  he  ob- 
tains his  final  divorce  decree. 

OHARLES  OGLE,  the  veteran 
^■'screen  actor,  returns  to  films 
with  "Red"  Grange  in  "The  Half- 
back." 

'"pOM  O'BRIEN,  the  Bull  of 
■*■  "The  Big  Parade,"  gets  long 
Metro-Goldwyn  contract. 

'"POM  MLX  now  in  Colorado 
-*-  making  "The  Great  K.  and  A. 
Train  Robbery."  It  will  have  a 
sweeping  background  of  our  na- 
tional parks. 

""D  ED"  GRANGE  was  only  in 
*^  Hollywood  long  enough  to 
make  one  picture.  He's  back  in 
Wheaton,  111.,  and  intends  to  drive 
his  ice  wagon  this  summer. 

/~*ABLE  advices  say  Douglas 
^Fairbanks  and  Mary  Pickford 
have  been  hailed  with  enthusiasm 
by  Polish  movie  fans.  Polish 
actresses  are  eagerly  consulting 
Mary  on  the  difficult  technique  of 
makeup  for  the  camera. 

ALBERT  PARKER  has  been 
engaged  to  direct  Gloria  Swan- 
son  in  her  first  for  United  Artists. 
They  say  it  will  be  a  Russian  story. 

J  ETTA  GOUDAL'S  second  star- 
ring   picture    for    Cecil   B.    De 
Mille  will  be  "White  Gold." 

TWTAURICE  COSTELLO  will 
■'■"-'■have  an  important  role  in 
Jackie  Coogan's  new  picture, 
"Johnny  Get  Your  Hair  Cut." 
Jackie  does  in  this  picture. 


Photoplay  Magazine — Advertising  Section  i  j 

Another  Notable  Picture 


From  the  Man 
Who  Directed 
"THE  IRON  HORSE 
Presented  by 


The  ability 
to  catch  with 
the  camera  and  portray 
on  the  screen  those  traits  which 
proclaim  us  all  kin — that  is  one  of  the 
marked  achievements  of  Director  John  Ford. 
Just  as  the  epic  story  of  "The  Iron  Horse"  was 
larded  with  this  rich  vein  of  human  interest  so 

3  BAD  MEN" 

now  a  magnificent,  colorful  screen  story  of  the 

West  in  the  making,  again   reflects  Director 

Ford's  understanding  of  the  human  heart. 

Three  bad  men— grime'crusted,  crime 

hardened,  wanted,  but  how  ten' 

der  and  lovable  they  are  in 

their  self-appointed 

task  of  guard' 


ing  from  dan' 
ger  a  young  girl 
who  has  ventured  beyond 
the  safety  zone!  Tom  Santschi, 
Frank  Campeau  and  J.  Farrell  Mac 
Donald  (he  of  the  cocked  eye)  as  the  trio, 
GEORGE  O'BRIEN,  OLIVE  BORDEN,  Lou 
Tellegen,  Alec  Francis  and  others,  are  the  main 
personalities  in  a  picture  which  includes  prairies 
seething  with  men  and  cattle,  horses  and  vehi- 
cles, with  action  rampant. 

"3  Bad  Men"  upholds  the  screen's  finest 

traditions.  It  will  be  shown  in  leading 

theatres  everywhere  and  it  is  a 

WILLIAM 


PICTURE 


Based  on 

Herman  Whitaker's 

novel 

"OVER  THE  BORDER 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


The  Real  Critics,  the  Fans,  Give  Their  Views 


Brickbats  and  Bouquets 


letters  from 

PHOTOPLAY  READERS 


Three  prizes  are  given  every  month 
for  the  best  letters ~-$25,$io  and  $5 


The  Monthly  Barometer 


DURING   the  month  of  June  the  real 
critics,    the    fans,    gave    these    views 
through  their  letters  to  Brickbats  and 
Bouquets. 

Of  the  "special"  pictures.  "The  Big  Parade.'' 
"The  Merry  Widow,"  and  "Stella  Dallas" 
drew  the  most  letters,  mostly  bouquets,  but 
some  brickbats,  the  latter  aimed  particularly  at 
"The  Merry  Widow." 

Of  the  "program"  pictures,  "The  Dark 
Angel"  continues  the  most  popular,  receiving 
bouquets  exclusively. 

Of  the  established  stars,  John  Gilbert,  Ron- 
ald Colman,  Valentino,  Lillian  Gish,  Norma 
Talmadge,  Gloria  Swanson,  Richard  Dix,  in 
that  order,  stirred  the  greatest  number  of  fans 
to  write. 

Of  recent  discoveries,  Greta  Garbo  appears 
the  most  popular,  despite  her  having  been  seen 
in  only  one  picture. 

Of  the  month,  the  most  popular  release  was 
"Brown  of  Harvard."  Second,  "The  Volga 
Boatman." 

Of  the  newer  personalities,  William  Haines 
received  the  greatest  number  of  bouquets,  with 
William  Boyd  next  in  line.  Among  the 
younger  generation,  Alberta  Vaughn  reigns 
favorite. 

The  letters  proclaiming  Pauline  Frederick 
our  greatest  actress  increased  in  number. 

Of  published  letters,  "Gray  Eyes,"  con- 
cerning the  "old  men"  of  the  screen,  excited 
the  most  replies. 

Dick  Barthelmess'  last  two  pictures  were 
slammed  with  the  most  brickbats. 

Letters   were   received   from   all   over   the 
world,  from  Chicago  to  British  East  Africa. 
The  Editor. 

$25.00  Letter 

San  Francisco,  Calif. 

I've  just  read  another  story  concerning 
"The  Tragedy  of  Charles  Ray."  As  this  is 
about  the  tenth  one  I've  read,  I've  decided  to 
burst  into  print.  I  think  it  is  a  lot  of  senti- 
mental slush. 

I  like  Charles  Ray.  I've  always  admired  his 
work  on  the  screen  and  hope  to  keep  on  liking 
him  for  some  time  to  come.  And  I'll  wager 
that  Mr.  Ray  doesn't  like  those  stories  about 
his  so-called  "tragedy"  any  more  than  I  do. 
I'll  frankly  admit  that  the  first  story  I  read 
of  this  kind  made  me  weep  and  feel  very  sad 


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. 


about  it,  and  sorry  for  Mr.  Ray.  But — not  for 
long.  For  "The  Auction  Block"  came  to  San 
Francisco,  and  in  that  picture  Mr.  Ray  took 
all  the  honors,  scoring  a  real  hit.  And  on  top 
of  that,  Mr.  Ray  paid  San  Francisco  a  visit, 
and  was  introduced  from  a  theater  box,  and 
got  one  of  the  best  rounds  of  applause  I've  ever 
heard. 

While  Mr.  Ray  was  bowing  and  smiling  to 
the  enthusiastic  audience  I  couldn't  help 
but  think  how  little  like  a  "  tragedy"  he  looked. 
Handsome,  most  correctly  dressed,  young,  and 
with  a  Metro-Goldwyn-Mayer  contract  in  his 
possession.  I  really  couldn't  help  smiling  a 
little.  For  if  that  is  failure — would  that  I 
might  have  a  taste  of  it. 

Berxice  Clements, 
i  134  Geneva  Avenue. 


$10.00  Letter 

Fresno,  Calif. 
Oh,  how  tired  I  get  of  the  slurs  and  slams 
that  lately  have  been  fired  like  a  steady  barrage 
at  Cecil  B.  De  Mille  and  the  type  of  pictures 
he  gives  us.  He  is  to  the  grownups  what  Hans 
Andersen  is  to  the  children.  We  all  know  his 
stories,  settings,  costumes  and  much  maligned 


bath  rooms  are  of  the  stuff  dreams  are  made  of. 
Vet  these  pictures  fill  a  certain  place  in  movie- 
land  for  us.  We  all  live  in  a  common,  rather 
drab  every  day  sort  of  world  and  why  not  let 
us  go  into  a  moving  picture  theater  and  see  our 
grown  up  Fairyland  with  its  Prince  and  Prin- 
cess a  la  De  Mille? 

No  one  has  the  temerity  to  slam  Barrie  for 
his  "Peter  Pan";  Maeterlinck  for  his  "Blue 
Bird."  and  yet  De  Mille,  who  throws  the 
mantle  of  illusion  over  the  modern  world,  is 
sneered  at  constantly. 

I  am  no  moron,  nor  am  I  pretending  to  be  a 
high  brow,  but  I  do  want  to  sav  that  to  me  (and 
there  must  be  thousands  like  me)  Mr.  De  Mille 
is  the  story  teller  of  the  day  for  the  people  of 
today.  He  weaves  a  magic  spell  of  fantasv 
just  as  sure  as  the  author  of  "Beauty-  and  the 
Beast,"  "Cinderella."  or  "Snow  White."  So 
please — hands  off  the  modern  teller  of  To-Day 's 
Fairy  Tales  dc  luxe. 

Mrs.  W.  L.  Potts, 

California  Federation  of  Women's  Clubs, 
1932  Broadway. 

$5.00  Letter 

Akron,  Ohio. 

I  humbly  make  a  plea  to  directors  and  pro- 
ducers for  "Americanization"  of  the  photo- 
play. They  are  doing  splendidly  now,  but  I  be- 
lieve this  is  an  angle  that  might  profitably  be 
kept  in  mind  in  all  productions. 

For  eight  years  I  have  taught  in  the  Amer- 
icanization schools  and  time  and  again  I  have 
been  impressed  by  the  influence  of  the  photo- 
play in  our  work.  In  educating  the  foreign 
born  we  ever  kept  before  us  his  need  of  a  better 
understanding  of  America,  its  habits,  customs, 
geography,  ■  history,  government  and  ideals. 
In  many  instances  he  lacks  the  imagination  to 
supply  the  necessary  mental  picture.  Here 
we  find  the  photoplay  playing  an  important 
part.  Washington,  Vellowstone  Park,  the 
Colorado  Canyon,  the  Rocky  Mountains,  our 
cowboys,  our  tobacco  fields  and  our  cotton 
fields  are  essentially  American.  In  mentioning 
them  his  face  lights  up  and  he  is  eager  to  in- 
form us  that  he  has  already  seen  them  in  the 
movies.  Pictures  like  "Abraham  Lincoln" 
and  "America"  have  a  value  in  Americaniza- 
tion that  is  impossible  to  estimate. 

P.  D.  Jennings. 
1301 2  South  Union  St. 

[  CONTINUED  ON  PAGE  ro8  ] 


12 


Photoplay  Magazine — Advertising  Section 


*3 


TWO  YEARS  inthe  making— 
Its  fame  will  last  for  DECADES/ 


Milton  Si  lis 

ill  ^.^m       i    m 


M£N°fStEfcL 

by  MILTON  SILLS  suggested  by  R.G.KIRKS  shori  story'UNITED  STATES  FLAVOR" 


tvitlj 


DORIS  KENYON 

Directed  by  GEORGE  ABCUAINBAUD 
KSfeSftartT he  -  E ARL  HUDSON 


A  lirAt  national  Special 


FURNACES  white-hot  with  the  blazing 
angers  of  men  .... 

A  secret  murder,  and  a  blood-trail  that 
divides  powerful  Jan  from  Mary,  girl 
of  the  mills  .... 

Then  arms  of  steel  swing  menacing — and 
thousands  cheer  as  Jan  snatches  the 
steel-master's  daughter  from  the  giant 
grip- 
Love  calls  high  above  the  whirr  and  clash 
of  straining  metals  .... 

And  fury  forges  an  amazing  climax, 
knife-edged  by  suspense! 

Filmed  in  the  throbbing  heart  of  a  famous  steel 
mill,  "Men  of  Steel"  is  the  first  picture  to  bring 
you  all  the  color  and  thrilling  movement  of  the 
most  colossal  of  all  human  labors.  And  the  vivid- 
ness of  the  scenes  is  matched  by  the  acting  of  a 
splendid  cast,  including  Doris  Kenyan. 


PHOTOPLAY  MAGAZINE. 


14 


Photoplay  Magazine— Advertising  Section 


%t  %itiond9HcmChother9)airofQppx 


SHE  never  had  a  gayer,  more 
romantic  role — this  world- 
popular  comedienne!  A  lovely 
American  dancer,  transported 
to  Russia  in  its  days  of  glory. 
Nobility  at  her  flitting  feet. 
Blond  beauty  captivating 
handsome  young  Lieutenant 
Orloff  .  .  .  The  Four  Veils  of 
her  famous  dance  a  net  to 
snare  the  heart  of  powerful 
Grand  Duke  Gregory! 

A  thrilling  elopement  over 
moonlit  snows— Orloff  brav- 
ing the  Grand  Duke's  wrath. 
But  at  the  border  a  strange 
coincidence  forces  the  little 
dancer  to  pose  as  the  Grand 
Duke's  jealous  wife. 

Magic  of  behind-the-scenes. 
Glamor  of  picturesque  Russia. 
Splendor  and  pomp  of  a  luxurious 
court.  And  the  brilliant  star  in 
a  performance  that's  even  better 
than  her  best! 


Joseph  M.Schenck.  ^presents 

CONSTANCE 

TALMADGE 

in 

^DUCHESS  8f  BUFFALO" 

with  TULLIO  CARMINATI 

Screen  Story  ty  Hans  Kraly 

JOased  on  the  Hungarian  ^% "Sybil" 
Written.  6y  MocSmdy  andj/mj^(artas 

qA  SIDNEY  FRANKLIN  PRODUCTION 


More  Hits  From 

First  National 

MILTON  SILLS  in  "Taradise. " 
This  superb  adaption  of  Cosmo 
Hamilton's  famous  novel  provide* 
a  powerful  part  for  the  popular  star. 
A  story  thatshifts  dramatically  from 
London  to  the  South  Seas,  and 
back  again  for  an  arresting  climax. 

*'Subway  Sadie."  An  Alfred 
Santell  production,  with  Dorothy 
Mackaill  and  Jack  Mulhall.  All  the 
comedy  and  romance  of  New  York's 
famous  "sardine  specials."  Laughs 
jammed  righter  than  straphangers 
in  the  rush  hour ! 


A  Hut  national  Picture 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


n 


Made  by  the 
Greatest  Stars 


RICHARD  BARTHELMESS 

in    "The  Amateur  Gentleman." 

Jeffery  Farnol's  magnificent  story 
presented  thrillingly  < 
by  Inspiration  Pict 
Sidney  Olcott  Produ 

"Pals  First."  Presented  by  Edwin 
Carewe,  with  Lloyd  Hughes  and 
Delores  del  Rio.  You're 
guess  the  -wrong  ending  to  this 
amazing  mystery-comedy.  A  laugh 
with  every  thrill  and  a  thrill  with 
every  laugh. 


BRACE  yourself  for  a  jolting 
jab  to  the  funny-bone! 

"The  Strong  Man"  will  leave 
you  weak  from  laughter  —  a 
rain  of  comedy  wallops  mixed 
with  pathos  punches  that  will 
reach  close  to  your  heart. 

The  Strong  Man  builds  up  his 
constitution  running  around 
with  dumb -belles.  And  he- 
finds  that  the  first  hundred 
dears  are  the  hardest — to  get 
rid  of!  The  only  thing  faint 
about  him  is  his  smile  —  that 
flickering,  fading  Langdon  grin 
that  brought  mirth  to  millions 
in  "Tramp,  Tramp,  Tramp." 

It  won't  be  long  now  before 
"The  Strong  Man"  signs  go  up 
on  your  favorite  mo  vie  theatre. 
Insist  on  seeing  it.  Remember 
that  he  laughs  best  who  laughs 
at  Langdon! 


A  liiat  national  Picture 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine— Advertising  Section 


Make 
Youi' 
Salary 

Everywhere  there  is  a  big  demand  for 
artists — newspapers,  magazines,  advertising 
agencies,  department  stores,  everyone  who 
advertises  is  glad  to  pay  big  money  for  art- 
ists who  can  produce  pictures  and  illustra- 
tions with  commercial  value. 

Learn  At  Home 
This  Quick  Easy  Way 

Our  wonderful  method  makes  it  pos- 
sible for  anyone  to  learn  Illustrating,  Car- 
tooning, or  Commercial  Art.  Most  of  our 
students  never  touched  a  drawing  pencil 
before  they  studied  with  us,  yet  scores 
of  them  are  now  making  splendid  incomes. 
You  can  do  the  same.  The  simplicity  of 
this  amazingly  quick  way  will  astonish 
you.  No  matter  what  your  present  ability 
— no  matter  whether  you  think  you  have 
"talent"  or  not — we  can  teach  you  to  draw 
— and  draw  well. 

Simple  Way  Makes  Success  Easy 

Our-easy  way  simplifies  everything.  You 
start  drawing  with  straight  lines,  then  you 
begin  using  curves,  and  before  you  realize 
it  you  are  drawing  pictures  with  shading, 
action  and  perspective.  And  you  are 
taught  all  the  "inside  secrets" — the  "tricks 
of  the  trade  "  that  would  otherwise  take  you 
years  to  learn.  Our  successful  Art  in- 
structors have  had  years  of  experience  in 
commercial  art.  They  know  the  kind  of 
pictures  that  sell  and  they  teach  you  how 
to  make  them — in  the  least  possible  time. 

Write  for  FREE  BOOK 

An  interesting  and  handsomely  illustrated 
booklet,  "Quick  Easy  Way  to  Become  an 
Artist,"  will  be  sent  you  without  cost. 

Mail  this  coupon  for  it.  Learn  how  you 
can  easily  become  an  artist  in  a  few  hours  a 
week  spare  time.  Get  also  full  particulars 
about  our  Special  Offer  to  new  students. 
Send  the  coupon  NOW! 

The  Washington   School  of  Art,   Inc., 

Room  589-D  1115-15lh  Si..  N.  W.  Washington.  D.  C. 


Washington 

Please  send   me  v 
part  your  Iree  book. 


Brief  Reviews   of  Current  Pictures 


CONTINUED  FROM  PAGE  8  ' 


(Mr..  Mrs..  Miss) 


City State. 


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

FIGHTING  BOOB,  THE— F.  B.  O— A  boring 
Western.     Now  don't  blame  us  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.) 

FLAME  OF  THE  YUKON,  THE— Prod.  Dist. 

Corp. — A  magnetic  storyof  theadventuresof  thegold- 
seekers  in  the  far  North.     Only  for  the  big  folks. 


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  pictures  and 
picked  out  the  thrill  scenes  from  each  one.     (April.) 

FOR  HEAVEN'S  SAKE— Paramount.— For  your 
own  sake  go  sec  this  Harold  Lloyd  production.  Sure, 
take  the  kiddiesl     (June.) 

FREE  TO  LOVE— Schulberg.— Clara  Bow  as  a 
reformed  crook  does  her  best  with  an  impossible  role. 
(March.) 

FRONTIER  TRAIL,  THE— Pathe.— A  red- 
blooded  Western  with  Harry  Carey.  If  vou  like  swift 
melodrama  you  are  sure  to  like  this  one.'  (August.) 

GALLOPING  COWBOY,  THE— Associated  Ex- 
hibitors.— If  you're  in  the  mood  for  a  good  Western — 
see  this.     (July.) 

GENTLE  CYCLONE,  THE— Fox.— Not  up  to 

the  standard  of  the  usual  Buck  Jones  feature.  (Au- 
gust.) 

GILDED  BUTTERFLY,  THE— Fox— Alma  Ru- 
bens bluffing  her  way  through  society  and  Europe 
without  any  money.  If  you're  fussv  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.) 

GLENISTER  OF  THE  MOUNTED— F.  B.  O  — 

Lefty  Flynn  in  an  Arthur  Guy  Empev  story  of  the 
Mounted  Police.  The  same  as  the  other  6.462. 
(August.) 

GOOD  AND  NAUGHTY— Paramount.— A  flip- 
pant farce  comedy  with  Pola  Negri.  Ford  Sterling  and 
Tom  Moore.    Sterling  steals  the  picture.    (August.) 

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  ACROSS  THE  BORDER— F.  B.  O.— 

Fred  Thomson  and  Silver  King  make  this  an  interest- 
ing picture.     (August.) 

HANDS  UP — Paramount. — Raymond  Griffith  as  a 
Confederate  spy  in  the  civil  war.  Right  I'unnv. 
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  funny — unintentionally. 
Grownups  may  see  this  if  they  promise  not  to  laugh 
too  loud.     (July.) 

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  if  he  wishes  to  become  a  success 
in  life.     Terrible.     (June.) 

IMPOSTOR,  THE— F.  B.  O.— Acarbon  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.) 

ISLE  OF  RETRIBUTION,  THE— F.    B.    O  — 

Lillian  Rich  and  Robert  Frazer  are  in  the  cast — if 
that  means  anything.  Entertainment  value?  Fair 
(July.) 

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  bv  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  I  A  picture  that  is  pleasing  and  enter- 
taining.    (May.) 

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

LET'S  GET  MARRIED— Paramount.— Richard 
Dix  at  his  best.  Plenty  of  laughs  that  come  fast  and 
funous.     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. 
(if ay.) 

LOVE  THIEF,  THE— Universal.— The  marriage 

of  convenience  is  dressed  up  in  roval  garments  with 
Norman  Kerry  and  Greta  Nissen  in  the  royal  robes. 
Passable.     (August.) 

LOVEY  MARY— Metro-Goldwyn-Mayer.  —  The 
famous  "Cabbage  Patch"  does  not  provide  good 
screen  material.  It's  harmless  and  we'll  guarantee  it 
won't  overtax  the  mentality  of  The  Tired  Business 
Fan.     (A  ugust.) 

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

MAN  FOUR  SQUARE,  A— Fox.— A  Buck  Jones 
Western — which  means  it's  a  good  one.     (July.) 

MARE  NOSTRUM—  Metro-Goldwvn.— A  not  so 
satisfactory  film  from  the  man  who  directed  "The 
Four  Horsemen."     (April.) 

MARRIAGE   CLAUSE,   THE— Universal.— One 

of  the  most  appealing  stories  of  life  across  the  foot- 
lights. Billie  Dove  gives  a  splendid  performance. 
(August.) 

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  storv  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.) 

MISS  NOBODY— First  National.— Another  ex- 
ample of  a  good  story  gone  wrong.  If  you  can  think 
of  anything  else  to  do,  pass  this  up.     (August.) 

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  chieflv  of  the  daily  tasks  of  the 
natives  in  the  isles.     (April.) 

MONEY  TALKS  —  Metro-Goldwyn-Mayer.  — 
Slapstick  at  its  best— a  la  Svd  Chaplin  stvle.  It's 
fluffy,  but  lots  of  fun.     (July.) 


Every  advertisement   in   PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


MY    LADY    OF    WHIMS— Arrow.— Clara    Bow 
again  as  tlic  carefree  flapper  who  defies  Papa  and  goes 
h  Village.     Pleasing.     (March.) 


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.       (,4  pril.) 

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  ChapHn  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.) 

OTHER  WOMEN'S  HUSBANDS  —  Warner 
Bros. — A  thoroughly  amusing  and  clever  domestic 
comedy  well  directed  and  well  acted.     (July.) 

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.) 

PADLOCKED — Paramount. — Superior  entertain- 
ment. Honest,  mature  drama,  in  its  presentation  of 
a  young  girl's  life  nearly  ruined  by  the  severity  of 
hypocritical  morality.     (August.) 

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

PARIS— Metro-Goldwyn-Mayer.  —  Leave  before 
the  last  reel  and  you  will  find  this  an  absorbing  tale  of 
love.  Charles  Ray,  Joan  Crawford  and  Douglas  Gil- 
more  are  in  the  cast.     (August.) 

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.) 


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  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  comedv,  but  if  you  can  laugh 
you're  a  better  man  than  I.     (June.) 

QUEEN  (V  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 
Beaumont  story  picturized  into  splendid  entertain- 
ment. William  Collier,  Jr.,  and  Georgia  Hale  give  a 
splendid  performance.     (July.) 

RANSON'S  FOLLY— First  National.— Richard 
Bart  hel  mess  in  just  another  movie — that's  all. 
(August.) 

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.) 
[  CONTINUED  ON  PAGE  141  ] 


GEORGE  LEWIS 
s  of  Universal's  Youthful  Stars 


Watch  This  Column 


This  announcement 
is  a  continuation  of  the 
Greater  Movie  List  which  was 
begun  in  a  previous  issue. 
Once  more  I  suggest  that  you 
keep  all  of  these  lists  intact 
as  a  guide  to  your  better  en- 
tertainment for  the  months 
to  come. 

"The    Whole 
Town's  Talking '  '— 

featuring  EDWARD  EV- 
ERETT HORTON  and  VIR- 
GINIA  LEE  CORBIN- 
adapted  from  the  stage  suc- 
cess by  John  Emerson  and 
Anita  Loos.  Directed  by  Ed- 
ward Laemmle. 

"The  Ice  Flood"— featuring  KENNETH  HARLAN 
and  VIOLA  DANA— adapted  from  Johnston  McCulley's  novel. 

"The  Bargain  Bride"—  featuring  beautiful 
MARY  PHILBIN  in  a  remarkably  dramatic  story  by  A.  Brode. 

"Butterflies  in  the  Rain"—  featuring  LAURA 
LA  PLANTE  and  JAMES  KIRKWOOD.  From  the  sensa- 
tionally dramatic  newspaper  story  by  Andrew  Soutar.  Directed  by 
Edward  Sloman. 

"The  Sensation  Seekers"  touches  on  a  fascinat- 
ing phase  of  modern  life— youth's  search  for  new  thrills  and 
excitement.  B1LLIE  DOVE  will  be  featured  in  this  picture,  which 
is  to  be  directed  by  Lois  Weber  from  Ernst  Pascal's  story. 

This  will  be  an  exceptionally  brilliant  year  for 
HOOT  GIBSON  and  no  less  than  seven  stories  have  been 
chosen  for  him — all  of  them  by  celebrated  Western  writers.  The 
titles  indicate  their  spirit.  Here  they  are:  "The  Texas  Streak," 
"The  Silent  Rider,"  "The  Prairie  King,"  "Ace  High," 
"The  Buckaroo Kid,  "  "A  Hero  on  Horseback"  and  "Chey- 
enne Days. " 

Don't  hesitate  to  write  me  if  you  want  any  further 
information  about  any  of  these  pictures  or  any  that  have 
gone  before.  I  like  your  letters  and  enjoy  answering  them.  Inci- 
dentally, watch  for  "The  Flaming  Frontier"  and  "The  Mid- 
night Sun."  Both  are  very  much  worth  while. 

Qarl  <\aemmle 

(To  be  continued  next  month)  President 

Send  10c  each  for  autographed  photographs  of 
Laura  La  Plante  and  Hoot  Gibson 


UNIVERSAL  PICTURES 

730  Fifth  Ave 


New  YorK  Citv 


[ration   I'MUTIH'LAY   MAGAZINE. 


I  8  Photoplay  Magazine — Advertising  Section 

AT    THE    klTZ-CAHLTON    AND    THE     AMBASSADOR. 
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Dancing  every  night,  beginning 
at  midnight  and  ending  with  break- 
fast at  dawn;  teas,  receptions,  pri- 
vate theatricals,  the  opera,  the  the- 
atre, the  dressmaker,  the  caterer, 
engagements  packed  one  into  another 
like  a  conjurer's  puzzle  .  .  . 

Until  the  society  woman,  aban- 
doning her  calendar,  takes  a  run  to 
Atlantic  City  for  a  few  days'  perfect 
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From  New  York,  Philadelphia, 
Washington  —  even  from  as  far  as 
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—  lovely  creatures  in  Paris  frocks, 
thronging  the  brilliant  promenades 
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their  skin  ? 

What  soap  do  they  find,  pure 
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One  hundred  and  ninety-four 
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the  Ambassador  at  the  time  of 
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One   hundred  and  sixty-four 

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a  fair  trial  had  failed — Wood- 
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"Because  once  I  find  something 


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'Slim,  exotic,  brilliant  as  jewels  against  the  luxurious  setting  of  the 
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' '  Because  of  the  amount  of  soap 
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These  are  a  few  of  the  reasons 
they  gave. 

A  SKIN  specialist  worked  out 
the  formula  by  which  Wood- 
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only  calls  for  the  purest  ingredi- 
ents; it  also  demands  greater  re- 
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sible with  ordinary  toilet  soap.  In 
merely  handling  a  cake  of  Wood- 
bury's one  is  conscious  of  this 
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Every  Woodbury  user  recognizes 
something  individual  and  unique  in 
the  feeling  of  Woodbury's  on  her  skin: 
mild,  soothing,  and  at  the  same  time 
tonic  and  gently  stimulating. 

A  25-cent  cake  of  Woodbury's  lasts 
a  month  or  six  weeks.  Around  each 
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City. 


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Every  advertisement  In  rHOTOPI-AY  MAGAZINE  is  guaranteed. 


Edward  Thayer  Monroe 


c?Cew 

'-Pictures 


JOAN  OF  ARC,  ready  to  save  somebody. 
But  won't  somebody  please  save  Bebe 
Daniels  from  slapstick  comedies  and  matri' 
monial  rumors?  They  say  that  Jack  Pick- 
ford  wants  to  marry  Bebe.  So  do  a  lot  of 
other  fellows,  including  Charlie  Paddock, 
the  cinder  track  runner. 


FIRST  NATIONAL  is  going  to  make  a  star  of  him.     He  will  be  presented  in  a  series  of 
"Westerns";  the  first,  "Senor  Daredevil,"  is  not  so  good.     But  the  boy  is  there.    He 
has  the  looks.     Next  month,  Photoplay    will   have   a   story   about    Ken   Maynard. 


James  Doolittle 


GIVE  Milton  Sills  a  good  role  and  he  can  play  it.     As  witness  his  fine  acting  in  "Men 
of  Steel."     An  earnest  and  conscientious  gentleman  with  a  shrewd  sense  of  humor, 
Sills  has  brains  and  isn't  afraid  of  using  them — even  in  a  movie  studio. 


Spurr 


EVERY  young  man's  idea  of  the  Right  Girl.     And  every  old  man  s  memory  of  his 
first  sweetheart.  '    The  girl  the  hero  always  marries.      Lately  loved  by  William 
Haines,  in  "Brown  of  Harvard,"  now  Mary  Brian  is  the  love  interest  in  "Beau  Geste." 


Spurr 


HELENE  CHADWICK  got  off  to  a  flying  start  in  modern  comedies.     Remember 
when  she  was  co-starred  with  Richard  Dix?    Since  then  she  has  been  playing  a  poor 
third  to  the  Cowboy  and  his  Horse.     Really,  now,  something  should  be  done  about  it! 


Ruisell  Ball 


V\7ILLIAM  HAINES  played  leading  roles  for  several  years  without  starting  any 

VV    riots.     Then  came  "Brown  of  Harvard"  and  a  large  increase  of  feminine  mail  to 

Culver   City.     To   save   work   for  the  Answer   Man — he   is    not    married,   as   yet. 


Muray 


HAILED  as  "another  Valentino,"  Ricardo  Cortez  started  handicapped.     He  is  living 
down  that  Sheik  stuff.     Prefers  to  be  known  as  the  devoted  husband  of  Alma 
Rubens  than  as  a  burn  'em  up  Latin  Lover.     You'll  see  him  in  "Sorrows  of  Satan." 


The  finen 
in  a  dainty 

ITS  prompc  and  enthusiastic  recep- 
tion by  millions  of  women  every- 
where indicates  how  completely  Guest 
Ivory  meets  the  exacting  toilet-soap 
demands  of  modern  life. 

This  is  one  more  proof  that  what  is 
genuinely  fine  always  receives  appre- 
ciation. For  women  have  been  quick 
to  recognize  that  the  addition  of  Guesc 


ess   of  genuine  Ivory 
new  form  ■'-You  will  love  it  I 


Ivory's  fresh  new  charm  to  the  tradi- 
tional purity  and  gentleness  of  Ivory 
has  given  them  a  soap  which  satisfies 
both  exquisite  taste  and  intelligence. 
The  slimmest  of  fingers  close  with 
ease  over  Guest  Ivory's  daintily  mod- 
eled cake.  The  loveliest  of  bathrooms 
finds  fitting  adornment  in  Guest  Ivory's 
blue  dress.  And,  most  important,  the 


fairest  complexion  discovers  soothing 
cleansing  in  the  mild,  caressing  lather 
that  has  characterized  Ivory  for  almost 
half  a  century. 

You  will  find  Guest  Ivor)  in  ?lmost 
ever)  grocery,  drug,  and  department 
store    It  costs  but  five  cents. 


Quest-  IVORY 

^7or  the  lace  and  bands  7}  *" 


99*Moo%  Pure  It  Tloats 

fls  fine  aj  soup  can  be 


Volume  XXX 


The  cI>{ational  Quide  to  SMotion  Pictures 


Number  Four 


PHOTOPLAY 


September,  1926 


Speaking  of  Pictures 


By  James  R.  Quirk 


ANOTHER  sop  for  the  censor  bird. 
Will  Hays,  the  overlord  of  the  movies,  has  just 
banned  all  licker  from  the  films.     Furthermore, 
he  declares  that  all  incidents  that  might  be  deemed  to 
show  encouragement  or  disrespect  of  the  prohibition 
laws  must  be  eliminated  from  all  photoplays. 

There  are  two  sides  to  this.  The  prohibition  law  is 
the  law  of  the  land.  Yet  our  newspapers,  our  novels  and 
our  magazines  discuss  it  with  impunity.  In  fact,  it  is 
the  chief  item  of  discussion  in  America  today.  It  is 
likely  to  be  the  storm  center  of  the  next  national  election 
two  years  hence. 

It  is  pointed  out  by  newspapers  that  Mr.  Hays  bans 
this  law,  and  lets  the  various  laws  handed  down  from 
Mount  Sinai  take  care  of  themselves  on  the  screen. 
In  other  words,  the  screen  swallows  murder  and  balks 
at  licker. 

T\  7E  believe  that  the  screen  should  have  its  freedom. 
'^  True,  we  are  not  for  indiscriminate  showing  of 
drunkenness.  We  doubt  if  the  films  have  been  at  fault 
in  this  regard.  But  with  all  current  printed  matter, 
from  The  Saturday  Evening  Post  to  the  newest  best 
seller,  discussing  prohibition  frankly,  humorously  or 
cynically,  it  seems  hardly  fair  to  muzzle  the  motion 
picture  camera. 

A  MOST  interesting  experiment  is  under  way  in  the 
■*  *■  California  studios  of  William  Fox.  Murnau,  the 
director  of  "The  Last  Laugh,"  has  been  brought  from 
Germany  by  Mr.  Fox  and  publicly  charged  by  him  to 
make  artistic  pictures. 

In  this  I  believe  Mr.  Fox  is  sincere,  for  he  has  re- 
cently given  proof  that  he  is  willing  to  spend  any 
amount  of  money  to  crown  his  producing  career  with 
pictures  of  outstanding  excellence. 

If  "What  Price  Glory,"  "The  Seventh  Heaven," 
and  "The  Music  Master"  are  not  outstanding  pictures 
of  the  year,  it  will  not  be  because  he  and  Winfield  R. 
Sheehan,  his  vice  president,  in  charge  of  production, 
are  not  making  every  human  effort  to  secure  the  best 
talent  available. 

T  HAVE  spent  many  hours  with  Murnau.  He  is 
■*■  human.  He  knows  life.  He  is  a  master  technician. 
He  is  an  artist  with  a  rare  sense  of  humor  and  a  refresh- 
ing lack  of  that  arrogance  and  conceit  that  has  reduced 


many  of  our  promising  young  directors  to  mediocrity 
in  a  business  that  requires  as  much  artistic  co-operation 
as  the  creation  of  a  great  cathedral. 

I  was  astonished  to  hear  him  use  the  word  "we"  when 
discussing  the  making  of  "The  Last  Laugh"  with  one  of 
his  assistants. 

The  word  "we"  is  almost  obsolete  in  Hollywood,  for 
Hollywood  is  the  capital  of  the  Kingdom  of  "I"  and 
the  Garden  of  Self-satisfaction. 

"""THE  communities  which  have  the  highest  critical 
■*■  standards  have  the  strictest  censorship  laws.  Chicago, 
for  instance,  is  the  only  large  municipality  in  the 
country  that  has  its  own  censor  board.  The  board  ha> 
been  in  operation  for  years,  and  is  strict  in  rulings  on 
the  movies. 

Chicago  also  has  an  unenviable  reputation  as  a 
leader  in  crime. 

Holland,  where  a  film  is  rarely  banned,  is  singularly 
free  from  crime. 

Connecticut,  a  neighbor  state  to  New  York,  and 
also  with  a  mixed  industrial  population,  is  freer  from 
crime  than  its  sister,  which  has  a  censorship  board. 

"D  Y  the  rulings  of  the  censors,  you  may  judge  of  the 
■'■'moral  standards  of  the  community.  Most  ot  the 
cuts  in  the  state  of  New  York  are  those  showing  gun- 
play, holdups  and  blowing  up  safes.  And  these  crime- 
are  of  daily  occurrence  in  Xew  York. 

Pennsylvania  cuts  sex  indiscretions,  which  leads  one 
to  draw  conclusions  as  to  just  what  is  considered  the 
most  heinous  crime  in  that  state. 

Kansas  will  not  tolerate  drinking  or  smoking,  while 
in  Virginia,  the  movie  characters  may  pass  the  bottle 
and  the  cigarette  without  being  molested.  Virginia 
also  tolerates  scant  attire,  but  vulgarity  is  strictly 
taboo. 

Kansas  may  wink  at  shootings  and  beatings,  but  it 
will  not  tolerate  hangings,  leading  one  to  believe  that 
the  fear  of  lynching  and  mob  violence  still  prevails  on 
the  prairies. 

Virginia  and  Ohio,  where  the  danger  is  evidently  le>^, 
overlook  all  these  crimes.  Evidently,  too,  from  the 
censorship  cuts,  Maryland  fears  patricide  more  than 
New  York.    It  objects  to  a  boy  shooting  his  stepfather. 

Wife  beating  is  obviously  a  curse  in  New  York,  as  the 
[continued  on  page  118] 


The  Real 

irens 

of  the 

creen 

By  Agnes  Smith 

A  SIREN,  as  any  child  or  censor  knows,  is  a  lady  with 
sex  appeal.  And  sex  appeal,  according  to  the  same 
authorities,  is  a  quality  made  manifest  by  mascara-ed 
lashes,  jet  black  hair,  spangled  gowns,  rouged  lips 
and  a  gift  for  holding  in  the  clinches. 

Hence  a  legend  of  the  screen :  That  all  little  girls  born  with 
black  hair  and  snapping  black  eyes  are  little  devils.  And, 
conversely,  that  all  little  girls  born  with  light  hair  and  blue 


Pity  a  fragile  blonde,  alone  in  the  world 

of   all   that   has   been 

written  about  her, 

Peggy  Joyce  can  play 

sympathetic  heroines 

— and  get  away  with  it 


Lois  Wilson.  A  man 
can  forget  a  flirt  but 
he  cannot  forget  a 
friend.  And  Lois  never 
flirts.  But  she  has 
more  loyal  suitors 
than  any  of  the  vamps 


Lya  de  Putti.     Just  another  fun-in'  vamp,  says  the 

public  with  a  yawn.     Hot  stuff  in  Berlin  but  not  so 

deadly  as  the  local  girls 


HPHE  vamps  get  the 
-*-  publicity,  but  the 
Good  Little  Girls  almost 
always  get  the  nice  con' 
tracts.  Read  on— and  learn 
about  women  from  them 


eyes  are  little  angels.  The  Latins  are  the  lovers;  the  Nordics 
the  angels. 

And  so  if  we  were  foolish  enough  to  take  a  vote  to  find  the 
most  dangerous  woman  on  the  screen,  the  Pola  Negris,  the 
Nita  Naldis,  the  Lya  de  Puttis  and  the  Dagmar  Godowskys 
would  get  all  the  ballots.  For  several  years  Barbara  La 
Marr  summed  up  in  the  public  mind  all  that  was  most  sirenic 
in  femininity.  Poor  Barbara,  who  loved  'em  and  left  'em! 
Poor  Barbara,  who  paid  her  own  way  in  the  world  and  paid 
so  dearly! 

And,  if  we  were  even  more  foolish  and  started  a  national 
election  to  vote  for  the  noblest        [  continued  on  page  137  1 


Directors  must  beg  Lillian  Gish  to  be  kissed.  Sex 
appeal  is  not  in  her  line. 
But  what  vamp  can 
match  the  list  of  her 
conquests? 


Nita  Naldi.     Never  so  dangerous  as  her  conversation 
nor  so  fatally  wicked  as  the  roles  she  played 


Constance  Talmadge. 
"Not  just  for  a  day, 
not  just  for  a  week, 
not  just  for  a  year  but 
A-L-W-A-Y-S." 
That's  the  way  Con- 
stance   captures   'em 


The  Happy 
Ending  of 


By  Catharine  Brody 


o 


lesal 


Sound,  constructive  advice 
for  correcting  fat  by  sane 
and  health-giving  methods 


NOW  for  the  cheerful  side  of  this  vexatious  reducing 
question.    And  now  for  some  helpful — and  hopeful — 
suggestions  to  the  girl  who  feels  that  she  is  greatly 
overweight  and  yet  who  doesn't  want  to  endanger 
her  health  by  resorting  to  drugs,  freak  diets  or  unwise  exercises. 
But  before  going  into  the  constructive  work  of  reducing 
scientifically  and  safely,  I  must  repeat  a  few  warnings  that  I 
have  emphasized  in  my  first  two  arti- 
cles.    Never    take    drugs    to   reduce. 
Never  adopt  freak  diets.     Do  not  try 
to  gauge  your  weight  by  standards  set 
by  dressmakers.     Never  attempt  any 
drastic    reduction    without   first    con- 
sulting your  doctor.     It  is  wholesale 
murder  and  suicide. 


Women's  Christian  Association  has  excellent  gymnasiums  all 
over  the  country  and  there  are  also  good  private  gymnasiums  in 
every  large  town. 

If  you  want  to  make  the  work  more  pleasant — and  also  less 
expensive — form  a  class  of  other  girls  like  yourself  who  want  to 
lose  weight.  You  will  find  it  a  new  and  agreeable  form  of 
recreation. 

Now,  you  will  ask,  why  not  exercise  at  home?  Why  go  to  all 
the  trouble  of  putting  oneself  under  classroom  routine? 

Home  exercises  are  rarely  completely  satisfactory,  unless  you 
have  unusual  will  power  and  stick-to-it-iveness. 
For  the  first  week  or  two,  you  may  follow  the 
exercises  carefully.  But  lazi- 
ness and  laxness  are  universal 
human  faults  and,  in  spite  of 
your  best  intentions,  you  will 
find   yourself  getting   careless 


An  exercise  to  reduce  the  ab- 
domen and  strengthen  the 
muscles.  First  movement : 
Draw  the  knees  toward  the 
chest  to  the  position  illus- 
trated here.  Remember  that 
the  value  of  the  exercise  de- 
pends upon  the  precision 
with  which  you  follow  the 
directions 


And  remember  this:   YOUR  HEALTH  COMES  FIRST. 
As  this  is  the  final  article  of  this  series,  I  am  going  to  give  it 
a  happy  ending  by  showing  you  that  the  correct  way  of  reduc- 
ing is  infinitely   pleasanter  and   more  satisfactory   than   the 
dangerous  "get-slim-quick"  methods. 

So  let  us  call  the  class  to  order  and  begin  the  lecture.  As  the 
first  step  in  reducing,  consult  your  doctor.  Have  your  heart 
and  digestive  organs  examined.  Take  stock  of  your  physical 
state  and  ascertain  the  physical  causes  of  your  excess  weight. 

Then,  still  under  the 
guidance  of  your  physi- 
cian, go  to  a  gymnasium 
and  work  under  the  di- 
rection of  a  physical 
instructor.     The  Young 


Second  movement:  Ex- 
tend the  legs — so.  Keep 
the  knees  stiff  and  do  not 
change  the  position  of 
the  upper  part  of  the 
body.  And  be  sure  to 
avoid  a  sudden,  jerky 
movement 


and  forgetful.  On  the  other  hand,  if  you  are  committed  to 
regular  hours  for  exercise  under  the  direction  of  an  instructor, 
you  will  not  be  apt  to  break  the  appointments.  And,  if  you  are 
working  in  a  class,  your  competitive  sense  will  not  allow  you 
to  fall  behind  the  others. 

And  then,  too,  exercises  badly  performed  are  worse  than  no 
exercises  at  all.  As  a  beginner,  an  instructor  will  be  useful  in 
checking  up  on  your  mistakes. 

Most  important,  however,  is  the  supervision  imposed  upon 
you  in  a  gymnasium  by  the  instructor.  In  your 
first  burst  of  enthusiasm,  you  may  be  inclined  to 
do  too  much.  Those  who  exercise  at  home,  begin 
the  work  in  a  burst  of  pep  and  gradually  become 
lazy  or  careless.  In  a  gymnasium,  you  begin  with 
mild  exercises  and  work  into  more  strenuous  ones. 


Third  movement :  Describe  an 
arc  slowly  to  bring  the  legs  to 
this  position.  If  done  correctly, 
you  should  be  able  to  feel  the 
muscles  stretch.  Remember,  it 
is  better  to  perform  this  exercise 
once  carefully  than  ten  times 
carelessly 


30 


Murder  and  Suicide 


This  may  sound  like  a  drastic  routine,  but  I  think  you  will 
agree  with  me  that  it  is  worth  many  months  of  consistent  work 
to  achieve  sound  health  and  an  attractive  body. 

If  you  undertake  the  work  as  recreation,  I  am  sure  that  you 
will  find  it  fascinating.  And  so  much  pleasanter  than  starva- 
I    tion  diets  and  nerve-racking  drugs. 

To  find  out  the  complete  routine  for  this  constructive  job  of 
building  up  the  body,  I  went  to  Dr.  Watson  L.  Savage.  For 
forty  years  Dr.  Savage  has  been  removing  some  of  the  most 
prominent  stomachs  in  the  country.  His  clientele  is  made  up  of 
some  of  the  wealthiest  men  and  women  in  New  York.  His 
gymnasium  is  a  gathering  place  for  stage  stars  who  want  to 
remove  bulges  from  their  shoulders  and  movie  stars  who  must 
train  down  to  meet  the  drastic  requirements  of  the  camera. 

"Some  of  the  women  who  come  to  me,"  Dr.  Savage  told  me, 
"are  in  a  dreadful  condition  from  taking  thyroid  extracts  or 


To  reduce  the  thighs  and  legs:     Raise  the  leg  and 

describe  a  circle  with  the  toes,  as  indicated  by  the 

diagram.     Not  as  simple  as  it  sounds 


"The  poundage  as  registered  on  the  scales  is  not  so  important 
as  most  women  believe.  The  loss  of  a  few  pounds  may  have  a 
psychological  effect  on  a  patient,  but  it  doesn't  mean  much. 
In  reducing,  remember  that  muscle,  which  takes  up  little  room, 
weighs  heavier  than  the  fat  that  adds  unhealthy  bulk  to  the 
body. 


;  There  are 
four  stages  in 
correct  reduc- 
tion," Dr.  Sav- 
age went  on  to 
explain,  "the  first 
is  the  mechanical 
massage.      Next 


/I 


\ 


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\ 


\ 


\ 


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\ 


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\ 


I 


from  following  freak  diets.  And  yet  these  women,  in  their 
extreme  nervous  state,  will  tell  me  that  they  don't  care  any- 
thing about  their  health,  all  they  want  to  do  is  to  get  thin. 

"And  my  answer  to  that:  I  don't  care  anything  about  taking 
off  poundage,  all  I  am  interested  in  is  putting  the  patient  in 
good  physical  shape.  In  all  my  forty  years  in  this  work,  I  have 
never  prescribed  an  ounce  of  drugs  nor  ever  asked  a  patient  to 
go  without  a  meal. 

"Women  who  want  to  reduce  are  interested  only  in  their 
weight,  as  indicated  on  the  scales.  Weight  means  nothing  to 
me.  All  I  want  to  do  is  to  bring  back  the  body  to  its  correct  shape. 


comes  oxygenization.     Then  the  sweating  process  and  then  a 
balanced  ration. 

"Let  us  take  these  steps  one  at  a  time.  The  mechanical 
massage  comes  first  because  the  persons  who  are  greatly  over- 
weight cannot  plunge  into  drastic  active  exercises.  We  use  the 
Gardner  Machine  and  the  Ring  Roller  Reducing  Machine. 
Without  any  strain  or  effort  on  the  part  of  the  patient,  these 
machines  give  a  steady,  pleasant  massage,  bettering  the  circula- 
tion and  breaking  down  the  fatty  tissues. 

"Another  advantage  of  the  machines  is  that  they  enable  us 
to  reduce  the  girth  in  various   parts  of   the   body   without 


Second  movement:  Raise  the 
arms,  legs  and  head — all  in  one 
movement.  It  isn't  easy  at  first. 
But  the  exercise  is  a  valuable  one 
for  giving  a  good  posture 


Photographs  by 
Russell  Ball,  posed 
for  Photoplay  by 
Jeanne  Morgan 


A  splendid  exercise  to  remove  that  un- 
becoming fat  on  the  back  and  shoulders. 
Lie  flat  in  this  position,  arms  and  legs 
outstretched  and  the  head  down 


Proper  Exercise  and  Diet 


disturbing  others.  Thatistosay, 
we  can  take  several  inches  off  the 
thighs  and  back  without  touch- 
ing the  arms  and  shoulders. 

"  Mechanical  massage  alone  is 
not  enough.    The  second  step — - 

oxygenization — furnishes  the  fuel  to  burn  away  the  fat  that  is 
left  when  the  fatty  tissues  are  broken  down  by  the  massage. 
Active  exercise  must  supplement  the  massage  to  build  up  the 
respiratory  organs.  The  blood  must  be  induced  to  pick  up  the 
waste  and  carry  it  off.  Active  exercise  to  correct  faulty  respira- 
tion is  the  logical  way  to  eliminate  this  poisonous  waste. 

"Then  comes  the  sweating  process  to  eliminate  waste  through 
the  pores.  For  this,  we  use  cabinets  equipped  with  lights  to 
induce  circulation.  This  light  treatment  is  also  most  effective 
to  correct  bad  nerves. 

"Now  for  the  balanced  ration — which  is  in  no  sense  a  diet. 
Most  women  who  want  to  reduce  immediately  think  of  elimi- 
nating a  meal — either  breakfast  or  luncheon.  This  is  absolute 
folly.  It  only  tends  to  give  an  abnormal  appetite  and  to  have  a 
bad  effect  on  the  nerves. 

"I  only  advise  against  overeating  at  any  one  meal.  The 
patient  who  has  been  eating  too  heavily  must  cut  down  on  the 
quantity  of  the  food  to  allow  the  stomach  to  go  back  to  its 
normal  size. 

"Diet  should  be  a  matter  of  individual  prescription.  Certain 
fattening  foods  have  no  effect  on  certain  systems.  I  never  ad- 
vise the  complete  elimination  of  all  sweets  and  starches.  To 
curtail  sweets  and  starches — certainly.  To  cut  them  out  en- 
tirely— certainly  not.  The  human  system  needs  these  elements 
of  food  to  work  properly.     If  you  eliminate  them,  you  are 

32 


Left:  Rolling  away  fat  on  the  abdomen.  Without 
effort  on  the  patient's  part,  the  Gardner  Machine 
breaks  up  the  fat  tissues.  Right :  The  Ring  Roller 
Reducing  Machine  takes  off  the  superfluous  fat 
on  the  calf  of  the  leg 


tampering  with  the  chemistry  of 
the  body. 

"Eat  regularly.    Eat  in  mod- 
eration.     And    eat    a    balanced 
ration.    Women  who  try  to  diet 
by  eating  only  rough,  scratchy 
foods,  work  immeasurable  damage  on  their  intestines.     You 
need  some  soft — some  so-called  fattening  foods  to  overcome  the 
bad  effect  of  the  roughage. 

■  "Diet  alone  is  useless  without  exercise.  It  may  take  off  a  few 
pounds  temporarily  but  it  will  not  correct  the  physical  fault, 
it  will  not  put  on  muscle  to  take  the  place  of  the  fatty  tissue. 
And  exercise  alone,  unless  aided  by  a  balanced  diet,  will  not 
have  the  desired  effect.  In  our  gymnasium,  we  can  regulate 
the  exercise,  but  we  have  no  control  over  the  patient's  diet,  be- 
yond recommending  to  her  what  to  eat.  Some  women  will 
go  through  the  exercises  and  then  go  out  and  eat  heavy  dinners. 
And  then  they  wonder  why  they  get  no  slimmer!  Women  like 
that  would  cheat  at  solitaire." 

Dr.  Savage  warned  women  especially  against  violent  exercise 
at  first.  When  a  doctor  prescribes  a  certain  dose  of  medicine, 
you  cannot  double  its  good  effect  by  taking  a  double  dose.  All 
exercises  should  be  started  cautiously  and  with  rest  between 
exercises.  Women  are  inclined  to  start  in  on  the  first  lesson 
with  so  much  misplaced  enthusiasm  that  they  are  too  lame  and 
tired  to  exercise  for  days  afterward. 

If  you  are  young,  healthy  and  in  good  physical  trim,  you  may 
play  tennis  and  squash  to  take  off  a  few  superfluous  pounds.  If 
you  are  older  and  considerably  overweight,  you  probably  will  be 
obliged  to  train  for  months  before  you  may  safely  try  any 
strenuous  sport. 


Only  Sane  Way  to  Reduce 


Do  not  be  discouraged  if  you 
rlo  not  lose  weight  immediately. 
There  are  no  miracles  in  this  re- 
ducing business,  except  those  im- 
mediate transformations  prom- 
ised by  the  quacks  and  crooks. 

Athletes  spend  months  in  training.  If  you  want  a  good  figure 
and  good  health,  you  must  have  patience.  But  surely  an  hour 
or  two,  three  times  a  week,  is  not  a  heavy  demand  on  your 
time  and  concentration. 

The  diet  that  goes  with  scientific  reduction  is  far  pleasanter 
than  that  recommended  by  any  of  the  faddists.  Never,  for 
instance,  eat  two  kinds  of  fattening  food  at  the  same  meal.  If 
you  have  potato,  go  without  bread.  If  you  have  a  fattening 
dessert,  do  not  eat  bread  or  potatoes.  Restrict  yourself  to  one 
good  helping  of  each  dish.  Do  not  eat  between  meals.  Drink 
all  the  water  you  want  between  meals,  but  none  at  meals. 

One  of  the  disadvantages  of  a  starvation  diet  is  that  it  places 
an  undue  emphasis  on  food.  Women  who  are  dieting  think 
constantly  of  food.  Take  your  meals  as  a  matter  of  course;  eat 
enough  to  satisfy  yourself  without  stuffing. 

Fruit  juice,  one  egg,  a  slice  of  toast  and  a  cup  of  coffee  is  a 
sensible  breakfast.  An  entree,  a  salad  and  a  cup  of  tea  is  a 
sufficient  luncheon  for  a  woman  unless  her  mode  of  life  is  un- 
usually active.  For  dinner,  a  thin  soup,  meat,  a  green  vegetable, 
a  salad  and  either  a  potato  or  a  dessert  is  a  good  meal. 

The  important  thing  is  to  vary  the  diet  and  to  see  that  you 
get  some  starches,  some  greens,  some  meats  and  some  fruits  daily. 

Enjoy  your  meals,  but  beware  of  the  second  helpings! 

For  the  benefit  of  the  girl  who  is  only  a  few  pounds  overweight 
and  who  feels  that  her  physical  condition  warrants  home  exer- 


Right:  The  Ring  Roller  literally  shapes  the  body 
by  applying  a  gentle  massage  from  waist  to  shoul- 
der. Left:  Hip,  hip,  away!  The  machine  gives 
that  trim  silhouette.  Active  exercise  and  diet 
must  supplement  this  method 


cise,  I  am  going  to  describe  a  few 
simple  exercises,  designed  espe- 
cially to  reduce  certain  parts  of 
the  body. 

These  exercises  were  demon- 
strated to  me  by  Miss  Irene 
Hines,  who  is  in  charge  of  the  Women's  Department  at  Dr. 
Savage's  Exercise  Institute.  The  exercises  will  not  be  sufficient 
to  a  woman  seriously  overweight,  but  they  will  help  anyone  who 
wants  to  take  off  a  little  troublesome  and  unbecoming  flesh. 
They  are  also  good  exercises  for  weight  prevention  and  any 
woman  can  practice  them  with  safety  and  advantage.  Go 
through  these  exercises  two  or  three  times  at  the  start,  as  you 
will  not  want  to  overdo. 

The  exercises,  which  are  illustrated  on  pages  30  and  31,  were 
especially  posed  by  Jeanne  Morgan,  of  Famous  Players-Lasky. 
Miss  Morgan  is  five  feet,  seven  and  a  half  inches  tall  and  weighs 
one  hundred  and  thirty  pounds — quite  an  ideal  figure.  As  she 
is  a  graduate  of  the  Paramount  School,  she  is  accustomed  to 
gymnasium  work  and  is  in  perfect  physical  trim. 

Miss  Morgan  had  no  difficulty  in  performing  any  of  the  exer- 
cises, but  the  beginner  may  have  to  go  at  them  carefully.  Re- 
member, all  exercises  must  be  taken  slowly.  You  should  be  able 
to  feel  your  muscles  stretch. 

The  first  exercise  is  to  reduce  the  abdomen.  Lie  flat  on  the 
floor,  hands  to  the  side,  palms  out.  Raise  the  knees  to  the 
chest.  Now  extend  the  legs  and,  very  slowly,  describe  an  arc, 
keeping  the  legs  straight. 

If  you  perform  this  exercise  correctly,  you  will  feel  the  pull 
at  the  abdomen  muscles.  But  don't  make  the  mistake  of  over- 
doing or  you'll  notice  it  the  next  day.     [  continued  on  page  114  ] 


Sure,  You  Can 
Make  Money 
in  California 


The  only  thing  these  California  bunco  artists  haven't  tried 
to  sell  me  is  a  horse.  I  reckon  they  figure  that  would  be  one  deal 
where  I  could  protect  myself  in  the  clinches.  Out  in  Okla- 
homa, in  my  unregenerate  youth,  I  had  the  reputation  of  being 
one  of  the  slickest  horse  traders  that  ever  panned  a  wind- 
broken  broncho  oft"  on  an  unsuspecting  easterner.  In  fact, 
if  modesty  permits,  I  might  say  I  was  looked  upon  as  the 
David  Harum  of  the  Southwest. 

But  outside  of  a  horse,  there's  nothing  made  or  manufactured 
that  hasn't  been  offered  me — at  a  bargain.  These  here  liar- 
gain  hounds  follow  me  like  crows  follow  a  cornplanter.  There 
isn't  acres  enough  in  all  Texas  to  accommodate  the  ground 
floor  propositions  these  coyotes  have  tried  to  let  me  in  on. 

When  a  couple  of  these  polite  highwaymen  come  with  one 
of  these  aforementioned  stupendous  bargains.  I  always  try  to 
remember  that  they  had  it  first  and  at  the  same  time  enumerate 
what  all  I  have  ever  done  for  them  that  makes  'cm  so  chari- 
tably inclined  toward  me.     These  soft-eyed  and  soft-hearted 


Tom  Mix  says  that  when  anyone  asks  him 
who  he  is  working  for,  he  owns  up  to  the 
Retail  Automobile  Dealers'  Association,  a 
couple  of  jewelers,  half  a  dozen  furniture 
stores,  some  high  class  tailors  and  the 
California  real  estate  bandits 


MAKING  money  in  California  isn't  hard  for 
an  average  individual  gifted  with  what  you 
might  call  horse  sense,  but  to  hang  onto  it  is 
considerable  of  a  tougher  proposition.  Most 
of  us,  including  myself,  live  on  the  installment  plan. 

The  other  day  a  gent  asks  me  who  I'm  working  for, 
and  being  a  truthful  sort  of  person  I  right  up  and 
owns  that  it's  the  Retail  Automobile  Dealers'  Associ- 
ation, a  couple  of  jewelers,  half  a  dozen  furniture 
stores,  some  high  class  tailors  and  the  California  real 
estate  bandits. 

■u 


"California  bunco  artists  have  tried  to  sell  me 

everything,    except    a    horse.      I    reckon    they 

figure  that  would  be  one  deal  where  I  could 

protect  myself  in  the  clinches" 


but  try  and  KEEP  it! 


The  cowboy  star  says  it's 
simple  to  lasso  a  bankroll 
but  a  darn  sight  easier  to 
break  it  than  a  broncho 


pirates  would  have  traded  poor  old  Jesse  James  out  of  his  last 
horse — and  there  were  times  when  Jesse  needed  his  horse 
pretty  bad. 

Every  time  they  read  in  one  of  the  papers  some  pipe  dream 
a  press  agent  has  had  about  my  salary,  an  army  of  gyp  road 
agents  start  after  me  that  would  make  the  late  lamented 
Dalton  boys  look  like  mere  amateurs.  They  get  me  as  sore  as  a 
prohibition  agent  who  has  to  go  and  buy  his  own  liquor.  I 
have  had  more  chances  to  finance  new  patents  on  non-skidding 
automobile  tires  than  any  other  living  man.  Inventors  who 
have  automatic  ranch  gates,  discover- 
ers of  one-man  tops  for  autos  that  four 
strong  men  together  can't  get  up  nor 
down,  owners  of  self-adjusting  radio 
sets  and  subdivisions  that  haven't 
even  got  a  road  into  'em  yet,  consider 
me  legitimate  prey.  I  don't  fall  for 
none  of  'em — but  does  that  discourage 
such  enthusiasts?  It  does  not.  They 
go  right  away  and  turn  up  the  next 
day  with  something  else,  usually 
worse.  One  enterprising  desperado, 
who  had  tried  unsuccessfully  four 
times  to  sell  me  propositions,  was  real 
candid  with  me.  He  says,  "  Well,  Air. 
Mix,  what  will  you-all  buy?  I'll  go 
out  and  get  it  for  you." 

Incidentally,  this  particular  type  of 
shorthorn  doesn't  appear  interested  in 
bargains  on  credit  for  me — it's  always 
the  cash  and  carry  plan. 

In  my  old  Oklahoma  and  Texas 
ranch  days,  we  fellows  had  consider- 


"  Another  gang  that  got 
on  my  trail  was  the 
antique  dealers.  An 
antique  is  something 
you  couldn't  sell  under 
any  other  name" 


"An  egg  said  we 
ought  to  have  a 
family  crest.  Make 
it  a  horse  rampant, 
I  says,  and  just  put 
in  plain  English, 
'Be  Yourself  " 


J 


"Every  time  they  read  about 
my  salary,  an  army  of  gyp 
road  agents  start  after  me 
that  would  make  the  late  la- 
mented Dalton  boys  look  like 
mere  amateurs" 


"The  Indians  who  used  to 
raise  the  scalps  of  the  Pil- 
grims were  gentlemen  and 
scholars  compared  to  the 
California  mavericks.  The 
Indians  only  took  your 
scalp" 


"Los  Angeles  is  the 
original  club  town. 
It  has  more  clubs 
than  New  York, 
London,  Paris  and 
Shanghai  combined 
— and  I  belong  to 
them  all" 


able  respect  for  the 
full     fledged     outlaw 
who    stuck    you    up 
with     a     "44"     and 
ordered  you  to  shell  out  or  he'd  build 
a  smoke  under  you  that'd  darken  the 
sun — and   we  got  in  the  habit  of  be- 
lieving   him.     I    sort    of    sympathized 
with  those  boys  for  you  never  knew  in 
those  days  when  circumstances  might 
drive  you  into  the  same  line. 

The  only  reason  they  don't  punish 
these  sharks  out  here  in  California  is 
the  inability  of  the  authorities  to  find 
a  punishment  to  fit  the  crime.  They 
used  to  hang  'em  for  stealing  horses, 
and  after  a  fashion  it  was  considered 
half-way  severe.  But  today  it  would 
not  be  drastic  enough  to  impress  sub- 
dividers  and  such  like  boys  that  they'd 
better  work  for  a  living. 

The  Indians  who  used  to  raise  the 
scalps  of  the  Pilgrims  within  the  shadow 
of  the  old  Plymouth  Rock  were  gentle- 
men and  scholars  compared  to  what 
these  mavericks  will  do  to  a  man  who 
is  supposed  to  have  money.  The  In- 
dians only  took  your  scalp,  but  these 
wallopers  skin  you  alive  and  take  the 
hide.  A  couple  of  years  ago  they  were 
allowed  a  peep  at  your  income  tax  re- 
turns, but  now  the  government  has 
shut  that  off,  so  they  just  make  a 
mental  estimate  of  how  much  they 
think  you  ought  to  have  and  if  you 
don't  assay  up  to  expectations,  they 
accuse  you  of  holding  out  on  'em. 

About  the  only  difference  between  me  now  and  in  the  old 
days,  is  that  I  eat  more  regular,  but  my  mentality  doesn't  give 
me  any  more  protection  against  these  sharks  than  it  did  in 
those  same  old  days  when  a  bunch  of  bandits  backed  me  away 
from  my  horse  and  said,  "Old  boy,  this  may  not  be  the  best 
horse  trade  you  ever  made,  but  you  can  tell  the  world  it's  the 
quickest."  I'd  like  to  apply  those  same  methods  to  a  few  of 
the  gentlemanly  bandits  that,  unchecked,  are  permitted  to 
assault  poor  movie  stars  with  their  ideas  about  how  you  ought 
to  spend  your  money. 

There  is  one  bunch  that  comes  around  trying  to  get  me  to 
establish  a  trust  fund  for  my  baby,  but  what  they  ought  to  try 
to  sell  is  one  for  me.     If  I  fall  for  this  gang,  I'll  need  it  first. 
And   then   there   are   the   clubs.       [continued  on  page  u 5  ] 


35 


\ 


I 


I 


i 


A 


Alfred  Cheney  Johnston 


HEN  a  long  skirt  is  also  a  short  skirt.  Gilda  Gray  compromises 
with  the  extremes  of  fashion.  Gilda's  first  screen  appearance — 
in  "Aloma  of  the  South  Seas" — was  so  successful  that  she  has 
signed  a  contract  with  Famous  Players-Lasky,  with  a  raise  in 
salary.  The  story  hasn't  been  selected.  But  no  scenario  writer 
could  invent  a  more  picturesque  Cinderella  story  than  the  life 
history  of  this  Polish  immigrant  girl  who  worked  her  way  up  from 
the  Chicago  slums  to  the  very  heights  of  Broadway. 


36 


Another    Hilarious    Tvjegro    Film    Story 


Illustrated    hy 
J.  J.  Gould 


"I  reckon  you  don't  want  my  job,"  said  Veto  Small.     "They  bangs 

you  aroun'  a  good  deal."     "If  I  could  on'y  git  into  the  movies," 

breathed  William  Scraggs,  ecstatically,   "I  wou'n't  care  did  they 

kill  me" 


otten 
Goat 


By  Octavus  Roy  Cohen 

For  ways  that  are  dar\, 
the  heathen  Chinese  have 
nothing  on  the  Midnight 
Pictures  Corporation 


THERE  was  an  atmosphere  of  business-like  earnestness 
in  the  sylvan  glade.  Members  of  the  J.  Caesar  Clump 
unit  of  the  Midnight  Pictures  Corporation,  Inc.,  lounged 
expectantly  while  J.  Caesar  and  his  cameraman  con- 
ferred over  the  proper  setup  for  the  next  scene. 

Mr.  Florian  Slappey,  leaning  nonchalantly  against  a  sturdy 
pine,  eyed  with  keen  interest  the  queer  costuming.  It  was  ail 
very  new  and  interesting  to  him:  the  leather  jackets,  ill- 
fitting  tights,  and  little  caps  each  decorated  with  a  lone  green 
feather.  He  sidled  across  to  the  ponderous  and  dignified 
Opus  Randall. 

"Opus,"  he  inquired,  "what  does  that  coschume  dress  you 
up  to  be?" 

"It  is  a  Swiss  yodel,"  explained  Mr.  Randall. 

"Tha's  right,"  agreed  Florian.    "So  you  is." 

His  eye  roved  the  scene,  taking  in  the  score  of  other  yodels 
who  were  awaiting  the  sharp-voiced  orders  of  the  irascible  and 
efficient  director.  Personally,  Florian  did  not  particularly 
approve  these  monkey-suits  and  the  queer  antics  which  seemed 
the  inevitable  concomitant  to  them.  To  his  way  of  thinking 
there  were  very  few  individuals  in  the  Midnight  organization 
of  an  architectural  type  to  justify  tights.  And  the  feathered 
caps  he  regarded  as  unnecessary  and  totally  lacking  in  deco- 
rative quality. 

But,  if  on  the  Slappey  countenance  there  was  no  glimmer 
of  approval,  one  person  present  more  than  surpassed  him  in 
expressing  abject  misery. 

This  gentleman  was  attired  as  were  the  others  and  he  be- 
longed even  less.     He  was  very  long  and  decidedly  angular 

,7 


With  meticulous  care  Director  J.  Caesar  Clump 
had  placed  the  shiny  new  apple  on  the  very 
crest  of  Mr.  Veto  Small's  cranium.  Then  he 
turned  to  Opus  Randall,  who  was  playing  un- 
certainly with  his  bow  and  arrow.  "How  you 
is  supposed  to  shoot  this  thing,  Caesar?" 
Opus  demanded 


and  he  possessed  a  head  of  mammoth  propor- 
tions. He  was  in  the  group  of  picture  actors 
but  not  of  it.  He  braced  himself  against  a  tree 
and  stared  with  round  and  mournful  eyes  upon 
the  sunlit  scene. 

Thin  legs  were  lost  in  the  green  tights  which 
he  wore,  the  leathern  jacket  fitted  entirely  too 
snugly  and  the  little  cap  stood  on  top  of  the 
enormous  cranium  as  though  inviting  any  stray 
zephyr  to  do  its  durndest.  Huge  splay  feet 
afforded  a  certain  measure  of  support  to  the 
elongated  body — and  on  the  face  of  Mr.  Veto 
Small  was  an  expression  which  was  sad  but 
reconciled. 

Veto  wondered  what  it  was  all  about.  The 
thing  didn't  seem  to  have  no  sense  nohow — 
and  there  was  no  one  present  to  whom  Mr. 
Small  could  turn  for  information.  With  thu 
Midnight  Pictures  Corporation,  Inc.,  Veto's 
official  status  was  slightly  below  that  of  the 
meanest  grain  of  dust  .  .  .  and  he  stared  with 
melancholy  disapproval  upon  the  merrymaking 
of  other  members  of  the  organization  who  friv- 
oled  through  the  woodland  glen. 

At  length  J.  Caesar  Clump  and  his  cameraman 
seemed  to  come  to  some  sort  of  an  understanding. 
There  came  a  staccato  barking  of  orders  from 
the  directorial  throat  and  instantly  the  babel  of 
laughter  ceased  and  the  company  snapped  to 
attention.  Mr.  Clump  superintended  the  setting 
up  of  the  camera  and  taped  off  the  distance 
which  separated  it  from  a  gaunt  pine  which 
reared  its  form  in  solitary  grandeur  against  the 
Junetide  landscape. 

The  air  of  levity  was  dispelled  as  the  company 
prepared  itself  for  business.  J.  Caesar  turned 
harassed  eyes  upon  his  cast.  He  was  searching 
for  someone  .  .  .  and  then  his  glance  came  to 
rest  upon  the  gangling  and  uneasy  figure  of  Mr. 
Veto  Small. 

"Hey!    Vou,  Veto!" 

The  tall  figure  untangled  itself  and  moved 
slowly  toward  the  director. 

"Heah's  me." 

"Come  heah!'' 

Clump  led  the  way  to  the  lone  pine.  He- 
wrapped  his  fingers  around  the  skinny  arm  of  the 
tall  gentleman  and  shoved  him  with  more  force 
than  consideration  against  the  trunk.  Veto 
stood  blinking  into  the  sun  and  the  all-seeing  eye 
of  the  moving  picture  camera. 

"Stan'  there!"  ordered  Mr.  Clump. 

"  Y-y-yassuh." 

"An'  don't  move." 

"N-n-nossuh." 

The  cameraman  looked  earnestly  into  his  machine,  fiddled 
with  the  diaphragm  lor  a  moment  and  announced  that  every- 
thing was  okay. 

"Ready  to  shoot?" 

"Tha's  the  only  thing  I  aint  nothin'  else  but." 

"Good."  Clump's  voice  shrilled  through  the  forest.  "Opus 
Randall!" 

"Heah  lis,  Caesar." 

"  All  right.    We  is  ready." 

Mr.  Randall  strutted  forward,  and  there  was  no  denying  that 
his  rather  bulbous  form  fitted  the  Swiss  costume  adequately. 
Under  Clump's  guidance,  he,  too,  was  posed  before  the  camera 
so  that  the  field  embraced  a  view  of  Mr.  Randall,  the  tree  and 
Veto  Small.    Then  Clump  bellowed  further  demands. 

"Props,"  he  yelled. 

"Comin'." 

"  Bring  that  bow  an'  arrer." 


A  large  bow  and  arrow  of  uncertain  antecedents  were  prompt- 
ly produced  by  an  efficient  property  man.  These  were  placed 
in  the  hands  of  Opus  Randall.  The  star  stared  at  them  un- 
certainly and  waited.  Over  against  the  tree  a  glimmer  of 
interest  appeared  in  the  eyes  of  Veto  Small.  Mr.  Small  was  in  the 
throes  of  an  idea  that  something  was  about  to  occur  with  him- 
self in  the  role  of  occurree. 

"Apple!"  howled  the  director,  and  an  apple  was  magically 
produced. 

It  was  a  nice  apple,  a  large,  luscious,  juicy  apple  of  shiny  red 
skin  and  snowy  white  flesh.  Mr.  Clump  regarded  it  earnestly. 
Then,  carrying  it,  he  moved  over  to  the  vicinity  of  Veto  Small. 

"Stan'  still,  Veto." 

"  Yassuh." 

"An' don't  you  move.    Not  an  inch." 

"Nossuh." 

With  meticulous  care  J.  Caesar  Clump  placed  the  shiny  new 
apple  on  the  very  crest  of  Mr.  Small's  cranium.  Then  he  stood 
back  and  proudly  surveyed  his  handiwork.  "Tha's  swell,"  he 
verdicted.    "  An'  now  us  is  ready." 


>^3 


He  returned  to  Opus  Randall,  who  was  playing  uncertainly 
with  the  bow  and  arrow.  Opus  looked  up  hopefully  into  the 
eyes  of  his  chief. 

"  How  you  is  supposed  to  shoot  this  thing,  Caesar?" 

Mr.  Clump  explained  somewhat  vaguely  the  art  of  archery. 
Opus  was  dubious  but  willing.  "An'  all  I  has  got  to  do  is  shoot 
that  apple  off  Veto's  head?" 

"Uh-huh.     Tha'saU." 

Veto  moved.  He  did  not  do  it  swiftly,  but  there  was  no  un- 
certainty in  his  manner.  He  left  the  tree  suddenly  and  com- 
pletely. 

"  Says  which?"  he  inquired. 

Caesar  swung  on  him  furiously.  "  Git  back  against  that  tree 
an'  return  those  apple  to  where  it  come  off  from." 

"Listen.  .  .  "  Mr.  Small's  bovine  eyes  were  filled  with 
supplication.  "When  you  said  you  was  gwine  take  a  William 
Tell  pitcher,  you  never  mentioned  shootin'  no  apples." 

"  Us  paid  fo'  the  apples." 

"I  aint  worryin'  'bout  them.  Ise  wonderin'  what  happens 
does  Mistuh  Randall  miss  his  aim." 


Caesar  placed  hands  on  hips  and  surveyed  the  lengthy  Veto 
with  considerable  peevishness.  "  What  you  got  to  do  with  that, 
Useless?  What  you  reckon  us  pays  you  twenty  dollars  each  an' 
ev'y  week  fo'?" 

"I  dunno,"  responded  the  tall  one  sadly.  "Less'n  it  is  to 
have  somebody  livin'  in  the  hospital  most  of  the  time.  The 
way  you  fellers  git  me  beat  up  an'  'most  ruint  is  somethin' 
scandalous.  An'  now  you  stan'  me  up  against  a  tree  an'  shoot 
apples." 

Veto's  voice  registered  his  uneasiness. 

"Somebody's  head  has  got  to  carry  that  apple:  the  scenario 
demands  such,"  declared  Caesar. 

"  Well — I'm  ag'in  it." 

"  You  refuses?" 

"No,  but— " 

"  'Cause  if  you  does,  yo'  job  is  gwine  be  aint.  Back  up  an' 
leave  us  pick  them  fruit  off  yo'  dome." 

Mr.  Small  was  unwilling  but  not  rebellious.  After  all,  twenty 
dollars  per  week  was  twenty  dollars  per  week,  and  the  fact  that 
it  carried  with  it  the  certainty  of       [  continued  on  page  132  ] 

39 


CLOSE-UPS  and   By Herben Howe 

Long-Shots 


Satire,  Humor  and 
Some  Sense 


»s 


VoDLE     £j\V 
HE     Hooo 


Vf    - 


■/",% 

s 


It  would  take  an  athletic 
mountain  goat  to  cover 
the  hills  and  dales  of  Har- 
old Lloyd's  little  yard. 
Ivan  St.  Johns  and  I 
trudged  over  it 


Beverly  Hills,  Calif. 

IXEVER  rely  on  my  own  opinion  of  a  picture. 
It's  the  little  woman's  that  counts  at  the  box- 
office.     So  meet  the  Girl  Friend — She  uses  two-dollar  lip 
rouge. 

"It  ought  to  bring  results  at  that  price,"  I  tell  her. 
"I  don't  kiss  nobody,"  says  she  in  her  customary  grammar. 
"I  shouldn't  think  you  could  afford  to,"  snaps  I,  "unless  you 
make  them  drop  a  quarter  in  first  for  cost  of  upkeep." 

After  that  there  was  silence,  which  was  just  as  well,  as  we 
were  viewing  "La  Boheme." 

The  Girl  Friend  thought  it  was  wonderful,  which  caused  me 
to  allege  suspiciously  that  she  was  looking  at  John  Gilbert  in- 
stead of  Lillian  Gish. 

I  COULDN'T  see  Lillian's  Mimi  .  .  .  She  looked  like 
little  Eva  going  straight  to  Heaven,  whereas  Mimi  walked 
the  streets  in  the  opposite  direction.  She  was  of  the  same 
sleepy  material  as  Musette  except  that  she  had  a  cough,  and 
a  cough  isn't  going  to  take  all  the  joy  out  of  a  fille  dejoie. 

"    A   H,  you  don't  like  Lillian  Gish  because  you've  got  a  crush 
jT\.un  Musette  Adorn."  accused  Girl  Friend,  who,  in  com- 
mon with  all  Hollywood  folk,  thinks  that  a  critic  can't  judge  a 
picture  without  letting  personal  feelings  enter  in. 

"It's  a  lie."  hissed  I.  "I  am  the  Lillian  Gi>h  adorer  who 
sends  her  telegrams  after  every  picture,  even  when  Western 
Union  won't  accept  them  collect.  I  love  Lillian  and  hope  to  be 
playing  her  harp  accompaniments  when  she's  doing  saints  in 
Heaven." 

"  Anyhow,  he's  wonderful."  breathed  the  yielding  Girl  Friend, 
gazing  at  the  screen  where  John  Gilbert  was  doing  a  solo. 

OUR  Lillian  has  gone  wrong. 
She  came  to  Hollywood  and  did  Mimi,  and  now  she's 
wearing  the  Scarlet  Letter. 


Maybe  it's  her  changed  character  that  led  Irving  Thalberg 
to  hire  John  Colton  to  write  her  a  play.  John  wrote  "Rain" 
and  "The  Shanghai  Gesture,"  both  stories  of  mesdames  dcs  units 
(Pardon  the  francais,  but  it's  the  only  tongue  that  gets  by  the 
editor  on  such  occasions). 

HOWEVER,  "Annie   Laurie"  indicates    that    Lillian    has 
turned  to  the  right.    Marion  Davies  has  suggested  another 
LOU  OE     '      great  character  for  her  to  play,  that  of  St.  Elizabeth  of  Hun- 
QOTT1-IE&-    gary. 
_  c;n  J  So  you  see  we're  all  doing  our  best  for  Lillian.    If  there's  any 

who  would  like  to  help  they  may  turn  to  Psalm  36  and  join  with 
us  in  singing  "Bringing  in  the  sheaves,  bringing  in 
the  sheaves,  we  shall  come  rejoicing  bringing  in  the 
she-eves." 

EAL  estate  advertisements  in  Bev- 
erly Hills: 
CHOICE  HOME  SITES  WITH 
FULL  VIEW  OF 
HAROLD  LLOYD 
ESTATE. 

The    inducement    is 
plain: 

Laugh  and  Live — At 
Home. 


BUT   Harold   Lloyd's 
estate  is  not  to  be ' 
laughed  at.  Ivan  St.  Johns 
and    I    trudged    over    its 
fifteen  acres  in  company 

with  Harold.  Now  I  know  why  Harold  has  been  in  training  for 
the  past  six  months.  It  would  take  an  athletic  mountain  goat 
to  cover  the  hills  and  dales  of  Harold's  little  yard.  There's  a 
canoe  course  with  wild  ducks,  which  feel  perfectly  at  home  in 
there,  a  tennis  court,  swimming  pool,  old-fashioned  mill  house, 
a  barbecue,  golf  links,  formal  and  informal  gardens,  and  a  special 
cottage  known  as  the  workhouse,  where  writers  may  be  enter- 
tained without  disturbing  the  family.  Thus  my  winter  vaca- 
tion is  also  arranged. 

CONSTANCE  TALMADGE,  having  gone  Greek  by  her 
first  marriage,  took  out  naturalization  papers  to  become 
American  again,  and  the  next  day  married  a  Scotchman. 
There's  no  holding  Connie  to  any  one  nationality;  her  art 
belongs  to  the  world. 

I'VE  just  learned  the  cause  of  the  break  between  Peggy  Joyce 
and  Tier  producer.     He  gave  her  a  press  clipping  book  for 
Christmas. 

THE  talk  about  the  motion  picture  bringing  about  world 
understanding  has  some  basis  in  fact.    At  least,  the  English 
and  American  fans  seem  to  find         [  continued  on  page  i 32  \ 


W 


Our 

mbrose 
goes  Straight 

All  was  Fun  and 

Foam  in  Mack  Swain's 

"Ambrose"  Days 

By  Myrtle  West 


"Midnight  at  the  Old  Mill."  Ambrose  and  the 
Walrus  (Chester  Conklin)  doing  their  stuff  in 
an  old  Keystone  comedy,  "Saved  by  Wireless" 


IT  must  have  been  a  glorious  frolic  in  those  good  old 
Mack  Sennett  days  when  Gloria  was  a  bathing  girl 
at  seven-fifty  per  day.  When  Chaplin  was  getting 
$150  a  week  and  glad  of  it.  When  Chester  Conklin, 
Ford  Sterling  and  Mack  Swain  were  vying  with  each 
other  for  laughs. 

That  awning  striped  bathing  suit  of  Swain's.  That 
walrus  mustache.  Those  outrageously  bushy  eyebrows. 
That  dear  old  laughed-at,  almost-forgotten  ludicrous 
character  of  Ambrose,  created  by  Mack  Swain  in  1913 


The  first  straight  photograph 
ever  taken  of  Mack  Swain. 
From  the  dignity,  poise  and 
reserve  of  this  picture,  you 
might  think  he  was  a  bank 
president,  not  an  actor 


when  he  entered  pictures  with 
all  the  glory  of  twenty-two 
years  on  the  stage  as  a  song- 
and-dance-man. 

But  let  Mack  tell  about  it. 

The  lugubrious  eyes  of  Am- 
brose have  not  changed,  al- 
though the  bathing  suit  has 
been  laid  away  in  mothballs 
and  in  its  place  is  a  gray  busi- 
ness suit.  Our  Ambrose  has 
gone  straight — straight  comedy 
relief. 

"Yes,  life  was  a  blooming 
beer  garden  in  those  days.  We 
did  pretty  much  as  we  pleased, 
too.  Along  about  three  o'clock 
in  the  afternoon  we'd  get  tired 
of  working — or  else  we  would 
run  out  of  stuff  that  foamed — 
and     then    we'd    nudge     the 

[  COXTINTED  ON  PAGE  12?  ] 


Flaming  Youth,  or  Mr.  Swain  at 
the  age  of  fifteen.  If  Elinor 
Glyn  had  seen  him,  what  a  dif- 
ferent story  it  would  have  been 


u 


Sex— With  a  Sense  of 

Humor    ! 


Malcolm  St.   Clair  who  tamed 

stars,     studios     and    exhibitors 

into  letting  him  do  what  he  and 

the  public  likes 


ONE  of  the  most  diffi- 
cult jobs  I  ever  did 
was  to  write  a  review 
of  "The  Grand  Duch- 
ess and  the  Waiter. "  It  was 
almost  impossible  to  explain 
on  paper  the  charm  of  that 
lovely  film. 

I  find  myself  faced  with  ex- 
actly the  same  task  in  attempt- 
ing to  describe  the  man  who 
made  that  picture,  Malcolm 
St.  Clair. 

There  are  two  types  of  inter- 
views —  those  in  which  you 
meet  a  celebrity,  keep  his  mind 
on  your  work,  have  a  dull  time 
and  get  a  mild  set  of  nothing 
to  work  into  a  story.  And  there 
are  those  that  happen  once  in 
a  green  moon  where  you  en- 
counter a  real  personality,  have 
a  perfectly  swell  time  talking 
about  what  really  interests 
both  of  you  and  come  away 
with  a  series  of  impressions  as 


That  is  the  kind  toward  which 
Malcolm  St.  Clair  aspires 

By  Ruth  Waterbury 


brightly  colored  and  as  intangible  as  soap  bubbles. 

Most  stars  and  many  directors  can  be  put  in  a 

single  sentence.    But  not  Mai  St.  Clair.    The  nearest 

you  can  come  to  it  is  to  say  that  his  general  idea  seems 

to  be  that  the  world  is  so  full  of  a  number  of  sins  he 

is  sure  wc  should  all  be  as  happy  as  kings. 

Cecil  De  Mille  once  told  me  that  if  his  pictures  didn't 

explain  him,  nothing  ever  can. 

Malcolm  St.  Clair  didn't  say  that,  but  of  him  it  happens 
to  be  true. 

Besides  his  "Grand  Duchess"  Mai  created  "Are  Parents 
People,"  "A  Social  Celebrity,"  "Good  and  Naughty,"  and 
"A  Woman  of  the  World, "  pictures  of  light  love  and  lighter 
laughter,  sparkling  with  charm  and  fresh  imagination,  and 
blessed  with  a  surcease  of  bunk  and  blah. 

Alter  meeting  Mai  St.  Clair  you  know  those  qualities 
didn't  get  into  his  pictures  by 
accident. 

He  is  a  very  young  man 
to  be  as  wise  as  he  is.  Just 
twenty-eight  and  six  feet 
three  inches  tall.  His  eyes 
are  gray  and  his  height  has 
taught  him  to  duck  his  head 
so  that  he  gazes  down  upon 
the  world  from  beneath  very 
heavy  brows. 

We  went  for  lunch  at  New 
York's  smartest  and  most  ex- 
pensive restaurant  and  he 
talked  and  ate  with  equal 
rapidity.  He  is  known  as 
the  fastest  worker  on  the 
Lasky  lot,  his  production 
schedule  being  so  far  ahead 
of  every  other  director's  that 
he  saves  about  $50,000  on 
the  cost  of  every  feature. 

"Listen, "  he  says,  and  then 
he  tells  you — a  little  bit  of 
everything.  He  sits  pushed 
down  upon  his  chair  and  his 
quality  of  aliveness  is  so  in- 
tense that  if  he  sprang  up 
every  once  in  a  while  and 
hit  the  ceiling  it  wouldn't 
surprise  you. 

[  CONTINUED  ON  PAGE  112  ] 


In  his  Sennett  days  Mai  was  an 
extra  boy  where  Chester  Conklin 
was  a  star.  But  Mai's  gone  up 
in  the  world  since  then  and 
their  friendship  makes  Chester 
chesty 


O  they  look  like  Napoleon  and  Josephine?  Nevertheless,  Charlie 
Chaplin  thinks  that  it  can  be  done.  And  when  Raquel  Meller 
left  Hollywood  to  return  to  France,  she  faithfully  promised 
Charlie  that  she  would  return  and  play  Josephine  to  his  Little 
Corporal.  Neither  Charlie  nor  Raquel  will  take  any  salary 
during  the  making  of  the  picture.  But,  don't  faint;  wait  a 
minute!  There's  a  catch  to  it.  Charlie  and  the  Senorita  will 
share  in  the  profits  of  the  film.  If  there  are  no  profits,  it  will  be 
written  off  as  a  glorious  experiment.  Charlie  wants  to  try  a 
serious  role.  And  Meller,  after  some  none-too-successful  French 
films,  wants  to  show  what  she  can  do  with  good  direction.  Any- 
thing is  apt  to  happen  when  a  couple  of  geniuses  get  together. 


Donald 

Ogden  Stewart's 

GUIDE  to 

Mr.   Stewart  says  this  is  a  synopsis  but  try  and 
find  what  has  gone  before 

IT  is  spring  in  old  Hollywood  but  it  is  not  spring  in  the  heart 
of  Cecil  B.  DeMille,  a  rising  young  moving  picture  director 
whose  grandmother  had  voted  for  Lincoln  when  Lincoln  was 
still  in  knee  trousers,  and  something  of  the  old  lady's  grim 
spirit  has  gotten  into  her  grandson's  face,  I  am  afraid,  on  this 
otherwise  cheerful  June  morning.  Cecil  15.  DeMille  wants  a 
story — a  new  story.  He  has  heard  all  the  old  stories — the  one 
about  the  two  Irishmen  named  Zukor,  Goldwyn  and  Lasky,  the 
one  about  the  traveling  salesman  named  Laemmlc — he  has 
heard  them  all.    He  wants  a  new  story.    And  as  he  stands  there 

u 


perfect 

More  straight  from  the 

elbow  advice  from  America's 

leading  humorist 


at  the  corner  of  what  was  one  day  to  be  Sunset  Boulevard  and 
Vine  Street  an  idea  comes  to  him  in  the  following  form: 

"I  think  I'll  cross  the  street." 

At  first  the  idea  is  only  vague  and  nebulous,  as,  indeed,  are 
all  worth-while  ideas  in  their  original  form.  But  soon,  out  of 
the  mist,  it  begins  to  take  shape — to  "build,"  as  they  say — 
and  before  long  young  Cecil,  who  is  a  man  of  "action,"  not 
"words,"  has  grasped  the  essential  fundamentals  of  the  above 
idea  and  has  begun  to  "act."  And  in  a  very  short  time  (as  time 
goes  in  Hollywood,  that  ageless  city)  he  is  able  to  see  his  idea 
fulfilled.     Cecil  B.  DeMille  stands  on  the  other  side  of  the  street. 

And  whom  should  he  meet  there  but  a  person  who  is  neither 
America's  Sweetheart  nor  the  Spirit  of  Cleaner  Moving 
Pictures,  but  a  tall  man  with  a  long  black  beard  and  spots  on 


"An  American  Tragedy"  quite  naturally  becomes  the  story  of  a  police 

dog  belonging  to  a  man  who  constantly  chews  tobacco  but  is  in  love 

with  one  of  the  Siamese  twins 


Behavior  in 

Hollywood 


his  vest  as  from  vegetable  soup  or  a  business  man's  lunch,  only 
he  wasn't  a  business  man  and  he  hadn't  any  lunch.  His  name, 
for  the  sake  of  brevity,  shall  be  nameless. 

Meanwhile,  out  in  far  distant  New  Mexico,  a  train  is  speeding 
westward  bearing  its  precious  cargo  of  human  freight  consisting 
of  Lew  Cody  and  Norman  Kerry  who  (as  related  in  our  last 
installment)  are  coming  to  Hollywood  to  try  their  luck  at  the 
moving  picture  "game."  Lew  has  the  upper  but  Norman  has  a 
mustache  and  so  the  train  stops  at  Albuquerque.  Lew  and 
Norman  get  out  in  order  to  buy  something  to  read,  but  un- 
fortunately the  only  thing  the  bookseller  has  left  are  the  "  Elsie" 
books  which  they  both  have  read  several  times. 

"Have  you  got  anything  by  Donald  Ogden  Stewart?"  asks 
Norman,  eagerly. 


"Xo,"  replies  the  bookseller. 

"Good!"  says  Norman  and  they  both  laugh  and  Lew  takes  a 
vanilla  soda  with  chocolate  ice  cream. 

On  their  return  to  the  train  whom  should  they  find  but 
Lillian  Gish,  Aileen  Pringle,  Eleanor  Boardman,  Carmelita 
Geraghty,  Tom  Mix's  horse,  Tony,  and  Joseph  Hergesheimer. 
all  on  their  way  to  Hollywood  to  try  their  luck  at  "pictures." 
As  Lew  and  Norman  look  on,  a  furious  game  of  dominoes 
breaks  out  and  in  the  midst  of  the  excitement  it  is  discovered 
that  Lillian,  Aileen,  Eleanor  and  Carmelita  have  gone  fast 
asleep. 

"Shall  we  join  the  ladies?"  asks  Lew.  With  that  he  picks 
up  a  copy  of  Photoplay  containing  Chapter  III  of  "Perfect 
Behavior  in  Hollywood  "  and  begins  to  read.  [  cont'd  on  page  120  ] 

\5 


P16  Hands 


\ 


Erich  von  Stroheim  says  ZaSu  Pitts  is  the  screen's 
greatest  tragedienne,  thanks  to  her  singularly  dra- 
matic hands.  Here  is  Miss  Pitts  in  the  blond  wig  of 
Cecelia  in  Von  Stroheim's  "The  Wedding  March" 


YOU  will  pardon  me  if  I  seem  a  bit  incoherent.  I  have 
just  been  talking  to  a  pair  of  hands.  A  pair  of  hands 
so  expressive  that  their  slightest  movement  is  a  syllable. 
A  simple  turn  of  their  flexible  wrists  the  symbol  of  a 
mood. 

And  my  hands  are  so  pitifully  dumb. 

These  hands  are  lyric  hands,  if  one  could  call  them  that. 
They  are  not  delicate  nor  particularly  fiowerlike.  I  would 
never  call  them  fragile.  But  they  are  hands  which  could  tell 
the  universal  story  of  joy  and  tears,  fear  and  love  by  swift 
supple  movements. 

Da  Vinci  would  have  loved  to  paint  them.  But  they  came 
centuries  too  late. 

They  are  the  hands  of  ZaSu  Pitts. 

Now  of  course  you  have  heard  of  them.  They  are  prac- 
tically a  legend  in  Hollywood.  Whenever  a  director  wants  a 
bit  of  real  acting — pathetically  humorous  or  humorously 
pathetic — he  sends  for  ZaSu  Pitts.  And  with  ZaSu  comes 
her  hands.  Those  splendid  slim  hands  that  can  be  sad  one 
moment  and  glad  the  next. 

"  She  has  more  expression  in  one  little  finger  than  most  ac- 
tresses have  in  their  whole  bodies,"  said  one  director. 

But  they  didn't  think  that  when  ZaSu  first  came  to  Holly- 
wood from  Santa  Cruz,  eight  years  ago.  It  was  another  film 
story  of  the  awkward  adolescent  with  sad,  large  eyes,  walking 

46 


ZaSu  Pitts  has 
the  most  dramatic 
hands  in  all  Hollywood 

By  Dorothy  Spensley 


from  studio  to  studio.     Living  at  the  old  Holly- 
wood Studio  Club.     Hungry.     Waiting. 

Then  she  got  her  first  part  of  consequence. 
She  was  a  frightened  slavey  in  a  Pickford  picture. 
What  she  lacked  in  acting  ability  was  made  up 
by  her  hands.  Her  long,  slim  fingers — not  par- 
ticularly graceful,  but  fascinating — played  the 
scene  for  ZaSu.  Not  with  Griffith  technique, 
which  teaches  little  fluttering,  futile  motions, 
mounting  to  hysteria.  But  with  sure  true 
movements.  "Watch  your  hands,  Kid.  If  you 
do,  you  will  have  it  all  over  the  rest  of  them," 
the  director  counseled. 

So  ZaSu  watched  and  waited.     And  played  in 

comedies.     And  it  was  discovered  her  hands  had 

a  sense  of  humor.     Droll,   sly  humor.     Hands 

that  could  hang  limp  at  her  sides — their  very 

attitude  calling  for  paroxysms  of  laughter.     And 

a  thumb  that  could  go  to  her  lip  in  a  questioning 

curious  manner  that  brought  forth  merry  howls. 

That  is  what  ZaSu  likes  best  to  play.     Comedy 

that  verges  on  the  edge  of  pathos,  as  all  true 

comedy  does.      A  feminine  Harold  Lloyd -Charlie    Chaplin. 

And  how  well  she  could  do  it ! 

But  Erich  von  Stroheim,  who  made  Trina  of  ZaSu  Pitts  in 
"  Greed,"  says  she  is  the  screen's  greatest  tragedienne.  Great- 
er than  Lillian  Gish.  Greater  than  Mary  Philbin.  So  great 
an  actress  of  tragedy  that  he  has  cast  her  as  Cecelia  opposite 
his  Prince  Nicki  in  "The  Wedding  March,"  which  he  has 
written  and  is  directing.  She  is  his  wife — a  marriage  of  con- 
venience— and  he  is  a  profligate  Viennese  nobleman  in  the 
period  before  the  war. 

She  is  tragic.  She  is  funny.  She  is  versatile.  Off-screen 
she  is  inclined  to  be  nonchalant.  There  is  nothing  artificial 
about  ZaSu.  She  either  likes  you  or  she  doesn't.  And  I 
doubt  if  there  is  another  actress  in  Hollywood  who  does  more 
noiseless  charity  work. 

A  ten  dollar  bill  slipped  into  the  palm  of  an  out-of-work 
extra  girl.  A  basket  of  supplies  delivered  anonymously  to  a 
family  of  meagre  means.  A  girl  at  the  Hollywood  Studio 
Club,  flat  broke,  receives  carfare  home. 

When  Barbara  La  Marr  passed  away,  "Sonny"  La  Marr,  her 
little  adopted  boy,  came  to  keep  Ann  Gallery,  four  year  old 
daughter  of  Tom  and  ZaSu,  from  becoming  too  lonesome  in 
the  nursery  that  overlooks  the  Santa  Monica  Bay  District. 
They  are  "brother  and  sister"  now,  according  to  ZaSu.  And 
the  big  house  is  full  of  cousins  and  relatives  who  have  come 
West  to  see  Hollywood  or  try  pictures. 

ZaSu  has  a  heart  for  the  world  and  the  hands  that  Maeter- 
linck must  have  been  dreaming  of  when  he  penned  the  lines: 

"  My  hands,  the  lilies  of  my  soul, 
"Mine  eyes,  the  heavens  of  my  heart." 


The  Lark  of  the  Month 


IT  was  California's  grandest — and  most  expensive  "first  night." 
Every  star  with  twenty-five  dollars  in  real  cash  dug  down  in 
his  pocket  for  seats  for  himself  and  the  girl-friend  to  hear 
Raquel  Meller,  the  noted  Spanish  "diseuse."  And,  in  honor  of 
Senorita  Meller,  every  Spanish  shawl,  every  Spanish  comb  and 
every  Spanish  dictionary  in  Hollywood  were  in  big  demand. 

Among  those  very  much  present  were  Mr.  and  Mrs.  Tom  Mix, 
in  full  glory  of  evening  dress,  Mrs.  Mix  covered  with  her  lovely 
diamonds.  Tom  had  paid  his  twenty-five  dollars  and  was  deter- 
mined to  do  the  thing  up  right.  And  he  was  determined  to  enjoy 
Meller  if  for  no  better  reason  than  the  fact  that  the  tickets  had 
cost  him  a  lot  of  money. 

In  the  course  of  his  roamings  in  the  Southwest,  Tom  had  picked 
up  a  smarter  of  Spanish.    He  never  had  any  trouble  understanding 


or  making  himself  understood  by  the  Mexican  boys.  And  so  he 
thought  that  Raquel  Meller  and  her  songs  would  be  just  pie  for 
him. 

But  one  song  followed  another  and  it  was  all  Chinese  to  Tom. 
He  "no  savvy"  the  high  Castillian  Spanish.  After  the  performance, 
Tom  was  invited  back-stage  to  meet  the  Senorita.  With  high 
hopes  of  finding  a  conversational  footing  with  the  star,  Mix 
rehearsed  his  Rio  Grande  Spanish.  Face  to  face  with  the  celebrity, 
Tom  started  the  conversation  with  "Gracios.  Mucho  grande. 
Star  bueno." 

All  he  drew  from  the  great  Meller  was  a  long,  sad  look  of 
amazement. 

"I  guess  that  Spanish  at  $12.50  per  isn't  what  they  use  on  the 
Rio  Grande,"  remarked  Tom  sadly. 

17 


STUDIO  NEWS  6?  GOSSIP 


"I  want  to  go  back  to  blighty,"  as  they  used  to  say 
back  in  1917.  The  lady  in  the  "Big  Parade"  make-up 
is  none  other  than  our  Mabel  Normand,  now  fighting 
the  war  again  at  the  Hal  Roach  studio.  They're  all 
in  the  army  now 


RUDY  and  Pola  deserve  a  long  vacation  from  the  news- 
papers. If  everyone  stopped  printing  anything  about 
their  engagement,  they  would  get  married  in  self-defence. 
However,  as  long  as  we  have  followed  this  grand  passion 
through  so  many  episodes,  it  might  be  well  to  record  the  latest 
events.  (Business  of  yawning.)  It  seems  that  the  engagement 
is  a  trial  affair.  (Yawns.)  If  it  lasts  until  February  and  both 
Rudy  and  Pola  are  still  in  love,  the  couple  will  marry.  (More 
yawns.)  Mrs.  Chalupez,  Pola's  mother,  hopes  that  the  wed- 
ding will  take  place.  She  says  she  wants  a  lot  of  nice  little 
grandchildren.    (One  great,  big,  signing-off  yawn.) 

Mow  comes  our  own  Harry  Carey  with  a  classic  utter- 
ance: "Gentlemen  prefer  blondes,  but  blondes  aren't 
so  particular." 


Did  you  ever  wonder  what  the  back  of  a  mountain 
looks  like?  Well,  here  is  a  whole  range  of  Big  Boys, 
especially  constructed  at  the  Famous  Players-Lasky 
studio  for  a  scene  in  Thomas  Meighan's  picture, 
"Tin  Gods" 


"T— TE  didn't  rescue  me  from  drowning!"  said  Mae  Busch 
X  J-indignantly.    "I  was  a  bathing  girl  once  and  I  know  how 
to  swim. 

And  that's  what  Mae  announced  shortly  after  her  marriage 
to  John  E.  CasseD,  oil  man.  It  seems  that  someone  had 
slarted  a  story  that  Cassell  won  Mac's  heart  by  saving  her 
from  the  surf  at  Santa  .Monica.  And  Mae  resented  the  rumor. 
Miss  Busch  and  Mr.  Cassell  were  married  at  Riverside 
California,  with  Arlcne  Pretty  and  James  Morrison  acting  as 
witnesses.  Mae  gave  her  age  as  twenty-nine;  John  owned  j 
up  to  twenty-six. 

"""THE  first  thing  Rence  Adoree  did  when  she  arrived  in  Los 
-L  Angeles  upon  her  return  from  New  York  and  "Tin  Gods"  I 
was  to  announce  that  no  engagement  existed  between  herself 
and  Rudolph  Friml,  the  celebrated  operetta  composer,  although 
slones  of  her  two  gorgeous  diamond  rings  and  a  $25,000  auto- 
mobile, gifts  of  Friml,  had  percolated  to  the  hinterland  of 
Hollywood. 

If  Renee  says  there  is  no  engagement,  of  course  there  is 
none.    Wonder  if  Gaston  Glass  is  glad? 

QOMEONE  was  talking  to  Fred  Thompson,  the  Western 
•■-'star,  the  other  day. 

"You're  a  good  actor,"  commented  Fred's  friend. 
'     "Stop  kidding  me,"  said  Thompson,  "I've  got  a  good 
horse." 

JOSEF  VON  STERNBERG,  who  directed  that  famous  epic  of 
J  the  stream  dredge,  "The  Salvation  Hunters, "  was  married  in 
Hollywood  recently  to  Riza  Royce.  The  ceremonv  was  per- 
formed by  a  justice  of  the  peace  and  the  bridegroom  took  the 
bride  to  luncheon  at  Montmartre  to  celebrate. 

SOMETIMES  it  is  better  to  lose  several  hundred  thousand 
dollars  than  to  risk  a  couple  of  millions.  "Glorifving  the 
American  Girl, "  the  Florenz  Ziegfeld  film,  is  off  for  the'present 
It  cost  Famous  Players-Lasky  just  S205.000  before  a  crank 
had  turned  on  the  cameras  and  the  company  decided  that 
enough  was  enough  and  refused  to  plunge  in' deeper  on  the 
production. 

In  spite  of  the  fact  that  the  picture  may  never  reach  the 
screen,  Ziegfeld  has  received  8150,000  for  his  part  in  the 
undertaking. 

Ziegfeld's  contract  with  Famous  Players-Lasky  must  have 
been  a  masterpiece.  It  was  one  of  those  one-way  contracts 
with  everything  going  to  Ziegfeld.     For  instance",  the  little 


EAST  AND  WEST      «yc/y«» 


And  here  are  the  same  mountains,  seamy-side  turned 
the  other  way.  Naturally  it  was  impractical  to  send 
the  company  to  the  Andes  and  no  mountains  near 
New  York  happen  to  look  like  'em.  Hence  these 
had    to    be    made 


piece  of  paper  stipulated  that  8186,000  in  costumes  were  to  be 
used  in  the  picture. 

Ziegfeld  was  to  direct  the  spending  of  S106.000  of  this  sum; 
the  others  were  to  be  made  in  the  studio.  And  at  the  com- 
pletion of  the  picture,  Ziegfeld  was  to  receive  the  costumes  for 
use  in  his  next  "Follies." 

Josef  Urban,  who  designs  the  Ziegfeld  settings,  received  a 
retainer  of  825,000  for  preliminary  work  on  the  sets  and 
87,500  was  paid  for  a  scenario. 

WHEN  Famous  Players-Lasky  surveyed  these  figures,  it 
decided  that  the  production  would  be  too  much  like  a 
free  boat  ride  for  the  Ziegfeld  organization.  Perhaps  the 
unkindest  stipulation  of  the  contract  was  the  clause  which 
provided  that  the  Ziegfeld  chorus  girls  were  to  receive  $35  a 
day  for  their  first  appearance  in  front  of  a  camera. 

It  costs  a  lot  to  Glorify  the  American  Girl,  as  any  butter 
and  egg  man  can  tell  you. 

"OURE  I  am  a  bachelor,"  says  Raymond  Griffith,  "and 

^here's  why:     No  man,  no  matter  who  he  is,  is  good 

enough  to  marry  a  good  girl.    And,  of  course,  no  real  man 

would  think  of  marrying  a  bad  girl.    Hence — the  bachelor." 

CAN  you  imagine  Charles  Spencer  Chaplin  as  Napoleon 
Bonaparte? 
Well,  it  is  one  of  the  two  roles  that  this  great  little  comedian 
has  always  wanted  to  do.    The  other  is  Hamlet. 

Chaplin  can  look  the  part  of  Napoleon.  At  more  than  one 
masquerade  party  I  have  seen  him  in  the  guise  of  the  great 
Bonaparte.    He  just  can't  resist  it. 

And  now  from  his  studios  comes  the  announcement  that 
Charles  Spencer  Chaplin  will  play  Napoleon  and  that  Raquel 
Meller,  famous  Spanish  stage  artist  who  took  Hollywood  by 
storm,  will  play  his  Empress  Josephine.  They  plan  to  make 
the  picture  as  soon  as  Senorita  Meller  completes  a  concert  tour 
which  will  end  in  Los  Angeles  in  January  of  next  year. 

It  will  present  Chaplin  in  his  first  attempt  at  serious  film  drama. 

It  will  mean  the  realization  of  one  of  his  life's  ambitions — 
to  present  his  idea  of  Napoleon  to  the  world. 

It  may  also  change  his  entire  future  career,  for  if  the  audi- 
ences accept  him  in  serious  drama,  he  may  produce  "Hamlet" 
next. 

So  you  see,  Chaplin,  with  all  his  greatness,  only  helps  to 
prove  the  old,  old  rule — the  clown  underneath  wants  to  play 
the  hero — the  great  tragedian  the  comedian. 


The  very  smartest  and  most  comfortable  bathing  suit 
for  girls.  May  McAvoy  wears  this  suit  in  "The  Fire 
Brigade."  Don't  ask  us  what  a  bathing  suit  has  to  do 
with  a  picture  that  is  all  about  fire -fighters.  Even 
Mack  Sennett  can't  answer  that 


'"PIN  PAN  ALLEY,  home  of  the  song  writer,  watches  the 
■*■  current  motion  picture  productions  carefully. 

"There's  a  Boatman  on  the  Volga"  has  just  appeared, 
being  suggested,  of  course,  by  the  current  Cecil  B.  De  Mille 
film. 

The  prize  of  the  song  month,  however,  goes  to  "My 
Dream  of  the  Big  Parade." 

This  song  has  a  neat  finishing,  running: 
"I  saw  one-legged  pals 
Comin'  home  to  their  gals, 
In  my  dream  of  The  Big  Parade." 

IT  is  more  than  probable  that  Jack  Pickford  will  play  the 
role  of   Clyde  Griffiths  in   the  screen   version   of  Theodore 
Dreiser's  "An  American  Tragedy."     Mary,  undoubtedly,  will 


49 


This  picture  was  taken  immediately  after  Gertrude 
Olmsted  whispered  the  fatal  "I  do,"  that  made  her  the 
wife  of  Robert  Leonard.  And  as  soon  as  Mae  Murray 
heard  that  her  ex-husband  had  married,  she  staged  a 
wedding  of  her  own 


be  delighted  to  learn  that  her  little  brother  is  going  to  get  a 
chance  in  such  an  important  picture,  for  Mary  always  has  had 
unbounded  faith  in  Jack's  talents.  And  evidently,  too.  Jack 
has  recovered  his  health,  otherwise  he  wouldn't  be  undertaking 
such  an  ambitious  season's  work. 

Glenn  Hunter,  who  will  create  the  role  on  the  stage,  an- 
nounced that  he  would  also  play  in  the  film  version.  But  the 
producers  thought  otherwise  and  sought  out  Jack  Pickford. 

THE  Marilyn  Miller-Jack  Pickford  affair  wasn't  exactly  one- 
sided. Jack  wasn't  being  noble  about  giving  Marilyn  a 
divorce  just  because  she  is  interested  in  Ben  Lyon.  Jack  had 
some  little  plans  for  his  own  future  and  it  was  said  they  con- 
cerned Bebe  Daniels.  Then  Bebe  up  and  announces  she's 
engaged  to  Charles  Paddock.  So  we  don't  know  who  will  be 
the  third  Mrs.  Pickford. 

'E'RNEST  TORRENCE  has  just  returned  from  a  vacation 
■'-'spent  on  the  Continent  and  in  Scotland,  his  homeland. 
Torrence  says  that  the  most  popular  motion  picture  in 
Scotland  right  now  is  "The  Woman  Pays." 

YESTERDAY  a  truck  driver  getting  $30  a  week;  today  a 
movie  actor  with  a  fine  contract.  And  tomorrow — maybe — 
a  star.  That's  the  story  of  John  Kolb.  Only  a  short  time  ago 
John  was  driving  a  truck  for  the  New  York  Edison  Company 
and  supporting  a  wife  and  family  in  a  Bronx  flat.  A  casting 
director  saw  John  and  asked  him  to  play  a  Canadian  lumber- 
jack in  "The  Knockout."     Then  he  got  a  job  in  "Men  of 

50 


Sudden  increase  in  Hollywood's  population.  Eddie 
Cantor  took  the  family  West  for  his  first  screen  appear- 
ance in  "Kid  Boots."  Here  you  have  Marjorie,  Natalie, 
Edna  and  Marilyn.  And,  of  course,  the  Missus.  This 
shows  why  Eddie  works  during  the  summer 


Steel."  John  wouldn't  quit  the  truck  for  the  studio  until  he- 
got  a  contract. 

Movies  were  only  part-time  work  until  First  Xational  asked 
him  to  sign  up.  John  is  six  feet,  seven  inches  tall  and  one  of 
those  he-men. 

He  is  in  Hollywood  now. 

VIVIAN  RICH  and  her  husband.  J.  W.  Jesson,  are  feeling 
particularly  elated.  A  certain  long-legged  bird  left  an 
eight  and  a  half  pound  son  with  them  and  they  immediately 
named  him  Charles  Forde  Jesson. 

Vivian,  as  you  know,  is  the  same  little  Rich  girl  who  plays 
in  outdoor  chapter  plays. 

OF  course  you  recall  the  pretty  little  girl  who  made  the 
spectacular  Paul  Revere  ride  in  "  The  Johnstown  Flood  "and 
whose  excellent  ability  won  her  a  Fox  contract.  She  is  Janet 
Gaynor,  who,  in  addition  to  being  pretty  and  talented,  is  a 
1926  Wampas  star. 

Janet  is  now  out  to  conquer  other  worlds  and  in  this  crusade 
she  has  enlisted  the  aid  of  Herbert  Moulton,  a  clever  young 
Los  Angeles  journalist. 

They  have  announced  their  engagement,  but  have  set  no 
date  for  the  wedding. 

DR.  F.  W.  MURNAU'S  arrival  in  America  was  the  occasion 
for  a  big  dinner  given  by  William  Fox  in  honor  of  the 
director  of  "The  Last  Laugh."  Murnau  made  a  great  hit 
with  everyone  who  met  him  and  was  placed  immediately  in 
the  ranks  of  the  "regulars."  The  German  spent  hours  care- 
fully studying  the  intricacies  of  American  slang.  And  when 
someone  asked  him  what  he  liked  best  about  America,  he 
immediately  replied,  "So's  your  old  man!" 

TF  you  want  to  go  for  a  bounding  joy-ride,  all  you  need  to 
-*-do  is  to  flag  Hedda  Hopper  when  she  bounces  by  in  her 
little  Ford.  Hedda  is  one  of  Hollywood's  delights.  As 
democratic  a  patrician  as  ever  swerved  through  traffic 
signals  with  the  grace  of  a  queen. 

After  depositing  her  son  Bill  at  the  portals  of  the  hall  of 
learning  the  other  morning,  Hedda  plucked  me  from  the 
burning  pavement  and  on  the  way  to  the  boulevard  told  me 
about  the  latest  exploit  of  Bill  Hopper.  Hedda,  you  know, 
was  one  of  the  former  wives  of  the  many-married  De  Wolf. 

Bill,  who  is  a  staunch  defender  of  his  dad's,  came  in  from 
school  with  his  clothes  much  the  worse  for  tumbling. 

"What's  the  matter,  Bill?"  queried  Hedda. 

"Oh,  one  of  the  kids  yelled,  'So's  your  old  man's  fifth 
wife !'  at  me,  and  I  socked  him." 


Greta  Garbo  and  her  "ears."  The  gentleman  is  Svend 
Borg,  who  acts  as  'the  Swedish  actress'  interpreter. 
Fred  Niblo,  the  director,  gives  all  the  orders  to  Svend 
and  then  friend  Svend  submits  them  to  Greta  — 
to  obey  or  not 


MAY  ROBSON  has  turned  picture  star  after  nearly  forty 
years  on  the  stage.  She  was  very  anxious  to  settle  in 
Hollywood  following  a  particularly  hard  season  on  the  Eastern 
stage  and  they  do  tell  the  most  humorous  dialogue  that  ensued 
between  May  and  Cecil  B.  DeMille,  who  now  has  her  under 
contract. 

Said  DeMille,  tapping  his  finger  tips  together: 

"  Now  you  understand,  Miss  Robson,  we  cannot  pay  you 
any  figure  like  you  have  been  receiving  on  the  stage.   ..." 

C.  B.  was  putting  into  effect  all  his  renowned  diplomacy  to 
bring  May's  salary  down  to  normalcy,  but  he  reckoned  without 
May. 

"I'll  take  it!"  she  interrupted.  However,  C.  B.  has  been 
accustomed  to  handling  stars  with  swollen  ideas  about  salaries. 

"...  and  at  the  present  time,"  he  continued,  "your  name 
means  very  little  to  the  motion  picture  audiences.  I  can  offer 
vou — " 

"I'll  take  it!" 

So  jovial  May  Robson  is  now  a  motion  picture  actress  and 
DeMille's  "selling  talk"  was  for  naught. 

PERCY  MARMONT,  he  of  "If  Winter  Comes"  fame,  has 
just  been  discharged  from  the  hospital  after  a  serious 
abdominal  operation.  Percy  slings  a  mean  tennis  racket  when 
he  is  in  condition  and  promises,  after  a  short  layoff,  to  be  even 
better  than  ever. 

TD  EGGY  DENNY  told  me  he  wondered  why  the  newest 
-^-^■member  of  the  "foreign  invasion"  ate  only  bread  and 
water  for  luncheon,  but  it  wasn't  until  the  fellow  had  been 
on  the  Universal  lot  three  or  four  days  and  Reggy  happened 
to  sit  at  his  table  in  the  cafe,  that  Reggy  discovered  his  slim 
diet  was  caused  by  a  slimmer  knowledge  of  English. 

Reggy  ordered  "Beefsteak,  well  done." 

The  foreigner  beamed  at  Reggy  and  then  ordered, 
rapidly,  "Beefsteak,  welcome!" 

LOVE  insurance — it  sounds  like  the  title  of  a  picture.  But 
it  is  a  form  of  divorce  protection  invented  by  Helen  Fer- 
guson and  William  Russell.  When  Helen  and  Bill  married 
over  a  year  ago,  they  signed  an  agreement  whereby  they 
pledged  themselves  to  deposit  $5,000  a  year  to  the  credit  of 
one  of  their  friends,  Norman  Brodin.  Should  they  ever  agree 
to  cut  the  marriage  ties,  the  one  making  the  overtures  forfeits 
all  right  to  the  joint  account. 

It's  a  great  scheme. 

There  isn't  a  man  or  woman  in  the  world  who  wouldn't 
think  twice  about  giving  up  several  thousand  dollars,  all  for 
the  sake  of  starting  a  quarrel. 


And  here  are  Mae  Murray  and  her  new  husband,  Prince 
David  Mdivani.  The  "m"  is  silent  as  in  printing. 
Mae  married  him  after  a  short  courtship  and  claims 
that  she's  never  going  to  get  another  divorce.  David 
is  26  years  old 


ELLIOTT  DEXTER  is  back  in  Hollywood  again. 
Dexter  has  just  completed  a  long  vaudeville  tour.  Before 
going  back  to  the  Coast,  he  visited  Tommy  Meighan  at  his 
Great  Neck,  Long  Island,  home.  Tommy  and  Dexter,  you 
know,  are  old  friends  from  the  days  when  they  used  to  play 
together  in  Cecil  B.  De  Mille  boudoir  extravaganzas. 

CHE  was  beautiful  and  blonde  (for  the  evening  I  and  per- 

^fectly  poised.    And  her  name  was  Lee. 
Said  the  distinguished  gentleman  at  her  left: 
"Lee?    Are  you  related  to  the  Lees  of  Virginia?" 
The  faintly  lined  brows  arched  in  doubt.    Then: 
"No  .  .  .  well,  that  is,  distantly!" 

BEATRICE  LILLIE,  Jack  Buchanan  and  Gertrude  Law- 
rence, the  blithe  British  trio  who  took  Hollywood  by  storm 
when  "Chariot's  Revue"  opened  El  Capitan,  our  hamlet's  first 
legitimate  showhouse,  have  decided  to  linger  awhile  amidst 
the  orange  blossoms  (of  the  flower  variety,  of  course)  and  are 
to  play  under  our  arc  lights. 

WHICH  reminds  me  of  a  rather  interesting  little  story  that 
Sidney  Olcott,  Dick  Barthelmess'  director,  told  the  other 
night  at  a  dinner  Dorothy  Dunbar  gave  to  celebrate  her 
official  rise  to  leading  ladyhood.  Dorothy  is  playing  the  lead 
with  Dick,  you  know.  It's  her  first  important  part  and  she 
is  glorying  in  it. 

It  seems  that  Beatrice  Lillie,  who  is  Lady  Robert  Peel,  wife 
of  a  distinguished  Britisher,  was  [  continued  on  page  96  ] 

51 


The  Brave 

pOld 

lioneers 


The  fellow  hiding  in  the  potted  palm  is 

Tony  Moreno.    The  siren  is  Edith  Storey. 

A  breathless  moment  from  "A  Price  for 

Folly" 


Broncho  Billy  was  the  first 
impresario  of  the  horse 
opera — the  first  to  see  the 
gold  that  lies  in  the  Great 
Open  Spaces,  where  men  are 
movie  stars 


\ 

»    'J 

tit   r'  -*\ 

E»*d 

HP**^*S 

J  "Ti   Jh**]M 

i  *  ^P 

Wm         '  iH 

rmM 

r^    "1 

CTr  y>\^ 

1.    J^ 

ft# 

M  fcfl.i  V  1 

& 

II  if 

■ 
1 

L 

A  Mack  Sennett  opus — "The  Shoot- 
ing Match" — in  which  Ford  Sterling 
made  the  old  nickelodeons  rock  with 
laughter.  Names  of  other  parties  un- 
known 


Always  the  natty  dresser — Jack  Holt.  The 
lady  is  Yona  Landowska.  Herbert  Rawlin- 
son  is  the  hero  who  shot  his  cuffs  and  looked 
straight  at  the  camera  to  register  emotion 


52 


CTY  /"ERE  are  some  of  the 

j~j    brave  boys  and  girls  who 

'    J~    took  a  chance  in  the 

Movies  long  before  there  was  any 

talk  of  Great  Art,  Big  Money  or 

World  Renown 


When  Charlie  Chaplin  and  Ben  Turpin 

played  together.    Charlie  advised  Ben  to 

be  a  star  himself,  because  Ben  was  too 

funny  for  a  supporting  player 


Cinderella  and  the  Prince — 
Mary  Pickford  and  Owen 
Moore.  But  the  old  story 
didn't  have  the  conventional 
ending.  Cinderella  and  her 
Prince  didn't  live  happily 
ever  after 


Blanche  Sweet,  Theodore  Roberts  and 
Thomas  Meighan— a  trio  of  troupers  who 
never  have  lost  their  hold  on  the  public. 
Remember  them  in  "The  Sowers,"  an  early 
Paramount  film? 


When  James  Cruze  was  a  poor  actor 

instead  of  a  rich  director.     With  the 

late   Flo   La   Badie   in    "The  Million 

Dollar  Mystery" 


THE    NATIONAL    GUIDE 


THE  ROAD  TO  MANDALAY—Metro-Goldwyn-Mayer 

NOT  so  much  as  a  story,  but  lifted  to  melodramatic 
interest  by  the  highly  colored  performance  of  Lon 
Chaney  as  Singapore  Joe,  keeper  of  the  toughest  dive  on 
the  whole  China  coast.  Chaney  affects  another  of  those 
bizarre  make-ups.  This  time  he  plays  a  gent  with  a 
cataract  in  one  eye  and,  to  get  the  effect  of  the  white  film 
over  the  optic,  dropped  a  dangerous  preparation  into  his 
eye  between  scenes.  This  necessitated  short  scenes  to 
guard  against  permanent  blindness.  Singapore  Joe  has 
his  good  brother,  a  priest,  bring  up  his  beautiful  daughter 
without  knowledge  of  her  father.  The  story  doesn't  hold 
water,  but  you  will  be  impressed  by  Chaney's  work  and  you 
will  like  Lois  Moran,  as  his  daughter  and  Owen  Moore,  as  the 
regenerated  waster. 


MANTRAP— Paramount 

THE  erudite  Mr.  Sinclair  Lewis  should  present  his  grati- 
tude to  Clara  Bow.  For  it  is  Clara's  performance, 
rather  than  his  plot,  that  makes  the  film  version  of  his 
latest  novel  such  fine  entertainment. 

Undoubtedly,  the  story  was  intended  to  center  around 
Percy  Marmont,  as  a  New  York  divorce  lawyer,  who  goes 
to  the  great  open  spaces  to  escape  women.  Ernest  Tor- 
rence,  as  a  backwoodsman  and  husband  to  an  ex-mani- 
curist, befriends  him.  And  then  Clara  Bow  steps  into  the 
picture  as  a  wife  who  couldn't  make  her  eyes  behave,  and 
runs  away  with  everything.  When  she  is  on  the  screen 
nothing  else  matters.  When  she  is  off,  the  same  is  true. 
The  backgrounds  are  perfect  for  summer — cool  and  in- 
viting. Victor  Fleming's  direction  is  sufficient.  But  it's 
Clara's  triumph.     She  is  personality  and  sex  appeal  plus. 


TO     MOTION    PICTURES 

The 

Shadow 
Stage 

A  Review  of  the  j\[ew  Pictures 


MEN  OF  STEEL— First  National 

A  BOX  OFFICE  picture,  if  ever  there  was  one.  This  new 
Milton  Sills  production  has  the  sweeping  background 
of  a  huge  steel  mill  in  operation,  with  the  action  taking 
place  in  the  midst  of  massive  vats  of  molten  metal.  These 
scenes,  be  it  noted,  are  not  faked.  They  were  filmed, 
with  the  co-operation  of  the  United  States  Steel  Corpo- 
ration, at  the  big  mills  near  Birmingham,  Ala. 

It  can  be  honestly  said  that  Sills  does  his  best  work  in 
"Men  of  Steel"  since  his  romantic  swashbuckler  in  "The 
Sea  Hawk"  and  his  convict  in  the  now  almost  forgotten 
"Honor  System."  In  "Men  of  Steel"  Sills  plays  a  hunkey 
who  fights  his  way  to  the  top  of  the  social  ladder.  It  is  an 
unusual  characterization,  reaching  its  high  point  in  a  re- 
markable scene  in  which  the  starving  Jan  Bokak  steals  a 
dinner  from  a  dog. 

Sills  wrote  "  Men  of  Steel,"  adapting  it  from  a  short 
story,  "United  States* Flavor,"  by  R.  G.  Kirk.  It  traces 
the  progress  of  Jan  Bokak,  loved  by  two  girls  who  do  not 
realize  they  are  sisters.  One,  Mary  Berwick,  has  been 
raised  in  a  worker's  shack,  the  other,  Clare  Pill,  is  the 
daughter  of  the  steel  king.  The  story  culminates  in  a 
fight  in  a  huge  vat  toward  which  a  half-wit  is  propelling  a 
massive  ladle  of  molten  steel. 

Sills  is  ably  supported  by  Doris  Kenyon  as  Mary  and 
May  Allison  as  Clare.  Both  Miss  Allison  and  Miss  Kenyon 
look  beautiful  and  give  vigorous  performances.  Miss 
Allison  plays  a  rich  flapper  with  charming  zest.  Frank 
Currier  and  George  Fawcett,  too,  are  excellent  as  the 
magnate  and  his  skipper  pal.  It  is  a  whole  picture  of  good 
performances. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


The  Six  Best  Pictures  of  the  Month 


MEN  OF  STEEL 

ROAD  TO  MANDALAY 
SO  THIS  IS  PARIS 


VARIETY 
MANTRAP 
FIG  LEAVES 


The  Best  Performances  of  the  Month 

Emil  Jannings  in  "Variety" 

Milton  Sills  in  "Men  of  Steel" 

Lon  Chaney  in  "Road  to  Mandalay" 

Clara  Bow  in  "Mantrap" 

May  Allison  in  "Men  of  Steel" 

Doris  Kenyon  in  "Men  of  Steel" 

Casts  of  all  pictures  reviewed  will  be  found  on  page  140 


VARIETY—  UFA-Famous  Players 

A  CRITIC'S  picture,  if  ever  there  was  one.  This  ab- 
sorbing story  of  vaudeville  life  has  more  popular 
qualities  than  any  German  production  imported  to  Amer- 
ica since  "Passion."  It  is  a  direct  and  primitive  study 
in  passion,  lifted  to  the  remarkable  by  a  fine  performance 
of  a  middle-aged  acrobat  by  Emil  Jannings.  This  Jan- 
nings characterization  deserves  to  rank  beside  his  work 
in  "Passion,"  "Deception,"  and  "The  Last  Laugh." 

Fascinated  by  a  young  dancer,  the  acrobat  deserts  his 
wife  and  his  baby.  The  man  is  not  only  passion-swept,  but 
the  girl  means  a  return  to  his  trapeze  work  and  to  the 
applause  of  the  theater.  With  the  young  woman  as  his 
partner,  the  man  achieves  success.  Just  when  he  is  a 
Wintergarten  headliner,  he  discovers  that  the  woman  is 
unfaithful.  Another  acrobat  in  his  act,  younger  and  better 
looking,  has  stolen  her  away. 

Then  comes  the  big  scene.  He  can  drop  the  man  to  his 
death  by  simply  missing  a  catch  in  midair!  Here  is  a 
terrific  moment,  superbly  built  up  by  masterly  direction 
and  camera  work.  We  aren't  going  to  tell  you  the  denoue- 
ment.   You  will  have  to  see  "Variety"  for  yourself. 

Because  it  is  a  strong  study  in  unvarnished  sex,  "Variety  " 
will  probably  meet  opposition  here  and  there  throughout 
America.  Another  version  has  been  shown  in  Los  Angeles. 
In  this  the  wife  and  baby,  together  with  the  desertion,  of 
course,  have  been  eliminated.  The  recreant  acrobat  is 
married  to  the  girl — in  a  subtitle.  Thus  the  intrusion  of 
the  other  athlete  becomes  an  invasion  of  sweet  home  life. 

The  direction  of  E.  A.  Dupont  and  the  camera  work  of 
Karl  Freund  make  "Variety"  technically  a  superb  thing. 


SO  THIS  IS  PARIS— Warner  Bros. 

ANOTHER  variation  of  the  domestic  infidelity  theme 
presented  by  the  sophisticated  Ernst  Lubitsch.  The 
ultra  touch  of  the  German  director  seems  to  wear  pretty 
thin  here  and  "  So  This  Is  Paris"  turns  out  to  be  the  weakest 
of  Lubitsch  efforts  to  date.  There  are  just  four  characters 
to  this  comedy,  a  doctor  and  his  wife,  a  classic  dancer  and 
his  better  half.  The  feminine  dancer  is  an  old  flame  of  the 
physician  while  the  doctor's  wife  flirts  with  the  dancer. 
The  picture  is  jazzy,  a  bit  rough  in  its  humor.  Assuredly 
not  for  the  kiddies.  The  cast  is  weaker  than  usual  to 
Lubitsch.  Lilyan  Tashman  is  good  as  the  dancer,  Monte 
Blue  amusing  as  the  physician,  but  Patsy  Ruth  Miller,  as 
his  wife,  and  Andre  Beranger,  as  the  classic  terpsichorean 
expert,  seem  weak. 


FIG  LEAVES— Fox 

THIS  is  a  slender  little  story  built  around  a  gorgeous 
fashion  show  filmed  in  colors.  Fashion  revues  have 
been  done  before  in  films,  but  never  so  ornately  as  here. 
"Fig  Leaves"  has  another  interest.  It  has  the  highly 
decorative  Olive  Borden  in  the  leading  feminine  role. 
Miss  Borden  is  going  to  surprise  audiences  in  this  picture. 
"Fig  Leaves"  is  just  the  story  of  a  young  wife  who  longs 
for  pretty  clothes.  Her  husband  won't  buy  them,  so  she 
gets  a  job  in  a  smart  shop  as  model.  Hence  the  fashion 
revue,  with  a  host  of  striking  models  in  all  sorts  of  lingerie. 
George  O'Brien  is  the  young  husband.  He  acts  from  the 
chest  out.  Miss  Borden,  however,  runs  away  with  the 
picture.  As  indicated,  the  story  is  pretty  fragile  and  is 
worked  out  by  Director  Howard  Hawks  without  much 
adroitness.    Glorifying  the  American  combination! 

55 


LEW  TYLER'S 
WIVES— 
Preferred 
Pictures 


IF  you're  serious  minded,  this  faithful  screen  version  of 
Wallace  Irwin's  uncompromising  story  of  a  weak  man  whom 
three  women  loved  will  interest  you.  A  fine  cast  —  Frank 
Mayo,  Ruth  Clifford,  Hedda  Hopper,  and  the  decorative 
Helen  Lee  Worthing — give  quite  perfect  performances  under 
Harley  Knoles'  direction.  Yet,  somehow,  for  all  the  timely 
importance  of  its  theme,  the  whole  seems  vaguely  dull.  It's 
too  adult  for  the  children. 


THE  SEA 
WOLF— 
Producers 
Dist.  Corp. 


^^J/F*  ■ 

mJl\ 

|         yfttM 

DON'T  be  misled  into  believing  that  this  is  a  wild-animal 
picture.  This  famous  Jack  London  story  served  as  a 
"thriller"  in  the  days  when  Hobart  Bosworth  did  the  heroing 
act.  Then  Noah  Beery  took  a  hand  at  it  in  1920  and  now 
Ralph  Ince  serves  it  for  your  entertainment.  Ince  is  a  very 
grand  actor  and  we  wonder  why  he  neglected  us  so,  spending 
most  of  his  time  directing.  It's  rough  and  ready,  as  are  most 
sea  stories — but  darned  good. 


^■&  ■■'-'■■  JB 

IE. .      4H|  ' 

m 

BORN  TO 
THE  WEST— 
Paramount 


LIVES  up  to  its  name  in  exciting  fashion  without  a  thrill 
left  out.  It's  a  good  Zane  Grey  Western,  laid  in  the  days 
when  there  was  gold  in  "them  there  hills."  Jack  Holt  rides 
a  mean  steed  and  no  one  can  fail  to  take  pleasure  in  his 
equestrianship.  Tom  Kennedy  and  Raymond  Hatton  furnish 
lots  of  laughs  and  Bruce  Gordon  takes  care  of  the  villainous 
end.  Arlette  Marchal,  George  Seigmann  and  Margaret  Morris 
form  the  remainder  of  the  cast. 


PVPPETS- 

First 

National 


;.  ,  '..  ji±-£ie 

I  i 

* 

mm    4 

AN  interesting  vehicle,  not  because  of  the  story,  but  f o - 
the  splendid  performance  of  Milton  Sills.  As  the  puppet 
master,  Sills  plays  the  role  with  sympathy  and  feeling  and 
his  Italian  mannerisms  are  excellent.  The  cast,  a  well  selected  I 
one,  has  Gertrude  Olmsted  as  heroine;  Francis  MacDonald, 
a  most  acceptable  villain  and  some  very  funny  sequences,  en- 
lightened by  William  Riccardi  and  Mathilde  Comont.  You 
won't  go  wrong  on  this. 


BIGGER  THAN 
BARNUM— 
F.  B.  O. 


THE  LUCKY 

LADY— 

Paramount 


THE  circus  is  comin'  to  town — peanuts,  pink  lemonade, 
elephants  'n  everything.  Here's  the  old,  old,  tearful  story 
of  the  aged  wire- walker  who  expects  his  son  to  take  his  place 
in  the  sawdust  ring.  Sonny  suffers  from  "cold  feet"  but  when 
Dad  is  in  a  burning  building  Sonny's  courage  returns  and  he 
saves  Pop  by  walking  a  telegraph  wire.  Ralph  Lewis,  Viola 
Dana,  George  O'Hara  and  Ralph  Ince  make  a  capable  cast. 
Not  good  enough  and  not  bad  enough  to  create  a  stir. 

56 


YOU  may  lend  your  ears  to  Mark  Antony  or  to  anyone  who 
wants  them,  but  you'll  need  your  eyes  to  view  Greta 
Nissen  in  this  wholly  effective  melodrama.  Greta  is  a  Princess 
who  is  betrothed  to  a  roue  Count.  She  meets  and  falls  in  love 
with  an  American  boy.  How  she  manages  to  marry  the  man 
of  her  choice  is  where  the  plot  comes  in.  Smart  gals,  these 
Princesses.  Life  would  be  pleasanter  with  more  of  'em.  An 
easy  way  to  spend  an  hour. 


SENOR 
DARE-DEVIL- 

First 
National 


SWEET 
DADDIES— 

First 
National 


FIRST  appearance  of  Ken  Maynard  as  a  First  National 
Western  star.  How  Don  Luis  O'Flaghcrty  outwits  the 
unscrupulous  villain  who  tries  to  fleece  a  whole  town  of  its 
mining  claims.  Maynard,  who  has  been  a  states  right  star, 
plays  Don  Luis  and  reveals  distinct  big  time  possibilities. 
He  surely  can  ride.  "Senor  Dare-Devil"  is  better  done  than 
most  Westerns,  with  an  excellent  cast.  Dorothy  Devore  dis- 
appointed us,  however,  as  the  heroine. 


NO  one  should  miss  this  comedy,  featuring  the  corned-beef 
and  cabbagers  (Irish)  and  the  kippered  herringers  (Jews). 
The  picture  starts  off  with  plenty  of  pep  and  keeps  up  its 
rapid  pace  through  the  whole  six  reels.  We  won't  relate  the 
story  for  we  want  you  to  enjoy  it.  The  cast  is  splendid — 
Charlie  Murray,  Vera  Gordon,  George  Sidney,  Jobyna  Ralston, 
Jack  Mulhall  and  Gaston  Glass.  This  will  delight  a  child 
audience  and  will  draw  chuckles  from  every  grownup. 


POKER 

FACES— 

Universal 


)»  ■><% 

r^8F 

$»\. 

*fl   ^ 

kif^$jHB 

^fl^^.     '          1 

m          rJH 

FOOTLOOSE 
WIDOWS— 
Warner 
Bros. 


EDWARD  HORTON,  his  director  and  cast  try  desperately 
hard  to  be  awfully  funny  with  a  disastrous  result.  Horton 
is  a  comedian,  as  "The  Beggar  on  Horseback"  proved,  but  he 
couldn't  laugh  this  off.  It's  all  about  a  dumb  hero  who  en- 
deavors to  land  a  deal  with  an  out-of-town  buyer.  The 
buyer  happens  to  be  a  crook  and  after  much  silly  nonsense  he 
is  captured  with  all  honors  being  awarded  the  hero.  Stay  at 
home  bv  the  ole  fireside  and  listen  to  the  radio. 


LOUISE  FAZENDA  and  Jacqueline  Logan  decide  to  grab 
themselves  a  millionaire  husband — so  down  to  Florida  they 
go.  Jacqueline,  being  the  bait  for  the  fish,  poses  as  a  wealthy 
widow,  while  Louise  attempts  to  get  the  low-down  on  the 
financial  situation  of  each  suitor.  Some  humorous  situations 
occur  when  Louise  gets  matters  badly  "balled  up"  but  every- 
thing is  hunky  dory  at  the  fadeout.  We'd  put  it  in  the  "quite 
interesting"  list  of  pictures. 


MEET  THE 
PRINCE— 
Producers 
Dist.  Corp. 


IT'S  THE  OLD 

ARMY 

GAME— 

Famous 

Players 


THIS  Joseph  Schildkraut  picture  falls  short  of  anything  in 
which  this  polished  actor  has  ever  appeared.  It  seems 
amateurish  and  somehow  it  is  never  convincing.  This  is 
perhaps  due  to  the  unskillful  attempts  at  comedy.  Schild- 
kraut tries  to  do  the  sophisticated  Adolphe  Menjou  act  (but 
he's  a  flop)  in  this  weak  farce,  telling  the  story  of  a  prince  who 
poses  as  a  butler  to  win  the  gal  of  his  heart.  Not  much  of  a 
picture,  this. 


W.  C.  FIELDS'  first  starring  comedy  is  distinctly  dis- 
appointing. The  comedian,  who  gave  such  a  mellow 
performance  in  "Sally  of  the  Sawdust,"  is  lost  here,  despite 
the  fact  that  three  or  four  comedy  scenes  from  various  Follies 
are  utilized.  Funny  behind  the  footlights,  they  do  not  get  over 
in  this  film.  There  is  a  lack  of  building  up  for  comedy  and  the 
camera  work  buries  many  of  the  points.  Louise  Brooks  stands 
out  as  a  comedy  foil.  [  continued  on  page  120  ] 

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  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  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. 


ALBERTA  VAUGHN  is  getting  to  be  a  big  girl  now.     She's  going  to  be  starred  in 

•*  *■  full  length  features  instead  of  those  serials.     The  title  of  her  debutante  effort  is 

"Collegiate,"  which  is  just  a  master-thought  as  a  snappy,  modern  title. 


/ 


f  *    if 


The  hair  won  a  contest,  and  so  became  known, 
The  eyes  played  when  only  fifteen; 
The  mouth  rose  to  fame  in  a  picture  that  showed, 
What  war,  and  war's  horror,  may  mean. 
The  hair  might  be  called,  very  well,  one  of  three— 
The  eyes  were  born  quite  far  away. 
The  mouth  worked  for  Vitagraph — Triangle,  tool- 
In  many  a  fine  photoplay. 


RBSl  MB 
They  all  have  brown  hair,  two  /iui.  . 
One  has  large  hazel  eyes,  and  one  green. 
And  two  are  old  time'rs— though  none  oj  the  Jour 
Have  recently  come  to  the  screen! 
Two  still  are  unmarried,  and  one  was  wed  tu  ice 
And  one  is  divorced — and  they're  all  very  nice'. 


The  hair,  when  a  kiddie,  danced  on  the  legit.. 
The  eyes,  with  Lon  Chaney.  were  cast; 
The  mouth  was  a  widow  for  many  a  year. 
But  she  has  re-married,  at  last. 
The  hair  came  to  us  from  a  mid-western  state 
The  eyes,  as  a  child,  knew  stage  fame. 
The  mouth  (from  Chicago)  was  given  a  part. 
In  a  play  with  a  whirligig  name. 

e  blue. 


■■.    .  • 


The  hair  played  with  Ethel,  the  Barryr 

.tore  belle. 

"T  he  eyes  are  quite  new  to  this  game; 

The  mouth,  in  the  war,  won  an  honorable  wound 

E'er  he  gained,  in  the  movies,  a  name 

The  hair  strode  the  boards  in  lands  qui 

te  far  Iron 

i  home. 

The  eyes  were  in  slock  (or  a  while 

The  mouth  was  discovered  by  Lasky.  r 

10  less  .  . 

Is  he  happy?    Just  look  at  his  smile1 

K£SUM£ 

Just  one  < 

>/ them  hailt from  out  our,  U 

And  three 

hait-  knot,  n  tine  jIj^  careers. 

And  three 

never  marned- the  fourth  one 

Has  now 

tejt  his  wife,  it  appears! 

lust  one': 

;  unaVr  thirty — and  he  is  the  01 

That  wcr 

e  proud  to  claim  as  a  real  nati 

The  hair  first  saw  light  near  the  great  golden  gate, 

The  eves  were  unhappily  wed, 

The  mouth  played  the  part  of  a  much  martyred  man, 

He's  a  master  of  pathos,  'tis  said 

The  hair  played  a  part  with  blond  Vilma;  the  eyes 

Made  a  sad  Conrad  hero  come  true, 

The  mouth  is  a  blond,  and  he  stands  six  feet  tall. 

And  his  eyes  are  a  stunning  dark  blue. 


BAD  luck  and  bad  pictures  nearly  extinguished  Pauline  Frederick's  picture  career. 
She's  back  now   ready  to  begin  again  with  all  her  line  enthusiasm  and  her  artistic 
sincerity.     On  the  opposite  page,  Adcla  Rogers  St.  Johns,  who  knows  Hollywood  as  no 
one  else,  tells  you  the  story  back  of  Miss  Frederick's  return  to  the  screen. 


What  Happened 

^)auline^) 
Frederick : 


Why  did  this 
popular  star  at  the 
very  height  of  her 
success  slip  into 
screen  oblivion? 
A  great  character 
sketch  of  a  great 
actress,  by  Adda 
Rogers  St.  Johns 


JUST  a  few  years  ago,  Pauline  Frederick  was  one  of  the 
really  great  and  beloved  stars  of  the  screen. 
Her  fame  was  not  founded  upon  mere  beauty,  nor  upon 
a  dazzling  personality,  though  she  had  both. 

Public  and  critics  considered  her  one  of  the  finest  actresses 
the  silversheet  had  ever  known,  many  considered  her  the 
finest.  And  with  reason.  Some  of  the  pictures  Pauline 
Frederick  made,  directed  by  Robert  Vignola,  have  never  been 
topped  by  anybody. 

From  tremendous  popularity  and  acclaim  on  the  stage,  she 
brought  with  her  into  pictures  a  breadth  of  training,  a  poised 
and  distinguished  manner,  a  warm  love  of  acting,  that  no  one 
else  has  ever  given  us. 

Then,  suddenly,  at  the  very  height  of  her  success,  in  the 
very  prime  of  her  beauty  and  genius,  she  slipped  into  a  series 
of  unworthy  and  inadequate  pictures  and  has  practically 
disappeared  from  the  screen. 

The  fans  still  clamor  for  her.  In  no  way  do  they  forget 
her.  When  such  a  great  performance  as  she  gave  in  that 
fine  picture,  "Smouldering  Fires,"  reminds  them  of  her  anew, 
they  pour  in  letters  of  demand  upon  us. 

When  I  wrote  a  story  calling  Norma  Talmadge  the  screen's 
one  great  actress  among  the  stars,  I  did  not  consider  Pauline 
Frederick  as  being  any  longer  a  motion  picture  star.  Ninety- 
nine  per  cent  of  the  letters  I  received  disagreeing  with  me,  did 
so  in  the  name  of  Pauline  Frederick. 

What  happened  to  Pauline  Frederick? 

So  many  people  asked  me  that  question  that  I  decided  to  go 


Pauline  Frederick  in  her  most  famous  film  role, 
"Madame  X."  "There  are  too  many  angles  to 
the  motion  picture  business  for  a  lone  woman  to 
combat,"  says  Miss  Frederick.  "The  smallest 
things  turn  your  whole  course  one  way  or  the 
other" 


and  ask  Pauline  herself.  You  can  always  ask  Pauline  any- 
thing. She  is  a  straight-shooter.  And  she  is  too  big  a  woman 
for  any  petty  vanities.  You  don't  have  to  fret  and  worry 
about  what  you  say  for  fear  it  might  be  wrong  and  hurt  her 
feelings. 

Oh,  the  charm  of  that  woman,  off-screen! 

I  forget  about  it,  not  seeing  her  for  months  and  maybe 
years,  and  it  captures  me  all  over  again.  She  is  so  real.  She 
is  so  natural.  No  posing,  no  affectation,  no  languid  boredom 
about  her.  She  sparkles  with  life.  She  glows  with  enthu- 
siasm. Her  voice  is  rich,  vibrant,  entrancing.  And  she  has 
the  nicest  handshake  of  any  woman  I  have  ever  known — 
strong,  firm,  cordial,  sweet. 

Let  me  say  right  at  the  very  beginning  that  I  have  never 
seen  her  look  so  lovely.  Her  eyes  were  as  blue  as  her  sweater, 
and  that  was  as  blue  as  the  sea.  And  the  contrast  of  her  hair, 
which  would  have  been  black  but  for  the  red  threads  and  the 
bronze  sheen  through  it,  seemed  more  striking  than  ever. 
Her  short  white  skirt  and  her  plaited  sandals  and  her  summer 
tan,  result  of  hours  in  the  saddle,  gave  her  a  slim  and  boyish 
look,  according  to  the  present  fashion  for  women. 

We  sat  in  a  long,  lovely  sun-porch,  and  when  I  told  her  what  I 
had  come  to  ask  her,  and  why,  she  looked  [continued on  page  128] 

63 


©  Underwood  &  Underwood 


Dr.  S.  Parkes  Cadman — A  clergy- 
man with  box-office  appeal. 
Neither  a  conservative  nor  an 
extremist.  The  Answer  Man 
of  the  pulpit.  He  knows  that 
Babbitt  has  a  soul 


What  the  public 
wants  in  religion, 
sports,  radio  and 
amusements — 
and  why 


(ci  Underwood  &  Underwood 


Marie  Jeritza — A  bounteous 
blonde  with  a  strong  voice  and 
good  legs.  Can  sing  standing 
up,  lying  down  or  on  her  head. 
Lots  of  temperament,  but  a  win- 
ning smile.     Opera's  pet 


Harold  Lloyd — 
Held  in  affection- 
ate esteem  wher- 
ever movies  are 
shown.  Every 
comedy  a  sure  suc- 
cess. No  tempera- 
ment, no  high-  hat, 
no  pose.  A  boy 
who  really  earns 
his  money 


Jack  Dempsey — 
Breathes  there  a 
man — or  woman — 
with  soul  so  dead 
who  wouldn't  dig 
up  fifty  hard- 
earned  dollars  to 
see  this  handsome 
lad  step  into  the 
ring  to  defend  his 
crown  ? 


tF^« 

■^ 

^^*  "\     ^B 

©  Underwood  &  Underwood 

"Good  evening, 
ladies  and  gentle- 
men of  the  radio 
audience.  Graham 
McNamee  speak- 
ing." Gets  sex  ap- 
peal in  his  station 
announcements. 
Pronounces  foreign 
composers  cor- 
rectly. Our  radio 
idol 


f^i 


"Babe"  Ruth— 
Home-run  king 
and  favorite  prodi- 
son.  His  bat- 
ting average  and 
the  state  of  his 
morals  are  subjects 
of  vital  interest. 
The  hero  of  our 
reat  summer 
drama 


"Red  Grange" — He  turned 
a  college  sport  into  a  national 
industry.  He  glorified  the 
American  iceman.  Just  one 
of  the  boys  who  is  always  sure 
of  landing  neatly  on  the  front 
page  of  every  daily 


t)  Underwood  &  Underwood 


Suzanne  Lenglen — The  red 
hot  mamma  of  the  courts. 
As  uncertain  as  the  French 
franc.  As  fascinating  and  as 
charming  as  her  native  coun- 
try. A  great  actress  playing 
a  triumphant  role 


©  Underwood  &  Underwood 


6i 


Illustrated  by 

Harley  Ennis 

Stivers 


The  drama  of  an  actress 

who  turned  the  tragedy 

of  age  into  her  greatest 

triumph 


"Hadn't  an  idea,  until  Fred- 
die Lane  told  me  an  hour  ago, 
that  you'd  be  just  the  woman 
for  the  part" 


iscast 


Part  II  of  a  gripping 

two-part  novelette 


By^Rita  Weiman 


I 


WHAT  HAS  GONE  BEFORE 

T  is  on  Broadway,  in  1908,  that  Edna  Ridgeway,  once  a  popular 
favorite,  first  feels  the  tragedy  of  her  advancing  years.  Thirty-three 
years  old,  her  fight  for  youth  meets  its  defeat  when,  instead  of  being 
offered  star  parts,  she  is  asked  to  accept  secondary  roles.  An  unscru- 
pulous manager,  preying  on  her  pride,  induces  her  to  invest  her  savings 
in  a  starring  vehicle  for  herself.  When  her  husband  warns  her  against 
the  step,  she  leaves  him  and  her  twelve  year  old  son.  The  play  fails 
and  Edna  goes  to  the  limbo  of  the  second-rater — the  road  and  the 
provinces.  After  an  absence  of  sixteen  years,  she  returns — a  pathetic 
woman  still  making  a  ridiculous  struggle  to  keep  her  youth.  The 
managers  have  forgotten  her  and  she  has  given  up  all  hope  of  landing 
an  engagement  when  she  receives  a  telephone  call  from  an  old  friend. 
Now  go  on  with  the  conclusion  of  this  engrossing  story. 

EDNA  RIDGEWAY  caught  her  own  voice  replying  that 
she  thought  she  could  see  Mr.  Cleeburg.     She  hung  up 
the   receiver   and    went   up    the   steps   with    the   same 
incredulous  groping. 
CleeDurg  was  sending  for  her!     Cleeburg — little  'Dolph! 
She  gulped,  reached  hurriedly  for  the  single  bulb  dangling 
from  the  ceiling,  switched  it  on  and  turned  to  the  bureau. 
A  tug  brought  out   the   top  drawer.     It   was  a   bewildering 
display    of    pomades,    lotions,    powders,    rouges,    perfumes. 
Replenished  or  augmented,  frequently  at  the  cost  of  dinners 
for  a  week,  that  mass  of  cosmetics  constituted  the  one  prop 
to  Edna  Ridgeway's  hope. 

When  she  left  the  house  twenty  minutes  later,  she  looked 
as  though  she  had  used  them  all.     Paint  lay  thick  on  her  lips; 


powder  caked  over  the  dabs  of  rouge  on  her  cheeks;  mascara 
framed  her  eyes.  Poor,  pathetic  attempt  at  youth  that  made 
a  signpost  of  her  age. 

Yet  as  she  entered  'Dolph  Cleeburg's  office,  the  manager, 
who  knew  his  people  of  the  theater,  greeted  her  as  if  there  had 
been  no  change  since  the  yesterday  of  sixteen  years  ago. 

"Well,  well,  Edna!"  he  reached  out  both  hands.  "When 
did  you  blow  in?" 

"The  middle  of  July.     Didn't  you  know  I  was  here?" 

She  clung  to  the  grasp  of  old  friendship,  desperately,  like 
the  proverbial  drowning  man.  Just  to  hear  the  cordial  tone 
of  the  little  man  all  Broadway  loved  made  the  mascara  round 
her  eyes  smudge  damply. 

"Hadn't  an  idea,  until  Freddie  Lane  told  me  an  hour  ago 
that  you'd  be  just  the  woman  I  want  for  a  play  I'm  casting." 

He  gave  no  hint  of  the  agent's  exact  words:  "Say — I've  got 
just  the  woman  for  that  part.  Edna  Ridgeway!  She's  back, 
you  know — a  burlesque  of  what  she  used  to  be — looks  a  thou- 
sand and  gets  herself  up  like  a  chicken.  Down  and  out,  too — 
needs  the  work." 

Cleeburg  merely  sat  smiling  into  the  eyes,  infinitely  weary 
behind  the  masklike  make-up,  and  gave  not  the  least  sign  of  the 
shock  in  his  soul. 

Edna  tried  to  make  her  answering  smile  light  and  careless. 

"  It's  good  of  you,  'Dolph,  to  send  for  me  straight  off.  Plenty 
of  new  ones  in  the  field  since  I  left  it." 

"  But  the  old  ones  are  still  in  the  heart,  Edna.  Couldn't  wait 
to  give  you  the  glad  hand  once  I  knew  you'd  come  back." 

"And  about  that  part,"  she  prompted,  still  smiling  as  if  quite 
casually. 

"  Oh,  yes," — he  took  a  script  from  his  desk,  held  it  out  to  her. 

She  glanced  at  the  title,  "Knee  Deep."  Then  down  the 
typewritten  page  of  characters.    It  was  a  small  cast. 

"I  suppose  I  play  Mrs.  Webster." 

"No — "  he  turned  his  eyes  from  hers — "That's  not  much — 

65 


no  opportunities.  I'm  casting  you  for  Grandma  Webster.  It's 
sure  fire,  girl, — a  laugh  a  minute." 

She  started  up  from  her  chair,  hands  clenched  on  the  arms. 
A  grandmother!  How  dared  he!  Her  first  inclination  was  to 
repeat  the  performance  of  sixteen  years  ago  in  this  same  room. 
A  grandmother!!!    The  mere  offer  was  an  insult. 

Then,  bit  by  bit,  furious  indignation  gave  way  to  necessity. 
She  must  come  back.  She  must  have  work.  Not  so  much 
that  it  meant  three  square  meals  a  day  and  decent  surroundings, 
which  for  so  long  she  had  not  known.  But,  more  insistent  still, 
for  the  urge  that  calls  to  the  actor's  heart  from  the  heart  of 
Broadway.  To  feel  her  feet  on  the  boards  of  a  New  York 
theater  once  more,  to  know  the  throb  of  facing  a  New  York 
audience,  at  this  moment  she  would  give  her  life  for  just  one 
opportunity,  one  chance. 

66 


The  second  act,  in  which  grandma 
at  a  party,  was  counted 


And  so  she  folded  her  trembling  hands  over  the  manuscript 
and  sank  back  slowly. 

"Tell  me  about  it,"  she  said,  very  low. 

"The  flapper-grandmother,  short  dress,  bob,  high  heels — see! 
She  has  the  nifties  of  the  play — all  the  snappy  lines.  Steals  her 
grand-daughter's  beau.  Great  stuff — you'll  love  it!"  Still  he 
did  not  meet  her  eyes. 

"You  honestly  think  I  could  play  a  grandmother,  'Dolph?" 

"This  kind,  yes!  Of  course,  I  wouldn't  offer  you  an  ordinary 
old  lady  part,  you  understand." 


appeared  in  a  tulle  evening  dress 
on  for  a  great  big  hand 


"Of  course."  Her  own  eyes  strayed  ithen.  Deliberately, 
awkwardly,  the  man  and  woman  avoided  facing  each  other. 

"Come  in  tomorrow  morning  and  I'll  have  the  contract 
ready.    Two  hundred  a  week.    Is  that  O.  K.?" 

"Of  course  it's  not  what  I've  been  used  to;"  her  pride  spoke 
ridiculously  the  stereotyped  phrase  she  had  used  at  each  signing 
of  a  contract  these  past  years  as  her  salary  went  downhill. 
Fifty  a  week  would  have  seemed  a  fortune. 

"I  know  that,"  he  said  hastily.  "And  if  the  play's  a  go, 
we'll  jump  it  to  two-fifty.    We've  such  an  expensive  cast — " 


"Oh,  that's  all  right,  'Dolph."  Fear  made  her  voice  eager. 
"You  and  I  won't  talk  terms.  Do  you  mind  if  I  take  the  play 
with  me?    I  want  to  look  it  over." 

"You'll  like  the  part,"  he  nodded  insistently. 

She  tucked  the  script  under  her  arm.  They  exchanged  a  few 
words  about  old  friends — gay,  laughing  questions  on  her  part, 
as  if  time  had  merely  paused  an  instant.  But  Jim  Ridgeway's 
name  was  not  mentioned.  She  carefully  omitted  it.  At  last 
she  opened  her  hand-bag  and  poised  a  mirror  while  she  dabbed 
unnecessary  powder  on  her  nose.  Then  she  got  to  her  spindle- 
heeled  feet,  smoothed  her  girlish  skirt,  and  held  out  her  hand. 

"Well,  'Dolph, — nightie-night!  Imagine  me  playing  grand- 
ma," she  grinned.    "It  will  be  a  great  experience." 

And  she  went  out,  swinging  her  bag,  a  gay  little  song  on  her 

lips.  [  CONTINUED  ON  PACE  I30  1 

67 


tars  Who 
Came 
Back 


Patrician  Alice  Joyce 
has  stepped  down  and 
out   of   the   spotlight 
twice,  and  each  time 
returned  more  beau- 
tiful and  accom- 
plished  than    before. 
Her     retire- 
ments were 
voluntary.  She 
really  loves 
home    life 


In  the  early  days  when  Alice  was  married  to 

Tom    Moore.     Of   the   stars    who   have  come 

back,  she  alone  has  not  changed  her  type  or 

the  type  of  roles  she  plays 


THERE  are  other  temptations  in  Hollywood  besides 
the  one  the  censors  watch. 
There  is  the  temptation  to  give  up  when  every 
close-up  goes  dead  wrong.  There  are  the  tempta- 
tions to  indulge  in  life  and  love  like  ordinary  mortals  and 
not  like  stars,  to  forget  fame  for  a  while — fame  that  demands 
all  things,  courage  and  strength  and  fidelity  and  beauty 
from  every  man  and  woman  and  which,  jealously,  will 
permit  no  other  interest.  There  is  the  inevitable  temptation 
to  let  the  years  slip  by  and  the  pastries  take  their  toll. 
Those  are  some  of  them. 

But  the  greatest  temptation  of  all  is  to  submit  to  obscurity 
when  easy  fame  begins  to  vanish. 

It  doesn't  matter  very  much  when  the  average  person 
steps  down  from  triumph.  Few  people  know  about  it. 
But  when  a  star  steps  back,  ever  so  little,  all  the  world 
knows  it.  To  return  to  the  moneyed  heights  of  popularity 
becomes  almost  impossible. 

Here,  then,  is  the  story  of  those  who  have  achieved  the 
impossible,  the  story  of  the  stars  who  came  back. 

They   might    almost    be 


called  the  Hollywood  club 
invisible,  that  valiant  group, 
Alice  Joyce,  Blanche  Sweet, 
Charles  Ray,  May  Allison, 
Francis  X.  Bushman,  Marc 
McDermott,  Myrtle  Sted- 
man,  Eugene  O'Brien,  Earle 
Williams,  Rudolph  Valen- 
tino— yes,  Rudy  belongs  in 

68 


Just  a  little  sleepy  time  girl, 
just  one  marshmallow  mo- 
ment after  the  other,  was 
what  they  wished  on  May 
Allison  on  the  old  Metro 
lot.  It  was  enough  to  kill 
a  girl  of  May's  intelligence 
and    it   nearly    did 


THE  story  of  those 
who   knew  popii' 
larity — lost  it— then 
fought  back  until  their 
names  now  shine  with 
greater  glory 

By  Ruth  Waterbury 


Be  sweet,  the  producers  commanded  Blanche 
for  years.  Be  sweet  and  wistful — and  Blanche, 
who  naturally  is  as  wistful  as  a  keg  of  dyna- 
mite, hid  herreal  talents  and  lost  her  real  public 


Blanche's  anger, 
and  art,  got  out- 
le ts  when  she 
played  "Anna 
Christie."  It  was 
a  hard,  bitter, 
beautiful  per- 
formance. It 
stamped  Blanche 
as  a  great  actress 
and  a  box-office 
success 


Photo  tii  Hartsotik 


the  club — James  Cruze,  Herbert  Brenon  and  Sidney  Olcott. 

All  of  them  had  known  fame  and  popularity.  Each  of 
them  learned  what  it  meant  to  lose  it.  Today,  all  honor 
and  credit  to  them,  they  have  all  come  back  and  made  their 
names  more  significant  than  before. 

There  are  those  that  didn't  come  back,  you  know,  those 
who  tried,  as  honestly,  as  hopefully,  as  any  in  the  illustrious 
group  above. 

Theda  Bara  made  a  two-reel  comedy,  a  good  comedy, 
to  be  sure,  but  one  in  which  she  did  nothing  worthy  of  her 
undoubted  talents.  Beverly  Bayne,  Bushman's  wife; 
Clara  Kimball  Young  of  the  deep,  dark  eyes,  William 
Farnum,  Elsie  Ferguson,  the  aristocrat;  Madge  Kennedy, 
Alice  Lake,  Jewel  Carmen,  Wanda  Hawley,  Mable  Nor- 
mand,  vivacious,  lovely  Mable;  little  Mary  Miles  Minter, 
Ethel  Clayton,  Katherine  McDonald,  Anita  Stewart  and 
Violet  Mercereau,  all  of  them  have  tried.  All  of  them 
have  failed. 

In  every  art,  glory  is  insecure  and,  once  relinquished, 
difficult  of  recovery.     Yel 


Miss  Allison  retired  and 
waited  until  she  could  come 
back  and  be  herself,  a  beau- 
tiful, accomplished  woman 
of  the  world  as  she  here 
appears  in  First  National's 
big  special,  "Men  of  Steel" 


in  every  art  but  that  of 
acting  a  man's  work  de- 
pends upon  himself.  The 
painter,  who  would  come 
back,  needs  only  to  paint. 
The  author  needs  only  to 
write.  The  market  is  al- 
ways there  for  them.  The 

[  CONTINUED  ON  PACE   122  ] 

69 


Here  sketched  on  Renee  Adoree 
is  a  simulated  two  piece  frock  of 
tucked  georgette  with  contrasting 
collar,  cuffs  and  smart  suede  bell, 
most  attractive  for  "in  between" 
weather  wear.  In  Chanel  red, 
beige,  or  navy.  Sizes  14-20. 
Price  $29.50 


Miss  Adoree  finds  that  a  chic 
sports  ensemble  is  a  necessity  in 
the  smart  young  woman's  ward- 
robe, and  the  one  illustrated  in 
the  center  boasts  an  unusual  neck- 
line and  box  pleats.  It  is  fash- 
ioned of  fine  quality  jersey  in 
a  lovely  new  red,  a  soft  green  or 
tan.     Sizes  32-40.     Price  $15.75 


The  indispensable  "in  between" 
coat  is  illustrated  at  extreme 
right.  Beautifully  tailored  of  an 
excellent  quality  tweed,  its  small 
fur  collar,  narrow  leather  belt, 
and  flat  seams  proclaim  Us 
smartness.  Fully  lined.  Sizes 
14-20.     Price  $29.75 


In  the  photograph  Renee 
Adoree  is  wearing  a  two 
piece  frock  of  flat  crepe. 
In  tan,  green,  orchid, 
powder  blue  or  sunni.  Sizes 
14-20.    Price  $16.75 


RENEE  ADOREE  seems  to  find  no  difficulty  in 
bridging  the  gap  between  simple  Melisande  of 
"  The  Big  Parade  "  and  the  chic  Miss  Adoree  of 
New  York  and  Hollywood.  It  is  our  opinion  that 
the  little  French  girl  interprets  one  role  as  cleverly 
as  the  other.  Happily  combining  Parisian  smart- 
ness with  true  French  thrift,  she  has  selected  frocks 
for  every  occasion  at  prices  to  suit  every  purse,  and 
here  presents  them  for  your  approval. 

In  addition  to  the  frocks  for  early  Autumn  wear, 
Miss  Adoree  has  included  two  light  silks  for  the 
business  girl  who  is  taking  a  late  vacation  or  for  the 
tired  wardrobe  that  needs  an  end-of-the-summer 
freshening  up  to  enable  it  to  face  the  remaining  hot 
days  with  equanimity. 

Miss  Adoree  claims  that  the  smart  woman  con- 
tinues to  wear,  for  all  daytime  occasions,  the  simple 
one  or  two  piece  frock  and  that  no  radical  style 
changes  are  likely  to  occur  in  the  coming  season. 


On  these  two  pages  you  will  find  French  thrift  combined  with 
Parisian  smartness  through  Renee  Adoree's  selections  for  your 
wardrobe.  Photoplay's  Shopping  Service,  221  West  57th  Street, 
New  York,  N.  Y.,  will  purchase  any  of  these  lovely  things  for  you. 
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  immediately  and  your  money 
will  be  refunded  without  question.  Send  articles  direcc  to  Photo- 
play Shopping  Service,  221  West  57th  Street,  New  York  City,  within 
three  days  after  receipt. 


The  j a  iinti/ 
small  felt  hat 
shown  here 
comes  in  nil  the 
new  full  shades. 
The  price  is 
$5.00 


Frost  crepe  fashions  the  simple 
fall  afternoon  frock  at  left  and 
collar  and  cxiffs  of  metal  cloth 
give  it  a  festive  air.  In  soft 
slmdes  of  red,  green  a?id  blue,  or 
black,  this  is  truly  a  remarkable 
value.  Sizes  32-44-  The  price  is 
only  $15.15 


Here  is  Renee  Adoree  in  a  new 
dance  frock  of  orchid  or  flesh 
georgette  decorated  with  a  con- 
trasting hand-painted  border, 
and  tiny  "dewdrops."  The  velvet 
ribbon  falls  from  the  shoulders  in 
a  graceful  line.  Sizes  14-20. 
Price  $29.50 


Frost  crepe  is  particularly  pop- 
ular and  appropriate  for  fall 
wear,  and  here  it  appears  again 
in  the  guise  of  the  ever  popular 
jumper  frock,  with  a  grateful 
pleated  tic.  The  colors  are  red, 
green,  blue  and  black,  and  the 
sizes    32-44-     Price    $15.75 


New  details  appear  from  time  to  time,  but  funda- 
mentally styles  will  remain  the  same. 

She  agrees  with  the  fashion  expert  who  said  that 
fashions  will  probably  not  change  until  some 
revolutionary  change  takes  place  in  the  life  of  the 
woman  of  today — for  never  before  have  women's 
clothes  been  so  well  adapted  to  their  pursuits. 
"Fussy"  afternoon  gowns  are  out,  according  to 
Miss  Adoree,  and  while  frocks  for  afternoon  wear 
are  sometimes  a  bit  softer  of  line,  great  care  must 
be  taken  to  avoid  the  over  elaborate  frock.  Sim- 
plicity is  the  keynote  of  the  smart  costume  of  today. 
One  may  be  a  bit  "frillier,"  of  course,  in  the  evening, 
but  unless  this  is  cleverly  done  it  is  best  to  keep  to 
simple  lines  in  evening  frocks  also. 

We  want  to  urge  all  our  readers,  whether  sub- 
scribers or  not,  to  use  this  service  and  obtain  the 
benefit  of  the  best  New  York  fashions  combined 
with  the  remarkably  low  prices  we  have  been 
able  to  obtain. 


In  the  photograph  Miss 
Adoree  tvears  a  sports 
frock  of  radium  silk,  cleverly 
fashioned.  In  tan,  green, 
powder  blue,  orchid  and 
sunni.  J 4-20.  Price $19.75 


©arberous 
</_yTreatment 

to  the  Girls 

Real  salt  tears,  not  glycerine 
ones,  were  shed  by 
Helene  and  Lois 


Helene  Costello's  hair  was  long,  beautiful  and  curly. 
But  directors  cannot  see  long  hair  in  snappy  modem 
comedies.  With  a  sob  in  her  throat  and  tragedy  in 
her  eyes,  Helene  allowed  herself  to  become  a  shorn 
lamb 


Lois'  beautiful  hair 
was  the  pride  of  her 
life.  To  her,  it  was  a 
symbol  of  protest 
against  a  flippant 
and  flapperish  world. 
She  resolutely  re- 
fused to  have  it  cut, 
until  friends  and  di- 
rectors coaxed  her  to 
make  the  sacrifice  to 
the  Great  God  Pep 

72 


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inl  I 

wf  M    B  1 

jfy]  ^m  ^^ 

jflgfeV            -sv^Bj 

■B  Tjfcfl^* 

iM 

V  x  jlfl 

■f* 

m       m* 

m 

Herbert  Brenon  felt  like  a  tyrant,  the  barber 

felt  like  a  hangman,  when  Lois  Wilson's  hair 

was  bobbed   for   "The   Great   Gatsby."     And 

Lois  wept  all  during  the  operation 


Curiously   enough,    the   bob   has   changed  Lois' 

personality.    Gone  all  the  old  demureness.     And 

in  its  place  is  an  unsuspected  piquancy 


Photoplay  Magazine — Advertising  Section 


73 


de 


Marie 
Bourbon 

mi 


says:  "they  protect  and  keep 
the  complexion  perpetually 
young  and  beautiful " 


PRINCESSE  of  an  ancient,  illus- 
trious house;  young,  appealingly 
lovely.  No  wonder  Marie  de  Bour- 
bon's views  on  how  to  care  for  beauty 
impress  all  who've  ever  seen  her  .  .  . 

Spirited  youth;  hair  burnished  to 
copper-gold;  the  upward  curve  of  a 
rose-flushed  cheek  to  meet  a  snow- 
white  brow  .  .  .  these  would  make 
Marie  de  Bourbon  irresistible  even  if 
she  weren't  a  princess,  and  cousin  to  the 
reigning  King  of  Spain. 

But  she's  all  these  things  and  wise,  be- 
sides.   For  hear  what  she  says: — 

"Beauty  in  women  takes  such  thrillingly 
different  forms.  But  no  matter  what  their 
tint,  their  texture,  the  exquisite  skins  of 

Other  beautiful  and  distinguished  women 
who  have  praised  Pond's  Creams: 

H.  M.  Marie,  Queen  of  Roumania 
The  Princesse  Matchabelli 
The  Duchesse  de  Richelieu 
The  Lady  Diana  Manners 
Mrs.  Nicholas  Longworth 
Mrs.  William  E.  Borah 
Miss  Marjorie  Oelrichs 
Miss  Elinor  Patterson 
Miss  Barbara  Strebeigh 


The  Two  Creams  which  care  for 
the  skins  of  lovely  women  every- 
where. Pond' s  Cold  Cream  for  a 
gentle  cleansing,  Pond's  Vanish- 
ing Cream  for  a  soft  protection,  a 
delicate  finish  and  a  dainty  pow- 
der base.  Every  skin  needs  them. 


beautiful  women  everywhere  must  be 
watchfully  cared  for,  or,  like  fragile 
flowers,  they  wither,  they  fade." 

This  little  princess,  who  left  Spain  to 
come  and  see  America,  learned  of  Two 
wonderful  Creams  which  preserve  and 
protect  the  skin  perfectly.  And  this  is  the 
message  she  takes  back  to  her  country- 
women of  Spain: — 

"Happily  no  woman's  skin  need  fade  if 
she  faithfully  uses  every  day  Pond's  won- 
derful Two  Creams.  They  keep  the  com- 
plexion perpetually  young  and  beautiful." 

To  Keep  the  Complexion  Youthful 
Every  day,  whenever  your  skin  needs  cleans- 
ing, and  at  night  before  retiring,  cleanse 
your  skin  deeply  with  Pond's  Cold  Cream, 
pat-patting  it  lavishly  over  face,  throat, 
neck,  hands.  Let  it  stay  a  few  moments. 
Its  fine  oils  sink  in  and  soften  all  accumu- 
lations of  dust,  face  powder,  perspiration. 
A  soft  cloth  or  tissue  removes  the  cream — 
and  the  pore-deep  dirt.  Repeat  this  treat- 
ment. Finish  with  a  dash  of  cold  water  or 
a  quick  rub  with  ice. 

If  your  skin  is  inclined  to  be  dry,  after 
the  bedtime  cleansing  pat  on  more  Pond's 
Cold  Cream  and  leave  it  overnight. 

After  every  such  cleansing  except  the  bed- 
lime  one,  smooth  over  your  skin,  refreshed and 
supple,  a  delicate  touch  of  Pond's  Vanishing 
Cream.  Your  skin  looks  like  new  now — 
evener,  smoother.  And  see  how  smoothly  your 
powder  lies  and  clings— no  patches,  no  little  clods 
— just  a  smooth  even  surface,  like  the  petals  of  a 
rose.  And  how  white  this  cream  keeps  your  hands! 
Pond's  Vanishing  Cream  gives  your  skin  per- 
fect protection,  too,  from  wind  and  dust  and  all 
unfriendly  elements.  Try  these  Two  Creams- 
see  how  beautifully  fresh  and  unlined,  for  years 
on  end,  they'll  keep  your  delicate  skin. 


Tlfpp  OfFpfMail  this  coupon  for  free  sam- 
JJ         pie  tubes  of  Pond's  Two  Creams 


The  Pond's  Extract  Companv,  Dept.  J 
147  Hudson  Street,  New  York  City. 

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


Street 

City State 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Last  year,  Richard 

Dix  bet  that  he 

would  be  married 

within  twelve 

months.    He  lost — 

and  he's  sorry 

By  Cal  York 


"It's  all  right,"  says  Richard, 
"to  make  a  hasty  marriage, 
if  you  don't  mind  taking  a 
chance  on  divorce."  Richard's 
next  picture  will  be  "The 
Quarterback"  —  the  story  of  a 
football  hero.  "Of  course,  it's 
great  to  play  romantic  roles  on 
the  screen  but  it  keeps  you  from 
going  in  for  romance  in  real 
life" 


ft 


Still  the  Most 

Eligible 
Young  Man 


ICHARD  DIX  is  still  single 

and  his  "single  cussedness" 

lost  him  a  bet  of  one  hundred 

dollars.      Of    course,    cynics 

may  say  that  paying  a  one  hundred 

doliar    bet    is    a    cheap    price    for 

bachelor   freedom,    but    Richard    is 

sorry  that  he  lost. 

It  isn't  that  he  objects  to  paying 

the  one  hundred  dollars.     What  he 

really    regrets    is    that    he    made    a 

promise  to  himself  and  didn't  keep  it. 

You  see,  just  a  year  ago  Richard 

bet  that  he  would  be  married  within 

a    year.      The  twelve  months  have 

rolled   around   and   Richard   is   still 

the  screen's  most  eligible  bachelor. 

A  year  ago,  Photoplay  told  you  all 

about  the  bet  and  all  about  Richard's 

reason  for  wanting  to  take  the  fatal 

step.       You'll    remember    that     he 

solemnly  vowed   to   find   the  Right 

Girl  before  the  year  was  over. 

"Well."  Richard  now  says,  "I  lost  the  bet.    Maybe  I  was 

silly  to  make  it — but  my  intentions  were  good.    And  they  still 

are.    But  I  suppose  no  man  can  set  a  time  limit  on  a  proposition 

of  that  sort. 

"Those  hasty,  look-before-you-leap  marriages  are  all  right — 
if  you  don't  mind  taking  a  chance  on  a  divorce.  But  I  don't 
believe  in  divorce.  Not  for  myself,  anyway.  If  other  people 
want  divorces,  that's  their  own  business.  But  when  I  marry.  I 
hope  to  stay  married  and  I  want  to  find  a  girl  who  feels  the 
same  way  about  it. 

"I  lost  one  hundred  dollars.  But  maybe  I  have  saved 
thousands  in  a  divorce  suit.  I  didn't  lose  the  bet  because  I  have 
changed  my  mind  about  marriage.  I  think  it's  a  grand  old 
institution,  all  right,  and  I'd  be  willing  to  walk  right  up  to  the 
license  clerk  tomorrow  if — " 

And  there  you  have  it — "if."  Richard  is  in  the  same  state 
of  mind  that  he  was  in  a  year  ago. 

"  Perhaps."  Richard  went  on  to  [  continued  on  pace  92  ] 


74 


Photoplay  Magazine — Advertising  Section 


IS 


"I  AM  A  SAILOR  in  the  United 
States  Navy  and  all  my  life  I  have 
been  bothered  with  stomach  trou- 
ble and  a  very  poor  skin.  I  have 
read  and  have  been  told  of  Fleisch- 
mann's  Yeast  and  have  also  seen  a 
difference  in  my  shipmates  who 
have  used  it.  While  home  on  leave 
last  August  I  got  in  the  habit  of 
taking  Yeast  in  a  glass  of  warm 
water.  Now  my  skin  is  clear  of  all 
pimples  and  I  eat  much  more  and 
feel  like  a  new  man.  I  also  per- 
form my  duties  with  much  more 
'pep'  than  I  ever  have  before." 

STANLEVH.STRAINGE,U.S.Navy, 

Hampton  Roads,  Va. 


Their  Dreams  of  Health 

Came  True 


"I  AM  A  BEAUTY  DOCTOR.   I  use 

a  scientific  treatment  that  promotes  in- 
tense circulation.  Often  when  the  pa- 
tient is  run  down  or  a  heavy  eater,  there 
will  be  a  breaking  out  on  the  face  for  a 
few  days.  I  conceived  the  idea  of  giving 
my  patients  Fleischmann's  Yeast  daily. 
All  the  impurities  passed  off  with  this 
treatment  and  the  giving  of  salts  was 
also  eliminated." 

Bessa  Hanson,  Hollywood,  Cal. 


Constipation,  skin  and  stomach 
troubles  corrected — 
glorious  vitality  regained — 
in  this  sure,  natural  way 

NOT  a  "cure-all,"  not  a  medicine  in  any 
sense — Fleischmann's  Yeast  is  simply  a 
remarkable  fresh  food. 

The  millions  of  tiny  active  yeast  plants  in 
every  cake  invigorate  the  whole  system.  They 
aid  digestion — clear  the  skin — banish  the  poi- 
sons of  constipation.  Where  cathartics  give 
only  temporary  relief,  yeast  strengthens  the 
intestinal  muscles  and  makes  them  healthy  and 
active.  And  day  by  day  it  releases  new  stores 
of  energy. 

Eat  two  or  three  cakes  regularly  every  day 
before  meals:  on  crackers — in  fruit  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  latest 
booklet  on  Yeast  for  Health.  Health  Research 
Dept.  21,  The  Fleischmann  Company,  701 
Washington  Street,  New  York. 


"I  AM  TAKING  this  opportunity 
to  advise  that  after  eating  Fleisch- 
mann's Yeast  for  the  past  two 
months,  I  have  found  it  to  produce 
wonderful  results.  Constipation  has 
been  bothering  me  for  many  years 
and  finally  my  doctor  suggested 
Yeast.  Yeast  soon  produced  results 
and  I  can  recommend  it  highly." 
Carl  W.  Windel, 
Portsmouth,  Ohio. 


THIS  FAMOUS  FOOD  tones  up  the 
entire  system — aids  digestion — clears 
the  skin — banishes  constipation. 


:  to  advertisers  pie. 


entlon  PIKlTOrLAY  MAGAZINE. 


Harlem-South  Sea  Islands 


First  Rational 
ma\es  palm  trees 
grow  where  only 

delicatessens 
flourished  before 


This  scene  from  "Para- 
dise," Milton  Sills'  newest 
picture,  would  fool  a  na- 
tive South  Sea  Islander. 
Even  to  the  cocoanuts  on 
the  trees,  it  is  correct  to 
the  last  detail 


All  those  things  you've  heard  about 
the  South  Seas  must  be  true.  Here 
are  Betty  Bronson  and  Milton  Sills, 
the  royal  rulers  of  Paradise  Island 


■ 


And  here's  the  grand  expose 
of  the  South  Seas.  The  whole 
setting  was  built  where  the 
pavement  ends  and  the  bill- 
boards begin — up  on  Second 
Avenue  near  the  Harlem 
River.  And  that  tropical  cli- 
mate was  furnished,  gratis, 
by  New  York's  customary 
summer  heat 


76 


Photoplay  Magazine — Advertising  Section 

A  THOUSAND  THINGS  MAY  HAPPEN  IN  THE  DARK 


77 


"The  baby's  crying!" 
—use  your  Eveready! 


That  plaintive  wail  in  the 
dark  of  night  that  every 
mother  knows  so  well  .  .  . 
use  your  Eveready!  Here 
is  the  ideal  light  for  bed- 
room and  nursery.  There 
is  no  disturbing  glare  in 
its  soft,  reflected  rays.  No 
loud-clicking  switch. 

The  Eveready  Flash- 
light is  as  silent  in  action 


as  a  moonbeam.  It  puts 
the  light  exactly  where  you 
need  it.  It  is  handy.  It  is 
safe.  It  is  thoroughly  de- 
pendable. Every  home 
needs  one  or  more  Ever- 
eadys.  They  should  be 
kept  hanging  in  a  regular 
place,  ready  for  instant  use 
in  any  emergency. 

You  cannot  buy  a  better 

V        V        V 

Eveready  Flashlight  Batteries  fit 
and  improve  all  makes  of  flash- 
lights. They  insure  brighter  light 
and  longer  battery  life.  Keep  an 
extra  set  on  hand.  Especially  de- 
signed Eveready-Mazda  Lamps, 
the  bright  eyes  of  the  flashlights, 
likewise  last  longer. 


flashlight  than  Eveready. 
Only  Eveready  has  the 
convenient  ring-hanger. 
To  get  all  the  newest  and 
best  flashlight  features,  in- 
sist on  a  genuine  Eveready. 
There's  a  type  for  every 
purpose  and  purse,  and  an 
Eveready  dealer  nearby. 

Manufactured  and  guaranteed  by 

NATIONAL  CARBON  CO.,  Inc. 

New  York  San  Francisco 

Canadian  National  Carbon  Co.,  Limited 
Toronto,  Ontario 

EVEREADY 

FLASHLIGHTS 
fc>  BATTERIES 

-they  last  longer 


rite  to  advert isers  please  mention  PHOTOPLAY  MAGAZINE. 


The  Devil  to 


Pay- 

at  the 

Box 
Office 


UFA'S  production  of 
"Faust"  goes  to  Goethe's 
poem,  not  to  the  abridged 
Gounod  version,  for  its  in- 
spiration. Here  is  a  scene 
from  the  Walpurgis  Nacht 
— or  Witches'  Sabbath  — 
episode 


The  temptation  of  Faust.     "What  profiteth  it  a  man  if  he 

gain  the  whole  world  but  lose  his  own  soul  ?' '  Emil  Jannings 

as  Mephisto.    Gosta  Ekman  as  Faust 


"The  eternal  feminine  leads  us  on!"    Camilla  Horn 

as  Gretchen.    After  a  search  of  two  continents  for  an 

actress  to  play  the  role,  Fraulein  Horn  was  discovered 

in  a  Berlin  cabaret  and  signed  for  the  part 


v£3 


k*v 


h 


^Be&Biteofall! 


Crisp  and  crackly  peanuts— roasted,  then 
toasted;  an  opera  cream  center  that  melts 
in  your  mouth;  luscious,  delicate  caramel; 
a  generous  coating  of  rich  milk  chocolate; 
all  blended  to  the  queen's  taste!  That's 
Baby  Ruth— America's  favorite  candy. 

Satisfy  your  candy  hunger  with  this  de- 
licious bar  of  wholesome  goodness. 

CURTISS  CANDY  COMPANY 

New  York  CHICAGO  San  Francisco 

Boston  Los  Angeles 


[±L 


CURTISS 


BabyRuthl  £<■ 

I  America's  Favorite  Jyc  I        ^*^^r 


Smoothest  Powders 
in  the  World 


Fairy  softness,  elusively  delicate  scent, 
wondrous  tints  and  immaculate  purity 
brought  Melba  powders  their  national  and 
international  preferment.  So  widely  wanted, 
Melba  powders  are  produced  upon  a  scale 
which  permits  such  rare  processes  as  Melba 
air-floating.  That  is  why  face  powders  far 
more  costly  than  Melba  Fleurs,  Lov'Me,  and 
Bouquet  may  be  far  less  smooth.  And  none 
can  be  more  aristocratic  in  perfume  or  tone. 

Like  Melba  face  powders,  all  the  Melba 
preparations  for  accenting  beauty  will  be 
found  ultra-fine.  Their  use  is  a  distinction 
shared  with  women  of  rank. 

MELBA  CO.       NEW  YORK       PARIS       CHICAGO       TORONTO 

MELBA  PREPARATIONS 
EMBRACE  ALL  THE  THINGS 
NEEDED  TO  MAKE  YOUR 
BEAUTY  MORE  BEWITCHING 


B  A 


The  famous  Peter  Pan  discovered  Douglas  MacLean 
in  a  student  play  and  gave  him  his  first  role 


Trouping  with 


vu. 


yv^aude 
Adams 


By  Douglas  MacLean 

TO  reminisce  of  Maude  Adams  is  to  conjure  up  the 
picture  of  the  most  gentle  lady  I  have  ever  known. 
Beloved — almost   worshipped — by  those  who  know 
her,  she  holds  a  unique  place  in  the  history  of  the  stage. 
Insofar  as  I  know,  she  is  without  an  enemy  and  she  has  never 
failed  to  win  the  love  and  respect  of  even  the  most  casual 
acquaintances. 

It  was  a  medieval  sword  that  really  led  to  my  first  meeting 
with  Miss  Adams — a  meeting  which  resulted  in  my  initial 
stage  engagement. 

I  was  a  student  at  the  American  Academy  of  Dramatic  Arts. 
At  the  conclusion  of  my  senior  term,  my  class,  following  a 
custom  as  old  as  the  Academy,  prepared  to  present  its  grad- 
uating play.  We  chose  "The  Isle  of  Dreams"  and  I  was  cast 
for  the  youthful  lover  of  this  colorful  romance. 

The  prospect  of  facing 
a  theater  full  of  people 
for  the  first  time  clad  in 
the  doublet  and  hose  of 
the  play's  period  and 
wearing  the  wig  and  sword 
which  the  role  demanded 
was  an  alarming  one. 
Since  I  couldn't  change 
the  costume,  I  decided  to 
familiarize  myself  with  it 
as  much  as  possible. 
Everyone  in  the  cast 
thought  I  was  crazy  when 
I  appeared  at  the  first  re- 
hearsal clad  in  full  cos- 
tume— including  the 
sword.  But  I  wore  every 
item  of  the  costume  at 
every  rehearsal.  The  in- 
evitable happened;  I 
ceased  to  be  self-conscious 
about  my  exposed  legs. 
And  best  of  all,  I  learned 
to  handle  that  confounded 
sword  so  that  it  never 
once    tripped    me,    never 


Beloved,  almost  worshiped 
by  those  who  knew  her, 
Maude  Adams  holds 
a  unique  place  in  the  his- 
tory of  the  stage.  She 
never  failed  to  win  the  love 
and  respect  of  even  the 
most  casual  acquaintances 


Douglas  MacLean 
was  a  student  at  the 
American  Academy 
of  Dramatic  Arts 
when  Miss  Adams 
chanced  to  watch 
him  in  one  of  the 
school's  productions 


got  in  the  way  when  I  sat  down  and  never  banged 
the  knees  of  the  other  players. 

The  Academy's  productions  are  always  well 
attended  by  the  theatrical  profession  and  there 
were  dozens  of  stage  notables  in  the  audience 
when  the  curtain  rose  on  our  "Isle  of  Dreams." 
Maude  Adams  was  one  of  this  group,  although, 
with  the  modesty  which  has  always  been  one  of 
her  outstanding  characteristics,  she  remained 
almost  unrecognized  even  in  a  theater  crowded 
with  people  who  knew  her. 

So  I  was  totally  unprepared  for  the  message 
which  I  received  after  the  final  curtain  fell.  It 
was  from  Miss  Adams'  manager  and  conveyed 
an  invitation  to  meet  her  following  her  own 
professional  appearance  that  evening. 

It  is  difficult  to  describe  a  first  meeting  with 
Maude  Adams  without  sounding  mawkish  or 
foolishly  sentimental.  But  that  same  rare  quali- 
ty that  never  failed  to  bring  a  roar  of  assenting 
response  from  hard-boiled  audiences  to  her 
Peter  Pan  query,  "Do  you  believe  in  fairies?" 
always  worked  its  charm  in  personal  meetings. 
In  two  minutes  after  I  had  been  introduced  by 
her  manager  I  was  her  devoted  slave. 

Miss  Adams  explained  at  that  first  meeting 
that  she  was  planning  to  go  on  tour  in  the  near 
future  in  "The  Legend  of  Leonore"  and  that 
she  wanted  to  use  a  one  act  play  called  "Rosa- 
lind," written  for  her  by  Sir  James  M.  Barrie,  as  a 
curtain  raiser.  There  was  a  part  in  "Rosalind" 
that  she  thought  I  might     [continued  on  page  no] 

81 


hat  was 

the 

Best  Picture 
0/1925") 


WiU  Hays  on  Gold  Medal 

Photoplay  Magazine  is  performing  a  real  service  to  motion  pic- 
tures by  awarding  a  gold  medal  each  year  to  the  production  which 
its  readers  select  as  the  best  photoplay  of  the  year. 

You  direct  thought  to  the  many  fine  pictures,  with  wholesome  and 
happy  results.  In  addition,  the  award  is  proper  recognition  for  work 
well  done  and  is  worthy  tribute  to  producers,  director,  actors,  and 
others  who  have  given  their  talents  to  the  making  of  the  picture. 

In  the  year  just  past  the  most  significant  feature  in  the  motion  pic- 
ture industry  has  been  the  rapid  development  of  man  power.  In  in- 
creasing numbers,  actors,  directors,  scenario  writers  of  ability  have 
developed  their  art.  Anything  that  bestows  recognition  on  these  men 
and  women  deserves  commendation  by  the  public  and  the  industry 
itself. 

Sincerely  yours, 

WILL  H.  HAYS. 


The 
Award 
0/1924 


VOTING  for  the  Photoplay  Magazine  Medal  of 
Honor,  for  the  best  motion  picture  of  1925,  will  close  on 
October  1.  Have  you  voted  yet?  Since  the  announce- 
ment of  the  opening  of  the  voting  was  made  in  the 
July  issue  of  Photoplay,  the  editorial  offices  have  been 
deluged  with  ballots.  Interest  in  the  now  celebrated  award  of 
Photoplay  never  appears  to  have  been  keener  and  the  winning 
motion  picture  seems  likely  to  draw  a  record  vote. 

For  five  years  Photoplay  has  given  its  annual  award.  The 
first  Medal  of  Honor,  for  1920,  was  awarded  to  "Humoresque." 
"Tol'able  David"  captured  the  medal  of  1921.  The  1922 
medal  went  to  "Robin  Hood."  "The  Covered  Wagon"  won 
the  award  of  1923  and  the  medal  for  1924  was  given  to  "Abra- 
ham Lincoln." 

Photoplay  wishes  to  point  out  again  that  the  award  lies 
entirely  in  the  hands  of  its  readers.  Each  year  Photoplay's 
readers  are  asked  to  award  the  gold  medal  to  the  producer  who, 


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 


T^lame- 


Address- 


in  their  minds,  has  come  nearest  the  ideal  in  story,  direction, 
continuity,  acting  and  photography.  The  record  of  five  years 
shows  how  well  Photoplay's  readers  have  made  their  awards. 

What  was  the  best  picture  of  1925?  This  year  the  readers  of 
Photoplay  are  facing  a  harder  problem  than  in  any  of  the  past 
five  years.  Many  screen  dramas  of  unusual  merit  appeared 
during  the  twelve  months  of  1925  and  the  award  will  be  awaited 
with  high  interest  by  the  entire  film  world. 

Naturally  you  have  your  favorite  film  of  1925  and  you  will 
want  to  cast  your  vote  for  it.  Please  remember,  however,  that 
you  must  vote  before  October  1.  On  this  page,  in  order  to  re- 
fresh your  memory,  is  a  list  of  fifty  leading  pictures  released 
during  1925.  You  need  not  limit  your  selection  to  this  list,  of 
course.  You  can  vote  for  any  picture  released  between  January 
1,  1925,  and  December  31,  1925. 

Simply  fill  out  the  coupon  on  this  page  and  mail  it  to  Photo- 
play's editorial  offices,  No.  221  West     [continued  on  page  121  ) 

Fifty  Pictures  Released  in  1925 


Arc.  Parents  People? 

Beggar  on  Horseback 

Big  Parade 

Charley's  Aunt 

Chickie 

Coast  of  Folly 

Dark  Angel 

Don  Q 

Drusilla  With  a  Million 

Freshman 

Gold  Rush 

Goose  Woman 

Graustark 

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 

Mine.  Sans-Gcne 

Never  Say  Die 

Never  the  Twain  Shall 

Meet 
Paths  to  Paradise 
Phantom  of  the  Opera 


Pony  Express 

Road  to  Yesterday 

Sally 

Sally  of  tlw  Sawdust 

Siege 

Shore  Leave 

Sky  Rocket 

Stage  Struck 

Stella  Dallas 

That  Roylc  Girl 

Trouble  With  Wives 

Thundering  Herd 

Unholy  Three 

Vanishing  American 

Wanderer 

Womanhandled 

Zander  the  Great 


82 


Photoplay  Magazine — Advertising  Section 

Your  Sheerest,  Gayest  Gowns 

your  filmiest,  daintiest  things  .  ♦  . 

Wear  them  now  without  hesitancy  or  a  moment's  doubt 


83 


- 


Easy 
Disposal 

and  2  other 
important  factors 


®S 


This  NEW  way  solves  women's  oldest  hygienic  prob- 
lem as  the  women  of  constant  social  or  business  activity 
would  have  it  solved  .  .  .  exquisitely,  and  by  ending 
the  uncertainty  of  makeshift  methods  .  .  .  ending,  too, 
the  bother  and  embarrassment  of  disposability. 


Bj  ELLEN  J.  BUCKLAND 
Registered  Nurse 

FRESH,  charming,  immaculate,  all  day  and 
ez'ery  day  beyond  all  doubt  or  question— this 
new  way  is  bringing  it  to  millions. 

In  your  life,  it  will  make  a  great  and  refresh- 
ing difference.  It  will  end  the  doubts  and  un- 
certainties of  the  old-time  sanitary  pad.  It  gives 
back  the  days  women  used  to  lose. 

Eight  in  every  10  women  in  the  better  walks 
of  American  social  and  business  life  have  adopted 
it.  Doctors  urge  it.  Highest  authorities  approve 
it.   Virtually  every  great  hospital  uses  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  ordi- 
nary cotton  pads.  Kotex  also  deodorizes  by  a 
new  secret  disinfectant.  And  thus  solves  another 
trying  problem. 


laundry.      As 
sy  to  dispose  of 
of  tis- 
:— thus   ending 
the    trying    prob- 
lem of  disposal. 


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 
unsafe  or  unsanitary  makeshift  methods. 

There  is  no  bother,  no  expense  of  laundry. 
Simply  discard  Kotex  as  you  would  a  piece  of 
tissue — 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-absor- 
bent Cellucotton.     It  is  the  only  napkin  made  by 
this  company.    Only  Kotex  itself  is  "like"  Kotex. 

On  sale  everywhere 
You  can  obtain  Kotex  at  better  drug  and  de- 
partment stores  everywhere.  Comes  in  sanitary 
sealed  packages  of  12  in  two  sizes,  the  Regular 
and  Kotex-Super.  Today  begin  the  Kotex  habit. 
Note  the  improvements,  mental  and  physical 
that  it  ^brings.  Write  today  for  "Personal 
Hygiene"  booklet.  Sample  of  Kotex  will  be 
mailed  free  on  request.  Cellucotton  Products 
Co.,  166  W.  Jackson  Blvd.,  Chicago. 


times  its  own  weight 
in  moisture;  5  times 
that  of  the  ordinary 
cotton  pad,  and  it  de- 
odorizes, thus  assur- 
ing double  protection. 


Easy 

to 

buy    any- 

where 

*   M 

any  stores 

keep 

the 

m    ready- 

wrapped 

in     plain 

paper 

nply    help 

yours 

clerk. 

that 

is  all. 

'Supplied  also  in  personal  serviced 
West  Disinfecting  Co. 


"Ask  for  them  by  name" 

KOT8X 

PROTECTS  — DEODORIZES 


No  laundry — discard  as 
easily  as  a  piece  of  tissue 


"ii  PHOTOPLAT  MAGAZINE 


H  E  plays  the  reckless  younger  generation — on  and  off  the  screen.  Little 
Clara  Bow  got  her  name  in  the  papers  recently  when  Robert  Savage, 
untamed  Yale  student,  tried  to  kill  himself  because  Clara  wouldn't 
marry  him.  In  the  subsequent  trial — everything  seems  to  get  to  court 
these  days — Robert  testified  that  Clara  kissed  him  so  fervently  that  he 
was  laid  up  with  a  sore  jaw  for  two  days.  And  now  Clara  says  that  the 
more  she  sees  of  men,  the  better  she  likes  dogs. 


SJ,. 


Photoplay  Magazine — Advertising  Section 


You  can  Look  Younger 

By  using  the  tone  of  this  rouge  that  gives  the  perfect, 
natural  coloring  of  lovely  girlhood. 


85 


■By     MADAME     JEANNETTE 

Famous  cosmetician,  retained  by  The  Pom- 
peian Laboratories  as  a  consultant  to  give 
authentic  advice  regarding  the  care  of  the  skin 
and   the  proper  use  of  beauty   preparations. 


(J  RECENTLY  overheard  one  of  my 
C'  friends  say  to  another,  "You,  for 
one,  need  no  rouge,  my  dear.  What 
lovely  natural  coloring!"  But  the  truth 
was  this  —  like  thousands  of  other 
women,  she  found  a  rouge  that  gave 
her  cheeks  the  exquisite  natural  color- 
ing of  a  girl  in  her  'teens.  That  rouge 
is  Pompeian  Bloom. 

Today  women  everywhere  realize  the 
necessity  of  using  rouge  that  matches 
perfectly  their  natural  skin  tones.  They 
know  that  the  effect  of  obvious  rouge 
is  just  as  unattractive  as  lack  of  coloring. 
They  want  rouge  that  appears  to  be  part 
of  their  own  complexions.  And  when 
they  use  the  right  shade  of  Pompeian 
Bloom  they  achieve  the  wholly  natural 
effect  they  desire. 

Rouge  to  match  the  various  skin  tones 
must  be  a  blend  of  several  colors.  Pom- 
peian Bloom  comes  in  five  scientifically 
blended  shades — scientifically  blended 
because  Pompeian  chemists  know  that 
complexions  are  not  composed  of  single 
colors,  but  a  blend  of  many. 

From  the  shade  chart  below  you  can 
easily  select  your  particular  shade  of 
Pompeian  Bloom.  Listed  there  is  your 
type  of  complexion  together  with  the 
shade  of  Pompeian  Bloom  that  matches 
it  perfectly. 

Shade  Chart  for  selecting 
your  shade  of  Pompeian  Bloom 

Medium  Skin:  The  average  American 
woman  has  the  medium  skin -tone  — 
pleasantly  warm  in  tone  with  a  faint  sug- 
gestion of  old  ivory  or  sun-kissed  russet. 
The  Medium  tone  of  Pompeian  Bloom 
suits  this  skin.  If  with  a  medium  skin 
you  are  slightly  tanned,  you  may  find 
the  Orange  tint  more  becoming.  And 
sometimes  women  with  medium  skin 
who  have  very  dark  hair  get  a  brilliant 
result  with  the  Oriental  tint. 

Olive  Skin:  Women  with  the  true  olive 
skin  are  generally  dark  of  eyes  and  hair 
—and  require  the  Dark  tone  of  Pompeian 
Bloom.  If  you  wish  to  accent  the  bril- 
liancy of  your  complexion,  the  Orient?! 
tint  will  accomplish  it. 


C\Ke  watched  her  as  the  sun  slanted 
down  on  her  pretty  face  and  felt  an 
impulse  to  tell  her  she  was  like  a  rose. 
Even  in  the  most  scrutinizing  light 
Pompeian  Bloom  has  the  natural  glow 
of  youth  —  an    effect  every 


30  Applications 

of  Pompeian  Bloom 

for  only  10c 


M   I    not    right   in 
stressing  the  im- 


<&' 


The  intriguing  beauty  of  olive  skin  and  dark  bn 

enhanced  by  the  rich  color   of  the  damask  rose 

type  you  may  use  Pompeian  Bloom  in  the  Dark  ti 

Tint  for  this  enchanting  effect. 


Pink  Skin:  This  is  the  youthful  skin, 
most  often  found  in  blondes  or  red- 
haired  women,  and  should  use  the 
Oriental  shade. 

White  Skin:  The  pure  white  skin 


portance  of  matching 
your  skin -tone?  I  urge 
you  to  act  on  this  advice 
— urge  you  to  let  your 
own  eyes  convince  you 
1  hair  is  always  how  much  more  charm- 

'/  you   are  this  •  j  i 

or  the  Oriental  lng    ar>d    natural    in   ap- 

pearance Pompeian 
Bloom  will  make  your 
cheeks.  To  make  this  trial  easy  and  con- 
venient for  you,  I  have  persuaded  The 
Pompeian  Laboratories  to  let  me  make 
this  unusual  offer: 

Send  me  10c  and  the  coupon.    I  will 


rare,  but  if  you  have  this  rare  skin  you  send  you  a  trial  cake  of  Pompeian  Bloom 

must  use  the  Light  tone  of  Bloom.  containing  enough  rouge  for  30  appli- 

cations  in  a  dainty  little  container,  not 
Special  Note:  Remember  that  an  unusual  ,.„„  U-u  ■  j  •  j 
coloring  of  hair  and  eyes  sometimes  demands  t0°  b'S  C°  be  Camed  ln  yOUf  PUfSe;  and 
a  different  selection  of  Bloom-tone  than  that  in  addition  a  liberal  sample  of  Pom- 
given  above.  If  in  doubt,  write  a  description  peian  Beauty  Powder.  Tear  off  the  cou- 
ot  your  skin,  hair  and  eyes  to  me  for  special  .  r  , 
advice.  Pon  now>  before  you  turn  the  page. 

If  you  really  want  your  color  to  look 
natural,  try  Pompeian  Bloom.  60c  at  all 
toilette  counters  (slightly  higher  in  Can- 
ada). Purity  and  satisfaction  guaranteed. 


foundation  for  your  Pomp 


OvHAVUAlC 


Specialiste     \J  en  Bcaute 

P.  S.  I  also  suggest  that  you  use  Pompeian  Day  Cream  as  a 

r  Beauty  Powder  and  Bloom. 


Madame  Jeannette, 

The  Pompeian  Laboratories 

2913  Payne  Ave.,  Cleveland,  Ohio 

Dear  Madame:  I  enclose  a  dime   flOc)   for 
samples  of  Pompeian  Bloom  and  Powder. 

Name 

Street 

Address 

City State 

Shade  of  rouge  wanted 


vrlto  to  advertisers  please  mention  moTOPLAY  MAGAZINE. 


Black  Magic /rom  Rex  Ingram 


Alice  Terry 

as  Margaret 

Dauncey 


Rex  Ingram  has  completed  his  screen  ver- 
sion of  Somerset  Maugham's  "The  Ma- 
gician" at  his  studio  in  Nice,  France.  Here 
Margaret  Dauncey  (Alice  Terry)  is  a 
prisoner,  strapped  to  the  operating  table 
of  Oliver  Haddo  (Paul  Wegener).  Haddo 
is  about  to  experiment  with  an  old  formula 
for  the  creation  of  human  life 


Rex  Ingram 
himself.  The 
print  of  his 
"The  Magi- 
cian," has  just 
arrived  in 
America.  It 
has  an  unusual 
cast  including 
Paul  Wegener, 
the  famous 
star  of  "The 
Golem" 

86 


Before  carrying  out   his  dire   experiment,   Oliver    Haddo 

hypnotizes   Margaret.     In  her  trance,   Margaret  fancies 

she   sees   the   dance   of   Pan   in   a  forest.     Stowitts,   the 

American  dancer,  plays  Pan 


Photoplay  Magazine — Advertising  Section 


<JW ARJORIE  MOSS,  the  lovely  English  dancer  at  the  Club  Mirador,  New  York,  says:  "  Naturally  my  finger  tips 
must  be  as  smooth  and  shapely  as  the  daintiest  care  can  make  them.   Cutex  keeps  them  exquisitely  groomed." 

This  cioinlu  liquid  StIAPES  YOUR.  CUTICLE 


SHAPING  the  cuticle-  lt  is 

rounding    it    into    perfect  and 

ovals — is  for  many  women  the 
most  difficult  part  of  the 
manicure. 

Everyone  finds  it  so  easy  to  shape  the 
tips  prettily  and  give  the  nails  a  nice 
polish.  But  the  cuticle  is  a  living,  grow- 
ing thing  that  changes  every  day.  It 
grows  up  tight  over  the  nails,  hiding  the 
half-moon — splits,  and  its  nice  smooth 
curve  is  lost  in  a  few  days  of  neglect. 

What  a  contrast  from  the  smooth  ovals 
and  lovely  half-moons  of  hands  in  which 
the  cuticle  is  constantly  cared  for. 

For  this  essential  Northam  Warren  has 
perfected  a  dainty  antiseptic  that  softens 


JWARTHE  REGNIER 

fascinating  French  actress  and  modiste 
of  noted  artistic  ability,  says:  "On  my 
dressing  table  I  never/ail  to  have  a  com- 
plete Cutex  outfit.  Cutex  Cuticle  Re- 
mover keeps  my  nails  shapely  and  Cutex 
Liquid  Polish  gives  them  that  jewel-like 
quality.  I  always  notice  the  beautifully 
kept  nails  of  my  American  clients  and 
know  that  they  have  used  Cutex." 


the  method  to  achieve  Perfect  Ovals 
lovely  Half-Moons,  used  by  beautiful 
women  everywhere 


the  cuticle  and  smooths  away  its  rough- 
nesses so  you  can  shape  it  in  lovely  ovals. 
It  is  Cutex!  Use  it  once  or  twice  each 
week.  And  particularly  on  occasions  when 
your  hands  are  going  to  be  noticed  es- 
pecially. 

Follow,  yourself,  the  method  that  beautiful 
women  everywhere  depend  on. 

Shaping  the  cuticle — Dip  an  orange  stick  in 
Cutex.  Twist  a  bit  of  cotton  around  the  end 
and  dip  in  the  bottle  again.  Now  work  care- 
fully around  the  nail  base — gently  freeing  the 
dead  skin  and  pushing  the  rim  back  into 
lovely  ovals — revealing  the  dainty  half-moons. 
All  the  untidy  dead  skin  wipes  easily  away. 

Bleaching  the  tips — Pass  the  orange  stick, 
still  wet  with  Cutex,  under  the  tips.  This  liquid 

G/END  /oc  with  coupon  for  Introductory  Set 

containing  Cutex    Cuticle    Remover,    Liquid 

and  Powder  Polishes,  Cuticle  Cream,  Brush, 

Emery  Board,  orange  stick  and  cotton. 


!v?« 


Northam  Warren, 
1 14  West  17th  Street,  New  York 
I  enclose  10c  in  stamps  or  coin  f< 


Dept.  Q-q 

■  Introductory  Set. 


is    also    a    wonderful    bleach    and 

removes  stains  on  the  fingers  and 

under  the  tips.    To  give  an  extra 

white  finish,  smooth  the  least  bit 

of  Nail  White  under  each  nail  tip. 

A  cream  for  the   cuticle  —  Now 

with  your  finger  tip  rub  a  little  Cutex  Cuticle 

Cream  into  the  nail  base.    Its  oils  are  easily 

absorbed  and  keep  the  cuticle  from  drying. 

For  the  final  touch  there  are  a  number  of 
splendid  Cutex  polishes  to  choose  from — Cake, 
Powder,  or  the  lasting  Liquid  Polish. 

Cutex  Sets  from  35c  to  $5.00.  Separate  prep- 
arations 35c  wherever  toilet  goods  are  sold. 
Or  see  the  special  offer.  If  you  live  in  Canada, 
address  Northam  Warren,  Dept.  Q-g  85  St. 
Alexander  Street,  Montreal,  Canada. 

Northam  Warren— New  York,  Paris,  London 


Valentine  tessier 

This  charming  French  actress  appear- 
ing at  the  Theatre  de  la  Michodihe  in 
Paris,  says:  "  The  smart  Parisienne, 
especially  if  she  is  of  the  theatre,  is  ex- 
quisitely fastidious  in  every  detail  of  her 
grooming.  To  have  my  nails  gleaming, 
ivory-tipped,  is  my  special  delight.  It  is 
Cutex  Cuticle  Remover  that  has  always 
kept  their  boundaries  so  graceful." 


When  you  write  to  advertisers  please  mention  rlluToI'LAY  .MAGAZINE. 


Friendly 
Advice  on 


from 

Carolyn  Van  Wyck 


Problems 


D  Further  in  the  line  of  affections,  how  well 

"How  can  I  know  that  the  man  I  love     most  of  us  want  to  live  in  the  world,  to  have  our     does  his  family  like  him?    Is  he  popular  with 
ic  the  rmht  man  for  me  to  marrv?    I  am     share  of  it  and  not  be  forced  to  sacrifice  it  for     his  own  people?    If  he  is  the  kind  of  a  man  who 

makes  a  good  husband  he  will  be  the  kind  ol  a 
son  a  mother  boasts  about. 

Next,  what  are  his  prospects?  Judged  not  by 
conversation  or  hope,  is  his  present  earning 
capacity  much  less  or  much  more  than  it 
probably  will  be  when  he  is  thirty-five?  Does 
he  love  his  work  and  attack  it  with  enthusiasm? 
Does  he  give  an  honest  day's  service  for  a  good 
day's  pay?  Has  he  genuine  abilitv  in  some  one 
all  the  time  and  consequent^  he  is  bored,  con-  help  in  making  a  happy  marriage,  but  on  the  line,  preferably  in  the  line  of  endeavor  he  has 
ceited  and  fickle  He  flatters  every  girl  he  grounds  of  good  health,  good  name  and  good  chosen?  Quarrels  over  money  have  wrecked 
meets  and  later  boasts  of  his  conquests.  He  clean  living?  Or  if  his  family  is  not  good,  has  more  marriages  than  the  loss  of  love  ever 
points  a  warning  finger  at  me  and  promises  to  he  so  risen  above  it  that  the  old  environment 
spank  me  if  he  should  catch  me  acting  as  the  won't  pull  him  down,  but  give  him  urge  to  go 
others  do.    That  is  his  attitude  toward 


i  EAR  Carolyn  Van  Wyck : 

How  can  I  know  that  the  man  I  love 
is  the  right  man  for  me  to  marry?  I  am 
twenty  years  old.  I  live  at  home,  but  am  self- 
supporting.  I  am  in  love,  quite  madly  in  love 
with  a  man  four  years  my  senior.  He  is  a  pro- 
fessional man,  quite  as  intelligent  and  capable 
as  he  is  handsome,  with  the  most  devastating 
personality  I  have  ever  encountered.  He  cer- 
tainly has  the  "IT"  Mme.  Glyn  demands. 
Qualities  that  would  be  annoying  in  others  are 
utterly  charming  in  him.    Women  pursue  him 


romantic.  Sometimes  it  is  very  beautiful,  but 
most  of  us  want  to  live  in  the  world,  to  have  our 
share  of  it  and  not  be  forced  to  sacrifice  it  for 
love. 

First  of  all,  my  girls,  I  think  you  should  be 
proud  of  the  man  you  marry,  very  proud  of 
him  down  deep  in  your  hidden  heart  if  you 
want  to  live  happily  ever  after,  as  the  fairy 
stories  phrase  it. 

If  you  are  proud  of  him,  are  you  also  proud 
of  his  family?  Not  on  any  snobbish  grounds  of 
money  or  family  name,  though  those  surely  do 


me  and  yet  he  is  really  so  boyish  and 
enthusiastic.  His  pep  and  spontaneity 
never  end.  Oh,  Carolyn,  he  is  so 
charming  and  I  adore  him. 

Still,  my  family  object.  They  point 
out  that  he  drinks  somewhat  and  that 
he  is  spoiled  with  feminine  attentions. 
But  don't  tell  me  to  forget  him.  I 
can't.  He  has  asked  me  to  marry 
him.  Should  I,  Carolyn?  By  what 
standards  can  I  judge  whether  such 
a  marriage  would  be  a  safe  one  for  me? 
T.  S. 


How  to  choose  the  right  man  to 
marry. 

Here,  certainly,  is  every  girl's 
problem,  a  problem  made  difficult 
because  so  many  times  the  emotion 
called  love  quarrels  with  the  quality 
called  common  sense. 

Poor,  worried  T.  S.  You  convince 
me  of  one  thing — that  you  are  quite 
as  much  in  love  as  you  say.  Your 
letter  breathes  love  for  this  attractive 
man  who  possesses  such  a  muddle  of 
qualities,  both  good  and  bad. 

I  judge  this  "boy  friend"  has  charm,  vital- 
ity, enthusiasm  and  a  nice  trick  of  talking. 
These  are  very  important  and  delightful  qual- 
ities. They  arc  very  potent  for  making  a  girl 
fall  in  love.  But  marriage  is  so  different  from 
young  love.    Itisof  both  sternerandfincrstuff 


has. 

Then,  for  yourself,  T.  S.,  and  all  you 
other  girls  troubled  with  this  problem, 
decide  on  what  kind  of  a  life  you 
want.  You  must  decide  whether  a 
simple  existence,  a  jazz  holiday  or 
years  of  quiet  accomplishment  are 
what  you  want  your  marriage  to  pro- 
duce. The  life  you  want  and  the  life 
your  fiance  aspires  to  should  be  the 
same.  If  there  is  a  divergence  in  your 
main  objective,  one  or  the  other  of  you 
is  going  to  suffer  in  the  future. 

And  finally,  are  there  qualities  in 
him  that  will  bring  you  successfully 
through  that  period  that  comes  in  all 
marriages,  when  the  honeymoon  in- 
fatuation must  change  either  to 
diminished  ardor  or  lasting  love?  Is 
he  the  kind  of  man  sensitive  enough  to 
want  to  make  you  happy,  to  face  sac- 
rifices of  his  immediate  happiness  for 
your  mutual  happiness?  And  are  you 
enough  in  love  with  him  to  do  the 
same?  And  to  make  up  for  the  loss 
of  general  feminine  flattery',  can  you 
and  will  you  work  hard  enough  to  be 
the  onlv  girl? 

Frankly,  T.  S.,  this  man  you 
describe  doesn't   sound  like   a   good 

up  in  the  scale  of  life  and  become  a  strong,     marriage  risk  to  me.    A  nice  chap  to  know. 

mature  personality?  to  play  around  with,  even  to  flirt  with,  but 

Who  arc  his  friends — not  his  women  friends, 


The  Best  Man  to  Marry 

Is  This  Month's  Problem 

WRITE  me  your  problems.  If  you 
desire  a  personal  reply  in  matters 
that  need  understanding  rather  than 
rules,  enclose  a  stamped  and  ad- 
dressed envelope. 

In  addition,  I  have  had  printed 
for  you  booklets  on  the  care  of  the 
skin  and  reducing.  The  eight  page, 
illustrated  booklet  on  reducing 
costs  ten  cents.  The  other  is  free. 
Carolyn  Van  Wyck 


but  his  men  friends?  Are  they  the  progressive, 
distinguished  men,  or  the  wastrels?  Or  are 
onlv  women  fond  of  him?    Beware  of  the  man 


not  to  marry. 

The  right  background,  the  sensitiveness 
that  means  true  courtesy,  good  friends,  excel- 
lent prospects.     These  qualities,  added  to  the 


When  it  comes  to  choosing  a  husband  you     or  the  woman  popular  only  with  the  opposite     aura  of  love  and  romance,  a  good  husband 
t  of  ail.  the  lasting  Qualities     sex.     Both  sexes  have  tricks  to  fool  the  other     must  have  as  life  guards  for  your  love  tor  one 


must  consider,  first  of  ail,  the  lasting  qualities 
of  the  man.    The  world  well  lost  for  love  is  very 


that  won't  deceive  their  own. 


[  CONTINUED  ON  PAGE  114  . 


Beauty- 
safeguard  it 


Do  as  all  the  world  is  doing — preserve  the  natural  loveliness,  which  even 
sunlight  cannot  rob  of  its  charm,  by  following  this  proved  rule  in  skin  care 


PALMOLIVE  is  a  beauty 
soap  made  solely  for  one 
purpose;  to  foster  good 
complexions. 

In  France,  home  of  cos- 
metics, Palmolive  is  the 
second  largest  selling  soap, 
and  has  supplanted  French 
soaps  by  the  score.  In 
beauty-  wiseParis,  Palmolive 
is  the  "imported"  soap. 

Remember  those  facts 
when  tempted  to  risk  an 
unproved  soaponyour  skin. 


A  BEAUTIFUL  complexion  lost  is 
hard  to  call  back  again.  A  beautiful 
complexion  safeguarded,  and  made  more 
beautiful,  is  a  simple  matter  in  skin  care. 

Women  all  over  the  world  have  found 
that  to  be  true.  The  thousands  of  pretty 
skins  you  see  everywhere  today  over- 
whelmingly prove  the  point.  Nature's  way 
is  the  only  true  complexion  insurance. 

Start  by  ending  artificial  ways  in  skin 
care.  Follow  natural  ways  as  foremost 
skin  authorities  urge.  The  most  widely 
advised  skin  care  of  today  starts  with  the 
proved  rule  below.  Just  the  simple  rule  of 
keeping  the  pores  open,  and  the  skin 
gently  cleansed  every  day,  with  the  sooth- 
ing lather  of  Palmolive. 

Follow  this  ride  for  one  wek — 
Note  then  the  changes  in  your  skin 

Wash  your  face  gently  with  soothing 
Palmolive  Soap,  massaging  the  lather 
softly  into  the  skin.  Rinse  thoroughly,  first 
with  warm  water,  then  with  cold.  If  your 
skin  is  inclined  to  be  dry,  apply  a  touch  of 
good  cold  cream — that  is  all.  Do  this  reg- 
ularly, and  particularly  in  the  evening. 
Use  powder  and  rouge  if  you  wish.  But 


never  leave  them  on  over  night.  They 
clog  the  pores, often  enlarge  them.  Black- 
heads and  disfigurements  often  follow. 
They  must  be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treat- 
mentgiven  above.  Do  not  think  any  green 
soap,  or  one  represented  as  of  olive  and 
palm  oils,  is  the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies 
what  it  does  for  their  faces.  Obtain  a 
cake  today.  Then  note  what  an  amazing 
difference  one  week  makes. 

Soap  from  trees! 

The  only  oils  in  Palmolive  Soap  are 
the  soothing  beauty  oils  from  the  olive 
tree,  the  African  palm,  and  the  coconut 
palm  —  and  no  other  fats  whatsoever. 
That  is  why  Palmolive  Soap  is  the  natural 
color  that  it  is  for  palm  and  olive  oils, 
nothing  else,  give  Palmolive  its  natural 
green  color. 

The  only  secret  to  Palmolive  is  its 
exclusive  blend—  and  that  is  one  of  the 
wotld's  priceless  beauty  secrets. 


THE  PALMOLIVE  COMPANY  (Del.  Corp.),  CHICAGO.  ILLINOIS 

Palmolive  Soap  is  untouched  by  human  handi  until 
you  break  the  wrapper — it  is  never  sold  unwrapped 


w* 


hen  vacation  time 
has  come  again — and  you're 
off  in  your  car  for  the  land 
of  carefree  outdoors 
— have  a  Camel! 


Camels  are  sold  wherever  civilization  has  its  stores.    If  going  into  the 

deep  woods  or  far  back  in  the  mountains  where  trade  and  people  have 

not  come,  better  take  several  cartons  of  Camels  with  you.     You'll  find 

"Have  a  Camel"  the  password  to  friendliness,  everywhere. 


WHEN  glad  vacation  time 
again  is  here.  Ah,  then  — 
when  straight  ahead  lie  the 
great  woods  and  sparkling 
waters  of  your  own  out- 
doors— have  a  Camel'. 

For  each  happy  day  is 
more  satisfying,  more  rest- 
ful for  the  companionship 
of  Camels.  Camels  have 
never  been  known  to  tire 
the  taste — they  are  made  of 
such  choice  tobaccos.  Cam- 
els are  so  perfectly  blended 
that  they  never  leave  a  cig- 
aretty  after-taste.  Rolled 
into  Camels  is  the  utmost 
in  cigarette  goodness  and 
enjoyment. 

So  as  you  start  away  for 
a  deserved  vacation.  As  the 
long  road  calls  you  on  to 
unexplored  land.  When 
each  day  you  feel  more  joy- 
ously rested — taste  then  the 
perfect  contentment.  When 
it's  your  right  to  be  happy, 
have  the  best  cigarette 
made,  regardless  of  price. 

Have  a  Camel! 


Our  highest  wish,  if  you 


do 


enjoy  Camel  quality,  is 
that  you  may  try  them. 
We  invite  you  to  com- 
pare Camels  with  any 
cigarette     made    at     any 

price. 

R.  J.  Reynolds  Tobacco 

Company 

Winston-Salem,  N.  C. 


QUESTIONS    '&   ANSWERS 


Read  This  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  cal!  for  unduly  Ions  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. 


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. 


C.  E.,  Fort  Madison,  Iowa. — Thelma  Parr 
was  born  in  Grant's  Pass,  Oregon,  October  ig, 
1906.  Ever  hear  of  the  place?  It's  new  to  me. 
Nevertheless,  that's  Thelma's  story.  Betty 
Bronson  was  born  in  Trenton,  N.  J.,  November 
17,  igo6.  That's  her  real  name.  Alberta 
Vaughn — another  real  name — was  born  in 
Ashland,  Ky.,  June  27,  1906.  You  see,  they 
are  all  about  the  same  age.  Alma  and  Ricardo 
divorced?  Mercy  no!  Why,  they  just  stepped 
to  the  altar.  Allene  Ray  and  Walter  Miller  are 
married — but  not  to  each  other.  Richard  Tal- 
madge  is  about  28  years  old.  Now  bring  along 
your  next  batch  of  questions. 

Jo  and  Helen  Pat,  Near  Chicago. — How 
near?  Also  how  come?  Dorothy  Sills  is  about 
sixteen  years  old.  Qui,  elle  est  bien  gcntillc. 
See?    I  can  rattle  a  little  French  myself. 

J.  R.,  Huntington,  W.  Va. — Ben  Lyon  was 
born  February  6,  1901.  Dark  blue  eyes.  You 
may  reach  Renee  Adoree  and  John  Gilbert  at 
the  Metro-Goldwyn-Mayer  Studios,  Culver 
City,  Calif. 


I.  R.,  Sand  Point,  Idaho. — Don't  go   to         G.  C,  Philadelphia,  Pa.— Marion  Nixon 
Hollywood.    Jack  Holt  is  married.     He  was     may   be    reached    at    the    Universal    Studio, 

Universal  City,  Calif.    She  was  born  October 


born  in  Winchester,  Va.,  and  educated  in  the 
same  state.  However,  he  has  lived  in  the  west 
a  number  of  years.  Six  feet  tall  and  weighs  172 
pounds.     And  born  May  13,  1888. 

Sally  in  Our  Alley,  Montreal,  Canada. 
— I  bet  it's  a  nice  alley.  Think  of  remaining 
heart  whole  for  so  long  and  then  falling  so  hard 
and  for  so  many?  Roy  D'Arcy  was  born  in 
San  Francisco,  February  10,  1894.  Married — 
and  very  recently.  Adolphe  Menjou  was  born 
in  Pittsburgh.  That's  where  he  first  saw  the 
light  of  day — only  he  didn't  see  it  until  he  was 
ten  years  old.  That's  a  bad  joke  on  the  smoky 
city.  Anyway,  Adolphe  was  born  February 
18,  1891.  Vilma  Banky  is  from  Budapest, 
Hungary.  Born  January  9,  1903.  Vilma  is 
single;  Adolphe's  divorce  is  pending.  Greta 
Garbo  was  born  in  Stockholm,  Sweden,  in 
1906.    Not  married. 

Lonesome  Lou,  Lewiston,  Idaho. — Why 
be  lonesome  when  you  can  write  to  the  Answer 
Man?  Although  handsome  and  popular,  I 
crave  letters.  Clara  Bow  is  twenty-one  years 
old  and  was  born  in  Brooklyn,  N.  Y.  The 
exact  date  of  her  birth  is  July  29,  1905.  Write 
to  her  at  the  Lasky  Studios,  Hollywood,  Calif. 
Merna  Kennedy  plays  her  first  important  role 


Peg  O'  My  Heart,  Schenectady,  N.  Y. — 
I'll  never  do  it  again.  Thanks  for  your  trust. 
Norma  Shearer  was  born  in  Montreal,  Canada, 
August  10,  1904.  Address  May  McAvoy  at 
the    Warner    Brothers    Studio,    5842    Sunset 

Boulevard,  Hollywood,  Calif.     Carmel  Myers     in  Chaplin's  comedy,  "The  Circus 
has  no  children.     Virginia  Marshall  is  about 
six  years  old.     I  don't  know   where  Marie 
Osborne  is  at  present.    Paging  Marie  Osborne! 

Sunny,  Gilroy,  Calif. — You  got  me  wrong, 
lady.  Old  in  years — old  in  experience.  But 
I  have  had  my  face  lifted.  Address  Ronald 
Colman  at  the  Pickford-Fairbanks  Studio, 
Hollywood,  Calif.,  if  you  think  you  cannot  live 
without  his  photograph. 


Rosemary,  Tulsa,  Okla. — William  Boyd 
was  born  in  Cambridge,  O.,  but  educated  in     an  old  man?    The  foreigners  get  jobs  in  Holly 


20,  1904  in  Superior,  Wis.    And  what  a  popular 
young  person  Marion  is  getting  to  be! 

R.  B.,  Allston,  Mass. — I'll  not  be  bribed  or 
tempted.  If  that's  the  way  you  feel,  go  right 
on  having  a  crush  on  Conrad  Nagel.  Threats 
will  not  make  me  part  with  a  photograph. 
So  there!  Conrad  is  married — serves  you 
right — to  Ruth  Helms.  I  knew  Ruth  when 
she  worked  on  Photoplay.  Conrad  was  born 
March  16,  1897.  Henry  Kolker  was  the 
bad  fellow  you  mean  in  "Sally,  Irene  and 
Mary." 

Jack  B.,  New  York,  N.  Y. — Lon  Chaney  is 
married  to  a  non-professional.  He  was  born 
April  1,  1883.  Five  feet,  ten  inches  high— 
with  his  wig  off.    Brown  eyes  and  black  hair. 

L.  S.,  Represa,  Calif. — Jackie  Coogan  was 
born  October  26,  1914.  Getting  to  be  a  big  boy 
now.  Address  him  at  the  Metro-Goldwyn- 
Mayer  Studio,  Culver  City,  Calif. 

Billy  D. — Don't  make  me  laugh!  How  can 
I  go  on  vacations  when  you  girls  are  bothering 
me  all  the  time  with  questions  about  Richard, 
Bill  and  Ricardo?  When  I  want  to  rest,  I  go  to 
a  movie.  Sure,  I  try  to  answer  all  my  letters. 
Didn't  your  mother  ever  tell  you  not  to  ask  the 
age  of  a  total  stranger?    Are  you  trying  to  kid 


L.  L.  F.,  Livonia,  N.  Y. — It's  a  real  pleasure. 
Renee  Adoree  is  said  to  be  engaged  to  Rudolph 
Friml,  the  composer.  Also  said  to  be  engaged 
to  Gaston  Glass.  She  was  divorced  from  Tom 
Moore — that  much  is  positive,  anyway.  Pola 
Negri  has  nice,  long  eyelashes  and 
they  are  naturally  dark,  but  she  uses 
the  heavy  make-up  for  pictures.  She 
plays  them  there  sort  of  roles.  Miss 
Adoree's  eyes  are  blue.  Sure  enough, 
you  get  your  wish.  Rudy  goes  back 
to  the  desert  in ' '  The  Son  of  the  Sheik . ' ' 


Oklahoma,  so  perhaps  he  did  live  in  Tulsa 
His  newest  picture  is  "The  Last  Frontier." 
Boyd  has  been  in  pictures  several  years,  but 
he  has  only  lately  come  into  prominence.  He 
is  five  feet,  eight  inches  tall  and  weighs  140 
pounds.    Blonde  hair  and  blue  eyes. 

Frances  D.,  High  Point,  N.  C. — That's  his 
real  name  and  he  is  twenty-six  years  old.  Not 
married.  Write  to  him  at  the  Fox  Studio, 
Hollywood,  Calif.  Send  a  quarter  with  your 
request.  Sounds  as  though  somebody  has  a 
bad  case  on  George  O'Brien. 


M.  S.,  Bingham,  Conn. — Mary 
Pickford  was  born  April  8,  1893. 
Address  her  at  United  Artists,  729 
Seventh  Avenue,  New  York,  N.  Y. 
Marion  Davies  works  at  Metro- 
Goldwyn-Mayer  Studio,  Culver  City, 
Calif.  Marion  was  born  January  1, 
1900. 

V.  F.  D.,  Dunsmuir,  Calif. — 
The  Paramount  School  is  at  the 
Paramount  Studios,  Pierce  Avenue 
and  6th  Street,  Astoria,  L.  I. 


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. 


wood  because,  in  some  cases,  they  are  willing 
to  work  for  less  money  than  American  stars. 
Chasing  foreign  players  and  directors  is  the 
fad  just  at  present.  Some  of  them  are  good,  of 
course,  but  some  of  them  aren't  worth  their 
steamship  fare  to  this  country.  A  "find"  is  a 
player  who  makes  a  big  hit  in  a  small  part  or 
who  has  enough  personality  to  get  a  big  role 
with  little  or  no  studio  experience.  Some  are 
real  "finds";  others  are  just  flops.  A  publicity 
agent  receives  anything  from  fifty  dollars  a 
week  up — and  mostly  "up." 

B.  E.,  Tyler,  Texas. — There  must 
be  a  mistake,  somewhere.  Since  you 
sent  a  quarter  both  times  with  your 
request,  Mr.  Valentino  should  have 
sent  the  picture.  Try  him  at  the 
Pickford-Fairbanks  Studio,  Holly- 
wood, Calif.  Write  to  Richard 
Barthelmess  at  the  Tec-Art  Studio, 
5360  Melrose  Avenue,  Hollywood, 
Calif. 

Dot  of  Washington. — If  Mae 
Murray  ever  heard  you  say  that  you'd 
never  have  the  chance  to  say  it  again. 
Mae  is  just  thirty-three,  so  she  says. 
La  Negri  is  twenty-nine.  You  can 
write  her  at  the  Lasky  Studio,  Holly- 
wood, Calif.  Nita  Naldi  was 
born  in  New  York  City,  April 
1,  1899. 

[  continued  on  page  143  ] 

91 


Photoplay  Magazine — Advertising  Section 


TheSHadow 

Perhaps  it's  a  gray  hair,  a 
wrinkle  or  a  trace  of  flabbiness. 
just  a  little  hint,  but  its  flicker- 
ing shadow  across  your  mirror 
awakens  a  longing  for  youth — 
a  longing  to  have  and  to  hold 
its  appearance  over  the  years 
:  to  come.  Let  us  prove  how 
simple  it  is  for  you  to  gratify 
this  longing. 

GOURAUDS 

OP'ENTAl 
CREAMV 

"Beauty's  Master   Touch" 

renders  an  entrancing  appear- 
ance of  youthful  freshness.  It 
gives  to  your  complexion  that 
subtile,  alluring  touch  of  Orien- 
tal Beauty  with  all  its  mystic, 
seductive  charm. 

The  highly  astringent  prop- 
erties of  Gouraud's  Oriental 
Cream  keep  the  skin  firm  and 
smooth,  discouraging  wrinkles 
and  flabbiness.  Its  antiseptic 
action  maintains  a  pure,  clear 
complexion,  eliminating  tan, 
freckles,  muddy  skins,  redness, 
etc.  A  permanent,  lasting  im- 
provement to  your  skin  and 
complexion  awaits  you.  Com- 
mence its  use  today. 


(1 

0 

1 

f. 

1 

~"£f:iS™;,J 

V- 

J 

Send  10c.  for  Trial  She 

Ferd.  T.  Hopkins  &  Son 

430  Lafayette  St. 
New  York 


&&H 


Still  The  Most  Eligible  Young  Man 


[  CONTINUED  FROM  PAGE  74  ] 


say,  "I  have  been  too  busy  this  year  to  go  at 
this  courting  business  in  the  right  spirit.  For 
one  thing,  I  made  more  pictures  than  I  counted 
on  and  I  have  been  sticking  pretty  close  to  the 
studio.  To  tell  the  truth,  there  are  lots  of 
times  when  I  forget  all  about  marrying  at  all. 
Jut  then  there  are  other  times  when  I  get  tired 
of  being  alone  and  when  I  envy  other  fellows 
with  nice  homes  and  congenial  wives. 

"I  have  acquired  the  'home'  part  of  it — in  a 
way.  For  the  first  time  in  my  life  I  have  an 
apartment  of  my  own.  Until  last  winter  I 
always  lived  with  my  folks  or  in  a  hotel.  But 
this  year,  I  cut  loose  and  got  myself  an  apart- 


that  question,  at  least,  is  out  of  the  way  now. 

"But  this  sounds  like  a  matrimonial  'ad.' 
And  I  realize  I  made  a  mistake  a  year  ago.  A 
man  can't  say  that  he  is  going  .to  be  married 
within  a  certain  time  limit.  Nor  can  he  an- 
nounce he  is  going  wife-hunting.  The  Right 
Ones  aren't  caught  that  way.  And  I  am  going 
to  get  the  Right  One  if  I  have  to  wait  years. 

"Maybe  some  day  you'll  pick  up  the  news- 
papers and  read  'Octogenarian  Character 
Actor  Marries.'    Well,  that'll  be  me." 

Richard  isn't  fussy  about  girls — he  likes  'em 
all.  But  he  doesn't  meet  very  many  of  them. 
Most  of  the  girls  he  knows  are  associated  with 


HPHE  winners  of  the  Cut  Picture  Puzzle  Contest 
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  re- 
sults. Remember,  you  have  until  midnight,  Septem- 
ber 20,  to  send  in  your  solutions.  Rules  for  the  con- 
test will  be  found  on  page  58. 


ment — furnished  it  myself.  I  am  fond  of  that 
apartment  and  it  is  great  to  be  the  boss  of  the 
place.  But  sometimes.  I'd  be  willing  to  give 
up  some  of  the  'boss  stuff'  just  to  have  it  seem 
less  like  an  apartment  and  more  like  a  home. 

"And  I  have  been  saving  money.  That's 
another  good  habit  for  a  man  to  have  if  he  is 
thinking  seriously  of  getting  married.  I  have 
bought  some  property  in  New  Jersey.  Of 
course,  it  is  agood  investment,  but  it  would  also 
be  a  nice  place  to  build  a  country  home.  You 
see,  for  years  I  was  shy  of  marriage  because 
I  was  afraid  I  couldn't  support  a  wife.    Well, 


him  in  a  professional  way.  Professional  friend- 
ships may  be  strong,  but  they  are  also  apt  to  be 
brief.  A  close  working  association  is  apt  to 
kick  the  glamour  of  romance  early  in  the  court- 
ship. Many  movie  actresses  are  good  wives. 
but  a  studio  acquaintance  with  any  of  them  is 
notlikely  to  inspire  great  hopes  of  domesticity. 
"Next  year,"  Richard  promises,  "I  hope  to 
have  more  time.  I'll  look  about  more.  But  no 
more  bets!  It  isn't  that  I  am  afraid  of  losing 
the  one  hundred  dollars,  but  to  put  oneself 
down  on  record  every  year  as  a  perennial 
bachelor— no,  that's  too  much!" 


Lucilla  Mendez  and  Ralph  Ince  had  a  formal  wedding  with  flowers, 
rice  and  a  bridal  cake.  Miss  Mendez,  who  is  the  daughter  of  a 
former  president  of  Venezuela,  danced  in  Broadway  musical  come- 
dies. Ince,  a  director,  was  divorced  from  Lucille  Lee  Stewart,  sister 
of  Anita 

Ever?  advertisement  In  THOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


U 


If  you  can  whistle  a 

tune  you  can  play  a 

Lyon  &  Healy  Sax" 

— says  Richard  Dix 

"You're  missing  half  your  life  if  you  don't  play  a 
Lyon  62?  Healy  Sax.  For  winning  you  popularity  it 
can't  be  beat.  And  it's  surprisingly  easy  to  learn  to 
play  one.  If  you've  got  two  hands  and  can  whistle 
a  tune  you  can  learn  to  play  one  of  these  new 
Lyon  &  Healy  Saxophones !"  J7-  \ 


93 


RICHARD  DIX,  famous  screen 
faero,  star  in  "The  Quarter- 
^  back,"  "Say  It  Again,"  "The 
Vanishing  American,"  and  other 
notable  films,  pictured  here  with 
his  own  Lyon  6?  Healy  Saxophone 
— his  words  are  worth  listening  to. 
For  Dix  certainly  knows  the  quali- 
ties and  accomplishments  which 
make  a  man  popular,  admired. 

For  Popularity  or  Profit 
the  "Sax"  Player  Wins 

Your  friends  increase  as  soon  as  you 
learn  to  play  the  saxophone.  You 
begin  to  pick  and  choose  your  invi- 
tations. You  never  have  a  dull  eve- 
ning with  nothing  to  do.  But  if  you 
want  to  stay  home,  what  will  be 
more  delightful  than  an  hour  or 
two  with  your  "sax"  working  up 
your  own  moans  and  "blues"  for  a 
popular  foxtrot  to  surprise  your 
crowd  ? 

Thousands  of  others  like  your- 
self who  at  first  played  only  for 
pleasure  now  make  good  spare 
time  money  or  big  full  time  money 
playing  in  dance  orchestras  and  bands. 
Your  saxophone  will  open  the  door 
to  new  friendships,  luxuries,  travel, 
vacations,  leisure  for  you. 

You  Learn  Quickly  on  a 
Lyon  &  Healy 

The  simplicity  of  this  popular  instru- 
ment will  amaze  you!  You  will  be  play- 
ing tunes  soon  after  you  first  put  your 
lips  to  a  Lyon  6?  Healy  mouthpiece. 
That's  because — with  our  sixty  years' 
experience — we  have  simplified  the 
fingering,  made  it  second  nature  for 
you.  The  keys  are  at  your  finger  tips. 

Movie  stars  like  Richard  Dix, 
famous  actors,  athletes — fellows  like 
yourself  without  any  special  musical 
ability — these  men  select  the  Lyon  6? 
Healy  because  it  is  so  easy  to  play. 

Leading  professional  saxophone 
players  in  the  nation's  finest  orches- 
tras choose  the  Lyon  fj?  Healy  be- 
cause of  its  extremely  accurate  ad- 
justment, improvements  in  key  action 
for  hair-trigger  finger  work,  perfec- 
tion in  pitch  and  resonant  and  mel- 
low tones.  The  tone  qualities  of  this 
fine  instrument  are  noticeably  truer 


and  clearer  in  the  lower  register 
—  which  in  other  saxophones  is 
a  troublesome  "vibration  point." 
Remember,  the  Lyon  fj?  Healy  Saxo- 
phone is  made  and  guaranteed  by  the 
most  famous  musical  house  in  America! 
Send  Us  No  Money 
We  Trust  You 

Time  payments  for  a  Lyon  &  Healy  Sax- 
ophone are  so  easy  that  many  write  us 
they  pay  for  theirs  out  of  the  extra 
pocket  money  they  make  from  playing 
as  they  pay! 

Special  Offer  If  You 
Write  Us  Now 

Fill  in  and  mail  the  coupon  NOW  and 
we  will  send  you,  besides  a  beautiful 
booklet  picturing  and  describing  Lyon 
&  Healy  Saxophones  and  giving  their 
prices,  an  autographed  photograph  of 
Richard  Dix  together  with  an  exact  fac- 
simile of  his  letter.  So  mail  the  coup* 
todav! 


Lyon  &  Healy 


Everything  Known  in  Music 
46  East  Jackson  Blvd.,  Chicago 


Use  this  Coupon  for 
complete  information 


This  is  your  big  opportunity! 


a  to  advertisers  please  mention  rHOTOI 


LYON  &  HEALY,  Inc. 

Musical  Headquarters 

46  E.  Jackson  Blvd.,  Chicago 

Please  send  me  catalog  and  full  information  regard- 
ing your  liberal  offer  on  the  famous  Lyon  6?  Healy 
Saxophones  and  Richard  Dix's  autographed  photo- 
graph and  letter,  FREE. 

Name 

Street _ 

City State 

LAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


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any  longer  the  most 
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Marion  Davies,  a  real  personality,  a  blonde  with  a  sense  of  humor 


The  Girl  on  the  Cover 

By  Cal  York 


MARION*  DAVIES  is  probably  the  only 
beauty  in  the  world  with  a  sense  of 
humor. 

She  has  the  kind  of  blonde  hair  that  poets 
rave  about,  real  violet  eyes  and  a  figure  that 
needs  no  diet.     And  she  thinks  she's  funny. 

She  can  put  on  any  dress  and  look  like  a 
pastel  vision.  So  she  adores  doing  n'les  where 
she  wears  boy's  clothes. 

You  can  say  anything  you  have  ever  heard 
about  most  beauties  and  then  contradict  it 
and  you  will  have  some  quality  of  Marion 
Davies. 

She  is  the  only  girl  in  Hollywood  who  hasn  t 
a  single  enemy.  She  is  the  only  star  whom 
every'  interviewer  raves  about,  both  publicly 
and  privately.  She  has  had  publicity  that 
would  have  turned  the  head  of  Cleopatra,  but 
she  remains  just  as  shy  as  she  was  when  she 
first  left  school  at  the  Holy  Name  Convent. 

Her  beautv  has  brought  her  fame  and 
fortune,  but  she  has  the  same  set  of  girl  friends 
she  started  with,  and  a  couple  thousand  more. 

Born  and  bred  in  New  York,  she  doesn't 
live  up  to  a  bit  of  the  stellar  atmosphere,  yet 
she  is  a  real  star.  And  furthermore,  she  stut- 
ters and  blushes  and  has  freckles  on  her  nose. 
She  is  a  real  old-fashioned  girl  who  has  never 
married. 

Thus  you  can  understand  that  when  every- 
body wanted  her  to  play  beautiful  heroines 
Marion  begged  to  be  allowed  to  put  on  rough 
clothes  and  do  slapstick. 


Marion  started  as  a  dancer  in  the  girl 
shows— "Words  and  Music,"  "Oh,  Boy"  and 
"The  lollies."  When  the  movies  grabbed  her, 
the  producers  figured  the  mere  sight  of  her 
beauty  would  be  sufficient.  So  they  weighted 
her  down  with  million  dollar  settings  and 
antique  fabrics  for  one  beautiful  and  dumb 
costume  r.'le  after  another. 

"Please  let  me  do  comedy."  Marion  would 
plead  when  she  caught  her  breath  between 
productions.  She  kept  it  up  so  persistently 
they  finallv  gave  her  "When  Knighthood  was 
in  Flower"  in  which  for  the  first  time  she 
played  a  part  quite  true  to  herself,  a  laughing, 
romping,  Tudor  princess. 

That  started  her  real  career.  She  did 
"Little  Old  New  York,"  "Adam  and  Eva," 
"Zander,  the  Great"  and  "The  Lights  of 
Old  Broadway,"  pictures  in  which  bit  by  bit 
she  perfected  her  comedy  technique. 

Then  she  went  to  Hollywood.  She  had  al- 
ways been  a  New  York  star  and  the  industry 
speculated  on  whether  or  not  she  would 
thrive  in  the  jealousy-heated  atmosphere  of 
the  West  Coast.  Marion  went  and  pulled  a 
Caesar.  She  saw  and  conquered.  Just  as 
unspoiled  as  ever,  she  picked  up  the  crown  of 
Hollywood  and  became  its  queen. 

As  for  her  work,  she  played  "Beverly  of 
Graustark,"  a  part  that  might  have  been 
sappily  sentimental.  But  Marion  put  her 
sense  of  humor  into  it  and  made  it  into  a 
box-office  hit. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


95 


Stars 


of  the 

Photoplay 


250  Art  Portraits 

of  Leading  Moving  Picture  Stars 

Beautiful  Art    Portraits  reproduced  in  Rotogravure 
from  the  latest  and  best  photographs,  on  Primoplate 
paper.    Handsome  dark  blue  book  binding  with  gold 
lettering.    The  portraits  are  alphabetically  arranged, 
and   below  each   is  printed   a   clear  and  compre- 
hensive sketch  of  the  career  of  each  star  presented. 
Altogether,  the  volume  constitutes  a  combined  art 
gallery  and  brief  biography  of  all  the  leading  players. 

Send  for  your  copy  of  the 
"Stars  of  the  Photoplay"  Today 

Just  fill  out  the  coupon  below,  enclose  your  check  or 

money  orderfor  only  $1.25  and  a  copy  will  be  mailed 

to  you  to  any  part  of  the  United  States  or  Canada.    Will 

mail  C.  O.  D.  if  desired.    If  it  does  not  come  up  to  your 

expectations  or  if  you  are  not  more  than  satisfied  with 

it,  return  it  and  your  money  will  be  cheerfully  refunded. 

Now  Only  $1.25 

This  book  will  be  a  big  help  to  contestants  in  the  Cut  Picture 
Puzzle  Contest  now  being  conducted  by  Photoplay  Magazine. 


Fill  out  the  coupon 
and  mail  it  today 

Address  Dept.  P-9 

PHOTOPLAY 

MAGAZINE 

750  N.  Michigan  Ave.,  CHICAGO,  ILL. 


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PHOTOPLAY  MAGAZINE 

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Enclosed  find  $1.25.  for  which  please  send  one  copy  of  "  Stars  of  the  Photoplay  "  to  the 
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Photoplay  Magazine — Advertising  Section 


Anna  Q  Nilsson 

no-w  starring  in  "SMidni%hl  Lovers" 

T'O  make  the  most  of 
the  natural  beauty  of 
your  figure;  to  en- 
hance it  to  the  best  ad- 
vantage—  that  is  every 
woman's  duty.  It  calls 
for  a  support  which  fits 
the  body  perfectly  at  all 
times. 

The  P.  N.  Practical  Front 
with  its  Comfortable  Elastic 
Feature*  is  a  revelation  in 
corset  comfort.  It  takes 
the  strain  off  tired  muscles 
and  thus  prevents  fatigue. 
And  it  gives  a  fresh  fitting 
each  day  of  its  use. 


There  is*  style  of 
P.  N.  Practical  Front 
exactly  suited  to  your 
figure.  Theillus 
trated booklet  "Youth 
and  You"  w,ll  show 


Mr.  and  Mrs.  H.  B.  Warner  and  the  three  little  Warners.  Mr. 
Warner  boasts  that  the  children  are  promising  playwrights.  They 
write  little  plays  and  act  in  them  whenever  they  can  find  a  willing 
audience.  Warner,  who  made  a  great  hit  in  "Silence,"  has  been 
cast  to  play  the  role  of  the  Nazarene  in  Cecil  De  Mille's  production, 
"The  King  of  Kings" 


Studio  News  and  Gossip — East  and  West 


[  CONTINUED  FROM  PACE  5 1 


T 


visiting  the  Barthelmess  set  where  Olcott  was 
directing  "The  Amateur  Gentleman,"  a  story 
laid  in  England.  The  scene  called  for  a  flock 
of  London  "bobbies"  and  Olcott  megaphoned: 
"Bring  on  the  'Bow  Street  runners'!" 
Lady  Peel  gasped  and  said:  "  'Bow  Street 
runners?'  Why,  I  say,  my  husband's  father 
organized  them.  And  they  called  them 
'bobbies,'  too,  because  his  name  was  'Sir 
Robert.'" 

HE  Fox  studio  in  New  York  will  be  re- 
opened after  being  dark  for  many  months. 
Fox  has  some  big  plays  and  some  big  directors 
and  he  will  need  plenty  of  room  in  which  to  work. 
The  first  of  the  Coast  players  to  arrive  in  New 
York  was  Madge  Bellamy,  who  will  play  the 
lead  in  "Summer  Bachelors,"  a  Wamer  Fabian 
story  which  will  be  directed  by  Allan  Dwan. 

CONTRARY  to  all  reports,  Alyce  Mills 
will  not  play  the  leading  feminine  role  in 
Richard  Dix's  new  film,  "The  Quarterback." 
Esther  Ralston  gets  the  part,  and  Alyce  has 
gone  to  the  Coast  on  other  business.  There 
were  some  vague  nimors  that  Richard  and 
Alyce  might  marry,  but  evidently  somebody 
changed  his  or  her  mind  and  now  it's  all  off. 

Miss  Ralston  came  East  with  her  husband, 
George  Webb,  and  the  pretty  blonde  has  taken 
an  apartment  on  Park  Avenue,  which  means 
that  she  will  probably  live  in  New  York  all 
winter. 

JACKIE  COOGAN  took  a  young 
friend  to  see  Mary  and  Doug  in 
their  joint  program — "Sparrows"  and 
"The  Black  Pirate" — at  Grauman's 
Egyptian,  Hollywood's  famous 
theater. 

Jackie  had  seats  on  the  aisle  well 
down  in  front.  As  the  young  star  is 
still  so  small  that  the  ordinary  opera 

Every  advertisement  In  rnoTOPI.AY   MAGAZINE  is  guarnnt. 


chair  is  too  low  to  give  him  a  com- 
fortable view  of  the  screen,  he  and 
his  companion  turned  the  seats  up 
and  sat  on  the  edge. 

This  made  Jackie  as  high  as  the 
man  sitting  directly  behind  him. 

"Am  I  in  your  way?"  politely  asked 
Jackie  of  the  customer  behind  him. 

"Not  at  all,"  the  gentleman  re- 
plied. 

"I  would  be  if  I  had  on  a  high  hat," 
countered  young  Coogan,  and  the 
man  who  paid  to  see  Doug  and  Mary 
was  out  for  the  night. 

ALLA  NAZIMOVA  is  back  in  her  Beverly 
Hills  home  again.  If  present  plans  go 
through,  the  Nazimova  estate  on  Sunset 
Boulevard  will  shortly  become  big  income 
property  and  the  actress  can  snap  her  fingers 
at  the  future.  The  deal  will  mean  a  comfort- 
able income  for  Nazimova. 

The  actress,  by  the  way,  says  she  isn't  going 
to  appear  on  the  stage  on  the  coast  right  now. 
Largely  because  California  managers  insist 
upon  Sunday  performances. 

Nazimova,  incidentally,  will  be  the  subject 
of  a  striking  interview  in  next  month's  Photo- 
play. The  article  will  be  by  Adela  Rogers 
St.  Johns,  who  understands  Hollywood  better 
than  any  of  its  commentators. 

CAN  you  imagine  such  modesty?  And  in 
the  picture  business,  too. 

Was  talking  with  Myrtle  Stedman  on  the 
set  the  other  day.  Her  son's  Lincoln  Sted- 
man, vou  know. 

A  thought  struck  me.  Unusual  first  name. 
Perhaps  it  was  Myrtle's  family  name,  Lincoln. 
So  I  asked  her.    And  sure  enough  it  was. 

So  I  asked  another  question.  "  Any  relation 
to  Abraham  Lincoln?" 

[  CONTINUED  ON  PAGE  OO  ] 


Photoplay  Magazine — Advertising  Section 


97 


The  man  who  thought  a 
buggy  was  good  enough 

IN  THE  old  days,  a  solid,  conservative  citizen   might  sniff 
and  tell  you  he  didn't  read  advertising. 

He  didn't  think  so  much  of  the  horseless  carriage,  either. 
The  telephone  was  newfangled,  and  an  insult  to  the  United 
States  mails. 

As  for  radio,  aeroplanes,  wireless  photography  —  if  they 
had  been  born  then,  he  probably  would  have  thought  them 
a  bit  immoral. 

But  he's  changed.  He's  been  educated.  His  point  of 
view  has  been  made  broader  and  more  modern.  He  has 
been  civilized — by  the  automobile,  the  telephone,  radio, 
advertising. 

Every  single  one  has  opened  up  new  paths  for  him, 
taught  him  new  things.  Advertising,  especially.  Advertis- 
ing tells  him  the  newest  things  to  wear,  the  best  things  to 
eat.  Advertising  tells  his  wife  how  to  make  a  home  up  to 
date  and  attractive.  Advertising  tells  him  the  prices  to 
pay  for  things  he  buys,  saves  him  from  the  old-fashioned 
ways  of  doing  business — helps  him  live  well,  keeps  him 
modern. 

Advertising  can  help  you.  The  advertisements  in  this 
magazine  are  here  to  tell  you  many  things  that  make  life 
more  comfortable,  more  interesting,  happier.  Read  them 
faithfully.  They'll  keep  you  abreast  of  the  times.  They'll 
prevent  you  from  becoming  the  type  of  old  fogy  who — 
sniff!  —  doesn't  read  advertising. 


Advertising  is  the  key  to  modernity 


to  advertisers  ukase  mention  PHOTOPLAY  MAGAZINE. 


What  the  Stars  and  Directors  Are  Doing  7s[0W 


WEST  COAST 

{Unless  otherwise  specified  studios  are  at  Hollywood) 
ASSOCIATED  STUDIOS.  3S00  Mission  Road. 


CALIFORNIA   STUDIOS,  1424  Beachwood  Drive. 

Ben  Wilson  directing  and  playing  the  lead  in  "The 
Sheriff's  Girt." 


Francis   Corby   directing   Buddy    Messenger   and 
Betty  Francisco  in  a  series  of  comedies. 

Jimmy  Clemens  directing  "Rollins  His  Own"  with 
Billy  Cinders. 

CHARLES  CHAPLIN  STUDIO.  1416  La  Brea  Ave. 

Inactive. 

CHRISTIE  STUDIO,  6101  Sunset  Boulevard. 

Jack  Duffy,  Billy  Dooley  and  Jlmmie  Adams  ail 
working  on  two-reel  comedies. 

Scott  Sidney  completing  "The  Nervous  Wreck" 
with  Phyllis  Haver  and  Harrison  Ford. 


Alfred  Green  directing  "The  Desperate  Woman" 
with  Doris  Kenyon  and  Lloyd  Hughes. 

John  Dillon  directing  "Men  of  the  Dawn"  with 
Milton  Sills  and  May  Allison. 


WILLIAM  FOX  STUDIOS.  1400  N.  Western  Ave. 
Eddie  Wills  playing  in  "Lying  Tamers." 


HAL  ROACH  STUDIO,  Culver  City.  Cal 
Our  Gang  working  on  comedies. 


l.ASKY   STUDIOS.  r,:i41   Melrose  . 


Marshal]  Neilan  directing  "The  Wearln'  of  the 
Green"  with  Betty  Bronson. 

Frank  Tuttle  completing  "Kid  Boots"  with  Eddie 
Cantor.  Natalie  Kingston.  Clara  Bow  and  Larry 
Gray. 


WARNER    BROTHERS.  5S41  Melrose  Avenue. 


Lloyd    Bacon    directing     "  What     Happened    to 
Father"  with  Vera  Gordon  and  George  Sidney. 

Roy  Del  Ruth  directing  "Across  the  Pacific"  with 
Monte  Blue,  Jane  Winton  and  Myrna  Loy. 


EAST  COAST 


FOX  STUDIOS,  55th  St 
York  City. 


t  and  10th  Av 


'The  Auctioneer"  with 


PARAMOUNT  STUDIOS.  Pierce  Avenue  and  6th 
Street.  Long  Island  City.  N.  Y. 

Mai    St.    Clair   directing    "The   Canadian"    with 
Thomas'  Melghan. 


CECIL  B.  DE  MILLE  STUDIO.  Culver  City.  Cal 

Henry  King  completing  "The  Winning  of  Barbara 
Worth"  with  Ronald  Colman  and  Vllma  Banky. 


Paul  Sloane  directing  "Corporal  Kate"  with  Vera 
Reynolds. 

Cecil  B.  De  Mllle  directing  "The  King  of  Kings" 
with  Joseph  Sehlldkraut  and  H.  B.  Warner. 

Rupert   Julian   directing    "The   Yankee   Clipper" 
with  William  Boyd  and  Elinor  Faire. 

James  Horn  directing    "The  Cruise  of  Jasper  B" 
with  Rod  La  Rocque. 

COLUMBIA  PICTURES.  1438  Gower  Street. 

Frank  R.  Strayer  directing  "My  Wife's  Husbands" 
with  Johnny  Arthur  and  Dorothy  Revier. 

F.  B.  O.  STUDIO,  780  Gower  Street. 

Ralph   Ince  directing   "Princess  Pro  Tern"   with 
Evelyn  Brent. 


Robert  DeLacey  directing  "Out  of  the  West"  with 
Tom  Tyler. 

Noel  Mason  directing  "For  Health's  Sake"  with 
Richard  Talmadge. 

FINE  ARTS.  4500  Sunset  Boulevard. 

Archie  Mayo  directing  "Unknown  Treasure"  with 
Robert  Agnew. 


Kins  Baggott  completing  "Johnnie  Get  Your  Hair 
Cut"  with  Jackie  Coogan. 

Harry    Garson    directing    "The  Wild  Bull  of  the 
Campus"  with  Lefty  Flynn. 

Lorimer   Johnston  directing   "The   Conscientious 
Objector"  with  Peter  of  Hollywood. 


Charles    Brabin    directing    "Twinkletoes"    with 
Colleen  Moore. 

Sylvano  Balbonl  directing  "The  Masked  Woman" 
with  Anna  Q.  NUsson  and  Charlie  Murray. 


METRO-GOLDWYN-MAYEIt     STUDIO.     Culv 

City,  Cal. 


METROPOLITAN    STUDIOS.    1040   Las   Palmu 
Avenue. 

Lewis  Milestone  completing  "The  Mountain  Lad'' 
with  Harold  Lloyd.     A  Harold  Lioyd  Production 

(Paramount). 

MACK  SENNETT  STUDIOS.  1712  Glendale  Blvd. 

Johnny  Burke.  Thelma  Parr.  Thelma  Hill.  Vernon 
Dent.  Barbara  Tennant,  Ruth  Hiatt.  Raymond 
McKee.  Janet  Royce.  Andy  Clyde,  Ben  Fredericks. 
Madeline  Hurlock.  Danny  O'Shea,  Marvin  Lohach 
and  Barney  Helium  all  playing  in  two-reelers. 

Larry  Semon  directing  Alice  Day  and  Danny 
O'Shea  In  a  comedy. 

TEC  ART  STUDIO.  5360  Melrose  Avenue. 

Sidney  Olcott  completing  "Four  Feathers"  with 
Richard  Barthelmess. 

UNITED  STUDIOS.  5341  Melrose  Avenue. 

Alan  Crosland  directing  "Francois  Villon"  with 
John  Barrymore  and  Vilma  Banky. 

Fred  Niblo  directing  Rudolph  Valentino  in  a  story- 
based  on  the  life  of  Benvenuto  Cellini. 

UNIVERSAL  STUDIO.  Universal  City.  Cal. 

Harry  Edwards  directing  "The  Collegians"  with 
George  Lewis,  Dorothy  Gulliver  and  Eddie 
Phillips. 

Ray  Taylor  directing  "Whispering  Smith  Rides" 
with  Rose  Blossom,  Francis  McDonald. 

Lois  Weber  directing  "The  Sensation  Seekers" 
with  Billie  Dove. 


TEC  ART  STUDIOS.  332  West  44th  Street.   New 
Y-.rk  City. 
Charles  Hlnes  directing  "The  Knickerbocker  Kid" 
with  Johnny  Hlnes. 

Wesley  Ruggles  directing  "A  Man  of  Quality"  with 
George  Walsh. 


LONDON 


Frank  Borzage  will  soon  start  work  on  "One  In- 
creasing Purpose"'  with  Edmund  Lowe  and  Virginia 
Valll. 


BUSINESS  OFFICES 

Associated  Exhibitors.  Inc..  35  West  45th  St..  New 
York  City. 

Associated  First  National  Pictures.  383  Madison  Ave  . 
New  York  City.  Richard  Barthelmess  Prod..  In- 
spiration Pictures.  565  Fifth  Ave..  New  York  City. 

Educational  Film  Corporation.  370  Seventh  Ave.. 
New  Y'ork  City. 

Famous    Players-Lasky    Corporation  (Paramount). 

4S5  Firth  Ave..  New  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  BIdg..  Holly- 
wood. Calif. 
Pathe  Exchange.  35  West  45th  St..  New  Y'ork  City. 
Principal  Pictures  Corporation.  1540  Broadway.  New 

York  City. 
Producers  Distributing  Corporation,  469  Fifth  Ave.. 

New  York  City. 
Rothacker    Film    Mfg.    Company.    1339    Dlversey 

Parkway.  Chicago.  Ill 

United  Artists  Corporation.  729  Seventh  Ave..  New 

Y'ork  City. 
Universal  Film  Mfg.  Company.  Heckscher  Building. 

5th  Ave.  and  57th  St..  New  Y'ork  City. 

Warner  Brothers.  1600  Broadway.  New  York  City. 


9S 


Photoplay  Magazine— Advertising  Section 


99 


Studio  News  and  Gossit 


[  CONTINUED  FROM  PAGE  96  ] 

And  she  is. 

"  But  why  has  this  never  come  out  before. 
Myrtle?"  I  asked.  You  see,  question  asking 
had  sort  of  become  a  habit. 

"Well,  no  one  ever  asked  me  before.  So 
I  never  told  them." 

Perfectly  simple,  isn't  it?  But  if  I  were 
related  to  the  great  Liberator — anywhere 
within  a  million  miles — I'd  be  shouting  it  from 
the  house  tops. 

'"pHEY  certainly  must  appreciate  their  new- 
*■  est  director,  Clarence  Brown,  down  at  the 
M-G-M  studios,  for  Brown,  who  made  "Kiki" 
with  Norma  Talmadge,  and  "The  Eagle"  with 
Valentino,  has  been  handed  the  directorial 
plum  of  the  year. 

Brown  is  to  have  both  John  Gilbert  and 
Greta  Garbo,  the  Swedish  sensation,  for  the 
principal  roles  in  his  first  production,  "Flesh 
and  the  Devil."  This  should  prove  a  really 
great  combination. 

Perhaps  these  two  principals  in  his  first  pic- 
ture was  part  of  the  inducement  offered  when 
M-G-M  succeeded  in  signing  Brown  to  a  con- 
tract with  Paramount  and  other  companies 
also  making  earnest  advances  toward  securing 
Brown's  services. 

TT  doesn't  take  the  great  extra  army  long  to 
■'■get  wind  that  a  director  is  casting.  As  I  sat 
in  Brown's  office  talking  over  the  new  picture, 
the  telephone  almost  drove  us  frantic.  And 
this  is  the  conversation  I  overheard  so  many 
times  I  could  easily  play  the  part  myself: 

"Hello,  is  Mr.  Brown  in?" 

"No,"  answered  Brown,  "Mr.  Brown  is  not 
in." 

"Is  Mr.  Brown  casting  today?" 

"No,  Mr.  Brown  has  gone  fishing  today, " 
replied  Clarence. 

Of  course  the  last  line  varied  somewhat,  and 
"hunting,"  "the  ball  game,"  "in  conference" 
and  "on  location"  were  substituted  for  the 
fishing  trip,  for  Brown  certainly  has  imagina- 
tion or  he  couldn't  make  the  pictures  he  does. 


Looks  like  Wallie  Reid,  doesn't  he? 
Yes,  the  resemblance  is  rather 
astonishing.  The  Reid  double  is 
Arnold  Gray,  who  is  to  be  featured 
in  Metropolitan  Pictures.  He  is 
looked  upon  as  something  of  a 
find 


FREE 

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It's  Film 

That  makes  your  teeth  look 
"off  color"  and  invites 
decay  and  gum  troubles 

(Run  your  tongue  across  your  teeth  and  you'll  feel  it!) 


Accept,  please,  this  remarkable  dental  test  which  firms 
delicate  gums  and  gives  "off- color"  teeth  dazzling 
whiteness  by  removing  the  dingy  film  that  clouds  them 


IN  a  few  days  you  can  work  a  trans- 
formation in  your  mouth  this  new 
way.  Dazzling  whiteness  will  supplant 
that  "off-color"  look  of  your  teeth. 
Your  gums  will  become  firm  and  take 
on  the  healthy  coral  tint  you  envy. 

FILM .  .  .  the  trouble  maker 

Run  your  tongue  across  your  teeth, 
and  you  will  feel  a  film,  a  viscous  coat. 

That  film  is  an  enemy  to  your  teeth 
— and  your  gums.   You  must  remove  it. 

It  clings  to  teeth,  gets  into  crevices 
and  stays.  It  absorbs  discolorations 
and  gives  your  teeth  that  cloudy,  "off- 
color"  look.  It  is  the  basis  of  tartar. 
Germs  by  millions  breed  in  it,  and  they, 
with  tartar,  are  a  chief  cause  of  pyor- 
rhea and  gum  disorders. 


Old-time  methods  fail  in  successfully 
combating  it.  Regardless  of  the  care 
you  take  now,  your  teeth  remain  dull — 
your  gums  toneless. 

New  methods  remove  it. 
Your  Gums  become  Firm 

Now,  in  a  new-type  dentifrice  called 
Pepsodent.  dental  science  has  discov- 
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is  to  curdle  the  film  and  remove  it.  Gums 
become  firm  and  of  healthy  coral  color. 

What  you  see  when  that  film  is  re- 
moved— the  dazzling  whiteness  of  your 
teeth — will  delight  and  amaze  you. 

Largely  on  dental  advice,  the  world 
has  turned  to  this  method.  A  few  days' 
use  will  prove  its  power  beyond  doubt. 

Mail  the  coupon.  A  ten-day  tube  will 
be  sent  you  free. 


FILM  the  worst 

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London  Office :   London,  S.  E.  1 
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PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


iurruxmsuL  txy 
this  (ovthj  manlaurj 

In  Paris  and  Vienna,  as  well  as  New 
York.  At  all  the  smart  pleasure  re- 
sorts on  the  continent.  At  world 
famous  theatres  and  the  most  ex- 
clusive night  clubs.  Wherever  the 
Smart  Set  gathers,  one  sees  this 
lovely  manicure. 

Nails  with  the  most  bewitching 
lustre,  the  most  alluring  tint.  Nails 
that  win  instant  admiration  for  the 
new  charm  and  beauty  which  they 
give  to  even  the  loveliest  hands! 

Glazo,  the  original  liquid  nail 
polish,  has  created  this  widespread 
vogue.  It  is  such  a  marvelous  pol- 
ish! The  quickest  touch  of  it  across 
the  nails,  and  instantly  they  be- 
come gleaming,  tinted  pearls!  This 
lovely  finish  lasts  for  several  days. 
It  will  not  crack,  peel,  or  turn  an 
ugly  brown.  Make  sure  you're  get- 
ting Glazo,  if  you  wish  to  enjoy  all 
these  advantages. 

Comes  with  Separate  Remover 

Another  thing!  Glazo  comes  com- 
plete with  separate  remover,  an  ad- 
vantage you  can  have  only  with  the 
most  absurdly  priced  imported  pol- 
ishes. This  separate  remover  in- 
sures the  most  charming  results, 
and  prevents  wasting  the  liquid. 
Askyour  dealer  for  Glazo.  Price50c. 

The  Glazo  Company, 4°9  Blair  Ave  , 
Cincinnati,  Ohio 

GLAZO 

Nails  stay  polished 
longer — no  buffing 

necessary 
Try  GLAZO  Cuticle 

Massage  Cream 

It  shapes  the  cuticle 

and  keeps  it  even 

and  healthy 


CHE  was  beautiful  and  blonde  as 
^actresses  are,  and  her  head  was 
buzzing  with  the  names  of  the 
hundreds  of  visiting  theater  owners. 
Up  bustled  a  fat  individual  with 
widespread  palms: 

"How-de-do,  lady!"  he  gurgled. 
"Remember  me?" 

She  didn't,  but  a  wise-cracking 
friend  at  her  elbow  helped  her. 

"It's  Mr.  Addision  Sims  of  Seattle," 
the  friend  cued  her. 

"Oh,  how  do  you  do,  Mr.  Sims!" 
she  murmured  in  relief.  "And  how 
is  Seattle?" 

pECIL  B.  DE  MILLE  is  all  set  to  go  on  his 
^—'biggest  production,  "The  King  of  Kings." 
And  you  must  give  Cecil  credit  for  his  daring. 
Other  companies  have  thought  of  presenting 
the  Life  of  Christ  on  the  screen  but  they  were 
frightened  by  reports  that  church-goers  and 
club  women — and  other  reformers — would  be 
prejudiced  against  the  film. 

Cecil  has  sense  enough  to  know  that  a  good 
picture  can  create  no  enemies.  Moreover,  the 
success  of  "The  Ten  Commandments"  taught 
him  the  tremendous  value  of  a  religious  theme. 

T"^E  MILLE  was  most  anxious  to  engage 
-L^Ramon  Novarro  to  play  the  role  of  the 
Nazarene,  but  Novarro  is  otherwise  engaged 
and  so  the  role  has  been  allotted  to  H.  B. 
Warner.  Carl  Laemmle  also  wanted  Novarro 
for  the  role  of  Romeo  opposite  Man'  Philbin's 
Juliet,  but  Metro-Goldwyn  refused  to  consider 
loaning  Novarro  at  any  price. 

At  present  Novarro  is  making  "The  Great 
Galeoto,"  by  Echegaray,  under  the  direction 
of  John  Stahl.  Hereafter,  however,  he  will  be 
presented  only  in  special  productions,  making 
not  more  than  two  a  year. 

The  first  of  these  will  be  "Old  Heidelberg," 
which  will  be  filmed  on  the  scale  of  "The  Big 
Parade."  And  Joseph  Conrad's  "Romance" 
is  also  scheduled  for  Novarro.  Both  King 
Yidor  and  John  Robertson  have  been  men- 
tioned as  directors  for  these  productions. 


'X'O  return  to  Mr.  De  Mille  and  his  problems 
-•-  of  casting  players  in  "  The  King  of  Kings. " 
De  Mille  is  said  to  have'offered  Gloria  Swanson 
a  fabulous  salary  to  play  Mary  Magdalene. 
Her  services  would  have  been '  required  for 
fifteen  weeks  and  Gloria  confesses  she  would 
have  received  enough  money  to  have  financed 
her  own  production  company  without  any 
outside  aid.  But  there  is  only  a  faint  chance 
that  Gloria  will  take  the  part  and  in  the 
meanwhile  they  do  say  that  Bessie  Love  is 
being  seriously  considered  as  her  substitute. 
As  for  the  role  of  Judas,  it  will  be  undertaken 
by  Joseph  Schildkraut,  heretofore  known 
chiefly  as  big  sheik  papa. 

f~\UR  favorite  motion  picture  head- 
^-Mine  of  the  month  appeared  re- 
cently in  a  New  York  newspaper. 
Here  it  is: 

VALENTINO  TO  BE 
SEEN  AS  CELLINI, 
POWERFUL  SHEIK. 

V\7HEN  W.  C.  Fields'  comedy,  "It's  the 
w  Old  Army  Game,"  opened  in  New  York 
the  critics  were  none  too  polite  about  the  story, 
which  they  found  to  be  merely  a  series  of  gags, 
some  good  and  some  bad. 

J.  P.  McEvoy  was  credited  with  the  author- 
ship. Now  McEvoy  may  be  only  an  author 
but  he  is  nobody's  fool  and  he  didn't  let  him- 
self be  the  goat  of  the  situation. 

•""THE  day  after  the  reviews  appeared,  Mr. 
■^  McEvoy  penned  this  note  to  the  New  York 
reviewers : 

"Would  you  please  make  a  correction  in 
your  columns  in  the  interests  of  justice?  I  see 
in  your  review  you  have  given  me  credit  for  the 
story  of  'It's  the  Old  Army  Game!'  This  is 
decidedly  unfair  to  the  real  author,  who  is 
entitled  to  every  leaf  of  laurel  he  can  get. 

"It  is  true  I  did  write  the  original  'Follies' 
scenes,  which  come  smiling  through  occasion- 
ally, and  it  is  also  true  I  wrote  the  original 
story  for  this  picture,  but  that  script  was  found 
several  months  later,  floating  in  the  East  River 
and  covered  with  many  purple  bruises  which, 


Did  the  original  Stephen  Decatur  ever  get  beauty  service  like  this? 
Or  was  his  hair  naturally  curly  and  therefore  immune  to  damage 
from  the  salt  sea  air?  Anyway,  Johnnie  Walker  requires  the 
services  of  a  hairdresser  before  he  goes  into  scenes  for  "Old 
Ironsides" 

Evoiy  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


ioi 


according  to  the  police,  could  have  been  caused 
only  by  some  blunt  instrument. 

"The  story  you  see  at  the  Strand  this  week 
is  a  much  more  finished,  adroit  and  subtle 
affair,  for  it  was  done  by  an  experienced  motion 
picture  author  who  brought  to  his  task  that 
expert  touch  so  noticeable  throughout  the  en- 
tire production.  With  a  modesty  hitherto  un- 
known to  motion  pictures,  this  craftsman  has 
passed  the  credit  for  his  superb  story  to  me. 
I  do  not  wish  to  seem  less  generous.  I  pass  it 
back.  And  if  he  still  coyly  refuses  to  accept  the 
credit,  please  try  to  find  some  one  else  who  will 
take  it." 

A  L  WILKIE,  a  friend  of  mine  and  the  lad 
•^Who  helps  make  Douglas  MacLean  famous 
by  being  friends  with  such  chaps  as  me,  has 
been  in  the  hospital  for  weeks.  I  dropped  in  on 
him  the  other  day  to  pass  a  few  words  of  cheer 
and  found  him  reading  "The  Magnificent 
Idler."  And  it  was  a  present  from  his  boss, 
Douglas.  After  finding  that  Al  was  still  on 
the  MacLean  payroll  I  have  been  wondering 
about  that  book — wondering.    Do  you  suppose 

Doug    meant — ?      Or    perhaps    he    just 

couldn't  resist  his  little  joke.  Anyway  Al's 
back  at  work  now. 

/RAGMEN  will  be  gagmen  and  if 
*■"  Harry  Langdon  knew  his  comedy 
creators  were  wasting  wise  cracks  on 
newlyweds  he  undoubtedly  would 
dock  their  wages. 

When  Hal  Conklin,  who  is  one  of 
Langdon's  pet  mirth  manufacturers, 
married  Len  Beall  he  was  greeted  on 
their  arrival  in  San  Francisco  with  a 
flock  of  wires.  Most  of  them  were 
from  his  fellow  gagmen  and  several 
of  the  horrible  examples  are  quoted 
below: 

"Your  house  and  your  father's 
house  burned  down  last  night.  The 
oil  well  came  in  dry.  Langdon  has 
discharged  all  his  gagmen  including 
yourself.  Hope  you  have  a  happy 
honeymoon." 

And  from  another — 

"Have  broken  the  news  of  your 
wedding  to  Carolyn,  Elizabeth,  Agnes, 
Marion,  Fern  and  Daisy.  Everything 
fine.  Anita  and  Helen  threaten  to 
sue  for  breach  of  promise.  Best  of 
luck." 

YW  ALTER  PELICAN  is  working  in  "The 
*»  Pidgeon."  Pardon!  I  mean  Walter 
Pidgeon  is  working  for  Frank  Borzage  in  "The 
Pelican."  I  do  wish  the  boy  would  change  his 
name  because  I  am  forever  getting  it  twisted. 
But  then  they  say  it's  a  fine  old  name  on  the 
English  stage,  so  maybe  he'd  better  stick  to  it 
after  all.  I'm  sure  it's  his  real  name,  too,  for 
anyone  picking  out  one  for  himself  would  cer- 
tainly select  something  with  more  menace  in  it. 

A  NIT  A  STEWART  is  keeping  rather  more 
-'Mhan  busy  these  days.  In  her  spare  time 
between  pictures  she  is  supervising  the  con- 
struction of  a  winter  bungalow  at  Palm  Springs 
and  a  summer  lodge  at  Malibu  Lake  to  say 
nothing  of  a  store  building  and  an  apartment 
house  in  Hollywood. 

/^'ATCH  'em  young  and  train  'em. 
^—*  That  would  be  my  advice  to  any  woman 
looking  for  a  good,  kind,  reliable  sort  of  hus- 
band. Because,  sometimes,  mothers  and  some 
of  the  other  gals  have  a  habit  of  spoiling  'em  if 
you  let  them  range  too  long. 

Perhaps  someone  whispered  these  words  of 
wisdom  into  the  ear  of  pretty  Julia  Wood  in 
Newark.  Anyway  she's  gone  and  married  our 
"child  star,"  Wesley  Barry,  who  seems  to  have 
grown  up  all  of  a  sudden  while  we  weren't  look- 
ing. 

And  pretty  Miss  Wood  couldn't  have  caught 
"Freckles"  much  younger,  for  he's  but  eighteen 


Sweet  Breath 

and  a  Clean  Mouth 

are   immediate    results    of    the  regular  use 
of    WRIGLEY'S    chewing    sweets. 

And  further  results,  that  show  later, 
are:  cleaner,  sounder  teeth,  and  better 
digestion ! 

Particles  of  food  that  remain  in  the  teeth 
are  loosened  and  carried  away.  Then  the 
mouth  is  cleansed  delightfully  by  the  anti- 
septic action   of  the   flavoring  extract. 

The  result  is  a  sweet  breath  that  is  evi- 
dence of  care  for  one's  self  and  considera- 
tion for  others  —  the  final  touch  of  refine- 
ment. 

The  joy  of  the  lasting  sweet  and  the  flavor  of 
WRIGLEY'S  after  every  meal  are  additional  rea- 
sons why  you  should  get  its  benefit  and  pleasure. 


Wriglexi's  is  wrapped 
wax  paper  and  sealed 


This  sanitary  package  brings  IVrigley's 
to  you  fresh,  clean  and  full  flavored 


'  mention  PHOTOPLAY  MAGAZINE 


102 


Photoplay  Magazine — Advertising  Section 


loo  one  evet  sai/J 

tkaLD  a   (jangeey 

complexion  looks 

natuzal — foz  no 

one,  except  dke 

xvko  kad  ito, 

evez  knowd 

it  idn't! 


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years  old  and  so  he  filed  a  marriage  consent, 
signed  by  his  mother,  Mrs.  Martha  Barry 
Eyre. 

The  bride  seems  to  realize  the  responsibili- 
ties she  is  assuming.  She  says  Wesley  has 
already  sampled  her  cooking  and  that  she  is 
perfectly  willing  to  do  the  cooking  for  a  healthy 
eighteen-year-old  appetite. 

/""\F  course,  I  have  heard  the  plain- 
^-'tive  wail  of  producers  trying  to 
cut  down  costs  and  seen  the  peevish 
pout  of  directors  working  under 
shingled  budgets,  but  it  remained 
for  Henry  McCarty  to  tell  me  the 
most  penny-pinching  trick  to  be 
played. 

His  company — he's  a  director — 
had  been  working  all  day  and  long 
into  the  night  to  finish  the  epic  when 
midnight  came.  With  midnight 
came  also  the  chilling  California  fog 
and  the  actors  and  workers  cast  fur- 
tive glances  about  for  the  welcome 
hot  coffee  and  sandwiches  that  are 
a  stimulating  part  of  night  work. 

But  nothing  manifested  itself  until 
the  prop  man  appeared  on  deck  with 
a  bag  of  apples  sent  by  the  producer. 

IF  you  are  a  polo  fan — or  even  if  you  aren't 
but  enjoy  a  football  game  or  any  other 
healthy  thrill — you  will  realize  the  kick  I  got 
when  I  spent  the  day  with  Tom  Mix  on  loca- 
tion for  his  next  picture.  In  it  there  is  a  polo 
game  between  a  crack  local  team,  engaged  for 
the  occasion,  and  some  of  Tom's  rough-riding 
cowboys.  The  cowboys  played  in  stock  sad- 
dles and  rode  cow  ponies.  What  they  lacked  in 
polo  knowledge  thej'  made  up  in  daring  horse- 
manship and  there  were  more  break-neck  spills 
in  that  strange  game  than  I  ever  hope  to  see  in 
a  half  dozen  regular  ones. 

THE  crew  of  the  good  ship  "Constitution," 
which  is  playing  an  important  part  in  "Old 
Ironsides,"  was  manned  by  various  Hollywood 
extras  who  were  stripped  to  the  waist  and 
painted  with  "bolemania,"  a  reddish  pigment 
which  photographs  like  a  seafarer's  tan. 

The  boys  who  were  painted,  forthwith  called 
themselves  "Bolemanians." 

'"pHEY  had  a  bugler,  too.  Bane  of 
■*■  every  location  camp.  He  used  to 
tootle  the  instrument  every  morning 
at  4:30.  One  morning  one  of  the 
rookies  was  heard  to  groan: 

"Come  on  inside.  I  can't  hear 
you!" 

ONE  day  they  had  the  grand  sinking  scene 
when  the  enemy's  craft  went  to  Davy 
Jones'  locker  and  the  Pacific  was  strewn  with 
floating  cannon  and  cannon  balls.  They  were 
made  of  wood — just  "props,"  you  know.  And, 
of  course,  they  floated  instead  of  sinking  to  the 
proper  watery  grave. 

BILL  BOYD  has  returned  from  frisking 
around  with  the  Navajo  Indians  in  their 
reservation  in  Arizona  and  he  is  as  slim  and 
tanned  as  a  young  brave,  except  for  his  long 
hair,  scalloping  about  his  collar,  which  is  too 
blond  for  a  redman. 

The  last  few  months  of  Bill's  career  have 
been  spent  in  the  role  of  Tom  Kirby  in  "The 
Last  Frontier,"  that  spectacle  of  pioneer  days 
that  the  late  Thomas  H.  Ince  commenced, 
Hunt  Stromberg  picked  up  after  Ince's  death, 
and  which  Producers  Distributing  Corporation 
is  now  finishing. 

BILL  was  telling  me  that  the  Indians  in  the 
reservation  are  becoming  motion-picture 
wise,  after  having  appeared  in  at  least  a  half  a 
dozen  features,  and  they  demand  contracts  as 
high-hattedly  as  any  Hollywood  actor.     But 

adtertisenu-nt  in  PHOTOPLAY  MAGAZINE  is  guarantee. 


they  can't  resist  some  of  their  primitive  cus- 
toms, no  matter  how  many  contracts  hang 
from  their  belts. 

The  Navajos,  Piutes  and  Hopis  who  worked 
in  "The  Last  Frontier"  went  on  a  grand  tribal 
orgy  which  lasted  three  days — really  four  days 
because  one  whole  day  was  spent  in  rounding 
up  the  tribe.  Some  members  of  the  prancing 
braves  were  found  two  hundred  miles  distant. 
The  celebration  was  in  the  form  of  a  ceremonial 
dance,  and  Bill  said  in  camp  they  called  it  the 
" 830,000  Dance"  because  production  was  held 
up  for  four  days  at  a  terrific  cost. 

The  Indians  are  a  prayerful  lot,  too.  They 
pray  for  this  and  that.  And  one  of  their  ever- 
present  prayers  (for  which  they  lay  off  work, 
of  course)  is  to  become  a  good  movie  actor. 
Bill  neglected  to  say  if  any  of  the  Hollywood 
contingent  joined  in  the  supplication. 

T  STILL  don't  think  they  were  real  Indians. 
-*-  I've  seen  greasepaint  and  feathers  applied 
effectively  before.  And  their  English  was  a  bit 
too  colloquially  perfect.  But  John  Miljan 
seemed  to  think  the  redmen  on  display  for  the 
Convention  of  Theater  Owners  were  real,  even 
if  they  did  have  an  Irish  brogue,  and  told  me 
the  following  to  prove  it: 

John  was  traveling  in  Montana  with  a  road 
show.  This  was  in  the  days  before  he  went 
into  pictures.  Just  at  the  moment  he  is  playing 
with  Dick  Barthelmess  in  "The  Amateur 
Gentleman."  The  troupe  played  a  small  town 
near  an  Indian  reservation  and  John  went  out 
to  look  over  the  squaws  and  braves. 

Noting  a  beaded  belt  on  an  old  chief,  he 
said: 

"How  much  do  you  want  for  the  belt?" 

The  chief  replied  with  finality:  "Me  no 
sell." 

T  ATER  John  spied  an  Indian  lad 
-L"'with  a  pair  of  handsomely  beaded 
moccasins.  Being  nothing  if  not  a 
linguist,  John  pointed  to  the  mocca- 
sins and  grunted: 

"Me  buy  moccasins,  huh?  How 
much?" 

The  Indian  glanced  at  John  and 
replied: 

"How  much  do  you  offer?" 

"Ten  dollars." 

"No  thanks,"  answered  the  Indian 
witheringly,  "I  can  get  twice  as  much 
for  them  on  my  next  trip  to  New 
York." 

CHATTING  with  Clarence  Brown  the  other 
day  and  he  seemed  quite  offended  that  we 
had  failed  to  give  him  mention  in  Photoplay's 
recent  story  on  "  The  Foreign  Legion  of  Holly- 
wood." Seems  since  reading  it,  Clarence  has 
delved  into  his  family  history  and  discovered 
that  his  grandmother  came  over  from  Ireland. 
Now  he  feels  quite  safe — isn't  worried  about 
the  other  nationalities  at  all.  Feels  he  can 
just  call  a  few  of  the  loyal  Clan  Erin  together 
and  be  safe  anywhere  any  time. 

RONALD  COLMAN  and  Charlie  Lane  are 
two  great  pals  in  spite  of  the  many  years' 
difference  in  their  age.  Their  friendship, 
which  started  in  Italy,  when  they  worked  to- 
gether in  "Romola,"  has  ripened  until  it  is 
regarded  as  one  of  Hollywood's  very  finest 
sights.  And  now  they  are  making  another 
picture  together.  Coltnan  has  the  lead  and 
Lane  an  important  part  in  "The  Winning  of 
Barbara  Worth"  in  which  Vilma  Banky  plays 
Barbara,  and  again  Henry  King,  who  made 
"Romola,"  is  directing. 


A  RLETTE  MARCHAL  seems  to 
■*~*-have  taken  Vilma  Banky's  place 
in  Hollywood  as  far  as  supplying  the 
colony  with  quaint  sayings.  Vilma 
and  her  pretty  Hungarian  dialect 
used  to  be  good  for  at  least  two 
bright  quips  a  month,  but  now  Vilma 


Photoplay  Magazine — Advertising  Section 


apparently  is  become  Americanized. 
It  remained  for  Mile.  Marchal,  that 
gorgeous  French  importation  by 
Lasky  via  Swanson,  to  say  very  seri- 
ously the  other  day: 

"I  am  so  busy.  I  must  go  now  and 
have  my  saddle  fitted." 

Arlette  is  preparing  to  be  a  hard- 
riding  Western  heroine  opposite  Jack 
Holt  in  "Forlorn  River." 

SURE  the  picture  business  is  in  its  infancy. 
And  each  day  its  ramifications  spread. 

On  a  recent  trip  to  Universal  City  I  learned 
that  "Uncle  Carl"  Laemmle  is  in  the  chicken 
business. 

This  is  no  attempt  to  be  facetious.  No  weak 
gesture  at  a  worn  out  wise  crack.  It's  the 
truth. 

On  the  back  ranch  at  Universal  City,  almost 
across  from  the  Zoo,  "  Uncle  Carl "  raises  some 
of  the  finest  White  Leghorns  in  the  state  and 
his  employees  profit  thereby. 

For  at  the  commissar}',  fresh  every  day  and 
for  the  actual  market  price,  each  employee  can 


Ford  Sterling  in  the  role  of  The 
Thinker,  The  lower  thinker  is 
Sterling  and  the  upper  is  a  replica 
of  Rodin's  original,  erected  in 
Logan  Square,  Philadelphia,  by  the 
exhibitor,  Jules  Mastbaum.  This 
was  taken  between  scenes  of  "The 
Show  Off,"  some  of  which  was 
filmed  on  Fairmount  Parkway  near 
the  statue 


HINDS 

Zhfonty  &j7ilmond 

CRMM 


"  Shall  I  stop  the  game  while  you  powder?  n 


oCENE — national  tennis  tournament. 
Great  stadium  packed.  Then  — !  She 
powders  —  for  the  'steenth  time  —  in 
full  view  of  the  gallery. 

No  wonder  her  escort  waxes  sar- 
castic! For  it  annoys  him  to  see  a  girl 
powder  in  public.  It's  the  same  with 
most  men. 

And  why  powder  in  public  anyway? 
Quite  unnecessary  if  you  use  Hinds 


Honey  and  Almond  Cream  as  a  powder 
base,  for  it  holds  the  powder— for  hours. 

Just  pat  it  on,  then  powder  (at 
home).  Hours  later  your  skin  will 
still  breathe  a  petal-freshness. 

Another  thing,  Hinds  Cream  pro- 
tects the  skin.  Keeps  it  soft,  and 
young,  and  smooth. 

A  note  to  the  address  below  will 
bring  you  a  sample  bottle.  Send  for  it. 


Made  and  distributed  by  A.  S.  HINDS  CO.,  Bloomfield,  N.  J.,  Dcpt.  52 

HINDS    CREAM  tan   n.w  be  funhas.d  in    Frame,  in    Germany  and  in    England 

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104 


Photoplay  Magazine — Advertising  Section 


NEW 
wonderful 
POWDER. 
PREVENTS 
large  pores 


|R1|N  entirely  new  French  Process 
\im3\  Powder  is  this  wonderful  cre- 
ation called  Mello-glo.  Once  you 
use  Mello-glo  you  will  realise  how 
different  it  is  from  old-time  face 
powders.  Notice  how  Mello-glo 
is  so  little  affected  by  perspiration 
—  how  long  it  stays  on  —  how  it 
keeps  that  ugly  shine  away.  Its 
thin,  downy,  film  of  pure  fine 
powder  protects  the  pores  from 
dirt  and  impurities.  Beauty  fades 
only  when  the  pores  become 
clogged  and  enlarged.  Do  not 
neglect  this  most  vital  feature  of 
your  good  looks.  The  most  im- 
portant thing  is  the  kind  of  face 
powder  you  use. 

Don't  let  your  pores  get  large 

Try  this  wonderful  Mello-glo  Powder  to- 
day. Sold  by  high-class  stores  everywhere. 
If  your  local  dealer  is  out  ofSiello-glo 
use  the  coupon  below 
Send  10  cents  for  sample  of  Mello-glo 
powder,  with  booklet  on  the  new  French 
Beauty  Treatment,  or  $1.00  for  a  large 
box  of  Mello-glo  Facial -tone  Powder, 
including  beauty  instruction  book. 


purchase  his  supply  of  strictly  fresh  eggs  and 
carry  them  home  to  his  wife  or  the  cook,  as  the 
case  may  be. 

If  you  find  as  many  "bad  eggs"  and  as  few 
"good  eggs"  in  this  world  as  I  do,  you  can 
easily  see  that  working  at  Universal  City  has 
its  advantages. 

T\  THAT  with  First  National  mo\-ing  into 
»*  their  handsome  new  quarters  and  Para- 
mount now  in  the  old  United  Studios,  but  so 
remodeled  that  one  would  never  recognize  the 
place,  Holly  wood  has  certainly  been  "  enjoying" 
moving  day. 

Even  that  well  known  director,  George  Fitz- 
maurice,  was  unwillingly  caught  in  the  "mov- 
ing spirit"  which  has  gripped  us. 

"Mist'  Fitzmollice? "  queried  a  plaintive 
voice  over  Fitzmaurice's  office  telephone  the 
other  day. 

"This  houseboy.  Pedro,"  went  on  the  voice. 

"Yes,  Pedro,  what  is  it?"  answered  Fitz. 

"No  come  home  lunch  today,  Mr.  Fitz- 
mollice. No  ketchum  lunch,"  the  Filipino  ad- 
vised.   "Cook  stove,  she  go  'way." 

"Cook  stove  went  away?"  repeated  the 
amazed  Fitzmaurice.  "What  went  with  it, 
Pedro?" 

"Guess  not  very  good  stove.  Policeman 
allest  she.  Take  'urn  'way  in  automobile. 
Take  bed,  too.    No  sleep  here  'night. 

"Take  chiffonier,  take  dlesser,  take  ladio, 
take  phlonoglaf " 

But  by  this  time  Fitzmaurice  was  dashing 
for  his  automobile.  He  didn't  wait  for  any- 
more details. 

AT  the  house  the  story  was  soon  told.  Two 
deputy  sheriffs  were  engaged  in  moving  the 
furniture  out. 

Fitzmaurice  had  rented  the  house  furnished, 
pending  the  completion  of  his  beautiful  new 
Beverly  Hills  home.  The  man  and  wife  who 
owned  the  house  had  quarreled  and  one  or  the 
other  I  the  wrong  one  as  far  as  Fitz  was  con- 
cerned) had  secured  possession  of  the  furnish- 
ings through  a  writ. 

That  night  Fitzmaurice  slept  at  the  Am- 
bassador hotel. 

And  Pedro,  the  houseboy  without  a  house, 
the  cook  without  a  cook  stove,  took  the 
evening  out. 


SUFFERING  from  an  attack  of  colic  as  well 
as  the  knowledge  that  it  was  his  fiftieth 
hirthday  anniversary  and  that  he  was  miles 
away  from  his  ranch  in  Montana  (or  maybe 
it's  Wyoming)  Irvin  S.  Cobb  blew  into  Holly- 
wood to  "conquer  the  movies." 

Cobb  has  been  imported  by  the  De  Mille 
studios  to  write  an  original  story  to  be  screened 
by  Ceril  B.  De  Mille. 

He  just  missed  Arthur  Somers  Roche,  who 
is  at  Del  Monte  recovering  from  two  originals, 
which  the  well  known  writer  of  mystery  fiction 
did  for  Warner  Brothers. 

TT  was  one  of  the  final  scenes  for  "The  Sor- 
rows of  Satan"  and  D.  W.  Griffith  had  spent 
two  days  patiently  rehearsing,  arranging  his 
lights,  putting  deft  and  eloquent  touches  to  the 
scene.  Carol  Dempster,  the  heroine  of  the 
Marie  Corelli  story,  was  propped  up  in  a  cheap 
wooden  bed  in  a  cheap  English  lodging  house. 
She  was  all  ready  to  die — in  the  story — and  to 
die  in  the  real  Griffith  fashion. 

Griffith  was  ready.  The  cameraman  was 
ready.  The  electricians  were  ready.  In  fact, 
everyone  was  ready  but  Miss  Dempster,  who 
didn't  feel  in  the  least  like  dying.  It  was  a 
gorgeous  summer  da)-  and  Miss  E)empster  felt 
more  like  going  to  Coney  Island  than  dying  the 
death  of  an  unhappy  heroine. 

TT  was  at  this  inopportune  moment  that  a 
-^-group  of  Miss  Dempster's  friends  chose  to  pay 
her  a  call.  From  her  death-bed,  Miss  Dempster 
called  to  them  and  urged  them  to  come  on  the 
set.  And  come  they  did,  in  spite  of  dark  looks 
from  Mr.  Griffith  who  hates  interruptions 
when  he  is  working. 

"All  ready  to  shoot,"  shouted  Mr.  Griffith. 

The  friends  didn't  take  the  hint.  Neither 
did  Miss  Dempster  urge  them  to  leave. 

"All  ready  to  shoot,"  shouted  Mr.  Griffith, 
still  louder. 

But  the  chattering  group,  deep  in  gossip, 
didn't  hear  him. 

"Yery  well,"  exclaimed  the  aggrieved  Mr. 
Griffith,  "if  that's  the  way  you  feel  about  it, 
order  up  some  tea  and  take  the  set  for  vour- 
self." 

Whereupon  he  walked  out  and  left  the  scene 
flat.  And  to  celebrate  her  rescue  from  death, 
Miss  Dempster  gave  an  informal  party. 


On  your  mark !    Go !    Gwen  Lee  challenged  Charles  Hoff ,  champion 

Norwegian  pole  vaulter,  to  a  little  race.     Gwen  may  not  have  won 

the  race  but  we  bet  that  she  could  get  a  decision  over  Charlie  in 

any  Charleston  contest 

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TN  the  case  of  Joseph  Schildkraut  it  is  the 
■"•fifth  time  that  is  the  charm.  Not  the  third 
time.  Four  times  the  volatile  Joseph  has  fled 
to  his  wife  Elise  Bartlett  after  a  marital  squall 
and  five  times  they  have  separated. 

But  now  they  are  reconciled  for  the  fifth 
time  and  Joseph  is  doubly  rejoicing.  First 
because  of  his  wife's  decision  to  give  up  her 
career  for  home  and  babies  and  again  because 
he  has  just  been  advised  that  he  may  call  for 
his  final  citizenship  papers  in  New  York  any 
day  now. 

C  DNA  KIRBY  knew  just  how  a  lily  growing 
•'-'in  a  hot  house  felt  recently.  All  week  long 
she  resided  in  a  glass  house  at  the  intersection 
of  two  of  Los  Angeles'  busiest  streets.  It  was  a 
novel  stunt  pulled  by  a  large  mercantile  house 
and  Edna,  who  is  a  film  actress,  breakfasted, 
lunched,  dined  and  slept  in  a  model  house  in 
one  of  their  huge  display  windows. 

Between  times  she  received  instructions  in 
lampshade  making  and  china  painting;  had 
guests  at  luncheon  and  served  tea  to  friends. 

It  was  a  unique  advertising  scheme  and 
crowds  thronged  the  streets  to  see  the  "lady 
who  lived  in  the  glass  house." 

tTATHLYN  WILLIAMS  and  her  husband, 
'-^-Charles  F.  Eyton,  dropped  in  upon  us  for  a 
five  months'  stay  after  spending  a  like  length  of 
time  in  Europe.  They  plan  to  go  to  Germany 
in  (Mober  where  Mr.  Eyton,  who  is  Para- 
mount's  foreign  representative,  will  make  some 
pictures. 

I'll  wager  Pola  is  glad  to  have  Kathlyn  in 
this  country  again.  They  are  bosom  friends. 
And  won't  Pola  have  a  lot  to  tell  about  Kudy 
and  their  "great  love"? 

DONALD  COLMAN  is  taking  to  heart  that 
•'-Mamous  motto  which  reads:  "See  America 
First."  After  spending  several  scorching 
months  on  an  Arizona  desert  playing  in  "  Beau 
Geste,"  he  returned  to  Hollywood,  only  to 
leave  it  in  less  than  a  fortnight  for  a  tour  of 
the  Grand  Canyon  with  Dick  Barthelmess. 

Dick  and  he  came  home  and  Dick  started  on 
a  picture,  but  Ronnie's  thirst  for  travel  was 
unquenched  and  he  'phoned  Don  Stuart  and 
together  they  motored  to  Yosemite  National 
Park.  Don  Stuart  is  a  fiery-headed  little  Scot 
with  a  wit  as  colorful  as  his  hair,  and  he  and 
Ronnie  have  been  friends  for  years,  meeting  in 
England  where  for  fifteen  years  Stuart  played 
in  "Peter  Pan." 

Upon  reaching  Hollywood,  Ronnie  found 
orders  to  entrain  immediately  for  Nevada, 
where  he  will  play  the  lead  in  Harold  Bell 
Wright's  story'  "The  Winning  of  Barbara 
Worth."  It's  not  going  to  be  so  lonesome  up 
there,  however,  for  Paul  McAllister,  resident 
member  of  the  "Beau  Geste"  cast  in  Arizona, 
is  in  this  picture,  too.  And  Charles  Lane, 
Ronald's  particular  crony  and  housemate,  will 
be  in  it. 

\X ACK  SENNETT  is  looking  for  bathing 
■lVAgirls.  But  don't  pack  your  bathing  suit 
and  come  out  to  try  your  luck.  His  office  is 
probably  packed  with  girls  who  want  to  be- 
come Sennett  bathing  girls  and  slip  into  the 
bathing  sandals  left  by  Gloria  Swanson, 
Phyllis  Haver,  Marie  Prevost,  Vera  Steadman 
and  other  Sennett  girls  who  have  made  good  in 
the  dramatic  field. 

The  new  type  of  bathing  girl  that  Sennett  is 
demanding  is  preferably  the  college  girl  who 
can  really  swim — and  dance — and,  above  even 
a  perfect  figure,  she  must  have  personality. 

And  there  are  just  about  nine  thousand, 
nine  hundred  and  ninety-nine  girls  in  Holly- 
wood who  could  fill  the  requirements. 

T  ITTLE  Dick  Walling,  who  should 
-'-'properly  be  dignified  by  the  name  "  Rii  h- 
ard"  now  that  he  has  earned  his  spurs  as  an 
a:tor  in  "Pigs,"  has  been  cast  in  "The  Peli- 
can," which  that  young  Italian  whirlwind 
Frank  Borzage  is  directing  for  Fox. 

"Gee!"  breathed  Dick,  after  "Pigs"  was 
pre\iewed  and  his  dad,  William  Walling  who 


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There  is  a  radiant,  happy  beauty  in  a 
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But  so  many  skins  have  been  robbed 
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show  coarsened  pores,  and  blemishes. 
And,  Oh,  the  heartaches  and  the  dis- 
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Soap,  of  Course — But  the  Right  Soap 

All  up-to-date,  scientific  advice  on  the 
care  of  the  skin  urges  the  daily  use  of 
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Cashmere  Bouquet  is  made  especially  for 
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It  is  "hard-milled,"  which  means  that  it  is 
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is  what  makes  it  so  safe.  Cashmere  Bouquet 
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and  completely.  No  undissolved  soap  re- 
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Wet  the  face  with  warm  water.  Work  up 
a  thick  Cashmere  Bouquet  lather  on  the 
hands.  Massage  this  into  the  skin  with  the 
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m    % 


^Prettier  Lips 

. ...  at  the  nZgces 

"Dear  5\fan 

So  many  pretty  girls  at 

the  races  this  year — I  noticed  their 
smiles  particularly — for  I  saw  quite 
'the  belle  of  the  boxes'  whisk  out 
her  little  Pompeian  Lip  Stick  and 
use  it  too  deftly  for  anyone  else  to 
see! 

"Yes,  it  was  Pompeian.  None  other 
has  such  natural  coloring.  How 
clever  our  society  girls  are  !  " 


vj^  frC*^ 


is  well-known  as  a  character  actor,  had  given 
him  a  paternal  pat  of  praise,  "I'm  glad  I  didn't 
flop,  because  the  folks  in  the  publicity  depart- 
ment would  sure  be  disappointed." 

Dick,  you  see,  ran  errands  in  the  still  photo 
room  at  the  Fox  studio  until  Irving  Cummings 
came,  saw  and  discovered  him. 

A  ND  speaking  of  that  young  Italian  whirl- 
■**-wind  Frank  Borzage,  he  was  wrestling  with 
a  megaphone  the  other  day — the  first  one  he 
ever  used  in  his  vast  experience  as  a  director. 
That  megaphone  was  everywhere  except  to  his 
lips.  He  looked  through  it  .  .  .  dropped  it 
.  .  .  fumbled  with  it.  Frank  is  not  the  pro- 
verbial director  who  rants  and  raises  general 
fury,  but  is  low-voiced  and  quiet-mannered. 
The  actors  adore  him. 

However,  you  can  readily  see  he  is  a  director. 
He  wears  golf  knickers.  But  he  has  a  legiti- 
mate excuse  for  wearing  them  because  oc- 
casionally he  treks  to  Lakeside  Country  Club 
to  lick  the  golf  vanity  out  of  Huntly  Gordon 
and  Wallace  MacDonald.  his  tee-mates. 

Frank  and  Alma  Rubens  are  again  working 
together  after  a  separation  which  dates  from 
"Humoresque,"  the  picture  which  gave  Frank 
his  right  to  collect  a  laurel  wreath  in  the  Hall 
of  Film  Fame. 

IT'S  all  settled  now  and  Ferdinand  Earle  must 
pay  his  fourth  wife,  Charlotte  Kristine  Karle, 
$55  a  week  alimony.  She  will,  in  turn,  allow 
him  to  remain  in  their  beautiful  Hollywood 
home,  and  their  ten-year-old  son  Eyvind  will 
live  with  him. 

That  is  the  last  waning  gleam  of  a  glorious 
love  that  illumed  the  whole  world  in  19 15. 


"DILL  HART  has  been  doing  some  stepping 
■'-'about  the  country.  When  the  State  of 
Montana  celebrated  the  Semi-Centennial  An- 
niversary of  the  Custer  battle,  to  which  many 
Indian  tribes  attended,  as  well  as  prominent 
men  of  the  country,  Bill  addressed  the  meeting, 
which  was  held  near  Billings,  Montana.  .He 
not  only  addressed  them  in  English,  but  for  the 
benefit  of  the  tribes  he  spoke  the  Sioux  lan- 
guage and  also  the  Indian  sign  language. 

Which  proves  that  our  Bill  is  more  than  a 
motion  picture  cowboy,  he  is  a  real  and  vital 
part  of  the  old  West. 

■"THERE  was  no  doubt  about  it.  Joe  Wilson 
-*-  was  a  Kreisler  on  the  jazz- whistle.  At 
least  that  is  what  the  colored  section  of  Yuma, 
Arizona,  agreed.  Then  Joe  came  to  Holly- 
wood, and  being  little,  funny  and  dark  hired 
out  to  "Our  Gang." 

Along  came  watermelon  season.  Joe  in- 
dulged plentifully.  Why  shouldn't  he?  He 
was  making  Si  5  a  day.  The  melons  were 
green.  Joe  had  a  tummyache  and  the  druggist 
gave  him  some  pills  to  take  one  at  a  time. 
Joe  took  all  of  them  at  once. 

The  melons  and  the  pills  fought  and  Joe 
landed  in  the  Receiving  Hospital  and  met  a 
stomach  pump.  Then  the  juvenile  authorities 
discovered  that  Joe  was  alone  in  Hollywood, 
and  issued  the  edict  that  either  Joe's  family 
must  come  to  him  or  he  must  go  to  his  people. 

The  Joe  Wilsons  will  undoubtedly  soon  re- 
side in  Hollywood. 

HTHE  Hollywood  Studio  Club  has  moved  and 
-*-  they  are  now  nicely  located  in  a  ninety- 
room  club  house  with  library  and  dining  room 


Gloria  Swanson  in  her  last  appearance  under  the  Famous  Players 
banner.  This  is  the  masked  ball  sequence  of  "Fine  Manners," 
which  took  four  months  in  the  making.  One  of  the  first  pictures 
Miss  Swanson  is  going  to  do  as  a  United  Artists  star  is  an  original 
Russian  story,  "The  Woman's  Battalion  of  Death."  In  starting 
with  United,  Miss  Swanson  turned  down  an  offer  to  do  Mary 
Magdalene  in  Cecil  De  Mille's  "The  King  of  Kings"  and  an  invita- 
tion to  play  with  Adolphe  Menjou  in  one  more  Famous  film, 
"The  Last  of  Mrs.  Cheney" 

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Photoplay  Magazine — Advertising  Section 


and  rei  option  rooms  and  huge,  crackling,  open 
tires  and  gay  cretonnes  that  can  be  discreetly 
drawn,  leaving  the  patio  bathed  in  dusky  star- 
light should  anyone  care  for  a  stroll  at  twilight. 

It's  really  a  charming  spot  and  presided  over 
by  Marjorie  Williams,  who  is  just  the  sort  of 
person  to  supervise  an  organization  of  its  kind. 
The  Studio  Club  is  a  home  for  girls  who  work  in 
the  picture  business — whether  they  be  extras 
or  writers  or  secretaries.  Its  patronesses  are 
the  Mesdames  Cecil  I!,  and  William  DeMille, 
Mrs.  Antonio  Moreno,  Mrs.  Samuel  Ooldwyn 
and  other  wives  of  prominent  film  people. 
Mary  Pickford  is  still  honorary  president,  I 
believe. 

Miss  'Williams  was  saying  the  other  night 
that  they  had  found  it  necessary  to  establish  an 
age  limit  for  resident  members,  for  a  dear  little 
old  lady  of  undeterminate  summers  had  de- 
scended upon  the  club  from  Portland,  Oregon, 
with  a  scenario  to  sell  to  Sam  Goldwyn.  No 
one  else  would  do.  It  had  to  be  Sam  that  she- 
was  to  sell  her  scenario  to.  And  having  dif- 
ficulty in  reaching  the  redoubtable  Sam  she 
had  taken  up  her  residence  at  the  Club.  "I 
thought  it  would  be  better  to  bring  it  to  him 
personally,"  the  sweet  old  lady  had  informed 
Miss  Williams. 

T_TO\V  times  do  change!  I  was  browsing 
-*-  -Mhrough  a  copy  of  an  old  magazine,  pub- 
lished all  of  eleven  years  ago,  and  discovered  a 
prophecy  written  by  a  writer  of  melodramas. 
In  his  musings  he  mutters: 

"The  drawing  power  of  the  different  stars  is 
decreasing.  Mary  Pickford  is  not  the  feature 
she  used  to  be;  Charlie  Chaplin's  vogue  is  on 
the  wane;  one  seldom  hears  of  Maurice  Cos- 
tello,  Arthur  Johnston,  Lillian  Gish  or  of  those 
who  filled  the  newspapers  a  year  or  so  ago. 
Only  a  few  have  held  their  heads  above  water." 

'T'HEY  must  have  been  good  swimmers,  at 
-*•  that.  Despite  his  ominous  words  most  of 
them  have  been  swimming  steadily  along  for 
over  a  decade.  Mary  is  still  with  us,  occupying 
her  own  particular  niche.  Charlie's  "vogue" 
has  become  a  classic.  Maurice  Costello  is  the 
only  one  who  has  been  swept  away  in  the  tide, 
but  daughters  Dolores  and  Helene  are  swim- 
ming in  his  place.  Arthur  Johnston,  of  course, 
is  dead.  And  Lillian  Gish  .  .  .  just  waned 
into  stardom,  that's  all! 

And  then  the  gentleman  goes  on  to  say: 
"  For  plots  they  maintain  scenario  staffs.  These 
writers  are  woefully  ill-paid  in  proportion  to 
the  class  of  work  they  do.  Imagine  twenty-five 
dollars  for  a  plot!  The  time  will  come  when 
they  will  gladly  pay  five  hundred  dollars." 

".  .  ._  gladly  pay  five  hundred  dollars!" 
I  doubt  if  Frances  Marion,  whose  reputation 
as  a  scenarist  is  unchallenged,  would  write  a 
title  for  that  sum.  Schenck  paid  her  $30,000 
for  the  scenario  on  Valentino's  "Son  of  the 
Sheik"  which  George  Fitzmaurice  is  directing. 

Yes,  times  do  change. 

A/fANY  film  fathers  do  not  like  to  see  their 
-1  '•'•children  on  the  screen.  It  is  a  sure  indica- 
tion of  the  approach  of  age,  you  know.  If  we 
wanted  to,  we  could  mention  one  or  two  dads 
who  view  their  offsprings'  activities  with  a 
jealous  eye. 

Francis  X.  Bushman  is  a  different  sort  of 
father,  however.  His  son  was  christened 
Ralph,  but  the  other  day  Ralph  thought  it 
would  be  much  more  to  the  point  to  change  his 
monnicker  to  Francis  X.  Bushman,  Jr.  Did 
Francis  X.,  Sr.,  object?  He  did  not.  He  said, 
"All  right,  son,  go  to  it,"  and  so  it's  Francis 
X.  Bushman,  Jr.,  in  the  future. 

To  celebrate  the  event  Metro-Goldwyn 
signed  Francis,  Jr.,  under  one  of  those  con- 
ventional long  term  contracts. 


Cut  Picture  Puzzle  Fans! 

The  final  set  of  pictures  in  Photoplay's  great 
cut  picture  contest  appears  in  this  issue. 

The  winners  will  be  announced  in  the  January 
Photoplay. 


Her  Romance 

Came^^True 


QACns     i 

IDALIA?\L 
GAMBLE 

wins/\pMANcT^TJollytuood  Contest 

Contestants  in  the  great  Romance -Hollywood  Contest  — 
your  congratulations  to  the  winner  —  Miss  Idalian  Gamble, 
of  Alliance,  Ohio ! 

Of  the  20,000  who  entered  the  contest,  this  miss  of  but  nine- 
teen years,  who  was  graduated  in  June  from  the  Alliance  High 
School,  submitted  the  most  unusual  and  interesting  solution. 

Her  presentation  is  illustrated  above:  a  model  bungalow  named 
The  Romance  Art  Shop,  complete  even  to  electric  lights  and 
nagged  walk.  The  twelve  romantic  scenes  of  the  contest  were 
reduced  photographically  and  hung  as  framed  pictures  upon 
the  walls  of  the  completely  furnished  bungalow. 

Prizes  have  been  awarded  to  the  200  other  winners,  and  an  illustrated 
folder  giving  contest  winners,  with  details,  has  been  mailed  to  all  who 
submitted  a  solution.  A  copy  will  be  sent  to  anyone,  upon  request.  We 
also  wish  to  extend  our  thanks  to  every  competitor,  and  trust  that  their 
Romance  Chocolates  will  be  the  beginning  of  a  long  friendship. 

COX  CONFECTIONERY 
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Photoplay  Magazine — Advertising  Section 


^ou  cant  hide  a 
poor  complexion 


COSMETICS  were  never  in- 
tended to  conceal  facial  blem- 
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state  of  her  skin  worse  than  the  first. 

A  dull,  splotched,  or  otherwise  un- 
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to  the  wrong  method  of  cleansing.  The 
pores  have  become  clogged  and  thev 
are  unable  to  function  properly.  Such 
a  skin  needs  to  be  stimulated  by  the 
pore-searching  lather  of  a  pure  soap 
and  warm  water. 

You  will  like  Resinol  Soap  for  this 
purpose — because  it  is  different.  The 
first  time  you  use  it,  the  distinctive, 
refreshing  Resinol  fragrance  it  gives 
out  will  convince  you  that  it  contains 
unusual  properties.  Its  soft  lather  al- 
most caresses  the  skin  as  it  sinks  into 
the  pores  and  gently  rids  them  of  their 
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too — leaving  your  skin  soothed,  re- 
freshed and  soft  and  pink  as  a  baby's. 

Resinol  Ointment  is  a  ready  aid  to  Resinol 
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Resinol  Soap  and  Ointment. 


Brickbats  and  Bouquets 


CONTINUED  FROM  PAGE  12 


Wherefore  Art  Thou,  Gloria? 

Glendale,  L.  I. 

Where  is  the  old  Gloria  Swanson?  I  mean 
the  Gloria  that  played  in  "Manhandled." 
Gloria  sure  is  losing  her  good  reputation.  Why? 
Is  it  because  of  poor  directing?  Or,  in  want  of 
a  good  story?  Or,  is  Gloria  herself  at  fault? 
Poor  Gloria.  She  deserves  a  bouquet  for  all 
the  knocks  she  receives.  Every'  time  she  gets 
blamed  if  things  don't  go  right.  It  isn't  the 
director's  fault  or  Gloria's  either.  She  sure  is 
a  charming  actress.  Who  can  ever  forget  her 
performance  in  "Manhandled"?  The  truth  is, 
Gloria  needs  a  good  story.  Not  a  story  that 
has  a  few  thrills  and  a  bit  of  romance — no,  but 
one  that  can  suit  the  personality  of  Gloria 
Swanson. 

There   are  many   story   writers   that    have 
never  been  heard  of.    Somewhere  hidden  in  a 
dark  corner  may  be  this  genius  that  can  write  a 
story  for  this  great  actress  and — save  her. 
J.  G.  D. 

We  Hope  So,  Too 

San  Francisco,  Calif. 

So  King  Yidor  is  now  proclaimed  king-pin  of 
the  directors!  I  am  glad.  For  "The  Big 
Parade"  was  an  exhibition  of  directorial  skill 
amounting  to  genius.  But  I  wonder  how  it  is 
going  to  affect  Mr.  Yidor — this  being  heralded 
as  "the  greatest"? 

After  the  great  D.  W.  Griffith  was  freely  ad- 
mitted to  be  our  foremost  director,  we  were 
given  such  atrocious  pictures  as  "One  Ex- 
citing Night."  Then  there  was  Rex  Ingram, 
a  fine  director  if  there  ever  was  one.  After  two 
or  three  exceptionally  good  pictures,  he  went 
abroad,  later  announcing  to  the  world  in  gen- 
eral his  intention  of  retiring,  of  devoting  his 
life  to  sculpture.  And  the  result?  "Mare 
Nostrum." 


So  now  that  King  Vidor  has  come  into  his 
own,  let  us  hope  that  he  will  be  ruled  by  good 
common  sense,  and  that  he  gives  a  satisfactory 
answer  to  the  question  on  many  a  fan's  tongue 
— "What  next,  King  Vidor?" 

Rose  Palonsky. 

Sugar  Papa! 

Janiuay,  Iloilo,  P.  I. 
I  pick  Miss  Marion  Davies  as  my  goddess. 
She  is  that  shining  Venus  of  the  ancient  and 
mystic  days,  the  longed-for  maiden  by  medie- 
val knights  and  the  beauty  sublime  of  this 
glorious  modernity.  I  came  to  know  her  when 
I  saw  "When  Knighthood  Was  in  Flower" 
about  a  year  ago,  but  I  feel  as  if  I  am  ac- 
quainted with  her  for  more  than  ten  years. 
Gracious!  I  shade  my  eyes  to  your  brilliant 
charms! 

Vicente  Barranco. 

Urging  Pep  for  Percy 

Flushing,  L.  I. 

I  send  my  bouquet  to  Percy  Marmont,  a 
much  neglected  man  of  the  screen,  whose  splen- 
did talents  and  abilities  are  lost  in  the  stories 
that  are  given  him.  I  am  sure  they  cannot  be 
his  own  choosing.  My  friends  and  I,  who  are 
true  admirers  of  his,  are  tired  of  seeing  Percy 
steeped  in  sorrow.  Perhaps  I  form  my  opinion 
too  quickly  as  I  have  not  yet  seen  "Infatua- 
tion." 

One  cannot  say  that  Marmont  has  the  fire 
and  dash  of  John  Gilbert,  who,  by  the  way,  is 
my  favorite,  but  there  is  a  certain  magnetic 
charm  about  him  which  is  wholly  irresistible. 

Let  us  see  him,  then,  dear  Photoplay,  in 
a  picture  that  will  do  him  justice,  a  picture  that 
will  proclaim  to  filmdom  his  charm  and  splen- 
did possibilities.  Dorotiiie  I.  Smith. 


A  bride  and  groom  picture,  with  everything  smiling  and  happy. 
The  girl  with  the  new,  shiny  wedding  ring  on  the  third  finger  of  the 
left  hand  is  Jackie  Logan  and  the  husband  gentleman  is  her  hus- 
band, A.  H.  Gillespie.  He's  a  real  estate  man  in  Los  Angeles,  which 
isn't  half  bad,  you  know 


In   PHOTOPLAY'   MAGAZINE  V;  guaranteed. 


Photoplay  Magazine — Advertising  Section 


No  Age  Limit 


New  Castle.  Ind. 

I  just  have  to  throw  a  large  brickbat  at 
some  of  the  fans  that  are  always  raving  about 
Tommy  Meighan's  and  Milton  Sills'  ages,  and 
wanting  younger  actors  to  take  their  places. 

What  has  age  to  do  with  it  as  long  as  their 
acting  is  good?  They  are  neither  one  con- 
sidered old  yet,  by  any  means.  I  consider 
them  among  two  of  the  best  actors  on  the 
screen  and  their  plays  are  always  wholesome 
and  clean,  something  anyone  can  see.  I  like 
some  of  the  younger  actors,  especially  Ben 
Lyon,  Larry  Gray,  Mary  Brian  and  Mary 
Astor,  but  none  of  them  can  take  the  place  of 
some  of  the  older  ones.  I  want  to  throw  a  very 
large  bouquet  to  Tommy  Meighan  for  his  won- 
derful acting  in  "The  Man  Who  Found  Him- 
self." Mrs.  F.  G.  Riley. 

Tweet !  Tweet ! 

Minneapolis,  Minn. 
Just  a  tribute  to  the  art  of  Betty  Bronson. 
who  reigns  supreme  in  the  hearts  of  so  many  of 
the  fans.  She's  such  a  fair)'  person,  that  Pan- 
girl.  I  love  the  way  her  eyes  flash,  and  those 
adorable  dimples  in  the  corner  of  her  mouth. 
I'm  just  a  girl  myself,  but  before  I  saw  Betty 
I  wanted  to  be  grown  up,  but  now  it's  all 
changed.  I  find  it's  thrilling  being  young.  It 
makes  one  feel  happy  and  hoppity  and  happy, 
oh  yes,  happy.  Oh,  Betty,  don't  grow  up  ever. 
I  wish  you  could  just  live  on,  and  on,  and  on. 
and  not  get  any  older  than  you  are  now.  And 
that  Madonna!  I  just  can't  wait  until  "Ben- 
Hur"  gets  here.  Everybody  says  its  wonderful 
and  somehow  I  can't  help  but  feel  that  it  is 
wonderful.  And,  Betty,  I  wish  you  all  the 
glory,  and  the  success,  and  the  joy  that  is 
rightfully  yours.  Youth  always  triumphs. 
Peter-Pax  2nd. 

Well,  Well!     Fancy  This! 

Kerman,  Calif. 
This  one  fan  views  with  alarm  Charles  Ray's 
contemplated  change  of  roles,  from  the  be- 
loved country  boy  to  the  city  sophisticate.  In 
his  proposed  venture  Mr.  Ray  has  evidently 
not  taken  into  consideration  an  elementary 
psychological  law,  the  manifestation  of  which 
foreordains  failure  for  him.  Endowed  with 
the  God-given  gift  of  wistfulness,  combined 
with  real  ability  to  portray  the  whimsical 
r61es  which  have  brought  him  fame,  it  be- 
hooves him  to  realize  that  he  has  created  for 
himself  an  aura  and  atmosphere  that  has  so 
enveloped  him  that  any  effort  to  emerge  there- 
from will  only  tear  and  destroy  the  dream- 
fabric  which  an  admiring  public  has  woven 
about  his  personality.  H.  E.  Jung. 

Good  Advice 

Eagle  Rock,  Calif. 

Lillian  Gish  is  one  of  the  really  fine  actresses 
of  the  screen,  but  she  is  standing  in  the  way  of 
her  own  greater  success.  The  portrayals  she 
renders  are  works  of  art  in  that  they  are  tech- 
nically perfect,  but  they  are  not  great  inter- 
pretations. If  Miss  Gish  would  forget  the 
mechanics  of  her  profession  and  express  her- 
self, she  would  be  far  warmer  and  more  human 
and  thus  have  a  wide  appeal. 

Miss  Gish  is  not  the  downtrodden  creature 
that  she  appears  on  the  screen — she  could  not 
be  and  rise  to  the  heights  she  has.  She  is  not 
the  negative  character  so  many  seem  to  think, 
but  a  very  positive  one.  A  psycho-analyst 
sees  in  her  face  patience,  carefulness,  deter- 
mination, and  courage  in  the  face  of  defeat. 
If  she  would  allow  these  characteristics  to 
come  forward  in  her  work,  to  color  her  acting, 
with  her  splendid  training,  she  would  be  able 
to  accomplish  much  more  than  her  contem- 
poraries. 

When  Miss  Gish  lays  aside  her  Griffith  man- 
nerisms, she  is  destined  to  be  the  great  Ameri- 
can actress. 

Marion  Fredericks. 


cVkM  ft  Wfty" 

Daria  0  IRyftn 

(Mr  afcl  Mrs  Maurice  Fly nn) 

I  Say- 

.  .  no  detail 
about  the  train  that  is  not  perfectly 
conceived  and  admirably  executed." 


Read  this  tribute  from  world-famous  celebrities 
to  a  world-famous  transcontinental  train.  Qolden 
State  Limited  operates  daily  between  Chicago 
and  Los  Angeles  over  the  direct  Golden  State 
F.oute.  This  train  finds  increasing  favor  among 
travelers  who  recognize  the  finest  in  service 
and  equipment. ' '  There  is  also  the  new  Apache 
and  the  Californian  daily  over  this  route. 


Low  Roundtrip  Fares 

in  effect  all  summer.  Limit  October  31 


Southern 


Lines 


F.S.McGinnis,  Passenger  Traffic  Manager,  Southern  Pacific  Company,  San  Francisco,  California 
L.  M.  Allen, Vice-President  and  Passenger  Traffic  Manager,  Rock  Island  Lines,  Chicago,  Illinois 

Hollywood  Ticket  Office:  Los  Angeles  Ticket  Office: 

6768  Hollywood  Blvd.  212  West  Seventh 

Rock  Island  and  Southern  Pacific  Travel  Bureaus  in  all  Principal  Cities 


When  you  write  to  advertisers  please  mention  PHOTOrLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


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Praising  a  Newcomer 

Los  Angeles,  Calif. 

This  is  the  first  bouquet  I  have  ever  sent 
this  way,  but  I  just  had  to  send  it.  It  is  mostly 
for  Alyce  Mills.    I  could  rave  about  her  forever. 

She  is  as  exquisite  as  a  cameo.  She  makes 
me  think  of  lilies — white  lilies  in  a  crystal 
vase,  of  old  lace  and  rose  and  gold,  of  the 
faint  perfume  of  orange  blossoms,  and  when 
she  smiles,  that  twisted  smile,  "Humoresque." 

I  also  would  like  to  see  more  of  Douglas  Gil- 
more.  He  and  Alyce  Mills  would  be  splendid 
together. 

William  Powell  should  play  roles  like  those 
that  have  made  Adolphe  Meniou  famous.  He 
is  sophisticated  and  worldly  and  he  is  too  much 
a  gentleman  to  always  play  villains. 

Two  stories  by  Frances  Hodgson  Burnett  I 
would  like  to  see  as  pictures  are:  "The  Head 
of  the  House  of  Coombe"  and  "Robin"  with 
Mary  Astor  and  Conrad  Nagel. 

Miss  Maisie  Harris. 


Visions 

Peoria,  111. 

Here  are  some  of  the  things  I  would  like  to 
see: 

Esther  Ralston  get  the  part  of  Lorelei  in 
"Gentlemen  Prefer  Blondes." 

Mary  Astor  playing  Evangeline. 

Hclcnc  Costcllo  playing  a  part  similar  to 
those  Betty  Compson  u?cd  to  do. 

Alice  Terry  playing  a  dual  rule;  one  in  a 
blonde  wig  and  the  other  natural. 

Eugenia  Gilbert  in  drama. 

Ricardo  Cortez  playing  opposite  Dolores 
Costello. 

Edith  Roberts  doing  another  version  i 

Miss  LotJISE  Kramer. 

Bouquets  for  All 

Los  Angeles,  Calif. 

I  now  take  off  my  hat  to  Madge  Bellamy. 
I  used  to  consider  her  the  most  insipid  of  stars. 
but  since  witnessing  her  performance  in 
"Sandy"  all  is  forgiven.  In  thi>  picture  she 
revealed  charm,  depth,  and  versatility.  In  no 
two  scenes  did  she  look  or  act  the  same.  Hers 
was  a  most  difficult  role  and  she  played  it 
naturally  and  convincingly. 

And  Harry  Beaumont  can  step  up  with  the 
rest  of  the  boys,  our  four  or  five  intelligent 
directors.  There  are  a  couple  of  scenes  in  his 
"Sandy"  that  for  sheer  subtlety  and  imagina- 
tion even  Lubitsch  or  von  Stroheim  could  not 
surpass.  It  takes  art  to  transform  a  cheap 
serial  story  into  an  intelligent,  well  acted  and 
artistic  picture. 

Every  night  I  thank  God  for  Sweden  for 
producing  Greta  Garbo.  She  is  the  most  fas- 
cinating lady  to  reach  the  screen  since  Pola 
capered  through  "Passion."  Keep  your  head. 
Greta,  and  yours  will  be  a  long  and  interesting 
career.     Don't  think  of  yourself  as  a  genius. 


Let  the  public  do  that,  and  take  everything 
that  dear  people  say  with  a  grain  of  salt. 

Helen  McGarry. 

For  William  Haines 

Little  Rock,  Ark. 

Here  is  a  bouquet  for  William  Haines  and 
his  supporting  cast  in  the  picture  "Brown  of 
Harvard." 

"  Brown  of  Harvard  "  is  by  far  the  best  story 
of  college  life  that  has  reached  the  screen.  It 
possesses  sincerity  and  a  lack  of  the  usual 
mock  heroes  that  have  been  noticeable  in  other 
stories  of  youth. 

William  Haines  as  Tom  Brown  presents 
one  of  the  most  whole-souled  and  winning 
characterizations  of  a  "peppy."  mischievous, 
altogether  laudable  American  boy.  He  makes 
his  spectators  feel  not  that  he  is  an  actor  play- 
ing the  role  of  a  young  college  boy,  but  that 
he  w  a  college  boy. 

Mary  Fletcher. 

Alberta's  a  Star.  Now 

Chicago. 
If  you  really  want  to  know  a  cute,  pert, 
lively  and  smart  acting  girl,  call  on  Alberta 
Vaughn.  She  really  sets  you  to  thinking  at  her 
clever  little  performances.  She  has  such  a 
merry  twinkle  in  her  bright  eyes.  We  need 
and  want  more  like  Alberta.  The  slow,  sad 
pictures,  not  for  me.  She  sure  did  show  her- 
self proud  in  "The  Adventures  of  Maizie."  I 
will  never  see  too  much  of  Alberta.  Please 
let's  have  more  of  her. 

Peggy  Perrine. 

My  Gosh! 

Savannah,  Ga. 

Who  is  responsible  for  the  mass  of  mediocre 
pictures  turned  loose  on  us?  Once  in  a  while, 
to  keep  us  from  giving  up  to  despair,  the  pro- 
ducer give  us  something  good,  but  this,  I 
believe,  is  largely  accident;  they  rarely  take  a 
chance.  For  one  "Greed"  there  are  dozens  of 
hokum-filled  "Runaways";  "The  Grand 
Duchess  and  the  Waiter"  is  followed  by  inter- 
minable "That  Royle  Girl,"  and  for  one  "Lady 
Windermere's  Fan"  we  have  endless  Swanson 
confections  and  Glyn  glutens. 

A  favorite  player  presents  a  fine  characteri- 
zation and  we  visualize  them  in  some  role  por- 
traying  some  great  tragic  love  in  history  or  en- 
thralling book;  full  of  enthusiasm  we  write  their 
director  suggesting  it;  back  he  comes  "we 
agree  it  would  have  good  picture  value,  but  it 
would  not  take  with  average  picture  audience." 
As  one  of  the  "average"  I  resent  this  assump- 
tion we  can  digest  nothing  stronger  than  pap. 
or  as  a  great  treat,  a  sugar  cookie.  Strange  as 
it  seems,  we  are  not  all  Bird  Brains. 

Poor  Mme.  Negri — a  wonder  under  Lubitsch 
— look  at  her  now  and  bust  out  cryin'. 

Sara  A.  Johxaxxsen. 

[  CONTTXTJED  OX  PACE   I IQ  ] 


Trouping  With  Maude  Adams 


f  conttjstjed  from  page  8i  ; 


play.  Before  I  left  that  night  it  was  agreed 
that  I  should  have  a  chance  at  it  and  also 
play  a  minor  role  in  "The  Legend." 

Rehearsals  of  "Rosalind"  began  before  the 
completion  of  Miss  Adams'  metropolitan  en- 
gagement. There  were  only  three  characters 
in  this  charming  little  play  of  Barrie's;  Miss 
Adams,  in  the  role  of  an  actress  who  masquer- 
ades as  her  own  mother,  an  elderly  housekeeper 
and  my  role  of  the  boy  who  loved  the  actress. 

It  was  in  rehearsing  "Rosalind"  that  I 
really  learned  to  appreciate  the  true  gentle- 
ness that  is  Maude  Adams'.  She  gave  un- 
stintingly  of  her  own  invaluable  experience 


and  advice.  And  she  insisted  that  we — the 
character  actress  and  I — should  have  every 
bit  of  credit — every  chance  for  applause — that 
our  roles  afford  us. 

When  we  started  on  a  tour  that  carried  us 
through  most  of  the  Eastern  states  I  dis- 
covered another  significant  and  typical  fact; 
almost  every  member  of  the  company  had 
been  one  or  more  seasons  with  Miss  Adams 
and  many  of  them  had  refused  more  lucrative 
or  important  roles  in  order  to  remain  with 
her!  There  was  one  veteran  who  was  play- 
ing his  eighteenth  consecutive  season  with 
her  and  there  were  many  who  could  boast  of 


advertisement   in  PnOTOPI.AY   MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


live  or  more  years  in  JMiss  Adams'  company. 
As  the  tour  progressed  I  learned  to  under- 
stand why  these  people  served  with  such  de- 
votion. It  was  because  they  loved  Miss 
Adams  and  she  loved  them.  From  call  boy 
to  leading  man,  they  worshipped  her  and 
worshipping  they  gave  unstintingly  of  their 
best. 

A^T'CH  has  been  said  and  written  about  Miss 
■•'''■'■Adams'  avoidance  of  the  professional 
spotlight  of  publicity.  There  is  a  legend  that 
she  was  never  interviewed  by  the  press  and  it 
is  certain  that  she  sought  to  remain  always  in 
the  background  outside  the  theater. 

I  have  heard  people  who  did  not  know  her 
hazard  the  guess  that  this  modesty  was  as- 
sumed for  professional  reasons;  that  it  made 
her  "different"  from  the  other  stars  of  the 
theatrical  world  and  thereby  attracted  more 
attention  than  hundreds  of  newspaper  inter- 
views and  acres  of  advertising  space  might 
have  done. 

That  it  did  attract  attention  is  true.  But 
the  motives  which  animate  Miss  Adams  today 
to  stay  out  of  the  public  eye  are  the  same  that 
governed  her  in  her  active  days  in  the  theater. 
An  innate  shyness  and  a  very  genuine  modesty- 
were  and  are  the  real  reasons  as  anyone  who 
knows  her  will  testify. 

It  was  this  sensitiveness  that  used  to  prompt 
her  to  dress  in  the  utmost  simplicity,  wear  a 
heavy  veil  when  traveling  and  remain  dis- 
creetly in  the  background  whenever  possible. 
The  only  times  that  I  ever  knew  her  to  relin- 
quish her  incognito  were  when  some  of  her 
beloved  company  needed  her  assistance — 
then  the  Maude  Adams  that  never  failed  to 
change  enemies  into  friends  stepped  into  the 
breach.  The  result  was  invariably  the  same — 
the  gentle  lady  swept  all  opposition  before 
her;  overcoming  that  which  made  all  of  us  who 
knew  her  labor  for  her.  love  her  and  revere  her. 


Lon  Chaney  wears  his  own  face, 
with  no  make-up  to  deceive  you, 
in  "Tell  It  to  the  Marines."  Of 
course,  it  isn't  what  you  might  call 
a  matinee  idol  role  but  anyway,  for 
the  first  time,  Chaney  will  present 
his  own  eyes,  nose  and  mouth  to 
the  camera 


What  Elizabeth  Richey  Dessez — 
whose  portrait  appears  at  the 
right — has  to  say  on  this  much 
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interest  in  view  of  her  combined 
social  and  professional  experience. 
For  she  grew'  up  among  Virginia's 
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Sex — With  a  Sense  of 
Humor 

[  CONTINUED  FROM  PAGE  42  ] 

"Listen,  don't  you  think"  he  starts  and  the 
enthusiasms  and  the  loyalties  and  impulses 
come  tumbling  out,  salted  with  gossip  and  wise 
observations. 

His  next  picture  is  to  be  Dreiser's  "An 
American  Tragedy,"  a  grim  story  that  ends 
in  the  death  house  at  Auburn  prison. 

"Listen,''  says  Mai,  busily  consuming  maca- 
roni and  chicken  livers.  "Dreiser's  right 
simply  calling  it  'An  American  Tragedy.' 
The  commonplaceness  of  murder  and 
capital  punishment  in  this  country!  It  hap- 
pens all  the  while.  Dreiser  took  two  books 
to  tell  it,  but  any  good  news  reporter 
writes  the  same  story  every  six  months  and 
gives  it  half  a  column. 

"Listen.  Who  do  you  think  ought  to  do 
the  part?  Not  any  of  the  chaps  suggested,  do 
you  think?  Xot  Glenn  Hunter  or  Charles 
Emmett  Mack.  Good  actors,  both  of  them, 
but  not  right.  It  ought  to  be  someone  new  to 
the  screen  who  will  be  Clyde  Griffiths  and  not 
a  movie  actor." 

"How  will  you  find  him?"  I  managed  to 
interpose. 

"T  ISTEN."  He  gulped  his  favorite  brand 
•^of  cold  tea  hurriedly.  "He'll  come.  I'll 
keep  on  making  tests.  I  don't  care  if  I  make  a 
thousand.  Betty  Bronson  turned  up  for  Peter 
Pan.  I'll  get  my  Clyde  Griffiths. "  He  grabbed 
the  French  rolls. 

"Menjou  told  me  you  know  more  about  the 
camera  than  any  other  man,"  I  said. 

His  very  broad  grin  spread  over  his  face 
like  a  spotlight.  "  Listen,"  he  said.  "Adolphe 
thinks  I'm  a  good  dog  director,  now  that  I've 
refused  to  do  his  'Ace  of  Cads.'  But  it  was 
Adolphe  who  gave  me  the  break.  I've  been 
the  most  fired  director  in  pictures.  Honestly. 
Listen.    This  has  never  been  told  before. 

"When  I  was  a  kid  I  wanted  to  get  on  a 
paper.  So  Harry  Carr — you  know  Harry 
Carr,  the  west  coast  movie  critic — got  me  on 
the  Los  Angeles  Times.  I  wanted  to  be  a 
cartoonist.  The  job  Harry  got  me  was  office 
boy.  Five  dollars  a  week.  There  isn't  any 
lower  form  of  life  than  being  a  newspaper 
office  boy.  It  was  terrible.  But  I  got  to  be 
the  cartoonist.    Then  I  was  terrible. 

"Harry,  who  at  that  time  was  sporting 
editor,  began  dabbling  around  with  movies. 
He  suggested  the  same  dabbling  to  me.  I 
went  over  to  the  Sennett  lot,  as  a  comedy 
cop.  I  was  hired  and  fired,  two  tires  to  every 
hire.  Finally  they  ran  out  of  directors.  So 
they  let  me  be  one.  I  got  fired  some  more. 
Then  Gilbert  Seldes,  when  I  was  quite  perma- 
nently fired,  wrote  a  blurb  in  which  he  re- 
ferred to  one  of  my  pictures  as  a  subtle 
achievement. 

"Sennett  saw  it,  found  out  what  it  meant 
and  hired  me  back  again.  I  went,  both  in  and 
out.  Then  I  did  two  reelers — 'The  Fighting 
Blood'  series  and  on  to  Warners  where  I 
directed  Rin-Tin-Tin.    Honestly. 

"Listen.  I've  got  an  idea  that  there  is  a 
new  type  of  sex  abroad  today.  Sex  with  a 
sense  of  humor.  I  want  to  do  a  story  called 
'The  Popular  Sin'  about  divorce.  Of  course, 
there  wouldn't  be  so  much  divorce  if  more 
people  had  a  sense  of  humor,  but  if  they  did 
have  the  sense  of  humor,  there  would  be  less 
re-marriage.  Love  is  the  laughter  of  the  gods, 
don't  you  think?  I  want  to  do  that  kind  of 
stuff.  Romantic  realism.  Glyn  sex  is  too 
intense.  It's  timed.  Three  weeks.  Six 
days.  His  hour.  Their  moment.  Hot  and 
soon  over. 

"But  if  you're  a  romantic  realist  you're 
everlastingly  in  love — with  somebody.  Like 
Pola.  Listen,  Pola's  marvelous.  Wonderful. 
It's    great    directing    her.      Honestly.      Pola 


Photoplay  Magazine — Advertising  Section 


11 3 


Only  a  wife — Mrs.  Malcolm  St. 
Clair — but  pretty  enough  and  chic 
enough  to  star  in  one  of  those 
sophisticated  comedies  so  expertly 
directed  by  her  husband.  The  rise 
of  St.  Clair,  from  a  director  of 
slapstick  to  one  of  the  most  subtle 
directors  of  light  comedy,  has  been 
most  encouraging  to  other  am- 
bitious young  Americans 


would  like  to  play  Czarinas  and  things  all  the 
time,  so  that  when  she  got  interested  in  a  man 
she  could  knock  him  over  and  drag  him  off. 
Not  a  third  of  her  charm  screens.  She's 
remarkable. 

"Listen.  This  world  is  full  of  charming 
people.  Truly.  I  know  a  couple  of  hundred 
myself.  Louise  Brooks.  You  met  Louise, 
didn't  you?  Charm?  Ye  gods!  JMenjou. 
With  that  face  like  a  mask.  I  believe  it  was 
years  before  he  knew  he  had  it  for  he's  not 
like  that  inside.  But  that  marvelous  face. 
Imagine  being  ruled  by  your  face  that  had 
nothing  to  do  with  you." 

He  looks  up  and  behold  he  knows  a  beauti- 
ful blonde  across  the  room.  He  rushes  over 
to  say  hello  to  her  and  rushes  back. 

"When  Paramount  gave  me  my  first  real 
chance  in  'Are  Parents  People?' "  he  said, 
"J  said  I  wanted  Menjou  in  the  cast.  They 
told  me  I  could  have  him  if  I  could  get  him. 
'He's  a  dog  director,'  said  Adolphe  when  I 
was  mentioned.  'That's  all  he  ever  will  be. 
I  won't  work  with  him. ' 

"T  FELT  I  had  to  have  him  for  that  father 
-*■  role.  Actually,  Menjou  needed  the  part,  too. 
He  was  playing  too  much  of  the  society  slicker. 
He  had  to  show  the  public  the — the — well, 
you  can  only  call  it  sweetness — he  really  has. 
That  role  had  the  quality  of  it.  So  I  went 
to  him  and  said,  'Chaplin  gave  you  your 
chance,  didn't  he?  He  let  you  get  away  from 
heavies  and  do  your  stuff.  Give  me  a  chance 
and  save  me  from  the  dogs.'  He  did  and  now 
'The  Grand  Duchess  and  the  Waiter'  is  his 
most  successful  picture.     Mine,  too. 

"Listen.  Do  you  think  I  slipped  with  'A 
Social  Celebrity'?  I  did.  That  was  simply 
a  character  idea.  Not  a  story.  That  was 
the  fault  in  it.  There  wasn't  enough  to  it. 
There  has  got  to  be  something  pretty  heavy 
in  a  plot  you  want  to  treat  very  lightly. 
Otherwise  it  blows  away  on  you.  That's  why 
I  refused  'The  Ace  of  Cads.'  I  can  see  it 
only  as  a  character  idea,  not  as  a  real  plot." 

He  was  attacking  an  ice  now.  "Listen," 
he  said.  "There  are  no  subtleties  except 
mental  subtleties.  Those  can  be  either  comic 
or  tragic.  They  are  never  in  between,  thank 
heaven.  That's  why  if  you  stick  to  them, 
you  can't  be  dull.  I'd  rather  do  the  comic 
ones,  so  I  slant  toward  sex  in  my  pictures, 


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tion  PHOTOPLAY 


i  i  4  Photoplay  Magazine — Advertising  Section 

A  "paste  tip"  to  help 
you  win  contest 


//  you  are  working  on  Photoplay's 
Movie  Star  contest,  you'll  have  a 
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do  it  the  handiest  way.  So  read 
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The  slickest 
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rubber  tip  opens,  allowing  just  enough 
paste  to  come  through.  When  you  stop 
spreading,  this  slit  closes.  Then  lay  tube 
down.  That's  all.  Works  better  than  a 
brush — spreads  like  the  human  finger. 
And  the  remarkable  part  is,  it  always 
works  this  way  until  the  paste  is  used  up. 

Always  Ready 

Handiest  package  ever  invented  for  paste  or  muci- 
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where  the  most  comic  of  them  lie.  But  it 
won't  take  any  change  in  method  to  do  'An 
American  Tragedy.'  I'll  show  the  tragic 
subtleties  in  that  case.  But  you  see  why  that 
boy  has  got  to  have  as  much  charm  as  the 
Waiter  had  to  have  for  the  Grand  Duchess. 
Only  he'll  make  you  cry  instead  of  laugh." 
He  paid  his  check  and  glanced  at  the  time. 
We  looked  at  each  other  in  astonishment. 
Somewhere  three  charmed  hours  had  dis- 
appeared. "Look  at  that,"  he  said.  "I  don't 
want  to  but  I've  got  to  go  to  Long  Island. 
There  are  final  shots  of  'The  Show-off  to 
be  done.     Ford  Sterling  is  going  to  be  great. 


I'm  not  so  very  keen  on  doing  the  great  Ameri- 
can boob.  Largely  because  I  don't  particu- 
larly believe  in  him. 

"But  Sterling's  great.  ButT  want  to  stick 
to  these  charming  people  who  actually  enjoy 
being  in  love." 

His  long  legs  flapped  in  their  oxford  bags 
as  he  raised  himself  up  into  some  vast  altitude. 

"Give  me  an  epigram  before  you  go,"  I 
begged. 

"Listen.  Give  me  time  to  think  as  much 
as  I'm  able.  I  know.  When  you've  learned 
to  get  the  most  amusement  out  of  the  most 
trifling  thing,  you've  got  the  world  licked." 


Wholesale  Murder  and  Suicide 


[  CONTINUED  FROM  PAGE  33  ] 


The  second  exercise  is  to  reduce  the  thighs 
and  legs.  Again  lie  flat  on  the  floor  and  raise 
the  right  leg.  Keeping  the  knee  straight, 
slowly  describe  a  circle,  bringing  the  foot  close 
to  the  ground  on  the  down  curve.  Now  repeat, 
using  the  left  leg.  Do  it  slowly  and  be  sure 
you  can  feel  the  muscles  stretch. 

"NJOW  for  an  exercise  to  do  away  with  that 
•^  '  troublesome  fat  on  the  back  and  between 
the  shoulders.  Lie  flat  on  the  floor — face  down 
this  time.  Stretch  your  arms  above  your  head 
and  keep  your  head  down.  Now  raise  your 
arms,  your  head  and  your  legs.  The  knees  and 
elbows  must  be  straight  and  the  whole  exercise 
must  be  taken  with  one  movement  of  the  body. 

You  will  not  find  this  easy  at  first,  simple  as 
it  sounds.  And  yet  it  is  one  of  the  most  useful 
of  all  exercises  as  it  gives  a  graceful  posture  and 
a  slim,  straight  back. 

Here  is  a  good  exercise  for  the  back  and 
waist.  Lie  fiat  on  the  floor,  arms  at  the  sides. 
Draw  yourself  up  into  sitting  posture,  stretch- 
ing the  arms  so  that  the  palms  of  the  hand  arc 
touching  your  toes.  When  you  do  this,  do  not 
help  yourself  with  your  hands.  That's  cheat- 
ing. Make  your  back  do  the  work.  Now  slow- 
ly draw  your  body  back  to  a  semi-reclining 
position. 

As  you  see,  none  of  these  exercises  are  stren- 
uous, none  of  them  require  any  time,  none  of 
them  require  any  apparatus.  But  if  you  prac- 
tice them  faithfully  and  carefully  once  a  day, 
you  will  notice  the  benefits.  And  they  are  in- 
valuable to  the  girl  who  is  determined  not  to 
allow  herself  to  get  fat. 

If,  at  first  glance,  the  miracles  promised  by 
the  unscrupulous  vendors  of  drugs  and  the 
disseminators  of  freak  diets  sound  more  thrill- 
ing than  the  results  achieved  by  reduceo- 
sanity,  let  us  consider  some  of  the  victories  of 
sane  diet  and  sane  exercise. 

Miss  Hines  told  me  about  a  few  of  the  grati- 
fying results  of  her  work.  Dr.  Savage's  clients 
are  so  prominent  in  the  social  and  professional 
world  that  he  refuses  to  allow  their  names  to  be 
published.  It  isn't  good  professional  etiquette, 
although  the  quacks  have  no  bashfulness  about 
using  endorsements. 

One  stage  star  recently  took  the  gymnasium 


course  and  reduced  her  waist  line  by  eight 
inches.  Her  reduction  in  weight  was  not  great, 
but  her  change  in  physical  appearance  and  her 
improvement  in  health  were  remarkable.  She 
worked  in  the  gymnasium  for  two  months. 

Could  any  thyroid  mixture  or  any  freak  diet 
have  given  such  satisfactory  results? 

The  wife  of  a  prominent  movie  magnate 
came  under  the  care  of  Miss  Hines.  The 
woman  was  the  mother  of  grown  children  and 
weighed  one  hundred  and  ninety-seven  pounds. 
She  was  fat  and  middle-aged  and  utterly  un- 
accustomed to  exercise. 

TT  was  a  difficult  case,  but  the  woman  had 
-l-patience  and  persistence.  And  she  followed 
orders  implicitly.  When  she  left  Miss  Hines, 
sin-  weighed  one  hundred  and  thirty-eight 
pounds.  It  took  her  a  year  to  do  it  but  she  did 
it  without  drugs  or  a  drastic  diet. 

Was  it  worth  it?  Well,  the  woman  not  only 
is  slim,  but  she  looks  ten  years  younger  than 
she  did  a  year  ago.  And  she  is  able  to  play  a 
brisk  game  of  tennis  with  her  children.  Her 
health  is  excellent. 

Could  reduccomania.  with  its  dangerous 
methods,  have  equalled  the  results  of  reduceo- 
sanity? 

With  all  its  follies  and  with  all  its  tragedies, 
my  investigations  have  convinced  me  that  this 
craze  for  reducing  has  had  many  good  results. 
Balanced  against  the  harm  wrought  by  its 
extravagances,  is  the  good  that  has  been  ac- 
complished by  this  newly  awakened  interest 
among  women  in  the  stale  of  their  bodies. 

The  woman  of  today  is  genuinely  and  vitally 
interested  in  improving  her  body,  not  by  cor- 
sets and  artificial  appliances,  but  by  building 
up  a  good  physique.  Many  women  have  made 
mistakes  and  attacked  the  problem  with  more 
enthusiasm  than  good  sense.  But  a  majority 
of  these  women  have  profited  by  their  mistakes. 
Quacks  and  fakers  have  rushed  to  satisfy  this 
new  curiosity,  but  the  harm  they  have  done  is 
gradually  being  offset  by  the  sound  informa- 
tion that  is  being  spread  on  the  subject. 

If  these  articles  have  proved  genuinely  help- 
ful and  informative  even  to  one  woman. 
Photoplay  will  consider  that  it  has  done  a  real 
service  toward  the  art  of  right-living. 


Girls1  Problems 


[  CONTINLTED  FROM  PAGE  88 


Worried: 

Your  mother  is  perfectly  right.  No  fifteen 
year  old  girl  should  go  on  a  diet  because  you 
are  growing  and  at  your  age  a  person's  weight 
fluctuates  a  great  deal.     You  should  weigh 


little  over-weight   rather   than   under-weight. 
Helen  W.: 

Helen,  I  do  not  mean  to  lecture,  but  I  cer- 
tainly do  think  that  your  dresses  shouldn't  be 
so   skimpy   that   your   garter   buckles   show 


approximately  118  pounds,  but  if  you  are  10  through  them, 

pounds  over  that  weight  it  really  doesn't  mat-  You  might  wear  round  garters  if  you  do 

ter  in  the  least.  not  find  them  too  uncomfortable.     This  may 

While  still  under  thirty,  one  should  be  a  solve  your  problem. 


Every  advertisement  in  PHOTOPLAY   MAGAZINE  is  guaranteed. 


Photoplay  Magazine— Advertising  Section 


"5 


Miss  Fourteen: 

If  I  were  you  I  would  keep  my  coat  of  tan 
until  the  summer  is  over.  Protect  your  skin 
so  that  you  won't  get  unduly  sunburned 
because  too  bad  a  case  of  sunburn  permanently 
alters  the  quality  of  your  skin.  But  nothing 
looks  smarter  on  a  young  girl  than  nice, 
healthy  color  and  since  you  are  so  blonde  it 
must  be  very  attractive.  I  realize  the  difficulty 
when  you  are  wearing  evening  frocks,  but  since 
sports  models  in  evening  clothes  are  just  as 
good  this  season  for  evening  as  for  day  wear, 
why  don't  you  wear  them  and  stop  worrying 
about  your  sun  tinted  skin. 

Bothered  Boots: 

The  chances  are  that  your  boy  friend  has 
forgotten  all  about  those  silly  kid  letters  you 
wrote  him.  I  wouldn't  bring  the  matter  up 
when  you're  marching  around  the  school  halls 
together.  But  if  you  meet  him  outside  some 
time  you  might  refer  to  it.  I  would  treat  it  as 
a  joke  when  speaking  to  him.  Ask  him  if  he 
remembers  the  nonsensical  epistles  that  you 
wrote  to  him.  Show  that  you  have  practically 
forgotten  them  and  regard  them  merely  an 
amusing  incident  in  your  life.  For  goodness 
sake,  don't  make  him  feel  that  you  regard  them 
as  love  letters  of  any  sort  because  if  you  take 
that  attitude  he  will  shy  away  as  sure  as  can  be. 
But  you  don't  need  to  worry  about  them.  Any 
girl  of  twelve  cannot  really  be  held  responsible 
for  anything. 

C.  B.  H.: 

Bow-legs  is  a  difficult  condition  to  cure.  I 
would  advise  you  to  go  to  a  Y.  W.  C.  A.  in  your 
city  and  take  a  course  in  corrective  gymnastics. 
I  know  of  many  cases  where  such  exercises  have 
helped  girls.  I  also  know  of  two  girls  who  had 
their  legs  broken  and  reset  straight.  On  the 
other  hand,  it  was  very  expensive,  dangerous 
and  painful.  I  would  certainly  give  exercise 
under  authorized  teachers  a  trial  before  resort- 
ing to  this  method. 

Curly  Headed  Mick: 

Something  must  be  the  matter  with  your 
diet.  You  must  definitely  go  on  a  regime 
and  eat  what  will  increase  your  weight.  Your 
lying  awake  and  crying  at  night  is  one  of  the 
things  that  keeps  your  weight  down.  You 
must  get  plenty  of  sleep  and  rest — both  of 
which  increase  weight.  You  must  eat  fatten- 
ing foods,  that  is,  lots  of  milk,  butter,  eggs, 
fresh  vegetables — particularly  peas  and  pota- 
toes and  beans — all  of  which  are  weight  in- 
creases. Don't  eat  much  pastry  and  little  or 
no  coffee  and  tea.  Any  form  of  exercise  will 
build  up  your  general  health.  If  you  will  be 
careful  of  yourself  I  believe  you  can  put  on  20 
pounds — all  of  which  you  need — in  a  very 
little  while.  Above  all  don't  fret  and  don't  be 
discouraged  because  yours  is  a  condition  very 
easily  remedied. 

Bubbles: 

Yes,  my  dear,  you're  a  little  over-weight,  but 
it  doesn't  matter  in  the  least  at  16.  It's  much 
better  to  be  over-weight  than  under-weight  at 
your  age,  so  don't  start  to  reduce.  You  can 
wear  white  relieved  with  some  other  color; 
golden  brown;  blue;  blue-gray;  darkest  purple; 
no  red;  pale  pink;  soft  rose  and  bronze.  To 
dress  your  hair  low  is  a  little  smarter  this  year. 
Dressing  it  high  on  your  head  makes  you  look 
older,  and  the  simplest  coiffure  is  the  best. 
Even  the  girls  who  haven't  their  hair  bobbed 
are  wearing  it  to  look  as  though  it  were  bobbed. 
The  closer  the  hair  lies  to  your  head  this  sea- 
son, the  more  charming  it  appears.  Light 
rachel  powder  would  be  best  for  you.  Regard- 
ing heavy  perfumes,  the  social  edict  that  they 
were  incorrect  has  been  lifted  and  everyone  is 
going  in  for  even  heavier  perfumes  than  before. 
You  may  follow  your  own  judgment  on  this 
matter.  This  year,  well  dressed  women  are 
wearing  wide-brimmed  shaped  hats  and  close 
fitting  hats.  It  depends  on  the  costume  you 
are  wearing.  But  on  a  hot  summer  day  noth- 
ing is  more  charming  than  a  large  hat. 


A   NEW   MAN 

To  feel  oneself  a  new  man  with  each 
new  day  is  part  and  parcel  of  physical 
well-being.  But  daily  revival  is  im- 
possible if  the  dregs  of  yesterday  are 
permitted  to  poison  the  cup  of  life 
today.  It  is  a  law  of  right  living  to 
have  no  regrets  rankling  in  head  or 
heart,  and  no  toxic  burdens  lingering 
in  the  body. 

The  gentle  discipline  of  ENO'S  Effer- 
vescent Salt  will  help  to  keep  both 
mind  and  body  clear  for  action.  The 
dash  of  ENO,  taken  in  a  half  glass 
of  water  in  the  morning,  promotes 
intestinal  regularity.  It  helps  to  re- 
move yesterday's  waste  out  of  the  way 
of  today's  work.  And  yet,  ENO  is  not 
revolutionary  in  its  method.  It  is  gen- 
tle and  persuasive,  assisting  nature,  not 
bullying  her.  The  dry  mouth  and 
throat  luxuriate  in  it,  and  the  inner 
organs  accept  it  gratefully,  because  it 
gives  them  just  the  help  they  welcome 
and  need,  perhaps  more  than  you 
suppose.  There  isn't  a  trace  of  any- 
thing harsh  or  hasty,  either  in  what 
it  is  or  what  it  does. 

ENO,  the  World-famed  Effervescent  Salt, 

is  obtainable  from  all  druggists  at 

$1.25  and  75c  a  bottle 

Prepared  only  by 
J.  C.  ENO,  Ltd.,  London,  England 

Sales  Agents: 

Harold  F.  Ritchie  qc  Co.,  Inc. 

171  Madison  Avenue,  New  York 
Toronto  Sydney  Wellington 


ENO 


itlon  PHOTOPLAY  MAGAZINE. 


I  10 


Photoplay  Magazine— Advertising  Section 


BATHASWEET 


No  wonder  this  is 
the  favorite  luxury 

of  gentlewomen 

When  a  prominent  magazine 
recently  asked  a  number  of  well- 
known  women  to  name  their 
favorite  luxury,  a  great  major- 
ity answered  it  was  the  per- 
fumed bath  of  softened  water. 

To  bathe  amid  the  sweet  fragrance 
of  a  flower  garden  in  water  so  soft 
and  limpid  that  it  tells  you  by  its  very 
feel  how  good  it  is  for  your  skin — to 
step  from  your  tub  with  an  almost 
imperceptible  perfume  clinging  to  you 
— what  luxury  could  vie  with  this? 

And  It  Is  So  Qood 

for  the  Skin 

Nothing  helps  more  to  keep  the 
skin  soft  and  dainty  than  truly  soft- 
ened water.  Just  sprinkle  Batha- 
sweet  into  your  tub  and  wash  bowl 
regularly  for  a  few  weeks,  and  in- 
evitably you  will  notice  your  skin  take 
on  a  softer  beauty  that  is  particularly 
charming,  because  it  speaks  so  clearly 
of  the  care  you  have  taken  of  your 
skin. 

The  "Scentless" 
personal  fragrance 

Bathasweet  does  not  cover  up  bodv 
odors.  But  by  softening  the  water 
it  cleanses  the  pores  more  completely. 
washing  away  every  trace  of  odor 
and  leaving  a  dainty,  almost  scent- 
less fragrance  that  is  indescribably 
lovely. 

And  Bathasweet  costs  so  little. 
For  over  20  years  it  has  been  one  of 
the  least  expensive  of  the  good  things 
of  life.  At  all  good  Drug  and  Depart- 
ment Stores,  25c,  50c,  $1,  and  $1.50. 


FREE 


A  can  sent  free  if  you  mail  this  co 
pon  with  name  and  address  to  C. 
Welch  Co.,  Dept.  PI.  New  Yor 


Everyone  always  said  that  the  man  who  married  Mae  Busch  would 

have  to  rush  her  to  the  license  bureau  before  she  could  have  time 

to  change  her  mind.     John  Cassell  tried  the  whirlwind  stuff— 

and  won  Mae 


Dorothy,  Ottawa,  Canada:  u„1C5S  too  highly  colored.  No,  it  isn't  neces- 
\  ou  re  unwise  to  try  to  reduce  so  early  after  sary  to  be  forward  and  loud  spoken  in  order  to 
your  operation.  Please  don't  do  it  any  more,  be  popular.  On  the  other  hand,  the  little  grey 
For  a  year  after  any  serious  operation  one's  mouse  is  rarely  a  social  riot.  Boys  do  admire 
general  health  hangs  somewhat  in  a  balance,  peppy  girls  and  the  girls  that  are  quiet  are  apt 
Even  at  128  you  are  not  over-weight.  You  can  to  impress  them  as  being  slow.  You  had  bet- 
wear  white   relieved   with  some  other  color;  ter  reduce,  Trudy,  and  wear  as  smart   and 


black  not  especially  good;  blue;  golden  brown 
no  red;  darkest  purple;  pale  pink  and  soft  rose 
Either  a  dark  or  a  light  rachel  powder  would  be 
good  for  you.  You  might  experiment  to  sec 
which  one  brings  out  the  color  of  your  eyes 
best.  The  same  is  true  of  rouge  and  lipstick. 
I  am  glad  you  do  not  worry,  but  be  careful 
about  your  sarcasm.  It  is  very  good  some- 
times, but  a  little  bit  goes  a  very  long  way. 

Happy: 

You're  not  over-weight.  You  can  wear 
black  of  high  lustre;  dark  brown  and  bronze 
brown;  peacock,  navy  and  delft  blues;  pale  and 
dark  green;  pearl  and  dove  grays;  soft  violet 
and  wistaria;  no  reds;  softest  yellow  and  most 
delicate  shades  of  pink.  Since  you  are  so 
blonde  you  can  probably  wear  white  powder 
if  you  want  to  or  even  flesh  powder.  But  in 
New  York  the  powder  with  a  little  more  yellow- 
in  it  is  more  popular.    You  don't  need  to  worn' 

about   not   liking   the   mannish  bob  because     seems  a  shame  for  you  to  waste  it.    If  I  were 
there  are  so  many  expert  barbers  today  that  if     >'ou  I  would  use  it  up  on  my  purely  informal 
you  don't  like  your  hair-cut  one  week  you  can     correspondence. 
have  it  changed  the  next.    You  should  become 
a  better  dancer  if  you  want  to  be  more  popular     Puzzled: 

with  the  boys.  You  say  you  are  only  fairly  You  are  about  20  pounds  over-weight  If 
good  now,  I  think  you  ought  to  practice  more  you  will  send  me  ten  cents  in  stamps  I  will  be 
because  the  girl  who  really  is  a  good  dancer  very  glad  to  send  you  directions  on  reducing, 
has  solved  a  great  deal  of  her  social  problem.  About  your  leaving  home.  It  is  difficult  to 
Don't  worry  about  this  "hot  date "  boy  friend  advise  you.  Any  girl's  home  is  usuallv  the  best 
of  yours.  After  all  you're  only  16  and  you've  influence  she  can  have  about  her.'  On  the 
still  a  lot  of  time  left  before  settling  down  to  other  hand,  at  23  you  are  a  mature  and  adult 
going  around  with  one  boy.  person  and  I  think  you  should  be  permitted 

some  pleasure  by  your  parents.    It  seems  un- 
RyDY,:  just  not  to  be  permitted  to  entertain  vour  girl- 

iou  re  about  17  pounds  over-weight.  You  friends.  Can't  you  talk  this  over  with  your 
should  weigh  in  the  neighborhood  of  122  mother?  Every  normal  person  must  nave 
pounds.  You  can  wear  black  with  white  relief;  friends  and  most  of  us  have  one  or  two  very 
lyory  and  cream  white;  all  shades  of  brown;  intimate  friends.  I  really  think  this  is  a  matter 
electric  and  sapphire  blues;  orchid;  burgundy  which  vou  must!  take  up  seriouslv  with  vour 
and  dark  red;  amber  and  pale  yellows;  all  pinks     parents  if  you  are  to  be  happy. 


charming  clothes  as  you  can.  You're  only  19 
after  all  and  I  am  sure  you  ought  to  be  able  to 
put  yourself  across  with  the  opposite  sex. 

Patricia  R.: 

For  one  thing,  Patricia,  you  shouldn't  cut 
your  nails  with  a  scissors.  It  weakens  them. 
Soak  your  nails  every  night  in  slightly  warm 
sweet  almond  or  olive  oil.  The  liquid  may  be 
put  into  a  cup  at  a  depth  just  sufficient  to 
cover  the  finger  tips.  The  soaking  should  be 
for  ten  minutes  at  least.  Brittle  nails  are  due 
to  a  poor  general  health  condition.  If  you  will 
build  up  your  general  health  this  condition  will 
clear  up. 

Jerry : 

White  writing  paper  is  always  considered  in 
better  taste  than  colored  paper.  But  since  you 
have  been  given  this  other  paper  as  a  gift,  it 


Eyery  advertisement  in  rnoTOn.AY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Billie : 

The  way  you  don't  like  yourself,  Billie, 
amuses  me  a  great  deal.  And  I  feel  sure  in  de- 
scribing yourself  you're  not  doing  yourself 
justice.  Pug  noses  aren't  so  bad,  really  they 
aren't.  If  you  have  a  pug  nose  it  gives  the  boys 
something  to  tease  you  about  and  that  is  a  big 
help.  It  is  very  difficult  to  change  the  shape  of 
one's  nose  after  maturity.  So  let  it  alone.  No, 
I  don't  think  smoking  is  terrible  but  it  isn't 
particularly  good  for  any  girl  and  is  an  expen- 
sive habit.  But  I  have  no  feelings  about  it 
from  a  moral  standpoint.  Warts  on  the  face 
should  be  removed  by  a  reputable  physician. 
The  following  lotion  is  very  good  for  warts  on 
the  hands:  One  dram  of  salicylic  acid,  one 
ounce  flexible  collodion.  Mix  well.  Apply 
with  a  tiny  camel's  hair  brush  for  four  nights. 
Then  soak  in  hot  water.  Continue  the  treat- 
ment until  the  wart  disappears.  Boys  seem  to 
like  both  the  helpless,  rather  sappy,  pretty 
girls  and  the  original  girls,  not  particularly 
pretty,  but  snappy.  It  depends  upon  the  boy 
in  question.  A  smart  girl  has  two  personalities 
which  she  assumes  to  suit  the  particular  boy. 

One  gets  rid  of  a  fat  abdomen  by  exercise. 
It  is  as  simple  as  that.  Don't  worry  about 
your  eyes  being  half  shut.  It  probably  gives 
you  a  very  attractive  look.  So  you  think  you 
have  to  pet  and  kiss  a  lit  tie,  do  you?  How  can 
I  advise  you  on  that  at  this  long  distance?  I 
have  said  once  before  that  it  is  entirely  up  to 
the  individual  and  I  am  still  of  that  opinion. 
Your  letter  was  a  nice  one.  Write  me  again  if 
you  like. 

Barbara  I: 

I  cannot  recommend  the  method  of  removing 
superfluous  hair  of  which  you  write  as  I  know 
nothing  about  it.  For  permanent  removal 
there  is  nothing  as  effective  as  the  electric 
needle,  but  I  am  aware  that  this  is  very  painful 
and  very  expensive.  A  growth  of  hair  of  this 
sort  comes  from  a  poor  condition  of  the  glands. 
It  might  be  advisable  for  you  to  consult  a 
specialist,  either  a  good  skin  specialist  or  a 
medical  doctor  regarding  your  problem.  You 
should  weigh  about  134  pounds. 

Labera  Wilson: 

You  can  wear  A.  J.  M.'s  colors  above,  too. 
You  might  gain  about  6  pounds.  Brush  your 
eyelashes  night  and  morning  with  a  fine  tooth 
brush  to  promote  their  growth  and  train  them 
into  shape. 

Rosa,  California: 

My  dear,  you  are  indulging  yourself  in  being 
so  sensitive.  Stop  it  at  once  for  you  will  make 
yourself  very  unhappy  if  you  do  not.  This  is  a 
busy  world  and  even  the  most  kindly  of  us  have 
not  time  to  conciliate  the  feelings  of  persons 
too  easily  hurt.  Because  some  silly  boy  once 
made  fun  of  you  is  no  reason  for  your  ruining 
your  whole  life  by  hiding  away  from  people  and 
never  going  out.  Be  a  strong  girl  and  forget 
these  fancies.  Just  tell  yourself  that  you  are 
brave.  Hold  up  your  head  and  smile  and  I 
know  these  black  moods  will  go  away  from  you. 

Fern  B.,  Missouri: 

There  are  several  freckle  creams  and  per- 
spiration aids  advertised  in  Photoplay.  I 
can  recommend  them  all.  Are  you  as  young  as 
the  rest  of  your  letter  sounds,  Fern?  I  like 
your  frankness,  but  I  hope  you  are  sure  of  your 
own  mind.  If  you  reject  marriage  what  are 
you  going  to  put  in  its  place? 

Miss  D.  S.,  Colorado: 

I  am  still  as  much  in  doubt  as  when  I  wrote 
you  several  months  ago.  I  would  act  very 
slowly  in  the  matter  of  face  peeling.  Cocoa 
butter  is  perfectly  harmless.  It  does  fill  in 
natural  hollows,  such  as  those  about  the  neck, 
but  I  do  not  believe  it  can  fill  in  scar  tissue. 
Try  to  let  your  skin  alone  as  much  as  possible. 
Of  course,  I'm  personally  interested  in  you, 
D.  S.  I  want  to  help  you  all  I  can.  Try  not  to 
worry  about  your  appearance.  Build  up  your 
general  health  and  your  mind  and  personality 
and  jour  problem  will  be  greatly  simplified. 


y  Magazine — Advertising  section  i  i  7 

Madam — please  accept 

a  7- day  supply  of  this  amazing  new  way  of 
removing  cleansing  cream 

A  way  that  will  double  the  effectiveness  of  your  make-up 
That  will  correct  oily  nose  and  skin  conditions  amazingly 
That  holds  your  make-up  fresh  for  hours  longer  than  before 


The  ONLY  way  yet  discovered 
that  removes  all  dirt,  grime  and 
germ-laden  accumulations  in 
gentle  safety  to  your  skin 


THIS  offers  a  test  that  will  effect 
some  unique  results  on  your  skin. 
That  will  make  it  seem  shades  lighter 
than  before.  That  will  correct  oily 
skin  and  nose  conditions  amazingly. 
That  will  double  and  triple  the  effec- 
tiveness of  your  make-up. 

Modern  beauty  science  has  found 
a  new  way  to  remove  cold  cream  .  .  . 
a  different  way  from  any  you  have  ever 
known. 

It  will  prove  that  no  matter  how 
long  you  have  used  cold  cream,  you 
have  never  removed  it,  and  its  accumu- 
lation of  dirt,  entirely  from  your  skin 
...have  never  removed  it  in  gentle  safety 
to  your  skin. 

Just  use  the  coupon.  A  7-day  supply  will 
be  given  you  without  charge. 

What  it  is 

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

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

-Exquisitely  dainty,  immaculate  and  in- 
viting; you  use  it,  then  discard  it.  White  as 
snow  and  soft  as  down,  it  is  27  times  as  ab- 
sorbent as  an  ordinary  towel;  24  times  as  any 
fibre  or  paper  makeshift! 


Kleenex  'Kerchiefs — ab- 
sorbent— come  in  exquis- 
ite flat  ha  utikerchiefboxes, 
to  fit  your  dressing  table 
drawer  .  .  .  in  two  sizes: 


Stops  oily  skins  ....  Combats  skin 

imperfections 

\  irtually  every  prominent  motion  picture 
star  before  the  public  today  employs  this 
method.  Scarcely  a  woman  of  the  stage  but 
employs  it.  Foremost  beauty  specialists 
everywhere  are  urging  it  as  marking  a  new- 
era  in  skin  care. 

A  blemished  skin  largely  indicates  a  germ 
condition  of  the  pores.  You  must  clean 
them  out.  Old  ways — towels,  etc. — won't 
do  it. 

Those  remove  but  part  of  the  cream  and 
dirt,  rub  the  rest  back  in.  Thus  your  skin 
not  only  is  endangered,  but  may  seem 
several  shades  darker  than  it  is. 

In  two  or  three  days  the  use  of  Kleenex 
will  prove  itself. 

You  will  be  surprise'd  at  the  difference  in 
your  skin.  In  its  fairness,  freedom  from 
"shine,"  in  the  way  your  make-up  holds  its 
charm  and  freshness! 

Send  the  coupon 

Just  detach   the  coupon.   Use  it  by  all 
means.     You'll  be  delighted  with  what 
^jj     it  brings. 


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tilh'urbeu! — as  offered. 


mien  you  write  to  advertisers  please  mention  PIIOTOI'LAY  MAGAZINE. 


nS 


Photoplay  Magazine — Advertising  Section 


Speaking  of  Pictures 


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Empire  State,  forgiving  the  boy  who 
shot  his  stepfather,  grows  panicky  at 
the  sight  of  a  man  beating  his  lawful, 
wedded  wife. 

Truly,  by  their  laws,  may  you 
judge  their  vices. 

THHE  English  newspaper  critics 
panned  "The  Big  Parade."  All 
the  reviews  were  so  closely  in  tune 
that  I  believe  it  was  a  concerted 
attack  inspired  by  cheap  jealousy  of 
American  pictures.  "Film  tells  how 
America  won  the  war"  was  the 
chorus  they  sang.  And  Photoplay 
has  received  fifteen  letters  from 
English  people  apologizing  for  the 
stupidity  of  the  English  critics. 
We  refuse  to  judge  the  English  by 
their  critics. 

"The  Big  Parade"  made  no  effort 
to  exploit  America's  participation  in 
the  world  war. 

Its  action  was  entirely  confined 
to  the  adventures  of  a  few  men  whose 
outlook  was  limited  to  their  own 
battalion.  It  was  a  story  of  human 
beings — not  of  armies. 

That  is  why  it  was  great. 

I  refuse  to  accept  the  judgment  of 
the  English  people  by  the  narrow- 
ness of  their  newspaper  critics. 

"ENGLISH  picture  criticism  is  on 
-'-'a  par  with  English  pictures.  They 
just  do  not  know  how  to  make 
pictures.  And  they  just  won't  learn. 
There  are  no  more  beautiful  places 
in  the  world  than  in  England  to 
make  pictures.  Their  producers 
have  a  great  opportunity.  The 
motion  picture  is  universal  and 
international,  and  we  would  wel- 
come English  pictures  as  well  as 
German  pictures. 

We  are  not  singing  "The  Star 
Spangled  Banner"  when  we  put 
down  our  money  at  the  box  office. 
And  we  may  not  know  the  German 
national  anthem  when  we  go  to  see 
"Variety"  and  "The  Last  Laugh." 
But  we  do  know  a  good  picture  from 
a  bad  one — and  we  would  encourage 


a  Japanese  producer  without  money 
if  he  would  make  a  good  picture. 

Take  a  little  bicarbonate  of  soda, 
you  English  critics.  Your  own  folks 
are  giving  you  the  laugh  and  making 
"The  Big  Parade"  a  great  success 
right  under  your  noses. 

JULIAN  JOHNSON  and  I  bumped 
into  each  other  at  the  Plaza  Hotel 
the  other  day.  We  were  the  entire 
staff  of  Photoplay  once.  We  saw 
all  the  pictures  together.  Both  on 
the  sunny  side  of  thirty,  we  had 
enthusiasm  to  burn.  Some  ladies 
standing  in  the  lobby  were  discussing 
"Variety." 

"Jannings,"  said  one,  "is  the 
greatest  artist  on  the  screen  next  to 
Chaplin." 

"Get  that,  Jim, "said  Julian,  "and 
it  is  only  ten  years  ago  that  we  stood 
in  thelobby  of  a  West  Madison  Street 
nickelodeon,  in  Chicago,  and  watched 
nice  people  actually  looking  up  and 
down  the  street  lest  they  be  detected 
sneaking  in  to  see  Chaplin's  Scnnett 
comedies. 

"Slapstick comedian — ten  years — 
great  artist — what  a  wonderful  world ! 
Photoplay  then  had  13,000  circula- 
tion— now  you  have  over  600,000. 
Great  life  if  you  don't  weaken." 

Julian,  by  the  way,  has  no  kick 
himself.  He  is  supervising  editor  of 
"  Beau  Geste,  "  and  other  pictures, 
and  his  salary  isn't  far  behind  the 
President's. 

TF  there  is  anything  that  sends  my 
-'■goat  raving  and  chewing  tin  cans, 
it  is  these  folks  who  tell  an  obviously 
dirty  story  in  pictures,  and  then 
point  a  moral. 

But  the  grand  exalted  limit  is  that 
rotten  stage  play,  "Sex,"  which  is 
permitted  to  run  in  New  York,  and 
is  produced  by  a  company  calling 
itself  "The  Moral  Production 
Company." 

I'm  far  from  a  reformer,  but  I 
would  like  to  organize  an  audience 
of  baseball  players  all  armed  with  a 
dozen  ripe  tomatoes  and  eggs. 


If  you  have  a  streak  of  romance  in  you,  youll  want 
to  read  how  stars  pop  the  marriage  question  in 
October  Photoplay.    On  all  newsstands  Sept.  15. 


Every  advertisement  in  THOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I  IO 


Brickbats  and  Bouquets 


[  CONTINUED  FROM  PAGE  I  IO  ] 

Righto! 

Hotchkiss,  Colo. 

When  churches  pronounce  theaters  and 
movies  "schools  of  vice,"  they  are  committing  a 
crime  themselves.  If  they  don't  attend — how- 
do  they  know?  Life  would  be  one  long  dull 
period  without  theaters.  A  good  comedy 
makes  us  laugh  and  forget  our  troubles,  con- 
sequently a  benefit. 

Often  we  see  foreign  scenes  in  the  movies — 
animals  and  birds — in  their  native  haunts — 
the  oceans — and  thousands  of  other  interest- 
ing and  instructive  things  that  millions  would 
never  see  otherwise  in  life.  We  get  more  gen- 
eral knowledge  from  the  movies,  and  remember 
it  better,  than  from  any  other  source,  and  for  a 
few  dollars. 

Also,  why  should  a  few  "censors"  dictate  to 
a  whole  nation!  What  is  best  for  them  to  see 
on  the  screen?  People  attend  the  church  they 
like  best  and  are  not  "censored."  I  say  let 
the  theater  people  do  likewise — attend  the 
plays  they  like  best  without  being  "censored." 
Some  movies  would  be  a  good  example  for  the 
church  to  follow.  If  critics  did  as  much  to  put 
sunshine  into  people's  lives  as  the  movies  and 
movie  people,  this  would  be  a  far  happier 
world. 

Give  the  movies  credit  for  every  effort  they 
put  forth  for  our  pleasure. 

Mrs.  Maude  E.  Duke. 

A  Wise  Stand 

Sioux  City,  Iowa. 

Lately  I  have  noticed  a  number  of  people  in 
commenting  on  the  subject  of  importation  of 
foreign  stars  didn't  like  the  idea.  As  tilings 
are  today  it  would  be  impossible  to  have 
nothing  but  American  players.  The  fans  have 
an  insatiable  appetite  for  things  new  and  dif- 
ferent, not  merely  new  stories  and  settings,  but 
also  different  types  and  actors.  Mr.  Joseph 
Schenck,of  the  United  Artists,  gives  as  one  of 
three  necessary  qualities  to  make  an  enduring 
star  individuality,  personality  and  appearance 
so  distinctive  as  to  differentiate  them  from  all 
others  in  marked  degree. 

We  have  many  American  players  who  pos- 
sess this  and  other  necessary  qualities,  but  if 
occasionally  some  actor  or  actress  from  another 
country  is  introduced  to  the  fans  it  helps  to 
keep  public  interest  at  the  highest  point,  and 
at  the  same  time  make  a  valuable  addition  to 
our  list  of  stars.  This  imported  talent  helps  to 
satisfy  the  demand  for  variety. 

Our  nation  is  made  up  of  a  combination  of 
peoples  from  every  country.  They  brought  a 
great  variety  of  ideals  with  them.  We  re- 
tained the  best  and  became  the  greatest  nation 
in  the  world.  Now,  if  we  take  the  best  acting 
material  we  have,  and  some  of  the  best  from 
other  countries  it  will  go  a  long  way  toward 
keeping  American  pictures  in  the  high  place 
they  have  won  in  the  hearts  of  amusement 
seekers  throughout  the  world. 

Ed.  T.  Unruii. 

Grandma's  Boy 

Bloomington,  111. 

I  have  a  dear  little  Scotch  grandmother  who 
has  never  liked  picture  shows  and  hated  the 
name  of  "sheik."  Recently  "The  Eagle" 
came  to  our  theater  and  we  persuaded  grandma 
to  go  and  see  Valentino. 

Upon  asking  her  how  she  liked  a  real  sheik 
she  said:  "That's  no  sheik — it's  a  bonny, 
bonny  boy — bless  him.  Wrhen  will  he  come 
again?" 

Please  add  grandma  to  Rudy's  long  list  of 
admirers.  We  all  think  he  is  the  best  actor  and 
Photoplay  is  the  best  magazine. 

Anne  Martin. 


E^TIQJJ  E^TTE    DEMANDS 
r~Tl-fE    P  E  \S  O  N  A   L.     L  E  T  T  £  /\ 

^ — s 

At  times,  people  wonder  if  a  telephone  pared  a  most  attractive  and  usable- 
call,  a  postcard,  or  a  printed  sentiment  Sampler  Assortment  of  Montag's 
will  "do."  When  in  doubt — the  rule  newest  Fashionable  Writing  Papers 
is- Writ!  a  Personal  Lata:  Sent  ^^4  for  1JC.  Booldct>  ,<Tht 
t  ,  ,  r  ■  ,  ,  Etiquette  of  Attention" .included  free. 
To  help  you  find  a  letter  paper  fine  MoNTAG  Brot  vtonhev**,  Ad- 
enough  to  represent  you,  we  have  pre-  dros  Atlanta,  Ca.J-Lus  Angeles  or  New  York. 

FASHIOJVABLE 
ciOriUtw  PAPEI\S 


Let  me  tell  you  how  to 
WIN  THE  CONTEST 


TF  I  were  you  I'd  send  to  Dennison's  and  ask 
-*•  for  their  suggestions.  I've  had  all  sorts  of 
good  ideas  from  them,  at  other  times,  and  I 
know  their  hints  on  how  to  win  the  Contest 
will  be  good.  They  ought  to  know,  if  anyone 
does,  the  most  novel  and  attractive  ways  to 
mount  the  pictures  and  arrange  the  collection. 

And,  Dennison  materials   are  all   nice  to 
handle  and  fun  to  work  with. 

Take  my  suggestion  this  time. 
Write  for  the  instruction  leaflets 
on  Picture  Framing,  Poster  Mak- 
ing, Sealing  Wax  Art,  Crepe 
Paper  Flowers,  and  Scissor  Paint- 
ing. They  are  all  free,  and  some 
special  Contest  sketches  will  be 
sent  you,  too,  if  you  just  fill  out 
the  coupon. 

Good  luck  to  you ! 

Jobyna  RalSIon. 


DENNISON'S,  Dept.  K-6 
Framingham,  Mass. 

Jobyna  Ralston  told  me  to  ask  you  for  all 
Photoplay  Contest  Suggestions. 


)/QA\WfoO\\fo 


NAME 

ADDRESS  . 


:  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


I2G 


Photoplay  Magazine — Advertising  Section 


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In  1922  J.  H.  Bryson.  now  head  of  the  Bryson  Nov- 
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a  LaSalle  advertisement  he  became  interested  in 
LaSalie  home-study  training,  selected  Higher  Ac- 
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my  advancement  in  Ihe  business  field 
checked  below.    Send  also  copy  of 
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You  Something 

PLUMP- 
NESS 


THE  STAR  DEVELOPING  SYSTEM 
Dept.  122  SPRINGFIELD,  ILL. 


Perfect  Behavior  in  Hollywood 


[  CONTINUED  PROM  PAGE  45  ] 


CHAPTER  III 


How  to  "Adapt"  Books  and  Plays  to 
.  the  Screen 
Let  us  suppose  that  instead  of  writing  an 
"original"  story  for  the  screen  (as  explained  in 
last  month's  issue),  you  decide  to  begin  your 
career  with  the  "adaptation"  of  some  well 
known  book  or  pla> — "An  American  Tragedy" 
or  "Aunt  Jemima's  Cook  Book."  These  books 
have,  let  us  say,  been  purchased  by  one  of  the 
large  moving  picture  organizations  for  pre- 
sumably one  of  several  reasons — either  because 
of  their  value  as  literature,  or  because  of  their 
success  as  "best  sellers,"  or,  perhaps,  because 
of  their  attractive  titles.  But  no  matter  what 
Ihe  reason,  the  fact  remains  that  the  company 
has  purchased  a  book  and  it  is  up  to  you  to 
"adapt"  it  to  the  screen. 

•"THREE  facts  simplify  the  preliminary  pro- 
■*■  redure.  In  the  first  place,  it  will  not  be  at  all 
necessary  for  you  to  read  the  book  before  you 
begin  your  adaptation.  And  in  the  second 
place,  in  case  you  do  read  the  book,  it  will  not 
lie  necessary  for  you  to  pay  the  slightest  atten- 
I  ion  to  what  the  author  of  the  book  has  written. 
And  in  the  third  place  it  will  probably  be  found 
advisable,  before  the  picture  is  released,  to 
change  the  name  of  the  book. 

"Well,"  you  may  ask  at  this  point,  "and 
why  did  they  pay  850,000  for  the  moving  pic- 
lure  rights?" 


That  is  a  question  only  a  novice  would  ask. 
And  the  answer  is  as  plain  as  the  nose  on  his 
face. 

Therefore — to  proceed  with  the  adaptation. 

"pIRST  of  all,  it's  advisable  to  find  out  from 
-»-  the  company  the  name  of  the  "star"  for 
whom  they  wish  the  screen  play  to  be  adapted, 
because,  obviously,  you  would  not  follow  the 
same  procedure  in  adapting  "An  American 
Tragedy"  for  Tom  Mix  as  you  would  in  pre- 
paring it  for  Baby  Peggy.  Let  us  suppose, 
merely  for  the  sake  of  an  example,  that  the 
company  which  purchased  "An  American 
Tragedy"  is  also  the  owner  of  long-term  con- 
tracts with  Rin-Tin-Tin,  Karl  Dane  and  the 
Siamese  Twins — each  supreme  in  his  (or  her) 
particular  field,  and  each  in  need  of  a  suitable 
"vehicle." 

That  at  once  makes  your  problem  easier 
because  all  you  have  to  do  from  then  on  is  to 
center  your  action  around  the  above  mentioned 
principal  characters  so  that  "An  American 
Tragedy"  quite  naturally  becomes  the  story  of 
a  police  dog  belonging  to  a  man  who  constantly 
chews  tobacco  but  is  in  love  with  one  of  the 
Siamese  twins  (the  left  one).  This  automat- 
ically takes  care  of  three  of  your  long-term  con- 
tracts and  only  leaves  parts  to  be  provided  for 
the  other  (right)  twin  and  two  or  three  per- 
sonal friends  of  the  director. 

And  that  problem  will  be  taken  up  in  our 
next  installment. 


The  Shadow  Stage 


CONTINUED  FROM  PAGE  57 


THE  DEAD  LINE—F.  B.  O. 

"YOU'LL  have  to  go  back  to  the  Biograph 
-*•  flickers  of  ign  to  gel  one  to  compare  with 
this.  There's  the  sure-shot  hero,  the  curly 
headed  gal,  the  gold  mine  and  dear  old  dad 
who  dies,  and  of  course  the  oily,  oily  villain. 
Stay  home  and  catch  up  on  the  darning. 
That  will  be  just  as  exciting  as  this  is. 

THE    DANGEROUS    DUB— Associated 
Exhibitors 

TF  you  know  your  movies — when  the  hero  is 
-^-branded  a  dub,  you'll  know  he'll  fool  the 
gang  of  villains  and  clean  'em  up  before  the 
final  closeup.  That's  what  this  is  all  about, 
with  Buddy  Roosevelt  doing  some  hard,  fast 
riding — with  little  else  to  recommend.  The 
children  may  like  it. 

THE  TWO-GUN  MAN—F.  B.  O. 

"DERHAPS  you  are  averse  to  Westerns — 
*-  even  so — go  see  this  very  grand  hero.  Fred 
Thomson  and  his  famous  horse,  Silver  King 
(not  a  competitor  of  Canada  Dry)-  To  our 
liking,  Fred  is  king  of  the  movie  cowboys  that 
glorify  the  great  West.  He  has  an  appealing 
personality,  a  keen  sense  of  humor  and  never 
forgets  to  instill  plenty  of  thrills  throughout 
his  pictures.  He  knows  the  children  eat  'em 
up — and  don't  forget,  the  grownup  children 
will  eat  this  up,  too. 

SUNNY   SIDE    UP— Producers   Dist. 
Corp. 

TJTERE'S  Sunny,  a  Pollyanna-ish  character, 
-*-  -Hhe  shining  light  of  a  pickle  factor}',  who  is 
befriended  by  a  theater  manager.  Under  his 
guidance  she  becomes  a  successful  star.  They 
fall  in  love,  but  before  we  reach  the  happy  con- 


clusion friend  wife  makes  a  graceful  appear- 
ance to  complicate  matters.  Vera  Reynolds 
and  George  K.  Arthur  make  a  terrible  attempt 
to  put  over  some  comedy.  However,  ZaSu 
Pitts  lends  her  hands  to  furnish  a  few  mem- 
moments.     Fair. 

MORE  PAY  LESS  WORK— Fox 

CPLKNDID  entertainment.  Peter  B. 
^Kyne's  stories  always  contain  sure-fire 
audience  appeal.  Howard  Hawks  has  taken 
this  story  and  filled  it  with  delicious  bits  of 
humor.  The  plot  deals  with  two  rival  steam- 
ship companies  and  the  revolutionizing  of  the 
business  by  the  younger  generation.  Charles 
Rogers,  the  recent  Paramount  graduate,  and 
the  most  promising  juvenile  of  the  season,  does 
excellent  work.  The  remainder  of  the  cast  is 
good— Mary  Brian,  Albert  Gran,  E.  J.  Rad- 
cliffe  and  Charles  Conklin. 

THE  BETTER  MAN—F.  B.  O. 

TJ  ICHARD  TALMADGE   is  at  his  tricks 

-L^-again,  jumping  about  and  sliding  down  poles 
and  having  a  perfectly  wonderful  time.  This  is 
all  very  well  for  the  devotees  of  Talmadge. 
If  you  are  one  of  them  you  will  probably  not 
balk  at  the  incongruities  and  may  even  go  so 
far  as  to  find  the  situations  comic.  They  are 
supposed  to  be.     Good  for  the  children. 

THE    SPEEDING     VENUS— Producers 
Dist.  Corp. 

pRISCILLA  DEAN  has  lost  the  fire  of  the 
-1-  old  days.  She's  settling  down  now  and  is 
satisfied  to  be  a  secretary  and  help  the  hero 
perfect  his  invention.  This  may  put  you  to 
sleep,  but  at  any  rate  it  will  make  no  demand 
on  your  intelligence.  It  certainly  does  not  on 
the  actors  nor  any  one  else  connected  with  the 
picture. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


THE  MAN  IN  THE  SADDLE- 
Universal 


T_TOOT  GIBSOX,  seated  upon  his  huge  grey 
•*■  -'-horse,  comes  riding  into  the  picture  just 
when  he's  needed  most — and,  with  his  roping 
and  shooting,  manages  to  set  everything  to 
rights.  But,  Hoot,  please  ask  Mr.  Laemmle 
for  a  change  of  scenery.  We've  seen  that 
ranch  house  in  almost  every  one  of  your 
pictures — even  though  they  tried  to  camou- 
flage it  this  trip.     Fair. 

THE  JADE  CUP—F.  B.  O. 

HpHIS  purports  to  tell  something  about  a 
■*■  clever  young  lady  who  eludes  a  gang  of 
thieves  and  saves  the  hero  from  being  accused 
of  murder,  but — well,  tell  us  some  more  jokes. 
Evelyn  Brent  does  her  best,  but  it  isn't  her 
fault  that  this  is  barely  palatable.  What 
Evelyn  needs  is  a  new  type  of  story. 


THE  SPORTING  LOVER- 
National 


-First 


TT  might  have  been  worse,  but  it  doesn't  seem 
•^-possible.  This  is  just  another  movie,  a  little 
bit  worse,  with  some  real  hoss  racing  scenes 
providing  the  one  spot  of  plausibility.  Every 
now  and  then  the  story  gets  lost,  so  to  keep 
interest,  Conway  Tearle  and  Barbara  Bedford 
kiss  and  kiss  and  kiss.  Never  in  our  wildest 
imagination  could  we  imagine  Conway  Tearle 
a  romantic  and  impetuous  lover. 

UNDER   WESTERN  SKIES— Universal 

A  STORY  as  old  as  the  hills  where  it  is  laid. 
■**-Yep,  the  good  old  Western  stuff — a  wealthy 
•  man's  son  "makes  good"  while  working  for  an 
opposite  faction  (only  this  time  it's  wheat 
growers — not  the  big  sheep  and  cattle  men 
from  Hehokus).  Of  course  he  falls  in  love, 
don't  be  silly.  Can  you  imagine  Norman 
Kerry  as  the  big  he-man  of  the  great  open 
spaces?     Fair. 

THE  CLINGING  VINE— Producers 
Dist.  Corp. 

T_TERE,  once  more,  is  the  goofy  plot  about 
-*•  -Mlie  efficient  young  business  woman  who 
gets  sex  appeal  the  moment  she  tacks  a  couple 
of  ruffles  on  her  tailor-made.  The  satire  of  it 
completely  escaped  Paul  Sloane,  the  director. 
Leatrice  Joy  gives  a  flat,  mechanical  perform- 
ance as  the  girl.  Tom  Moore  does  what 
he  can  with  the  sappy  hero.  Trite  and 
tedious. 

THE  FLAME  OF  THE  ARGENTINE— 
F.  B.  O. 

pVELYN  BRENT  has  transferred  her  crook- 
-*— 'ed  operations  down  to  the  Argentine.  A 
change  of  scenery  is  about  the  only  thing  new 
in  this.  The  story — the  gal  hits  the  straight 
and  narrow  before  it's  too  late  and  a  would-be 
villain  turns  hero  and  incidentally  is  a  member 
of  the  Department  of  Justice  out  to  get  his 
man.     We'll  guarantee  you'll  be  bored. 


What  Was  the  Best 
Picture  of  1925? 


[  CONTINUED  FROM  PAGE  8  2  ) 

57th  Street,  New  York  City.  Photoplay  will 
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plaining 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  1 23^2  pennyweights  and  is  two 
and  one-half  inches  in  diameter.  Each  medal 
is  designed  and  made  by  Tiffany  and  Company 
of  New  York. 


H  Y 

t  h  rough 
the  long  hard  years 
of  drudgery  at  low 
pay,  that  are  neces- 
sary in  so  many  occu- 
pations? There  will  always 
be  a  demand  for  good  art 
work,  due  to  the  limited 
9  number  who  have  talent  for 
drawing.  If  you  like  to  draw,  an  almost  sure  indi- 
cation of  talent,  don't  fail  to  make  the  most  of  it.  Modern  business  offers 
rich  rewards  to  the  young  man  or  woman  who  will  develop  art  ability  along 
practical  commercial  art  lines.  Federal  training  has  proven  that  it  can  lift 
you  over  several  years  of  low-pay  struggling  and  bring  you  much  more 
quickly  to  a  worth  while  income. 

See  What  These  Young  Artists  Earn 


E.  McT.,  Pasadena 

B.  C.  R.,  Minneapi 

F.  K.,  New  York 

L.  H.  W.,  St.  Louis 
P.  M.  H.,  Carnegie 

C.  P.  M.,  Chicago. 


$750  a  1 
325  a  1 
400  a  1 
350  a  1 
.  325  a  1 
.  600  a  1 


M.  O.  H.,  Hollywood  $300  to  $900  a  i 

no 

M.  R.,NewYork 300  a  I 

no 

C.  P.  D.,  Chicago    400  at 

S.  J.  E.,  Tulsa,  Okla                       250  a  r 

no 

H.  B.  R.,  Oakland                           305  a  r 

(Names  on  request) 

The  average  age  of  these  young 
artists  is  only  30  years.  These 
are  only  a  few  of  the  hundreds 
who  have  developed  their  natural 
talent  through  the  Federal  Course 
and  are  earning  good  incomes. 

Learn  at  Home  in  Your 
Spare  Time 

The  Federal  Course  develops  your 
ability  by  the  quickest  possible 
methods.  Many  of  this  country's 
famous  artists  have  written  and 
illustrated  exclusive  lessons  for  the 
Federal  course.  Individual,  personal 
criticism  is  given  to  every  student. 

Send  Today  for  "YOUR 
FUTURE" 

An  illustrated  book  telling  about 
Commercial  Art  as  a  profession; 
about  the  famous  artists  who  have 
contributed  to  the  course  and  show- 
ing remarkable  work  of  our  students. 
Learn  of  the  progress  you  can  make 
under  Federal  guidance.     Find  out 


what  graduates  and  others  say 
about  the  course.  Fill  in  the  cou- 
pon, stating  age 
and  occu  pation, 
and  mail  it,  with 
with  6c  stamps 
NOW. 


Commercial  Designing 


Schools  Building, 
:apolis,  Minn. 


Gentlemen:  Pleasesend  me  "VOUR  FU- 
TURE" for  which  I  enclose  6c  in  stamps. 


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CON  [TNI  1  i>  Film  PAGE  i")  I 


middleman,  the  art  dealer  or  the  editor,  is  a 
kindly  being. 

The  actor,  however,  must  get  the  breaks. 
He  must  get  his  chance  at  a  part. 

In  the  theater  it  is  difficult  enough,  but  once 
an  experienced  trouper  gets  a  script  in  his 
hands,  he's  sale  The  movie  actor,  at  this 
point,  particularly  the  one  coming  back,  who 
has  aged  a  little,  changed  a  bit,  is  at  the  mercy 
of  circumstances.  Lights,  cameras  and  camera 
men,  the  other  players  must  all  be  just  right 
or  the  triumphant  come-back  cannot  be 
staged. 

'lake  Blanche  Sweet,  for  instance.  The 
triumphant,  lovely,  golden  haired  Blanche 
Sweet  of  today  is  not  the  Blanche  who  starred 
in  the  old  days  of  Biograph,  and  neither  is  she 
the  Blanche  who  staged  her  come-back  in 
"Anna  Christie."     She  got  her  "break." 

For  myself,  I  believe  that  playing  "Anna 
Christie"  removed  Blanche  Sweet's  inferiority 
complex.  For  she  did  have  one,  and  small 
wonder. 

"DLANCHE  has  been  before  the  camera  since 
••-^the  early  Biograph  days  with  a  career  of 
cinema  suffering  almost  equal  to  Lillian 
Gish's.  They  always  made  Blanche  weep. 
One  of  her  biggest  hits  was  "The  Unpardon- 
able Sin"  in  which  she  and  Belgium  were 
equally  badly  treated  by  the  German  Army. 
For  years  Blanche  was  given  canned  emotions 
to  depict,  stale  movie  hysteria.  And  the 
trouble  was  that  Blanche  knew  too  much  to 
keep  on  doing  it  forever. 

The  camera  has  a  merciless  fashion  of 
photographing  the  inner  mind.  Watch  some- 
time, and  you  will  see  it  for  yourself.  No 
technique  of  acting  can  help  the  screen  player 
when  his  heart  isn't  in  it.  Blanche's  work, 
being  unsatisfactory  to  herself,  began  to  be 
unsatisfactory  on  the  screen.  She  worked 
less  and  less.  Time  came  when  she  was  re- 
ferred to  chiefly  as  Marshall  Neilan's  wife. 

Then,  after  a  year's  retirement  on  Blanche's 
part,  came  "Anna  Christie."  The  production 
was  good  for  the  souls  of  Blanche  and  Thomas 
Ince.  They  had  both  been  told,  more  or  less 
openly,  that  their  best  movie  days  were  behind 
them.  Ince  had  been  patronized  with  the 
title  of  "box  office  producer."  He  had  made 
so  much  money  that  it  became  necessary  for 
those  who  had  made  less  to  infer  he  didn't 
know  what  art  meant.  Ince  didn't  expect 
"Anna  Christie"  to  make  a  dollar.  Blanche 
didn't  care.  She  just  wanted  to  play  that 
part  because  she  loved  it,  because  she  under- 
stood the  soul  of  the  sodden,  disillusioned  girl 
it  created. 

"Anna  Christie"  made  money  and  remade 
Blanche  and  Ince  artistically.  Today  Blanche 
of  the  swinging  golden  bob  is  one  of  our  major 
stars. 

Something  of  the  same  spiritual  growth 
happened  to  lovely  May  Allison.  Not  so 
long  ago  in  years  but  very  long  ago  as  movie 
time  flies — six  years  exactly — May  was  one  of 
the  greatest  stars. 

After  her  series  of  pictures  with  Harold 
I.ockwood,  that  line  chap  who  died  of  flu,  she 
had  the  fourth  largest  fan  mail  in  Hollywood. 

It  was  her  charming  disposition  that  did  her 
wrong.  She  was  signed  as  a  star  with  Metro, 
and  Metro  was  a  busy,  haphazard  studio  in 
those  days.  They  had  slars  all  over  the  place 
but  only  one  they  could  depend  upon — May 
Allison.  So  when  they  had  a  new  director,  or 
a  weak  story,  they  gave  them  to  May.  They 
knew  she  wouldn't  let  them  down.  She  knew 
pictures.  May  came  through  and  it  was  all 
very  nice  for  Metro  and  very  bad  for  May. 

She  married  and  retired.  She  spent  a  year 
traveling  around  the  world  during  which  time 
she  shed  her  ingenue  curls.  When  she  re- 
turned she  was  a  woman,  a  woman  of  delicate 

Every  advertisement  in   PHOTOPLAY  MAGAZINE  Is 


subtle  charm.  The  marriage  from  which  she 
had  expected  happiness  and  contentment  wenl 
wrong.     She  got  a  divorce. 

To  the  calls  from  producers  that  she  return 
to  their  management  as  the  little  curlilocks 
of  her  earlier  pictures  she  sent  refusals.  She 
was  tired  of  playing  what  she  called  "sap 
ingenue"  rc'iles.  Being  intelligent,  May  knew 
pictures  were  growing  up,  that  audiences  with 
new  standards  were  watching  the  screen. 

The  rocky  road  back  didn't  frighten  her. 
She  knew  it  would  be  a  hard  one  and  she  went 
into  training  for  it.  Every  day  she  spent  an 
hour  at  physical  exercises.  She  worked  with 
famous  dancing  teachers  until  she  mastered 
almost  every  form  of  dance.  She  was  going 
to  be  fit  when  the  chance  came.  Opportunity 
was  not  going  to  be  disappointed. 

Nor  was  it.  In  "The  Greater  Clory"  and 
"Men  of  Steel,"  she  photographs  radiantly 
beautiful  and  gives  outstanding  performances. 
Her  youthful  charm  has  developed  into  ex- 
quisite womanhood.  And  with  her  new  self- 
confidence  she  is  a  finer  actress  than  ever, 
giving  every  character  poignancy  and  truth. 
In  another  picture  which  she  has  just  com- 
pleted, "Mismates,"  she  is  playing  a  woman 
of  the  world,  a  sparkling,  sophisticated 
performance. 

Now  she  is  Milton  Sills'  leading  woman  and 
producers  are  once  more  bidding  for  her 
services.  It  will  be  interesting  to  watch  her 
progress  after  these  pictures  get  into  general 
circulation. 

She  is  much  more  beautiful  than  ever  and 
with  that  beauty  she  has  brains,  acting  ability, 
patience  and  will  power.     Watch  her  closely. 

Alice  Joyce's  case  is  unique  in  that  twice,  at 
the  height  of  popularity,  she  has  voluntarily- 
left  the  screen,  and  twice  returned,  with  her 
public,  loyal  as  ever,  waiting  for  her. 

Can  you  remember  back  to  the  old  Kalem 
days  and  recall  the  Alice  Joyce  of  those  pic- 
tures? She  had  started  working  at  thirteen. 
She  was  a  telephone  operator.  Then  she 
became  an  artists'  model,  which  led  as  in- 
evitably then,  as  it  does  now,  to  a  picture 
studio. 

"COR  all  the  smartness  with  which  she 
-1-  dresses,  for  all  of  her  career,  there  must  be 
something  of  the  old-fashioned  woman  about 
Alice  Joyce.  For  both  times  she  has  married 
it  has  been  for  love,  and  when  each  of  her  two 
youngsters  were  born  Alice  left  the  screen  to 
devote  herself  to  motherhood. 

The  first  time  was  in  1015  when  she  was 
married  to  Tom  Moore.  The  marriage  didn't 
work.  Alice  came  back  to  be  a  star  of 
Vitagraph. 

After  her  divorce,  she  married  again,  this 
time  James  B.  Regan,  the  wealthy  young  son 
of  the  distinguished  owner  of  the  Knicker- 
bocker hotel,  that  once-famous  gathering 
place  for  all  Broadway.  In  iq2i,  Alice's 
second  daughter  was  born  and  she  left  the 
screen  until  1024  when  George  Arliss  coaxed 
her  back  to  play  opposite  him  in  "The  Green 
Goddess." 

She  brought  back  to  the  screen  a  very  rare 
type,  a  woman  beautiful,  distinguished,  ma- 
ture, a  woman  definitely  a  lady.  Paramount, 
sighting  her,  put  her  under  contract  at  once, 
and  now  it  is  because  she  is  in  "Beau  Geste" 
that  Tom  Moore  isn't. 

Myrtle  Stedman  was  one  of  the  first  Western 
heroines.  She  and  a  cowboy  named  Tom  Mix 
made  their  debuts  in  "The  Range  Rider," 
a  Selig  picture.  For  five  years  Miss  Stedman 
starred  for  that  organization,  playing  society 
roles  in  the  winter  and  western  roles  in  the 
summer,  for  some  reason  known  only  to  the 
management. 

In  19 1 6,  she  went  to  Paramount  and  they  gave 
her  leading  men  of  no  less  calibre  than  Wallace 


Photoplay  Magazine — Advertising  Suction 


123 


Rcid,  Sessue  Hayakawa  and  House  Pettis. 
It  wasn't  until  1919,  after  an  engagement  on 

thr  speaking  stage,  that  she  faced  the  actress' 
problem,  face  lifting  versus  mother  roles. 

She  decided  against  the  face  lifting.  She 
I  has  a  son  she  adores.  Lincoln  Stedman.  So 
when  Fred  Niblo  offered  her  the  role  of  the 
understandable,  modern  mother  in  "The 
Famous  Mrs.  Fair,"  she  accepted  it  gladly 
and  played  it  beautifully. 

Now,  she's  one  of  the  big  names  on  First 
National's  roster. 

It  was  a  very  difficult  matter  with  Charles 
Kay.  What  Charlie  needed  was  to  get  back 
to  the  simple,  human  self  that  had  made  him 
I  famous. 

There  have  never  been  comedies  more 
loved  than  the  country  boy  studies  that  he 
did,  "The  Egg  Crate  WaUop,"  "The  Girl  I 
Loved"  and  dozens  of  others.  Charlie  did 
them  inimitably. 

He  played  a"  hick  at  the  studio.  At  home 
he  was  a  nice  boy  who  had  suddenly  made  a 
lot  of  money.  He  didn't  know  any  people 
who  had  possessed  wealth  all  their  lives. 
About  the  only  example  he  had  of  what  to 
do  with  money  was  what  Cecil  De  Milk-  did 
with  it  in  society  dramas.  So  Charlie  got  a 
trick  bathroom  and  a  trick  butler  and  those 
possessions  began  weighing  down  the  country 
boy  of  the  studio. 

Where  he  had  been  an  artist,  he  became  a 
trickster.  He  didn't  mean  to  be  insincere. 
Charlie  was  fighting  and  lighting  hard,  but  he 
didn't  know  what  it  was  he  had  to  win  out 
against. 

He  put  all  his  personal  fortune  into  a 
costume  picture,  an  elaborate  version  of  "The 
Courtship  of  Miles  Standish."  The  under- 
taking was  one  of  the  screen's  most  historic 
flops.     Charlie  was  forced  into  bankruptcy. 

BUT  he  has  come  back.  Metro-Goldwyn- 
Mayer,  who  seem  to  have  a  very  good  idea 
of  what  the  public  wants,  have  Charlie  under 
contract.  And  he  isn't  doing  hicks,  either. 
He  is  doing  grown  men.  doing  them  with  his 
old  sure  comedy  touch,  doing  them  with  a 
certain  dogged  charm  while  at  home  he  lives 
very  simply  and  pays  off  his  old  debts. 

He  got  a  bad  break  in  "  Paris." 

Francis  X.  Bushman,  like  Maurice  Costello 
before  him  and  Valentino  after  him,  was  a 
true  matinee  idol,  perhaps  the  greatest  the 
films  have  ever  known.  It  was  his  love  for 
Beverly  Hayne  that  wrecked  both  of  their 
careers. 

They  had  played  together  in  several  pictures 
but  when  the  first  Mrs.  Bushman  got  a 
Bivori  e,  naming  Beverly  as  co-respondent,  the 
public  reacted  against  them  violently. 

They  married  almost  immediately  and  went 
into  vaudeville.  They  couldn't  get  a  single 
chance  at  pictures  until  "Iien-Hur"  came. 
The  original  Bcn-Hur,  was,  as  you  know, 
George  Walsh.  It  became  necessary  in  cast- 
ing ifessala  to  have  an  actor  of  splendid 
physical  proportions  who  actually  could 
compete  on  fair  terms  with  Walsh,  the  famous 
athlete. 

Bushman  was  selected,  the  first  time  in  his 
career  to  play  a  villain. 

The  suspense  must  have  been  pretty  awful 
for  Bushman  when  the  Goldwyn  Company 
merged  with  Metro  and  most  of  "Ben-Hur" 
merged  with  the  ashcan.  But  the  rushes 
showed  he  was  bringing  the  screen  a  perfect 
ifessala  and  bringing  himself  a  new  lease  on 
movie  life. 

Marc  McDermott  was  a  popular  star  about 
the  same  time  of  the  Bushman  vogue.  The 
years  came  in  and  Vitagraph  swept  him  out. 
He  figured  in  some  domestic  trouble  which 
didn't  help  matters  any  and  he  was  forgotten. 
Then  he  came  back  with  a  splendid  piece  of 
acting  in  Norma  Talmadge's  "The  Lady." 
He  followed  this  up  by  a  beautifully  handled 
character  role  in  "He  Who  Gets  Slapped." 
Now  he's  sitting  pretty,  a  foremost  charai  tei 
actor  at  a  higher  salary  than  he  ever  got  as  a 
star. 

Earle  Williams,  Valentino,  Fugene  O'Brien. 


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Blue=jay  is  an  old  standby  to  folks  who  reap 
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Each,  in  his  own  way,  a  matinee  idol,  a  great 
lover,  a  romantic.  None  of  them  has,  strictly 
speaking,  ever  left  the  screen.  Strictly  speak- 
ing, none  of  them  has  staged  comebacks. 
Yet  as  a  trio  they  have  slipped  and  as  a  trio 
they  are  working  back. 

Williams  gave  a  sterling  performance  in 
"The  Skyrocket." 

Eugene  O'Brien  is  one  of  the  best  leading 
men  in  pictures.  Given  a  lovely  stellar  lady 
opposite  him  and  Gene  is  in  his  element.  The 
element  that  isn't  his  is  individual  stardom. 
He  tried  it  with  Selznick  and  was  pretty  awful. 
Yet  you  can't  beat  his  recent  work  with 
Norma  Talmadge  in  "Graustark"  and  it  is 
reported  that  he  is  doing  some  of  his  finest 
acting  opposite  Gloria  in  "Fine  Manners." 

Rudy?  Well,  who  doesn't  know  Rudy's 
story?  Fame,  flashing,  startling  popularity 
after  several  years  of  struggle  and  obscurity. 
Valentino,  Valentino,  Valentino,  whispered 
about,  shouted  about,  twenty-four-sheeted 
about.  Vitagraph  reissued  old  pictures  in 
which  he  had  played  bits.  So  did  Universal. 
Metro  made  a  million  on  him.  So  did  Para- 
mount. And  then  came  Rudy  and  his  high 
hat. 

HE  quarreled  with  Paramount.  Maybe  they 
did  treat  him  badly.  Nobody  will  ever 
quite  know  what  it  was  all  about  so  much  was 
it  a  part  of  the  child-like  emotionalism  of  the 
studios.  But  Rudy  left  the  screen  for  two 
years  and  danced  and  beaut) --clayed  all  over 
the  country. 

His  public  didn't  wait.  That  was  his 
tragedy.  He  came  back  as  "Monsieur  Beau- 
caire,"  as  pretty  a  role  as  ever  was.  He  had 
given  the  public  something  primitive  and 
untamed  and  he  came  back  as  a  dandy. 
Then  he  tried  "The  Sainted  Devil."  That 
was  awful.  "Cobra"  was  worse.  But  in 
"The  Eagle"  he  was  nearer  the  old  Rudy  and 
the  public  responded  accordingly.  His  fate 
is  in  the  lap  of  his  scenario  writer. 

Finally,  the  three  directors,  Cruze,  Brenon 
and  Olcott.  Olcott  started  as  an  actor  in 
ion.  He  was  almost  the  first  screen  come- 
dian. Then  he  became  a  director  and  he 
made  the  first  Kalem  hit.  "From  the  Manger 


to  the  Cross."  He  went  on  to  Famous  Flayers 
to  direct  Mary  Pickford  but  gradually  he 
slipped  into  the  limbo  of  directors  who  weren't 
so  very  startling.  He  made  only  three 
pictures  in  1922  and  none  of  them  was  any- 
thing to  brag  about.  Everybody  thought  he 
was  through  until  he  made  "The  Green  God- 
dess" and  changed  their  minds.  He  followed 
that  with  "Little  Old  New  York"  and  "The 
Humming  Bird." 

You  know  the  rest. 

Cruze  was  the  reporter  hero  in  that  early 
thriller  "The  Million  Dollar  Mystery."  He 
was  rated  one  of  the  screen's  greatest  actors, 
in  those  days.  Then  he  broke  his  leg.  For 
a  year  he  was  unable  to  work.  That  was  the 
year  the  industry  moved  to  Hollywood. 
Cruze  was  forgotten. 

Penniless,  he  got  across  country  somehow. 
He  couldn't  get  an  engagement  as  an  actor 
but  directors  were  needed.  He  became  a 
director. 

"KTOBODY  knew  much  about  his  being  a 
■"-^•director,  however,  until  "The  Covered 
Wagon."  "The  Covered  Wagon"  in  its 
initial  stages  was  meant  to  be  just  another 
Western.  Cruze  didn't  have  much  of  a  cast 
or  what  was  thought  to  be  much  of  a  story. 
He  produced  an  epic.  He  has  kept  on,  not 
producing  epics,  but  producing  box-office  hits. 
That's  all  anyone  has  to  do  to  be  a  very  im- 
portant person  in  Hollywood. 

Herbert  Brenon  had  an  awful  thing  to  fight. 
He  was  accused  of  having  imagination,  that 
unstable  quality.  Producers  were  scared  to 
death  of  him.  It  had  been  all  right  back  in 
1915  when  he  made  "The  Daughter  of  the 
Gods"  and  things  like  that,  but  in  1920? 
Horrors ! 

But  Paramount  had  Pola  Negri  under  con- 
tract and  Pola  can  use  up  directors  faster  than 
any  girl  on  the  lot.  Brenon  wanted  a  job. 
Pola  had  to  have  a  director.  Herbert  got  the 
job. 

The  result  was  "The  Spanish  Dancer." 

Then  came  the  fain'  story  written  by  a  little 
Scotchman,  with  an  unknown  little  girl  in 
the  leading  role,  "Peter  Pan."  It  lifted  the 
Irish  Brenon  to  the  foremost  group  of  dire  lurs 


Don't  do  it,  Ricardo,  not  even  in  fun !  Not  even  for  a  scene  in  "The 
Sorrows  of  Satan."  Don't  you  know  that  Lya  de  Putti  is  a  "vamp"? 
Why  waste  a  wedding  ring?  Lya  was  imported  from  Germany  to 
set  fire  to  the  local  screens  but  the  calamity  hounds  report  that  the 
blaze  will  be  a  small  one  and  quickly  extinguished 


Every  advertisement  in  rilOTOrLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advehtising  Section 


just  as  magically  as  Pelcr  brought  the  Lost 
Children  back  from  Never,  Never  Land.  He 
promises  to  stay  there  with  his  next  production 
"Beau  Geste." 

So  there  you  have  it.  There  are  more 
temptations  in  Hollywood  than  the  one  the 
censors  watch. 

But  there  are  triumphs  that  they  don't  know 
anything  about,  too. 


Sure,  You  Can  Make 
Money  In  California 


IS!  I 


[  CONTINUED  FROM  PAGE  35  ] 

Los  Angeles  is  the  original  club  town.  It  has 
more  country,  town,  polo,  beach,  golf,  shooting, 
city,  day  and  night,  breakfast,  dinner,  lunch, 
tea  and  supper  clubs  than  New  York,  London, 
Paris  and  Shanghai  combined. 

I  am  the  original  joiner. 

If  they  have  organized  anything  in  the  way 
of  a  club  around  here  in  the  last  ten  years  that 
I  haven't  been  sold  a  membership  in.  I  haven't 
heard  of  it.  The  only  one  I've  missed  is  the 
Los  Angeles  Country  Club,  which  must  be 
awful  rich  because  they  have  a  ban  on  picture 
people,  and  I  only  hope  they're  as  grateful  to 
keep  me  out  as  I  am  to  be  kept  out.  Otherwise, 
I'm  a  charter  member  of  the  "50"  club,  the 
"60"  club,  the  "75"  club,  the  "100"  club. 

And  the  last  I  heard  it  was  up  to  the  "400" 
club  and  going  strong. 

The  only  relief  that  I  see  in  sight  is  that 
before  long  they  will  run  out  of  ciphers. 

I  drove  by  one  yesterday  down  on  Wilshire 
Boulevard  that  got  my  money  about  three  years 
ago. 

All  I  can  say  is,  the  police  ought  to  make 
'em  fill  up  that  hole  they  dug  in  the  ground. 
Somebody  is  going  to  get  hurt  there. 

They  seem  to  have  run  out  of  ground  for 
clubs  in  California,  so  they've  invaded  Mexico. 
At  this  moment,  there  are  two  gentlemen  in 
purple  shirts  waiting  in  my  outer  office  to  sell 
me  a  ground  floor  membership  in  a  club  in 
Old  Mexico. 

Another  gang  that  got  on  my  trail  was  the 
antique  dealers. 

An  antique  is  something  you  couldn't  sell 
under  any  other  name. 

V\  THEN  I  built  my  house  out  in  Beverly 
W  Hills,  about  a  rifle  shot  from  Fairbanks, 
Marion  Davies,  Harold  Lloyd,  Chaplin  and 
others,  this  outfit  of  antique  dispensers  tried 
to  slip  Mrs.  Mix  the  idea  that  we  should  have 
something  around  the  shack  that  smacked  of 
"past  generations,"  "inherited  elegance,"  and 
other  similar  bunk. 

But  the  smack  they  spoke  of  was  a  little  too 
strong  for  me. 

In  spite  of  belonging  to  an  art  club,  which  I 
forgot  to  mention,  I'm  not  educated  up  yet  to 
seeing  artistic  beauty  in  a  worm-hole  or  get- 
ting my  soul  uplifted  over  a  chair  you  can't 
sit  down  in. 

Besides,  I  figured  anyone  who  understood 
me  wouldn't  understand  antiques,  and  anyone 
ivho  understood  antiques  wouldn't  understand 
me. 

But  they  did  unload  one  antique  on  me — 
a  painting.  It  was  done  by  Tristico  Sosti 
Bonnix,  or  Borax,  or  something  like  that.  I 
bought  it  because  I  thought  it  was  a  picture  of 
a  road  I  knew  in  the  Mojave  desert  but  it 
turned  out  to  be  a  sunset  in  Scotland.  Any- 
way, the  gyp  artist  who  swindle-sheeted  me 
into  buying  this  rare  bit  of  canvas  forgot  to 
leave  a  story  to  go  with  it,  so  I  had  to  make 
one  up. 

I  told  my  guests  it  was  painted  in  the  14th 
century  by  Sir  Walter  Raleigh,  who  intended 
it  as  a  present  for  Mary,  Queen  of  Scots,  but 
as  she  happened  to  lose  her  eyesight,  along  with 
her  head,  before  he  got  it  finished,  it  had 


TWELVE  LESSONS  IN 

SALESMANSHIP 

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I  26 


Photoplay  Magazine — Advertising  Section 


For  unruly  hair— 

more  people  use  this  dressing 
than  any  other  •    •    • 
Pleasant  to  use — beneficial 

No  matter  how  unruly  your  hair  is,  you  need 
not  be  discouraged.  You  can  keep  it  in  place 
without  making  it  look  sticky  or  greasy. 

You  need  not,  should  not  wet  it  with  water 
— that  only  robs  the  hair  of  its  natural  oils, 
drying  out  the  scalp  and  leaving  it  a  prey  to 
dandruff. 

Stop  experimenting  with  your  hair — you 
can  do  it  irreparable  injury! 

Begin  today  to  use  the  hair  dressing  more 
people  rely  on  than  any  other.  This  dressing 
is  Stacomb. 

Just  a  touch  of  Stacomb  in  the  morning  or 
after  a  shampoo  and  your  hair  will  really  stay 
in  place,  all  day  long. 

Stacomb  comes  in  two  forms,  which  makes 
it  the  only  dressing  that  suits  all  types  of  hair. 
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Nar. 


One  Drop 

Stops  most  painful  corn 
in  3  seconds 


HERE  is  a  new  and  totally  different 
way  to  treat  a  corn  or  a  callus.  One 
drop  stops  all  pain.  You  wear  tight  shoes, 
walk,  dance,  in  comfort,  instantly  and  at 
once.    Acts  like  a  local  anaesthetic;  really 


passed  on  down  to  me.  And  the  funny  part  of 
that  yarn  is  that  most  everybody  believed  it. 
I  told  it  so  often  I  got  to  believing  it  myself, 
until  the  other  day  my  English  butler  slipped 
me  the  information  that  Sir  Walter  and  Queen 
Mary  didn't  show  up  in  history  until  two 
hundred  years  after  my  date.  But  the  pardon 
came  too  late.  I'd  already  started  on  the 
Sir  Walter-Queen  Mary  story  and  I'm  going 
to  stick  to  it. 

NO  one  except  a  few  naturalized  Portuguese, 
Armenians  and  Greeks  will  know  the 
difference  anyway. 

Why,  I  even  told  one  picture  producer  that 
Sir  Walter  gave  it  to  me  himself,  and  he  said, 
"Well,  that's  great.  I  heard  the  nobility 
were  nice  to  you  and  Mrs.  Mix  when  you  were 
in  England  last  summer." 

Then  one  day  there  arrived  an  egg  with  the 
bright  idea  that  we  had  now  reached  the  place 
where  we'd  ought  to  have  a  family  crest.  A 
crest  is  a  picture  of  half  a  horse  or  a  lion's  tail 
or  a  unicorn's  horn,  and  you  put  it  on  your 
automobile  door — if  you  have  one. 

The  door,  I  mean. 

Then  this  expert  called  in  some  authori- 
ties that  he  said  were  direct  from  the  King's 
College  of  Heraldry.  In  view  of  the  price  they 
suggested  for  their  labors,  I  got  an  idea  I  might 
look  up  the  place  where  they  got  enough  edu- 
cation to  ask  it  with  a  straight  face,  but  though 
I  found  colleges  at  Oxford,  Trinity,  Dublin, 


Edinburgh,  Glasgow  and  other  points,  nothing 
was  printed  about  the  Heraldry  Institution, 
so  I  guess  they  keep  their  methods  dark. 

These  smart  boys  were  to  get  up  the  family 
crest.  They  inquired  carefully  into  my  family 
history,  which  they  said  was  to  be  reflected 
by  the  coat  of  arms.  But  I  gave  'em  to 
understand  that  anything  that  looked  like 
the  limb  of  a  tree  with  a  rope  hanging  over  it, 
was  out. 

I  says: 

"Grandfather  had  his  weaknesses,  but  he 
was  a  nice  old  fellow  just  the  same  and  we'll 
allow  his  ashes  to  rest  in  peace." 

•"THESE  coat  of  arms  providers  use  the  word 
■*-  "rampant"  a  lot. 

So  I  got  an  idea  of  my  own. 

"  Make  it  a  horse  rampant,"  I  told  'em,  "and 
make  him  look  like  Ton}',  and  put  a  rope 
around  the  edge  and  stick  a  T.  M.  bar, — my 
cattle  brand — in  the  middle.  And  for  the 
motto  at  the  bottom,  since  my  Latin  isn't 
what  it  used  to  be,  just  put  in  plain  English, 
"Be  Yourself." 

But  they  didn't  think  much  of  that  and  1 
ain't  seen  'em  since. 

But,  you  see,  I  am  trying  to  keep  up  with 
progress  and  finer  civilization  and  that's  why 
I  say: 

Making  money  in  California  is  easy  as 
roping  a  steer,  but  keeping  it  is  harder  than 
branding  a  wild  yearling. 


g. 

Then  soon  the  corn  shrivels  and  loosens. 
You  peel  it  off  with  your  fingers,  like  dead 
skin.    No  more  dangerous  paring. 

Works  alike  on  any  corn  or  callus,  no 
matter  where  it  is,  how  old  or  how  pain- 
ful. Ask  vour  druggist  for  "Gets-It."  You 
will  be  delighted. 

a^CTC     IT"       World's 
UC   I   9BII  Fastest  Way 


Fay  Wray  worked  for  several  years  in  small  parts  in  comedies  and 
such  like.  And  just  as  she  had  about  decided  she  wasn't  ever  going 
to  get  anywhere  in  pictures,  along  comes  Erich  Von  Stroheim  who 
offers  her  the  leading  role  in  "The  Wedding  March."  It  was  a  big 
day  for  Fay 


Erery  advertisement  In  PHOTOPLAY   MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


i  27 

Ambrose  (  The  Wonder  Soap  of  The  Age ! 

Straight 


[  CONTINUED  FROM  PAGE  41  ] 

cameraman.  In  those  days  we  had  no  lights 
and  we  depended  on  the  sun  shining  through 
the  ceilingless  stage. 

"The  cameraman,  who  was  usually  as 
thirsty  as  we  were,  would  squint  at  the  sky — 
look  at  the  set — and  say:  'All  for  today.  Light 
is  getting  yellow.'  And  then  the  dash  for  the 
Edendale  car  to  take  us  downtown  or  to  Levy's 
Cafe. 

"Oh,  yes,  we'd  take  the  street  car.  Very  few 
of  us  had  cars  of  our  own.  And  lunches.  We 
had  to  cook  our  own  at  a  little  food  shop  across 
the  street  from  the  Sennett  lot.  It  was  run  by 
an  old  fellow  who  believed  all  actors  were 
honest.  And  he  rarely  lost  a  penny  on  his  sup- 
position. We'd  rush  over  there  at  noon  and 
get  a  couple  of  eggs,  a  few  slices  of  bacon,  some 
hunks  of  bread  and  go  in  the  back  room  and 
cook  our  own  meal  over  a  little  kindling  stove. 

" (~\N  our  way  out,  the  old  fellow  would  say: 
^— ''  Well,  what  did  you  have? '    And  we'd  tell 
him  and  pay  for  it  after  it  had  been  eaten." 

Overhead  the  clangor  of  an  arclight  being 
repaired  joined  the  screech  of  furniture  being 
moved,  r.nd  the  bellow  of  a  loud  voice  at  the 
far  end  of  the  stage,  brought  a  deafening 
jumble  of  sound. 

"It  is  different  at  Charlie  Chaplin's  studio. 
I  was  with  him  for  six  years,  you  know,  after  I 
left  Sennett's.  Gloria  Swanson  and  I  quit  the 
same  day.  Nice  little  girl — Gloria.  Still  the 
same  kind,  too.  I  saw  her  in  New  York  last 
year  and  she  hasn't  changed,  at  least  to  her 
friends,  since  those  early  comedy  days. 

"Now  at  Charlie's  studio  everything  is 
quiet.  There  is  no  talking  during  a  scene  and 
little  more  between  scenes.  The  cameramen 
whisper  to  each  other.  There  is  a  unity  be- 
tween Charlie  and  his  players.  There  is  no  one 
in  the  business  like  Charlie  to  work  with.  He  is 
a  genius. 

"We  worked  two  years  on  'The  Gold  Rush' 
— seven  months  on  that  starvation  sequence, 
alone.  The  scene  in  the  cabin  where  Charlie 
keeps  turning  into  a  chicken  in  my  hunger- 
maddened  eyes.  That  was  the  hardest  scene 
in  my  career,  and  I've  been  on  the  stage  and  in 
pictures  since  I  was  fifteen.  Day  after  day  we 
would  do  the  same  thing  over  and  over. 
Charlie  would  say,  'Now  let's  get  into  it!' 

"Finally  I  hypnotized  myself  into  a  stupor. 
Food  had  no  taste  to  me.  I  would  fall  asleep 
in  my  chair  as  soon  as  I  came  out  of  the  scene. 
It  was  a  hideous  dream — that  hypnotic  trance. 
It  put  me  under  doctor's  care.  Then  we  fin- 
ished the  sequence  and  went  into  another  part 
of  the  picture  and  I  fully  recovered." 

Swain  left  for  a  moment  to  do  one  of  his 
famous  funny  turns,  with  doleful  face,  for 
Scott  Sidney  who  is  directing  "The  Nervous 
Wreck, "  which  is  to  be  an  Al  Christie  special. 
Harrison  Ford,  his  hair  in  the  dubious  glory 
of  a  "barber's  delight,"  is  really  the  nervous 
wreck,  but  they  have  embroidered  Swain's  part 
in  the  script  until  his  nervous  system  is  as  weak 
as  Harrison's.  It  is  a  really  funny  role  and 
Swain  is  making  good  use  of  the  technique 
learned  in  the  Comedy  Cult  of  Edendale. 

It  was  technique  they  used  in  those  by-gone 
slapstick  days.  Mack  Swain,  Chester  Conk- 
lin,  Ford  Sterling,  Gloria  Swanson,  Marie  Pre- 
vost,  Phyllis  Haver,  Vera  Steadman — so  many 
of  them  have  profited  by  it.  Someone  was 
telling  me — was  it  Swain,  or  was  it  Chester 
Conklin? — that  timing  was  the  most  important 
factor  in  comedy  or  tragedy,  and  in  the  old 
Sennett  days  he  timed  his  action  to  the  count 
of  "one-two-three  and  raise-the-hand."  "One- 
two-three  and  turn-the-face."  It's  automatic, 
yes,  but  it  is  the  foundation  for  some  of  the 
most  brilliant  careers  the  screen  has  known. 
That,  and  dramatic  ability  combined,  of  course. 


CIIEX  Nourishes  Your  Skin  Like  a  Cream 
CHEX  Banishes  Body  Odors  for  36  Hours 
CHEX  Completely  Eliminates  Dandruff  jS 


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It  removes  all  soil — even  to  the  base  of  the  pores.     It  prevents  the 
formation  of  blackheads.    And  cheeks  any  tendency  towards  oiliness. 

While  CHEX  is  cleansing — a  special  ingredient  nourishes  your 
skin.  No  other  soap  contains  it.  It  freshens  to  a  fine,  delicate 
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satiny  smoothness.  And  it  gently  whitens  to  a  tone  in  perfect 
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Used  in  the  bath,  CHEX  banishes  perspiration  odors  or  any  body  odor  for  36 
hours  or  more.  It  acts  INSTANTLY! — and  lasts  longer  than  other  deodorants. 
It  dissolves  and  washes  away  the  waste  matters  that  cause  odors.  And  CHEX 
leaves  no  odor  of  its  own. 

In  the  shampoo,  CHEX  beautifies  the  hair.  And  it  removes  and  prevents  the  most 
stubborn  case  of  dandruff. 

SEND  THE  COUPON  FOR  A  LARGE  TRIAL  CAKE— or  get  CHEX  at 
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CHEX 


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Street- 
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It  is  not  too  late  to  enter  the  PHOTOPLAY  $5000  Picture  Puzzle  Contest.  If 
vour  dealer  cannot  supply  you  with  the  June,  July  and  August  issues  just  send  75c 
to  the  PHOTOPLAY  MAGAZINE,  750  N.  Michigan  Ave.,  Chicago,  and  you  will 
receive  them  by  return  mail.     For  full  particulars  regarding  contest  see  page  58 


LPFTIS 

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NOTOXI 

COLORS  HAIR 
AS  NATURE  DID 

HUNDREDS  of  thousands  of  the  very  women 

most  hesitant  about  coloring  their  gray  hair  now 
do  so  with  Notox. 

Because  Notox  is  so  natural  that  it  cannot  be  de- 
tected—and this  is  why: 

The  Notox  principal  differs  from  that  of  the  old- 
fashioned  restorer  that  merely  paints  over  the  gray. 
Notox  is  a  scientific  coloring.  It  places  pigment  in 
the  thread  of  fibres  within  the  hair's  lustrous  cov- 
ering—right  where  nature's  color  used  to  grow. 
Notox  has  to  look  natural  because  its  method  is 
natural. 

Notox  is  speritiraHy  guaranteed  to  impart  color  to 
grav.  streaked  or  faded  hair  and  guard  all  its  former 
harmonious  beauty  of  lustre  and  of  silken  texture. 
It  is  guaranteed  permanent;  its  color  withstands 
any  condition  or  treatment  that  Natures  will  — 
brushing,  shampooing,  sunshine,  salt  water,  perspir- 
ation. Turkish  baths,  permanent  waving,  marcelling. 
It  is  safe,  it.  cannot  iniure  texture  or  growth.  The 
ease  of  application  enables  anyone  in  apply  it  with 
invariable  success  in  the  privacy  of  her  own  home. 

Free  Trial  Sample 
//  you  are  discontented  with  yottT  hair,  send  in  the 
coupon  and  a  free  trial  stun  pie  a  ill  h.  sent  you,  in  a 
plain  wrapper;  t.ioether  u  ith  the  A'O'/Yi.V  BEAUTY 
ANALYSIS  CHART.  Pin  a  few  strands  of  newly 
cut  hair  to  the  coupon  to  enable  us  to  provide  you  with 
the  right  shade  of  NOTOX. 

INECTO,  Inc.,  33-3S  West  46th  St.,  N.  Y.  City 

Gentlemen — Attached  area  few  newly  cut  strands 
of.  my  hair.  Enclosed  is  10  cents  in  stamps.  Send 
me  a  trial  sample  of  Notox  of  the  proper  shade.    A44 

Address 

City 

State 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


128 


Photoplay  Magazine — Advertising  Section 


'Marvelous!   You  say 
it  took  only  3  minutes* 


"Yes,  and  see  how  white  and  smooth  my 
arm  is.  Not  a  trace  of  hair.  I've  tried  other 
methods  but  I  give  all  praise  to  Del-a-tone." 
For  nearly  twenty  years  Del-a-tone  has  been 
enhancing  beauty  and  true  feminine  charm; 
a  record  unmatched. 

Nothing  Like  It! 

Just  3  minutes  after  applying  Del-a-tone  to 
arms,  limbs,  back  of  neck  or  face,  rinse  and 
behold  the  loveliest  of  white,  hair-free  skin. 

Removes  Hair 

DEL-A-TONE 

CREAM  or  POWDER 

The  quick,  effective  results  are  the  same,  whether  you 
use  the  old  reliable  Del-a-tone  (powder)  or  the  newer 
Del-a-tone  Cteam  prepared,  ready  for  immediate  use. 
It  is   the  only  pure,  snow-white,    fragrant  depilatory 

At  drug  and  department  stores  or  sent  prepaid 
anywhere  in  U.  S.  A.  in  plain  wrapper  for  one  dollar 
—a  big  economy.  State  whether  you  wish  Del-a- 
tone or  Del-a-tone  Cream.  A  trial  package  of 
Del-a-tone  or  Del-a-tone  Cream  will  be  sent  pre- 
paid in  plain  wrapper  for  10c. 

The  Delatone  Company 

Dept.  89,   721  N.  Michigan  Ave.      .  Chicago.  IU. 


IV hen  in  Chicago 


The 

Lake  Shore  Drive 

Hotel 

181  LAKE  SHORE  DRIVE 

on  the  shores  of  Lake  Michigan 

— B  UT — "within  five  minutes  of 

the  Loop 

B.   E.   de  MURG,   Manager 


Swain  comes  from  Salt  Lake  City,  Utah,  and 
when  he  was  a  long  and  lanky  kid  of  sixteen 
became  a  song-and-dance  man  on  the  stage. 
For  twenty-two  years  he  did  his  warbling  and 
prancing  on  the  boards  and  then  was  amazed, 
upon  arriving,  unannounced,  at  the  Sennett 
studios  in  Edendale  in  1913,  to  discover  that 
the  lot  covered  such  a  small  piece  of  ground. 
"I  thought  a  studio  was  at  least  the  size  of  a 
small  city  and  that  each  set  and  street  scene 
was  erected  permanently." 

Ambrose  was  created  and  Swain  and  he 
stayed  at  the  Sennett  studios  for  five  years, 
leaving  them  to  go  with  Chaplin  when  he 
started  his  own  producing  organization.     He 


has  played  in  nineteen  pictures  with  Chaplin. 
"  Charlie  is  one  of  those  persons  to  whom  noth- 
ing is  impossible.  The  surest  way  to  get  him  to 
do  a  thing  is  to  say  'You  can't  do  that.'  It 
may  raise  heaven  and  earth,  but  it's  done." 

Swain  is  now  free-lancing  and  his  role  in 
"The  Nervous  Wreck"  is  the  most  pretentious 
since  he  became  an  independent  player.  It  is 
in  the  nature  of  a  reunion,  too,  this  picture — 
for  in  it  are  a  handful  of  Sennett  players  with 
whom  he  used  to  work  back  in  the  days  when 
"life  was  a  blooming  beer  garden."  There  are 
Phyllis  Haver,  Vera  Steadman  and  Chester 
Conldin — all  graduates  with  honors  from  the 
Comedy  Cult  of  Edendale. 


What  Has  Happened  to  Pauline  Frederick? 


[  CONTINUED  FROM  PAGE  63  ] 


at  me  a  long,  long  time  in  silence,  and  her  eyes 
rilled  up  with  tears. 

"It  goes  right  to  the  old  heart,  that  does," 
she  said. 

And  she  sat  thinking.  Then  she  threw  out 
her  hands,  palms  up. 

"I  don't  know  how  it  all  happened,"  she 
said.  "  Life  is  like  that.  The  smallest  things 
turn  your  whole  course  one  way  or  the  other. 
Did  you  ever  look  at  the  switches  on  a  rail- 
road track?  Only  have  to  turn  them  half  an 
inch,  and  they  swing  a  great,  big  train  in  an- 
other direction  entirely.  That's  the  way  little 
things  change  your  life  and  its  purpose. 
Especially  with  a  woman  like  me.  We  act  on 
feeling,  on  impulse,  on  emotion.  A  human 
contact,  a  mood,  having  to  wait  for  some- 
thing— those  are  the  little  switches  that  turn 
the  lives  of  women.  That  is  why  women  in 
my  profession  are  often  not  good  at  business. 
I  haven't  been  a  good  business  woman. 

"Of  course,  if  you  have  a  really  great 
mission,  a  tremendous  purpose,  you  can't  be 
turned  from  it.  But  I  never  felt  like  that 
about  motion  pictures." 

rPHERE  we  came  to  the  first  real  reason 
■*■  for  Pauline  Frederick's  desertion. 

Her  deep,  passionate,  vital  love  for  the 
stage.  I  don't  think  she  herself  has  realized 
sometimes  how  powerful  a  force  that  is. 

"You  do  love  the  stage  best?"  I  asked  her, 
and  she  admitted  it. 

"Oh,  yes,"  she  said,  "I  love  the  stage  much 
the  best.  You  see,  it  was  my  first  love,  and 
a  woman  always  has  a  secret  tenderness  for 
her  first  love,  doesn't  she?  I  like  acting  on 
the  stage  better  than  before  the  camera.  I 
learned  to  act  on  the  stage,  under  stage  con- 
ditions, with  my  voice  as  a  great  asset  and 
with  the  audience  and  the  footlights.  Yes, 
I  must  admit  I  like  it  best.  But — there's 
another  thing  about  the  difference  between 
stage  and  screen  acting,  another  more  power- 
ful thing  even  than  my  love  of  the  stage." 

And  that  brought  us  squarely  to  the  second 
thing.  Pauline  Frederick's  unconquerable 
idealism  about  her  work.  Her  artistic  con- 
science is  still  intact,  after  much  battering. 
Her  unshakable  determination  to  do  only  what 
is  worthy,  to  give  only  her  best,  has  kept  her 
an  idealist  in  a  commercial  age  and  profession. 
Some  people  call  that  being  a  dam  fool. 
Others  call  it  being  a  great  artist. 

Pauline  Frederick  has  had  bad  luck.  She 
has  had  some  terribly  unfortunate  breaks  in 
her  picture  experience.  That  comes,  as  she 
says,  from  not  being  a  good  business  woman. 
And,  in  consequence,  she  is  afraid  of  motion 
pictures.    Her  disappointments  have  hurt  her. 

"It  isn't  that  they  don't  make  great  motion 
pictures,"  she  said,  sitting  on  the  very  edge 
of  her  chair,  and  leaning  over  to  convince  me. 
"They  do.     But — mostly,  they  are  by  chance. 

"Just  let  me  tell  you  what  happened  to  me 
the  other  night.  I  made  a  picture  not  long 
ago — I  won't  tell  you  its  name.  That 
wouldn't  be  fair.     I  made  it  because  I  loved 


the  story.  It  had  tremendous  dramatic  possi- 
bilities. It  was  sound,  honest,  big.  The 
woman  was  a  fine  woman,  a  big  part.  I  loved 
her.     I  understood  her. 

"I  don't  think  I  ever  worked  so  hard  in  my 
life.  I  always  work  too  hard.  I  tried  to 
save  myself,  but  I  couldn't.  I  don't  mind 
telling  you  that  I  gave  my  very  heart  and 
soul  to  that  picture.  I  used  to  crawl  home 
at  night,  crawl  into  bed,  sleep  like  a  child. 

"The  other  night,  I  saw  that  picture. 

"And  I  came  home  and  cried  for  three 
hours,  and  then  I  went  down  the  next  morning 
and  signed  a  long-term  contract  to  go  back  on 
the  stage. 

"That's  the  difference  between  pictures  and 
the  stage,  for  a  star. 

"On  the  stage,  you  know  what  you're  doing. 
You  read  the  play.  Any  changes  made  at 
rehearsal  are  made  in  your  presence,  you  sit 
in  on  them,  talk  them  over.  The  opening 
night,  you  know  just  what  the  public  will 
see — at  least,  you  can  give  them  your  best. 

"In  pictures,  it's  entirely  different.  You 
do  your  work  as  well  as  you  know  how,  and 
then  it  leaves  your  hands.  When  you  see  it 
again — of  course,  I  may  be  all  wrong.  Per- 
haps the  people  who  change  it  all  around 
know  better  than  I — about  pictures.  But 
they  don't  know  better  than  I  about  Pauline 
Frederick.  For  instance,  when  you've  played 
a  scene  from  a  careful  beginning,  when  you've 
worked  it  up  through  the  middle  part  and 
built  to  what  you  believe  is  a  climax,  then  to 
go  and  rind  the  beginning  and  end  cut  off, 
rather  hurts  your  feelings.  Or  to  rind  the 
character  of  a  society  woman  you  were  play- 
ing changed  by  titles  to  an  adventuress  from 
the  Canadian  wilds  makes  your  character- 
ization a  bit  of  a  disappointment  to  you." 

She  gave  me  a  gallant  grin,  without  bitter- 
ness, without  malice. 

"YW'HAT  I'm.  trying  to  say  is  that  there 

w  are  too  many  angles  to  the  motion 
picture  business  for  a  lone  woman  to  combat. 
If  I'd  been  a  better  picker,  had  a  husband 
who  was  a  big  producer  or  a  fine  director,  or 
even  a  good,  sound  business  man,  who  could 
look  after  my  stories,  my  casts,  my  releases 
— I  should  feel  safe. 

"When  I  left  Goldwyn,  some  years  ago,  I 
ran  into  bad  luck.  I  was  influenced  to  do  the 
wrong  thing.  I  didn"t  see  what  it  would  lead 
to,  didn't  understand.  But  I  found  myself 
with  no  one  to  advise  me,  no  one  to  give  me 
the  surrounding  support  that  I  needed.  I  am 
an  actress — I'm  not  a  director,  not  a  story 
writer,  not  a  salesman.  And — well,  1  just 
didn't  do  the  right  thing. 

"And  since  I've  never  found  the  right 
stories  in  the  companies  where  they  wanted 
me  to  work,  and  I  haven't  found  any  com- 
panies that  wanted  to  make  the  stories  I 
wanted  to  do.  So  I've  been  back  on  the 
stage,  a  year  in  Australia,  abroad,  in  San 
Francisco  and  Los  Angeles." 

I  asked  her  if  her  marriages — there  have 


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been  four,  including  the  last  two  to  Willard 
Hack  and  her  cousin,  a  fashionable  physician 
— had  had  anything  to  do  with  her  career. 

"No,"  she  said,  pensively,  her  eyes  on  the 
garden  outside,  wide,  wistful  blue  eyes  touched 
by  the  faintest  smile.  "No,  I've  weathered 
them  all — but  I  am  a  bad  picker,  as  I  told 
you.  But  there  is  no  use  crying  over  spilt  "T'YE  got  a  cousin,  about  my  age,  with  three 
milk.     More  than  anything  else  on  earth,   I         -'■little kiddies.  She'sismadaboutthetheatcr. 


it's  true.  I  would  rather  have  had  children 
than  anything  else  in  the  world.  People 
sometimes  say  to  me  that  they  wonder  how  I 
can  play  mothers  as  I  do,  when  I've  never  had 
any  children.  But — that's  the  very  reason. 
All  that's  bottled  up  inside  of  me,  comes  out. 


wanted  a  happy  marriage.  I  believe  terribly 
in  marriage.  For  a  woman  with  a  career,  it  is 
even  more  necessary  than  for  the  woman 
without  one. 

"But — marriage  is  just  part  of  the  melting 
pot  of  life.  If  you  don't  get  from  it  the 
happiness  you  have  hoped  for,  longed  for,  you 
can  at  least  gain  from  it  deeper  understanding 
of  the  human  heart,  more  pity  for  human 
weaknesses,  an  education  about  men. 

"I  know  it  is  hard  for  a  man  to  understand 
a  woman's  career.  Women  can  give  up  every- 
thing for  the  work  of  the  man  they  love,  but 
naturally,  you  can't  expect  that  from  a  man. 
I  wanted  a — a  working  partnership,  but  I 
never  got  it. 

"T  think  I  should  have  been  willing  to  give 
-L  up  my  career  for  the  right  man,  but  he 
never  came  along." 

Her  blue  eyes  came  back  to  me,  and  she 

must  have  seen  disbelief  on  my  face,  for  she 

said.  "Does  that  surprise  you?"    I  said  it  did. 

"I  suppose  so,"  she  said,  musingly.     "But 


I'd  change  places  with  her  to-morrow.  I'd 
change  places  with  her  to-morrow,  and  then 
let  her  see  what  it  would  be  like.  She'd  soon 
find  out  the  hollowness  of  fame,  the  hard  work 
of  success.  What  is  there  in  it,  really  all  this 
fame  we  strive  so  for? 

"That's  why  it  touched  me  so  when  you  told 
me  that  the  fans  really  wanted  to  see  me  back 
on  the  screen,  why  I  was  so  thrilled  over  the 
great  welcome  I  had  in  Australia.  That  love 
is  the  only  thing  about  success  that's  worth 
while.  And  that's  why,  if  I  can't  make  the 
kind  of  pictures  they  want — things  like  Bob 
Vignola  and  I  made  in  the  old  days,  Madame 
X  and  her  equals — I'd  rather  make  nothing. 
I  won't  disappoint  them.  I  can't  seem  now  to 
make  the  pictures  I  want  to,  and  I  won't  make 
anything  less." 

She  was  defiant.  She  was  sweet.  Her  eyes 
were  all  wet  again,  and  her  hands  were  clenched 
in  her  lap. 

So  now  you  know  what  happened  to  Pauline 
Frederick — her  love  for  the  stage,  a  lot  of  bad 
breaks,  and  her  own  idealism. 


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All  trace  of  freckles,  tan,  blackheads,  roughness, 
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[  CONTINUED  FROM  PAGE  67  ] 


CHAPTER  III 


cniruK™  No  "dirt.  ""fStln  ™  Nothing   to 
take.     Cannot     Injure    the    most    delicate    akin. 
.     Srnd  for    »,„   t'v.r   Hootdel.     You  ore  not  obli- 

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KNEE  DEEP"  played  Stamford  a  half 
week  and  then  Atlantic  City.  One  of 
those  modern  farce-comedies  written  by  a  still 
more  modern  young  playwright  with  his  tongue 
obviously  in  his  cheek,  it  ignored  all  the  old 
traditions  of  the  theater,  substituted  new  de- 
partures, and  fairly  shrieked  the  desire  to  be 
different 

The  weeks  of  rehearsal  with  their  sense  of 
security  in  a  metropolitan  theater  were  a  joy 
to    Edna    Ridgeway,    a    glimpse    of    heaven 
after   years   of   purgatory. 
The    nudges,    the    curious 
lifts  of  the  eyebrow  of  the 
well-dressed  cast  at  her  first 
introduction    meant    little. 
Few  of  them  had  heard  of 
her.   Or  having  heard,  they 
had  forgotten.  And  she  was 
in  harness  again.   That  was 
(he  gladness  that  sang  in- 
side her,  that  the  defeated 
song  completed. 

She  studied  as  she  had 
never  known  study;  worked, 
worried,  struggled  over  ev- 
ery shade  of  intonation.  The 
third  day,  she  was  letter 
perfect,  not  realizing  the 
up-to-date  method  of  learn- 
ing the  sense  of  the  lines  be- 
fore they  are  themselves  as- 
similated. She  tried  to  live 
I  he  part  of  the  naughty 
grandma  for  which,  had  she 
but  known  it,  her  grotesque 
nppearance  alone  had  be.-n 
selected. 

And  on  the  opening  night, 
before  an  audience  consist- 
ing largely  of  New  Yorkers 
n  ho  had  come  from  town 
for  the  performance,  she 
fell  flat  as  a  pancake. 

Management  and  actors 
had  anticipated  roars  of 
laughter  when  Grandma 
Webster  made  her  flapper 
entrance.  There  was  not 
even  a  polite  murmur.  The 
heavily  painted  face  under 
its  henna  boyish  bob;  the 
dangling  bracelets;  the 
skirt  knee  length; 
the  spindle  heels  of  bright 
red;  did  no  more  than  oc- 
casion a  faint  stir. 

As  a  result ,  no  mood  was 
created  to  receive  the  clever,  often  brilliant, 
always  wicked,  lines  of  the  part.  That  warm 
response,  the  bumper  lifted  by  his  audience  to 
an  actor's  effort,  and  which  he  recognizes  the 
instant  of  his  appearance,  did  not  come  across 
the  footlights 

Edna  knew  at  once.  She  knew  it  with  a 
clutch  at  the  throat  that  almost  strangled  her. 
The  cold  calm  following  her  first  speeches  was 
like  the  hand  of  death.  Frantically,  she  strug- 
gled to  pull  them  to  her. 

lust  once.  One  burst  of  laughter  uncontrolled 
and  she  would  have  them.  Even  one  spon- 
taneous chuckle. 

The  second  act  scene  in  which  Grandma  in 
tulle  evening  dress— what  there  was  of  it— ap- 
peared at  a  party  and  went  through  the  gyra- 
tions of  the  Charleston  with  her  grand-daugh- 
ter's best  young  man,  was  counted  on  for  a  big 
hand.  At  its  finish,  quiet  like  a  pall  lay  over  the 
house,  a  stillness  subtly  suggestive  of  disgust. 

That  same  quiet  reflected  backstage  at  the 
fall  of  the  final  curtain.  The  whispering  of  un- 
certainty was  the  only  sound  that  sped  from 
lip  to  lip. 

fruaranteed 


She  stood,  stage  cen- 
ter, gazing  at  the  young 
people,  their  highballs 
shoved  hastily  out  of 
sight.  She  sniffed  the 
pungent  air.  "Give  us 
one,"  she  chirped.  "I 
prefer  rye" 


Cleeburg  came  back  for  a  moment.  He 
seemed  bewildered.  He  spoke  to  them  all  of 
the  necessity  for  hard  work.  Upon  the  week  at 
Atlantic  City  would  depend  the  confirmation 
or  cancellation  of  their  New  York  booking. 
Though  not  a  word  was  directed  at  her  Edna 
felt  with  the  hammering  instinct  which  has  no 
real  name,  that  responsibility  for  the  failure 
was  hers  alone.  And,  too  well,  she  knew  what 
that  meant.  Even  'Dolph  Cleeburg  could  not 
allow  sentiment  to  jeopardize  his  property. 
They  would  give  her  until  after  the  Atlantic 
City  opening,  that  was  all.  Then  she  would  sit 
again  in  some  agent's  office. 

She  told  herself  it  was 
not  all  her  fault.  Cleeburg 
should  never  have  given  her 
the  part.  She  was  too  young 
to  play  a  grandmother,  even 
the  flapper  variety.  The 
audience  simply  wouldn't 
believe  it.  But  she  must 
hold  on  just  the  same.  Lit- 
erally, it  was  a  matter  of 
life  and  death. 

By  the  time  the  company 
left  for  Atlantic  City  Sun- 
day, she  was  exhausted. 
Not  the  endless  rehearsing 
of  the  past  few  days,  nor  the 
varied  keys  in  which  she  es- 
sayed the  role,  but  the 
tense,  terrible  effort  to 
please  had  played  her  out. 
Every  glimpse  she  had  of 
author  and  manager  in  con- 
sultation  she  felt  must  be 
In  r  death  knell.  Slow  in- 
quisition that  made  each 
moment  a  pendulum  of 
fear. 

When  they  reached  the 
city  by  the  sea,  she  regis- 
tered at  a  cheap  hotel  and, 
without     stopping     to     do 
more  than  wash  up,  made 
for    the   boardwalk.      She 
longed  for  the  expanse  of 
changing  ocean  and  sky  to 
clearhcrlungsof  suffocation. 
It  was  the  hour  of  change, 
of  lights  and  shades  thai 
shift  mystically.     The  late 
October  afternoon  lay  gold- 
en on  the  sea.    A  magic  day, 
aglow  with  strange  hidden 
warmth  under  the  crisp  air. 
A  day  that  sought  to  share 
its  joy  of  living  with   the 
world  at  play. 
F.dna  Ridgeway  walked  in  the  direction  of 
the  inlet,  as  rapidly  as  toothpick  heels  would 
permit.    Now  and  then  she  paused  to  look 
about.    Now  and  then  the  passers-by  became 
people  instead  of  an  automatic  blur.    And  it 
was  in  one  of  these  moments  that  she  stopped, 
took  a  hasty  forward  step,  then  wheeled  sharply. 
With  a  swift  turn  of  face  and  body    she 
sought  the  shelter  of  a  pavilion.      There  she 
stood,  eyes  riveted  to  a  group  of  three  across 
the  boardwalk.    Almost  face  to  face,  they  had 
passed  by  and  her  first  impulse  had  been  to 
escape. 

Their  backs  were  to  her  now  as  they  stopped 
to  look  in  a  shop  window.  She  hoped  they 
would  stand  so  for  a  long  time.  She  wanted  to 
fill  her  eyes  with  them.  Yet  the  breadth  of  the 
walk  that  separated  the  woman  from  that  little 
group  seemed  to  reach  round  the  world. 

A  slow,  wondering  amazement  held  her.  As 
if  the  magic  of  the  day  had  cast  a  spell.  It 
caught  her  up  like  some  god  a  pigmy  in  the 
clutch  of  his  great  hand.  It  squeezed  the 
breath  from  her  as  if  that  great  hand  were 
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They  turned  from  the  shop  window,  those 
three,  unknowing,  and  went  on  their  way.  The 
woman's  eyes  followed  until  they  were  out  of 
sight.  Then,  slowly,  head  bent,  she  turned  in 
the  opposite  direction. 

A  crowded  house  the  following  night  greeted 
the  rise  of  the  curtain  on  "  KNEE  DEEP."  It 
was  the  sort  of  cosmopolitan  jam  that  fore- 
gathers in  the  theater  at  a  resort  where  one 
goes  to  take  the  air.  Relaxed,  expectant,  on 
holiday  bent,  tired  of  wheel  chairs  and  walking, 
completely  unconscious  of  the  other  extreme 
at  the  other  side  of  that  painted  canvas,  the 
throbbing  of  tired  nerves  and  tense  anxiety. 

Yet,  strangely  enough,  quiet  control  had 
settled  like  a  benediction  over  Edna  Ridgeway. 
In  her  draughty  dressing  room,  she  proceeded 
with  her  make-up,  realizing  that  to-night,  like 
Justice,  held  the  scales  of  her  future.  Yet 
serene  in  the  face  of  it.  Looking  into  the  mir- 
ror, her  eyes  searched  beyond  the  reflection  for 
reality. 

Fifteen  minutes  before  her  entrance,  she 
closed  the  door  of  her  room  and  stood  in  the 
wings,  waiting.  When  her  cue  came,  she  took 
a  long  breath  and  stepped  on  the  stage. 

Cleeburg,  seated  with  the  author  at  the  rear 
of  the  house,  hopped  straight  from  his  chair. 
The  author  leaned  forward  sputtering, — a 
struggle  between  astonishment  and  rage. 

There  had  appeared  before  the  audience  a 
little  lady  in  flat  heels,  black  silk  dress,  white 
fichu  and  grey  hair  softly  curled  against  a  face 
only  faintly  made  up.  She  stood  stage  center, 
gazing  in  fluttery,  birdlike  way  at  the  young 
™y  people  sprawled  about,  their  cigarettes  droop- 

ing from  lax  fingers,  their  highballs  hastily 
shoved  out  of  sight.  Then  her  head  went  up. 
She  sniffed  the  pungent  air. 

"Give  us  one,"  she  chirped;  "I  prefer  rye." 

The  house  let  out  a  howl.  That  quaint, 
almost  shy,  little  person  lifting  a  highball  with 
the  air  of  a  seasoned  connoisseur,  sipping  it 
with  lips  that  smacked  appreciatively,  filled 
their  souls  with  instant  delight. 

"By  Godfrey,  she's  got  'em!"  breathed  Clee- 
burg, falling  back  in  his  seat.  "She's  hit  it. 
Flapper  grandma  is  old  stuff, — see  her  on  every 
street  corner!  But  old-fashioned  grandma  with 
flapper  lines — that's  something  new!  Get 
me?" 

He  grinned. 

There  could  be  no  doubt  from  that  moment 
as  to  Grandma  Webster's  popularity  with  the 
audience.  Every  move  she  made,  every  wicked 
"wise-crack,"  every  bit  of  sophisticated  phi- 
losophy, they  rose  to  meet  with  the  tribute  of 
good  fellowship.  When  the  fluttering  little 
hand  struck  a  match  across  the  sole  of  her  flat 
shoe  and  held  it  to  a  cigarette,  they  adored  her. 
When  her  eyes  crinkled  naughtily  and  she  ad- 
vised her  young  swain:  "My  boy,  there's  a 
time  and  place  for  everything.  Never  give  a 
boudoir  kiss  in  a  drawing-room," — they 
chuckled.  When,  in  stiff  black  silk  gown  and 
white  stockings,  she  floated  into  his  arms  and 
went  through  the  gyrations  of  the  Charleston, 
they  hugged  her,  with  him,  to  their  hearts. 

DOLPH  CLEEBURG,  followed  by  the 
author,  dashed  backstage  to  Edna's  dress- 
ing room  after  the  first  act. 

"A  riot!"  clapped  out  the  manager,  wringing 
both  her  hands. 

"Stroke  of  genius!"  vouchafed  the  author, 
and  grinned  as  if  the  stroke  had  been  his. 

"What-in-hell  made  you  do  it?"  demanded 
Cleeburg. 

But  Edna  just  smiled.  "It  was  inspiration 
that  came  last  night.  I'd  been  such  a  terrible 
flop.    They  hated  me. " 

"And  now,"  Cleeburg  choked,  "they're  eat- 
ing you  up.  Just  keep  up  this  pace  and  we're 
good  for  two  years  on  Broadway!" 

They  gave  her  a  hand  when  she  next  ap- 
peared; a  long,  vociferous  outburst.  It  didn't 
matter  that  her  characterization  changed  the 
play's  entire  motivation.  Nobody,  of  course, 
would  believe  that  the  woman  Edna  Ridgeway 
presented  could  actually  have  won  away  her 
grand-daughter's  sweetheart.  But  nobody 
cared.     They   were   responding   to   that   law 

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of  the  theater — the  law  of  contrasts.  And 
they  were  willing  to  accept  anything  the 
lovable  naughty  grandmother  did  in  the  light 
of  a  prank  cooked  up  by  her  as  a  lesson  to  the 
ultra-sophisticated  younger  generation. 

A  S  the  final  curtain  fell,  Edna  Ridgeway  did 
-**-not  realize  the  extent  of  what  she  had  done. 
She  had  no  idea  that  Grandma  Webster  had 
made  the  play's  success.  She  knew  only  that, 
whereas  its  failure  had  been  on  her  shoulders 
during  the  Stamford  engagement,  she  had  seen 
the  way  to  redeem  herself  tonight. 

Coming  off  a  bit  dazed,  she  heard,  at  what 
seemed  a  distance,  the  shouted  congratulations 
of  the  company,  their  gay  laughter,  felt  their 
handclasps.  But  above  all,  she  sensed  free- 
dom. A  chafing  coat  of  mail  had  mysteriously 
fallen  away,  and  in  its  place  was  wrapped  round 
her  a  mantle  of  tenderness. 

More  than  the  thrilling  din  of  excitement 
and  relief,  more  even  than  'Dolph  Cleeburg's 
enthusiasm,  she  wanted  just  now  to  be  alone. 
To  drop  down  on  the  low  stool  before  her  dress- 
ing table  and  face  the  truth  which  so  suddenly, 
so  strangely,  had  come  to  her. 

She  opened  the  door  of  her  dressing  room. 
Then  she  stopped  quite  still,  holding  to  the 
knob.  A  man  was  standing  in  the  middle  of 
the  floor.  Quietly,  as  she  entered,  he  came 
toward  her. 

"Ted — you  were  great,"  he  said. 

She  leaned  back  against  the  door,  her  lips 
moving.  They  formed  the  name,  "Jim,"  but 
did  not  utter  it.  Not  for  a  moment  or  so. 
Then  she  spoke  dimly. 

"Jim,  was  I?    Tell  me — -was  I  real  to  you?" 

"You  don't  know  how  real!" 

"Yes,  I  do,"  she  interjected,  voice  breath- 


less and  none  too  clear.  "I  had  seen  you  and 
Jimsy  and  little  Jimsy, — he  is  little  Jimsy, 
isn't  he?" 

"Yes — a  great  little  fellow,  too!" 

"  I  knew  him — because  he's  the  image  of  our 
Jimsy  when  he  was  tiny.  I  saw  you — all  to- 
gether on  the  boardwalk  last  night,  looking 
into  a  toy  shop.  Such  a  happy  trio!  And  it 
came  over  me  suddenly,  Jim,  what  it  would 
have  meant  to  have  you — to  be  the  woman  I 
was  meant  to  be — old  enough  to  have  a  grand- 
child, young  enough  to  live  again  in  him.  It 
was  seeing  you  three — like  that — made  me 
realize — "  she  broke  off. 

"We  came  down  here  especially  to  see  you," 
— he  coughed  a  bit,  halted,  went  on.  "The  boy 
and  I  got  in  from  Chicago  only  Saturday  and 
heard  then  you  were  back.  He's  on  a  big  en- 
gineering job  out  West,  you  know."  He  picked 
up  the  thread  of  their  life  together  gently  and 
quite  as  if  she  had  never  snapped  it.  "The  boy 
had  to  see  his  mother,  nothing  to  it!" 

"Jim" — she  pulled  off  the  gray  wig — "I've 
been  playing  out  of  character  so  long.  Look  at 
me — what  a  freak!  Why,  tonight's  the  first 
time  I've  felt  real  in  years." 

"You're  all  right,  Ted  dear.  Remember 
what  I  told  you  once?  Even  when  there's  not  a 
hair  on  your  head  or  a  tooth  in  your  mouth — 
remember?" 

She  hung  to  the  hands  he  held  out  to  her. 
Never  in  all  the  years  of  desperate  effort  at 
youth  had  she  looked  so  childishly  helpless. 

"Jim — I — I  feel  born  all  over  again,"  she 
brought  out.  "Will  you  take  me  to  my  Jimsy  s 
baby?  I  want  to  hold  him  in  my  arms — make 
a  fool  of  myself  over  him.  I  want  to  know  just 
bow  it  feels  to  be  a  real  honest-to-God  grand- 
mother." 


Close-Ups  and  Long  Shots 


[  CONTINUED  FROM  PAGE  40  ] 


a  common 


;round  for  enthusiasm  in  motion 
pictures. 

Half  the  letters  I  receive  come  from  Eng- 
land. They  are  hospitable  and  good  sport 
sounding.  Some  of  them  extend  dinner  invita- 
tions, and  this  is  taking  a  chance  even  though 
there  is  an  ocean  between  us. 

THIS  note  of  hospitality  strikes  me  as  odd 
because  when  I've  been  in  contact  with  the 
English  I've  felt  sort  of  refrigerated.  Indeed 
I've  felt  as  though  I  personally  were  responsi- 
ble for  Braddock's  defeat,  whereas  it  was  I  who 
said,  "Don't  shoot  until  you  can  see  the  whites 
of  their  eyes,"  and  even  then  I  was  only  fooling, 
thinking  that  when  they  heard  me  they  would 
close  them. 

But  the  motion  picture  has  given  us  a  mutual 


enthusiasm  that  drowns  all  thought  of  past 
differences.  The  English  letters  prove  that. 
And  next  year  I'm  going  to  do  my  best  to  forget 
that  my  ancestress,  Mary  Queen  of  Scots,  was 
beheaded  while  visiting  relatives  there. 


"DEFORE  closing  the  show  this 
"■"' month  I'd  like  to  make  just  one 
personal  announcement  (keep  your 
seats,  we  are  not  selling  red  cross 
buttons).  Mabel  Normand  is  out 
there  in  the  audience,  and  Mabel 
has  come  back  to  the  screen  in  a  pic- 
ture that  is  Mabel  at  her  greatest  .  .  . 
That's  right,  give  her  a  cheer  as 
big  as  her  heart! 


The  Gotten  Goat 


[  CONTINUED  FROM  PACE  39  ] 


occasional  mayhem  was  only  an  item  on  the 
debit  side  of  the  ledger.  In  the  none  too  dim 
past  Veto  had  experienced  the  gnawing  pangs 
of  hunger  and  so  arrows  did  not  hold  for  him 
the  terror  which  perhaps  they  justified. 
Wherefore  he  returned  to  his  post  of  disad- 
vantage against  the  lonesome  pine,  replaced 
the  shiny  apple  on  his  head  and  closed  his  eyes 
in  melancholy  anticipation. 

"I  has  got  a  hunch,"  he  murmured  softly, 
"  that  something  is  about  to  happen." 

The  scene  was  readied.  Opus  experimented 
casually  and  unsuccessfully  and  then  prepared 
for  the  shooting  of  the  great  scene  from  this 
screaming  burlesque  of  the  Swiss  classic. 

"  Ready?"  barked  Clump. 

They  nodded. 


"Action!"  Snapped  the  director.  "Cam'ra! 
Shoot!" 

Opus  Randall  posed  pompously,  fitted  the 
feathered  end  of  the' arrow  to  the  bowstring — 
and  shot.  The  arrow  sped  into  the  air  and 
collided  violently  with  Mr.  Veto  Small's  chest. 
The  apple  tumbled  to  the  ground  and  Mr. 
Small  followed  loudly.  Caesar  leaped  around 
hilariously.  "Tha's  great,"  he  enthused. 
"Tha's  even  better  than  had  you  hit  the  ol' 
apple,  Opus.  We  gits  a  big  laugh  out  of  that. 
Hey  you,  Boy!  see  is  Veto  hurt  bad  an'  if  so 
take  him  to  the  hospital." 

As  a  matter  of  fact  Veto  was  not  seriously 
injured,  but  he  was  not  minded  to  inform  the 
director  of  that  fact  lest  a  retake  be  ordered. 
The  arrow  had  been  fortunately  dull  and  only 


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the  impact  had  rendered  him  temporarily  hors 
dc  combat.  So  when  they  got  him  into  a  taxi 
he  directed  the  driver  to  take  him  to  his  modest 
room  at  Sis  Callie  Fluker's  imminently  re- 
spectable boarding  house. 

They  swung  into  Birmingham  over  the  crest 
of  Red  Mountain  and  Veto  gazed  down  upon 
the  panorama  of  Jones  Valley  with  a  queer  ad- 
mixture of  affection  and  distaste.  Birmingham 
had  treated  him  both  harshly  and  well:  it  had 
held  out  to  him  social  position  which  he  had 
hitherto  never  known  .  .  .  and  a  series  of 
fearfully  hard  knocks. 

As  the  Gold  &  Silver  taxi  dropped  down 
Twentieth  street,  ilr.  Small's  mind  reviewed 
his  brief  sojourn  in  Alabama's  metropolis  — 
and  wondered  whether  he  had  better  remain 
where  he  was  or  journey  on  in  hope  of  finding  a 
position  which  paid  less  well — and  was  less 
dangerous — than  the  task  of  Goat  Man  with 
the  Midnight  Pictures  Corporation. 

The  cab  stopped  before  the  modest  two-story 
house  on  Avenue  F.  Veto  alighted  and  went 
to  his  room.  And  there,  seated  by  the  window, 
was  a  figure.  Mr.  Small's  face  was  trans- 
figured with  supreme  disgust  at  sight  of  this 
gentleman. 

"William  Scraggs,"  he  snapped,  "what  is 
you  doin'  heah?" 

"Just  visitin',"  responded  the  other  with 
unctuous  affability.  "Sort  of  waitin'  fo'  you 
to  come  in." 

Mr.  Scraggs  was  not  so  tall  as  his  host,  but 
he  boasted  perhaps  thirty  pounds  more  avoir- 
dupois and  it  was  composed  largely  of  ex- 
tremely serviceable  muscle.  Veto,  however, 
had  been  tried  to  the  limit  and  there  was  no 
uncertainty  in  the  manner  of  his  reply. 

"Ise  in!"  announced  Veto.  "An'  Ise  waitin' 
fo'you  to  git  out." 

"Aw,  now.  Veto — " 

"Don't  go  Aw-in'  me.  All  I  craves  of  yo' 
presence  is  yo'  absence.    An'  a  lot  of  it." 

"Shuh!  Tall  Boy — don't  you  never  forget 
n'r  forgive  nothin'?  " 

"  Veh — but  not  ev'ything." 

"I  just  played  a  li'l  joke  on  you — ■" 

" — Veh.    An'  you  done  all  the  laughin'." 

"But  I  says  le's  let  bygones  be  bygones." 

"That  aint  mutual.  I  guess  you  is  a  good 
enough  feller,  Mistuh  Scraggs.  but  you  aint  no 
good  fo'  me.    So  I  bids  you  a  fond  farewell." 

"Now  leave  me  'splain.  When  you  fust 
come  to  '-iumminham —  " 

"Vou  don't  have  to  'splain  that  to  me. 
Mistuh  Scraggs.  I  won't  never  forget  that  the 
longest  day  I  live." 

Veto  spoke  without  semblance  of  exaggera- 
tion. His  thoughts  flashed  back  to  the  drippy, 
dreary  night  when  his  train  had  rolled  under 
the  somber  shed  of  the  L.  &  N.  station. 
Birmingham  was  a  welter  of  rain  and  sleet  and 
unhappiness.  Veto  was  a  stranger  in  a  strange 
land — an  eager,  friendly  stranger  possessed  of 
twenty-six  dollars  in  cash  and  an  ambition  to 
be  buddies  with  someone. 

HE  wandered  from  the  depot  to  Nineteenth 
street,  and  thence,  by  instinct,  to  Eigh- 
teenth and  to  Bud  Peaglar's  Barbecue  Lunch 
Room  and  Billiard  Parlor.  The  hour  was  early 
— the  dusk-dark  moment  of  a  sodden  Southern 
evening  .  .  .  and  in  paying  for  a  cup  of  coffee 
and  bowl  of  Brunswick  stew  he  flashed  the 
yellow  backs  of  two  ten  dollar  bills. 

William  Scraggs  saw  them,  and  William  was 
excessively  partial  to  strangers  who  carried  ten 
dollar  bills.  The  task  of  cultivating  the  new- 
comer's acquaintance  was  ridiculously  simple. 
Veto  confessed  that  he  had  come  to  Birming- 
ham in  search  of  work — any  sort  of  work.  He 
wanted  to  locate  in  the  city — and  he  had 
money  to  prospect  for  just  the  right  sort  of  job. 

Mr.  Scraggs  expressed  the  opinion  that 
twenty-rive  dollars  wasn't  so  much  and  Veto 
agreed.  "Now  fifty  dollars,"  breathed  the 
new-found  friend,  "Tha's  money!" 

"  Uh-huh.    It's  twice  as  much." 

"  With  fifty  dollars  you  can  hoi'  out  fo'  about 
six  weeks  an'  git  just  the  right  sort  of  job." 

"  Aint  it  the  truth?  But  I  aint  got  no  fifty 
dollars — " 


"You  can  git  it." 

"How?" 

William  waxed  loquacious.  He  explained  to 
the  stranger  that  the  Sons  and  Daughters  of  I 
Will  Rise  were  auspicing  a  boxing  carnival  that 
night  at  their  hall  on  Eighth  Avenue.  The 
chief  attraction  was  a  ten  round  bout  between 
Mr.  Killer  Eads,  of  Pratt  City  and  Mr.  Tommy 
Lawson,  of  Atlanta.  "An'  Boy!"  breathed 
William,  "this  Killer  Eads  is  what  his  name 
says,  only  more  so.  One  punch  an'  fooie!  But 
most  folks  don't  know  all  about  him  like  I  does 
an'  they  is  bettin'  on  Tommy  Lawson  which 
they  has  sawn  him  fight  befo'  an'  they  think 
he  is  pretty  good." 

Veto  shook  his  head.  "I  never  bet,"  he  an- 
nounced, "an'  when  I  does  I  always  loses." 

YOU  won't  lose  bettin' on  the  Killer.  Honest, 
he's  the  swellest  cullud  middleweight 
us  has  turned  out  in  ten  yeahs.  He  eats  raw 
meat  fo'  breakfast  an'  chews  ten-penny  nails 
fo'  lunch.  His  middle  name  is  Murder  an'  he 
was  born  twins.  Now  look — "  Mr.  Scraggs 
produced  a  wallet  which  contained  naught  but 
atmosphere.  "  You  see  how  much  money  aint 
in  that  pocketbook?" 

"Uh-huh." 

"  Well,  this  mawnin'  there  was  th'ee  hund'ed 
dollars  in  there  an'  I  has  bet  it  all  on  the  Killer 
at  even  money.    Tha's  what  I  think  of  him." 

In  the  face  of  such  incontrovertible  proof  of 
his  friend's  sincerity.  Veto  Small  could  not  long 
hold  out.  Not  without  some  slight  tremor  of 
apprehension  he  entrusted  to  William  twenty- 
five  of  his  twenty-six  dollars  and  they  repaired 
immediately  to  the  lavish  lodge  rooms  of  the 
Sons  and  Daughters  of  I  Will  Rise,  where  a 
goodly  smattering  of  Darktown's  sportively 
inclined  were  gathered  at  the  ringside.  For  a 
few  brief  moments  William  absented  himself 
and  when  he  returned  it  was  to  proclaim  ex- 
ultantly that  he  had  wagered  the  twenty-five 
dollars  at  even  money  on  the  Killer. 

Killer  Eads  was,  to  express  it  mildly,  a  placid 
looking  person.  Also  it  appeared  to  the  un- 
critical eye  of  Veto  Small  that  he  held  his  op- 
ponent in  profound  awe. 

The  fight  started. 

The  fight  ended. 

Killer  Eads  took  one  on  the  jaw  and  came  up 
for  another.  He  got  it.  The  house  rocked  with 
merriment  as  Florian  Slappey.  officiating  as 
third  man  in  the  ring,  counted  up  to  thirty- 
seven  before  the  Killer  opened  one  eye  to  in- 
quire how  much  his  twenty  per  cent  ofthegate 
receipts  amounted  to.  It  was  excruciatingly 
funny  to  everyone — except  to  Mr.  Veto  Small. 

Then  something  else  happened.  A  large  ami 
portly  gentleman  bustled  up  to  Mr.  William 
Scraggs  and  placed  in  that  person's  hand  the 
sum  of  fifty  dollars. 

"  Utah's  yo'  stake  an'  yo'  winning's.  Brother 
Scraggs.  Vou  is  the  only  cullud  feller  in 
Bumminham  who  was  luck)'  enough  to  find 
anybody  to  bet  on  Eads." 

There  was  nothing  swift  about  Veto,  bul 
even  his  snail-like  powers  of  comprehension 
could  not  long  mistake  the  sinister  meaning  of 
this.  He  protested  long,  loudly  and  vainly 
.  .  .  and  William  Scraggs  had  the  effrontery  to 
laugh  in  his  face. 

"I  had  to  find  somebody  to  bet  on  the  Killer." 
he  announced.  "An'  he  does  deserve  his 
name — 'ceptin'  on'y  that  he  always  is  the  one 
which  gits  kilt." 

And  so  that  night  Veto  Small  emerged  from 
the  lodge  bereft  of  his  money,  his  friend  and 
his  plan  of  campaign.  He  was  strangely  alone 
in  a  city  which  had  thus  far  proved  anything 
but  friendly  and  he  possessed  one  single 
simoleon.  It  was  a  drab  and  gloomy  prospect 
— one  fraught  with  potentialities  of  excessive 
and  frequent  hunger  and  sleepless  nights  on 
chilly  curbstones. 

The  following  day  Veto  set  out  in  search  of 
work.  He  was  no  longer  particular.  He 
wanted  a  job  and  he  wanted  it  right  now.  He 
was  lonely  and  desperate  and  filled  with  the 
fear  that  unless  something  turned  up  very 
quickly  indeed  he  might  take  an  enforced  vaca- 
tion from  eating. 


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He  made  his  way  to  the  studios  of  The  Mid- 
night Pictures  Corporation,  Inc. — successful 
producer  of  two-reel  comedies  by  and  of 
negroes  and  for  moving  picture  fans  the 
country  over.    He  did  not  go  there  because  he 


were  difficult  to  obtain.  Midnight  yet  oper- 
ated close  to  its  expense  account  and  Director 
J.  Caesar  Clump,  as  well  as  Director  Edwin 
Boscoe  Fizz,  hated  to  be  annoyed  by  visitors. 
There  were  few  colored  folks  in  the  city  who 


thought  there  might  be  any  opportunity  for     did  not  aspire  to  a  job  with  the  company,  and 

none  who  did  not  possess  an  insatiable  curios- 
ity as  to  what  it  was  all  about  and  how  it  was 
done.  Wherefore  social  attention  was  show- 
ered upon  any  and  all  who  might  possibly  have 
influence  in  permitting  the  interested  outsider 
to  enter  the  magic  portals  .  .  .  and  there  was 
no  one  who  quite  knew — or  knowing,  would 
have  understood — just  what  a  hopelessly 
menial  position  was  held  by  Veto  Small. 

And  so  Veto  recognized  two  sides  to  the  book 
of  account.  On  the  one  was  diurnal  mayhem 
and  on  the  other  a  prestige  with  which  he  had 
never  before  been  blessed.  And  this  was 
brought  forcibly  home  to  him  the  first  time 
1  hat  William  Scraggs  insinuated  himself  into  the 
tall  one's  society  and  suggested  that  they  carry 
their  hatchet  into  the  back  yard  and  bury  it. 

"Don't  crave  to  bury  no  axes,  'cept  in  yo' 
head,"  growled  Veto. 

William  refused  to  become  peeved,  for 
William  ambitioned  mightily  toward  the 
movies  where  he  fancied  that  he  could  become  a 
star  in  short  order.  He  insisted  that  his  very 
dear  friend  should  forget  and  forgive — which 
Mr.  Small  quite  stubbornly  refused  to  do. 


him,  but  because  Midnight  was  the  only  in 
dustry  he  knew  of  in  Birmingham.  He  had 
seen  Midnight  comedies  and  howled  over  them 
— and  he  knew  that  the  organization  was  large 
and  flourishing.  He  presented  himself  at  the 
gate  and  demanded  to  know  whether  there 
was  a  job  for  a  gentleman  who  cared  nothing 
for  the  exterior  of  his  carcass  provided  the  in- 
terior was  assured  of  adequate  eatments  at 
least  thrice  daily. 

It  so  happened  that  two  days  previously  Mr. 
Wolford  Potts,  masculine  star,  and  Mrs. 
Sicily  Clump,  feminine  satellite,  had  happened 
to  an  accident  during  the  rehearsal  of  a  very 
important  scene  and  were  even  then  hobbling 
around  the  lot  considerably  the  worse  for  wear. 
Also  J.  Caesar  Clump,  director  extraordinary, 
happened  to  hear  the  plea  of  the  melancholy 
Mr.  Small  and  bade  that  gentleman  wait — 
even  when  the  gatekeeper  would  have  curtly 
dismissed  him. 

J.  Caesar  went  into  executive  session  with 
Orifice  R.  Latimer,  president  of  Midnight. 
He  made  clear  to  that  person  that  such  acci- 
dents as  had  occurred  forty-eight  hours  before 
were  unnecessary  and  costly  and  suggested 


that  they  hire  the  stranger  at  the  gate. 

"  Always  when  us  makes  slapstick  comedies,     Mr  SC^GGS  was  a  V"T    "   T^"  ,w 
we  tries  crazy  stunts  an'  sometimes  they  goes     £     ,re  used  *°  ac!cept  a,  re^u,T-  .  "e  ^new  that 

he  had  erred  grievously  in  mistreating  Veto 

and  he  tried  to  make  amends — even  to  the 
point  of  returning  the  twenty-five  dollars  won 
from  the  lengthy  gentleman  on  the  occasion  of 
Killer  Fads'  brief  nap  at  the  lodge  rooms  of  the 
Sons  and  Daughters  of  I  Will  Arise. 

Veto  accepted — and  was  slightly  mollified, 
but  only  slightly.  And  he  permitted  hh-bcle 
noire  to  labor  under  a  slight  apprehension. 

"What  you  does  in  the  movies,  Brother 
Small?" 

"Me?    Oh!  nothin' much!" 

"I  know.    But  just  what  in  pretickeler?" 

"I  he'ps  out.  Ise  what  they  calls  an  under- 
study— sort  of." 

"An'  if  somethin'  was  to  happen  to  Opus 
Randall  or  Welford  Potts  or  somethin' — ?" 

"I  guess  I'd  act  fo'  them.  Ise  done  about 
ev'ything  else." 

William  heaved  a  deep  and  vasty  sigh. 
"Gosh!  aint  you  the  lucky  feller?  Gittin'  a 
soft  job  like  that  where  you  might  happen  to 
become  a  star  .  .  .  .   " 

"You  don't  understan'  nothin'  about  the 
movies,"  explained  Veto  tiredly. 

"I  understan's  I  wish  I  was  in  'em.  Actin' 
fo'  the  pitchers  is  the  most  ambition  I  has." 

"Umph!  'Taint  so  easv  gittin'  in  with  us 
folks." 

That  was  the  truth,  as  William  well  knew. 
He  had  tried  often  and  futilely.  But  it  seemed 
now  that  opportunity  was  rapping  at  his  door. 
This  was  the  first  time  since  the  local  company 
had  been  launched  that  he  had  been  able  to 
scrape  up  an  acquaintanceship  with  a  member 
of  the  organization  and  he  was  not  of  mind  to 
let  even  this  slim  opportunity  lapse. 

In  the  weeks  which  followed  he  sycophanted 
around  Veto,  showering  that  gentleman  with 
attentions  gastronomic  and  social.  He  saw  to 
it  that  Veto  was  elected  to  the  Sons  and 
Daughters  of  I  Will  Arise  and  the  Over  the 
River  Burying  Society  and  was  an  honor  guest 
at  several  functions  where  ordinarily  Mr.  Small 
would  not  have  been  able  to  obtain  an  invita- 
tion. 

By  profession  Mr.  Scraggs  was  a  truck 
driver  and  on  more  than  one  occasion  Veto  saw 
him  go  thundering  by  the  studio  on  his  high 
perch  and  a  deep  envy  welled  in  the  heart  of 
the  Midnight  company's  official  goat  man. 
He  knew  how  to  drive  an  automobile  and 
craved  to  mount  on  the  seat  of  a  truck  and 


wrong.  An'  when  they  does  somebody  in  the 
company  gits  all  busted  up  an'  then  we  has  to 
lay  off  shootin'  fo'  a  few  days  an'  that  costs 
money.  Now  I  sugges's  that  we  hiahs  this 
feller  an'  tries  things  out  on  him.  If  they 
works,  all  well  an'  good — an'  if  they  don't — 
why  then  we  is  wiser." 

And  so  it  was  as  official  goat  that  Mr.  Veto 
Small  came  to  enter  the  movies.  At  the  first 
blush  the  job  looked  to  him  like  manna  from 
Heaven — but  before  the  end  of  the  week  he 
commenced  to  speculate  whether  his  good  luck 
was  entirely  unalloyed. 

ONE  thing  could  be  said  for  Director  Clump 
— he  demanded  one  hundred  per  cent  value 
from  every  one  on  the  Midnight  lot,  and 
Veto  came  far  from  being  an  exception  to  the 
general  rule.  In  fact,  the  director  was  inspired 
to  try — through  the  medium  of  Veto — many 
gags  about  the  success  of  which  he  had  there- 
tofore been  in  doubt.  From  the  third  day  of 
his  membership  in  the  Midnight  organization, 
Veto  was  never  entirely  free  from  bumps  and 
bruises  .  .  .  and  if  he  bore  them  with  some 
slight  measure  of  stoicism  it  was  because  of  the 
fear  of  joblessness  which  his  one  lonesome 
night  had  engendered. 

Also,  Mr.  Small  made  an  amazing  and  de- 
lightful discovery.  He  learned  that  there  were 
certain  invaluable  perquisites  to  being  a  mem- 
ber of  the  Midnight  organization. 

The  Midnight  Pictures  Corporation,  Inc. 
had  been  in  existence  less  than  a  year  and  dur- 
ing that  time  its  growth  had  been  phenomenal 
and  its  future  assured.  Starting  with  only  a 
small  portion  of  the  proverbial  shoe-string,  it 
had  weathered  a  brief  storm  of  adversity  and 
was  now  solidly  entrenched  as  a  producing 
organization  whose  production  was  being  ex- 
hibited in  more  than  one  hundred  and  fifty 
first  run,  first-class  houses  throughout  the 
United  States  with  its  output  contracted  for 
two  years  in  advance  on  a  basis  of  twenty-six 
pictures  a  year. 

Wherefore  Midnight  had  ceased  to  be  a  ven- 
ture and  had  become  a  recognized  industry — 
and  as  such  the  social  are's  and  would-be's  of 
Birmingham  were  entranced.  Colored  society 
provided  a  very  particular  niche  for  each  mem- 
ber of  the  organization  .  .  .  and  even  Veto 
Small  came  in  for  his  small  share  of  adulation. 


With  increasing  prosperity  had  come  greater  send  it  crashing  through  traffic.    He  particu- 

efficiency.     No  longer  were  extras  recruited  at  larly  envied  the  job  which  William  held,  for  it 

random  or  visitors  allowed  to  swarm  willy-  entailed  no  physical  labor  .  .  .  but  he  did  not 

nilly  about  the  lot.     Admission  to  the  plant  let  the  persistent  person  see  that  envy  was 

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Veto  became  more  and  more  disgusted  with 
the  motion  picture  profession.  At  the  outset 
there  had  been  in  his  brain  some  glimmering  of 
an  idea  that  perhaps  he  might  mount  from  his 
lowly  estate  to  the  glory  of  actordom  .  .  .  but 
the  passing  days  effectually  dispelled  any  such 
notion.  He  was  the  human  nadir  of  the  in- 
dustry and  even  at  that  far  too  valuable  in  his 
position  to  warrant  either  director  in  elevating 
him  above  the  work  for  which  he  had  been 
hired. 

On  this  day  of  the  filming  of  the  burlesque 
William  Tell,  Mr.  Small  had  plumbed  the 
nethermost  depths  of  dank  despair.  Throwing 
him  around  was  one  thing — it  was  quite  some- 
thing else  and  hopelessly  insulting  when  they 
stood  him  against  a  tree  and  shot  him. 

"Always  something  happens  to  me,"  he 
gloomed  to  himself.  "  Even  that  apple  didn't 
git  hurt." 

Wherefore  he  was  in  a  distinctly  unfriendly 
mood  at  sight  of  William  Scraggs  waiting  in  his 
room.  William  radiated  geniality  and  affabil- 
ity and  Veto  snarled  his  answers. 

"Leave  me  be,  Mistuh  Scraggs.  I  aims  to 
enjoy  me  some  solitude." 

"Tha's  all  right,  Brother  Small;  don't  you 
mind  me." 

"Caint  he'p  mindin'  you.  Ise  as  sick  an' 
tired  of  you  as  I  is  of  my  job." 

"Says  which?" 

"Ise  disgustful  with  the  movin'  pitchers. 
Workin'  in  them  aint  no  good  nohow." 

William's  eyes  popped  with  amazement. 
"Listen  at  that  man  talk!" 

"I  mean  it,"  snapped  Veto.  "Me — I'd 
ruther  be  drivin'  yo'  truck  than  doin'  what  I 
is." 

"I  reckon,"  sarcastically,  "that  you'd  swap 
jobs,  huh?" 

An  idea  smote  Mr.  Small  and  his  eyes  nar- 
rowed speculatively.  "Well,  not  ezac'ly,  but 
drivin'  a  truck  is  one  of  the  fondest  things  I  is 
of." 

"I  could  work  it  easy,  Veto.  My  boss 
would  be  satisfied  did  I  bring  him  a  good  truck 
driver  an'  you  says  you  is  an  espert." 

"Hmph!  I  guess  you  don't  want  my  job, 
anyway.  They  bangs  you  aroun'  a  good  deal, 
an'  you  got  to  do  exae'ly  what  they  says." 

"If  I  could  on'y  git  into  the  movies," 
breathed  William  ecstatically,  "I  wou'n't  care 
did  they  kill  me." 

"You  got  just  the  right  state  of  mind  fo'  my 
job." 

"It  caint  be  so  awful  bad." 

"Boy!  you  don't  know  nothin'  an'  you  is 
learnin'  no  more  fast.    Movies  is  terrible." 

"I  guess  I  could  stan'  it." 

"I  guess  not." 

"I'll  bet." 

"They'd  make  you  sign  a  writin'  befo'  you 
took  the  job.  You'd  have  to  sign  that  you 
would  do  whatever  they  tol'  you  no  matter 
how  rough." 

"Tha's  all  right  with  me."  William  moved 
earnestly  across  the  room.  It  came  to  him  that 
there  was  an  underlying  note  of  seriousness  in 
his  friend's  manner.  Perhaps  Veto  might  be 
idiot  enough  to  swap  jobs.  .  .  "Say  listen, 
Veto — " 

TJUT  Veto  was  not  without  craft.  He  shook 
■'-'his  head  determinedly.  "Nothin'  -doin'.  I 
likes  truck-drivin',  but  bcin'  a  movie  actor  is 
better." 

When  William  departed  it  was  with  a  fixed 
idea:  there  was  no  mistaking  the  fact  that 
Veto  might,  under  proper  provocation,  con- 
sider exchanging  jobs.  Mr.  Scraggs  licked  his 
chops  at  the  prospect.  The  very  fact  that  for 
so  long  the  gates  of  the  Midnight  lot  had  been 
closed  to  him  served  only  to  whet  his  appetite. 
Never  in  his  life  had  he  wanted  anything  quite 
so  much  as  he  now  desired  to  become  one  of  the 
magic  circle  which  all  colored  Birmingham  en- 
vied. Members  of  the  company  were  dined 
and  wined  and  sought  after  and  catered  to.  .  . 

He  even  went  so  far  as  to  hold  converse  with 
his  boss  and  explain  that  in  case  he  found  it 
necessary  to  resign  he  could  furnish  an  expert 
successor.    The  boss  was  not  at  ail  disinclined 


to  accept.  "If  he  can  drive  a  truck  I'm  satis- 
fied. It  will  save  me  the  bother  of  hunting  for 
anew  man." 

William  renewed  his  assault  on  Veto's 
citadel.  But  with  William's  increasing  vehe- 
mence, Mr.  Small  grew  more  and  more  reluctant 
to  discuss  the  matter.  What  William  proposed 
— he  averred — was  out  of  the  question:  it 
would  be  too  much  like  swapping  a  genuine 
diamond  for  a  string  of  imitation  pearls.  Yet 
the  very  fact  that  he  was  willing  to  discuss  it  at 
all  kept  William's  interest  keened  to  razor  edge. 

And  then  came  the  big  day  when  Director  J. 
Caesar  Clump  commanded  Veto  to  high  dive 
into  a  lake.  He  neglected  to  inform  Mr.  Small 
that  the  lake  was  inclined  to  be  shallow — a 
discovery  which  Veto  made  abruptly  and  pain- 
fully. He  came  up  bruised  and  battered  and 
spluttering.  He  climbed  from  the  water  and 
presented  himself  dripping  before  the  director. 

"I  guess  you  is  salisfried?"  he  suggested 
caustically. 

"Yep,"  responded  the  director  indifferently. 
"I  won't  make  Welford  Potts  try  that.  He 
might  git  hurt." 

"An'  me — I  is  hurt  a'ready." 

"Aint  that  what  us  pays  you  twenty  dollars 
a  week  fo'?  An'  don't  you  run  up  big  medical 
bills  on  us?    You  aint  got  no  kick  comin'." 

"\  TETO'S  lantern-jawed  countenance  set  it- 
V  selfgrimly.  He  knew  he  was  a  success  from  a 
studio  standpoint  and  a  miserable  failure  so  far 
as  he  was  concerned.  A  somewhat  distorted 
spinal  column  shrieked  advice  that  he  retire 
from  the  motion  picture  profession  before 
being  completely  annihilated.  And  an  idea 
which  had  been  crystallizing  for  some  time 
gradually  took  definite  form  in  his  brain.  He 
even  smiled  a  trifle. 

That  night  he  permitted  himself  to  be  enticed 
into  a  game  of  rotation  pool  with  William 
Scraggs  at  two  bits  per  game  and  he  smiled  in- 
wardly as  Mr.  Scraggs  with  glaring  obviosity 
allowed  him  to  win  quarter  after  quarter. 
Later,  when  they  abandoned  the  green  baize 
in  favor  of  the  lunch  counter  where  they  in- 
haled barbecue  sandwiches  and  steaming 
coffee,  William  touched  on  the  ever-present 
subject. 

"I  has  spoke  to  my  boss,"  he  announced. 

Veto  seemed  disinterested. 

"'Bout  which?" 

"You  takin'  my  job." 

"  Foolishment  which  you  talks  with  yo' 
mouf." 

"It's  a  swell  job.  Fifteen  dollars  a  week  an' 
easy  hours  an'  nothin'  to  do  but  drive.  Now 
you  has  said  yo'  ownse'f  that  you  craves  to 
drive  a  truck,  an'  me — I  hankers  to  movie  act. 
— so  I  says  why  not  us  trade  an' — " 

"  Cullid  boy!  you  remarks  lots  of  words  but 
they  don't  say  nothin'  to  me.  The  job  I  got 
with  Midnight  is  full  of  bumps — an'  they 
makes  any  new  man  which  I  gives  my  job  to 
sign  up  fo'  one  yeah  in  adwance — an'  when  you 
signs  a  writin'  with  them  folks,  Boy,  you  has 
suttinly  signed  somethin'." 

"I  know  it.    An'  Ise  willin'." 

There  was  no  doubt  of  his  willingness,  none 
whatever.  Not  since  he  had  inveigled  \  eto 
into  betting  twenty  live  dollars  on  the  im- 
possible Killer  Eads  had  he  been  so  eager  for 
any  single  thing.  Veto  was  distant,  but  willing 
to  talk. 

Together  they  walked  Highland  avenue,  dis- 
cussing the  proposition  from  all  angles.  Wil- 
liam realized  that  this  was  the  psychological 
moment  and  he  made  hay  while  the  moon 
shone.  He  argued,  pleaded,  begged  and 
cajoled  .  .  .  and  finally,  when  they  parted  at 
the  doorway  of  Sis  Callie  Fiuker's  boarding 
house,  Veto  admitted  that  he  might  be  con- 
verted. 

That  night  Veto  lay  awake  long,  staring 
through  the  window  into  the  silver  moonlight. 
Upon  his  broad  lips  was  a  smile  of  ineffable 
contentment  as  he  visioned  not  only  the  luxuri- 
ous ease  of  driving  a  truck  at  fifteen  dollars  a 
week,  but  also  the  bodily  discomfort  which 
would  be  William's  portion  should  the  ex- 
change of  jobs  be  effected. 


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And  Veto  knew  William — better  perhaps 
than  William  knew  himself.  He  knew  that  if 
William  once  signed  a  contract  he  would  go 
through  with  it  so  long  as  there  was  breath  left 
in  his  body. 

Contemplation  of  this  vengeance  was  sweet 
indeed.  The  most  beautiful  thing  about  it  was 
Mr.  Scraggs'  utter  innocence  of  what  was  in 
store  for  him  ...  the  battering  and  banging 
and  the  hopelessly  low  estate  to  which  he  was 
forever  destined. 

The  following  morning  Veto  edged  apologet- 
ically into  the  office  of  President  Orifice  R. 
Latimer  and  announced  his  intention  of  retir- 
ing from  the  profession.  Latimer  summoned 
Directors  Clump  and  Fizz  and  broke  the  news. 
Their  faces  were  filled  with  lugubriosity:  Veto, 
present,  was  hopelessly  declasse — absent,  he 
was  a  person  of  enormous  worth.  Particularly 
was  this  so  now  when  precedent  had  been 
established  and  the  stars  would  no  longer  ex- 
periment as  they  had  in  the  past. 

They  begged  Veto  to  reconsider,  but  he  re- 
fused steadfastly.  And  then  they  looked 
mournfully  at  one  another. 

"We  got  to  git  somebody,"  said  J.  Caesar. 

"We  sho'ly  has,"  agreed  Eddie  Fizz. 

Mr.  Small  ventured  a  suggestion.  "I  got 
somebody  in  mind  fo'  you-all." 

They  turned  interested  countenances  his 
way.  "Hmm!  Will  he  stand  fo'  what  we  does 
to  him?" 

"Make  him  sign  a  writin'.  Then  he'll  stand 
anything." 

"I  know.     But  ..." 

"I  has  esplained  ev'ything  to  him,  an'  he 
thinks  he  knows  just  what's  gwine  happen." 
Then  Veto's  eyes  twinkled  and  he  repeated: 
"He  thinks!" 

•"PHE  Y  agreed  to  engage  William  Scraggs  and 
-»-  eventually  consented  to  pay  him  twenty- 
five  dollars  a  week  for  one  year  provided  he 
obeyed  orders.  Immediately  thereafter  Veto 
departed  the  studio  in  search  of  William,  and 
Orifice  R.  Latimer  went  in  his  car  to  the  offices 
of  Lawyer  Evans  Chew  in  the  Penny  Pruden- 
tial Bank  Building. 

Two  hours  later  an  eager  and  interested 
group  gathered  in  the  offices  of  Orifice  R.  Lati- 
mer. In  addition  to  the  president  there  were 
J.  Caesar  Clump  and  Edwin  Boscoe  Fizz,  har- 
ried directors  who  were  more  than  a  trifle 
perturbed  at  the  possible  loss  of  their  official 
goat  man  and  wished  to  inspect  the  new  candi- 
date; Lawyer  Evans  Chew,  hom-goggled  and 
impressive;  William  Scraggs,  a-tremble  with 
eagerness  and  excitement,  and  Veto  Small,  tall 
and  calm  and  dignified  and  pervaded  with  a 
sensation  of  righteous  elation  at  this  auspicious 
launching  of  his  revenge  against  the  person 
who  had  taken  him  in  so  grossly  on  the  occasion 
of  his  initial  appearance  in  Birmingham. 

Lawyer  Chew  read  sonorously  from  the  con- 
tract he  had  drawn.  William  Scraggs  listened 
with  only  half  an  ear.  Now  that  the  portals 
had  opened  ever  so  slightly,  he  was  prepared  to 
sign  anything.  Visions  of  the  prestige  which 
would  be  his  automatically  as  he  joined  the 
company  dimmed  all  thought  of  what  his  task 
might  be,  and  so  he  paid  scant  heed  to  the  por- 
tions of  the  contract  which  bound  him  to  do 
anything  which  he  might  be  ordered  to  do  by 
certain  thoughtless  directors. 

"You  comprehend,"  finished  the  company's 
legal  adviser,  "that  once  you  inscribes  yo' 
name  hereinafter  appended  that  you  cannot 
disobey  no  orders  an'  that  fo'  one  yeah  you  is 
to  be  called  upon  to  do  any  an'  ev'ything  which 
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William  nodded  slowly.  "Uh-huh.  W:here's 
that  pen?" 

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T37 


"So  far  so  good,"  he  announced.  "But  that 
contrac'  don't  go  far  enough." 

"  Huh?  "  Lawyer  Chew  was  somewhat  non- 
plussed. Only  Director  Fizz  had  an  inkling 
that  an  important  disclosure  was  about  to  be 
made.  Eddie  Fizz  knew  of  the  grievous  in- 
troduction of  Veto  and  William  and  under- 
stood that  this  was  a  cunning  revenge  for  the 
elongated  stranger.  "What's  wrong  with  that 
contrac'?" 

"It  left  out  somethin',"  proclaimed  Veto. 

"What?" 

"Well,  it  prevides  that  William  is  to  git 
twenty-five  dollars  a  week  fo'  his  work,  an' 
tha's  all  right.  But  before  you-all  signs  up, 
another  part  has  got  to  be  wrote  in  saying  that 
he  only  gits  twelve  dollars  an'  a  half  of  that 
twenty-five  an'  I  gits  the  other  twelve-fifty." 


"Ev'y  week?" 

"Yassuh.  Ev'y  week  fo'  one  yeah — if 
Mistuh  Scraggs  lives  that  long.  Ain't  that 
right.  William?" 

William  nodded.  "He's  right.  I  agreed  to 
that  last  night  of  my  own  free  will  and  dis- 
cord." 

Lawyer  Chew  was  amazed — but  he  was 
willing. 

"It'seasy  enough  to  make  it  read  that  way," 
he  said.  "  But  how  come  you  to  git  half  of  this 
man's  sal'ry  in  addition  to  his  truck-drivin' 
job,  Veto?" 

A  slow  smile  of  triumph  creased  the  lips  of 
Mr.  Veto  Small. 

"Because,"  he  explained,  "accordin'  to  the 
agreement  I  and  him  made  last  night.  I  is  his 
manager!" 


The  Real  Sirens  of  the  Screen 


[  CONTINUED  FROM  PAGE    2Q  ] 


specimens  of  womanhood  on  the  screen,  the 
Lillian  Gishes,  the  Lois  Wilsons  and  the  Irene 
Riches  would  come  out  on  top. 

Lillian,  undoubtedly,  would  poll  the  biggest 
vote  as  the  actress  who,  above  all  others,  stands 
for  all  that  is  spiritual,  all  that  is  ethereal  and 
all  that  is  removed  from  the  mundane.  Isn't 
it  well-known  that  directors  must  beg  Lillian 
to  allow  herself  to  be  kissed?  Isn't  it  true  that 
Lillian  lives  for  Art,  and  Art  alone?  Has  any- 
one ever  caught  Lillian  in  a  night-club?  Or 
doiirj  the  Charleston?  Or  getting  herself 
married  and  unmarried? 

Lillian  with  sex  appeal?  Well,  hardly. 
Lillian  is  a  straight-up-and-down  girl,  inclined 
to  be  skinny.  She  wears  long  skirts  and  dresses 
cut  high  in  the  neck.  Her  wispy  blonde  hair  is 
unbobbed  and  worn  in  a  knot  at  the  back  of 
her  neck.  Her  features  are  negative.  Her  eyes 
are  light.  There  are  none  of  the  outward  signs 
of  lure  about  Lillian. 

A  XL)  yet  the  two  men  who  were,  to  all  out- 
-*»-ward  appearances,  responsible  for  Lillian's 
rise  in  the  screen  world  are  today  flat  broke. 
D.  W.  Griffith,  who  gave  Lillian  her  first  lessons 
in  acting,  who  placed  Lillian  in  the  leading 
roles  of  his  great  pictures  when  Lillian's  name 
meant  nothing,  is,  according  to  the  words  of 
Lillian  herself,  "As  poor  as  a  church  mouse;  as 
poor,  in  fact,  as  on  the  day  when  he  started 
producing." 

Charles  Duell,  Lillian's  second  producer, 
who  pushed  her  into  even  further  prominence 
when  her  drawing  power  was  still  doubtful, 
is  also  broke.  And  not  only  is  he  broke,  but 
he  is  threatened  with  disbarment  from  the 
practice  of  law  and  no  longer  connected  with 
the  film  business.  His  contract  with  Lillian 
caused  the  trouble. 

But  Lillian,  the  spiritual,  the  ethereal  and 
the  unmundane,  is  getting  a  salary  of  $S,ooo 
a  week.  Griffith,  still  again  quoting  the  words 
of  Miss  Gish,  is  "making  pot-boilers  for  the 
mob."  Lillian  is  selecting  her  own  stories,  her 
own  casts,  her  own  directors.  Duell  isn't 
making  any  pictures  at  all.  But  Lillian  is 
making  specials  for  what  she  calls  her  "two 
dollar  public." 

No  sex  appeal?  If  not,  then,  to  paraphrase 
Anita  Loos,  the  title  of  Lillian's  little  history 
should  be  "  Stronger  Than  Sex." 

No  star  on  the  screen  has  a  story  so  pic- 
turesque as  that  of  Lillian.  In  a  business 
that  demands  superlatives,  Lillian  has  forged 
ahead  to  the  foremost  rank  without  great 
beauty  or  radiant  personality.  Great  Art? 
Perhaps — and  why  not?  Lillian  has  worked 
only  for  the  greatest  directors;  first  Griffith, 
then  Henry  King,  then  King  Vidor,  now  John 
Robertson.  All  her  scripts  have  been  tailored 
to  suit  her.  The  best  cameramen  have  photo- 
graphed her. 

And  all  the  little  actresses  who  try  to  do  their 


best  in  routine  productions,  uncongenial  roles 
and  scrambled  and  hurried  program  films,  ad- 
mit that  Lillian  is  the  greatest  of  them  all. 
They  admire  her  and  envy  her  and  sometimes 
wonder  just  why  she  is  called  the  "Duse  of  the 
screen." 

It  couldn't,  of  course,  be  sex  appeal.  Sex 
appeal  is  only  a  crude  quality  possessed  by 
flappers  and  vamps. 

Nevertheless,  of  all  the  promising  young 
actresses  who  started  under  the  direction  of 
Griffith,  Lillian  was  the  one  who  got  the  biggest 
roles  in  the  biggest  pictures  and  the  biggest 
chance  to  shine.  There  was  something  about 
the  aloof,  the  elusive  and  the  chill}-  Lillian  that 
appealed  to  the  imagination  of  the  greatest 
director  of  them  all. 

Lillian  was  wax  to  mold  and  marble  to  re- 
tain. Sister  Dorothy  was  a  pretty  little  clown. 
Mae  Marsh  was  a  sharp-tongued  Irish  girl. 
Blanche  Sweet  was  a  temperamental  romantic. 
Miriam  Cooper  was  a  sentimentalist.  Lillian 
said  nothing  foolish.  She  said  nothing  at  all. 
She  did  nothing  foolish.  She  did  nothing  at 
all. 

At  an  early  age,  Lillian  learned  that  Art  is 
Imagination.  And  it  happens  also  that  Sex- 
Appeal  is  much  the  same  thing. 

The  Griffith  connection  came  to  an  end  and 
Lillian,  for  the  first  time,  was  forced  to  face  a 
cold,  commercial  business.  She  might  have 
signed  up  at  a  fairly  large  salary  to  appear  in 
program  pictures  but  she  had  picked  up  the 
idea  of  her  "two  dollar  public."  Lillian  was  in 
no  hurry  to  rush  into  competition  with  other 
stars.  She  was  out  to  create  a  safe  and  distant 
place  of  her  own. 

A  T  the  time  that  Lillian  "went  on  her  own," 
■*»-a  young,  fairly  good-looking  and  ambitious 
lawyer  was  entering  the  film  field.  He  had  a 
lot  of  money  back  of  him — he  was  financed  by 
Averill  Harriman — and  his  company  had  just 
made  a  phenomenally  successful  picture, 
"Tol'able  David."  And  he  was  looking  for 
new  stars. 

Richard  Barthelmess  suggested  Lillian  Gish. 
Of  course,  Lillian's  drawing  power  at  the  box- 
office  was  doubtful.  Nevertheless,  she  could 
act  and,  if  properly  managed,  she  could  be 
turned  into  a  winner.  Charles  Duell  listened, 
met  Miss  Gish  and  signed  her  up. 

When  Duell  met  Lillian  he  had  been  mar- 
ried less  than  a  year — to  another  Lillian.  He 
was  ambitious,  financially,  socially  and  politi- 
cally. He  had  known  Roosevelt  and  had  been 
active  in  the  Republican  party.  He  was  a  Yale 
man  and  a  member  of  many  prominent  clubs. 

Mr.  and  Mrs.  Duell  were  summering  at  New- 
port. They  invited  their  new  star  to  visit 
them.  If  Lillian  made  no  great  impressions  at 
the  Rhode  Island  Ice  Plant,  she  at  least  broke 
on  the  front  page  of  the  newspapers.  A  movie 
star  at  Newport!    It  sounded  nice,  anyway. 


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Street  Address 

City 

State 


At  that  time,  Inspiration  Pictures  was 
making  program  films  with  Barthelmess.  But 
no  program  films  for  Lillian.  Miss  Gish  was 
sent  to  Italy  to  make  "The  White  Sister" — 
a  costly  expedition  consuming  many  months' 
time  and  nearly  all  of  Mr.  Duell's  attention. 
But  it  was  all  in  the  interest  of  Art  and  Art  is 
cruel. 

Most  of  the  story  of  Mr.  Duell's  various  pil- 
grimages for  Art  has  been  told  in  court.  For 
at  the  completion  of  "The  White  Sister"  and 
"Romola" — both  expensive  films — Mr.  Duell 
tried  to  hold  Lillian  to  a  contract  with  him  at 
over  $2,000  a  week.  Meanwhile  there  was  an 
$8,ooo  a  week  contract  for  Lillian  waiting  else- 
where. 

Mrs.  Duell — that  is,  the  other  Lillian — was 
lost  in  the  shuffle.  The  Duells  separated  after 
one  of  Charles'  trips  to  Italy.  It  was  hinted  in 
Court  that  Duell — rightly  or  wrongly  be- 
lieving himself  engaged  to  marry  Lillian — had 
selfishly  built  her  up  as  a  star,  hoping  to  be  her 
husband.  But  hopes  or  no  hopes,  "The  White 
Sister"  and  "Romola"  did  help  Lillian,  al- 
though they  did  ruin  Duell. 

Not  only  did  Duell  lose  his  suit  but  he  was 
held  for  perjury  and  when  the  perjury  trial 
came  up,  the  jury  disagreed.  Lillian  was  not 
called  as  a  witness. 

Listen  to  what  that  able  lawyer,  Nathan 
Burkan,  had  to  say  at  the  close  of  the  second 
trial:  "Why  was  not  Lillian  Gish  produced  at 
the  start?  It  is  an  insult  to  your  intelligence. 
The  only  person  who  could  prove  the  guilt  of 
Duell  wasLillian  Gish  and  she  was  right  here  in 
New  York  City." 

Burkan  also  declared  that  it  was  Duell  and 
Duell's  money  that  made  a  star  of  Miss  Gish, 
declaring  "all  she  was  getting  before  she  came 
under  Mr.  Duell's  management  was  Si.ooo  a 
week.  Remember,  if  you  (the  jury)  find  him 
guilty,  it  will  not  only  mean  his  imprisonment 
but  his  disbarment  as  an  attorney  and  his  dis- 
grace." 

After  the  unfavorable  publicity  of  the  first 
trial,  Lillian  needed  someone  to  set  her  right. 
She  fiund  the  man  in  George  Jean  Nathan, 
a  br'.lliantand  difficult-to-please critic.  Nathan 
was  seen  constantly  in  her  company — so  con- 
stantly that  he  was  rumored  as  a  possible  hus- 
band. George  Jean  wrote  pretty  articles  in  her 
honor,  acclaiming  her  as  the  only  great  actress 
on  the  screen.  He  had  no  great  amount  of 
money  but  he  had  a  collection  of  wonderful 
adjectives.    Lillian  got  all  his  best  superlatives. 

Movie  audiences  always  shed  a  tear  for  a 
frail  little  blonde  alone  in  the  world.  The 
"vamps"  know  men  and  their  ways.  They 
can  protect  themselves.  Barbara  La  Marr 
could  protect  herself  so  well  that  she  kept  a 
bookful  of  checks  already  signed  to  pass  out  as 
"loans"  for  anyone  who  could  tell  a  hard  luck 
tale. 

So  let  us  all  shed  a  tear  for  the  helpless 
ingenue! 

THE  wages  of  sin  are  supposed  to  be  high. 
As  a  matter  of  fact,  the  wages  of  sin  are 
usually  oblivion. 

Dagmar  Godowsky,  for  instance,  was  a  dog- 
gone dangerous  gal — on  the  screen.  She  was 
i  colorful  and  she  played  vivid  roles.  Yes,  Dag- 
mar was  a  bad  girl  and  beautiful  and  flaming 
enough  to  set  the  world  on  fire. 

But  where  are  the  jewels,  and  the  Rolls- 
Royces  and  the  flocks  of  suitors?  Dagmar's 
screen  appearances  have  been  infrequent 
lately.  She  is  divorced  from  her  husband — 
Frank  Mayo.  She  had  a  short  engagement  as 
a  hostess  in  a  Long  Island  cabaret.  And  then 
she  set  sail  for  Europe  with  her  father — 
Leopold  Godowsky. 

And  yet  Dagmar  was  a  siren — on  the  screen. 

On  the  contrary,  there  is  Lois  Wilson,  a  good 
girl  with  good  roles  and  a  good  contract.  Lois 
will  blush  at  finding  herself  among  the  real 
sirens,  because  Lois  is  sincere,  truly  kind  and 
truly  good.  She  flaps  not, neither  doessheflirt. 
She  is  just  a  good  friend  to  the  men  she  knows. 
And  that's  her  fatal  quality.  A  man  can  forget 
a  flirt,  but  he  cannot  forget  a  friend. 


Sex  appeal  is  a  subtle  thing  and  there  is  more 
than  one  way  of  playing  the  game. 

Consider  the  case  of  Lois,  who  denies  that 
she  has  sex  appeal.  A  young  millionaire,  of 
one  of  the  most  respected  families  in  America, 
is  willing  to  marry  her  any  day  she  chooses. 
The  man's  family  are  also  strong  for  Lois. 
His  wife?  Never,  says  Lois.  They  will 
simply  remain  good  friends. 

And  there,  too,  is  a  French  count  who  thinks 
that  Lois  is  the  finest  girl  he  ever  has  met.  It 
would  mean  a  titled  marriage  as  grand  as 
Gloria  Swanson's.  But  Lois  prefers  to  list 
him,  too,  among  her  friends. 

T>  ICHARD  DIX— that's  a  more  compli- 
■t^-cated  case.  They  say  Lois  would  marry  him 
tomorrow.  And  Dix  is  sometimes  interested 
in  other  girls.  Perhaps  he  isn't  in  love  with 
Lois — but  she  is  such  a  good  friend.  And 
whenever  Lois  appears  on  the  scene,  the  other 
candidates  for  Richard's  affections  fade  out 
of  the  picture. 

A  millionaire,  a  count  and  a  movie  star! 
Not  bad  for  an  ex-school  teacher!  How  many 
of  the  widely-publicized  sirens  can  show  such 
a  nice  choice  of  suitors? 

Let  us  all  give  three  cheers  for  the  kind  of 
girl  men  can't  forget. 

Pola  Negri  came  to  this  country  on  a  wave 
of  heavily  scented  publicity.  Pola  was  the 
answer  to  What  Men  Really  Want.  Pola 
burned  'em  up  and  then  put  'em  on  ice.  Pola 
was  the  Continental  Real  Thing. 

Men  go  to  the  dogs  for  Pola — on  the  screen. 
Off  the  screen,  her  love  affairs  last  about  three 
months  and  then  something  happens  and  the 
Rods  and  Bills  and  the  Charlies  vanish  from 
her  life.  Maybe  she  will  marry  Valentino,  but 
the  contradictory  rumors  as  to  state  of  the 
romance  do  not  indicate  the  presence  of  an 
Overwhelming  Passion.  And  Rudy  is  not 
the  catch  he  once  was. 

Of  course,  on  the  screen,  she  is  invincible — 

However  there  is  our  own  little  Constance 
Talmadge,  born  in  Brooklyn.  She  is  such  an 
arrant  flirt,  such  an  obvious  playgirl  that  you 
wouldn't  think  men  would  take  her  so 
seriously. 

As  a  kid  just  out  of  short  dresses,  Constance 
captured  the  heart  of  Richard  Barthelmess  so 
effectively  that  it  took  him  some  time  to  re- 
cover. And  even  now,  after  their  several  and 
respective  marriages,  he  thinks  of  Constance 
as  one  of  the  most  glamorous  girls  he  ever 
knew. 

Then  came  Irving  Berlin  whose  constancy 
to  the  inconstant  Constance  was  one  of  the 
romances  of  Broadway.  Connie's  marriage, 
her  flirtations,  her  heartlessness  never  de- 
stroyed the  devotion  of  the  Broadway  song 
writer  until  he  met  Ellin  Mackay. 

Any  pretty  girl  can  have  a  lot  of  attention. 
Constance  has  the  fatal  gift  of  inspiring  'em 
with  dog-like  devotion.  Fickle  herself,  she 
brings  out  only  faithfulness  in  others. 

When  Constance  married  Captain  Alastair 
Mackintosh,  Buster  Collier  vanished  from 
sight  for  weeks.  Buster  had  loved  Constance 
for  so  long  and  had  so  desperately  hoped  to 
marry  her.  The  role  of  rejected  suitor  is  not 
a  congenial  one  for  a  good-looking  young  star. 
But  Buster  played  it.  It  wasn't  exactly  Con- 
stance's fault.  Buster  was  a  fool  to  pin  his 
faith  to  the  wind. 

Constance  is  like  that — "not  just  for  a  day, 
not  just  for  a  month,  not  just  for  a  year — 
but  always." 

So,  give  the  little  girl  from  Brooklyn  a  hand! 

What  of  Lya  de  Putti?  Lya  appears  on  the 
scene  with  a  swell  reputation  for  making  'em 
eat  out  of  her  hand.  Lya  has  red,  red  lips 
and  bad  bad  eyes.  She  is  the  very  person- 
ification of  a  censor's  idea  of  a  dangerous 
woman. 

When  she  first  arrived,  Lya,  like  Pola,  had 
her  little  hour  and  held  her  little  court.  The 
reports  of  her  wild,  wild  ways  and  her  many, 
many  conquests  in  Berlin  attracted  the 
curious.  The  wages  of  sin  in  Germany  were 
so  large  that  Lya  left  owing  money. 

But,  to  get  down  to  business,  what  has  it 


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x39 


meant  to  Lya?  One  good  part  in  "The 
Sorrows  of  Satan"  and  after  that  —  well, 
maybe  Lya  will  get  more  good  parts  and  maybe 
she  will  be  just  another  vamp.  Her  future  is 
even  more  mysterious  than  her  past.  Of 
course  she  is  very  beautiful  and  very  dangerous. 

Not  a  bit  like  our  own  Irene  Rich.  Irene 
Rich  is  a  sweet  woman  with  two  almost  grown 
daughters.  She  plays  neglected  wives  and 
plays  them  very  sweetly  and  sympathetically. 
When  she  tries  a  slightly  vampish  part,  she  is 
not  wicked  about  it  like  Lya.  Now,  Irene  is 
always  very  gentle,  very  nice  and  very  sweet. 

She  never  has  a  bit  of  trouble  about  parts, 
or  getting  jobs  or  getting  contracts.  A 
widow,  with  two  daughters,  battling  her  way 
alone  in  the  world.     It's  a  sad  story. 

Business  men  like  Irene  and  some  of  them — 
neither  very  young  nor  very  poor — would  like 
to  marry  her.  She  is  so  sensible  and  yet  so 
gay.  Not  a  bit  like  a  silly  flapper.  A  wo- 
man that  a  man  can  trust  and  tell  things. 
Young  girls  want  to  be  taken  to  cabarets. 
Irene  has  such  a  homey  home  and  when  a  lonely 
old  bachelor  or  solitary  widower  has  worked 
hard  all  day,  it's  a  treat  to  meet  such  a  woman. 

You  may  hear  more  about  the  flappers  of 
Hollywood  and  their  heart  affairs  but  not 
many  of  the  gals  have  such  pretty  contracts 
or  such  wealthy  suitors  as  the  attractive,  sym- 
pathetic widow. 

A  BORN  siren  was  Nita  Naldi.  Born  to 
break  homes,  rock  thrones  and  melt  ice- 
bergs. It  must  be  wonderful  to  be  so  fatally 
beautiful.  Of  course,  Nita  is  now  in  Germany. 
You  see,  she  had  a  bad  habit  of  taking  on 
weight.     A  siren?     Sure.     But  so  frank  and 


truthful  that  you  always  had  a  suspicion  that 
she  wasn't  half  so  bad  as  she  claimed  and  that 
she  was  really  kind  and  well-meaning.  As  for 
the  men,  well,  Nita  seldom  got  a  square  meal 
out  of  them.     She  was  always  on  a  diet. 

But  Peggy  Joyce  can  still  play  ingenues  and 
get  away  with  it.  In  spite  of  all  that  has  been 
written  about  Peggy,  she  can  still  look  heart- 
broken and  make  you  believe  it.  Peggy  is 
slim  to  the  point  of  being  scrawny.  She  al- 
ways looks  a  little  weary,  a  little  sad  and  a 
little  injured.  Not  a  bit  like  Nita,  with  her 
tremendous  vitality. 

Peggy  had  the  misfortune  to  be  born  poor. 
At  an  early  age,  she  learned  that  it  is  chilly  in 
winter  unless  you  have  a  big  fur  coat  to  protect 
you  from  a  raw  world.  And  it  is  hard  to  get 
along  without  pearls  when  there  are  so  many- 
oysters  running  around  loose. 

All  the  things  that  have  been  written  about 
Peggy  have  been  too,  too  bad.  Such  an  ideal 
ingenue  for  the  screen!  Such  a  perfect  type 
for  a  persecuted  heroine!  Although  the  public 
knew  all  about  Peggy,  nevertheless  it  sympa- 
thized with  her  as  the  heroine  of  "The  Sky- 
rocket." But  just  let  Nita  Naldi  try  a 
sympathetic  role! 

So  there  they  are — the  real  sirens  of  the 
screen.  A  frail  girl  from  Massillon,  Ohio. 
A  school  teacher  from  Alabama.  A  blonde 
from  Brooklyn,  born  poor  but  cute.  A  lone 
widow  with  two  children  to  support.  A  fragile 
girl  from  an  obscure  Southern  village. 

Shall  we  shed  a  tear  for  them?  No!  Let's 
break  down  and  cry  for  the  Barbaras,  the 
Polas,  the  Lyas,  the  Dagmars  and  the  Nitas 
who  love  'em  and  feed  'em.  And  then  get 
the  blame. 


And  so  was  his  old  man !    Ramon  Novarro  plays  his  own  father  in  a 
short  sequence  in  "A  Certain  Young  Man."    For  a  few  brief  scenes 
he  is  a  certain  old  man.    It  only  goes  to  prove  that  it  is  easier  to  put 
on  the  years  than  to  take  them  off 


After  Sun,  Wind 
and  Dust  —  "Murine 

When  EYES  become  blood-shot 
from  the  irritating  effects  of 
•wind  and  dust,  use  Murine.  It 
quickly  relieves  this  unattrac- 
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strain  caused  by  the  glare  of  the 
sun.  Murine  is  particularly 
soothing  and  refreshing  after 
motoring  or  outdoor  sports. 

If  used  night  and  morning,Mwr» 
ine  will  soon  promote  a  clear, 
bright,  healthy  condition  of  the 
EYES.  Contains  no  belladonna 
or  other  harmful  ingredients. 

Our  illustrated  boolts  on  "Eye  Care" 
or  "E>e  BcaMty"  ore  FREE  on  request 

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■m 


tVES 


"Genius  it- 
self must 
learn  the  ma- 
chinery of 
expression." 


<r^L^vXnrJ 


"Since  authorship  is  essentially  a  matter 
of  home  work,"  says  Mr.  Hughes,  "it  is 
one  of  the  few  arts  that'  can  be  taught  by 
correspondence.  The  Palmer  Institute  of 
Authorship,  under  the  presidency  of  so 
eminent  a  literary  artist  as  Clayton  Hamil- 
ton, and  as  conducted  by  Frederick  Palmer 
and  a  large  corps  of  associates,  is  qualified 
to  render  invaluable  aid  to  apprentices  in 
the  art  and  the  business  of  authorship." 

v  v  V 

Palmer  training  is  uniquely  personal.  It 
will  take  that  talent  of  yours  and  develop 
it  until  you,  too,  can  write  the  kind  of 
stories  that  tug  at  heart  strings  .  .  .  that 
grip  the  imagination  .  .  .  that  editors  buy. 

PALMER  INSTITUTE  OF  AUTHORSHIP 
Palmer  Building,  Hollywood,  Cal.       12-J 

Clayton     Hamilton      -     -     -     President 
Frederick    Palmer     -     -     Vice-president 
Please   send   me,    without   obligation  or   expense, 
Information    about    your   course    in 
□  Short  Story  Writing 
D  Knyllsh    and    Self-Expression 
(Each   course    is   complete    in    itself.) 


:  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


140 


Photoplay  Magazine — Advertising  Section 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"  VARIETY  "—Ufa-Paramount.— Written 
and  directed  by  E.  A.  Dupont.  Photography 
by  Carl  Freund.  The  cast:  Boss,  Emil  Jan- 
nings;  Bertha,  Lya  de  Putti;  Artinelli,  Warwick 
Ward. 

"  MANTRAP  "  —  Paramount.  —  From  the 
story  by  Sinclair  Lewis.  Scenario  by  Adelaide 
Heilbron.  Directed  by  Victor  Fleming.  Pho- 
tography by  James  Howe.  The  cast:  Joe 
Easter,  Ernest  Torrence;  Alvcrna,  Clara  Bow; 
Ralph  Prcscott,  Percy  Marmont;  E.  Wesson 
Woodbury,  Eugene  Pallette;  Curly  Evans,  Tom 
Kennedy;  Mrs.  McGawity,  Josephine  Crowell; 
Mr.  McGawity,  William  Orlamond;  Lawrence 
Jackfish,  Charles  Stevens;  Mrs.  Barker,  Miss 
Dupont;  Stenographer,  Chariot  Bird. 

"ROAD  TO  MANDALAY,  THE"— 
Metro-Goldwyn-Mayer. — Story  by  Tod 
Browning  and  Herman  J.  Mankiewicz.  Adapt- 
ed by  Elliott  Clawson.  Directed  by  Tod 
Browning.  Photography  by  Merritt  Gerstad. 
The  cast:  Joe,  Lon  Chaney;  Joe's  Daughter, 
Lois  Moran;  The  Admiral,  Owen  Moore;  Priest, 
Henry  B.  Walthall;  English  Charlie  Wine, 
Kamiyama  Sojin;  Pansy,  Rose  Langdon;  Serv- 
ant, John  George. 

"MEN  OF  STEEL"— First  National  — 
Story  by  R.  G.  Kirk.  Directed  by  George 
Archainbaud.  The  cast:  Jan  Bokak,  Milton 
Sills;  Mary  Berwick,  Doris  Kenyon;  Clare  Pitt, 
May  Allison;  Pete  Masarick,  Victor  McLaglen; 
Cinder  Pitt,  Frank  Currier;  Hooker  Grimes, 
George  Fawcett;  Anton  Berwick,  John  Kolb; 
Prater,  Harry  Lee;  Wolfe,  Henry  West;  Alex, 
Taylor  Graves. 

"FIG  LEAVES"— Fox.— Story  by  Howard 
Hawks.  Scenario  by  Hope  Loring  and  Louise 
Lighton.  Director,  Howard  Hawks.  The 
cast:  Adam  Smith,  George  O'Brien;  Eve  Smith, 
Olive  Borden;  Alice  Atkins,  Phyllis  Haver; 
Josef  Andre,  Andre  Beranger;  Madame 
Griswold,  Eulalie  Jensen;  Andre's  Assistant, 
William  Austin;  Eddie  McSwiggen,  Heinie 
Conklin. 

"SO  THIS  IS  PARIS"— Warner  Bros.— 
Based  on  the  comedy  by  Henri  Meilhac  and 
Ludovic  Halevy.  Directed  by  Ernst  Lubitsch. 
Photography  by  John  Mescall.  The  cast:  Dr. 
Eisenstein,  Monte  Blue;  Rosalind  Eisenstein, 
Patsy  Ruth  Miller;  Adele  (a  dancer),  Lilyan 
Tashman;  Alfred  (her  husband),  Andre  Beran- 
ger; Maid,  Myrna  Loy;  Cop,  Sidney  D'Al- 
brook. 

"LEW  TYLER'S  WIVES"— Preferred 
Pictures. — Based  on  the  novel  by  Wallace 
Irwin.  Adaptation  by  Eugene  Clifford  and 
Arthur  Hoerl.  Directed  by  Harley  Knoles. 
Photography  by  William  Miller.  The  cast: 
Lew  Tyler,  Frank  Mayo;  Jessie  Winkler,  Ruth 
Clifford;  Virginia  Phillips,  Hedda  Hopper; 
Coleen  Miles,  Helen  Lee  Worthing;  Buzzy 
Mandelbush,  Lew  Brice;  Meech  Garrick,  Robert 
T.  Haines;  Mr.  Phillips,  Warren  Cook. 

"SEA  WOLF,  THE  "—Producers  Dist. 
Corj>. — From  the  story  by  Jack  London. 
Adaptation  by  J.  Grubb  Alexander.  Di- 
rected by  Ralph  W.  Ince.  Photography  bv 
J.  O.  Taylor.  The  cast:  Wolf  Larscn,  Ralph 
W.  Ince;  Maud  Brewster,  Claire  Adams; 
Humphrey  Van  Weyden,  Theodore  Von  Eltz; 
Thomas  Mugridge,  Snitz  Edwards;  Johansen, 
Mitchell  Lewis. 

"  BORN  TO  THE  WEST"— Paramount.— 
From  the  story  by  Zane  Grey.  Adapted  by 
Lucian  Hubbard.  Directed  by  John  Waters. 
The  cast:  "Colorado"  Dare  Rudd,  Jack  Holt; 
Nell  Worstall,  Margaret  Morris;  Jim  Fallon, 

y  advertisement  in  PHOTOPLAY   MAGAZINE  is  guaranteed. 


Raymond  Hatton;  Belle  of  Paradise  Bar,  Ar- 
lette  Marchal;  Jesse  Fillmore,  George  Seig- 
mann;  Bate  Fillmore,  Bruce  Gordon;  Nell's 
Father,  William  A.  Carroll;  Dinkey  Hooley, 
Tom  Kennedy;  Sheriff  Haverill,  Richard  Neill; 
Mrs.  Rudd,  Edith  Yorke;  Sam  Rudd,  E.  Allyn 
Warren. 

"SWEET  DADDIES"— First  National. 
— Directed  by  Alfred  Santell.  The  cast:  Abie 
Finkclbaum,  George  Sidney;  Patrick  O'Brien. 
Charlie  Murray;  Rosie  Finkclbaum,  Vera  Gor- 
don; Miriam  Finkclbaum,  Jobyna  Ralston; 
Jimmic  O'Brien,  Jack  Mulhall;  Sam  Bcrko- 
wilz,  Gaston  Glass. 

"SENOR  DARE-DEVIL"  —  Ftrst  Na- 
tional.— Story  and  Adaptation  by  Marion 
Jackson.  Directed  by  Al  Rogell.  The  cast :  Don 
Luis  0' Flaherty,  Ken  Maynard;  Sally  Blake, 
Dorothy  Devore;  "Tiger"  O'Flahcrty,  George 
Nichols;  Juan  Estrada,  Josef  Swickard;  Jesse 
Wilks,  J.  P.  McGowan;  Ratbvrn,  Sheldon 
Lewis;  Pat  Muldoon,  Buck  Black;  The  Cook, 
Billy  Franey;  Tarzan,  as  Himself. 

"  PUPPETS  "—First  National.— Adapted 
from  the  play  by  Frances  Lightner.  Directed 
by  George  Archainbaud.  The  cast:  Nicki, 
Milton  Sills;  Angela,  Gertrude  Olmsted;  Bruno, 
Francis  MacDonald;  Rosa,  Mathilde  Comont; 
Frank,  Lucien  Prival;  Sandro,  William  Ric- 
ciardi. 

"BIGGER  THAN  BARNUM'S"— F.B.O. 
—  Story  by  Arthur  Guy  Empey.  Directed  by 
Ralph  Ince.  The  cast:  Peter  Blandin,  Ralph 
Lewis;  Robert  Blandin.  George  O'Hara;  Juanila 
\  iola  Dana;  Carl  Ravcllc.  Ralph  Into; 
Princess  Bonita,  Lucille  Mendez;  Jack  Ravg- 
lin,  Dan  Makarenko;  Bill  Hartnctl,  George 
Holt;  Ringmaster,  Bill  Knight;  Doctor,  Rody 
Hathaway. 

"LUCKY  LADY,  THE "— Paramount.— 
Story  by  Robert  E.  Sherwood  and  Bertram 
Bloch.  Scenario  by  James  T.  O'Donohoe.  Di- 
rected by  Raoul  Walsh.  Photography  by  Vic- 
tor Milner.  The  cast:  Antoinette,  Greta  Nis- 
sen;  Conn!  Ferranzo,  Lionel  Barrymore;  Clarke, 
William  Collier.  Jr.;  Pram  Garlctz.  Marc  Mac- 
Dermott;  Duchess,  Mme.  Daumery;  Secretary 
to  Garletz,  Sojin. 

"MEET  THE  PRINCE"  —  Producers 
Dist.  Corp. — From  the  story  by  Frank  R. 
Adams.  Adaptation  by  Jane  Murfin  and  Har- 
old Shumate.  Directed  by  Joseph  Henabery. 
The  cast:  Prince  Nicholas  Alexnov,  Joseph 
Schildkraut;  Annabcllc  Ford,  Marguerite  De 
La  Motte;  Cynthia  Stevens,  Vera  Steadman; 
Princess  Sophia  Alexnov,  Julia  Faye;  Peter 
Paget,  David  Butler;  Mrs.  Gordon  McCullan, 
Helen  Dunbar. 

"FOOTLOOSE  WIDOWS"  — Warner 
Bros. — Adapted  from  the  story  by  Beatrice 
Burton.  Scenario  by  Darryl  Francis  Zanuck. 
Directed  by  Roy  Del  Ruth.  Photography  by 
David  Abel.  The  cast:  Flo,  Louise  Fazenda; 
Marian,  Jacqueline  Logan;  Jerry,  Jason 
Robards;  Henry,  Arthur  Hoyt;  "The  Senator," 
Neeley  Edwards;  Mr.  Dunn,  Douglas  Gerrard; 
Mrs.  Drew,  Jane  Winton;  Marian's  Husband  in 
retrospect,  Mack  Swain;  Mr.  Smith,  John 
Miljan;  "Tuxedo  Eddie,"  Eddie  Phillips;  Hotel 
Manager,  Henry  Barrowes. 

"  POK  E  R  FACES  "—Universal— Author, 
Edgar  Franklin.  Adaptor,  Melville  Brown. 
Director,  Harry  Pollard.  Photography  by 
Charles  Stumar.  The  cast:  Jimmy  Whitman; 
Edward  Everett  Horton;  Betty  Whilmore, 
Laura  La  Plante;  George  Dixon,  George  Spig- 
mann;  Henry  Curlew,  Tom  Ricketts;  Pug,  Tom 


Photoplay  Magazine — Advertising  Section 


O'Brien;  Actress,  Dorothy  Revier;  Office  Boy, 
Leon  Holmes. 

"IT'S  THE  OLD  ARMY  GAME"— Para- 
mount.— Story  by  Joseph  P.  McEvoy.  Sce- 
nario by  Thos.  Geraghty  and  J.  Clarkson 
Miller.  Directed  by  Edward  Sutherland.  The 
cast:  Elmer  Prettywillie,  W.  C.  Fields;  Mil- 
dred Marshall,  Louise  Brooks;  Tessie  Overholt, 
Blanche  Ring;  George  Delcvan,  William  Gaxton; 
Sarah  Pancoasl,  Mary  Foy;  Society  Bathers, 
Josephine  Dunn,  Jack  Ludcn;  Artist,  George 
Currie. 

"MORE    PAY    LESS    WORK"— Fox.— 

Story  by  Peter  B.  Kyne.  Scenario  by  Rex  Tay- 
lor. Directed  by  Albert  Ray.  The  cast :  Cappy 
Ricks.  Albert  Gran;  Betty  Ricks,  Mary  Brian; 
Dad  Hinchficld,  E.  J.  Ratcliffe;  Willie  11  inch- 
field,  Charles  Rogers;  Henry  Twccdlc,  Otto 
Hoffman;  Chester,  the  janitor,  Chester  Conklin. 

"SPORTING  LOVER,  THE"— First  Na- 
tional.— From  the  play  by  Seymour  Hicks 
and  Ian  Hay.  Adapted  by  Carey  Wilson.  Di- 
rected by  Alan  Hale.  The  cast:  Capt.  Torrance 
Connanghton,  Conway  Tearlc;  Lady  Gwendolyn 
Hinsley,  Barbara  Bedford;  Capt.' Sir  Phillip 
Barton,  Ward  Crane;  Algernon  Hinsley,  Ar- 
thur Rankin;  Paddy,  Charles  E.  McHugh; 
Aloysius  Patrick  O'Brien,  John  Fox,  Jr  ;  Nora 
O'Brien.  Bodil  Rosing;  Jockey,  George  Ovey; 
The  Horses,  "Good  Luck"  and  "Bad  Luck." 

"DANGEROUS  DUB,  THE"— Associated 
Exhibitors. — Story  by  James  Madison.  Di- 
rected by  Richard  Thorpe.  The  cast:  Buddy 
Martin,  Buddy  Roosevelt;  Rose  Cooper,  Peggy 
Montgomery;  W.  J.  Cooper;  Joseph  Gerard; 
Mrs.  Cooper,  Fanny  Midgley;  "Sar  Face" 
Gordon,  Al  Taylor;  The  Law,  Curley  Riviere. 

"BETTER  MAN.  THE"— F.  B.  O— Story 

by  Clifford  Howard  and  Burke  Jenkins.  Di- 
rected by  Scott  Dunlap.  The  cast:  Lord  Hugh 
Wainwright,  Richard  Talmadge;  Nancy  Bur- 
ton, Ena  Gregory;  Phincas  Ward,  John  Step- 
pling;  Mrs.  Ward,  Margaret  Campbell;  John 
Knowllon,  Herbert  Prior;  Charles  Clifton, 
Charles  Hill  Mailes;  Hawkins,  Percy  Williams. 

"  DEAD  LINE,  THE  "—  F.  B.  O— Story  by 
Barr  Cross.  Continuity  by  Barr  Cross.  Di- 
rected by  Jack  Nelson.  The  cast:  "Sonera 
Slim,"  Bob  Custer;  Alice  Wilson,  Nita  Cava- 
leri;  "Silver  Sam"  McGee,  Bob  McKim; 
"Snake"  Smeed,  Tom  Bay;  Lolita,  Marianna 
Moya;  "Extra"  Long,  Billy  Franey;  Juan 
Alvarez,  Gine  Corrado. 

"UNDER  WESTERN  SKIES"— Univer- 
sal.— Story  by  Edward  Sedgwick.  Adapta- 
tion by  Charles  Whitaker.  Directed  by  Ed- 
ward Sedgwick.  Photography  by  Virgil  E. 
Miller.  The  cast:  Robert  Efskine,  Norman 
Kerry;  El/a  Parkhurst,  Anna  Cornwall;  Otto 


Stern,  Ward  Crane;  James  Erskine,  George 
Fawcett;  Millie  Lewis,  Kathleen  Key;  "Two 
Fingered"  Reed,  Eddie  Gribbon;  "Half  Pint" 
Payne,  Harry  Todd;  Sam  Parkhurst,  Charles 
K.  French;  Fleming,  Wm.  Steele;  William 
Hughes,  Frank  Lanning;  Count  Andriani.  John 
Peters;  Indian  Cook,  Art  Artego. 

"MAN  IN  THE  SADDLE,  THE"— Uni- 
versal.— Author,  Charles  Logue.  Director, 
Lynn  Reynolds.  Photographer.  Edward  Lin- 
den. The  cast:  J eff  Morgan,  Jr.,  Hoot  Gibson; 
Jeff  Morgan.  Sr.,  Charles  Mailes;  Pde,  Clark 
Comstock;  Pauline  Stewart,  Fay  Wray;  Laura 
Mayhc'w,  Sally  Long;  Tom  Stewart,  Emmett 
King;  Lawrence,  Lloyd  Whitlock;  Snell,  Duke 
R.  Lee;  Banker,  Yorke  Sherwood;  Sheriff, 
William  Dyer. 

"SPEEDING  VENUS,  THE"— Produc- 
ers Dist.  Corp. — From  the  story  by  Welford 
Beaton.  Adapted  by  Finis  Fox.  Directed  by 
Robert  Thornby.  The  cast:  Emily  Dale. 
Priscilla  Dean;  John  Steele,  Robert  Frazer; 
Midge  Rooney,  Dale  Fuller;  Speck  O'Donnell, 
Johnny  Foxe;  Chet  Higgins,  Ray  Ripley;  Jed 
Morgan,  Charles  Sellon. 

■SUNNY  SIDE  UP"— Producers  Dist. 
Corp. — From  the  novel  by  Henry  St.  John 
Cooper.  Adaptation  by  Beulah  Marie  Dix  and 
Elmer  Harris.  Directed  by  Donald  Crisp.  The 
cast:  Sunny  Ducrow,  Vera  Reynolds;  Stanley 
Dobringlon,  Edmund  Burns;  Bcrl  Jackson, 
George  K.  Arthur;  Evelyn,  ZaSu  Pitts;  Cissy 
Carson,  Ethel  Clayton;  Stanley's  Assistant, 
Louis  Natheaux;  A  Dancer,  Sally  Rand;  Show- 
girls, Jocelyn  Lee,  Majel  Coleman. 

"JADE  CUP,  THE"— F.  B.  O.— Story  by 
Chet  Withey.  Continuity  by  Ewart  Adamson. 
Directed  by  Frank  Hall  Crane.  The  cast: 
Peggy  Allen,  Evelyn  Brent;  Billy  Crossan,  Jack 
Luden;  Milano  tin-  Wop,  Eugene  Borden;  An- 
loine  Gerhardt,  George  Cowl;  "Dice"  Morey, 
Charles  Delaney;  Poppy,  Violet  Palmer. 

"FLAME  OF  THE  ARGENTINE"—  F.  B. 
O. — Story  by  Burke  Jenkins  and  Krag  John- 
son. Adaptation  by  Ewart  Adamson.  Directed 
by  Eddie  Dillon.  Photography  by  Roy  Klaffki. 
The  cast:  Inez  Rcmirez,  Evelyn  Brent;  Dan 
Prcscoll.  Orville  B.  Caldwell';  Emit  Tovar, 
Frank  Leigh;  Marsini.  Dan  Makarenko;  Mine. 
Marsini,  Rosita  Marstini;  Nana,  Evelyn 
Selby;  Donna  Aguila,  Florence  Turner. 

"CLINGING  VINE,  THE  "—Producers 
Dist.  Corp. — From  the  musical  play  by  Zelda 
Sears.  Scenario  by  Jack  Jevne  and  Rex  Taylor. 
Directed  by  Paul  Sloane.  The  cast:  Antoinette 
Allen.  Leatrice  Joy;  Jimmy  Bancroft,  Tom 
Moore;  Grandma  Bancroft,  Toby  Claud?;  T.  M. 
Bancroft,  Robert  Edeso'n;  B.  Harvey  Phillips, 
Dell  Henderson;  A.  Tulweilcr,  Snitz  Edwards. 


Brief  Reviews  of  Current  Pictures 


[  continued  from  page  1 7 


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.) 

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.) 


RUSTLER'S     RANCH— Universal.— The     u: 
Art  Acord  stuff  that  the  children  like.     (August.) 


RUSTLING    FOR   CUPID- 

double  for  Cupid  giving  us  a  n> 
question.    Good  entertainment. 


-Fox. — Cow  thieves 
w  slant  on  the  love 
(June.) 


SANDY — Fox. — A  splendid  flaming  vouth  storv 
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.) 

r  SAY  IT  AGAIN — Paramount. — A  grand  and  glori- 
ous tee-hee  at  all  the  mythical  kingdom  yarns. 
Good  stuff.     (August.) 

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.) 


ARTIST  says 

The  small  picture  at  the  top  was  sub- 
mitted by  the  young  artist  spoken  of  below 
with  his  application  for  enrollment  as  a 
Federal  student.  Compare  it  with  the  sam- 
ple of  his  later  work  after  taking  the  Federal 
Course.  Then  read  what  he  says  of  Federal 
training. 

Read  What  This  Young  Artist  Says 

A  very  successful  artist  of  Grand  Rapids,  Mich., 
(name  on  request),  making  over  85,000  a  year,  says: 
"Allow  me  to  say  a  word  of  praise  about  the  work  of 
the  Federal  Schools.  As  a  former  student  I  have 
nothing  but  highest  praise  for  your  institution.  It 
was  through  your  efforts  I  received  the  fine  train- 
ing by  practical  men  that  gave  me  my  start  on  the 
road  to  success. 

"I  have  encouraged  many  beginners  to  take  Fed- 
eral training.  Not  one  of  them  but  what  is  thor- 
oughly satisfied.  They  have  the  highest  praise  for 
your  fine  course  and  practical  cooperation. 

"I  know  over  a  dozen  of  your  students  who  are 
now  successful  artists. 

"Federal  training  is  certainly  very  thorough  and 
practical." 

Federal  Course  Gets  Results 

Thorough  Federal  training  is  demanded  by  pub- 
lishers everywhere.  It  is  constantly  reflected  in  the 
pictures  they  buy  at  high  figures. 

The  Master  Course  In  Art 

The  Federal  Course  includes  illustrating,  cartoon- 
ing, lettering,  poster  designing,  window  card  illus- 
trating, i  t  cetera.  Each  division  written  by  a  spe- 
cialist. No  other  school  offers  such  an  array  of  talent 
for  your  artistic  instruction. 

Send  your  name  today  for  a  free  copy  of  our  book, 
"A  Road  to  Bigger  Things,"  and  get  started  right. 

C/of  Illustrating 

9106  Federal  School  Bldg.,  Minneapolis,  Minn. 


BUNIONS 


though  by  magi 
feet  and  wear  smaller  erioes 
than  10U.  000  test 


'ith  comfort.  More 


this 


SENT  ON  TRIAL 

prove  inrt^nt  nlu'f,   I    will  ^Udly   arrange  to  send 

Bboiof   I'M '.-j  ,,.  r.i   (,..  try.    V,  -bliga- 

.  Jufltaay-"!  w;mt  to  try  IVdodyti.-. ' '  A^'lress 

KAY  LABORATORIES,  Dept.K356 

186  N.  La  Salle  Street  Chicago,  III. 


High  School  Course 


B 1  ty^rf  1  jt*%  Tou   Pan  complete 


I  this    simplified    High 


aide  of  two  j 


School  Course  at  horn 

a  years.     Meets  nil  requirement*  for  entrance  to  coll 

and   the   Jeadin*  profesaione.       This  nnd    thirty-Pi*  other   i.mri 
iBcribed  in  our  Free  Bulletin,     Send  for  it  TODAY 

AMERICAN  SCHOOL 

Daag.  H-671,     DrwIAv.  *  58th  St.       (£JAS1923 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


CLASSIFIED 


Photoplay  Magazine — Advertising  Section 


ADVERTISING 


Rate  40  cts.  per  word. 
FORMS  FOR  NOVEMBER  ISSUE  CLOSE  SEPTEMBER  TENTH 


AGENTS    AND    SALESMEN 


Guide)  every  month.  Don't  pass  up  the  big  oppor- 
tunities in  the  direct  selling  field.  Every  issue  of 
this  live  wire  magazine  has  hundreds  of  new  Ideas 
for  making  money.  The  articles  are  written  by  high 
powered  salesmen  who  know  the  game.  Formerly 
$2.00— now  only  $1.00  per  year  (sells  on  newsstand 
for  25c,  or  at  that  rate  12  issues  for  $3.00).  Just 
send  a  dollar  bill  with  this  ad  and  receive  the  next 
12  issues.  Mail  it  to-day  and  save  the  difference 
($2.00).       Address     Opportunity     Magazine,     Dept.     P-9, 


7">0    No.    Michigan    Ave.,    Chicago. 


AMAZING  LARGK  CASH  COMMISSIONS  1XTUO- 
ducing  beautiful  $3.95  and  $4.95  fit-to-measure  guar- 
anteed shoes.  Actual  samples  furnished.  Write  for 
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Cincinnati,    Ohio. 


GOLD  INITIALS.  EASILY  APPLIED  ON  AUTO- 
mobiles.  Biggest  mot  if  v  -maker  today.  Costs  5c.  you 
get  $1.50.  No  experience  needed.  Free  samples. 
■Ralco"    Monograms.     10-15    Washington,     Boston,    Mass. 


AGENTS— NEW  PLAN,  MAKES  IT  EASY  TO 
earn  $50.00  to  $100.00  weekly,  selling  shirts  direct  to 
wearer.  No  capital  or  experience  needed.  Represent 
a  real  manufacturer.  Write  now  for  Free  Samples. 
Madison    Shirts.    502    Broadway,    New   York. 


$5  TO  $15  DAILY— YOLK  PAY  IN  ADVANCE 
(sworn  proof  given)  Brand  New  Line  American  Beamy 
Hosiery.  (Not  sold  in  stores.)  No  experience  or 
capital  needed.  You  take  orders.  We  deliver  and 
collect  If  you  prefer  it.  Samples  furnished.  Write 
quick.  Macocbee  Textile  Company,  Card  2149,  Cin- 
cinnati,    Ohio. 


rltniHti.     Ohio 


BOSTON  MAID  FROCKS  FOR  WOMEN  AND 
Children — nationally  known--  famously  popular.  From 
mill     to     wearers     $3.50     to     $20.       Great      income     pro- 


EARN  $15  TO  $85  EXTRA  A  WEEK.  SELLING 
beautiful  shirts.  Commission  in  advance.  We  deliver 
and  collect.  Write  tniick.  Fashion  Wear  Shirts.  Dept. 
L-1602,    Cincinnati.  


2420,     St.     Louis,    Mo. 


PERSONAL 


MANY  TRAITS  AND  TENDENCIES  ARE  TtE- 
vealed  in  your  handwriting.  Write  for  particulars 
about    readings.      M.     C.     McKee,    Dept.    11-2,     Excelsior 


OIL     PAINTINGS 


LADIES— YOFR  PiUffUAIT  OR  FAVORITE  AC- 
ess  in  oil  on  canvas  10x12  ready  to  frame.  Send 
hoto  any  size.  State  color  hair  and  eyes.  Limited 
ffer    $5.00.      M.    Lansing.    :-:s25    Manila    Are.,    Oakland, 


HELP    WANTED 


SIDE  LINE  SALESMEN:  HERE  IS  A  BIG  SELLER, 
.lust  the  book  that  over  50,000,000  movie  fans  have 
been  looking  for.  Contains  250  large,  beautiful  Art 
Portraits  of  the  leading  film  stars  with  brief  bio- 
graphical sketch  of  each  star's  career.  Beautiful  blue 
book  binding.  Sells  on  sight.  Retail  price,  only 
$1 .25,  Write  for  our  generous  offer.  Address  Photo- 
play Magazine,  Dept  C-9,  750  N.  Michigan  Ave.. 
Chicago. 


MEN-WOMEN*.  IS  UP.  GET  U.  S.  GoVERN- 
nent  Jobs.  $95  to  $250  month.  Steady.  Full  par- 
iculars  and  sample  po;t<liing  lessons  Free.  Write  Im- 
mediately.       Franklin     Institute,      Dept.      A-107,     Rocb- 


ALL  MEN-WOMEN.  IS -BO.  WANTING  TO  (JCALIFY 
for  Government  Positions,  $140-$225  monthly,  local  nr 
traveling,  write  Mr.  Ozment,  265,  St.  Louis,  Mo.,  im- 
mediately. 


LADIES  EARN  MONEY  EMBROIDERING.  SEW- 
ng,  crocheting,  etc.  Details  for  stamp.  EUcr  Com- 
lany,    P-296    Bioadway,    New    York. 


-$18  A  DOZEN  DECORATING  PILLOW  TOPS 
home.  Experience  unnecessary;  particulars  for 
ip.      Tapestry    Paint    Co.,    131,    I.aGrange.    Imi. 


PATENTS 


INVENiORS  DESIRING  TO  SECCRE  PATENTS 
should  write  for  our  book,  "How  to  Get  Your  Patent." 
Send  model  or  sketch  of  inventions  for  free  Inspection 
and  Instructions.  Randolph  &  Co.,  Dept.  462,  Wash- 
ington, D.   C. 


PATENTS— WRITE  FOR  FREE  GUIDE  BOOKS 
and  "Record  of  Invention  Blank"  before  disclosing  in- 
ventions. Send  model  or  sketch  for  Inspection  and  In- 
structions Free.  Terms  reasonable.  Victor  J.  Evans 
&  Co..  763  Ninth.  Washington.   D.    C, 


INVENTIONS  COMMERriALTZED.  PATENTED  OR 
unpatented.  Write  Adam  Fisher  Mfg.  Co.,  1S7  Enrlght, 
St.    Lnuis.    Mo. 


PREPARE    FOR    AN 


CAREER 


-thru  the  only  school  operated  as  a 
department  of  a  large  art  organiza- 
tion. Commercial  Artists  trained 
the  "Meyer  Bot h  Way"  earn  as  high 
as  $10,000  per  year.  We  today  have 
hundreds  of  students  who  had  pre- 
viously studied  in  other  art  schools. 
Why?  Because  your  instruction  is 
based  upon  our  everyday  experi- 
ence in  meeting  the  art  needs  of 
leading  advertisers.  Home  study 
instruction.  Write  for  illustrated 
book  telling  of  the  success  of  our 
students. 

MEYER  BOTH  COMPANY 

Michigan  Ave.  at  20th  St.,  Dept.  31,  Chicago,  111. 


'Wales 


How  to  banish  them 

A  simple,  safe  home  treat 
ment — lb  years'  success  in  my 
practice.  Moles  (also  Big 
Growths)  dry  up  and  drop 
off.  Write  for  free  Booklet 
WM.  DAVIS,  M.  D„  124-D  Grove  Ave.,  Woodbridge,  N.J. 


Men  and  Women 
WANTED 

To  represent  large  rep- 
utable firms  who  sell 
direct  to  consumer.  Lib- 
eral commissionsoffered. 
For  further  particulars 
read  the  advertisement 
on  page  125  of  this  issue 


.  .  Advanced  Pianists 
259styleso[  Bass.  1)8-4  Svnroi.uu-d  Effects  Blue  Har 
Oriental.  Cliitne.  Movie  and  Cafe  .Jazz.  Trick  Km 
Clever  Breaks.  Space  Filler*.  Sax  Slurs.  Triple 
Wicked  Harmon*.  HlueObl  male  :ir.d  '.247  other  Sul 
ii.clndiim  Far  Phuinn.  13*  l'W-«  of  ISEAI.Jazz 
words.     A  Postal  bring*  our  FKFE  Special  Offer. 

Walerman  Piano  School,         1834  W  Adams  Si..        Los  Ang 


-.15.00(1 
les.  Calif. 


ANDWRITINC^eaisCHARACTED  II 


Your  personality  and  adaptabil- 
ity for  vocational  success  in  life 
and  work.  Send  ink  sample  of  own  or 
friend's  writing  and  25c  (silver)  for 
expert  character  sketch  of  60  words  or 
more.  A  real  guide  to  develop  person- 
ality—not a  fortune  telling  stunt. 

N  PENCRAFT,  COSCOB,  CT. 


BOW  LEGS  and  KNOCK- 
KNEES  UNSIGHTLY 

Those   afflicted    with   BOW 


outthe'-PERKECTLEU  FORMS" 
PERFECT  SALES  CO. 

1 40  N.  Maylleld  A.e  .  Dept.  54,  CHICAGO 


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.) 

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 
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.) 

SEVENTH  BANDIT,  THE— Pathe.— A  splendid 
Western  that  grownups  and  children  should  not  over- 
look. Harry  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.) 

SHAMROCK  HANDICAP,  THE  —  Fox."—  Trot 
yourself  down  to  the  first  theater  showing  this  if  you 
want  an  evening's  fun — and  that's  not  blarnev. 
(July.) 

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.) 

SHIPWRECKED  —  Prod.  Dist.  Co.  —  If  you 

haven't   been   sleeping  lately   try   this  on   your  in- 
somnia.    Terrible.     (August.) 


SILENCE— Prod.  Dist.  Corp.— The  finest  melo- 
drama that  the  screen  has  shown  for  years.  Only  for 
adults.      (August.) 

SILKEN  SHACKLES— Warner  Bros.— A  splendid 
cast  gone  to  the  four  winds  because  of  a  poorly  de- 
veloped plot.     (July.) 

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

SOCIAL  CELEBRITY,'A— Paramount.— Adolphe 
Menjou.  as  an  ambitious  young  shaver .Jborrows  some 
clothes  and  becomes  the  toast  of  New  York.  Another 
fascinating  Menjou  picture.     (July.) 

SOCIAL  HIGHWAYMAN,  THE— Warner  Bros. 
— This  purports  to  be  a  comedy  but  it's  a  tragedy  and 
vice  versa.     Don't  be  annoyed.     (August.) 

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— Metro-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.) 

SPARROWS— United  Artists.— Watching  the  an- 
tics of  Mary  Pickford  and  a  bunch  of  other  kids  is  a 
safe  bet  for  an  enjoyable  evening.     (August.) 

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

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  bit 
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  you  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  WEEKS  IN  PARIS— Warner  Bros.— 
Matt  Moore  is  again  the  sap  with  the  result  that  you 
sit  through  a  sappy  picture.     (August.) 

TONY    RUNS    WILD— Fox.— Tom    Mix    in    an 

average  Western.     (July.) 

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.) 


Kvt-iT   advertisement    in    rilOTOPI.AY    MAGAZINE   is.  guaranteed. 


Photoplay  Magazine — Advertising  Section 


TORRENT/THE— Metro-Golchvyn.— Introducing 
the  charming  new  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.    Worth  while.    (May.) 

TRIP  TO  CHINATOWN,  A— Fox.— Two  reels  of 
this  would  have  been  sufficient.  Not  worth  while. — 
(August.) 

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

UNKNOWN  SOLDIER,  THE— Prod.  Dist.  Corp. 
— A  sad  attempt  at  being  another  "  Big  Parade."  It's 
funny — unintentionally.     (August.) 

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

UP  IN  MABEL'S  ROOM— Prod.  Dist.  Co- 
Laughter  for  all.  The  players — Marie  Prevost  and 
Harrison  Ford.     (August.) 

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.     (June.) 


WET  PAINT— Paramount.— Raymond  Griffith  in 
a  great  film  for  those  to  whom  fun  is  fun.     (July.) 

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  Lilvan  Tashman. 
(May.) 

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

WILD  TO  GO— F.  B.  O.— Tom  Tyler  and 
Frankie  Darro  prove  to  be  a  splendid  combination  in 
Westerns.     It's  worth  seeing.     (July.) 

WILDERNESS  WOMAN,  THE— First  National. 
—Mild  entertainment.  Chester  Conklin  gives  an  ex- 
cellent performance  as  a  rough  miner  with  a  million. 
{July.) 

WISE  GUY,  THE— First  National.— Just  for 
grownups.  All  about  crooks  who  preach  religion  to 
cover  their  shady  connections.    Fair.     (August.) 

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  appealingand  attractive.  (April.) 

YELLOW  FINGERS— Fox.— There  is  a  little 
beauty  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.) 


r43 


Questions  and  Answers 


[  CONTINUED  FROM  PAGE  91  ] 


Baby  Blue  Eyes,  Texas.— So  you're  smitten 
with  William  Haines.  And  I  bet  you  never 
even  thought  of  him  until  you  had  seen  "Brown 
of  Harvard."  Just  write  to  the  Metro-Gold- 
wyn- Mayer  Studio,  Culver  City,  Calif. 

M.  M.,  Dallas,  Texas. — Alice  is  a  fine  girl. 
She  was  born  in  Kansas  City,  Mo.,  October  i, 
1890.  She  is  five  feet,  seven  inches  in  height 
and  weighs  1 20  pounds.  Her  hair  is  brown  and 
her  eyes,  hazel.  She  is  working  at  the  Para- 
mount Studio,  Pierce  Ave.  and  Sixth  St.,  Long 
Island  City,  N.  Y. 

Lucille,  Corpus  Christi,  Tex. — Newcom- 
ers are  always  welcome.  I  always  put  on  my 
best  manners  for  them.  Vera  Steadmanis  very 
much  alive,  thank  goodness.  Ben  Lyon  ap- 
peared with  Barbara  La  Marr  in  "The  White 
Moth."  Barbara  had  an  adopted  son,  now 
adopted  again  by  ZaSu  Pitts  and  her  husband, 
Tom  Gallery.  Vera  Reynolds  is  divorced. 
Helene  D'Algy,  Nita  Naldi,  Dagmar  Godowsky 
and  Louise  La  Grange  played  with  Valentino 
in  "A  Sainted  Devil."  Ramon  Novarro's  next 
picture  is  "A  Certain  Young  Man."  Sally 
O'Neil  and  Renee  Adoree  are  his  leading 
women. 

E.  G.,  Lake  Stearns,  Fla. — Just  like  a 
woman!  Always  claiming  all  the  brains  and 
beauty  for  the  feminine  sex.  So  you  don't 
think  it  is  possible  for  a  man  to  be  original? 
Say,  who  invented  the  electric  light,  a  man  or  a 
woman?  How  about  the  handsome  Prime  in 
"Beverly  of  Graustark"?  Creighton  Hale  was 
born  in  Cork,  Ireland,  in  1892.  He  was  edu- 
cated in  Dublin  and  London  and  started  his 
career  on  the  stage  in  England.  Came  to 
America  and  went  in  pictures,  first  achieving 
fame  with  Pearl  White  in  "The  Exploits  of 
Elaine."    He  is  separated  from  his  wife. 

E.  W.,  Ft.  Leavenworth,  Kan. — Your 
friend  was  mistaken — dreadfully  so.  Doug  is 
almost  a  foot  taller  than  Mary.  Just  to  be 
accurate,  we'll  give  you  the  exact  figures.  Miss 
Pickford  is  five  feet  tall.  Mr.  Fairbanks  is  five 
feet,  ten  inches.  Write  to  Ramon  Novarro  at 
the    Metro-Goldwyn-Mayer    Studio,    Culver 


City,  Calif.  Dick  Barthelmess  at  3700  Mission 
Road,  Hollywood,  Calif.  Anna  Q.  Nilsson  may 
be  reachedat  the  Fine  Arts  Studios,  Hollywood, 
Calif.,  and  Jetta  Goudal  at  the  Cecil  B.  De 
Mille  Studios,  Culver  City,  Calif.  Write  to 
Betty  Bronson  at  the  Biograph  Studios,  New 
York  City.  It  is  always  a  good  idea  to  look  at 
the  Studio  Directory,  which  appears  in  every 
issue  of  Photoplay,  for  the  addresses  of  the 
prominent  players. 

V.  J.,  Mt.  Clemens,  Mich. — It  isn't  very 
often  that  the  stars  find  time  to  write  letters  to 
their  admirers.  Just  think,  they  get  thousands 
of  such  letters  each  week.  And  if  they  stopped 
to  answer  them  all,  they  would  have  little  time 
for  acting,  which  is,  after  all,  their  chief  busi- 
ness in  life.  So  while  it  may  seem  ungrateful  to 
you  that  your  favorite  hasn't  answered  your 
letters,  stop  to  consider  the  other  side  of  the 
situation. 

John  C,  San  Antonio,  Texas. — "Fine 
Manners"  is  Gloria's  last  for  Famous  Players- 
Lasky.  Her  first  for  United  Artists  will  be 
"Personality."  I  am  afraid  that  it  is  almost 
too  good  to  be  true — your  dream  of  having 
Gloria  as  a  co-star  for  Fairbanks  or  Barrymore. 

O.  A.,  Long  Beach,  Calif. — No,  lady,  I 
don't  read  the  letters  "only  for  the  questions." 
I  read  them  to  cheer  me  up,  for  information, 
for  entertainment,  and  for  flattery.  Unfor- 
tunately a  Continent  separates  us.  Wesley 
Barry  has  returned  to  Hollywood  to  make  pic- 
tures Wesley  is  married  now,  you  know,  and 
has  a  wife  to  support.  His  hair  is  red — oh, 
very  red! 

S.  W.,  Handsboro,  Miss. — Well,  you  lose 
your  bet — I  read  your  writing.  Now  what  was 
that  bet  again — a  case,  did  you  say?  Oh,  yes, a 
card  case.  Colleen  is  the  little  lady  who  told 
me  about  the  color  of  her  eyes — so  you  can't 
say  you  don't  believe  it — one  is  brown,  the 
other  blue.  Fred  Thomson  played  the  lead  in 
"The  Tough  Guy."  Don't  you  think  Fred's  a 
nice  guy?  And  how  about  Silver  King?  Now 
don't  die  just  because  I  answered  your  ques- 
tions— I'd  like  to  hear  from  you  again. 


3atr7?ten>/ 


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Don't  let  your  hair  turn  dark,  faded  or  streaked. 
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your  hair  changing  color,  growing  dull  and  unat- 
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At  Home  in  Your  Spare  Til 

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Skin  Troubles 

Cleared  up — often  in  2i  hours.  To  prove 
you  can  be  rid  of  pimples,  blackheads,  acne 
eruptions  on  the  face  or  body,  barbers'  itch, 
eczema,  enlarged  pores,  oily  or  shiny  skin, 

simply  send  me  your  name  and  address  today — no  cost 
—no  obligation.  CLEAR-TONE  tried  and  tested  In  over 
Km. (ton  eases  used  [ike  toilet  water  is  simply  magical  in 
prompt  results.  You  can  repay  the  I:,  eor  by  telling  your 
friends:  if  not.  the  loss  is  mine.     WRITE  TODAY. 

E.  S.  GIVENS,  439  Chemical  Bldg.,  Kansas  City,  Mo. 


R.  C.  P.,  Los  Angeles,  Calif. — From  one 
gentleman  to  another,  you're  right.  Quant  a 
moi,  jene  comprends  francais  tres  bien  myself, 
monsieur.  Without  heels  of  course.  Gertrude 
Olmstead  is  five  feet,  three  inches.  Madge 
Bellamy,  ditto.    Larry  Kent  is  six  feet. 

C.  O.,  Lewistown,  Pa. — Yours  is  the  nicest 
letter  I  have  received  this  month.  I  hope  all 
the  other  girls  won't  be  jealous.  At  present, 
your  favorite,  Ricardo  Cortez,  is  playing  in 
D.  W.  Griffith's  picture,  "The  Sorrows  of 
Satan." 

V.  M.  G.,  Jermyn,  Pa. — So  you  want  to 
know  some  facts  about  Big  Ben.  I  take  for 
granted  you  mean  birthday,  etc.,  etc.,  etc. 
Let  me  think — Hizzoner  was  born  in  Atlanta, 
Ga.,  February  6,  iooi.  He  measures  six 
feet  in  height  and  weighs  160  pounds.  His  hair 
is  dark  brown  and  his  eyes  are  blue.  "The 
Savage"  will  be  his  next  release.  Listen, 
dearie,  a  treat  is  in  store  for  you  utien  you  see 
Percy  Marmont  with  Gilda  Gray  in  "Aloma  of 
the  South  Seas."  I'm  giving  you  fair  warning 
— don't  miss  it. 

V.  E.  A.,  Wichita  Falls,  Texas.— There's 
no  rest  for  the  weary.  Poor  Virginia  Valli, 
after  completing  her  contract  with  Universal, 
planned  to  take  a  long  vacation,  but  along  came 
an  alluring  contract  from  Fox  and  Virginia 
couldn't  resist  signing.  Virginia  was  born 
January  19,  1900,  in  Chicago,  111.  She  is  five 
feet,  three  inches  in  height  and  weighs  120 
pounds.  She  played  opposite  Lewis  Stone  in 
"The  Lady  Who  Lied."  Lewis  was  born 
November  15,  1878.  No  trouble.  Glad  to 
help  you. 

G.  M.,  Chicago,  III. — And  now  you  want 
my  advice  about  breaking  into  the  movies. 
Hundreds  of  beautiful  and  capable  girls  from 
all  parts  of  the  world  are  in  Hollywood  now, 
each  trying  to  prove  the  right  to  stardom. 
Every  young  girl  who  plays  before  the  motion- 
picture  camera  knows  that  in  order  to  succeed 
one  must  possess  ability,  beauty  and  person- 
ality, and  then  await  opportunity.  The  out- 
look is  sometimes  discouraging,  but  occasion- 
ally something  occurs  in  the  film  colony  which 
gives  hope.  For  instance — Norma  Shearer, 
Sally  O'Neil,  Betty  Bronson  and  Vera 
Reynolds  can  remember  the  days  when  they 
trotted  from  studio  to  studio  looking  for  work. 
After  obtaining  a  few  extra  bits  they  gradually 
obtained  parts  of  increasing  value  until  at  last 
they  are  receiving  stellar  roles.  And  who  can 
tell.  Perhaps  if  you  are  real  serious  in  your 
work  you  may  one  day  be  one  of  the  shining 
lights  of  the  movie  industry.  If  you  succeed, 
don't  forget  your  old  grandpa. 

D.  F.,  Normal,  III. — Send  all  the  bouquets 
you  want,  but  don't  start  throwing  any  brick- 
bats. Lon  Chaney  is  my  favorite  actor,  too. 
You  were  all  excited  when  you  saw  "The 
Phantom  of  the  Opera" — well,  have  you  seen 
"Aloma  of  the  South  Seas"  yet?  I  hope  you 
live  through  it.  Lon  was  born  April  1, 
1S83,  at  Colorado  Springs,  Colo.  (He  was  just 
a  little  April  fool  surprise  package.)  He  is 
married  to  Hazel  Bennett.  Yep,  so  long  that  I 
can't  even  remember  when  they  were  married. 
I  am  sorry  I  cannot  send  you  a  photograph  of 
him,  but  you  can  obtain  one  by  writing  Mr. 
Chaney  at  the  Metro-Goldwyn-Mayer  Studio, 
Culver  City,  Calif.,  provided  you  send  two-bits. 

J.  L.  S.,  Miami,  Fla. — That's  no  question  for 
you  to  ask.  Miss  Daniels  can  do  as  she  pleases 
and  not  be  subject  to  questioning  from  fans. 

P.  A.,  Bayonne,  N.  J. — I'm  surprised  at 
you.  Falling  for  the  curly  hair  stuff.  And 
here's  the  funny  part,  William  Boyd's  hair  isn't 
curly.  It's  as  straight  as  a  poker.  He  had  it 
curled  every  day  during  the  filming  of  "The 
Volga  Boatman"  in  order  that  he  would  look 
very  Russian.  So  you  see  he  really  is  a  slick- 
haired,  immaculately  dressed  sheik.  Stew  bad, 
stew  bad. 


Blue  Eyes  from  Iowa.— Dolores  Costello 
is  working  at  the  Warner  Bros.  Studio,  Sunset 
Blvd.  and  Bronson,  Hollywood,  Calif. 

_  Zerne,  Oak  Park,  III. — Gloria  is  twenty- 
eight.  I  should  say  your  question  is  unusual, 
and  I  really  can't  answer  it.  I  'm  not  to  be  held 
responsible  for  the  public's  likes  and  dislikes. 
Leatrice  Joy  and  Jack  Gilbert  are  divorced. 
Excuse  my  coolness,  your  letter  peeved  me. 

Queenie,  San  Francisco,  Calif. — Esther 
Ralston  was  the  blonde  lady  in  "The  Best 
People."    Anything  else? 

A.  R.,  Madisonville,  Ky. — Heap  Much 
yourself.  Conrad  Nagel  is  married  to  a  non- 
professional. Marion  Davies  is  not  married. 
Douglas  Fairbanks,  Jr.,  is  working  at  the 
Lasky  Studio,  Hollywood,  Calif.    Call  again! 

J.  S.  C.j  Newport  News,  Virginia.  - 
Frankie  Darro  has  been  making  a  number  of 
pictures  lately.  He  has  been  playing  in  West- 
erns with  Tom  Tyler — in  fact  they  are  quite  an 
established  combination.  You  can  reach 
Frankie  at  the  F.  B.  O.  Studio,  780  Gower  St., 
Hollywood,  Calif.  Give  my  regards  to  the  rest 
of  the  gobs. 

L.  E.  T.,  Portsmouth,  Va. — Well,  my  dear, 
you  weren't  a  bit  backward  in  coming  forward. 
Don't  you  think  you  were  a  bit  harsh  in  bawl- 
ing me  out  that  way?  I  only  said  that  in  fun — 
never  thinking  for  a  minute  that  I  would 
receive  all  the  statistics  about  the  town.  Your 
letter  sounds  as  though  you  were  press  agent 
for  the  Chamber  of  Commerce.  But  I'll  forget 
all  about  the  past  and  answer  your  question: 
Carol  Dempster  is  twenty-four.  She  is  five 
feet,  5  inches  in  height  and  weighs  1 14  pounds. 
Carol's  too  smart  a  girl  to  be  married. 

Margaret  G.,  New  York  City. — Richard 
Dix  can  be  reached  at  the  Paramount  Studio, 
Pierce  Ave.  &  Sixth  St.,  Long  Island  City, 
N.  Y.  I  bet  I  know  why  you  want  Richard's 
address — to  write  for  a  photograph.  Don't 
forget  to  enclose  twenty-five  cents. 

F.  O.,  Gainesville,  Texas. — Your  darling, 
Blanche  Sweet,  is  thirty  years  old.  I'm  sur- 
prised you  didn't  know  she  was  married. 
Didn't  you  notice  the  lovely  picture  of  Blanche 
and  Marshall  Neilan,  her  husband,  in  the 
April  issue?  They  have  been  married  four 
years. 

Peggy  McCann,  Antigo,  Wisconsin.- 
Everybody's  taste  is  different  but  so  far  John 
Gilbert  is  leading  as  being  the  sweetest.  Rudy 
has  not  been  so  popular  since  the  triumphal 
appearance  of  John  Gilbert  in  "The  Mem' 
Widow,  ""The  Big  Parade  "and  "La  Boheme.  " 
Rudy's  birthday  is  May  6th,  1895,  and  Ben 
Lyon's,  February  6th,  1901. 

Merimba,  Mixden,  La. — Am  I  popular? 
My  dear  young  lady,  Mary  Pickford  and  I  are 
in  a  class  by  ourselves.  I  gather  you  are  re- 
ferring to  Conrad  Nagel,  one  of  the  finest  boys 
in  pictures.  You  can  write  Conrad  at  the 
Metro-Goldwyn-Mayer  Studios,  Culver  City. 
Cal. 

M.  Watkxns,  Lynwood,  Calif. — Doug, 
Jr.,  was  born  on  December  9th,  1910.  Douglas 
will  be  seen  in  "Padlocked"  with  Lois  Moran. 
She  is  the  little  girl  who  played  in  "Stella 
Dallas"  with  him.  Address  him  at  the  Lasky 
Studio,  Hollywood,  Cal.  Jack  Mulhall  is  mar- 
ried to  Evelyn  Winan.  Thanx  for  your  kind 
words. 

Virginia,  Bloomington,  Indiana. — Why 
not?  Ben  is  working  at  the  Biograph  Studio, 
807  East  175th  St.,  New  York  City.  Explain 
to  Ben  the  type  of  picture  you  desire  and  I  am 
sure  he  will  grant  your  request.  He  is  twenty- 
five.  I'm  noncommittal  when  it  comes  to 
deciding  which  is  the  better  looking.  And 
besides  you  didn't  express  your  opinion.  Call 
again! 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 

Margie,  Carlstadt,  N.  J.— Thomas  Mei-  picture  is  "Puppets."  Have  you  heard  the 
ghan's  birthday  is  April  9th.  Lady,  please  be  news— Gertrude  is  married  to  Robert  Leonard, 
easy  with  your  questions.     I'm  human,  too.     Mae  Murray's  ex-husband.     Gert  was  born 

Nov.  13th,  1904,  and  she  is  5  ft.  3  in.  tall.  Yes, 
Norman  Kerry  is  still  with  Universal.  Betty 
Compson  was  born  in  Beaver  City,  Utah.    The 


^5 


Joanna  Colman,  Bingham  Canyon,  Utah. 
— Ronald  Colman  hasn't  any  children.  I  don't 
think  that  was  a  very  nice  remark  to  pass 
about  Ben.  He's  a  nice  fellow  and  works  darn 
hard.  You  mustn't  judge  him  by  the  roles 
he  essays.  He  was  born  in  Atlanta,  Ga., 
February  6th,  1901 
weighs  160  pounds. 


last    time   I 
pounds. 


veighed  her  she  registered   115 


Bobbie,  N.  Dakota — Your  rhyme  is  so  darn 
He  is  six  feet  tall  and     good  that  I'm  going  to  print  it  just  to  give  the 
rest  of  the  gang  a  thrill — to  say  nothing  of 
handing  myself  a  few  bouquets,  wot? 


Jack  of  Detroit. — I'm  sorry  to  disappoint 
you  Jack  but  I  have  been  rushed  to  death. 
But  better  late  than  never.  Virginia  Valli  was 
born  in  Chicago,  January  19th,  1900.  She  is 
five  feet,  3  inches  in  height.  Her  eyes  are 
blue.  Her  real  name? — Virginia  Holmes.  D'ya 
think  ya  know  her?  She  is  working  at  the 
Universal  Studio,  Universal  City,  Cal. 

M.  E.  M.,  Petalujia,  Calif. — You're  wel- 
come! Clive  Brook  is  now  working  at  the 
Warner  Bros.  Studio,  5842  Sunset  Blvd.  Your 
right  about  Doug,  Jr.'s  age — if  any  more  of 
your  friends  argue  with  you  just  refer  them 
to  me.  I  am  glad  to  hear  you  are  such  a 
loyal  booster  for  Ben.  He  and  I  are  great 
pals  and  I'll  tell  him  all  about  you.  I'm  big 
hearted. 

Clarence  Sitler,  Berwick,  Pa. — I  always 
remember.  Esther  Ralston  was  born  Septem- 
ber 12,  1902,  and  here's  the  sad  news — she's 
married.  Did  you  see  "The  American  Venus?  " 
Well  if  you  like  Esther  don't  miss  it.  You  may 
write  her  at  the  Lasky  Studio,  Hollywood, 
Cal.    You  have  my  permission. 

Margery  Moore,  Richmond,  Va. — Jackie 
Coogan  receives  his  mail  at  516  Southwestern 
Ave.,  Los  Angeles,  Cal.  Turn  over  to  the 
Studio  Directory  and  you  will  find  where 
Harold  Lloyd,  Gloria  Swanson  and  Jack  Holt 
are  working. 

A.  Houde,  Lewiston,  Me. — June  Mathis 
can  be  reached  at  the  United  Studios,  Holly- 
wood, Cal.    That's  an  easy  one. 

R.  Lewis,  Chicago,  III. — You  never  can 
put  one  over  on  Photoplay.  We  were  one  of 
the  first  publications  to  see  "The  Phantom  of 
the  Opera."  It  was  reviewed  in  the  May, 
1925,  issue.    Now  laugh  that  off. 

Garlic  Twins,  N.  Y. — What  an  odoriferous 
title  and  why?  Beatrice  Prentiss  is  the  lady 
who  divorced  Harrison  Ford.  Harrison  would 
be  glad  to  be  a  little  ray  of  sunshine  if  a  photo- 
graph would  bring  you  happiness.  You  can 
reach  him  at  the  Christie  Studio,  Hollywood, 
Calif.  Raymond  Keane  hasn't  imparted  the 
"inside  dope"  on  his  life  as  yet.  But  he's 
working  at  the  Universal  Studio,  Universal 
City,  Calif.,  if  you  care  to  write  him.  The 
actors  aren't  pikers  about  giving  their  photo- 
graphs— only  don't  forget  to  enclose  the  quarter. 

A.  H.  H.,  Wallingford. — Yes,  Madge  Bel- 
lamy is  a  lovely  child.  But  maybe  you  won't 
like  it  when  I  tell  you  that  she  has  bobbed 
those  beautiful  brown  curls.  She  had  to,  for 
her  current  picture,  "Sandy." 

Fern,  St.  Louis. — I  guess  I  shouldn't  like 
you  for  giving  me  all  this  work.  But  it's  o.  K. 
If  you  are  going  to  be  happy  when  you  find 
out  that  some  of  your  favorites  are  taller  than 
you,  then  I  shall  feel  very  noble.  So  with  the 
air  of  a  Christian  martyr  about  to  be  led  to  the 
lions,  I  go  into  my  song  and  dance:  Leatrice 
Joy,  5  ft.  3  in.,  125  lbs.  Constance  Talmadge, 
5  ft.  6  in.,  1 20  lbs.  Norma  Talmadge ,  5  ft.  2  in., 
1 10  lbs.  Vilma  Banky,  5  ft.  6  in.,  120  lbs.  Bebe 
Daniels,  5  ft.  33^in.,  ii2lbs.  Lois  Wilson,  5  ft. 
6J^  in.,  126  lbs.  Phew!  I  hope  I  didn't  get 
'em  mixed.     G'bye. 

Ronald  Bayem,  Canada. — That  song  has  a 
kick,  young  fella.     Gertrude  Olmstead's  next 


Perhaps  you  are  not  young  and  handsome  and 
tall 
With  a  cane  and  a  little  mustache; 
But  I  think  you're  a  dandy  in  spite  of  it  all 

And  on  you  I  have  quite  a  mash. 
Your  keen  sense  of  humor,  it  strikes  me  just 
right, 
Your  answers  I  think  are  most  witty. 
Your  department  I  read  the  first  thing,  with 
delight, 
And  to  miss  it  would  sure  be  a  pity! 

Jack  Mulhall  was  born  October  7th,  1891. 
He  is  5  ft.  n  in.  tall,  has  dark  brown  curly  hair 
and  blue  eyes.  He  is  married  to  a  beautiful 
girl,  non-professional.     G'bye,  darlin'. 

Fr^ncoise  F. — Welcome  to  our  shores.  I 
can  understand  your  not  liking  prohibition, 
but  dearie,  there's  nothing  the  matter  with 
jazz.  You  should  hear  my  old  bones  creak 
when  I  shake  a  couple  of  anterior  arches. 
Alma  Rubens  recently  married  Ricardo  Cortez. 
Ricardo  would  not  like  your  calling  him  beau- 
tiful. Men  are  not  called  beautiful  in  this 
country,  mon  efant. 

S.  K.,  Norwich,  Conn. — Well,  you're  a 
good  picker.  Ramon  Novarro  was  born  in 
Durango,  Mexico,  Feb.  6th,  1899.  Richard  Dix 
was  born  in  St.  Paul,  Minn.,  July  18th,  1895. 

Olivares,  Chicago. — Write  for  information 
about  the  Paramount  School  to  the  Paramount 
Studios,  Pierce  Avenue  and  Sixth  Street,  Long 
Island  City,  New  York.  Betty  Bronson  and 
Mary  Brian  can  be  reached  in  care  of  the 
Lasky  Studio,  Hollywood. 

M.  I.  Haliday. — Somewhere  in  these  col- 
umns you  will  find  another  admirer  of  George 
O'Brien,  who  wants  to  organize  a  George 
O'Brien  Club.  Methinks  you  would  make  a 
good  member.  George  was  born  in  San  Fran- 
cisco, Calif.,  in  1900.  He  is  5  feet,  n  inches 
tall,  weighs  176  pounds.  Carl  Miller  played 
Oscar  Pleat  in  "We  Moderns."  George 
Magrill  was  Dom  Wares  in  "Lord  Jim." 

Constant  Reader,  Brooklyn. — Jack  Mul- 
hall of  the  Irish  grin  first  peeped  over  the  cradle 
at  Wappinger  Falls,  N.  Y.,  Oct.  7th,  1891.  He 
is  married  to  the  loveliest  young  girl,  non 
professional.  They  have  no  children.  Norma 
Shearer  is  22  years  old.  Wouldn't  you  know? 
She  is  every  man's  dream  of  twenty-two.  She 
is  not  married.  Her  hair  is  light  brown,  not 
bobbed.  She  was  in  New  York  on  a  vacation 
recently,  but  returned  to  the  coast,  where  she 
makes  all  of  her  pictures.  Metro-Goldwyn- 
Mayer  studios,  Culver  City,  Calif.,  is  her 
address. 

W.  G.  H.,  Kansas  City,  Mo. — In  your 
estimation  Sally  is  not  the  kind  of  a  girl  men 
forget.  You  have  developed  an  awful  "case." 
Do  you  think  you  will  live  through  it?  Well,  I 
suppose  I  will  have  to  tell  you  all  about  her. 
She  was  born  in  Bayonne,  N.  J.,  Oct.  23,  1908. 
Her  hair  is  black  and  her  eyes  dark  blue.  She's 
very  tiny,  five  feet,  one  and  one-half  inches; 
her  weight,  104  pounds.  You  may  write  her 
at  the  Metro-Goldwyn-Mayer  Studio,  Culver 
City,  Cal. 

A.  C,  Paterson,  N.  J. — Mae  Murray  is  a 
very  charming  person.  She  was  born  May  10, 
1893.    She  is  five  feet,  three  inches  in  height. 


"We  pay  him 
$100  a  week" 

"A  ND  he's  worth  every  cent  of  it.  Came  here 
X~\.  several  years  ago  asking  for  a  job.  He  got 
just  that  — a  small  job  at  a  small  salary. 

"Then  I  forgot  about  him — hardly  knew  he 
was  on  the  payroll  until  I  got  a  letter  from  the 
International  Correspondence  Schools  telling  me 
that  he  had  enrolled  for  a  course  of  home  study. 
It  was  remarkable  the  way  he  went  ahead. 

"We  pay  him  $100  a  week  now  and  he's  going 
to  get  even  a  larger  salary  soon." 


HOW  do  you  stand  when  your 
employer  checks  up  his  men 
for  promotion  ?  Does  he  think 
of  you?  Is  there  any  reason  why 
you  should  be  selected?  Ask  your- 
self these  questions  fairly.  You 
must  face  them  if  you  expect  ad- 
vancement  and  more  money. 

One  hour  after  supper  each  night 
spent  with  the  I.  C.  S.  in  the  quiet 
of  your  own  home  will  prepare  you 
for  the  position  you  want  in  the 
work  you  like  best. 

Mail  the  Coupon  for  Free  Booklet 

"lljfE^Afro7I^C*o"RRESPON"DENCE  SCHOOLS*' 
Box  650  I  -B,  Scranton,  Penna. 
Without  eost  or  obligation,  please  send  me  one  of  yot 
booklets    and  tell    me  liuw  I   can    qualify    fur  the   pusitio 
or  in  the  subject    btforc  which  I  have  marked  an  5: 
BUSINESS  TRAINING  COURSES 
Business  Management  □  Salesmanship 

Industrial  Management  D  Advertising 

Personnel  Organization  D  Better  Letters 

UTrafflc  Management  □  Show  Card  Lettering 


Accountancy  ( including  O.P.A.)  C 

Nicholson  Cost  Aucuunting 

Bookkeeping 

Private  Secretary 
^Spanish  Q  French 

TECHNICAL  AND    INDUSTRIAL  COURSES 
^Electrical  Engineering 
IlElectrlc  Lighting 
^Mechanical  Engineer 
3  Mechanical  Draftsman 
3  Machine  Shop  Practice 
H  Railroad  Positions 
UGas  Engine  Operating 
HClvll  Engineer 
3  Surveying  and  Mapping 


Cemmon  School  Subjects 
High  School  Subjects 
Illustrating 


1  Architect 

j  Architects'  Blue  Prints 
-\  Contractor  and  Builder 
j  Architectural  Draftsman 

2  Concrete  Builder 


AddresB 

City Bute.. 


Occupation 

Persons  residinu   in  Canada  should  send  this  coupon  to  the 

International    Currtsimmh  iter.    Krhnol.i    Canadian,    Limitedt 
Montreal,  Canada 


Before        After 

^Delica^Bvow 

The  OIUGINAL  Liquid  Dressing 

When  you  see  a  woman  with  deep  sparkling  eyes  so 
beautiful  they  haunt  you,  did  you  ever  realize  how 
much  of  this  beauty  she  owes  to  her  lashes?  They  are 
the  Beeret.  Long  dark  sweeping  lustrous  lashes  lend  a 
background  deep  and  mysterious  which  makes  the  eyes 
stand  out  and  ^learn  with  personality. 
^pnilTndav  for  a  free  two  weeks*  supply  of  Dellca- 

aendioaay  p^w     Make  fiist        M(.atjon  Bntl 

err  whatitK-lori-.ua  tninf.f-.rrriHtion  thia    Waterproof    Harmlrf 


lite  to  a-lv.-rtis.i-.  pi. -use  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 

\/^     "We  are     ^S/ 
advertised 


Stanley  Washburn  Haskell  and  Janet  Marie  Haskell 
North  Cambridge,  Mass. 


Mellin's  Food-A  Milk  Modifier 

During  the  first  year  of  life  the  growth  of  cells  and  tissues 
together  with  the  building  of  the  framework  of  the  body  should 
go  on  rapidly  and  without  interruption,  for  the  foundation 
then  laid  has  a  very  important  bearing  upon  the  baby's 
general  health  as  he  enters  the  period  of  childhood.  It  is, 
therefore,  very  necessary  that  an  infant's  diet  contain  food 
elements  of  a  form  to  completely  satisfy  the  constant  demand 
for  appropriate  nutritive  material. 

Mellin's  Food  and  milk  properly  prepared  supplies  these 
essential  elements  of  nutrition,  and  a  baby  fed  in  this  manner 
not  only  grows  normally  during  the  nursing  period,  but  in  later 
life  shows  the  advantage  of  this  well-selected  diet  by  his 
strength  and  endurance,  healthy  color,  resistance  to  the  ill- 
nesses of  childhood  and  his  happy  disposition. 

What  will  be  the  general  condition  of  the  baby  at  the  end 
of  the  second  year  is  a  matter  that  should  always  influence  the 
selection  of  the  diet  during  the  period  of  bottle  feeding. 

Write  to  us  today  for  a  Free  Trial  Bottle 
of  Mellin's  Food. 

Mellin's  Food  Co.,    177  State  St.,    Boston,  Mass. 


^^P^^c^^¥^^^^^^E^^¥^^^si^^^ 


I'lIoTDI'LAY   MAGAZINE 


April  Showers  Perfume — $1.  $25° 
and  $4.  Face  Powder,  five  natural 
tones— 75c.  Toilet  Water  — $2. 

Rouge — two  shades;  cream  rouge  that 
lasts — 50c.  April  Showers  Talcum 
Powder — glass  jar ,50c. 


Jnli&rwi  Jou  In  Jgpelu    ThinaS 
responds  to  oJpriL  ofhoiotrS 

£^**Shere  is  a  certain  incomparable  pleasure  in  select- 
\_J  ing  lovely  things  to  wear,  delightful  toiletries 
for  personal  use,  and  the  right  accessories  to  com- 
plete a  pleasing,  harmonious  effect. 

Not  only  does  it  inspire  pride  in  possession,  but  it 
aids  one's  self  to  bud  and  blossom  into  greater  charm. 

A  part  of  this  transforming  influence  is  the  per- 
fume, April  Showers.  The  gentle  accent  of  its  fra- 
grance casts  a  spell  of  beauty  over  time,  and  place, 
and  personality  . . .  For  in  April  Showers  perfume, 
there  is  youth. 

CHERAMY 


NEW      YORK 


(Ou  |j|.>i  una    Aj^bJ   airjcrW^rs 


The  three  Cheramy  Youth  Creams 

cleanse,  nourish  and  protect  the 

skin,  and  keep  it  young. 

No.  I  Cleansing — 71c 

No.  2  Nourishing — Si 

No.  3  Protecting — 60c 

(greaseiess) 

Prices  quoted  apply  to  V.  S.  only. 


PEKFUMES 


O     F 


YOUTH 


DANDRUFF? 


Bottle  Bacilli,  the  caus. 
of  Dandruff.  Itlustratioi 
reproduced  from  Hazen' 
-Diseases  of  the  Skin  ' 
C.    V.    Mosby.    Publisher 


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

Unless  checked  and  propeily 
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  «nd 
to  heal  the  scalp. 


Listerine  does  the  trick 


DANDRUFF  is  not  only  an  unsightly 
nuisance  but  it  is  a  danger  signal  of  more 
serious  scalp  trouble — loss  of  hair,  sometimes 
actual  baldness. 

Women  as  well  as  men  encounter  this  trouble. 
The  present  feminine  vogue  of  wearing  the  hair 
bobbed  has  revealed  to  many  women  that  they 
have  dandruff,  where  they  never  were  aware  of 
it  before. 

Dandruff  is  a  germ  disease  that  no  intelli- 
gent person  will  neglect. 

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  en- 
thusiastic 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 
yoa  will  be  amazed  to  see  how  this  treatment, 
followed  systematically,  does  the  trick. 

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

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  Pharmacol  Co.,  St.  Louis. 
U.  S.  A. 


LISTERINE 

—and  dandruff  simply  do  not  get  along  together 


The  'JSlatwnal  Ljuide  to  ^Motion   Picture. 


Qyilice 
oJoyce. 


OCTOBER 


jfTe 

Ojecret 
Q/Horal 
Code 

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u     oJcreen 


"MAKE''  TH  E    B  AN  D 


*  -  -  share 
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surging  down  the  field  comes  the 
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In  school  and  college  Bandsmen  share 
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n  St.        San  Francisco,     .     47  Kearney  St. 
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Photoplay  Magazine — Advertising  Section 


Why  are  these  troubles  of  the  gums 
so  fashionably  prevalent  today? 

What  brings  them  on?  How  dangerous  are  they? 
How  may  they  be  avoided?  How  can  Ipana  help? 


'OU  have  noticed,  in  all  probability, 
that  modern  dentists  are  attaching 
■  great  importance  to  the  care  of  the 
gums. 

Within  the  past  few  years,  this  import- 
ance has  been  so  progressively  accented 
that  now  it  seems  to  rise  to  a  great  cres- 
cendo, leaving  the  general  impression 
that  an  epidemic  of  gum  troubles  has 
been  suddenly  brought  to  light. 

In  reality,  no  such  thing  has  happened. 
There  is  probably  less  trouble  than  be- 
fore. For  the  profession,  having  revealed 
the  danger  and  made  evident  the  cause, 
has  also  pointed  out  the  simple,  effective 
remedy. 

Our  diet  is  to  blame 
for  our  gum  troubles 

The  profession  blames  our  diet  for  the 
troubles  of  our  gums.  Our  soups  and  our 
sauces,  our  puddings  and  our  fruits,  our 
vegetables  and  our  porridges  — all  are 
cooked  to  a  soft  consistency.  We  are 
"choosy"  about  the  cuts  of  meat  we  buy. 
We  demand  our  eatables  soft  and  tender, 
and  we  get  them  so.  The  roughage  and 
the  fibre  has  departed  from  our  food. 
Our  diet,  so  soft  and  so  delicious,  has 
lost  its  power  to  stir  our  gums  to  health. 

And  our  national  bad  habit  of  eating 
too  hastily  does  our  gums  no  good.  For, 
deprived  of  the  natural  massage  that  care- 
ful mastication  would  give,  our  gums 
have  grown  soft,  flaccid  and  tender. 

It  is  these  two  causes  that  make  gums 
logy  and  dull— dead  is  almost  the  word. 
The  blood  does  not  circulate,  the  gum 
becomes  unhealthy.  "Pink  tooth  brush" 
appears.   Other  troubles  threaten. 

Dentists  advise  massage  because  it  stirs 
up  the  gum  tissues  to  health,  because  it 


C  a ting  today  is  a  lazy  pleasure.  Coarse 
foods,  containing  the  roughage  that  is  so 
good  for  our  gums,  have  disappeared  from 
our  tables.  And  the  dentists  turn  to  massage 
to  make  up  this  lack  in  our  diet. 


IPANA  Tooth  Paste 


— made  by  the  makers  of  Sal  Hepatica 


speeds  to  the  depleted,  softened  tissues  a 
fresh  supply  of  rich  and  wholesome  blood. 
Dentists  recommend  massage  with  Ipana 
Tooth  Paste  because  Ipana  has  a  special 
value  in  toning  and  strengthening  gum 
tissue  that  is  weak  and  undernourished. 

Why  massage  with  Ipana 
is  so  good  for  the  gums 

Ipana  has  this  unique  value  because  of  its 
ziratol  content.  For  ziratol  is  a  prepara- 
tion with  antiseptic  and  hemostatic  prop- 
erties, which  for  years  has  been  widely 
used  by  dentists  to  allay  bleeding  and  to 
tone  and  strengthen  weakened  tissue. 

Even  if  your  gums  bleed  but  seldom- 
even  if  "pink  tooth  brush"  rarely  appears 
— do  the  daily  cleaning  and  massage  with 
Ipana.  It's  simple,  easy  and  effective.  And 
the  best  time  to  fight  gum  troubles  is 
before  they  start. 

Give  Ipana  a  full  month's  trial 

Ask  your  own  dentist  about  Ipana.  He 
knows  it.  In  fact,  the  50,000  dentists  to 
whom  our  professional  men  have  shown 
Ipana  are  responsible  for  its  start. 

The  ten-day  trial  tube  will  be  gladly 
mailed  if  you  send  the  coupon,  but  the 
full-size  tube  from  your  druggist's,  con- 
taining more  than  a  hundred  brushings, 
makes  a  far  better  test  of  Ipana's  power 
to  improve  the  health  of  your  gums  and 
the  brilliancy  of  your  teeth. 


BRISTOL-MYERS  CO. 

Dcpt.  1-106,  73  West  St.,  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. 


PHOTOPLA?  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


When  Romance  Calls 


You  can  enjoy  these 
Paramount  Pictures  now 

THOMAS  MEIGHAN  in 

"TIN  GODS" 

An  Allan  Dwan  Production 

with  Renee  Adoree  and 

Aileen  Pr ingle 


"VARIETY" 

An  Ufa  Production 


FLORENCE  VIDOR  in 

"YOU  NEVER  KNOW 

WOMEN" 


Florenz  Ziegfeld's 
"KID  BOOTS" 

EDDIE    CANTOR    and 
Clara  Bow 


RICHARD  DIX  in 
'THE  QUARTERBACK' 


BEBE  DANIELS  in 
'THE  CAMPUS  FLIRT' 


What  is  the  struggle  of  life  worth 
if  it  does  not  win  you  something 
of  romance  and  adventure,  now, 
today,  while  you  can  enjoy  it? 
Win  a  fortune  and  you  re  still  a 
failure  if  you  have  not  lived! 

Paramount  Pictures  are  the  an' 
swer  to  all  who  long  for  some' 
thing  different  and  thrilling  in 
their  lives.  The  time!  the  place! 
the  show!  everything  is  set  and 
ready  every  day  and  night! 

Tomorrow's  in  the  future !  Tc 
day's  the  day  and  work  should 
not  steal  it  all!  Listen  to  the  voice 
of  romance  and  see  a  Paramount 
Picture  tonight! 


The  biggest  pictures 
coming  are  Paramount. 
Remember  these  titles! 

A  JAMES  CRUZE 

PRODUCTION 

"OLD  IRONSIDES" 

by  Laurence  Stallings 


A  Victor  Fleming  Production 
"THE  ROUGH  RIDERS" 


ERIC  VON  STROHEIM'S 
'THE  WEDDING  MARCH" 


A  Herbert  Brenon  Production 

"BEAU  GESTE" 

with  RONALD  COLMAN 


D.  W.  GRIFFITH'S 
"SORROWS  OF  SATAN" 
with  ADOLPHE  MENJOU 


[jhmmount  [pictures 

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


If   it's  a  Paramount   Picture 


*•  CyVAyF-v" 


it's  the  best  show  in  town/", 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


JAMES  R.  QUIRK,  Editor 


Vol.  XXX 


No. 


Contents 

October,  1926 

Cover  Design:  Alice  Joyce 

From  a  painting  by  Carl  Van  Buskirk 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

Brickbats  and  Bouquets 

Frank  Letters  from  Readers 

Rotogravure:  New  Pictures 

Seena  Owen,  Olive  Borden,  May  Allison,  Monte  Blue, 
Ronald  Colman,  Phyllis  Haver,  Janet  Gaynor 


Speaking  of  Pictures  (Editorials) 


10 


19 


James  R.  Quirk     27 


The  Secret  Moral  Code  of  the  Screen 

Frederick  James  Smith    28 
Told  for  the  First  Time 

Peroxide  Pep  Agnes  Smith     31 

That  New  Personality  for  Madge  Bellamy 

Temperament?    Certainly,  says  Nazimova 

Adela  Rogers  St.  Johns     32 
But  America  Seems  to  Have  Done  Things  to  this  Subtle  Russian 

How  They  Popped  the  Question  34 

Told  by  the  Movie  Folk  Themselves 

Love  and  Defection  (Fiction  Story)     Octavus  Roy  Cohen     36 
Another  Side-splitting  Experience  of  "The  Midnight  Pictures  Cor- 
poration" 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.,  Distributing  Agents,  5  Bream's  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  Posts  lice  at  Chicago,  111.,  under  the  Act  of  March  3.  1879. 
Copyright.  1926.  by  the  PH 


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  52 

Don  Juan Warner  Bros. 

The  Waltz  Dream UFA-M-G-M 

You  Never  Know  Women 

Famous  Players 
Page  S3 
The  Son  of  the  Sheik..  .   United  Artists 

The  Scarlet  Letter M-G-M 

One  Minute  to  Play F.  B.  O. 

Page  54 

The  Duchess  of  Buffalo. .  First  National 

Fine  Manners Paramount 

Her  Honor,  The  Governor   .  .   F.  B.  O. 
The  Last  Frontier 

Producers  Dist.  Corp. 
The  Whole  Town's  Talking.  Universal 
The  Family  Upstairs Fox 

P"W  55 

The  Savage First  National 

Mismates First  National 

Three  Bad  Men Fox 

Oh,  Baby Universal 

The  Great  Deception .  .  .  First  National 
In  Her  Kingdom Fust  National 

Page  ioS 

The  Midnight  Kiss Fox 

Pals  First First  National 

Moran  of  the  Mounted Rayart 

Page  log 

A  Romance  of  a  Million  Dollars 

Bachman 
The  Hidden  Way 

Associated  Exhibitors 
The  Honeymoon  Express. Warner  Bros. 
The  Wild  Horse  Stampede  Universal 
Twisted  Triggers.  Associated  Exhibitors 

Devil's  Island  Chadwick 

The  Cowboy  Cop F.  B.  O 

Page  no 

The  College  Boob F.  B.  O. 

The  Runaway  Express Universal 

No  Man's  Gold Fox 


Contents- 


In  Memoriam 


-Continued 

Margaret  Sangster 


KGfcJi" 


-•ur$& 


How  to  Be  An  Actor  in  Eight  Easy  Lessons 
Lew  Cody  Demonstrates  in  Close-ups 

Bringing  Sound  to  the  Screen 

The   Vitaphone   Combines   Telephone,    Phonograph   and    Radio 
Principles 

This  Camera  Does  a  Tango 

Lights,  Director  and  All  on  Wheels  to  Get  Close-ups  of  Dancing 
Couples 

At  the  Gates  of  Heaven 

Depicting  the  Expulsion  of  Lucifer  from  Heaven  in  "The  Sorrows 
of  Satan" 

Donald  Ogden  Stewart's  Guide  to  Perfect  Behavior  in 
Hollywood 

Fifty-fifty  Ivan  St.  Johns 

June  Mathis  Meets  the  Perfect  Collaborator  and  Marries  Him 

The  Lark  of  the  Month 

Studio  Expressions  Don't  Mean  What  the  English  Think 

Illustrated  by  Frank  Godwin 

Studio  News  and  Gossip— East  and  West  Cal  York 

What  the  Screen  Folk  Are  Doing 

The  Shadow  Stage 

The  Department  of  Practical  Screen  Criticism 

Buy  on  Fifth  Avenue  Through  Photoplay's  Shopping 
Service 

When  the  Movies  Were  Poor  Relations       Ivan  St.  Johns 
Bob  Vignola  Tells  of  the  Early  Days 

Rotogravure: 

Constance  Howard,  If  Winter  Comes,  Esther  Ralston 

Love  and  Esther  Ralston  Ruth  Waterbury 

A  Story  of  True  Love  in  Cameraland 

The  Wild  Way  (Fiction  Story)     William  Slavens  McNutt 
A  Thrilling  Romance  of  Hollywood 

Illustrated  by  Ray  Van  Buren 

What  Was  the  Best  Picture  of  1925? 

Last  Chance  to  Cast  a  Ballot  for  Your  Favorite 

Five  Down— and  More  to  Come 
Football  Hits  the  Screen  for  a  Goal 
Rudolph  Valentino  and  Vilma  Banky  (Photograph) 
The  Girl  on  the  Cover:  Alice  Joyce  Cal  York 

Mary  Pickford  (Photograph) 


The  Kidding  Kid 


Dorothy  Spensley 


39 
40 

42 
42 
43 

44 
46 

47 

48 
52 

56 
58 

59 

63 

64 

68 
70 

72 
74 
78 
81 


Bill  Haines,  the  "Wisecrackei  of  Hollywood' 

Young  Lochinva'-  Mavnard  Dorothy  Spensley 

Out  of  Texas,  This  Time 

Call  Him  Al  Myrtle  West 

He's  the  Fellow  Who  Directed  "Classified" 

The  Answer  Man 
Carolyn  Van  Wyck 


Questions  and  Answers 

Girls'  Problems 

The  Department  of  Personal  Service 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 

Addresses  and  working  programs  of  the  leading  picture  studios 
will  be  found  on  page  101 


91 


142 


"Rudy's 
Life 
Story" 


PHOTOPLAY 

MAGAZINE 

was  the  first 
magazine  to 
ever  publish 
the  life  story 
of 

Ru do 1 ph 
Valentino 

Although  it  waspub- 
lished  a  few  years  ago 
there  has  been  an  in- 
sistent demand  by  his 
admirers  and  friends 
that  it  be  republished. 
It  will  be  published 
in  condensed  form 
and  edited  by 

James  R.  Quirk 

Editor  of  Photoplay 

who  was  an  intimate 
friend  of  the  distin- 
guished star  for  years. 


:ce^- 


.en2>i. 


Photoplay  Magazine — Advertising  Section 


;  other  things  < 


( 


Notice  to  Readers 


} 


LUX  STUDIOS 


Just  30  Minutes — At  Home — Whenever  Convenient 

Glorious  Waves  Like  This 


Week  In 
Week  Out 


No  beauty  shop   expense — no  ruinous 
hot  iron — no  bothersome  appointments 


IF  an  vone  told  vou  that  vou  could  have  the  each  fragile  tube  is  bent  and  twisted,  first  many  home  marcelling  outfits,  but  have  always  been 

love.'iest  marcelled  hair  you  ever  saw,  one  way,  then  another.    This  constant  bend-  n«w  T'can  easVly  ke™"„y  h'ur"!,,  :!X.d7m?ree1; 

every  day  in  the  year,  without  another  trip  ing  back  and  forth  soon  breaks  the  hair  off,  just  the  way  I  want  it.    I  can't  say  too  much  for  your 

to  the  beuuty  shop,  without  another  ruinous  and   leaves   you   with   a  head   of   uneven-  now  invention. 

touch   of   the   hot  iron  or  other  torturous  length,  brittle  hair.                                                          Our  Wonderful,  Time-Limited  Offer 

methods  y  OU  wouldn't  believe  it.  You   won't   believe   how   quickly   your  hair   will  Just  to  establish  this  revolutionary  new  invention — 

Vot     it  i*  broi-nlKr  true       Vrai   cor,  lin„o  +V,o  regain  all  the  soft,  silky  lustre  that  Nature  has  be-  just  to  put  it  into  the  hands  of  the  women  whose 

Yet.,  it,  is  literati}   tine.      1  ou  can  nave  the  stowed  on  iti  om,e  y(m  are  frcc  fr„„,  the  tyranny  of  words  of  praise  will  sweep  the  Maison  Marcellers 

most  beautifully  groomed,  gloriously  waved  hot  irons,  the  hot  blast  of  water-wave  "setting."     A  throughout  the  country,  we  are  making  this  special 

bead  Of  hail    imaginal  lie,  all  the  time.      And  rew  months'  use  of  the  Maison  Marcellers  and  your  offer  to  you,  as  one  of  the  first  10,000  women  to  own 

vnn  needn't  si  en  outside  vnnr  hnitio  to  irot  it  hair  wi"  recover  its  beauty.     And  after  that,  you  will  this  priceless  boon  to  beauty:    .1  compleU  set  of  Maison 

youneean  t  step  outside  >  our  nome  to  get  It.  never  go  back  again  to  hair-ruining  irons.  Marcellers,    includino    a    new    and    authentic     marcel 

Just  30  minutes  with  the  Maison  Marcellers,  Mavbe  you  have  let  vour  hair  go  completely,  wor-  fashion  chtirt,  far  only  $2.08,  plus  a  fiw  ,;  ills   postal,,— 

once  a  week- right  at  home— and  marcels,  as  ™d  along  with  straight,  straggly,  unkempt'  locks.  "'•['"'>"/!  »«■'->'  c°vers             °f         ""'  P        " 

»-,^>.fn«t    nnA    1rt«J„     -,r.    4.t,„    ~.rt„+    „1  ;tl^J    „.,~  because  v«'Ur  li;nr  <<  >ul  < !    in.t    Imifrr  sl:iml   (In-  Minimis  ""      """'"■•'"!/. 

perfect  and  lovely   as  the   most  skilled   spe-  „,]v,„„  „„.„„„,„      T|l|K  is       ur  ,.,,„„.,  ,„  ,iav„  ;lK;1|„                                   Money-Just  Mail  the  Coupon 

Ciallstin  waving  can  give,  Will  be  vours  from  all     the    softening,    l.ec,„„i ng    beauty    of    naturally  „                ,         money     just  man  tne  coupon 

now  nn  waved  locks  Even  at  tins  special  price,  you  need  not  risk  a  penny. 

.lust  sign  and  mail  the  coupon,     in  a  few  days,  when 

A  $1.50  Marcel  Saved  Every  Time  For  Any  Kind  of  Hair-For  Any  Arrangement  ,h<',  postman   brings   your   outfit,   just   deposit   J2.98 

You  Use  Them  Tn-t*            v               jju         iii                 1   •    i  with  him  (plus  a  few  ci-nts    postage  I.     And  when  you 

lou  use    inem  I  he  photographs  reproduced  above  tell  more  painlv  ,,„t  m  vour  first  mand,  vni'll  sav  it  was  the  best  pur- 

No   One   knows   better   than    VOU    how   those  '"""  words  just   what  a  wonderful  wave  the  Maison  cl,as,.  VOu  over  made  in  vour  life,  for  vour  hair  waving 

trips  to  the  beauty  shop  mount  „„.  Your  ^z^^u.Jt, x™.l^":i'ut:.  iz:\t::r;;, .;•,,.'!' ^f^rZ^r^"^ 

Maison  Marcellers  will  save  all  this  expense,  ing  to  the  facts     The  „„„|1;i  herself  was  so  .i-hght-l  i,::?,^;!:;;:,;;!,!:;,^,"^;:;5!:^ 

Think   Ol    it!      In    no   time   at   all,    VOU   have  with  the  results  of  the  Maison  Marceller  wave  that  aRain     After  vou  have  tried  this  marvelous  new  mar- 

saved  the  price  of  a  new  frock    "And  the  shc ,also  added  her  statement  to  that  °f  the  Photog-  ceUing  outht  {or  5  days  i{  you  are  not  deijKhted  with 

initiol    en«t   i«   nrnetioollv   nn+hinn- inot   the  raPner'  results — if  it  doesn't  give  you  the  most  beautiful  mar- 

mitial   COSt  IS   praCtK  SllJ    nothing— JUSt  the  For  no  matter  whether  your  hair  is  soft   and  fluffy,  eel  vou  ever  had  and  improve  your  hair  m  every  wav 

price  Of  a  marcel  or  tWO — and  you  are  free  coarse  and  straight,  long  or  short,  the  Maison  Mar-  — simply  return  the  outfit  to  us  and  your  money  will 

from  Waving  expense  forever!  cellers  will  give  you  a  wave  of  unbelievable  beauty.  be  refunded  quickly  and  cheerfully.    But  don't  put  it 

No  matter  how  you  wear  it — in  a  shingle  bob,  Ina  off.      Be  among  the  first  to  take  advantage  of  this 

It  Waves  While  You  Dress  Claire,  horseshoe  wave  or  pompadour,  center  or  side  special  introductory  offer.    Fill  in  and  mail  the  coupon 

What  if  someone  does  phone  a  dinner  invi-  ^thlsTyVyou  preVer^6*  n"a°eh  perfeCtly  SU'ted  today! 

tation  just  after  you  have  come  in  from  a  u  is  thesimph'st  thing  in  the  world  todo.   Just  place                  M„kml    H„    Rpniirp 

SWim,   With  your  hail'  still  damp.'      What  if  the   Maison   Marcellers  on  your  hair  and   catch  the                        IVlalSOll     Ue     DCailie 

you    do    return    from    a    blowv    motor    ride  locks  in  place.     The  Maison  Marcellers  adapt  them-  _n    (-)l];nrv   of                     Chicago     Illinois 

or  a  wive-ru initio-  round  of  im'lf  to  find  rhnt  selves  to  any  style— any   requirement.     They   are  'll   VUincy  S>t.                  l^nicago,    Illinois 

or  a  wave  mining  lounci  ot  golt  to  nnd  that  a,„a2in(,|v  ,,„„,f,>r,:,i,i,,  on  the  head,  too.    Made  of 

the    crowd    IS    planning    to    leave    in    thirty  soft  rubber,  light  ami  flexible,  scientifically  design,, I.  f                                        rnilDAM 

minutes  fOT  a  dance  in  a  nearby  town?     You  If  you  have  had  a  "permanent,"  the  Maison  Mar-                                                COUPON 

rin  ho  rpodv    with  Ivor  hnonf  i'fnll-o  mm,™l  cellers  arc  just  the  thing  you  need  to  change  its  kink  I        Maison  <le  Bcaute.                                 

can  ne  ready,  v.itn  n  ur  ueautiluli.v  groomed  int<)  a  l()vHVi  natural  wuve  or  ti,cv  w;n  replace  its  '      vtt  iniincy  St..  Dot,  is,  <• ago,  Illinois 

and  smoothly  waved.  disappearing  curl   with   a  smooth,  even  marcel.     Of  I        <-!entlcmen: 

Mi              v      o       ij    ■           t,,           n  course    if  vou  haven't   hail  a  o'Tinauciit    there  is  no  I            Please  send   me  your  newly   invented   marcelling 

you  do  IB  slip  the  Maison  Marcellers  on      ,„;,'   „,..    .,„,,   ,  ., \,.,r  'n    '  ,„ ..,  ,,  ,,,,'.,  I      ..mnt.  u,ciu,i„,,-  -,■>  ,.i   m,,,,,,,  M.-,r,-iicrs,  Mann 

sliirlltlv     dolillipnod      lool-x mil      while     vnn  i       1  .        Stvle    ('Mart,    anil    .-.,,, , ,,],  i  ■■    ilireclious    for    waving. 

r     '  V            "'""P'hOd     10CKS      .111(1     WlnN      VOU  waving  absolutely  unnecessary.                                                          which  I  will  follow,     I  agree  to  deposit  S2.98  (plus 

freshen  Up  and  Change  VOIir  truck,  you!  hail'  Before  putting  this  Marcelling  Outfit  on  the  market.                postagel  with  the  postman  when  lie  makes  delivery. 

iswaving.    At  the  end  of  thirty  minutes  you  »^i-,l  fifty  women  to  try  ,,  ,„„  and  g,vc  ,.s  ,h,  ,r  I      ;,!1^?-,r„,!:Vi^s,1!nd',V:."^,M,,^„ll„dnB?,pS! 

slip  the   Maison   Marcellers  off-and   your  S^0I^'&^^Z^^$e«^  I      chase  price  without  argument  or  de>ay. 

hair  lies  in  smooth,  soft,  loose  waves  about  received. 

your  face!  Miss  M.  S.,  Chicago:  I  recently  had  a  permanent             Namc 

-.      ^            v          »».,„,             ,  n  wave  put  in  my  hair  and  since  then  have  had  lots  of  I 

Restores  Your  Hair  s  Natural  Beauty  trouble  making  my  hair  look  right.      But  with  your  |        Address 

Consider  what  happens  to  VOUr  hair  when  it  Maison  Marcellers  1   no  longer  have  to  bother  with 

is  continuously  waved  with  hot  irons.     As  rnaitrecrene0drnbs  a"d  D°W  my         'S         yS  beautlfuIly           city state 

VOU  know    each  single  hair  is  a  r.inv  hollow  ,'1    '  .  \-    »*        ,  •     T                 j     ..t  *^-       *    •  tx             NOTE:   If  you  expect  to  be  out  when  the  postman 

you   lYiiuw,   e.K    I   Mllf,l(.  ll.lll    is  a   tiny   llllllOW  Mrs.  A.  K.,  Memphis:  I  am  cursed  with  thin,  straight  I         ,,„Mcs.   enclosi    S:i  in  will,    vnnr  order  and   the  Mar- 

GUDe.      livery   time  the  hot  iron  touches  it  hair  that  is  unusually  hard  to  wave.     I  have  tried  |       celling  Outfit  will  be  sent  postpaid. 

When  .vou  write  to  advertisers  please  mention  PIIOTOPLAY  MAGAZINE. 


Brief  Reviews  of  Current  Pictures 


ALOMA  OF  THE  SOUTH  SEAS— Paramount.—  BROWN      OF      HARVARD  —  Mctro-Goldwyn- 

The  startling  beauty  of  the  South  Seas  coupled  with  Mayer.—  College  life,  flip  and  lively,  against  the  real 

the  personality  of  Gilda  Gray  and  her  famous  wiggle  background  of  Harvard  College.    Fine  entertainment, 

make  this  a  glorious  experience.     (July.)  (July- > 


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  it  I    (May.) 

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

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.) 

BETTER  MAN,  THE— F.  B.  O.— Richard  Tal- 
madge  with  his  usual  bag  of  tricks.  That's  all. 
(September.) 

BEVERLY  OF  GRAUSTARK — Metro-Goldwyn- 
Mayer. — A  light,  frothy,  romantic  piece  of  nonsense 
this,  spiced  with  the  presence  of  Marion  Davies  and 
Antonio  Moreno.    See  it.     (July.) 

BIGGER  THAN  BARNUM'S— F.  B.  O.— Here's 
the  old  circus  formula  again.  Not  good  enough  and 
not  bad  enough  to  create  a  stir.     (September.) 

BIG  SHOW,  THE— Associated  Exhibitors.— Don't 
waste  your  time.     (July.) 

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

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.) 

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.) 

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

BORN  TO  THE  WEST — Paramount. — Lives  up 
to  its  name  in  exciting  fashion  without  a  thrill  left  out. 
A  good  Zane  Grey  Western.     (September.) 

BRIDE    OF    THE    STORM— Warner    Bros.— A 

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

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.) 

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  C3st.   (May.) 

BROWN  DERBY,  THE— First  National.— Good 
light  entertainment  for  those  who  prefer  the  sudden 
loud  laugh  to  the  slow  smile.     (August.) 


BUCKING  THE  TRUTH— Universal— A  story 
of  the  great  West  with  quite  some  riding  and  excite- 
ment.    Pete  Morrison  is  the  star.     (August.) 


CASEY  OF  THE  COAST  GUARD—  Pathe  — 
The  usual  serial  stuff,  with  lots  of  action.     (April.) 

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.) 

CHASING  TROUBLE— Universal.— Just  West- 
ern hokum.     (August.) 

CLINGING  VINE,  THE— Producers  Dist.  Corp. 
— A  goofy  plot,  trite  and  tedious.    (September.) 


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  helf) — 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. 


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.) 

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.) 

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


i  Shearerand  Charle 


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. 
(April.) 

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  bit 
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  lias  able  support  from  John 
Bowers.  Cissy  Fitzgerald  and  Arthur  Hoyt.     (April.) 

DANGEROUS  DUB,  THE— Associated  Exhibi- 
tors.— Buddy  Roosevelt  docs  some  hard,  fast  riding — 
with  little  else  to  recommend.  O.  K.  for  the  kiddies. 
(September.) 

DEAD  LINE,  THE— F.  B.  O—  Stay  home.  This 
is  terrible.     (September.) 

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

DEVIL  HORSE,  THE— Pathe.— A  picture  that  is 
worth  your  money.  A  family  picture — one  that  we 
recommend.     (August.) 

DEVIL'S  CIRCUS,  THE— Metro-Goldwyn.— An 
interesting   vehicle   with   lots   of   good   circus^  stuff. 
Hokum  reigns  throughout.  Nor 
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.) 

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.) 

ELLA  CINDERS  —  First  National.  —  Colleen 
Moore  breaks  into  the  movies  in  this  enjoyable  Cin- 
derella story.    Take  the  children.     (August.) 

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.) 

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 
story  of  New  York.  There's  a  certain  sophisticated 
twist  to  the  plot  that  makes  it  inadvisable  for  children 
to  see.    (April.) 

FIG  LEAVES— Fox. — A  slender  little  story  built 
around  a  gorgeous  fashion  show  filmed  in  colors. 
Olive  Borden  runs  away  with  the  picture.     (Sept.) 

FIGHTING  BOOB,  THE— F.  B.  O.— A  boring 
Western.  Now  don't  blame  us  if  it  doesn't  please. 
(June.)  [  CONTINUED  ON  PAGE  14  | 


Photoplay  Magazine — Advertising  Section 


METRO- 

GOLDWYN- 

MAYER 

WEEK 

SEPT.  12th 

TO 
SEPT.  18th 


ft* 


Presented  by 

JOSEPH  M.  SCHENCK 

From  the  play  produced  by 

George  Choos  with  Selwyn  &  Co. 

Book  by  Stanley  Bnghtman 

and  Austin  Melford 

Lyrics  by  Douglas  Fufbex 

Music  by  Philip  Braharr. 

American  Music  by 

Walter  L.  Rosemont 


BUSTER  KEATON 
BATTLING  BUTLER 

BUSTER  Keaton 
THAT  great  giggle  getter 
LANDS  the  biggest  knockout 
OF  his  frozen-faced  career 
IN  Battling  Butler! 
FROM  the  opening  gong 
TO  the  final  flop 
EVERY  round's  a  riot! 
AND  Sally  O'Neil  falls  too— 
FALLS  hard  for  Buster  Keaton! 
DO  you  know  why? 
YOU  ought  to! 
READ  on  the  right  .... 

"More  stars  than  there  are  in  Heaven' 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Screen  Adaptation  by 

Paul  Gerard   Smirh 

Albert  Boasberg 

Charles  Smith 

Directed  by 

BUSTER  KEATON 

A  Metro-Golduyn-Mav 

Future 


You  can  win 
one  of  these 

Valuable 
Prizes 

Can  you  answer 

Norma  Shearer 's 

questions? 

Do  you  "glance"  or 
Do  you  really  see? 

EVERY  Metro-Goldwyn-Mayer 
fan  has  a  chance  to  win  one 
of  the  valuable  prizes  I  am 
offering  this  month.  All  you  have 
to  do  is  to  keep  your  eyes  open 
and  your  mind  alert  when  you  go 
to  see  a  Metro-Goldwyn-Mayer 
picture.  Don't  be  a  "glimpser"— 
be  a  "seeker".  You  may  be  one 
of  the  winners. 

To  the  person  who  writes  the  best 
answers  to  all  the  questions  in  this 
column,  I  will  present — if  it  be  one 
of  the  fair  sex — the  hand  bag  I  use 
in  "The  Waning  Sex"  and  a  cash 
prize  of  $50.  If  a  man  is  thelucky 
one,  Buster  Keaton  will  present 
and  sign  the  boxing  gloves  he  uses 
in  "Battling  Butler"  together  with 
a  cash  prize  of  $50. 

To  the  next  fifty  lucky  ones,  I  will 
send  my  personally  autographed 
photograph  finished  in  a  sepia  style 
suitable  for  framing. 

Go  to  it  and  best  of  luck. 

Yours  cordially, 

Norma' s  six 

questions 

Iln  what  Metro-Goldwyn-Mayer 
picture  does  a  Mollusk  play  a 
prominent  part?  Who  is  the  di- 
rector? 

2  Who  plays  Musette  in  La 
Boheme?  ' 

3    In     what    picture    does    Sally 
O'Neil  fall  for  Buster  Keaton 
and  why? 

A  In  what  Metro-Goldwyn-Mayer 
'  picture  does  Lon  Chaney  play 
the  part  ofSingapore  Joe?  Describe 
his  "make-up"  in  not  more  than 
fifty  words. 

5   Where  are  the  Metro-Goldwyn 
Mayer  Studios? 

6    What   animal   is    the    King  of 
Beasts  and  where  is  he  most 
often  seen? 

Write  your  answers  on  one  side  of  a 
single  sheet  of  paper  and  mail  to 
3rd  Floor,  1540  Broadway,  New 
York.  All  answers  must  reach  us 
by  October  15th.  Winners'  names 
will  be  published  in  a  later  issue 
of  this  magazine. 

In  the  event  of  ties,  each  tying 
contestant  will  be  awarded  a  prize 
identicalin  value  with  that  tied  for. 


The  Real  Critics,  the  Fans,  Give  Their  Views 


Brickbats  and  Bouquets 


letters  from 

PHOTOPLAY  READERS 


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


$25.00  Letter 

Minneapolis,  Minn. 

Two  years  ago  I  was  in  a  tiny  Northern 
mining  town.  It  was  my  first  night  at  the 
twice-a-month  movies  shown  at  the  Town  Hall. 
Long  planks  supported  by  boxes  at  the  ends 
afforded  seats  for  the  audience.  The  movie 
machine  was  more  antique,  the  operator  (and 
owner)  of  it  quite  unique  in  smeared  overalls 
and  several  days'  growth  of  beard. 

No  music!  Sounds  of  tinkering,  mingled 
with  friendly  gossiping  of  the  audience,  in  lieu 
of  an  Overture.  After  several  false  starts  the 
picture  was  on.  I  rubbed  my  eyes.  It  was  a 
melodrama,  I  believe.  I  saw  only  the  heroine's 
fearful  pompadour,  stretcher  bracelet,  long, 
voluminous  skirt  and  stiff  shirtwaist!  And 
the  hero's  haircut,  his  wide  and  dramatic  ges- 
tures! Feeling  an  overwhelming  desire  to 
laugh,  I  looked  about  me.  I  saw  women  with 
work-worn  hands,  faces  alight  with  almost 
rapture.  Children  in  ugly,  cut-down  clothes 
gazed  in  wonder  and  awe  at  this  so  very  old 
and  mediocre  picture.  Men,  the  grime  of 
mines  about  them,  lost  in  pleasure.  For  all 
these  there  was  beauty,  imagination,  a  master- 
piece— the  obscure  heroine  a  Mary  Pickford, 
the  unknown  hero  a  John  Gilbert.  There  was 
an  actual  reverence. 

I  did  not  laugh,  for  now  to  me,  too,  the  pic- 
ture had  a  beautiful  meaning. 

Florence  Stoll, 
3357  Irving  Ave.,  So. 

$10.00  Letter 

Valley  Park,  Mo. 

Greta  Garbo 
An  unseen  fire,  an  unknown  world, 
A  marble  hall,  a  light  blue  pearl; 
A  yellow,  shiny  moonlit  sea — 
Imported  wine  and  T.  N.  T. 

Esther  Rahton 
A  clear  blue  sky,  a  shady  bower, 
A  crystal  cup,  a  cooling  shower, 
The  golden  sun's  bright  rays  at  noon, 
A  grand  and  glorious  day  in  June. 

Mary  Carr 
A  lilac  bush  and  cottage  white, 
A  lighted  candle  in  the  night; 
A  pearly  tear,  a  gentle  sigh — ■ 
Cedar  chests  and  apple  pie. 

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  must 
not  exceed  200  words  and  should 
bear  the  writer's  full  name  and  ad- 
dress. Anonymous  letters  go  to  the 
waste  basket  immediately. 


John  Gilbert 
A  pool  that  is  deep,  a  pool  that  is  dark, 
A  well  hidden  glen  that  is  searched  for  a  lark, 
An  asbestos  lined  can  that  has  fire  within; 
A  thing  that  is  liked — say  something  to  gin. 

Photoplay 
From  cover  to  cover  is  villain  and  lover; 
A  star  here  and  a  star  there, 
One  is  dark  and  another  fair, 
For  anywhere  or  any  day — 
Tea  for  two  and  Photoplay. 

Grace  Dickinson, 
R.  F.  D.  No.  i. 

$5.00  Letter 

San  Francisco,  Calif. 

The  public  wants  more  subtle  comedy,  and 
less  obvious  comedy.  Ever  since  the  pictures 
began  the  public  has  consistently  awarded  the 
highest  honors  and  the  greatest  amount  of 
worship  to  those  comedians  who  have  relied 
mostly  on  subtle  tricks,  attitudes  and  expres- 
sions. 

If  one  reviews  the  lists  of  comedians  of  the 
last  ten  years  they  show  that  the  comedian 
that  is  always  hit  by  pies,  chased  by  a  lion  into 
a  beauty  parlor,  and  found  at  the  end  of  all  his 
pictures  under  a  pile  of  debris,  while  he  may  be 
momentarily  popular  and   entertaining,   will 


never  be  raved  about  as  will  the  less  obvious 
comedian. 

There  are  still  those  that  contend  that  the 
public  is  incapable  of  comprehending  and  ap- 
preciating real  artistic  efforts.  Whether  or 
not  this  contention  is  true  in  so  far  as  tragedy 
is  concerned  I  cannot  say,  but  not  a  brainy, 
subtle  artistic  comedy  has  ever  gone  back  to 
its  producer  without  not  only  bringing  home 
the  bacon  but  a  sack  of  gold.  If  that  is  not 
an  outstanding  and  shining  testimonial  to 
the  fact  that  the  American  has  a  highly  de- 
veloped sense  of  real  humor,  and  also  to  the 
fact  that  he  is  willing  to  pay  well  to  have  that 
sense  catered  to  by  the  comparatively  few 
Kenius  comedians  of  the  screen,  then  you  don't 
want  fact  for  proof,  you  want  useless  theory. 
Jwies  Conway, 
3443  Clay  Street. 

The  B  &  B  Yell 

Akron,  Ohio 
Brickbats,  rah!    Brickbats,  rah! 
Rah,  rah,  Brickbats! 
Hit  'em  high! 
Hit  'em  low! 
Come  on — let's  go! 
Lotta  fun! 
Peg  'em  one! 
Atta  boy — good  throw! 
The  above  is  an  appropriate  "bawling  out" 
yell  should  the  desire  ever  come,  as  it  does  if 
you  are  what  one  might  class  a  "good  movie 
fan,"  to  give  your  "pet  "stars  a  "talking  to." 

In  selecting  a  brickbat  please  pick  a  sturdy 
one  and  give  it  good  and  hot  to  friend  wayward 
star  as  man  to  man  or  madam  to  madam — 
and  cut  out  the  Beau  Brummel  line  of  mush. 
M.  J.  Rhone. 

To  Canon  Chase 

Chicago,  111. 
Evidently  Canon  Chase,  the  leader  of  the 
reformers  and  censors,  doesn't  realize  why 
Valentino  or  Tom  Mix  is  more  popular  than 
Everett  Horton.  It  is  because  we  get  enough 
of  everyday  life  and  seek  to  thrill  at  visions  of 
something  different.  We  don't  really  wish  to 
live  always  as  those  shadow  folk,  but  we  do 
come  back  more  contentedly  to  the  fortunately 
less  dangerous  "nine-tenths  of  life"  for  having 
taken  a  vicarious  jaunt  into  frivolity  and 
[  CONTINUED  ON  PAGE  12  ] 


Photoplay  Magazine — Advertising  Section 


First — the  Story! 

It  is  of  prime  importance  in  all 

FOX    PICTURES 

So  here,  in  a  new  group  just  arriving  at  the 
theatres,  we  find  two  stage  successes,  one 
of  the  present  and  one  of  past  years,  a  novel 
by  a  "best-selling"  author  and  an  original 
story  by  a  "top-notch"  popular  fiction  writer 

"The  Pelican  will  pluck  her  breast  to  feed  her  young" 
— says  the  old  legend.  This  theme — a  young 
mother's  choice  between  her  true  happiness  and  her 
son's  self-centered  demands — inspired  the  title,  The 
Pelican,  for  the  stage  play  by  F.  Tennyson  Jesse 
and  H.  M.  Harwood  from  which  is  drawn  the  Fox 


picture 


"MARRIAGE    LICENSE?" 


Do  you  note  the  question  mark?  Alma  Rubens,  the  mother;  Walter  Pidgeon, 
a  lover;  Walter  McGrail,  the  husband,  and  Richard  Walling,  the  son,  are  all 
exquisitely  molded  into  the  fabric  of  the  photoplay  staged  by  Frank  Borzage, 
one  of  the  screen's  most  dependable  directors.  A  poignant  and  absorbing 
'  recital! ' 

Consider  The  Lily!  Not  the  flower  of  the  field — but  one  of  the  flowers  of 
stage  perfection.  Adapted  and  presented  by  David  Belasco  from  the  drama 
by  Pierre  Wolff  and  Gaston  Leroux,  a  few  years  ago  this  play  was  the  sensa' 
tion  of  the  American  stage.     As  a  Fox  picture 

THE    LILY 

has  been  given  a  fine  production.  Belle  Bennett,  who 
so  distinguished  herself  in  Stella  Dallas,  plays  the  title 
role — in  France  a  "lily"  is  a  girl  who  passes  through  life 
without  the  realization  of  her  love.  Victor  Schertzinger 
directed  this  picture;  Ian  Keith  and  Reata  Hoyt  are  in 
the  supporting  cast. 

W 

Gerald  Beaumont,  one  of  the  aces  of  short  fiction,  com- 
posed a  story  of  manhood,  courage,  faith,  steadfast- 
ness; its  inspiration — the  vision  of  a  pure  and  tender 
young  girl.      In  the  Fox  Picture 

THE    BLUE    EAGLE 

John  Ford  (who  directed  "The  Iron  Horse")  has  set 
this  story  on  the  screen  so  as  to  quicken  your  heart 
and  grip  your  emotions.  George  O'Brien,  Janet  Gay- 
nor,  Margaret  Livingston,  William  Russell,  Robert 
Edeson — the  distinguished  cast  tells  its  own  tale!  You 
should  see  George  O'Brien  and  "Big  Bill"  Russell  in 
action! 

■Mr 

"Harold  MacGrath  has  everything!"  So  the  critics  say 
of  this  author  of  more  than  a  dozen  actual  best-sellers, 
and  in  this  photoplay  which  we  have  called 

WOMANPOWER 

We  find  MacGrath  at  his  best.  Harry  Beaumont,  who 
directed  "Sandy,"  has  used  Ralph  Graves,  Kathryn 
Perry,  Margaret  Livingston,  Ralph  Sipperly  and  others 
in  a  thrill-plus-laughter  picture  you  will  keenly  enjoy. 
The  title  tells  the  story — some  power  this! 


You  Must  Surely  See ! 

"What  Price  Glory" 

"7th  Heaven" 

"The  Music  Master" 

"3  Bad  Men" 

"One  Increasing  Purpose" 


PICTURES 


ention  PHOTOI'LAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Brickbats  and  Bouquets 


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[  CONTINUED  FROM  PAGE  IO  ] 


,  adventure  and  the  rarer  emotions.  I  believe 
'  we  are  better  for  it  and  less  likely  to  blow  up 
from  the  tension  of  Life's  monotony  when  we 
can  satisfy  the  urge  for  "something  different  " 
so  easily  and  harmlessly. 

There  are  plenty  of  pictures  of  the  kind  he 
wants  without  trying  to  force  upon  us  all  an 
undiluted  diet  of  such  spiceless  stories.  By 
this  I  do  not  mean  the  films  that  wallow  in 
ugliness.  Most  of  us  avoid  them  and  they 
prove  box-office  failures  and  that  director 
doesn't  do  just  that  again.  Thus,  why  worry 
for  regulation? 

And  believe  it  or  not,  I  believe  I  am  a  very 
fair  example  of  plain,  respectable,  middle-class 
womanhood. 

Beulah  Barker. 

He  Likes  "Em  Unhappy 

Ft.  Sill,  Okla. 

Two  things  we  know,  the  first,  we  are  going 
to  die;  the  second,  when  we  go  to  see  a  movie, 
we  know  there  is  going  to  be  a  happy  ending. 
Therefore,  there  is  more  suspense  in  a  baseball 
game,  played  by  bush  leaguers,  than  there  is  in 
a  million  dollar  production,  because  the  out- 
come of  a  baseball  game  is  uncertain.  Not  so 
with  a  movie.  There  is  no  hope  and  fear. 
The  cards  are  stacked.  We  know  the  hero  is 
going  to  win.    There  is  no  uncertainty. 

Now  I  am  not  advocating  the  unhappy  end- 
ing always.  I  am  not  telling  the  producers 
their  business,  but  it  seems  to  me  that  the  with- 
holding of  a  production's  outcome,  and  an  un- 
happy ending  now  and  then  would  stimulate 
interest  in  pictures  that  only  a  visit  to  the 
theater  could  satisfy. 

E.  M.  Ragland. 

Among  Those  Present 

Hollywood,  Calif. 

I  am  not  a  chronic  kicker,  but  just  now  I  am 
trying  to  stir  up  some  interest  among  fans,  with 
the  hope  that  producers  may  take  the  sugges- 
tions offered. 

I  attended  "Stella  Dallas"  last  week,  in 
which  the  cast  of  characters  appeared  on  the 
screen,  introducing  fifteen  players  simultan- 
eously. Both  Belle  Bennett  and  Lois  Moran 
were  new  to  me,  and  I  could  not  identify  them 
until  the  picture  was  well  in  progress.  Of  the 
dozen  minor  characters,  I  cannot  recall  one, 
for  by  the  time  they  had  established  them- 
selves, or  warranted  any  curiosity  as  to  their 
identity,  I  was  unable  to  recall  their  names. 

I  consider  it  better  to  introduce  the  char- 
acters, in  a  sub-title,  one  at  a  time,  in  order 
that  the  name  may  be  connected  with  the 
right  person. 

L.  J.  Downs. 

A  Successful  Sufferer 

Festus.  Mo. 

As  a  constant  reader  of  Photoplay  for  the 
past  five  years  and  an  ardent  motion  picture 
fan,  I  do  wish  to  express  my  sincere  admiration 
for  Percy  Marmont. 

He  is  one  of  the  screen's  greatest  artists  and 
is  praised  the  least. 

His  characterization  as  Mark  Sabre  in  "If 
Winter  Comes,"  the  embittered  dreamer  of 
"The  Light  That  Failed."  and  "The  Street  of 
Forgotten  Men" — all  these  portray  him  as  a 
truly  great  artist.  Vet,  unlike  any  other  actor, 
he  has  suffered  more  than  any  other  man  for 
his  success. 

I  lookforward  to  seeing  his  pictures  and  have 
never  missed  one  of  them.  Certainly  the  act- 
ing of  Mr.  Marmont  makes  them  all  worth 
while. 

Let  us  have  more  similar  pictures,  for  surely 
no  one  can  take  his  place! 

Dorothy  Ackley. 


A  Brick  for  Adolphe 

Arlington,  Va. 

I  do  not  care  what  the  eminent  critics  say — 
I  do  not  like  Adolphe  Menjou  in  "A  Social 
Celebrity." 

Ever  since  seeing  him  in  "A  Woman  of 
Paris"  I  hive  admired  his  artistry.  He  is  the 
sophisticate,  the  absolute  man  of  the  world 
(hackneyed  phrase  that,  but  fitting  neverthe- 
less), his  way  of  wearing  his  clothes  with  that 
air  of  being  to  the  manner  born.  Then — then 
the  horrible  thought  of  him  being  a  barber! 
It's  like  thinking  of  the  Prince  of  Wales  as  a 
hostler  because  he  rides  horseback,  or  does  he? 
It  may  be  a  terrible  thing  to  say,  but  at  no 
time  during  the  picture  did  I  think  of  him  as  a 
barber.  He  rubbed  his  hands  together,  he 
smirked  and  all  that,  but  he  remained  the 
suave,  polished  gentleman  he  always  is.  To 
think  of  such  an  artist  of  delightful  deviltry 
lathering  chins  and  giving  ladies  boyish  cuts — 
well,  there  ought  to  be  a  law. 

Before  I  close,  let  me  cast  one  large  and 
fragrant  bouquet  in  the  direction  of  Louise 
Brooks.    May  she  Charleston  forever! 

Helen  von  Lang. 

Cream  Puff  Drama 

Salt  Lake  City,  Utah. 

After  seeing  Adolphe  Menjou's  "Social 
Celebrity"  and  Xorma  Talmadge's  "Kiki,"  I 
would  like  to  divide  the  entire  Phipps  Con- 
servatory between  them  after  holding  out  a 
goodly  bouquet  for  Ronald  Colman. 

I  was  overjoyed  with  "Kiki."  She's  the 
first  heroine  who  ever  completely  satisfied  me 
by  doing  and  saying  just  what  I  hoped  she 
would.  If  Renal's  first  kiss  to  Kiki  was  "all 
wet,"  it's  the  only  thing  in  the  entire  picture 
which  was. 

Such  offerings  as  "Kiki"  and  "A  Social 
Celebrity"  are  to  pictures  what  piquant 
relishes  and  charlotte  russe  are  to  meals — 
happy  balances  for  the  heavy  stuff.  And 
oftentimes  a  delicious  relief  after  too  much 
hash. 

Hilda  Lee.   ' 

Bebe's  Baby 

Rochester,  Vermont. 
I  must  hand  a  great  big  bouquet  to  Bebe 
Daniels.  I  never  chanced  to  see  any  of  her 
pictures  until  a  year  ago,  but  now  I  never  miss 
any  and  see  them  once  and  twice  if  possible. 
She  is  such  a  splendid  comedienne,  she  is  funny, 
but  never  silly.  Furthermore,  she  is  not  neces- 
sarily a  comedienne,  but  can  do  straight  drama. 
I  would  go  a  great  many  miles  to  see  one  of 
Bebe's  pictures.  She  is  not  only  a  great 
actress,  but  is  all  there  on  the  looks  and  is  so 
friendly  and  approachable.  I  wish  I  could  see 
more  pictures  and  articles  about  her.  I  have 
just  become  a  member  of  the  Bebe  Daniels' 
Girls'  Club,  and  wish  that  all  of  Bebe's  fans 
who  are  not  already  members  would  become  so. 
Just  write  to  Dorothy  Lubou,  president,  at 
2064  Vyse  Ave.,  New  York  City. 

Tommy. 

English  Stars 

London,  England. 

A  few  years  ago  I  wrote  to  Photoplay 
praising  English  pictures  and  English  artists, 
and  you  were  kind  enough  to  publish  my 
letter. 

Then  I  praised  the  work  of  our  Betty  Bal- 
four. Fay  Compton  and  Clive  Brook.  The 
latter  is  now  well  known  to  American  fans  for 
his  work  in  American  pictures. 

Now,  I  wish  to  add  to  my  list  by  mentioning 
[  CONTINUED  ON  PAGE  76  ] 


Every  advertisement  in  PnOTOrLAY  MAGAZINE  is   Guaranteed. 


Photoplay  Magazine — Advertising  Section 


x3 


The,  Woman  Who  Works  Youth  Miracles 

On  Society's 
Most  Famous  Faces 


DOROTHY  GRAY 

Coming  to  New  York  ten  years  ago,  the  daughter  of  a 
noted  doctor  and  scientist,  Dorothy  Gray,  by  the 
application  of  a  new  method  of  scientifically  restoring  a 
youthtul  chin  line,  soon  became  one  of  the  most  famous 
beauty  specialists  in  the  world,  numbering  among  her 
clientele  scores  of  the  greatest  names  in  the  inter- 
national social  register. 


prominentsign  where 
age  shows  first  on  a 
woman's  face — the 
double  chin.  Then 
she  discovered  the 
other  two  telltale 
signs  of  departing 
youth.  Then  her 
scientific  treatments 
for  youth  prolonga- 
tion have  made  her 
one  of  the  world's 
most  famous  beauty 


67%  of  all  women  past  25  and  90%  past    dinary  walks  of  life,  looks  from  5  to  10  years    looking   older   than    one's   years, 
35  reveal  one  or  more  of  these  conditions    older  than  she  is.  against  onesejf. 

Why?     It  isn't  worry,  household  cares, 

T^HEREarethreeplaces—  weakplaces  motherhood,  but  lack  of  scientific  youth  pro- 
— onawoman'sface  which  unerringly  tection.  Correct  means  have  mostly  been 
reveal  one's  years.    Correcting  them    denied  them. 

makesadifferencethatisalmostunbelievable.  „ ,,         1      t-^        1      •-. 

What  tde  Dorothy  Gray 

Treatments  Are 


Telltale  signs  of  facial  age  can  be  erased. 
Send  Coupon  for  Personal 
Advice— FREE 
Dorothy  Gray  preparations  are  now  on  sale 
at  the  toilet  goods  counters  of  the  better  de- 
partment stores  and  at  quality  drug  stores 
under  very  definite  and  easily  followed  in- 
structions. 
•a- »•         Note  the  coupon  below. 

3  Telltale  Places  Which  Reveal  a  Woman's  Age   Then  man  it.  ' 


A  double  chin  is  a  glaring  sign  of  depart- 
ing youth.   So  are  wrinkles  around  eyes  and 

mouth.    So  are  flabby  or  withered  facial    Their  objective  is  strengthening  certain  facial 
muscles. 


Correct  Them  and  You  Ta\e  Tears  Away 


A  Double  Chin 


Wrinkles  and  Lines 


By  developing  unique  treat- 
ments and  scientific  prepara- 
tions for  erasing  them,  Dorothy 
Gray  became  beauty  mentor  to 
scores  of  the  most  important 
women,  socially  and  financially, 
both  in  Europe  and  America. 
Scarcely  an  important  name  in 
the  international  social  register 
but  has  yielded  to  her  amazing 
ministrations. 

67%  of  all  women  past  25, 
according  to  experts,  show  one 
or  more  of  these  three  facial 
conditions.  Almost  90%  of 
women  past  35  reveal  them. 
Ordinary  beauty  methods  have 
failed  in  correcting  them.  That 
is  why  the  battle  against  age, 
regardless  of  precautions  taken, 
has  largely  been  a  losing  one. 

Now  by  the  perfection  of  new  and  radi-  muscles  which,  by  weakening,  result  in  flab- 
cally  different  treatments  and  preparations,  biness,  in  lines  and  wrinkles.  Thin  and  with- 
it's  been  proved,  virtually  beyond  question,  ered  faces  can  be  made  plump— sallow  skins 
that  those  conditions  are  responsive  to  cor-  can  be  made  white— the  actual  color  of  youth 
rection.  can  be  restored— lines  and  crow's-feet  around 

In  proof  of  it  experts  now  point  out  that  tne  eYes  can  be  erased— double  chins  can  be 
those  percentages  do  not  apply  to  the  wealthier  reduced  .  .  .  absolutely— drooping  throat 
women  except  in  a  small  degree.  It  is  shown  muscles  can  be  overcome, 
that  while  almost  95%  of  the  ultra-wealthy  The  Dorothy  Gray  methods  banish  them, 
women  of  America  look  years  younger  than  results  in  most  cases  being  almost  beyond 
they  are,  the  average  woman  past  25,  in  or-     belief.    Today,  looking  one's  age  is  a  folly; 


Flabby  Muscles  and 
Crepy  Throat 


Dorothy  Cray's  preparations  with  complete  directions  for  treatments  can 

be  obtained  at  the  leading  department  stores  and  quality  drug  stores 

throughout  the  country. 


Exact  and  detailed  instruc- 
tions for  individual  treatment 
will  be  sent  you  without  charge. 

Each  skin  requires  a  certain 
treatment.  That  is  why  no 
general  directions  are  given 
here.  Once  your  condition  is 
understood  and  the  method  of 
correction  suggested  by  Miss 
Gray,  you  can  follow  it  at 
home  as  satisfactorily  as  in 
Miss  Gray's  own  establish- 
ments in  New  York  (753  Fifth 
Avenue)  or  at  Atlantic  City 
(1637  Boardwalk),  San  Fran- 
cisco (The  White  House)  or 
Washington,  D.  C.  (1009  Con- 
necticut Avenue.) 


DOROTHY  GRAY,  753  Fifth  Aven 
New  York,  N.  Y. 
Please  tell  me  how 

□  to  treat  a  double  chin. 

□  to  erase  wrinkles  and  lines. 

D  to  treat  flabby  muscles  and  crepy  throat. 

Name 


01 


When  you  write  to  advertisers  please  mention  THOTOPLAY  MAGAZINE. 


H 


Photoplay  Magazine — Advertising  Section 


Pictures  that  pay 

Your  mind  registers  hundreds  of 
pictures  every  day.  Faces  on  the 
street,  people  in  a  doorway,  a  tray 
of  watches  in  a  window,  ribbon 
on  a  hat.  Interesting  or  amusing, 
maybe  .  .  .  but  of  what  actual  value 
are  most  of  them  to  you? 

Yet  a  vast  number  of  pictures  that 
can  affect  your  daily  living  are  wait- 
ing for  your  glance.  Advertisements 
show  you  better  things  to  ride  in, 
eat,  wear,  enjoy—  honestly  pictured 
for  you.  Pictures  that  pay!  Such 
pictures  make  you  familiar  with  the 
newest,  most  improved  things  you 
can  buy.  The  soap,  hosiery,  foun- 
tain pen  that  can  mean  most  to  you. 
Familiar  with  their  color,  way  they 
are  wrapped,  name  on  the  package. 
You  can  recognize  them  at  once,  link 
them  at  once  with  their  advertised 
facts,  know  all  about  them  before 
you  buy.  You  don't  have  to  test 
them.  They  have  been  tested  for 
you.  The  watch  widely  advertised 
ticks  in  thousands  of  pockets.  The 
skillet  on  the  printed  page  is  used 
on  a  thousand  stoves.  Pictures  in 
advertisements  are  pictures  of  good 
things  enjoyed  in  countless  homes. 

Look  at  advertisements 
and  their  pictures.  They 
let  you  choose  the  best. 


Brief  Reviews    of 
Current   Pictures 


[  CONTINUED  FROM  PAGE  8  ] 


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  pretensions,  but  with  scores  of 
thrills.  This  is  not  art,  but  it's  exciting  entertain- 
ment.    The  children  can  go.     (April.) 

FLAME  OF  THE  ARGENTINE,  THE— F.  B.  O. 
—  A  change  of  scenery  is  about  the  only  new  thing  in 
Evelyn  Brent's  latest.     (September.) 

FLAME  OF  THE  YUKON,  THE— Prod.  Dist. 
Corp. — A  magnetic  story  of  the  adventuresof  the  gold- 
seekers  in  the  far  North.  Only  for  the  big  folks. 
(August.) 

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  pictures  and 
picked  out  the  thrill  scenes  from  each  one.     (April.) 

FOOTLOOSE  WIDOWS— Warner  Bros.— How  to 
win  a  millionaire  husband — according  to  the  movies. 
This  belongs  in  the  "quite  interesting"  list.     (Sept.) 

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

FRONTIER     TRAIL,     THE— Pathe— A      red- 

bl led  Western  with  Harry  Carey.    If  you  like  swift 

melodrama  you  are  sure  to  like  this  one.     (A  ugust.) 

GALLOPING  COWBOY,  THE— Associated  Ex- 
hibitors.—  If  you're  in  the  mood  for  a  good  Western — 
reethis.    {July.) 

GENTLE  CYCLONE,  THE— Fox— Not  up  to 
the  standard  of  the  usual  Buck  Jones  feature.  (Au- 
gust.) 

GIRL  FROM  MONTMARTRE,  THE— First  Na- 

lional. — St    this,    if   it    is   only   to   gaze   on    the    fair 
of   the  gorgeous   Barbara   La   Marr  once 
again.     (May.) 

GLF.NISTER  OF  THE  MOUNTED— F.  B.  O  — 
Lefty  Flynn  in  an  Arthur  Guv  Empcv  story  of  the 
Mounted  Police.  The  same  as  the  other  6.462. 
(August.) 

GOOD  AND  NAUGHTY— Paramount— A  flip- 
i>i  hi  farce  comedy  with  Pola  Negri.  Ford  Sterling  and 
Tom  Moore.    Sterling  steals  the  picture.     (August.) 

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.) 

HANDS  ACROSS  THE  BORDER— F.  B.  O.— 

Fred  Thomson  and  Silver  King  make  this  an  interest- 
ing picture.      (August.) 

HELL   BENT  FER   HEAVEN— Warner    Bros  — 

Another  disappointment,  especially  after  the  success 
of  the  stage  play.  Gardner  James  gives  an  inspired 
performance.     Only.) 

HELL'S  400 — Fox. — It's  funny — unintentionally. 
Grownups  max  see  this  if  they  promise  not  to  laugh 
too  loud.     (July.) 

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  if  he  wishes  to  become  a  success 
in  life.     Terrible.     (June.) 


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

ISLE  OF  RETRIBUTION,  THE— F.     B.    O  — 

Lillian  Rich  and  Robert  Frazer  are  in  the  cast— if 
that  means  anything.  Entertainment  value?  Fair. 
(July.) 

IT'S  THE  OLD  ARMY  GAME— Paramount.— 
W.  ('.  fields  is  disappointing  as  starring  material. 
His  comedy — fair.      {September.) 


in    rUOTIiri.AV    MAGAZINE 


Photoplay  Magazine — Advertising  Section 


15 


JADE  CUP,  THE— F.  B.  O  —  Do  you  know  your 
movies?  Then  you  know  what  to  expect  from  Evelyn 
Brent.     It  will  pass.     (September.) 

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.) 

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.    (May.) 

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

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

LEW  TYLER'S  WIVES— Preferred  Pictures.— If 
you're  serious  minded,  this  faithful  screen  version  of 
Wallace  Jrwin's  uncompromising  story  of  a  weak  man 
whom  three  loved  will  interest  you.  It's  too  adult  for 
the  children.     (September.) 

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

LOVE  THIEF,  THE— Universal.— The  marriage 
of  convenience  is  dressed  up  in  royal  garments  with 
Norman  Kerry  and  Greta  Nissen  in  the  royal  robes. 
Passable.     (August.) 

LOVEY  MARY— Metro-Goldwyn-Mayer.  —  The 
famous  "Cabbage  Patch"  does  not  provide  good 
screen  material.  It's  harmless  and  we'll  guarantee  it 
won't  overtax  the  mentality  of  The  Tired  Business 
Fan.     (August.) 

LUCKY  LADY,  THE — Paramount.— Could  you 
think  of  a  better  way  to  spend  an  hour  than  gazing  at 
the  fair  Greta  Nissen  and  William  Collier.  Jr.,  forming 
the  love  interest  in  this  wholly  effective  melodrama? 
(September.) 

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

MAN  FOUR  SQUARE,  A— Fox.— A  Buck  Jones 
Western — which  means  it's  a  good  one.     (July.) 

MAN    IN    THE    SADDLE,    THE— Universal.— 

Hoot  Gibson  always  proves  himself  a  hero  all  the 
time.  You  can  always  depend  on  Hoot  if  you're  in  the 
mood  for  a  Western.     (September.) 

MANTRAP — Paramount. — Clara  Bow's  excellent 
performance  makes  the  film  version  of  Sinclair  Lewis' 
latest  novel  good  entertainment.     (September.) 

MARE  NOSTRUM— Metro-Goldwyn.— A  not  so 
satisfactory  film  from  the  man  who  directed  "The 
Four  Horsemen."     (April.) 

MARRIAGE  CLAUSE,  THE— Universal— One 
of  the  most  appealing  stories  of  life  across  the  foot- 
lights. Billie  Dove  gives  a  splendid  performance. 
(August.) 

MEET  THE  PRINCE— Producers  Dist.  Corp.— 

Not  much  of  a  picture,  this.  Don't  waste  your  time. 
(September.) 

MEN  OF  STEEL— First  National. — Don't  miss 
this  interesting  picture  that  has  the  sweeping  back- 
ground of  a  huge  steel  mill  in  operation,  it  is  a  whole 
picture  of  good  performances.     (September.) 

MILLION  DOLLAR  HANDICAP,  THE— Pro- 
ducers Dist.  Corp.  —  A  thrilling  storv  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  will,  all  the  old  gags  used  in  two-reelers.  The 
children  like  this  sort  of  thing.     (May.) 

MISS  NOBODY — First  National. — Another  ex- 
ample of  a  good  story  gone  wrong.  If  you  can  think 
of  anything  else  to  do,  pass  this  up.     (August.) 

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-Goldwyn-Mayer.  — 
Slapstick  at  its  best — a  la  Syd  Chaplin  style.  It's 
fluffy,  but  lots  of  fun.     (July.) 

MORE  PAY  LESS  WORK— Fox.— Splendid  en- 
tertainment.    Need  more  be  said?     (September.) 

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

[  CONTINUED  ON  PAGE  145  J 


Watch  This  Column 


If  my  advice  is  worth  anything  to  you,  be  on  the 
lookout  for  "The  Flaming  Frontier"  and  "The  Midnight 
Sun,"  two  unusual  pictures  which  UNIVERSAL  has  chosen  to  repre- 
sent it  at  the  opening  of  Greater  Movie  Season  which  begins  this 
month  all  over  the  land. 

They  are  very  high-grade  productions,  intensely 
dramatic,  remarkable  for  their  lavish  settings  and  unusual 
casts.  "The  Flaming  Frontier"  is  a  reproduction  of  a  stirring  event 
in  American  history — Gen.  George  Custer's  last  battle  with  the  Sioux 
Indians  on  the  Little  Big  Horn  River  in  Montana. 

The  extreme  acts  of  daring  and  courage  which 
made  this  battle  a  world-sensation  at  the  time,  are  reenacted 
with  faithfulness  to  detail  which  astonished  the  crowds  at  the  premier 
showing  in  New  York.  Noted  characters  of  history  live  again  in  this 
picture — Pres.  Grant,  Gen.  Custer,  Sitting  Bull,  Red  Cloud  and  others, 
as  well  as  hordes  of  Indians  and  soldiers.  HOOT  GIBSON,  DUSTIN 
FARNUM  and  ANNE  CORNWALL  are  featured.  The  production 
was  written  and  directed  by  Edward  Sedgwick. 

"The  Midnight  Sun '  *  is  a  gorgeous  drama  laid 
in  and  around  the  Imperial  Russian  Court  at  the  time  of  the 
Czar,  and  reveals  the  odd  tangle  of  two  men  of  high  official  position 
in  love  with  a  beautiful  dancing  girl,  and  using  the  power  at  their 
command  to  win  her  affections. 

This  picture  is  a  Dimitri  Buchowetzki  Production 
and  features  LAURA  LA  PLANTE,  PAT  O'MALLEY, 
GEORGE  SEIGMAN  and  RAYMOND  KEANE,  and  the  cast  in  itself 
is  a  powerful  recommendation  of  quality.  I  advise  you  to  speak  to  the 
manager  of  your  favorite  theatre  and  ask  him  to  secure  both  of  these 
pictures.  And  when  you  see  them,  please  write  me  your  opinion. 

Also  keep  your  eyes  open  for  other  UNIVERSALS 
which  are  included  in  its  GREATER  MOVIE  LIST.  This 
will  be  another  UNIVERSAL  YEAR. 

,„  t  t,        Carl  \aemmle 

(To  be  continued  next  month)  v-'  \~>  p      ..      . 

Send  10c  each  lor  autographed  photographs  of 
Laura  La  Plante,  Raymond  Keane  and  Hoot  Gibson 

UNIVERSAL  PICTURES 

730  Fifth  Ave New  YorK  City 


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i6 


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pave  qeverseeti  t\eseJawMs  Stars  in  sucliJasCi 


&HE  flitted  through  the  slinking  streets 
*~s  like  a  streak  of  happiness — and  not  a 
man,  white  or  yellow,  but  realized  that  there 
was  something  "holy"  about  Twinkletoes. 

She  led  the  chorus  at  a  cheap  music  hall. 
Her  feet  danced — her  heart  danced.  Queer 
how  those  strange  denizens  of  Limehouse 
loved  her !  Queerer  still  how  she  pinned  her 
love  to  one  man — how  he  failed — and  then 
how  the  shadows  sobbed  after  Twinkletoes— 
"Poor  Limehouse  kid!  Poor  Limehouse  kid! 
Going  the  way  that  the  rest  of  them  did ! " 

It's  a  radiant,  flashing,  poignant  part  that 
none  but  the  star  of  "Ella  Cinders",  "Sally", 
and  "Irene"  could  play.  And  no  one  but  the 
famous  author  of  "Broken  Blossoms"  could 
bring  you  so  vividly  the  thrill  and  romance 
of  the  amazing  Limehouse  underworld. 

Other  First  National  successes 
that  are  sweeping  the  country 

COLLEEN  MOORE  in  "It  Must  Be  Love." 
Presented  by  John  McCormick.  A  love-jammed 
delicatessen  drama.  The  gayest  part  Colleen  has 
ever  had! 

"THE  GREAT  DECEPTION."  Presented 
by  Robert  Kane,  with  Aileen  Pringle  and 
Ben  Lyon.  Air  thrills— fight  thrills— love  thrills, 
in  this  swirling  story  of  spy  against  spy  —  and  a 
woman  between.  Adapted  from  "The  YellowDove," 
by  George  Gibbs. 


A  liiat  national  Picture 


Every  advertisement  in   PHOTOPLAY    MAGAZINE   is   guaranteed. 


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l7 


"Just  two  ofJirstJfationars  Week^fter^WeekMts! 


Asher  Small  and.  Rogers 

Cpresetjt 


LL  day  long  she  looked  out  at  Broadway 
across    the  keys  of  a  Tin  -  Pan  -  Alley 
Piano.... 

"Tea  for  Two" — "It  Had  To  Be  You" — 
"Brown  Eyes  Why  Are  You  Blue". . . . 

Strumming — thumping Heart  thumping 

....Longing.... Would  she  ever  turn  the 
corner  to  luxury  and  fame? 

"The  most  beautiful  woman  in  the  world" 
is  lovelier  than  ever  as  Syncopating  Sue, 
who  belonged  to  Broadway  —  but  wanted 
Broadway  to  belong  to  her! 

See  her  in  intimate  backstage  scenes  —  In 
the  splendor  of  New  York's  after-midnight- 
life  —  In  gorgeous  gowns  and  gripping 
scenes! 

"Syncopating  Sue"  has  all  the  stir  and 
slang  and  romance  of  the  real  White  Way 
— a  sparkling  story — and  Corinne  Griffith ! 
It  belongs  first  on  the  list  of  pictures 
you've  got  to  see! 

cPlan  to  see  these  two  coming  hits — 

"MISMATES,"  with  Doris  Kenyon  and 
Warner  Baxter.  —  Can  a  deserted  wife  take  the 
law  into  her  own  hands  for  the  sake  of  her  child? 
A  story  for  every  mother  and  every  mother's  son. 

"FOREVER  AFTER,"  with  Mary  Astor  and 
Lloyd  Hughes.  —  College  humor,  romance  of  the 
campus,  a  charming  story  of  youth  and  lore  and 
tenderness. 


CORINNE  GRIFFITH  m 


SYNCOPATING  SUE 

-Adapted  by  Adelaide  Heilbron  from  the 
Stageyiay  ASHES  by  Reginald  Goode 

'Directed  by 

Richard  Wallace 


A  liiat  national  Picture 


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Photoplay  Magazine — Advertising  Section 


of  tlhbG     ^     *"    s" 

Ifoft  JtaqG 


jujlj  tlwy  find  thlr  soap.  'bcquLribd' 
"■\oorudafui  jop  thzLr  rhini 


„<l/i  Lady  of  Mayfair,  exquisite 
as  an  orchid,  frail  as  Venetian  glass — 
or  a  modern  flapper  with  the  tenne  of 
a  beautiful  boy  —  a  princess,  a  gypsy, 
an  adventuress — 

Whatever  part  she  plays,  the  suc- 
cessful actress  must  be  able  to  throw 
about  it  the  vivid  spell  of  her  own 
personal  beauty. 

Lovely  and  youthful  as  the  dawn 
she  must  seem  to  her  audiences  when 
she  steps  before  the  curtain. 


How  does  she  do  it?  Her  skin,  which 
has  to  be  covered  with  harsh  make-up  — 
exposed  to  cruel,  high-power  light  —  how 
does  she  keep  it  fresh  and  unfaded  —  flaw- 
less, under  the  gaze  of  a  thousand  eyes? 

We  asked  two  hundred  and  fifty  lead- 
ing actresses  of  the  New  York  stage,  play- 
ing in  44  of  the  season's  plays,  what  soap 
they  use  for  the  care  of  their  skin — and 


.  .  Night  after  night  she  must  face  a  thousand  critical  eyes 

why.      Nearly    three-fourths    answered,  common  skin  troubles  make  it  ideal  for  regular 

"  Woodbury's  Facial  Soap!  "  toilet  use- 

Within  a  week  or  ten  days  after  beginning  to 

"It  is  a  wonderful  soap  for  the  skin"  use  Woodbury's  you  will  notice  an  improve- 

they  said.   " It  is  very  soothing."   "It  ment  in  your  complexion.  Get  a  cake  today— 

keeps  the  skin  firm  and  fresh-looking,  begin  tonight  the  treatment  your  skin  needs! 
preventing  large  pores  and  blemishes." 

Every  one  of  the  Woodbury  users  was        Yo  UT  WoODBURY  TREATMENT 
eager  to  praise  the  soothing,  non-irritat-  for  ien  days 

ins  effect  of  Woodbury's  on  her  skin.  . 

°  J  NOW — THE    LARGE-SIZE    TRIAL   SETI 

A  skin  specialist  worked  out  the  for-  » 

mula    by    which    Woodbury's    is    made.  _  ,  „ 

„,  .     c     '      ■  ,  ,,     r      .,  The  Andrew  Jercens  Co., 

This  formula  not  only  calls  for  the  purest  JIO  SpHng  Grove  Ave>  Cincinnati,  Ohio 

ingredients;  it  also  demands  greater  re.  For  the  enclosed  ioc  please  send  me  the  new  large- 

finement    in    the    manufacturing    process  size  trial  cake  of  Woodbury's  Facial  Soap,  the  Cold 

than  is  commercially  possible  with  Ordi-  Cream,  Facial  Cream  and  Powder  and  the  booklet, 

nary  toilet  soap.    In  merely  handling  a  "A  ski"  You  ^^  to  Touch." 

cake  of  Woodbury's  one   is  conscious   of  I/yo,,  the  in  Canada,address  The  J,,drewjerge,,j 

.  .  r         '  ■  Co.,  Limited,    KIO  Shcrbrooke  Street,  Perth,  Out. 

this  extreme  fineness. 

A  25-cent  cake  of  Woodbury's  Facial  Soap  Name 

lasts  a  month  or  six  weeks.   Around  each  cake  street 
is  wrapped  a  booklet  containing  special  cleans- 
ing treatments  for  overcoming  common  skin  City State 

defects.  The  same  qualities  that  give  Wood-  <  I 

bury's    its     beneficial    effect    in    overcoming  Copyriihi,  1910,  by  The  Andrew  Jergeits  Co. 

ery  advertisement  in  nioTOPLAY  MAGAZINE  is  guaranteed. 


(Pictures 


WHY  import  blondes  from  Scandinavia 
when  there  are  just  as  capable  girls  on 
the  native  soil?  Perhaps  if  Seena  Owen  had 
kept  her  Danish  name  of  Signe  Auen  and 
cultivated  an  accent,  she  would  be  getting 
the  big  parts  she  deserves. 


CREDIT  William  Fox  with  an  important  discovery — Olive  Borden.    Only  a  new 
comer,  Olive  has  that  Something  possessed  by  Gloria  Swanson  and  a  few  others. 
Once  you've  seen  her,  you  put  her  on  your  list  of  regular  favorites. 


MAY  ALLISON  gets  her  wish.    She  is  going  to  play  a  big  dramatic  role.    William 
Fox  was  so  impressed  by  her  work  in  recent  pictures  that  he  has  engaged  her  to 
create  the  leading  role  in  "The  City,"  Clyde  Fitch's  powerful  drama. 


■■■■^■■n 


NOT  handsome,  not  dashing,  not  romantic.   And  yet  Monte  Blue  retains  a  popularity 
not  enjoyed  by  the  prettier  boys.   There  is  something  satisfyingly  steady  about 
Monte;  something  soothing  to  the  eyes.   Incidentally,  he  happens  to  be  a  good  actor. 


NIZE  baby  eat  opp  all  the  big  pictures.    With  "Beau  Geste"  and  "The  Winning  or 
Barbara  Worth,'  it  promise*  to  be  a  big  season  for  Ronald  Cotman.    Both  are 
desert  pictures  and  you  know  how  the  girls  like  their  heroes  sprinkled  with  sand. 


PHYLLIS  HAVER  is  the  reason  for  "The  Nervous  Wreck."  This  beautiful  blonde 
has  played  the  disturbing  influence  in  lots  of  pictures.   And  she  is  very  much  in 
evidence  in  "Don  Juan,"  in  which  she  plays  one  of  the  Don's  important  conquests. 


WASHED  ashore  by  "The  Johnstown  Flood,"  Janet  Gaynor  made  a  neat  little  hit 
for  herself.   She  caused  almost  as  much  damage  as  the  Flood.    Now  she  is  getting 
leading  r6les  in  important  pictures,  as,  for  instance,  "The  Return  of  Peter  Grimm." 


Y     Y     Y    Y 


She  asked  "Boston  too 
and  salespeople  in  smart  shops  said :    There  is  one 
sure  way  to  keep  fine  garments  lovely'' 


CUMMER    folk    flitting   from 

cottages  in  Maine  often  stop 
in  Boston  to  shop. 

Here  they  find  lovely  scarves  of 
homespun  and  cashmere.  Here 
on  Boylston  and  Tremont  Streets 
alone  are  more  blouses  than  you 
would  find  in  a  day's  shopping 
in  another  city — for  tailored  wear 
is  popular  in  Boston. 

Characteristic  of  New  England 
thrift  is  the  exquisite  quality  which 
will  wear  gracefully  through  one 
season  into  the  next.  Character- 
istic, too,  is  the  advice  which  the 
salespeople  give  you  about  caring 
for  these  fine  garments — 

"For  safe  cleansing,  to  keep 
colors  and  fabrics  fresh  —  use 
Ivory  Soap,"  is  the  recommen- 
dation of  salespeople  in  Boston's 
finest  shops,  just  as  it  is  elsewhere 
—  in  New  York,  Chicago,  Phila- 
delphia. This  fact  was  recently 
discovered  by  a  young  woman 
when  she  questioned  them  about 
the  safest  way  to  cleanse  hosiery 
and  sweaters  and  all  kinds  of 
feminine  wearing  apparel. 

In  many  cases,  the  salespeople  had  not  been  in- 
structed to  make  official  recommendations.  But  in 
their  desire  to  be  of  genuine  service  and  to  give  ad- 
vice which  their  own  experience  and  that  of  their 
customers  had  proved  to  be  sound,  they  recom- 
mended Ivory,  with  absolute  confidence.  "Ivory," 
they  said,  "is  as  harmless  as  pure  water  itself." 

"You  would  do  well  if  you  always  laundered 
your  sheer  hosiery  in  pure  Ivory  and  lukewarm 
water,"  was  said  in  one  exclusive  specialty  shop. 
"Anything  stronger  than  Ivory  is  likely  to  start  the 
color  in  very  sheer  hose  or   any  very  fine  fabrics." 

"For  fine  blouses,  use  Ivory  Soap  or  Ivorv  Flakes. 


Cake 
IVORY 

<iq«Vi».t  Pur* 
It  Fioatj 


They  are  equally  good — really, 
the  best  thing  you  can  use  for  deli- 
cate colors."  (Large  department 
store.) 

•'There  is  nothing  better  than 
Ivory.  It  is  the  purest  soap  you 
can  find  and  it  is  safe  for  fine 
silks.  As  a  matter  of  fact,  it  is 
the  one  soap  I  can  use  on  my 
face — it  never  irritates  my  skin." 
(Silk  department  of  a  large  de- 
partment store.) 

A  conclusive  test  for 
a  soap  for  delicate  garments 

Ask  yourself;  "Would  I  use 
ihissoapon  my  face?"  For  today 
— when  feminine  wardrobes  are 
chiefly  of  silk  with  here  and  there 
a  scarf  or  sweater  of  fine  wool, 
a  frock  of  soft  kasha  or  flannel 
— garments  need  as  gentle  care 
as  do  complexions. 

Ivory,  of  course,    is   so   pure 
and  mild  that  women  have  used 
it  for  generations  for  their  com- 
plexions and  doctors  recommend 
it  for  babies'   soft  skin.    So,  in   flake  form  or  cake 
form — it   is   safe  for  any   fabric  or  color   that    can 
stand  the  touch  of  pure  water. 

PROCTER    fc    OAMBLK 

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ens soft  and  fluffy. "  A  charming  booklet,  "The 
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Tlakps 
SOAP 


©Itll,  Tk.f   »  C    Ci 


Vo lume  XXX 


The  <:b{ational  Quide  to  ^Motion  Pictures 


Number  Five 


PHOTOPLAY 


October,  1926 


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"1 


Speaking  of  Pictures 


By  James  R.  Quirk 


RUDOLPH -VALENTINO  died  as 
he  lived,  game  to  the  last  breath. 
Without  exception,  his  physicians 
pronounced  him  a  miracle  of  courage. 
On  his  death-bed,  racked  by  pain  and 
conscious  of  the  fact  that  he  was  en- 
gaged in  the  extremity  of  a  life  and 
death  battle,  his  thoughts  were  to  hear 
up  for  the  sake  of  those  who  were  con- 
cerned about  him.  He  never  whim- 
pered, even  when  in  greatest  pain. 

His  patience  was  wonderful  and  he 
lost  his  sense  of  humor  only  with  his 
last   consciousness. 

~K  K ANY  folks  knew  only  the  screen 
■*■  *  -^-personality  of  the  man.  Few 
knew  the  real  fineness  of  him,  and  his 
heroism  on  his  death-bed  was  an  un- 
happy but  perfect  answer  to  the  news- 
paper writer  who,  a  few  weeks  ago, 
called  Rudy  a  powder  puff. 

He  died  on  the  verge  of  even  greater 
success  than  he  had  ever  attained  be- 
fore. 

IFE  hadn't  been  at  all  easy  for  him. 
-*— 'For  years  he  had  struggled  to  make 
a  fitting  comeback,  and  his  last  pic- 
ture,   "The   Son   of   The   Sheik,"    the 


premier  of  which  brought  him  to  New 
York,  had  given  him  confidence  to  go 
on  and  do  the  bigger  things  that  he 
wanted  to  accomplish. 

This  man,  who  had  furnished  so 
much  entertainment  to  millions  all  over 
the  world,  deserves  the  homage  and 
gratitude  of  that  world. 

I  know  he  has  it  and  I  know  he 
appreciated  it. 

A  FTER  the  opening  of  his  picture  in 
•*■  *-New  York,  I  was  seated  with  him 
in  the  automobile  returning  to  his  hotel, 
and  I  saw  him  furtively  brush  away 
tears  of  happiness  at  the  marvelous 
reception  New  York  gave  him. 

Never  had  I  seen  a  more  sincere  and 
loving  greeting  to  a  picture  star. 

We  shall  all  miss  him  on  the  screen, 
but  more  than  that,  we  who  knew  him 
have  lost  a  great  heart  and  a  great 
friend. 

T__TIS  last  role  was  the  greatest  he  ever 
■*•  -Splayed.  Never  on  the  screen  did 
he  wage  such  a  brave  and  splendid 
fight. 

The  loyal  love  of  millions  will  follow 
the  star  that  is  forever — just  Rudy. 


?7 


The  Secret  Moral 


By 

Frederick  James 
Smith 

fir* 


"Lulu  Belle,"  the  New  York  success,  will  never  come  to  the  screen  because  it 

violates  several  canons  of  the  secret  code  of  the  screen.    Lenore  Ulrich  plays  a 

negro  cabaret  girl  who  becomes  the  mistress  of  a  dissolute  Frenchman  in  Paris. 

Jean  Del  Val  plays  the  Frenchman 


TJHOTOPLA  Y  believes  that  the 
J_      moral  code  of  the  screen  is  abso- 
lutely necessary  to  the  screen  and 
the  nation. 

However  broad  minded  we  may  be 
and  however  opposed  we  are  to  cen- 
sorship, we  believe  that  the  secret 
moral  code  of  the  screen  is  necessary 
to  protect  the  screen  and  the  nation. 
The  screen  has  come  to  know,  not- 
withstanding the  commercialism  of 
a  few  minor  producers,  that  a  picture 
offending  the  moral  sentiment  of  the 
country  is  bad  business.  All  our  big 
producers  realize  this. 

The  secret  moral  code  of  the  screen, 
here  put  into  words  for  the  first  time, 
is  more  valuable  to  the  motion  picture 
industry  than  all  the  financial  assets 
of  filmdom  put  together. 

It  means  the  preservation  of  A  mrr- 
ica's  greatest  amusement. 

This  secret  moral  code  is  the 
Magna  Charta  upon  which  the  mo- 
tion  picture  industry  is  built. 

PHOTOPLAY  is  for  this  moral 
code,  first  and  last.  It  is  not  for 
censorship,  or  anything  savoring  of 
censorship.  Tin-  advent  of  Will 
Hays  made  this  code  a  working 
docutiu  at. 

There  has  been  a  lot  oj  criticism  of 
Will  Hays  in  the  past,  but  one  thing 
is  certain:  the  motion  picture  indus- 
try could  not  afford  to  lose  him  if  it 
had  to  pay  him  five  million  a  year. 
He  stands  for  the  moral  code  and, 
what's  more,  enforces  it. 

JAMES  R.  QUIRK. 


THE  screen  has  an  unwritten  moral  code  to  which  all  mo- 
tion picture  productions  are  fitted.  This  screen  moral 
code  is  as  definite  as  a  set  of  traffic  regulations.  The 
photoplay  can  not  turn  to  the  moral  left  and  it  must  stop 
at  all  realism  crossings. 

It  is  not  easy  to  transmit  an  intangible  moral  code  to  paper. 
In  gathering  facts  for  this  article  I  have  talked  to  producers, 
directors  and  scenario  writers  and  I  have  carefully  checked  my 
own  film  experiences  of  the  past  fifteen  years. 

It  is  not  possible  to  blame  or  praise  the  producers  and  direc- 
tors for  this  unwritten  moral  code.  It  is  the  result  of  belief  that- 
picture  stories  must  be  fitted  to  the  thousands  of  children  who 
go  to  the  movie  theaters  every  day  and  whose  morals  must  be 
preserved.  It  is,  in  a  large  measure,  the  result  of  America's  own 
moral  and  political  restrictions. 

Much  of  the  success  of  German  pictures  (in  the  larger  and 
more  sophisticated  centers)  is  the  result  of  this  secret  moral 

28 


code.  German  films  constitute  a  moral  novelty.  The  Germans, 
not  knowing  the  unwritten  canons  of  these  film  laws,  go  right 
ahead  and  violate  them  every  time  they  make  a  picture.  They 
transgress  each  and  every  one  of  these  laws.  "Variety,"  in  its 
original  version,  shows  its  hero  deserting  his  wife  and  baby  to 
run  away  with  a  pretty  acrobat.  There  is  no  sugaring  of  these 
relations.  The  backsliding  hero  kisses  the  recreant  young 
woman's  legs  with  fine  gusto.  The  camera  follows  the  two  into 
their  bedroom.  "Variety"  is  a  seven-reel  study  in  the  various 
shades  of  passion. 

Sometimes  an  American-made  picture  tries  to  buck  these 
laws.  Erich  Von  Stroheim,  the  director,  has  tried  time  and 
again.  In  "The  Merry  Widow"  he  made  what  I  consider  the 
most  daring  scene  ever  filmed  on  this  side  of  the  water.  This  is 
the  seduction  scene  in  which  the  prince  pleads  with  the  little 
dancer  in  his  gilded  bedroom  while  two  blindfolded  musicians 
strum  a  seductive  obbligato. 


Code  of  the  Screen 


There  are  five  primal  items  on 
this  unwritten  moral  code. 

The  first  law  concerns  what  are 
usually  termed  immoral  relations. 
There  is  a  curious  dividing  line 
here.  The  films  were  not  per- 
mitted to  film  Michael  Arlen's 
"The  Green  Hat,"  in  which  a 
reckless  woman  was  promiscuous 
— and  enjoyed  it.  Yet  the  screen 
frequently  shows  a  young  woman 
being  forced  into  immorality, 
either  through  physical  force  or  to 
get  money  for  a  sick  relative.  Yet 
the  films  can  not  show  immorality 
as  a  moral  weakness  or  a  psycho- 
logical case. 

The  second  law  revolves  around  the  color  line.  The  films  cannot 
show  the  love  of  a  negro  for  a  white,  or  the  reverse.  The  same 
law  applies  to  the  yellow  and  the  brown  races.  Yet  the  stage's 
biggest  dramatic  hit  this  year  is  "Lulu  Belle,"  which  presents 
the  progress  of  a  wholly  immoral  negro  cabaret  dancer  from 
Harlem  to  the  Paris  apartment  of  a  dissolute  French  nobleman. 
"Lulu  Belle"  will  never  reach  the  screen. 

It  is  interesting  to  point  out  that  one  of  the  most  highly 
praised  films  ever  made,  "Broken  Blossoms,"  violated  this  rule. 
In  Thomas  Burke's  Limehouse  story — and,  in  the  subsequent 
film  made  by  D.  W.  Griffith — a  Chinaman  loved  a  white  girl. 
The  canny  Mr.  Griffith  tempered  this  by  painting  the  Yel- 
low Man  as  a  young  dreamer  out  of  tune  with  harsh  realities. 
Still,  he  was  yellow. 

THE  Birth  of  a  Nation," 
the  pioneer  film  to  encoun- 
ter this  canon,  was  barred 
in  many  localities  for  years.  It 
was  looked  upon  as  a  breeder  of 
race  riots  although,  as  far  as  I 
know,  there  isn't  a  single  rec- 
ord of  a  riot  caused  by  this  film 
epic.  But  this  superstition  dis- 
couraged Griffith  from  carry- 
ing out  one  of  his  pet  dreams, 
the  filming  of  "  Uncle  Tom's 
Cabin." 

The  third  law  concerns  the 
presentation  of  crime.  Some  of 
the  world's  most  fascinating 
fiction  has  been  built  upon  the 
lives  of  dashing  criminals. 
The  films  can  not  show  crime 
for  is  own  sake.  "The  Un- 
hol\  Three,"  for  instance,  was 
an  absorbing  melodrama  of 
three  side  show  crooks,  but  it 
aroused  a  lot  of  opposition  dur- 
ing its  progress  through  the 
country's  film  theaters.  It  was 
looked  upon  as  dangerous  in 
many  quarters. 

You  may  never  have  noticed 
the  fact,  but  the  actual  com- 
mission of  a  crime  is  barred 
pretty  generally.  A  man  may 
be  shot,  but  the  actual  firing  of 
the  weapon  may  not  be  shown. 
You  may  see  the  murderer 
start  to  aim  his  gun,  but  that's 
all.  This,  too,  goes  for  stab- 
bing. You  will  see  the  start  of 
a  blow  but  not  the  finish. 

The  fourth  law  bars  the  facts 
of  life.  The  spoken  drama  and 
the  published  story  have  delved 


It  is  enforced  more  strictly 
by  the  motion  picture  in' 
dustry  than  the  Eighteenth 
Amendment  is  by  the 
whole  Revenue  Service. 
Here  it  is  told  for  the 
first  time. 


into  the  innermost  problems  of 
humanity.  The  screen  apparently 
can  not  do  this  without  crashing 
against  the  censors  of  America. 
The  real  facts  of  everyday  life 
come  under  this  ban. 

The  three  events  of  existence 
are   birth,    marriage   and   death. 
Only  once  have  the  films  shown 
childbirth.     That  was  the  famous 
scene  in  D.  W.   Griffith's  "Way 
Down  East."     I  was  present  at 
the  various  conferences   held  by 
Mr.  Griffith  before  "  Way  Down 
East "    was    released.      Most    of 
the   conferences    concerned     this 
scene. 
Griffith  was  advised   by   most  of  his  staff  to   cut  it  from 
the  picture.    He  refused — and  the  scene  brought  down  a  storm 
of  protests.    It  was  the  principal  cause  of  the  severe  cutting  of 
"Way  Down  East"  in  Pennsylvania,  Ohio  anil  other  censor- 
ridden  communities. 

No  picture  ever  received  so  many  cuts  as  did  "Way  Down 
East." 

Griffith  said  he  was  going  to  film  a  special  scene  for  these  sec- 
tions, showing  Lillian  Gish,  as  the  heroine  of  the  New  England 
melodrama,  finding  her  baby  under  a  cabbage  leaf. 

Marriage,  in  the  films,  is  usually  the  fade-out  finish  of  a  story. 
Its  problems  are  avoided.  Death,  coming  under  the  ban  of  un- 
happy endings,  is  generally  taboo. 


An  out  and  out  stage  shocker  is  "The  Shanghai  Gesture."    The  moral  code  of 
the  screen  bars  it  from  the  films.     Miss  Reed  plays  a  semi-Oriental  known  as 
Madame  Goddam,  who  conducts  the  biggest  brothel  in  the  far  East.     Here  a 
half -nude  white  girl  is  auctioned  off  to  a  mob  of  Chinamen 


The  fiflh  canon  is  a  re- 
ligious one.  The  films 
must  not  concern  them- 
selves with  religious 
controversies.  Further- 
more, ministers  are 
barred  as  principal  char- 
acters. The  screen  does 
not  permit  the  presenta- 
tion of  a  minister  erring 
seriously  in  any  way. 
The  man  of  God  who  re- 
forms the  harlot  and 
himself  slips  has  long 
been  a  theme  of  the  stage 
and  of  literature.  It  was 
the  story  of  "Rain," 
another  footlight  play 
barred  by  the  films. 

The  minister  is  barred, 
except  to  marry  the 
heroine  and  the  hero  in 
the  final  fade-out.  Or  he 
can  be  a  kindly  old  ad- 
viser.    There  it  ends. 

The  screen  long 
dodged  "The  White  Sis- 
ter" because  of  fancied 
religious  complications. 

The  recently  produced 
version  of  Hawthorne's 
"The  Scarlet  Letter"  is 
an  example  of  dodging 
this  issue. 

Will  Hays,  the  czar  of 
filmdom,  has  just  added 
a  new  canon  to  the  code 
of  the  screen.  Drinking 
is  prohibited  on  the 
theory  that  the  national 
prohibition  laws  have 
made  it  illegal.  Reform- 
ers have  claimed  that 
films  have  flaunted  both 
bootleggers  and  the  pub- 
lic's disregard  of  the  Vol- 
stead amendment. 

THERE  is  the  law  con- 
cerning the  political 
aspects  of  films.  This 
centers  principally 
around  the  Mexican  ban- 
dit. Mexico  is  sensitive 
about  the  wicked  greaser 
and  it  is  not  possible  to 
use  him  to  any  extent 
without  arousing  govern- 
ment complications. 
And    this    goes  as  well  for  any  country   resembling    Mexico. 

When  Joseph  Hergesheimer  wrote  "  Flower  of  the  Night "  for 
Pola  Negri,  he  had  the  silver  mines  of  Mexico  as  his  locale.  In 
fact,  he  made  a  special  trip  to  Mexico  to  get  the  correct  color 
and  atmosphere. 

But,  before  the  film  was  made  the  whole  story  was  rewrit- 
ten, first  to  an  imaginary  country  and  then  to  California  in 
mining  days  of  '49. 

There  are  certain  other  restrictions,  not  of  moral  character. 
One  is  against  fantasy.  Producers,  largely  from  experience, 
believe  that  whimsy  is  not  popular.  Maurice  Tourneur's 
"Prunella"  and  "The  Blue  Bird"  were  pioneer  flops  at  the 
box  office.  "A  Kiss  for  Cinderella"  was  a  more  recent  one. 
"Peter  Pan"  was  an  exception.  Producers  are  against  dual 
roles,  too,  and  against  tragic  endings,  of  course.  And  it  takes  a 
lot  of  persuasion  to  get  them  to  forget  their  ban  on  costume 
stories. 

All  this,  of  course,  is  beside  the  moral  issues  with  which  this 
article  is  concerned. 

Aside  from  the  three  stage  successes,  "Lulu  Belle,"  "The 
Green  Hat"  and  "Rain,"  already  referred  to,  there  are  several 
other  stage  plays  on  the  proscribed  list.  The  films,  for  instance, 
will  not  be  permitted  to  do  the  footlight  hits,  "The  Shanghai 


One  of  the  shockers  of  the  past  stage  season  in  New  York 
was  "One  Man's  Woman."  One  of  the  scenes  from  this 
play,  showing  William  Shelby  and  Jane  Meredith,  appears 
above.  This  is  a  rampant  sex  melodrama  which,  due  to  the 
moral  code  of  the  screen,  will  never  reach  the  films,  at  least 
in  its  original  form 


Gesture,"  and  "Sex." 
"The  Shanghai  Ges- 
ture" deals  with  the  ven- 
geance  of  a  woman 
known  as  Madame  God- 
dam, wronged  years  be- 
fore by  a  British  trader. 
The  woman  maintains 
the  largest  brothel  in  the 
Orient.  The  ultimate 
vengeance  comes  when 
this  man  is  shown  his 
own  daughter  dangling 
in  a  gilded  cage  and  of- 
fered for  immoral  pur- 
poses to  whosoever 
can  pay  the  highest 
price.  There  is  another 
sensational  scene  in 
Madame  Goddam' s  lu- 
panar,  when  a  semi-nude 
girl  is  offered  for  sale  on  a 
platter  to  a  host  of  Chi- 
nese customers.  This 
play  has  been  severely 
condemned  in  New 
York.  The  moral  code  of 
the  films  bars  it. 

THEY  Knew  What 
They  Wanted"  is 
anothcrdrama  which  will 
not  be  filmed.  Although 
this  won  the  Pulitzer 
prize,  as  the  best  drama 
of  two  years  ago.  Will 
Hays  turned  his  thumb 
down.  This  concerns  an 
old  Italian  winegrower 
who  had  his  legs  broken 
in  an  accident  upon  his 
wedding  day.  The  bride 
promptly  has  an  affair 
with  another  man  that 
night.  There  is  a  baby. 
The  old  man  forgives  the 
transgression,  largely  be- 
cause he  has  always 
longed  for  children. 

"White  Cargo"  is  re- 
ported to  be  barred. 
This  violates  rule  Num- 
ber Two,  concerning  the 
color  line.  It  is  a  story 
of  a  man's  moral  col- 
lapse in  the  tropics. 
"Sex,"  another  current 
shocker,  is  a  straight- 
away story  of  a  harlot. 
"One  Man's  Woman,"  still  another  Broadway  play,  comes 
among  the  dramas  violating  the  screen's  moral  code. 

Willis  Goldbeck,  the  well  known  scenario  writer  who  offered  a 
number  of  expert  suggestions  for  this  article,  advanced  the 
theory  that,  in  all  fairness,  the  rival  Pollyanna  code  of  familiar 
and  favorite  situations  ought  to  be  presented,  if  only  as  a  bal- 
ance to  the  moral  code.  Mr.  Goldbeck's  eight  always  permis- 
sible situations  into  which  all  film  drama  may  be  catalogued 
follow: 

1.  Cinderella. 

2.  The  clown  with  the  breaking  heart. 

3.  The  mother  who  denies  her  motherhood  to  benefit  her 
child. 

4.  The  prince  who  must  choose  between  throne  and  bour- 
geois beauty. 

5.  The  faker  who  sends  home  fake  reports  of  his  success  and 
returns  to  find  himself  welcomed  by  a  brass  band.  Thus  he  is 
forced  to  prove  himself. 

6.  The  country  lass  who  gives  her  heart  to  the  worthless 
city  chap. 

7.  The  coward  who  fights  his  way  to  manhood  when  the  girl 
he  loves  is  in  danger. 

8.  The  wild  woman  who  turns  out  to  be  a  good  girl  after  all. 


Peroxide 

Pen 


Came  Dwan 
and  a  new 
personality  for 
Madge  Bellamy 


By  Agnes  Smith 


THEY'VE  called  her  dumb  so  persist. entlv  that  now  she  believes 
it.  . 

Madge  Bellamy  is  sure  that  she  is  stupid.     She  is  just  as 
certain  of  her  stupidity  as  most  people  are  of  their  cleverness. 

For  years,  the  critics  have  elected  Madge  as  the  prize  scholar  in  the 
"beautiful  but  dumb  "  class.  And,  like  the  rest  of  us,  Madge  believes 
anything  she  sees  in  print. 

"Sometimes,"  says  Madge,  "I  feel  so  discouraged  that  I'd  like  to 
take  my  money — I've  made  plenty  of  it — and  retire.  Sometimes  I 
feel  that  nobody  likes  me  and  I'd  like  to  quit  and  live  among  people 
who  will  love  me." 

If  being  stupid  means  making  a  firm  place  for  yourself  on  the 
screen  and  putting  away  a  nice  little  pile  of  money,  wouldn't  it  be 
great  to  be  dumb? 

And  yet  in  "Sandy"  Madge  came  out  of  her  shell  and  gave  a  lively 
and  sparkling  flapper  performance.     She  bobbed  her  hair,  dyed  it 
blonde  and  cut  loose  from  the  soulful-eyed  stuff.     Madge  had  her 
little  fling  and  surprised 
'em  all. 

I  asked  her  if  the  per- 
oxide had  given  her  the 
courage  to  flap. 

"That  was  it,"  an- 
swered Madge.  "You 
see,  I  had  always  been 
very  proud  of  my  hair. 
It  was  brown  and  long 
and  naturally  curly.  I 
used  to  worry  about  the 
things  people  said  about 
me  and  thought  about 
me.  And  I  got  the  feel- 
ing that  maybe  my  hair 
had  something  to  do 
with  it.  Perhaps,  I 
thought,  I  am  being 
punished  for  my  vanity. 
So  I  cut  it  off  and  dyed 
it  blonde  for  '  Sandy.' 

"But,"  she  continued 
mournfully,  "Allan 
Dwan  says  blonde  ha  it- 
makes  me  look  dumber 


"  I  was  proud  of  my 
hair, ' '  confesses  Madge. 
"It  was  long  and  natu- 
rally curly."  But  Madge 
valiantly  cut  it  off  and 
dyed  it  because  she  felt 
that  it  was  one  reason 
why  people  spoke  of  her 
as  "beautiful  but 
dumb" 


"Sandy"   gave  Madge  Bel- 
lamy courage.  Italsoshowed 
her  what  was  wrong  with 
those  other  pictures.    No  more  soulful- 
eyed  stuff  for  this  little  girl 


than  ever.  Mr.  Dwan  is  directing  me  in 
'Summer  Bachelors.'  He's  a  very  wonderful 
man;  he  always  tells  me  the  truth." 

It  didn't  seem  to  me  that  Miss  Bellamy  was 
so  stupid.  Not  every  star  has  sense  enough  to 
listen   to   hard,   cold   facts   from   her   director. 

"It's  funny,"  mused  Madge,  "what  a  change 
in  hair  will  do.  (  continued  on  page  128] 


emperament? 

Certainly,  says 
Nazimova 


Ah,  now  we  come-to  it.  Because  for  years 
the  word  Nazimova  has  been  almost  a 
synonym  for  temperament.  They  have  al- 
ways explained  things  about  her  on  the 
grounds  of  her  temperament.  They  explained 
her  great  success  with,  "She  certainly  has 
temperament."  Now  they  are  explaining 
her  failure  with,  "Oh,  she's  too  tem- 
peramental." 

So  I  asked  her  about  temperament,  about 
success,  about  failure.  But  most  of  all  about 
temperament.  Surely  no  one  is  more  quali- 
fied to  speak  on  that  most  discussed  and 
disagreed-upon  subject. 

I  went  in  through  a  tangled  garden,  riotous 
with  color. 

She  had  said,  "You  will  find  me  hidden. 
The  gate  into  my  retreat  is  made  of  trees, 
bent  together.    There  is  a  winding  walk.    Do 


"You  may  find  success  without 
temperament,"  says  Nazimova. 
"There  are  workers  who,  by  plug- 
ging along,  get  there.  But  you  can- 
not have  genius  without  tempera- 
ment.    It  is  impossible" 


By 

Adela 
Rogers 
St.  Johns 


NAZIMOVA! 
The  very  name  con- 
jures her  up.  Those 
slanting,  shining,  mes- 
meric eyes  that  are  such  an  amaz- 
ing gray  beneath  the  straight, 
black  brows.  The  tangle  of  short, 
black  hair,  wind-blown,  different 
from  the  stereotyped  bobbed 
heads  as  a  tiger  lily  from  a  daisy, 
yet  with  an  indescribable  chic. 
That  scarlet,  expressive,  sad, 
laughing,  cynical,  wistful  mouth. 
The  lithe,  graceful,  restless  body. 
And    the    purring,    lilting    voice, 

whose  accent  is  like  some  gorgeous  jazz  harmony  you  cannot 
forget. 

Nazimova,  the  Russian.  Nazimova,  the  great  actress. 
Nazimova,  the  cultured,  brilliant  woman  of  the  world.  Nazi- 
mova, the  temperamental. 

82 


"I  did  'Salome'  as  a  purgative,"  declares  Nazimova.     "The  trash  I  had  played 

made  me  sick  with  myself.     I  wanted  something  so  different,  so  fanciful,  so 

artistic,  that  it  would  take  the  taste  out  of  my  mouth" 


not  be  discouraged.     It  comes  to  an  end,  as  all  things  must. 
Then  you  will  see  a  red  lacquer  door,  with  a  round  window.    In 
that  window  hangs  a  sign,  'Do  Not  Disturb.'     But  don't  pay 
any  attention  to  that.    Ring  the  bell  and  I  will  let  you  in." 
The  truth  is  that  she  has  built  herself  a  studio-home  above 


crI  have  never  yet 

found  the  person 

who  was  worth 

lying  to" 


the  garage  in  the  gardens  behind  the  big  house 
where  she  used  to  live.  But  you  see  how  she 
adds  a  touch  of  the  picturesque  to  everything. 

The  big  room  was  high-ceilinged,  with  round 
windows  curtained  from  the  sun,  and  lined  to 
the  very  top  with  books,  worn  books,  new- 
books,  books  in  a  dozen  languages,  books  in 
priceless  bindings  and  books  in  yellow  paper 
covers.  There  was  a  concert  grand  piano  and 
some  fine  tapestry,  and  a  splendid  painting  of 
Madame  as  Hcdda  Gablcr,  and  many  of  those 
low,  soft  chairs  that  you  never  want  to  get 
out  of. 

And  in  one  of  them,  wearing  a  white  silk  slip 
embroidered  in  gold,  Madame  Nazimova. 

I  burst  with  questions.  I  said,  "About  this 
temperament.  Tell  me,  has  yours  been  a 
detriment  or  a  help?  Why  aren't  you  doing 
big  things  on  the  screen?  Why  aren't  you  in 
your  rightful  place  as  one  of  our  great  emotional 
actresses?  I  think  your  performance  of  Nora 
in  'A  Doll's  House'  was  the  finest  single  per- 
formance I  have  ever  seen  in  America.  Why 
did  you  make  'Salome'?  Did  your  tempera- 
ment run  away  with  you?  What  is  tempera- 
ment?" 

She  threw  up  her  hands  to  stop  me.  She 
was  laughing,  her  head  on  one  side  in  mockery. 
And  then  she  was  very  sad,  her  mouth  quiver- 
ing a  little.  Her  face  is  like  a  summer  sky  on  a 
stormy  day.  You  cannot  follow  its  changes. 
Sometimes  I  think  she  is  a  very  homely  woman. 
And  sometimes  I  think  she  is  so  beautiful  it 
hurts.     Probably  they  are  both  true. 

"So  many  questions,"  she  said.  "But  I  am 
glad  we  do  not  waste  time  about  the  weather, 
if  it  is  good  or  bad  or  unusual.  Well,  I  will 
answer  first  the  easiest  one. 


Nazimova  works  in  a  hidden  retreat,  among  the  gnarled  trees,  close  to  her 
home.    It  is  protected  by  a  red  lacquer  door,  with  a  round  window 


"Producers,  directors,  business  men — 
they  call  me  temperamental  because  I 
always  speak  the  truth.  I  never  lie. 
Why  do  people  lie?  From  fear  or  from 
vanity.  I  am  not  afraid  of  anybody 
and  I  have  no  vanity.  So  why  should 
I  lie?" 


"Mostly,  when  people  now  in  this 
country  speak  of  temperament,  what 
they  really  mean  is  bad  temper. 

"That  is  not  what  I  mean  at  all. 

"Temperament  is  the  swift  changing 
of  moods.  You  do  not  change  them. 
But  they  change,  as  a  harp  gives  forth 
different  melodies  —  maybe  discords. 
One  moment,  you  are  on  the  heights  of 
exaltation."  The  picturesque  head 
flung  up  on  a  deep  breath,  the  eyes 
shone.  "The  next  you  are  in  the  depths 
of  depression."  And  down  it  went  like 
a  cut  flower,  and  I  could  not  see  her  eyes 
at  all  for  the  white,  drooping  lids. 

"  What  makes  you  so?  A  bird  flying 
by  your  window  may  give  you  the  ex- 
altation.    Or  a  moth  at  night,  beating 

[  CONTINUED  ON  PAGE  1121 


33 


How  They  Popped 


The     Marquis     spoke     English 

when  he  proposed  to  Gloria.   He 

wanted  to  be  understood ! 


Written  in  the  script 

By  William  Boyd 

I  CLAIM  our  courtship  was  a  la  cinema. 
Elinor  insists  it  was  a  proposal  a  la  pictures. 
Nevertheless,  we  both  agree  it  was  the  most 
public  proposal  anyone  ever  had,  and  ever)' 
time  "The  Volga  Boatman ''  is  shown  it  becomes 
more  public.  I  asked  Elinor  to  be  my  wife 
while  the  camera  was  grinding,  with  Cecil  B. 


Proving  that  Proposals 
with  Screen  Folks  are  some- 
times just  as  they  are  with 
the  rest  of  us 


De  Mille  and  his  corps  of  assistants  and  electricians  as  witnesses. 

It  was  the  scene  where  Feodor  is  about  to  be  killed.  He  is  pin- 
ioned to  the  gate  with  his  arms  lashed  high  above  his  head  by 
heavy  chains.  Rotten  situation  for  anyone,  let  alone  a  lover,  I 
assure  you. 

Elinor  as  Vera,  the  aristocrat,  was  at  my  side  and  an  angry 
mob  shrieked  for  my  blood.     My  lines  read: 

"With  death  so  near  I  can  tell  you  something  that  I  could  not 
tell  you  in  life.    I  love  you  with  the  last  beat  of  my  heart!" 

I  said  it.  And  I  meant  it.  And  Elinor  must  have  understood 
that  I  was  not  acting,  for  she  whispered  to  me  words  that  were  not 
in  the  script: 

"I  love  you  too,  Bill!" 

How  did  she  know  I  wasn't  acting?  How  does  anyone  know? 
And,  besides,  we  had  been  discussing  the  matter  just  a  few  mo- 
ments before  we  were  called  to  the  kleigs. 

It  was  transcontinental 

By  Eddie  Sutherland 

THE  long  distance  telephone  is  a  wonderful  invention.  I  was  in 
Los  Angeles  and  Louise  Brooks  was  in  New  York.  But  what's 
a  couple  of  thousand  miles  between  friends?  It  cost  me  thirty  or 
forty  dollars,  but  it  was  the  best  money  I  ever  spent. 

Did  she  put  up  an  argument?  Well,  show  me  a  woman  with 
soul  so  dead  that  she  won't  put  up  an  argument.  Even  when  it  is 
cos.ing  several  dollars  a  second. 


Courtship  a  la  cinema.     The  scene  in  "The  Volga  Boatman"  in 
which  William  Boyd  proposed  to  Elinor  Faire.     It  is  the  first  pro- 
posal on  record  that  took  place  before  a  grinding  camera 


^Ouestion 


i 


No  defeat  for  Jack 

By  Esteile  Taylor  Dempsey 

T  was  really  funny  the  way  Jack  did  it— great  big  over-grown  boy  Jack 
—  Dempsey  who  had  always  plowed  through  all  obstacles  to  success. 
When  it  came  to  the  gentle  task  of  marrying  he  used  the  same  tactics  that 
had  brought  him  fame.  No  moonlight  and  roses— no  soft  lights  and 
music — no  romantic  glamour. 

"  Let's  go  for  a  walk,  honey,"  said  Jack.  And  we  left  his  mother  and  my 
sister  at  the  hotel  in  San  Diego  where  we  were  stopping  en  route  from  the 
Tia  Tuana  races.  We  strolled  until  we  reached  an  impressive  public 
building  .   .  .  and  I'll  swear  to  this  day  I  never  knew  it  was  the  City  Hall. 

"  Come  on  in,  Esteile.    I've  got  some  important  business  to  attend  to." 

No  sooner  than  we  had  stepped  inside  the  door  than  a  dozen  flashlights 
flared  and  a  flock  of  lenses  winked. 

"What  is  this,  Jack!" 

"  That's  all  right,  honey.  We're  going  to  get  a  marriage  license.  And 
he  piloted  me  to  the  clerk  who  had  been  awaiting  us.         _ 

"  I  didn't  want  to  give  you  a  chance  to  change  your  mind,  honey,  Jack 
apologized  for  the  unromantic  proposal. 

And  that  night  at  seven  Jack  and  I  were  married  in  a  little  church  in 
San  Diego. 

The  Marquis  spoke  English 
By  Gloria  Swanson  de  la  Falaise 

THIS  is  personal.  It  wouldn't  be  fair  to  tell  without  permission  from 
Henry.  And  Henry  is  in  France.  But  it  was  in  Paris  and  I  was  going 
away.  You  know  how" such  things  are,  those  parting  scenes.  "  So  you  are 
going  away  and  I  shall  never  see  you  again."  "  Yes,  I  am  going  away  and 
it  is  possible  that  I  shall  never  see  you  again.  But  I  hope  that  never 
happens."  One  word  led  to  another  and— well,  it  wouldn't  be  right  to  tell 
more  without  Henry's  consent. 

But  I  know  the  proposal  was  in  English,  not  in  French,  because  I  under- 
stood every  word  of  it ! 

All  in  ten  words 

By  Enid  Bennett  K[iblo 

I  WAS  in  California  and  Fred  was  in  New  York  when  it  happened.     It 
was  really  a  long  distance  proposal  and  I  proved  a.splendid  "yes  man." 
Here  are  Fred's  telegrams  and  my  answers: 

January  4,  1918:     "I  love  you  very  much.     Do  you  love  me? 

"Fred." 
January  5,  1918:     "Yes. 

"Enid." 
January  6,  1918:     "If  I  asked  you  to  marry  me  what  would  you  say? 

"Fred." 
January  7,  1918:     "Yes. 

"Enid." 
January  8,  1918:    "  Can  leave  for  California  tomorrow.    Shall  I  come? 

"  Fred." 
January  9,  1918:     "Yes. 

"Enid." 

From  "Temporary"  to  permanent  marriage 

By  Mildred  Davis  Lloyd 


I  HAD  been  working  in  Harold's 
pictures  for  several  years.  He  in- 
sisted on  treating  me  like  a  child. 
Perhaps  I  grew  tired  of  it.  Anyway, 
when  I  had  a  chance  to  play  with 
Ken  Harlan  in  "Temporary  Mar- 
riage"   I  [  CONTINUED  ON  PAGE  115  ] 


Trust  Louise  Brooks  and  Eddie 
Sutherland  to  make  it  modern 
and  snappy.  Eddie,  in  Los  An- 
geles, telephoned  to  Louise,  in 
New  York.  Louise  said  "yes" 
and  Eddie  rushed  to  New  York 
and  hurried  Louise  to  the  Munic- 
ipal Building  before  she  could 
change  her  mind 


Dar\  Deeds    of  Revenge   develop    in    the 


ove^nd 


Illustrated  by  J.  J.  Gould 


Defection 


Amnesia  Truck 
was  a  radiant 
creature  :  all 
curves  and  vivac- 
ity and  pep.  Mid- 
night Pictures, 
Inc.,  had  brought 
her  over  from  At- 
lanta, where  she 
was  closing  a 
vaudeville  en- 
gagement 


By  Octavus  Roy  Cohen 


THERE  is  a  heap  of  reasons,"  affirmed  J.  Caesar 
Clump,  chief  director  for  the  Midnight  Pictures 
Corporation,  Inc..  of  Birmingham,  Alabama,  "why 
Mistuh  Opus  Randall  is  unpopular  with  me.  In  the 
fust  place,  he  is  uppity,  an' — " 

President  Orifice  R.  Latimer,  a  large  and  pompous  gentle- 
man, raised  a  placating  hand. 

"Shuh!  Caesar — who  woul'n't  be  uppity  was  he  a  movin' 
pitcher  s  ,ar  in  a  comp'ny  which  is  successful  as  Midnight?' ' 

"I  woul'n't!  An'  fu'thermo',  I  woul'n't 
do  a  feller  a  dirty  trick  like  he  done  me 
down  to  the  meetin'  of  The  Sons  &  Daugh- 
ters of  I  Will  Arise.  That  was  terrible! 
Fust  of  all  he  nominates  me  fo'  Gran'  Mag- 
nificent High  Potentate,  then  he  goes  an' 
makes  a  speech  at  the  meetin'  that  he  was 
mistaken  an'  I  aint  the  man  fo'  the  job. 
Then  he  votes  out  loud  fo'  Isaac  Gel  hers 
an'  he'ps  re'lect  that  man — an'  afterwards 
goes  home  to  dinner  with  him.  Cross  my 
heart,  Orifice,  I  never  was  so  humilated  in  my 
life.  I  didn't  git  but  eight  votes,  an'  I  always 
will  b'lieve  it  was  a  put-up  job  so's  to  make 
Brother  Gethers'  'lection  positive." 

Orifice  nodded  his  sympathy.  "That  was 
tough,  Caesar.  But,  after  all,  you  is  Mid- 
night's chief  director  an'  Opus  is  our  fo'most 
male  star — " 

"He's  fo'most  all  right.  I  never  seen  a  man 
so  fo'most  as  him.  Way  he's  puttin'  on 
weight  ..." 

"We  craves  peace  in  this  organization. 
Peace  an'  hominy.  It's  thisaway,  Caesar, 
always  there  is  two  sides  to  ev'ry  question, 
an'  Opus  has  been  comin'  to  me  an'  sayin' 
that  you  have  gave  him  a  raw  deal.  Says 
you  make  him  do  all  the  dirty  work  in  our 
comedies,  an'  Welford  Potts  gits  all  the 
good  roles. " 

"Welford  is  the  fondest  actor  I  is  of!" 

"Tha's  what  Opus  is  kickin'  about.  He 
says  you  play  favorites,  an'  he  aint  them. 
Now,  in  this  ve'y  pitcher  you  is  fixin'  to 
shoot — " 

Caesar's  eyes  narrowed  hostilely.  "You 
mean  the  one  we  hired  Amnesia  Truck  fo'?" 

"Tha's  it.  It's  gwine  be  a  big  pitcher.  A 
two-reel  special.  We  is  payin'  Amnesia  a 
lot  of  money  fo'  that  pitcher  an'  Opus  says 
he  don't  see  why  he  shoul'n't  play  opposite 
Miss  Truck.  He  expostulates  that  he  is 
tired  of  gittin'  kicked  in  the  pants  ev'y  time 
you  raises  yo'  megaphone. " 

"Where,"  inquired  Clump  cuttingly — 
"does  he  prefer  to  git  kicked?" 

"Aw',  Caesar!  That  aint  no  way  to  talk. 
You  is  sore  at  Opus — " 

"Tha's  one  thing  I  aint  nothin'  else  but !  " 


Troubled  Studio  of  Midnight  Pictures,  Inc 


"Styptic,"  Amnesia  questioned  hysterically,  "what  is  you  fixin'  to  do?"  She 
whirled  on  Opus  Randall  and  flung  her  arms  around  the  fat  neck  of  the  astonished 
gentleman. 

"You  ain't  gwine  beat  him  up!"  she  affirmed  shrilly.    "You  leave  him  be." 


37 


_  " — ;Aa  you  is  takin'  it  out  on  him.  You  is  his  boss  an'  you 
aint  givin'  him  a  square  chance.  Now  I  an'  he  lias  agreed  that 
you  ought  to  leave  him  play  opposite  Amnesia  in  this  new 
pitcher.  Make  Welford  Potts  the  goat  fo'  once.  It's  a  good 
part  for  Opus  ..." 

"You  is  dawg-gone  tootin'  it  is.  Nothin'  to  do  but  stan' 
aroun'  like  a  dyin'  duck  an'  make  love  to  a  good  lookin'  gal 
while  Welford  gits  may  hemmed  all  over  the  lot.  Nossuh! 
President  Latimer,  I  refuses  to  leave  Opus  play  that  part." 

"Be  reasonable,  Caesar." 

"I  aint  reasonable  where  Opus  Randall  is  concerned  at. 
That  big,  fat,  knock-kneed,  cock-eyed,  bald-headed,  non- 
thinkin'  ol'  buzzard  has  made  life  mis'able  fo'  me  an'  I  aint 
aimin'  to  direct  him  in  sof  scenes  with  no  such  good  lookin' 
gal  as  Amnesia  Truck.  Guess  was  I  to  do  that,  Opus  would 
think  he  could  come  along  and  slap  me  in  the  face  with  his  fist 
any  time  he  got  good  an'  ready." 

President  Latimer  sighed.  This  task  of  piloting  the  destinies 
of  a  young  and  prosperous  negro  moving  picture  concern  was 
no  sinecure,  and  the  least  of  Orifice's  worries  were  financial. 

For  more  than  a  month  now  he  had  watched  the  develop- 
ment of  a  bitter  feud  between  his  chief  director  and  his  very 
best  male  star;  for  two  months  he  had  seen  Caesar  direct 
Opus  in  the  most  brutal  sort  of  slapstick — and,  off  the  lot,  he 
had  witnessed  the  manifold  tricks  which  Opus  engineered  to 
bring  discomfiture  and  embarrassment  to  Clump. 

As  a  matter  of  fact,  Orifice's  sympathies  were  all  with  J. 
Caesar.  The  affair  at  the  lodge  rooms  had  been  little  short  of 
diabolical.  Opus  could  have  swung  the  election  for  Mr.  Clump 
— and  everybody  knew  it.  But  his  eleventh-hour  speech  of 
allegiance  to  Isaac  Gcthcrs,  his  public  utterance  to  the  effect 
that  he  didn't  believe  his  own  candidate  was  competent  to 
hold  the  exalted  office  .  .  .  President  Latimer  believed  that 
all  of  Clump's  spleen  was  justified. 

But  that  did  not  bring  into  the  Midnight  organization  the 
essential  harmony.  Midnight  was  under  contract  to  turn  out 
one  two-reel  comedy  every  fortnight — a  program  demanding 
supreme  efficiency  and  a  total  absence  of  personal  friction. 
Latimer  shook  his  head  in  worriment. 


"What  I  wants,  I  gits — an'  what  I  don't  want  nobody 
forces  on  me,"  reverberated  Styptic  Smith.  "Does  you 
know  who  I  is?" 

"N-n-n-no  ssuh,"  quavered  the  director,  "but  I  bet  you 
is  champeen  of  the  world  at  somethin'." 

"Pity  you  an'  Opus  caint  settle  this  thing — " 

"Aint  you  spcechifyin'?  If  I  was  Opus's  size,  I'd  take  it 
out  of  his  hide  an'  then  forget  about  it.  But. he  is  twice  as  big 
as  me.  He  struts  aroun'  an'  insults  me  an'  tells  folks  what 
he'll  do  to  me  if  I  ever  look  cross-eyed  at  him.  Nossuh! 
President  Latimer — I  refuses  posolutcly  an'  point-blankly  to 
let  Opus  Randall  play  that  part  opposite  Miss  Amnesia  Truck. 
Tha's  final!" 

"I  wish,"  sighed  the  thwarted  president,  "that  you  would 
git  to  be  broad-minded,  Caesar.  I  wish  you'd  forget  how  you 
hate  Opus — just  fo'  this  one  pitcher." 

"Nothin'  stirrin'." 

"A'right."  Latimer  knew  when  he  was  defeated.  "But  if 
you  changes  yo' mind  ..." 

The  door  closed  behind  Caesar.  He  stalked  down  the 
dreary  hallway  of  the  executive  building:  a  dynamic,  skinny 
little  figure  in  sport  shirt,"  whipcord  breeches,  shiny  puttees 
and  horn-rimmed  goggles. 

He  was  a  competent,  capable  man — was  J.  Caesar:  a  person 
of  compelling  personality,  genuine  artistic  sense,  a  master  of 
hokum  and  slapstick,  and,  altogether  the  most  important 
wheel  in  the  smoothly  functioning  Midnight  machinery. 

But  Director  J.  Caesar  Clump  was  intensely  human.  He 
had  human  likes  and  dislikes  and  the  chief  of  the  latter  was 
directed  against  his  portly  male  star,  Mr.  Randall.  Caesar 
was  particularly  determined  that  Opus  should  not  play  the 
role  opposite  the  bewitching  Amnesia. 

Amnesia  Truck  was  a  radiant  creature:  all  curves  and 
vivacity  and  pep.  She  was,  by  profession,  a  vaudeville  actress 
with  a  penchant  for  comedy.  Forcep  Swain,  Midnight's 
author,  had  concocted  a  howling  story  of  pre-marital  intrigue 
and  slapstick  which  demanded  her     [  continued  on  page  133  1 


Rudy's  last  photograph,  made 
specially  for  PHOTOPLAY 
Magazine.  He  brought  it  to 
New  York  with  him  and  it 
was  received  too  late  to  use 
it  in  the  rotogravure  section 
of  this  magazine.  In  the 
next  issue  it  will  appear  in 
the  rotogravure  section. 


'■By  ^Margaret  Sangster 

'II  ta  frrt  Itaa  rarrtra  ljtm  an  nrrn,  atntftltj, 
ihttn  %  lanna  af  wnnarr  ana  rnntanrr; 

Ana  yrt,  altlinuglt  tltrg  traarllra  far,  thrjj  nrnrr 
jFarget  ta  nanrr. 

"llta  Una  Itaa  lrarnra  ta  aprak  a  atrangrr  language, 
"k\&  anttlr  Itaa  tnarntra  tljr  tntatful,  lanrlu.  rartlj- 

$rt  fantr  naa  nrnrr  takrn,  fram  Ijta  aptrtt, 
®Iir  gift  af  nttrtlt ! 

JV  ltt|augt|  lna  rare  gltntpara  ntttrrnraa  ana  aaanraa, 
Sfjru,  aani  a  arrant  tl|at  frnt  fnlk  wrr  err — 

(Sea  grant  tljr  arrant  mat}  ttngr,  tnttlj  lanrln  ralar, 
iratlj'a  iEtratrrg! 


39 


6.W  to  be  an  ActOf 


w 


X/ 


Anticipation 


/ 


Mr.  Cody  registers  Anticipation.  Note  the  half- 
parted  lips,  the  bated  breath,  the  dewy  eyes. 
Even  his  hat  brim  turns  up  in  Anticipation. 
This  comes  before  the  kiss  or  the  goblet  but  is 
effective  any  time 


Sha 


me 


Shame,  my  friends.  Shame.  Deep,  bitter,  humil- 
iating Shame.  How  his  friends  hated  to  tell  him! 
Yet  he  should  know  the  truth.  Why  he  was  often 
best  man  but  never  groom.     Yes,  halitosis.    This 

is  the  result 


Joy 


This  is  Joy.  Supreme  Joy.  Exquisite  Joy.  The 
North  Pole  has  been  discovered — Queen  Mary  has 
a  new  hat— Charlie  Chaplin  is  a  father.  All  is 
Joy.  The  similarity  between  Anticipation  and 
Joy  is  that  the  former  is  often  greater  than 
realization 


Embarrassment 


That  horrible  gnawing  feeling  that  comes 
when  you  discover  your  money  is  in  the 
other  suit — that  you've  used  the  ice 
cream  fork  to  stir  the  demi-tasse — that 
it  wasn't  your  wife  after  all 


in 


Eight  Easy  Lessons 


Disappointment 


Rage 


Comes  Disappointment.     After  ordering  ice  cream  and 
cakes  and  getting  the  stereopticon  ready  to  show  scenic 
views,  all  of  his  guests  go  over  to  Norman  Kerry's  ping- 
pong  party.     This  expression 
may    also    be    used   to   show 
that  morning-af  ter-the- 
night-before  feeling 


This  is  Rage — most  primitive  of  emotions. 
Note  the  trembling  arm,  dilated  nostrils,  fury- 
glinted  eyes.  No  actor's  repertoire  is  complete 
without  this  elemental  emotion.  It  is  the 
man-brute  at  his  most  brutish — the  actor  at 
his  most  actorish 


Passion 


Now  comes  Passion,  sublimest  of  all  emotions. 
Poignant,  pulsating,  palpitant,  purple  passion.  A 
soul  filled  with  yearning.  A  heart  full  of  love.  This 
expression  is  indispensable  to  an  actor  and  very 
useful  in  private  life 


Sorrow 


Here,  we  have  Sorrow.  Brooding  sorrow  with  pouting  lips  and 
grief-stricken  mustache.  There  are  many  kinds  of  sorrow. 
Mental  sorrow.  Physical  sorrow.  This  is  chiefly  physical  sor- 
row, mingled  with  regret,  that  he  ate  those  young  green  onions 


M 


Bringing  Sound 


THE  presentation  of  the  newly  created  Vitaphone  in  New 
York  City  has  created  a  sensation  in  motion  picture  circles. 
The  presentation  was  made  by  the  Warner  Brothers,  in 
connection  with  the  Western  Electric  Company  and  the  Bell 
Telephone  Laboratories,  with  the  showing  of  the  new  John 
Barrymore  picture.  "Don  Juan." 

The  Vitaphone  is  the  newest  application  of  sound  to  motion 
pictures.  Since  the  beginning  of  films,  various  unsuccessful 
attempts  have  been  made  with  so-called  "talking  pictures." 
The  Vitaphone,  however,  is  an  unusual  thing,  miles  ahead  of 
the  famous  early  Edison  talking  pictures.  The  invention  has 
created  a  stir  in  the  electric  field,  as  well.  Such  an  authority  as 
Michael  I.Pupin,  Professor  of  Electro-Mechanics  at  Columbia 
and  President  of  the  American  Institute  of  Electrical  Engineers, 
says:  "No  closer  approach  to  resurrection  has  ever  been  made 
by  science." 

Actuallv,  the  Vitaphone  is  not  a  new  invention.  It  is  a  com- 
bination of  old  and  new  ideas,  an  application  of  telephone, 
phonograph  and  radio  principles.  The  Vitaphone  utilizes  the 
system  of  producing  photographic  records  with  discs  made  in 
synchronization  with  the  film.  The  discs  are  reproduced 
through  a  machine  coupled  to  the  motor  which  drives  the 
projector.  A  high  tension  microphone  transmits  the  sound  into 
electric  voltage  through  an  amplifying  reproducer  and  then 
retransmits  it  back  into  sound  through  loud  speaking  telephones 
and  a  loud  speaker. 

Former  methods  of  "talking  pictures  have  generally  con- 
sisted of  photo-electric  cells  on  the  outer  edge  of  the  film, 
necessitating  special  projectors  for  theater  presentation.    The 


This  Camera  Does  aTango 


The  machine  on 
wheels  follows 
the  dancers 
through  the 
maze  of  steps 


Moving  close-ups  will  be  seen  of  Rod  La  Rocque  and  Ina  Anson  when  they 
tango  in  "Gigolo."  Putting  the  camera  on  wheels  is  not  a  new  idea,  but 
following  the  gliding  couple  for  close-ups  is.  The  lights,  camera,  camera- 
man and  Director  William  K.  Howard  sat  on  the  camera  truck  which 
was  pulled  slowly  along  a  few  feet  in  front  of  the  dancing  couple 


1- 


s — \ 


to  the  Screen 

Yitaphone  is  a  separate  mechanism,  which  may  be  attached  to 
any  projecting  machine.  In  other  words,  the  film  is  run  off  on 
one  machine  and  the  record  on  another.  To  assure  synchron- 
ization they  are  coupled  to  the  same  motor.  The  speed  of  the 
motor  is  attuned  by  a  vacuum  tube  regulator.  Should  the 
film  break  or  the  projection  machine  stop,  the  Vitaphone  stops 
in  accord  with  the  projector. 

At  the  New  York  premiere  of  the  Vitaphone,  films  and 
records  of  the  New  York.  Philharmonic  Orchestra,  as  well  as 
of  Martinelli,  Elman,  Zimbalist,  Bauer,  Anna  Case  and  Marion 
Talley  were  presented  with  astonishing  success.  These  repro- 
ductions have  been  worked  out  during  the  past  few  months  by 
the  Warner  Brothers,  together  with  Bell  Telephone  and 
Western  Electric  experts,  at  the  old  Vitagraph  studios  and  in 
the  Manhattan  Opera  House. 

The  method  of  making  the  Vitaphone  records  will  be  of  much 
interest.  In  the  case  of  Marion  Talley  a  setting  was  built  upon 
the  stage  of  the  Manhattan  Opera  House.  Cameras  were 
perched  on  stands  built  above  the  seats.  A  master  camera, 
which  controlled  the  sound  registration  apparatus  for  the 
making  of  the  records,  ground  out  the  whole  scene.  The  other 
cameras  took  the  required  close-ups. 

Miss  Talley  sang  just  as  if  she  were  at  a  public  performance. 
Microphones  were  placed  at  strategic  points  on  the  set,  hidden 
from  the  cameras.  These  picked  up  Miss  Talley's  voice,  to- 
gether with  the  orchestral  accompaniment.  So  sensitive  is  the 
registration  apparatus  for  the  making  of  the  records  that  the 
master  camera  has  to  be  enclosed  in  a  sound-proof  bos  to  pre- 
vent its  click  from  being  recorded.         [  continued  on  page  123 


At  the 
Gates  of 
Heaven 


IN  David  Wark  Griffith's  new 
production, "The  Sorrows  of 

Satan,"  based  upon  the  Marie 
Corelli  novel,  there  is  an  un- 
usual episode,  depicting  the  ex- 
pulsion of  Satan  from  Heaven 
by  the  Archangel  Michael.  The 
episode  is  reminiscent  of  the 
immortal  combat  pictured  by 
Anatole  France  in  his"The Re- 
volt of  the  Angels,"  or  of  the 
famous  Dore  paintings  of  the 
same  theme. 

Lucifer  is  tossed  from  the  ramparts  of  Heaven  and,  coming  to  earth,  turns  out  to 
be  Adolphe  Menjou.  In  the  guise  of  the  suave  Adolphe,  Satan  devotes  himself  to 
intrigue,  which  consists  in  annoying  and  tempting  Ricardo  Cortez.  The  temptation 
is  Lva  de  Putti. 


The  expulsion  of  Lucifer  from  Heaven 
took  place  at  Astoria,  Long  Island,  but 
the  effect  is  good,  anyway.  The  celes- 
tial battle  was  staged  by  that  wizard 
of  earthly  combat,  D.  W.  Griffith 


Donald  Ogden     ~^)  C  T  f  C  C  t 


Stewart's  -p» 

ouiDEto  1  Behavior 
in  Hollywood 


Studio  conferences  are  called  "story 

conferences"     because    they    usually 

begin  by  someone  telling  a  story 


The  famous  humorist  explains 
the  fine  etiquette  of  motion 
picture  writing — and  lets 
us  in  on  a  heavy  conference. 


Believe  it  or  not,  Mr.  Stewart  calls  this  a  synopsis 
of  preceding  chapters 

JULY  4th  falls  on  Sunday,  and  in  an  obscure  corner  of  the 
world  an  old  man  is  dying.  Raising  his  failing. eyes  to 
heaven  he  prophesies  the  great  future  of  moving  pictures. 
''I  seem  to  see  a  screen,"  he  says,  "and  on  that  screen 
figures  are  moving." 

"Eddie,"  says  his  wife,  "you're  crazy." 

"Shhh,"  cautions  the  doctor.    "He's  dying." 

"I  am  not  dying,"  says  Eddie. 

"You  are,  too,"  replies  the  doctor — a  specialist,  by  the  way. 

"What  am  I  dying  of?"  asks  Eddie. 

"Diabetes,"  replies  the  specialist. 

"But  I  haven't  got  diabetes,"  says  Eddie. 

"What's  the  name?"  asks  the  doctor. 

"Fish,"  replies  Eddie,  "Edward  Fish." 

"My  mistake,"  says  the  doctor,  "it's  cancer." 

"That's  better,"  says  Eddie. 

"Let  me  see  your  pulse,"  says  the  doctor. 


"I  won't,"  says  Eddie. 

"Eddie,"  says  his  wife,  "show  the  doctor  your  pulse.  How 
can  he  tell  whether  or  not  you're  dead?" 

A  stranger  comes  into  the  room. 

"Who  are  you?"  asks  Eddie. 

"Mortimer  G.  Pugh,"  replies  the  stranger,  "at  your  services." 

"When  are  the  services?"  asks  Eddie. 

"Wednesday,"  replies  Mr.  Pugh,  who  was  an  undertaker  by 
avocation,  "at  four.    Burial  at  four  fifteen.    Carriages  at  five." 

"  By  the  way."  says  thedoctor,  "I  haven't  seen  your  pulse  yet." 

"  Mine?"  asks  Mr.  Pugh. 

"No,"  replies  the  doctor.    "The  patient's." 

"Eddie,"  repeats  the  patient  wife,  "show  the  doctor  your 
pulse." 

"  Hold  your  horses  a  minute,"  says  Eddie. 

"I  can't,  I  came  in  an  automobile,"  says  Mr.  Tugh.  "A 
Dodge,  by  the  way." 

"How  do  you  like  the  Dodge?"  asks  the  doctor. 

"Oh,  it's  all  right,"  says  Mr.  Pugh,  "it  takes  the  hills  like 
nothing  at  all." 

"  Doesn't   it,    though,"  [  continued  on  pace  ioS  | 

4-5 


Fifty 
Fifty 


June  Mathis 
meets  the  perfect 
collaborator-and 
marries    him 

By 

Ivan  St.  Johns 


ALL  marriages  made  in  Hollywood  arc 
interesting. 
But  the  most  interesting  one  that 
I  know  is  the  marriage  of  that  super- 
woman,  June  Mathis,  to  the  handsome  young 
Italian  director-cameraman,  Sylvano  Balboni. 

Let  me  tell  you  why. 

I  have  known  a  lot  of  men  to  marry  an  au- 
dience. I  have  known  men  to  marry  a  cook. 
And,  of  course,  I  have  known  women  to  marry 
a  checkbook. 

But  this  is  the  first  time  in  my  experience 
that  I  have  known  of  a  woman  to  marry  for 
a  collaborator. 

Now  understand  I  don't  mean  to  imply 
that  the  Mathis-Balboni  wedding  wasn't  a 
love  match.  I'm  sure  it  was.  How  could  it 
be  anything  else,  meeting  as  they  did  in  Rome, 
in  the  spring,  and  strolling  about  the  Colos- 
seum together  by  moonlight?  It  must  have  ^^^^^^ 
been  intensely  romantic,  because,  when  June 
sailed  for  Rome  that  time,  she  was  supposed 
to  be  engaged  to  George  Walsh,  but  after  only  a  few  weeks  in 
Italy  she  married  Signor  Balboni. 

But  who  can  tell  what  makes  a  woman  love  a  man? 

Do  you  remember  the  divine  words  of  the  fair  Katherine  de 
Vaucelles  to  the  young  vagabond  king,  Francois  Villon:  "A 
woman  doesn't  love  a  man  because  he  is  brave,  or  because  he 
is  handsome.  She  loves  him  because  his  hand  is  just  the  size 
to  hold  her  heart  in  its  hollow." 

That,  I  daresay,  is  true.     At  any  rate,  it  is  romance. 

But  it  is  also  true  that  women  love  men  because  they  supply 
the  half  of  them  that  is  lacking,  because  they  make  a  complete 
unit  together. 

And  June  Mathis  all  her  life  has  been  seeking  a  perfect  and 
permanent  collaborator.  Once  or  twice  she  has  found  one  who 
seemed  perfect,  but  the  strange  convulsions  of  the  motion  pic- 
ture industry  have  torn  them  apart.  Occasionally,  she  has 
found  one  who  wanted  to  be  permanent,  but  didn't  have  the 
other  qualifications. 

So  she  married  one. 

Maybe  June  Mathis  herself  doesn't  realize  this.  But  her 
history  proves  that  I  am  right. 

Given  the  proper  man  to  interpret  her  work  for  the  screen, 
June  Mathis  is  a  genius.  In  collaboration  with  the  right  man, 
she  has  risen  to  heights  achieved  by  no  other  woman  writer  in 
pictures. 

Years  ago,  when  little  June  Mathis  came  from  the  stage  to 
write  for  the  screen,  her  first  success  was  found  in  collabo- 
ration.   She  made  a  series  of  pictures  at  Metro  with  Capellani, 

46 


Hollywood  believes  that  June  Mathis  and  her  husband, 
Sylvano  Balboni,  constitute  another  great  screen  team. 
Balboni  is  a  young  Italian  who  stepped  from  acting  to 
camera  work  and  then  to  directing.  They  met  while 
"Ben-Hur"  was  in  the  making 


a  fine  director  of  the  old  school.  While  Marshall  Ncilan  and 
Frances  Marion,  one  of  the  two  greatest  teams  we  have  ever 
had — the  other,  of  course,  being  Rex  Ingram  and  June  Mathis — 
were  writing  and  directing  the  delicious,  pathetic  comedies 
that  made  Mary  Fickford,  Mathis  and  Capellani  were  blazing 
a  new  dramatic  trail  through  what  was  then  something  of  a 
wilderness  of  screen  production. 

People  began  to  talk  about  June  Mathis. 

But  Capellani  got  tired  of  making  pictures,  and  went  back 
to  farming  in  France  or  something  like  that,  and  June  was  left 
alone. 

Instead  of  being  a  tragedy,  it  was  a  tremendous  advantage, 
for  she  then  started  to  work  with  Rex  Ingram,  a  young,  un- 
known, untried  director. 

Together  they  made  "The  Four  Horsemen  of  the  Apoca- 
lypse." 

And  who  shall  say  which  was  the  greater?  People  who  arc 
supposed  to  know  tell  me  it  was  a  fifty-fifty  proposition.  That 
each  gave  greatly  and  that  June  Mathis'  screen  interpretation 
of  the  story  was  as  inspired  as  Ingram's  direction. 

Anyway,  between  them,  they  made  what  was  considered  one 

[  CONTINUED  ON  PAGE  1 23  ] 


The  Lark 

of  the  Month 


IT  was  on  the  "What  Price  Glory"  set  and  language  was  flying 
in  all  directions.      The  members  of  the  cast  were  vociferously 
shouting    their    spoken  lines,  for  even  though  this  is   only  a 
silent  drama,  lip-reading  will  give  the  audiences  clews  to  lines 
that  the  titles  may  not  spell  out  for  them. 

And,  to  add  to  the  uproar  of  the  war  drama,  electricians  were 
hustling  lights  about — yelling  for  "niggers,"  baby-spots  and  sun- 
arcs,  in  the  jargon  of  the  studios. 

Beatrice  Lillie  and  Gertrude  Lawrence  were  guests  on  the  set 


that  day.  They  had  come  to  watch  their  fellow-countryman, 
Victor  MacLaglen,  play  one  of  his  big  scenes.  In  the  midst  of  the 
pandemonium,  Miss  Lillie  and  Miss  Lawrence  were  very  neat, 
very  calm  and  very  British.  And  they  were  listening  eagerly  to 
shouts  around  them  and  marvelling  at  some  of  the  new  American 
improvements  to  the  language  of  old  England. 

It  was  all  very  baffling  and  strange.  But  still  it  was  new  and 
exciting  and  quite  like  what  Hollywood  ought  to  be. 

Suddenly  a  hard-boiled  electrician  drew  down  his  mouth  and 
yelled  to  his  assistant  across  the  stage. 

"Hey !    Get  them  two  broads  off  the  set." 

Beatrice  Lillie's  eyes  widened  and  she  looked  just  a  little 
nervous. 

"I  say !     Do  you  suppose  he's  referring  to  us?" 

It  took  the  entire  cast  to  explain  that  a  "broad,"  in  studio  jargon, 
means  a  light  and  is  not  a  synonym  for  a  "skirt"  or  a  "jane." 

'J 


STUDIO  NEWS  6?  GOSSIP 


The  Crown  Prince  of  Sweden  bane  heap  big  Indian 
chief.  This  picture  shows  why  royalty  likes  to  visit 
Hollywood.  The  movies  are  more  fun  than  life  in  a 
Palace.  Col.  Tim  McCoy,  western  star,  loaned  this  rig 
to  His  Royal  Highness,  Gustavus  Adolphus 


Heiresses  seem  to  like  movie  heroes.  Carlyle  Blackwell, 
once  prominent  on  the  screen,  was  married  in  London 
recently  to  Leah  Barnato,  daughter  of  the  late  Barney 
Barnato,  South  African  diamond  king.  Now  Carlyle 
can  afford  to  make  faces  at  the  camera 


NOW  comes  a  report  from  Hollywood  intimating  that  Patsy 
Ruth  Miller  will  become  the  next  Mrs.  Richard  Barthel- 
mess.  Patsy  is  quoted  as  announcing  the  engagement  herself, 
which  is  really  too  much  for  my  poor,  old-fashioned  brain. 

For  Richard  is  still  married  to  Mary  Hay  and,  although  they 
are  separated  and  although  Mary  talks  of  a  Paris  divorce,  the 
legal  ties  still  bind.  And  when  I  was  a  boy,  little  girls  didn't 
announce  their  engagements  to  gentlemen  still  married. 

Patsy  has  been  rumored  engaged  so  often  and  to  so  many 
gentlemen,  that  I  am  going  to  refuse  to  take  her  seriously  any 
more. 

f  ARMEL  MYERS  says  her  idea  of  the  meanest  man  in 
the  world  is  the  one  who  turns  your  back  to  the  mirror 
in  a  dancing  scene. 

YOU  just  can't  tell  where  these  film  belles  are  going  to  place 
their  hearts.  I  had  it  all  reasoned  out  that  Jobyna  Ralston 
and  George  Lewis  would  step  to  the  altar,  then  out  comes  the 
announcement  of  Joby  and  Dick  Aden's  engagement. 

It  started  out  as  a  joke,  Richard  told  me.  A  group  of  young 
folks  went  on  a  week-end  trip  to  a  mountain  resort.  Kids  will 
be  kids  and  they  decided  an  engagement  in  the  party  would  be  a 
fitting  climax  to  a  glorious  week-end  wherein  Joby  won  a  tennis 
match  and  Virginia  Browne  Faire  caught  her  first  fish.  It  was 
decided  the  couple  should  be  Jobyna  and  Richard  Arlen,  a 
young  Paramount  player. 

The  joke  started  well.  It  lasted  for  a  week.  Then  it  ceased 
to  be  a  joke.  The  two  youngsters  decided  it  would  be  real. 
The  wedding  will  take  place  in  several  months. 

AND  exquisite  Mary  Astor  is  going  to  be  a  bride  one  of  these 
days,  too.     Mary  of  the  perfect  profile  has  given  her  heart 
and  hand  to  Irving  Asher,  whom  she  met  while  he  was  business 

4S 


manager  on  "Beau  Brummel"  and  she  was  John  Barrymore's 
leading  lady. 

T-TOLLYWOOD  has  gone  crazy  over  tennis  and  it  is  the 
most  sane  fad  that  has  hit  the  town  in  a  long  time.  The 
passion  for  tennis  in  the  West  almost  equals  the  fever  for 
croquet  in  the  East. 

May  Allison,  Blanche  Sweet,  Bessie  Love  and  Justine 
Johnstone  have  a  standing  engagement  to  play  every  day 
after  work.  The  four  girls,  none  of  whom  knew  much  about 
the  game,  started  at  scratch  and  for  a  time  their  games  were 
pretty  even. 

Soon,  however,  May  noticed  that  the  other  three  girls  were 
improving  beyond  comprehension.  "I  must  be  just  a  dub," 
May  told  herself,  and  resigned  herself  to  the  ignominy  of 
being  at  the  bottom  of  the  class. 

But  the  secret  leaked  out.  Each  girl,  unknown  to  the  others, 
had  been  sneaking  lessons  on  the  sly  from  a  professional. 
Now  May  is  taking  lessons  herself. 

MAY  has  made  her  come-back,  all  right,  and  now  she  is 
going  ahead  full  speed.  William  Fox  has  signed  her  to  play 
leading  roles  in  three  pictures.  The  first  will  be  "The  City," 
which  gives  May  a  great  dramatic  part.  May  has  had  flocks  of 
good  offers  since  the  release  of  "  Men  of  Steel." 

THE  new  Vitaphone  was  introduced  to  New  York  at  the 
opening  of  "Don  Juan"  at  the  Warner  Theater.  If  you 
have  any  prejudices  against  singing  movies,  Vitaphone  will  rob 
you  of  them.  For  this  new  process,  which  synchronizes  music 
with  the  film,  is  a  long  jump  from  the  old,  hideous  "  talkies." 

The  program  opened  with  the  "Tannhaeuser"  overture, 
played  gloriously  by  the  Philharmonic  orchestra.  It's  a  musical 
education  for  the  novice,  as  close-ups  of  the  various  sections  of 


EAST  AND  WEST      9,cjYaA 


Oscar  Shaw  shows  Norma  Shearer  how  to  make  up  for 
the  footlights.  And,  incidentally,  he  has  given  Norma 
a  black  eye.  Shaw,  a  stage  favorite,  has  been  engaged 
as  leading  man  for  Miss  Shearer  in  "Upstage."  Yes,  it 
is  a  story  of  the  "speakies" 


Nice  doggie!  Good,  old  Jiggs!  Who  wouldn't  lead  a 
dog's  life — in  the  movies?  Pauline  Starke  has  trained 
this  pup  to  act  as  her  portable  mirror.  Jiggs  follows 
Pauline  around  the  set  and  whenever  Pauline  wants  to 
repair  her  make-up,  Jiggs  is  there 


the  orchestra,  judiciously  cut  into  the  film,  give  a  casual  idea 
of  some  of  the  intricacies  of  the  Wagner  orchestration.  Cer- 
tainly the  closing  section,  with  the  brasses  predominant,  sounds 
immensely  effective  when  you  get  a  near  view  of  the  Big  Boys  in 
action. 

OF  the  singers  who  have  made  Vitaphone  records  and  posed 
for  the  films,  Martinelli  made  the  biggest  hit.  Martinelli 
sang  the  "  Vesti  la  Giubba,"  from  "Pagliacci,"  and  proved  that 
he  is  no  mean  pantomimist.  Harold  Bauer  and  Efrem  Zim- 
balist,  playing  variations  on  Beethoven  "Kreutzer  Sonata," 
also  made  a  hit.  But  the  one  frost  of  the  evening  was  Marion 
Talley,  the  Kansas  City  canary.  Miss  Talley  sang  the  "Caro 
Nome"  from  "Rigoletto"  and  her  voice  was  far  from  attrac- 
tive. 

As  for  her  face,  the  producers  made  the  mistake  of  allowing 
the  camera  to  come  too  close  to  Miss  Talley.  Long-shots — 
and  good,  long  ones — were  just  invented  for  that  girl. 

TT  was  during  the  duel  scene  of  "Don  Juan,"  and  Estelle 
Taylor  Dempsey,  as  Lucrezia  Borgia,  was  watching  the 

terrific  battle  between  John  Barrymore  and  Montagu  Love. 
"No  wonder  she  likes  it,"  cried  a  spectator.     "It's  the  first 

fight  she  has  seen  in  four  years." 

HAROLD  LOCKWOOD,  JR.,  son  of  the  beloved  Harold 
who  died  in  the  flu  epidemic,  is  entering  pictures.  Young 
Lockwood,  who  is  now  sixteen  years  old,  is  playing  a  small  part 
in  Colleen  Moore's  picture,  "  Twinkletoes." 

IT'S  a  boy.  A  fat,  gurgling,  dimpled  son  who  has  come  to 
grace  the  Raymond  McKee  nursery.  Eight  pounds  and 
growing,  and  named  Master  Raymond  Courtot  McKee  The 
middle  name,  should  you  not  recognize  it,  is  the  surname  of 


mother  who,  as  Marguerite  Courtot,  was  one  of  yesterday's 
favorite  film  actresses. 

And  while  we're  on  the  subject  of  infants,  did  you  know  the 
Ulric  Buschs  are  expecting  a  Christmas  present  from  Doc 
Stork?  Mrs.  Busch  is  Eileen  Percy,  one  of  the  most  popular 
of  the  young  film  matrons,  and  one  of  the  most  beautiful 
blondes  on  the  screen. 

NEVER,"  said  Anna  Q.  Nilsson,  as  she  drew  the  white  fox 
collar  of  her  wrap  closer.    "Never  was  I  so  frightened." 

"But  you  didn't  look  it,"  assured  John  Roche. 

"I  was,  though.  I  forgot  a  line  of  my  speech  and  when  I  re- 
membered it  I  didn't  know  what  to  do  with  it,  so  I  left  it  out!" 

But  let  me  tell  you  what  happened  to  our  Anna  Q.  When 
Hollywood  turned  out  en  masse  to  line  the  Hollywood  Bowl  in 
honor  of  their  Royal  Highnesses,  Crown  Prince  Gustavtis 
Adolphus  and  Princess  Louise,  of  Sweden,  Anna  Q.  was  the 
Swedish  actress  chosen  to  make  a  nice  little  speech  to  them. 

Their  Royal  Highnesses  sat  in  a  flag-draped  box  in  the  center 
of  twenty  thousand  admiring  people  and  Anna  Q.,  as  beautiful 
a  representative  as  any  country  could  wish,  made  her  welcome 
speech  which  ended  in  a  Swedish  salutation  to  their  Royal 
Highnesses.  After  that  Anna  Q.,  in  company  with  Einar  Han- 
sen, Swedish  actor,  was  presented  to  the  royal  party.  Lars 
Hansen,  another  Scandinavian  actor,  was  present,  but  he  re- 
mained in  his  box  near  which  sat  Hedda  Hopper,  John  Roche 
and  Newell  Vanderhof.  Dotted  in  the  throng  were  many 
picture  people. 

IN  Hollywood  they  are  telling  a  little  story  in  connection  with 
the  luncheon  given  by  Metro-Goldwyn  to  their  Highnesses. 
It  develops  that  there  was  considerable  competition  among 
feminine  stars  of  Metro-Goldwyn  for  the  seat  at  the  left  of  the 
Prince.     According  to  Mae  Murray,  she  was  slated  for  the 

49 


^n 


If  you'll  notice  Rudolph  Valentino's  muscles — and  who 
could  help  it? — you'll  understand  why  Rudy  was  will- 
ing to  fight  ten  rounds  with  any  critic  who  panned 
him  unfairly.  His  sparring  partner  here  is  "Society" 
Kid  Hogan.  Rudy  was  in  training  at  the  time  of  his 
fatal  illness 


honor,  being  a  princess  herself.  However,  when  the  luncheon 
got  under  way,  the  seat  remained  empty.  Finally,  Greta  Garbo, 
another  Swede,  you  know,  was  ushered  in  and  placed  at 
Gustavus'  left.    Miss  Murray  didn't  come  at  all. 

Miss  Murray  has  issued  an  explanation.  "I  had  to  discharge 
my  chauffeur,"  she  says,  "and  so  had  no  one  to  get  me  to  the 
studio."  So  that's  that.  Prince  David  Divani,  of  Georgia, 
otherwise  Mr.  Mae  Murray,  wasn't  present  either.  Apparently 
the  prince  can't  drive. 

Metro-Goldwyn  easily  solved  the  problem  about  who  to 
place  at  the  right  of  the  royal  princess.    Joe  Schenck  sat  there. 

'"PHE  Prince's  visit  brought  forth  the  usual  joke.  It  seems 
that  Gustavus  Adolphus  speaks  English  fluently,  but 
with  a  slight  accent.  Upon  hearing  him  speak,  one  American 
confided  to  another:  "Say,  de  Prinz,  dot  dope,  spiks  English 
almost  so  good  as  me." 

ERNEST  TORRENCE'S  first  role  since  his  return  from  a 
vacation  abroad  will  be  Peter  in  Cecil  B.  De  Mille's  "The 
King  of  Kings."    Torrence  is  now  a  free  lance  player. 

REPORTS  on   the  Apostles  are  still  coming  in.     Robert 
Edeson  has  been  engaged  by  Mr.  De  Mille  to  play  Matthew. 

THE  prize  anti-climax  of  the  month  comes  with  the  an- 
nouncement that  Jacqueline  Logan  has  been  engaged  for 
the  role  of  Mary  Magdalene  in  "The  King  of  Kings."  Gloria 
Swanson  was  mentioned  for  the  role  and  lots  of  other  promi- 
nent stars  took  tests  for  the  part.  But  Jacqueline  got  it.  Cecil 
B.  De  Mille  says  she  is  exactly  the  girl  he  wants,  so  that's  that. 

IT  seems  that  everything  is  definitely  over  between  the 
Menjous.  Adolphe  will  pay  his  wife  a  perfectly  huge  alimony 
until  his  suit  for  divorce  comes  up  in  October,  and  there  doesn't 
seem  a  chance  for  a  reconciliation. 

50 


Every  man  his  own  caddy.  Why  be  bothered  with  a 
snickering  kid  who  laughs  when  you  top  your  ball? 
Joe  Novak  has  invented  an  "all  in  one"  iron,  adjustable 
for  all  shots.  And  Douglas  MacLean  received  one  of  the 
sticks  from  the  inventor 

Mrs.  Menjou  went  to  court  the  other  day  to  have  the  alimony 
figure  set  and  came  out  with  an  order  for  $500  a  week,  the 
largest  sum  awarded  in  recent  years.  The  S500  must  also 
cover  the  cost  of  schooling  their  child,  Harold.  In  addition, 
she  will  receive  $2,500  for  her  lawyer. 

IN  the  petition  Mrs.  Menjou  said  Menjou  received  $5,000  a 
week  and  his  attorneys  hastily  informed  the  court  that  Men- 
jou received  but  $4,000.  They  made  no  comment  when  com- 
munity property  valued  at  S175.000  was  listed. 

Love  seems  to  fly  out  the  window  when  gold  enters  the 
door.  Although,  quoting  from  a  letter  Menjou  wrote  his  wife, 
it  was  more  than  dollars  that  caused  the  breach  in  the  Menjou 
family:  "It  is  your  dominating  disposition  and  your  efforts 
to  belittle  my  family.  As  for  Harold,  do  not  rule  him  so  much 
with  tears,  but  with  an  iron  hand,  or  else  he  will  bring  you 
grief,"  the  letter  read  in  part. 

T~\  W.  GRIFFITH  attended  the  Delaney-Berlenbach 
*—''  fight  and  sat  way  down  front  in  a  ringside  seat. 

"Say,"  shouted  D.  W.,  in  the  midst  of  the  excitement, 
"what  reel  is  this?" 

THERE  seems  to  have  been  a  marital  epidemic  among  the 
comedians  this  month.  Ben  Turpin  was  the  first  to  catch 
it,  then  Al  St.  John.  And  now  comes  that  rotund  funny  man  of 
Metro-Goldwyn-Mayer  to  announce  that  Miss  Gladys  John- 
stone has  become  Mrs.  Bert  Roach.  They  plan  a  honeymoon 
in  Honolulu  when  Roach  completes  his  role  in  "Tin  Hats." 

THE  death  of  the  popular  comedian,  Willard  Louis,  was 
noted  on  the  As  We  Go  To  Press  Page  of  last  month's 
Photoplay.  Just  after  finishing  his  first  starring  part,  in 
"The  Doormat,"  Louis  was  stricken  with  typhoid  fever.  An 
illness  of  three  weeks  followed,  Louis  finally  apparently 
passing  the  turning  point.  Then  unexpected  complications 
developed  and  death  followed. 

Funeral  services  were  held  in  Glendale,  Cal.,  and  burial  was 
in  San  Francisco,  Mr.  Louis'  home  city.  Mr.  Louis  is  survived 
by  a  widow  and  an  eight-year-old  daughter,  Dorothy. 

RICHARD  DIX  made  most  of  the  football  scenes  for  "The 
Quarterback"  during  the  hottest  weather  of  the  year. 
When  everyone  else  was  in  swimming,  Richard  was  working 
under  the  hot  lights  in  full  gridiron  regalia. 

"D ICHARD  has  this  one  to  tell  about  a  golf  match.  A  cer- 
-*-^tain  Mr.  Cohen  went  to  Scotland  to  satisfy  an  ambition 
to  play  golf  on  a  Scotch  links.     As  he  started  off  at  the  first 


If  little  Joseph  Anderson  isn't  a  great  movie  star, 
something  is  wrong  with  the  theory  of  heredity  and 
environment.  Bill  is  the  first  child  born  in  a  studio 
hospital.  His  father,  Dr.  Harry  Anderson, is  physician 
for  Metro-Goldwyn 

tee,  he  met  a  Scotchman  and  suggested  that  he  join  him. 

"I  go  'round  in  a  hundred  and  ten,"  said  Mr.  Cohen. 

"That's  my  game,"  answered  the  Scotchman.  "Let's  make 
it  a  dollar  a  hole."     And  Cohen  was  on. 

After  the  game  was  over,  Cohen  met  a  friend.  "How  did 
you  come  out?"  he  inquired. 

"Terrible,"  wailed  Cohen.  "He  beat  me  one  up.  And  I 
went  around  in  seventy-six!" 

JUST  saw  a  cable  from  Constance  Talmadge  to  Sister  Norma, 
which  said  in  part: 

"Don't  worry  about  me.     Am  having  great  time." 
It  was  sent  from  Scotland  where  Connie  and  her  handsome 
husband,  Capt.  Alastair  Mackintosh,  are  spending  a  belated 
honeymoon  at  the  Mackintosh  ancestral  home. 

ONE  of  the  popular  pastimes  in  Hollywood  just  now  is  mak- 
ing pilgrimages  to  Peg  Talmadge's  bedside.  Mrs.  Tal- 
madge, mother  of  Norma,  Constance,  and  Natalie  (Mrs. 
Buster  Keaton),  has  been  laid  up  for  a  month  in  Norma's  big 
Hollywood  house.  But  she  certainly  hasn't  been  lonesome, 
for  all  her  friends  have  found  it  a  great  opportunity  to  have 
real  visits  with  Peg.  Any  day  that  you  happened  to  be  pass- 
ing the  big  white  house  on  Hollywood  Boulevard,  you  would 
be  apt  to  see  Frances  Marion,  or  Mrs.  Sam  Goldwyn  (Frances 
Howard),  or  Florence  Vidor,  or  Lillian  Gish,  or  any  one  of  a 
dozen  other  girls  dashing  up  the  steps  laden  with  flowers. 

T^LLEN  RICHTER  WOLFF,  the  "German  Mary  Pick- 
ford,"  arrived  on  these  shores  recently.  We  are  now 
nicely  supplied  with  Mary  Pickfords  of  all  nations,  except  the 
Korean.  When  the  Koreans  ship  on  their  candidate  the 
quota  will  be  full. 

A  DIVORCE  of  the  month  was  that  of  Louise  Fazenda,  the 
comedienne,  whose  sense  of  humor  was  inadequate  when 
it  came  to  marriage  with  Mason  Smith,  director,  sometimes 
known  as  Noel  Smith.     Her  divorce  papers  charge  desertion. 

Louise,  who  is  one  of  Warner's  brightest  stars,  recently  com- 
pleted "  Footloose  Widows,"  but  she  insists  the  title  had  noth- 
ing to  do  with  the  marital  split-up. 

AL  ST.  JOHN,  who  makes  film  fun  with  a  bicycle,  surprised 
us,  too.  He  and  June  Price  Pierce  were  married  by  a 
judicial  friend  at  the  bride's  home  in  Cahuenga  Park,  near 
Hollywood. 


N 


ORMAN  KERRY  has  been  frisking  all  over  the  Metro- 
Goldwyn-Mayer  lot  in  the  brightest  kilties  you  ever  saw. 


The  dance  of  the  Seven  Reels — as  interpreted  by  Gwen 
Lee.  Hollywood  has  found  a  new  way  to  use  the  film 
that  is  cut  from  its  pictures.  And  pray  what  better  use 
could  be  made  of  film  cut  out  by  censors  than  to  drape 
it  together  for  a  snappy  little  hula  skirt? 


Sort  of  a  plaid  sunset  effect.     He's  playing  a  hardy  Scot  to 
Lillian  Gish's  fragile  Annie  Laurie. 

He  met  Lew  Cody : 

"Rather  a  loud  outfit  you  have,  Norman!" 

"Too  loud?" 

"Yes,  a  bit.     Why  don't  you  put  a  muffler  on?" 

TALK  about  realism  in  pictures.  Warner  Brothers  gave  the 
part  of  the  director  in  "Broken  Hearts  of  Hollywood"  to 
Emile  Chautard,  who  was  once  one  of  our  greatest  directors. 
He  should  know  his  megaphone. 

A  REPORT  that  Queen  Marie  of  Roumania  may  visit  this 
country  makes  me  shudder.  Queen  Marie  is  already  com- 
mitted to  write  a  story  for  Metro-Goldwyn  and  what  might 
happen  if  she  should  visit  Hollywood  sends  the  cold  chills  down 
my  spine.  Queen  Marie  loves  money  and  Hollywood  loves 
titles  and  the  explosion  when  the  two  yearnings  met  would  be 
something  terrific. 

BEBE  DANIELS  has  discovered  that  she  may  have  a  claim 
to  a  title.  Charlie  Paddock  was  awarded  some  kind  of  a 
handle  of  nobility  by  a  Balkan  government  and  so,  when  Bebe 
marries  him,  she  will  be  entitled  to  use  it. 

AS  for  Mae  Murray,  she  is  very  much  the  Princess  Divani. 
Her  own  name,  slightly  Teutonic  in  sound,  is  buried  in  the 
mists  of  antiquity,  for  Mae  has  been  a  Murray  ever  since  she 
burst  forth  as  the  Nell  Brinkley  girl  in  an  ancient  edition  of  the 
Follies. 

Gloria  Swanson,  who  started  all  this  grief,  is  a  widow,  for  the 
time  being,  as  Henry  has  gone  to  Europe  to  have  his  passport 
renewed. 

Gloria  sincerely  mourns  Henry's  absence.  The  croakers 
who  predicted  an  early  end  to  the  marriage  were  bad  prophets 
because  Gloria  is  still  wistful  about  her  Marquis. 

[  CONTINUED  ON  PAGE  94  ] 

51 


THE    NATIONAL    GUIDE    TO     MOTION     PICTURES 

The 

Shadow 


THE  WALTZ  DREAM— UFA— Metro-Goldwyn-Mayer 

A  GAY  comedy  of  old  Vienna,  mellow  with  the  sort  of 
sentiment  aroused  by  two  glasses  of  Pilsner  beer. 
Adapted  from  an  operetta,  it  proves  that  the  Germans  are 
quite  as  clever  with  comedy  as  they  are  with  the  serious  stuff. 
The  plot?  A  prim  princess  gets  a  taste  of  May  wine  and 
impulsively  becomes  engaged  to  a  count.  The  rigors  of 
court  ceremony  chill  the  young  husband's  love  and  so  the 
wife,  to  win  him  back,  takes  lessons  in  Viennese  flirtation 
from  her  husband's  inamorata.  The  light  story  is  gracefully 
and  gayly  told  with  Mady  Christians,  as  the  Princess,  giving 
a  gorgeous  performance.  The  acting  has  real  zest  and  the 
authentic  Viennese  settings  are  a  treat.  If  you  have  any 
prejudice  against  foreign  films,  make  an  exception  of  this 
one.     It  is  wholesome  and  light-hearted  entertainment. 


YOU  NEVER  KNOW  WOMEN— Famous  Players 

FLORENCE  VIDOR'S  first  starring  vehicle,  and  an 
original  by  the  Hungarian  Hollywoodcr,  Ernest  Vadja. 
Miss  Vidor  plays  the  star  of  a  traveling  Russian  troupe,  a 
sort  of  Keith  and  Proctor  Chauve  Souris.  She  is  loved  by 
two  men,  the  leader  of  her  troupe  and  an  American  man- 
about-town.  The  shrewd  Russian  decided  to  adopt  stren- 
uous means  to  solve  the  knot.  He  performs  his  usual  pub- 
licity stunt  of  permitting  himself  to  be  dropped  overboard, 
chained  within  a  big  packing  box.  The  box  disappears  below 
the  waters,  but  the  Slavonic  Houdini  does  not  reappear. 
Then  Vera  realizes  who  she  loves  most.  No,  we're  not  going 
to  tell  the  answer.  Miss  Vidor  makes  a  lovely  Russian 
vaudevillian,  Clive  Brook  is  excellent  as  the  leader  of  the 
troupe  and  Lowell  Sherman  is  himself  as  the  American.  The 
production  shows  the  German  influence  in  camera  treatment. 


A  Review  of  the  J\[ew  Pictures 


DON  JUAN— Warner  Bros. 

HEY,  Mr.  Fairbanks,  come  home  quick!  John  Barry- 
more  is  stealing  your  stuff.  He  climbs  balconies,  he 
rides  horses,  he  fights  duels  and  he  makes  hot,  hot  love. 
Here  is  a  young  feller  who  is  determined  to  live  down  his 
dark  past  as  a  Shakespearean  actor.  And  here  is  an  actor 
who  is  more  than  just  a  star;  for  you  cannot  tell  this  reviewer 
that  Barrymore  didn't  have  an  active  hand  in  producing 
this  film. 

"Don  Juan"  is  a  lively  burlesque  of  "The  Great  Lover" 
of  legend.  This  boy  is  so  mean  with  women  that  the  girls 
won't  let  him  alone.  As  soon  as  he  sights  a  good  girl,  how- 
ever, he  reforms.  You  can't  blame  him;  good  girls  were  a 
novelty  in  Renaissance  Italy.  In  the  course  of  enacting  the 
adventures  of  the  wicked  Spaniard,  Barrymore  gives  us 
JckyU-and-Hydc,  Don  Q,  Zorro,  Hamlet  and  Bean  BrummcJ. 
His  is  such  a  boundless  talent  that  he  can  afford  to  be 
profligate. 

He  acts  with  an  abandon  that  will  arouse  the  disapproval 
of  the  School  of  Eyebrow  Lifters. 

The  whole  production  has  a  lavish  beauty.  Surely  never 
were  so  many  beautiful  girls  assembled  in  one  cast.  Estelle 
Taylor  gives  one  of  the  great  performances  of  the  year  as 
Lucrczia  Borgia. 

Montagu  Love  and  Warner  Oland  are  a  couple  of  sinister 
heroes,  while  Mary  Astor  is  the  girl  whose  glance  has  the 
purifying  effect. 

Here  is  a  picture  that  has  great  acting,  thrilling  melo- 
drama and  real  beauty.  Anyone  taking  a  child  to  "Don 
Juan"  is  nothing  but  a  silly. 

With  the  Vitaphone,  a  real  film  event. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


The  Six  Best  Pictures  of  the  Month 

DON  JUAN  THE   SON   OF   THE    SHEIK 

THE  WALTZ  DREAM 

YOU  NEVER  KNOW  WOMEN 
THE  SCARLET    LETTER 

ONE   MINUTE  TO  PLAY 

The  Best  Performances  of  the  Month 

Rudolph  Valentino  in  "The  Son  of  the  Sheik" 

John  Barrymore  in  "Don  Juan" 

Estelle  Taylor  in  "Don  Juan" 

Florence  Vidor  in  "You  Never  Know  Women" 

"Red"  Grange  in  "One  Minute  to  Play" 

Gloria  Swanson  in  "Fine  Manners" 

Casts  of  all  pictures  reviewed  will  be  found  on  page  142 


THE  SON  OF  THE  SHEIK— United  Artists 

LONG  will  this  picture  remain  in  the  memory  of  those  for- 
tunate enough  to  see  it.  "The  Son  of  the  Sheik"  was 
Rudolph  Valentino's  last  effort  before  the  silver  screen.  He 
was  the  old  Rudy  again  and  his  work,  without  question, 
ranked  at  the  top  of  the  best  performances  of  the  month. 

Rudy's  old  desert,  Rudy's  old  fire,  his  old  love,  Agnes 
Ayres,  his  new  love,  Vilma  Banky,  his  horses  and  his  tents 
are  all  here,  and  how!  Romance  fills  the  air  every  second 
Rudy's  visible. 

The  plot,  if  you  insist,  concerns  the  child  of  that  marriage 
between  the  Sheik  and  the  Lady  Diana,  and  what  a  child  he 
grew  up  to  be!  He  rides  like  the  wind,  he  fights  like  Doug 
Fairbanks  on  a  busy  morning,  and  his  lovemaking  is  more 
torrid  than  an  August  afternoon  in  an  accounting  depart- 
ment. 

In  a  troupe  of  French  players,  touring  the  desert,  he 
beholds  his  love.  She  is  fair  and  has  dove's  eyes.  At  night, 
beneath  the  desert  stars,  he  woos  her  and  she  is  very,  very 
happy  to  be  won.  But  her  father  wants  the  young  Sheik's 
money.  Her  father's  confederate  wants  the  girl.  So  drama 
comes  in,  when  Rudy  is  captured,  tortured  and  held  for 
ransom. 

Freed  by  his  own  men,  he  believes  the  girl  has  betrayed 
him.  He  vows  revenge  and  captures  the  girl,  riding  off  to  his 
tents  with  her,  frail  and  sobbing  in  his  arms.  The  rest  is 
what  makes  this  picture  unforgettable. 

Rudy  plays  both  father  and  son,  ideally.  Vilma  Banky  is 
perfectly  lovely  as  the  girl.  And  we  expect  every  fan  in  the 
country  to  be  saying,  "It  was  Rudy's  best.  I  can  never 
forget  him." 


THE  SCARLET  LETTER— Metro-Goldwyn-Mayer 

HAWTHORNE'S  classic  and  somber  study  of  the  New 
England  conscience  has  been  just  as  somberly  translated 
to  the  screen. 

Lillian  Gish  wears  the  red  letter  of  sin  with  her  stock 
virginal  sweetness,  failing  to  grasp  the  force  of  Hester 
Prynne's  will  power  and  intelligence.  She  is  a  beaten  child, 
not  a  courageous  woman. 

The  camera  work  has  been  perfectly  handled,  but  the 
Puritans  have  been  seen  with  a  slightly  Swedish  eye  by 
Director  Victor  Seastrom.  They  are  dour  rather  than  high- 
minded  religious  fanatics.  The  performance  of  the  piece  is 
Lars  Hanson's  as  Dimmcsdale.    He  suffers  handsomely. 

Take  your  handkerchiefs  and  the  older  children.  All  self- 
appointed  censors  should  be  ordered  to  sit  through  it. 


ONE  MINUTE  TO  PLAY—F.  B.  O. 

FRONT-PAGE  stars  who  try  to  break  into  the  movies  are 
usually  frosts.  Check  up  an  exception  in  "  Red  "  Grange. 
The  Galloping  Ghost  is  a  real  screen  personality.  He  has 
engaging  good  looks,  camera  ease  and  a  personality  that  wins 
you  from  the  start.  He  may  be  no  Barrymore  for  acting, 
but  he  is  better  than  a  lot  of  heroes  who  pass  themselves  off 
as  actors. 

Sam  Wood,  the  director,  deserves  a  lot  of  credit  for  giving 
Number  77  a  production  that  has  convincing  college  atmos- 
phere. 

The  students  are  real  students  and  not  a  lot  of  elderly 
extras,  and  the  football  game  is  exciting  because  it  is  played 
by  "Wildcat  Wilson"  and  other  West  Coast  stars.  You'll 
like  "Red"  and  you'll  like  the  picture.  It's  the  very  spirit 
of  youth  and  good  sport. 

53 


THE 

DUCHESS 
OF  BUFFALO 

—First 
National 


FINE 

MANNERS- 

Paratnount 


BRISK,  racy  and  lightly  amusing — but  by  no  means  the  equal 
of  this  star,  Constance  Talmadge's  "  Her  Sister  From  Paris." 
An  American  dancer  in  Russia  falls  in  love  with  a  young  officer 
of  dragoons,  but  is  pursued  by  a  gay  old  grand  duke.  The  usual 
farce  complications.  Miss  Talmadge  gives  a  performance  of 
considerable  verve,  but  Tullio  Carminati  is  a  wooden  hero.  The 
acting  honors  go  to  Edward  Martindel,  who  takes  the  part  of 
the  flirtative  duke. 


EXCEPT  in  this  month  of  most  unusual  pictures,  "Fine 
Manners"  would  rate  among  the  "Best  Six"  for  it  is  the  best 
Swanson  movie  since  "Manhandled."  Gloria  is  delightful  in 
one  of  those  roles  she  does  so  perfectly — that  of  a  shabby  little 
working  girl  who  loves  devotedly.  She's  a  burlesque  chorus 
girl  here  and  Eugene  O'Brien  is  the  rich  man  of  her  dreams.  The 
story,  while  unpretentious,  is  made  charming  by  good  acting 
and  capable  direction. 


HER  HONOR, 
THE 

GOVERNOR— 
F.  B.  O. 


THE  LAST 
FRONTIER 
Producers 
Dist.  Corp. 


MARK  down  another  tragedy  for  Pauline  Frederick!  Once 
more  that  sterling  actress  wastes  a  masterly  performance 
on  celluloid  claptrap.  Intelligently  handled,  the  story  of  a  ca- 
pable woman  governor,  who  was  also  a  devoted  mother,  could 
have  been  dramatic.  Instead,  banal  treatment  makes  it  only 
cheap  melodrama.  Carroll  Nye,  possibly  inspired  by  Miss 
Frederick's  distinguished  playing,  is  excellent  as  the  son.  Their 
work  is  worth  seeing,  but  the  film  itself  is  a  disappointment. 


HERE  is  another  and  feeble  version  of  "The  Covered 
Wagon"  plot,  with  the  long  trek  over  the  plains,  the  buffalo 
stampede,  the  rascally  redskins,  the  battle,  the  brave  young 
hero,  William  Boyd,  and  the  heroine  who  just  wouldn't  under- 
stand and  neaily  married  the  villain.  This  is  not  so  very  good 
and  not  so  very  bad,  either.  But  Bill  Boyd  is  charming  as 
always,  and  Marguerite  de  la  Motte  is  much  better  than  the 
role  she  has. 


THE  WHOLE 

TOWN'S 

TALKING— 

Universal 


the  family 
upstairs- 
Fox 


AN  interesting  version  of  the  John  Emerson  and  Anita  Loos 
stage  play  with  Edward  Everett  Horton  and  Otis  Harlan 
supplying  the  chief  comedy.  Our  old  pal,  the  dumb  hero,  is  the 
subject  for  much  merriment.  When  his  sweetheart  announces 
she  will  marry  a  man  of  the  world,  our  hero  suddenly  digs  up  a 
wicked  past  for  himself.  Of  course  he  finds  that  things  do  not 
work  out  as  expected.  He  picks  on  the  wrong  lady — but  go 
see  it  if  you  want  a  good  laugh. 

54 


A  PICTURE  like  this  is  as  welcome  as  an  engagement  ring  to 
an  old  maid.  It's  not  pretentious,  but  throughout  the 
entire  piece  runs  a  human  interest  clement  that  is  appealing. 
It's  all  about  a  young  girl  who  is  continually  nagged  by  her 
family  because  she  hasn't  a  beau.  And  when  Prince  Charming 
does  arrive  on  the  scene  mom  nearly  queers  the  whole  affair 
with  her  company  manners.  You'll  enjoy  this.  See  it — by  all 
means. 


THE 

SAVAGE- 
First 
National 


MISMATES- 

First 

National 


AN  insult  to  the  human  intelligence  to  think  that  such  a 
story  is  plausible.  List  to  this,  which  sounds  like  one  of 
those  hoaxes  they  used  to  pull  in  Edgar  Poe's  time:  Dan  Terry, 
working  for  a  scientific  magazine,  tries  to  discredit  a  rival  paper 
by  posing  as  a  savage.  But  Terry  falls  in  love  with  the  rival's 
daughter  and  refuses  to  expose  the  old  man.  Looks  as  though 
someone  was  kidding  himself.  What  was  that  last  remark 
please — louder  and  funnier,  did  you  say? 


NOW  what's  a  fella  to  say  in  a  case  like  this?  Here  they 
have  assembled  an  excellent  cast:  Doris  Kenyon,  Warner 
Baxter  and  May  Allison.  The  tear  ducts  run  dry  in  this  weepy 
version  of  the  mother  love  and  self-sacrificing  theme.  To  make 
matters  worse,  a  wild  orgy  and  a  jewel  display,  a  la  De  Mille, 
are  dragged  in — why? — it's  still  a  mystery.  If  the  cast  appeals 
to  you,  see  it.  Now,  that's  fair  enough,  isn't  it?  Don't  say  we 
didn't  warn  you! 


THREE 

BAD  MEN- 
Fox 


OH,  BABY- 

Universal 


THIS  is  real  good  entertainment — the  kind  the  whole  family 
can  enjoy.  A  gripping  and  forceful  story,  the  marvelous 
scenic  effects,  the  romantic  and  tragic  conditions  of  the  great 
West,  and  the  beautiful  photography  combine  to  make  this  one 
of  the  best  pictures  of  the  month.  The  story  is  centered  around 
the  pioneers  of  America.  Those  courageous  human  beings  who 
gathered  together  their  little  belongings  and  traveled  and 
settled  in  the  West — the  land  of  gold.    Worth  while. 


A  LOT  of  fun.  Little  Billy,  the  famous  vaudevillian,  three 
feet,  eight  inches  in  height,  is  a  prize-fight  manager.  He 
masquerades  as  a  little  girl  to  help  his  pal  (Creighton  Hale)  fix 
matters  with  an  estranged  aunt.  Madge  Kennedy  poses  as  the 
"make-believe"  wife,  and,  as  you  know,  many  complications 
set  in — all  for  your  amusement.  Not  so  original  as  to  plot,  but 
everything  turns  out  hunky-dory,  and  the  audience  exits 
smiling. 


THE  GREAT 
DECEPTION 
—First 
National 


IN  HER 
KINGDOM- 
First 
National 


THIS  is  sadly  lacking  in  entertainment  value.  The-  secret 
service  war  stuff  being  rehashed  and  served  for  your  amuse- 
ment— if  you  can  call  it  such.  Ben  Lyon  is  a  such  in  the 
service  of  two  countries.  Of  course  you  are  supposed  to  be  in 
doubt  as  to  which  side  he  is  really  cheering  for,  but  somehow 
you  just  know  what's  what.  That's  the  way  pictures  cut-to- 
standard-measure  have.  Aileen  Pringle  has  little  to  do  and 
does  it  well. 


JUST  a  lot  of  boloney.  The  plot  revolves  about  the  Grand 
Duchess  Tatiana  of  Russia  and  a  peasant  who  grows  up  to  be 
a  stuffy  Soviet  who  marries  her.  The  production  lumbers 
along  under  the  most  bewhiskered  treatment  of  months.  It 
has  flowery  subtitles,  stupid  symbolism,  bad  photography  and 
commonplace  direction.  Corinne  Griffith  has  nothing  to  do, 
but  she  does  it  always  with  her  beautiful  mouth  open.  Corinne's 
a  nice  girl,  but  don't  waste  your  money,     [cont'd  on  page  108) 

55 


The  smartly  tailored  two-piece 
frock,  shown  by  Laura  La 
Plante,  is  made  of  Christino, 
the  newest  fall  fabric,  similar 
to  charmeen,  with  pockets  and 
trimming  of  gazelle  far,  a  very 
new  note,  in  the  autumn  mode. 
A  dress  of  this  type  is  indis- 
pensable to  the  smart  wardrobe. 
Lovely  new  shades  of  jungle 
green,  wine,  cedar  brown  and 
navy.  Sizes  14  to  20.  Rea- 
sonably priced  at  $36.00 


Laura  LaPlante  displays  this  new  coat 
with  justifiable  pride.  The  model  illus- 
trated is  of  ivool  fleece  tweed  plaid,  in 
brick,  blue  or  henna  colorings,  with 
leather  belt  and  trimming  and  a  large 
flattering  collar  of  Jap  fox.  The  same 
model  may  be  ordered  in  newzelia  (a 
plain,  suede-like  fabric),  self  trimmed, 
with  a  large  collar  of  wolf,  in  forest  green, 
oakrest  brawn  or  snowberry  red.  Both 
models  are  fall  silk  lined  and  very  warmly 
interlined.  Sizes  l1,  to  SO.  Very 
spi  1  tally  priced  at  -s  ','■<.:  ~> 

The  charming  dance  frock  Inlaw,  at  the 
left,  worn  by  Lois  Mohan,  ruffles  its  full 
skirt  all  the  way  up,  coquettishly  alter- 
nating net  and  georgette  ruffles,  and 
places  a  wreath  of  liny  satin  flowers 
around  its  waist,  with  a  spray  on  one 
shoulder.  In  red,  powder  blue  or  orchid, 
sizes  14  to  SO.    $29.60 


The  clever  afternoon  frock  of  georgette, 
worn  by  Miss  Morax,  in  the  center,  uses 
rows  of  narrow  velvet  trimming  to  give 
emphasis  to  the  smart  deep  "V"  neck. 
Rows  of  the  same  trimming  band  the 
sleeves,  just  above  the  graceful  pleated 
caffs,  and  the  blouse,  above  the  pleated 
ruffle.  This  frock  with  its  soft,  yet 
simple  lilies,  will  repay  many  times  the 
initial  outlay  by  serving  for  practically 
ami  informal  occasion.  Wine,  green  or 
'black,  in  sizes  li,  to  30.    $46.00 

The  always  papular  jumper  frock  chooses 

satin  Jar  fall  and  box  pleats  far  smartness. 

In  black,  Chanel  red  and  brown, sizes  1  ', 

ta  JO.    Price  tS9.50 


HOW  TO  ORDER 

'T'HIS  Shopping  Service  is  for  your  benefit  and  we  urge  you  to  use 
it.  Its  facilities  are  at  the  disposal  of  every  PHOTOPLAY  reader 
whether  a  subscriber  or  not.  Send  check  or  money  order  together 
with  size  and  color  desired.  STAMPS  WILL  NOT  BE  ACCEPTED. 
No  articles  will  be  sent  C.  O.  D.  If  you  are  not  pleased  with  any 
purchase  return  it  immediately  and  your  money  will  be  refunded. 
IMPORTANT:  Articles  for  credit  or  exchange  must  be  sent  direct 
to  Photoplay  Shopping  Service,  221  West  57th  Street,  New  York 
City,  and  not  to  the  shop  from  which  they  were  sent. 


The  trim  little  .sweater  suit 

shownbyhoVIHtihROOKS, 

above,  is  indeed  a  versatile 
garment.  While  it  is  just 
the  thing  for  all  active  fall 
and  winter  sports,  it  is 
noi  too  "sporty1'  to  serve 
for  the  classroom  or  busi- 
ness office  as  well.  Very 
nicely  made  and  finished, 
it  may  be  obtained  in  all 
the  new  shades  of  green, 
tan,  blue,  henna,  brick, 
etc.,  with  the  sweater 
striped  in  a  harmonizing 
shade.  The  pleats  at 
cither  side  of  the  skirt 
allow  for  ample  freedom. 
In  sires  from  16  to  Jf2  this 
useful  sweater  frock  costs 
but  SI  i.95 


Cosy  comfort  for  chilly  autumn 
nights  lies  in  this  attractive,  gen- 
erously cut  lounging  robe  of  excel- 
lent quality  corduroy.  It  has  long 
shires  and  is  fully  lined  with 
dotted  seco  silk.  Choose  it  in  your 
favorite  color — cherry  red,  orchid, 
copen  blue,  ivistaria  and  grape- 
juice.  The  sizes  are  from  34  to  44 
and  it  costs  the  small  sum  of  $4-95 


The  frock  at  left,  above,  worn  by  Louise  Brooks, 
is  smartly  cut  of  homespun  tweed,  a  splendid 
material  for  autumn  wear,  with  collar  and  cuffs  of 
crepe  de  chine  and  a  novelty  leather  belt.  This  frock 
represents  the  remarkable  saving  made  possible  by 
our  Service.  It  comes  in  a  soft  shade  of  green, 
winterleaf  broion,  cherry  or  navy,  sizes  14  to  4%, 
for  $10.95 

Above,  at  right,  Miss  Brooks  shows  an  attractive 
new  model  in  the  always  popular  jersey,  with  con- 
trasting color  buttons  and  a  smart  pocket  and  belt 
arrangement.  This  is  another  of  those  useful  frocks 
that  can  appear  in  the  classroom,  at  the  office  or  on 
the  golf  links,  with  equal  assurance.  Chanel  red, 
jungle  green,  flag  blue  or  tan.  Sizes  16  to  44- 
$15.75 


High  heeled  oxfords  of 
black  suede  and  patent, 
patent  with  jnn  seal,  or 
brown  lizard  calf  with 
matching  patent,  and  sim- 
ulated reptile  inlay.  Sizes 
2V2loS,AAA  to D.  $13.50 


You  need  quilted  satin 
slippers  to  wear  with  your 
lounging  robe  and  these 
come  in  rose,  blue,  laven- 
der or  black  with  matching 
pompons,  and  low  heels. 
2}i  to  S.     Price  $2.95 

57 


hen  the 

Movies 
Were  Poor 
Relations 

Bob  Vignola  was  a  Director 
of  the  Pioneer  Film  Days 

By  Ivan  St.  Johns 


CONVERSATIONALLY,    nothing   is   more   fun    than 
reminiscing. 
All    get-together    luncheons,    class    re-unions,    old- 
timers'  picnics  and    fraternity  banquets   are   founded 
upon  man's  legitimate  desire  to  talk  about  the  good  old  days. 

Biographies,  which  during  the  past  five  years  have  increased 
in  popularity  to  a  degree  alarming  to  fiction  writers,  are  like- 
wise built  upon  human  curiosity — curiosity  about  things  that 
happened  to  famous  people  far  away  and  long  ago  and 
that  are  probably  none  of  our  business. 

But  best  of  all  is  the  reminiscence  founded  upon 
"we knew  them  when." 

You've  heard  it  often  enough. 

They  grab  the  name  of  some  big  opera  star  out  of 
the  conversation  and  fairly  burst  with,  "  My  dear,  I 
knew  her  when  she  was  a  waitress  in  a  restaurant  in 
my  home  town  in  Texas,  and  I  want  to  tell  you  she 
was — " 

Or  if  a  millionaire  plunger  on  Wall  Street  is  men- 
tioned, there's  always  somebody  to  nail  him  with, 
"Say,  that  bird  was  an  oil-driller  in  Oklahoma,  and 
I  knew  him  when  he  didn't  have  two  shirts  to  his  back 
and — " 

Robert  Vignola  knew  the  movies  when — when  they 
were  in  their  infancy,  when  they  were  snuggling  for 
existence,  when  they  were  the  poor  relation  of  the  stage. 

And,  on  a  sunny  afternoon,  on  the  wide  sun-porch 
of  his  beach  bungalow  by  the  sea,  Bob  somehow 
drifted  into  reminiscences  about  the  movies. 

"Why,"  said  Bob,  squinting  at  an  amber  glass  of 
near-beer  he  held  in  his  hand,  "why,  I  knew  the 
movies  when  I  used  to  get  insulted  by  the  worst  ham 


Bob  Vignola  has  an  Italian  home  in  the  Whit- 
ley Heights  section  of  Hollywood.  He  is  in  the 
midst  of  a  cluster  of  celebrities,  with  Eugene 
O'Brien  on  the  east  and  Valentino  just  up 
the  hill 

5S 


Robert  Vignola  started  his 
motion  picture  career  way 
back  when  it  was  considered 
an  insult  to  ask  a  stage  actor 
to  appear  on  the  screen.  Now 
try  to  keep  them  off  it  I 


actors  on  Broadway  for  asking  them  to  play  in  a  motion 
picture.  And  it's  not  so  long  ago.  either — fifteen  years,  maybe. 
"Yes,  sir,  when  I  was  directing  for  the  old  Kalem,  back  in 
1910  or  1911,  I  used  to  make  the  rounds  of  the  theatrical 
agencies  on  Broadway  looking  for  actors.  I'd  timidly  pull 
some  actor's  coat  and  ask  him  apologetically  if,  maybe,  he 
wouldn't  like  to  make  a  moving  picture.  And  in  about  nine  cases 
out  of  ten,  even  if  he  was  a  [  continued  on  page  124I 


fVEN  if  she  were  not  the  sister  of  Frances  Howard  Goldwyn,  Constance  Howard 
/  would  have  had  no  trouble  getting  a  job  in  the  movies.    Douglas  McLean  took  one 
look  at  her  and  signed  her  to  be  his  leading  woman  in  "Ladies  First." 


f  Winter 
Comes 


Her  name  is  Connie 
Dawn  and  when 
Connie  puts  on  this 
spider  suit  the 
Dawn  comes  up  like 
thunder  outer  the 
Pacific  Ocean 


This  is  little  Violet  Byrd.   Yes,  Cyril,  you 

are  right.    A  Byrd  on  the  beach  is  worth 

two  in  the  studio 


Even  the  oysters  come  out  of  their  shells 

when  Thelma  Parr  wears  this  outfit.   And 

Thelma  has  a  real  pretty  face,  too 


What's  the  difference 
to  these  Sennett  girls? 


You  figure  it  out.    It  has  us  stumped.    Is 

Peggy  Blake  wearing  a  suit  or  is  it  only  a 

part  of  the  doll's  dress? 


Another  Byrd — Sister  Betty  Betty  is 
all  dressed  for  swimming  or  checkers. 
And  how  this  girl  loves  to  pl.iy  checkers ! 


What  to  do  with  the  old  pallor  curtains 
—as  demonstrated  by  Muriel  Montrose. 
Is  that  Charl  ie  Ray's  ha  t  she  is  wearing? 


"N  the  old  days,  famous  beauties  weren't  supposed  to  have  husbands.    Or  if  they  did, 
-  they  weren't  supposed  to  be  in  love  with  them.    On  the  opposite  page,  Ruth  Water- 
bury  tells  you  the  idyllic  love  story  of  Esther  Ralston. 


ove 

and 

Esther 
Ralston 

Here,  actually,  is  a 

Story  of  True  Love 

in  Cameraland 


By  Ruth 
Waterbury 


ESTHER  RALSTON'S  husband  sug- 
gested that  I  keep  him  out  of  the  story. 
Esther,  herself,  said  it  might  be  just 
as  well.  All  her  interviews,  she  ex- 
plained, started  about  her  and  ended  about 
him. 

But  you  might  just  as  well  try  to  keep  the 
sea  out  with  a  broom  as  to  try  to  keep  George 
Webb  out  of  Esther's  story. 

For  how  can  you  keep  a  man  out  of  a  girl's 
story  when  that  girl's  eyes  go  searching  him 
every  moment,  when  her  hands  move  softly 
and  constantly  in  his  direction,  when  her 
simplest  phrases  become  little  bridges  along 
which  her  love  runs  toward  him? 

How  can  you  help  writing  about  a  love 
like  that  when  you  see  it,  see  it  straight  out 
of  Hollywood  into  the  heart  of  Manhattan, 
love  between  a  lovely,  slender  girl  who  is  a 
movie  star,  and  a  dark,  handsome  man  who 
is  her  manager,  love  nearly  a  year  old  and  very, 
very  big  for  its  age? 

Frankly,  I  hadn't  wanted  to  interview 
Esther  Ralston.  I  expected  her  to  be  just 
another  blonde  dumbbell.  I  heard  she  was 
being  groomed  to  take  Gloria  Swanson's  place 
on  the  Paramount  program,  and,  being  an 
ardent  Swanson  fan,  I  didn't  like  that,  either. 

I  remembered  the  calm,  wistful 
beauty  of  Esther  Ralston's  eyes  when 
she  played  Mrs.  Darling  in  "  Peter  Pan," 
but  I  discredited  it  after  "The  American 
Venus."  Charming  and  sweet  as  she 
was,  she  looked  like  any  show  girl  to  me 
in  that  flicker. 

I  found  her  the  nicest  girl  I  have  ever 
met,  "nicest"  in  that  sense  that  a  prep 
school  boy  uses  it  in  describing  his  girl 
to  his  mother. 


Just  Mr.  and  Mrs.,  the 
little  woman  and  the  big, 
strong  male.  Married 
nearly  a  year,  Esther  Rals- 
ton and  George  Webb  are 
like  love's  young  dream 
come  true 


She  is  so  wise  and  so 
sane  and  so  simply  beau- 
tiful in  her  pure  loveliness. 
All  the  silly  decorative 
over-written  phrases  are 
right  in  reference  to  her. 
She  is  like  a  birch  tree. 
She  is  like  a  day,  not  in 
June,  but  in  April,  one  of 
those  poignant,  tender, 
warm  little  days. 

Her  body  is  long  and 
slender.  Five  feet  six,  she 
weighs  only  a  hundred 
and  twenty-eight  pounds. 
And  yet  she  isn't  thin. 
Pier  red-gold  hair  lies 
smooth  and  close  to  her 
little  round  head.  She 
wears  a  long  bob  that  curls 
softly  around  the  square 
line  of  her  jaw.  Her  eyes 
are  blue  as  dawn  and  she 
lets  her  lashes  and  eye- 
brows match  her  hair. 
Red-gold  lashes  raying 
long  blue  eyes.  Can  you 
imagine  the  startling  effect 
of  them? 

She  came  softly  across 
her  drawing-room,  the  full 
skirt  of  her  wine-cokred 
dress  floating  about   her. 

[  CONTINUED  ON  PAGE  1 26  ] 


Esther  wants  to  do  outdoor 
girls,  but  she  objected  to 
coming  out  in  the  open  to 
the  extent  this  costume 
for '  'The  American  Venus'" 
demanded.  But  how  the 
fans  approved  of  it! 

63 


A  screen  writer   a  beautiful 

extra  and  an  avalanche  play 

the  principal  roles  in  this  thrilV 

ing  romance  of  Hollywood 


By  William  Slavens  McNutt 


THE  girl  in  the  car  with  Walter  Haskins  was  crying. 
"I  suppose  you  think  I'm  just  cheap!"  she  wailed. 
"Out  riding  at  night  with  an  electrician!" 

"Well,  you  thought  he  was  a  director,"  Haskins  re- 
minded her. 

"I  had  no  way  of  knowing,"  she  sniffled.  "I'd  been  over 
at  the  La  Mart  Studio  all  day  long,  sitting  there  trying  to  see 
somebody,  and  when  they  closed  up  and  when  I  came  out  on 
the  street  he  was  waiting  there  for  me.  He  said  he  was  Jack 
Bronson,  the  director,  and  I  was  just  the  type  he'd  been  looking 
for  for  months  and  months  to  do  a  part  in  a  picture  he  was 
going  to  shoot.  I'd  been  trying  to  see  somebody  in  some  studio 
for  weeks  and  weeks  and  weeks  and — "  Grief  choked  her. 

"There!  There  now!"  Haskins  said  soothingly.  "Don't 
cry." 

"I  guess  you'd  cry  too  if  you'd  had  as  much  trouble  as  I 
have,"  the  girl  insisted.  "I  was  so  happy  when  he  told  me  he 
was  Jack  Bronson,  the  director,  and  wanted  me  for  a  picture. 
I  always  dreamed  it  would  happen  that  way  to  me.  And  then 
it  did.    And  he  was  nothing  but  a  darned  old  electrician!" 

"Well,  you  couldn't  tell  that,"  Haskins  said. 

"Of  course  I  couldn't,"  she  agreed.  "I  don't  know  Mr. 
Bronson.  I  don't  know  anybody.  That's  what's  the  trouble. 
I  don't  know  anybody  and  I  can't  get  in  to  meet  anybody. 
Everywhere  I  go  I  just  sit  and  sit  and  sit  till  they  close  up. 
Then  I  go  home  and  cry." 

"Poor  kid!"  said  Haskins  soothingly.  "Poor  little  girl! 
It's  tough!" 

"He  asked  me  to  go  to  dinner  so  he  could  tell  me  about  the 
part  he  wanted  me  for,"  she  went  on  disconsolately.  "After 
dinner  he  asked  me  to  go  for  a  ride.  I  didn't  want  to  go.  I 
was  afraid  something  would  happen.  But  I  couldn't  refuse  to 
go  riding  with  Mr.  Bronson,  now  could  I?  When  he  said  he'd 
been  looking  for  me  for  months  and  I  was  just  the  type  and 
I'd  make  a  great  hit  and — everything?  I  couldn't  be  silly  and 
say  I  wouldn't  go  just  because  I  was  afraid  something  might 
happen,  now  could  I?" 

"  Certainly  not, "  Haskins  agreed.   "  Of  course  you  couldn't. " 

"He  drove  up  there  and  stopped  the  car,"  she  went  on. 
"I  tried  my  best  to  make  him  behave  and  still  stay  good 
friends  with  me.  Oh,  I  wish  I'd  known  he  was  just  a  dirty  old 
electrician!  I'd  have  slapped  his  face  good  for  him  right  at  the 
beginning.     Finally,  though,  I  didn't  care  whether  he  was  a 

64 


Illustrated  by 
Ray  Van  Burcn 


director  or  not,  and  I  told 

him  so.   I  said:  T  don't  care 

who  you  are,  you've  got  to 

behave    yourself.'     I   told    him    I'd 

scream,  and  I  did.     And  then  you 

came." 

"Lucky  I  happened  along,"  said  Haskins. 

"I'll  say  it  was,"  the  girl  said  fervently.    "An  electrician!" 

They  rode  for  a  little  time  in  silence.    Then  the  girl  spoke. 

"How  did  you  know  he  was  an  electrician?"  she  asked. 

"I  see  him  around  the  studio,"  said  Haskins. 

"Oh!    Are  you  in  pictures?"  the  girl  asked  delightedly. 

"  Yes, "  said  Haskins.    "I'm  a  scenario  writer. " 

"Oh  my!"  the  girl  exclaimed.     "That  must  be  grand." 

Haskins  just  laughed. 

Another  short  interval  of  silence.  They  were  off  the  moun- 
tain side  now  and  nearing  the  parallel  line  of  lights  that  marked 
Sunset  Boulevard. 

"Will  you  stop  a  minute?'"  the  girl  said  desperately.  "I 
want  to  talk  to  you. " 

Haskins  stopped  the  car. 

"  Listen, "  said  the  girl.    "  How  do  you  get  into  the  movies?  " 

"Lord!"  Haskins  exclaimed.    "I  don't  know." 

"Well,  how  did  you  get  in?" 

"I  was  a  silk  sock  salesman,"  said  Haskins. 

"A  what?" 

"I  sold  silk  socks.  Peddled  'em,  you  know.  I  had  my 
samples  in  a  little  black  bag  and  went  around  from  house  to 
house  and  got  orders  for  'em.    I  was  in  Oscawawa,  Kansas, —  " 

"Where?" 

"Oscawawa,  Kansas.  That's  a  town.  The  map  says  so. 
I  went  into  a  drug  store  and  asked  a  clerk  if  he  wanted  some 
socks.  He  said  no.  Then  I  asked  the  proprietor  and  he  told 
me  to  get  the — get  out  of  there.  I  went  out  and  there  was  a 
fellow  in  a  big  car  just  stopping  in  front  of  the  place.  I  asked 
him  if  he  wanted  some  socks  and  he  thought  it  was  funny.  He 
laughed  and  kidded  with  me  for  a  little  while  and  then  ha 
asked  me  why  I  didn't  go  in  the  movies." 


"Why?"  the  girl  asked. 
"He  didn't  think  I  could  act."  Haskins 
explained. 

"Had  you  written  anything  before?" 
"Letters,"  said  Haskins.     "That  was 
all." 

"But    how    did    you    know    what    to 
write?" 

"I  didn't  know.  "  said  Haskins. 
"I  just  picked  it  up.  Thai's  how 
I  got  started. " 

"How  do  others  begin?"  the 
girl  persisted. 

"  Some  one  way,  some  another," 
Haskins  explained. 

"They  must  all  begin  some- 
time," the  girl  went  on  desper- 
ately. "How  do  they  do  it? 
I've  been  here  four  months  now 
and  I  just  haven't  got  anything. 


"Hurry!"  they  yelled  at  him  fran- 
tically "The  whole  slide's  com- 
ing! Hurry!"  Haskins  heard  and 
stopped  for  an  instant.  Terror 
shook  him 


"Oh,  was  he  a  producer?" 

"No,"  said  Haskins.  "He  was  a  real  estate  man  from  Los 
Angeles.  He'd  been  to  Chicago  and  he  was  driving  back  home. 
He  said  I  reminded  him  of  Charlie  Ray  and  he  thought  I'd 
do  fine  in  the  movies. 

"He  offered  to  let  me  ride  on  out  to  California  with  him 
if  I  wanted  to  try  it.     So  I  came." 

"But  Charlie  Ray's  an  actor,"  the  girl  reminded  Haskins. 

"Yes,"  said  Haskins.     "I  know  that." 

"  But  I  thought  you  said  you  were  a  writer. " 

"I  am — now,"  Haskins  explained.  "I  came  out  here  and 
tried  to  get  a  job  acting  and  couldn't.  I  just  couldn't  get  any- 
thing." 

"I  know,"  said  the  girl.     "I  can't  either." 

"I  stayed  here  till  my  money  was  nearly  all  gone,"  Haskins 
continued.  "Then  one  day  on  the  street  I  ran  into  Spike 
Moran.  We  went  to  school  together  when  we  were  kids  back 
in  Pennsylvania.     I  hadn't  seen  or  heard  of  him  for  years. " 

"You  mean  James  Gordon  Moran,  the  director,"  the  girl 
said  in  awed  voice. 

"That's  him,"  said  Haskins.  "I  didn't  know  he  was  in  the 
movies  until  he  told  me.     He  got  me  started  writing." 


I  know  I'm  pretty.  I  don't  care 
if  that  does  sound  vain.  I'm 
prettier  than  lots  of  the  girls  that 
get  to  be  stars." 

"  Can  you  act?  "  Haskins  asked. 

"I  think  so.     How  can  I  find  out  if  I  don't  get  a  chance?" 

"If  you  just  knew  somebody,"  Haskins  said. 

The  girl  was  silent  for  a  moment,  then  abruptly — "  My 
name's  Ellaline  Warren. " 

"Oh,"  said  Haskins  startled.  "Er — How  do  you  do?  I'd 
forgotten  I  didn't  know — that  is — Haskins  is  my  name." 

"I'm  glad  to  know  you.  Mr.  Haskins,"  Ellaline  said  de- 
murely. 

"Sure,  "  said  Haskins  uncomfortably.  "Me.  too.  I  mean 
I'm  glad  to  know  you  too.  " 

"Now  then,  you  see  I  know  you!"  Ellaline  exclaimed 
triumphantly. 

"Huh?"  said  Haskins  blankly. 

"You  said  if  I  just  knew  somebody,"  the  girl  reminded 
him. 

"Oh  yes."  said  Haskins  uneasily.  "Sure.  But  you  see, 
I'm  not  a  director.  I'm  only  a  writer.  I  don't  know  whether 
I  could — uh — " 

"Help  me!"  the  girl  begged  abruptly,  a  note  of  moving 
appeal  in  her  voice.  "Please  help  me.  I'm  so  alone,  I  don't 
know  anybody.  I've  tried  so  hard,  I  just  can't — Oh  dear!" 
She  began  to  cry.  "I'm  ashamed  to  act  like  a  baby,  but  I'm 
just  desperate. " 

"It's  a  hard  game  at  best,"  Haskins  said  gloomily.  "Why 
don't  you — uh — What  did  you  do  before  you  started  trying  to 
get  into  the  movies?" 

"I  was  a  stenographer,"  she  said  viciously.  "In  Danbury, 
Connecticut.  If  you  tell  me  to  give  up  and  go  back  to  pounding 
a  typewriter  I'll — well  I  don't  know  what  I'll  do.      I  can't, 

65 


v 


Ellaline  Warren  stepped  for- 
ward. "Let  me  do  it,  Mr.  Son- 
nenberg,"  she  begged.  "Please 
let  me  do  it.  I'm  here.  I'll  do 
it.    I'll  double  for  her" 


I  won't.  I  wouldn't  if  I  wanted  to.  They  all  said  I  would  and 
I  won't.  Mr.  Springier,  he  was  my  boss,  he  said  I  would.  My« 
mother  said  I  would.  My  brother  said  I  would,  too.  Every- 
body said  I  would,  and  I  won't!  Maybe  I  would  if  they  hadn't 
said  I  would,  but  they  did  and  I  won't!  I'll  get  into  the  movies 
if  I  die  for  it!" 

"Sure  you  will,"  Haskins  said  nervously. 

"How?"  she  demanded. 

"Well — er — I — uh — I'll  speak  to  somebody,"  he  promised 
reluctantly.     "I'll  see  what  I  can  do.  " 

"When?"  she  went  on  remorselessly. 

"Why — er — when  the  time's  ripe,"  Haskins  told  her. 

"Tomorrow?"  she  quizzed  him. 

"Sure,"  Haskins  promised  recklessly.  "Tomorrow,  first 
thing.     Right  off.     I'll  see  what  I  can  do. " 

"All  right,"  Ellaline  said,  surprisingly  listless.  "I  know 
you  don't  want  to  do  it,  I  know  I  haven't  got  any  right  to  ask 
you  to  do  it. 

"Everything's  all  wrong,  but  I've  just  simply  got  to  get  a 
chance  somehow.     I've  just  got  to." 

"  Why,  I'm  glad  to  do  it, "  Haskins  lied  unconvincingly,  as  he 
started  the  car  and  headed  towards  the  lights  of  Sunset  Boule- 
vard.    "I  don't  mind  a  bit." 

It  was  a  lie  when  he  said  it,  but  two  hours  later  it  was  the 
truth.     They  stopped  at  a  Hollywood  Boulevard  Cafe  for  a 

66 


bite  of  supper.  There  he  had  an  opportunity  to  see  her  closely 
for  the  first  time.  She  was  pretty,  movingly  so.  A  slim, 
wholesome  girl  with  a  boyish  bob,  big  frank  blue  eyes  and  a 
warm,  sweet,  impulsive  face.  And  she  was  so  desperately  in 
earnest  about  getting  into  the  movies!  It  was  a  desperation 
that  became  more  of  a  charm  than  a  nuisance  as  he  grew 
better  acquainted  with  her  over  the  cafe  table.  He  was  warm 
with  a  mingled  sense  of  importance  and  generosity  when  he 
finally  left  her  at  the  door  of  her  rooming  house  with  instruc- 
tions to  phone  him  at  the  studio  by  noon  of  the  next  day. 

"Pretty  kid,"  he  thought  tenderly  as  he  drove  away. 
"Nice,  too.     Very  nice  girl.      Ought   to   be  a   job  for  her." 

The  casting  di- 
rector at  the  La 
Mart  was  brutal 
when  Haskins 
sounded  him  the 
following  morning. 
"You've  been 
around  here  long 
enough  to  know 
better,"  he  said 
reprovingly.  "I've 
got  a  whole  flock 
of  little  friends  of 
my  own  to  take 
care  of.  Every  di- 
rector on  the  lot's 
got  a  few  sitting 
by  their  telephone, 
waiting  for  me  to 
give  'em  a  buzz. 
How  am  I  ever  go- 
ing to  get  around 
to  this  girl  of 
yours?" 

"She's  pretty," 
Haskins  urged. 
"  Unusually  pret- 
ty." 

The  casting  di- 
rector was  not 
moved.    "They  all 
are,  "  he  said. 
"Being  pretty  out 
here    don't    mean 
anything  more 
than   being   black 
in  Africa.     I'll  take  her  name  if  you 
want    me   to,    but   it    won't    do    any 
good." 
With  rapidly  diminishing  hope  Haskins  paged 
the  directors  on  the  lot  with  whom  he  was  on 
friendly   terms.     Some  were  brutally   frank  like  the  casting 
director,  others  politely  evasive.     None  would  commit  them- 
selves. 

A  little  before  noon  Ellaline  called  him  on  the  phone. 
"Haven't  been  able  to  get  anything  for  you  yet,"  he  ad- 
mitted reluctantly.  "These  darned  studios  are  just  like  jails 
turned  inside  out,  with  everybody  on  the  outside  trying  to  get 
in  and  everybody  on  the  inside  guarding  the  entrances.  Don't 
you  worry,  though,  I'll  turn  up  something  soon.  Will  you 
have  dinner  with  me  tonight?" 

It  cost  Haskins  two  weeks  of  promiscuous  pleading  to  get 
Ellaline  one  day's  work  as  an  extra  in  a  cabaret  scene.  The 
night  of  the  day  she  worked  he  sneaked  into  the  projection 
room  to  see  the  rushes,  the  first  showing  of  the  film  taken. 
His  heart  sank  when  he  saw  her  on  the  screen.  She  was  a  bust, 
a  flop,  a  dud,  a  wash-out.  Her  beauty  which  was  undeniable, 
was  undeniably  not  screcnable.  There  was  no  future  for  her 
in  the  picture  game.  If  he  did  work  a  miracle  and  get  her  a 
chance  she  would  fail.  He  was  stricken  with  a  great  pity  for 
her.  He  wanted  to  take  her  in  his  arms  and  protect  her  from 
all  the  bitter  disappointments  of  the  picture  business.  He 
wanted  to  kiss  away  the  tears  from  her  lovely  blue  eyes  and — 
Why,  he  wanted  to  marry  her!     That  night  he  proposed. 

"You  don't  love  me,"  she  protested.  "You're  just  sorry 
for  me. " 

"I'm  not,"  he  insisted,  and  there  was  a  sincere  ring  to  his 
voice.  "You  don't  think  I  go  around  marrying  girls  just  be- 
cause I'm  sorry  for  them,  do  you?"      [  continued  on  page  118  ] 


Photoplay  Magazine — Advertising  Section 


*7 


HM* Victoria  Eugenia 


A  recent  portrait  of  Her  Majesty,  Victoria 

Eugenia,  Queen  of  Spain,  here  reproduced 

by  gracious  permission  of  Her  Majesty 

to  the  Pond's  Extract  Company 


HER  MAJESTY,  Victoria  Eugenia, 
Queen  of  Spain,  is  granddaughterof 
Queen  Victoria,  niece  of  King  Edward 
VII,  and  cousin  to  the  reigning  King 
of  England.  When  as  a  Princess  of  the 
British  royal  household  she  married 
the  dark  imperious  King  of  Spain,  she 
was  "a  beauty  from  the  North,  with 
pale  golden  hair,  wild  rose  complexion 
and  eyes  of  malachite  blue."  Today  as 
Victoria  Eugenia,  Queen  of  Spain,  and 
mother  of  six  lovely  children,  she  is 
more  beautiful,  more  regal  than  ever. 

THE  silver  Tiffany  jars  below,  en- 
graved with  the  royal  monogram 
and  filled  with  Pond's  Cold  and  Van- 
ishing Creams,  were  recently  sent  by 
the  Pond's  Extract  Company  as  a  gift 
for  Her  Majesty's  dressing  table.  Her 
Majesty,  who  uses  the  creams,  has  ex- 
pressed her  royal  pleasure  in  them. 


The  silver  jars  recently  sent  for  Her 
Majesty's  use  on  her  dressing  table. 

TRY  these  delicate  creams  of  which 
Her  Majesty  has  signified  her  ap- 
preciation—  Pond's  Cold  Cream  for 
cleansing  the  skin,  Pond's  Vanishing 
Cream  for  an  exquisite  finish,  a  founda- 
tion for  powder  and  complete  protec- 
tion against  exposure. 

FREE  OFFER:  Mail  coupon  for  free 
tubes  of  Pond's  Two  Creams  and  directions 
for  using. 

The  Pond's  Extract  Company,  Dept.   K 
147  Hudson  Street,  New  York  City 

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

Name 

Street 

City State 


to  advertisers  please  pent  inn  I'lIOTOI'LAY  MAGAZINE. 


hat  was  the  Best 
Picture  of  1 925? 


OL\S    for   the 

picture 

you  think 

should  win! 


Richard  Rowland  on  Gold  Medal 


The  Gold  Medal  Award  of  Photoplay  has  accomplished  a  great  deal  toward  the  better- 
ment of  pictures  because  it  gives  an  incentive  to  the  producer  to  shoot  for  this  prize. 

It  is  not  only  highly  complimentary  but  it  has  been  productive  of  good  financial  results  as 
experienced  in  our  distribution  of  "Abraham  Lincoln"  which,  as  you  know,  was  exploited  as 
"The  Gold  Medal  Picture." 

We  were  fortunate  enough  to  have  also  released  the  Richard  Barthelmess  picture,  "Tol'able 
David,"  which  was  also  a  Gold  Medal  Picture,  so  First  Natioifal  has  been  fortunate  in  having 
exploited  two  Gold  Medal  winners. 

By  all  means  continue  this  award  and  here's  hoping  that  First  National  may  have  the  honor 
of  again  exploiting  a  Gold  Medal  winner  in  the  near  future. 

Richard  A.  Rowland, 
Production  Manager,  First  National  Pit  Inns. 


The 

Award 

0/1924 


LAST  call  for  votes  in  the  award  of  the  Photoplay  Maga- 
zine Medal  of  Honor  for  the  best  motion  picture  of  1925! 
Voting  closes  on  October  1st  and  votes  bearing  a  postmark 
later  than  midnight  of  September  30th  will  not  count.  If  you 
have  not  sent  in  your  ballot  yet,  better  do  so  at  once.  You 
will  want  to  participate  in  the  award  for  the  best  motion 
picture  drama  of  192S,  since  so  many  screen  plays  of  remark- 
able merit  appeared  during  the  twelve  months.  Indeed,  the 
voting  was  never  so  heavy  as  this  year. 

Remember  that  the  Photoplay  Magazine  Medal  of  Honor 
goes  to  the  motion  picture  receiving  the  most  votes  from  its 
readers.  The  award  is  presented  to  the  producer  who,  in  the 
opinion  of  our  readers,  comes  nearest  the  ideal  in  story,  direc- 
tion, continuity,  acting  and  photography. 


Photoplay  Medal  of  Honor  Ballot 

Editor  Photoplay  Magazine 

2si  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\[ame- 


Address- 


Photoplav  readers  have  proven  their  interest  and  dis- 
crimination since  the  award  of  the  first  Gold  Medal,  for  the 
best  picture  of  1920.  "Humoresque"  won  the  initial  award 
and,  in  the  following  years,  the  Gold  Medal  has  gone  to 
"Tol'able  David,"  "Robin  Hood,"  "The  Covered  Wagon" 
and  "Abraham  Lincoln." 

Remember  that  your  vote  must  be  in  the  offices  of  Photo- 
play by  October  1st.  On  this  page,  in  order  to  refresh  your 
memory,  is  a  list  of  fifty  leading  pictures  released  during  1925. 
You  need  not  limit  your  selection  to  this  list,  however.  You 
can  vote  for  any  picture  released  between  January  1,  1925, 
and  December  31,   1925. 

Votes  must  be  mailed  to  Photoplay's  editorial  offices,  No. 
221  West  57th  Street,  New  York. 


Fifty  Pictures  Released  in  1925 


Arc  Parents  People? 

Beggar  on  Horseback 

Big  Parade 

Charley's  Aunt 

Cliickie 

Coast  of  Folly 

Dark  Angel 

Don  Q 

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 

Mine.  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  Royle  Girl 

Trouble  With  Wives 

Thundering  Herd 

Unholy  Three 

Vanishing  A  merit, in 

Wanderer 

Womanhandled 

Zander  the  Great 


Photoplay  Magazine — Advertising  Section 

Who's  Who  in  Health! 


69 


"I  SUFFERED  FROM  CONSTIPA- 
TION. I  was  an  aviator  and  the  food  was 
poor  and  gulped  in  a  hurry.  My  face 
broke  out  too.  Physics  afforded  but  slight 
relief.  Finally  I  commenced  taking 
Fleischmann's  Yeast.  I  had  no  more 
trouble.  My  face  cleared,  and  constipa- 
tion became  a  thing  of  the  past." 

Alfonso  Gomez  Izquierdo, 

San  Francisco,  Calif. 

RIGHT 

"I  HAVE  TRIED  EVERYTHING  TO 
BANISH  ACNE,  even  to  having  my 
pimples  opened.  But  they  always  came 
back.  Finally  I  decided  I  would  take 
Fleischmann's  Yeast.  Now,  after  two 
months'  use,  I've  only  one  little  'bump'  on 
my  chin,  and  I'm  getting  rid  of  that  with 
Fleischmann's  Yeast." 

Anita  McAleer,  Denver,  Colo. 


Half  sick  from  constipation, 
stomach  and  skin  disorders — they 
regained  health,  vigor,  happi- 
ness by  means  of  one  simple  food 

NOT  a  "  cure-all,"  not  a  medicine — Fleisch- 
mann's Yeast  is  simply  a  remarkable 
fresh  food.  The  millions  of  tiny  active  yeast 
plants  in  every  cake  invigorate  the  whole 
system.  They  aid  digestion — clear  the  skin — 
banish  the  poisons  of  constipation.  Where 
cathartics  give  only  temporary  relief,  yeast 
strengthens  the  intestinal  muscles  and  makes 
them  healthy  and  active,  daily  releasing  new 
stores  of  energy. 

Eat  two  or  three  cakes  regularly  ever)  day, 
one  before  each  meal:  on  crackers,  in  fruit 
juices,  water  or  milk — or  just  plain,  in  small 
pieces.  For  constipation  dissolve  one  cake  in 
hot  water  (not  scalding)  before  meals  and  at 
bedtime.  Dangerous  habit-forming  cathartics 
will  gradually  become  unnecessary.  All  grocers 
have  Fleischmann's  Yeast.  Buy  several  cakes 
at  a  time — they  will  keep  fresh  in  a  cool  dry 
place  for  two  or  three  days. 

And  let  us  send  you  a  free  copy  of  our  latest 
booklet  on  Yeast  for  Health.  Health  Research 
Dept.  22,  The  Fleischmann  Company,  701 
Washington  Street,  New  York. 


THIS  FAMOUS  FOOD  tones  up  the  en- 
tire system — aids  digestion — clears  the 
skin— banishes  constipation. 


"I  WAS  RUN  DOWN  and  thought  I  needed  a 
tonic.  I  began  taking  Fleischmann's  Yeast.  I  was 
glad  to  note  how  soon  my  energy  returned  and  I  felt 
my  own  self  again.  My  mother  suffered  from  severe 
indigestion,  and  many  remedies  brought  little  im- 
provement. Finally  she  was  prevailed  upon  to  try 
Fleischmann's  Yeast — one  cake  in  hot  water  morning 
and  evening.  Now  indigestion  causes  her  no  further 
trouble." 

Melba  M.  Bailey,  St.  Louis,  Mo. 


please  mention  PHOTOPLAY  MAGAZINE. 


Five 
Down 


"Red"  Grange,  at  the  left. 
The  Galloping  Ghost  of  the 
gridiron.  The  Illinois  ice 
man  who  became  a  football 
idol,  now  a  screen  star  in 
"One  Minute  to  Play" 


and  more 
to  come! 


There's  an  ava- 
lanche of  football 
pictures  comin 
Everybody's  doing 
it.  The  punter  at 
the  right  is  the  ath- 
letic George  Walsh 
as  he  appears  in 
"The  Kick-Off" 


Pick  out  your  own  pigskin  heroes,  but 

our  favorite  is  Richard  Dix.     You'll  see 

him  soon  in  "The  Quarterback." 


Autumn  is  here— and  the  football  season  is  com- 
ing.     And   also   the  film   epics  of  the   gridiron. 
George  O'Brien  is  playing  one  of  those  collegiate 
stars  in  a  coming  picture 

70 


Another  story  with  football  trimmings  is 

"Forever  After,"  in  which  Lloyd  Hughes 

plays  the  young  hero  who  straight-arms 

his  way  through  life 


Photoplay  Magazine — Advertising  Section 

DANDRUFF? 


71 


Here's  good  news  for  you— 


IT'S  a  fact:  Listerine,  the  safe  antiseptic, 
and  dandruff  simply  do  not  get  along  to- 
gether. Many  were  incredulous  when  we  first 
announced  this.  But  the  word  is  fast  going 
around  from  the  lips  of  those  who  have  found 
how  wonderfully  it  works. 

As  you  probably  know,  dandruff  is  a  germ 
disease  and  that  annoying  white  shower  on 
dark  clothes  is  a  warning  of  more 
serious  scalp  trouble — falling  hair, 
possibly  baldness. 

Try  Listerine  for,  say,  one  week, 
every  night  and  learn  for  yourself 
how  remarkably  it  works. 

The  use  of  Listerine  for  dandruff 


is  not  complicated.  You  simply  douse  it  on 
your  scalp,  full  strength,  and  massage  thor- 
oughly. The  effect  is  wonderfully  refresh- 
ing. And  you  will  be  amazed  to  see  how  this 
treatment,  followed  systematically,  does  the 
trick.  Moreover,  Listerine  will  not  discolor 
the  hair  nor  will  it  stain  fabrics. 
And  it  is  not  greasy  or  smelly. 
Many  of  the  better  barber 
shops  are  now  prepared  to  give 
you  this  treatment.  Try  Lis- 
terine for  dandruff.  You'll 
be  delighted  with  the  re- 
sults.— Lambert  Pharma- 
calCo.,  St.  Louis,  U.S.A. 


LIST 


INE 


— and  dandruff  simply  do  not  get  along  together 


write  to  advertisers  please 


PHOTOPLAY  MAGAZINE. 


cm 


IS  last  picture,  "The  Son  of  the  Sheik,"  in  which  Rudolph,  aided 
by  Vilma  Banky,  scored  his  greatest  success.    Little  did  he  realize 
when  he  went  to  New  York  for  the  eastern  premier  of  this  film  that 
/       /         he  was  nearing  the  end  of  his  great  career,  that  soon  finis  was  to  be 
S      Jm        written  on  his  screen  appearances  for  all  time. 


72 


Photoplay  Magazine — Advertising  Section 


73 


$10,000 

in  cash  for  a  name 


—  that  will  adequately  express  the  smart  style  and  match- 
less  vogue  of   the   beautiful    new   Jewett   4-door  Sedan 


Entirely  free — without  any  reservations 
whatsoever — the  Paige-Detroit  Motor 
Car  Company  will  give  $10,000  in  cash 
to  the  person  (over  14)  in  the  United 
States  or  Canada  who  suggests  the 
name  or  phrase  that  will  best  express 
the  style — the  charming  beauty — the  per- 
fect taste — the  matchless  vogue — of  the 
new  JEWETT  4-door  Sedan. 
Nor  is  that  all!  In  addition  to  the  one 
major  award  of  $10,000  in  cash — this 
company  will  give  two  of  these  wonderful 
cars  to  those  two  people  who  suggest  the 
two  next  most  fitting  names  or  phrases. 

Every  person  who  has  passed  his  or  her 
fourteenth  birthday  (except  employees 
of  Paige  or  its  dealer  organization,  and 
members  of  their  families)  is  eligible. 
All  that  is  necessary  is  that  you  call  at 
your  nearest  Paige-Jewett  showroom, 
or  write  this  company,  for  an  official 
ballot.  Examine  this  car  and  then 
write  down  a  name  or  phrase  (of  not 
more  than  six  words)  that,  in  your  opin- 
ion, will  most  adequately  identify  it  as 


not  more  than  fifty  words  in  space  pro- 
vided on  ballot,  why  you  believe  the 
name  or  phrase  selected  by  you  is  most 
appropriate.  This  contest  opens  Octo- 
ber 1st  and  closes  October  31st. 
All  ballots  entered  in  this  contest  will 
be  checked  and  judged  by  a  jury  com- 
posed of  men  of  national  reputation. 
Awards  made  by  the  jury  will  be  based 
first  on  the  name  or  phrase  submitted, 
and  second  on  the  reason  given  for 
choosing  such  name  or  phrase.  To  the 
person  awarded  first  prize  by  the  jury 
we  will  promptly  award  §10,000  in 
cash;  to  the  two  persons  awarded  next 
two  prizes  by  the  jury,  we  will  promptly 
give  a  beautiful  new  Jewett  sedan  de- 
livered to  their  door,  free! 
The  awards  as  made  by  the  official  jury  of  this 
contest  will  be  final  and  binding.  If  two  or 
more  contestants  submit  the  same  prize-win- 
ning name  or  phrase,  and  reasons  for  choosing 
such  name  or  phrase,  and  if  such  entries  are 
submitted  in  an  equally  clear,  concise  and  neat 
form,  a  duplicate  award  will  be  paid  to  each 
such  tying  contestant. 

See  this  beautiful  new  car  at  your  Paige-Jewett 
showroom  today!  You  may  win  S10,000 — do 
not  delay ! 


the  style  carriage  it  is.    Then  write,  in 

PAIGE-DETROIT   MOTOR    CAR   COMPANY,   DETROIT,    MICHIGAN 


advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


:asy 
RemoveSummer 
Blemishes  ^^ 

Tan,  freckles,  muddy  complex- 
ions and  coarse,  wind  roughened 
skins  are  pass6  for  Fall  and 
Winter  social  activities.  Correct 
this  condition  now.  Wipe  out 
your  summer  blemishes  and  in 
their  place  give  to  your  skin  a 
pure,  soft,  pearly  appearance 
of  alluring  beauty.     Let 

GOURAUD'S 

0P|ENTAl 

CREAKT 

"Beauty's  Master   Touch" 

prove  to  you  the  value  of  "Corrective 
Beautifying."  In  a  moment's  time  it 
renders  a  bewitching  appearance  to 
your  complexion  that  cannot  be  dup- 
licated by  any  Powder,  Cream  or 
Lotion.  Its  effective  astringent  and 
antisentic  action  discourages  blemishes, 
wrinkles  and  flabbiness.  The  weak 
points  of  your  appearance  are  yielding 
to  its  corrective  properties  as  you  enjoy 
the  immediate  effect  of  a  new  beauty 
to  your  skin  and  complexion. 

Gouraud's  Oriental  Cream  is  ready  to 
add  years  of  youth  to  your  appearance. 
Try  it  today.  Made  in 
White,  Flesh  and  Rachel, 
also  Compacts. 

Send  10c.  for  Trial  Sine 
Hopkins  &  Son, 


Alice  Joyce,  aristocratic,  reserved  and  darkly  beautiful 


The  Girl  on  the  Cover 

By  Cat  York 


FOR  no  particular  reason  the  usual  success 
story  is  supposed  to  be  written  about  male 
captains  of  industry.  But  this  success 
story  is  about  a  very  feminine  beauty,  Alice 
Joyce,  and  it  could  be  subtitled  "from  telephone 
girl  to  aristocrat."  without  any  intentions  of 
being  catty,  either. 

For  the  brooding  beauty  of  the  Paramount 
program  began  her  career  by  pushing  plugs 
into  the  switchboard  of  New  York's  Gramercy 
exchange.  The  lovely  lady  of  today,  with  her 
sparkling  jewels  and  shadowed  eyes,  at  sixteen 
was  only  one  of  the  great  mob  of  working  girls. 

The  one  thing  she  had  over  the  other  girls 
was  a  face  exquisite  enough  to  make  the  gods 
weep  with  envy. 

And  no  girl  with  a  face  like  Alice's  ever 
reached  the  age  of  thirty  obscure. 

Alice  was  born  in  Kansas  City,  Missouri. 
Her  mother  was  French,  her  father  Irish.  The 
family  moved  to  Virginia  and  Alice  got  her 
education  in  the  small  town  of  Anandale. 

Then  came  her  journey  to  New  York  and  the 
telephone  switchboard.  Behind  her  voice  with 
a  smile  some  artist  saw  her  and  gave  her  a  job 
as  model.  Then  Kalem  glimpsed  her  features, 
which  resulted  in  her  doing  scores  of  pictures 
for  them,  for  many  of  which  she  wrote  the 
stories.    Then  Tom  Moore  saw  her. 


Alice  fell  in  love  with  Tom  and  they  married- 
Alice  retired  and  her  first  daughter  was  born. 
But   her  romance  died. 

After  the  divorce,  Alice  went  back  to  work 
at  Vitagraph. 

From  the  very  beginning  her  work  was  dis- 
tinguished. She  played  "The  Lion  and  the 
Mouse,"  "The  Third  Degree"  and  many 
others  and  it  was  only  the  fact  that  Vitagraph 
was  slipping  from  importance  that  prevented 
Alice's  being  a  major  star. 

In  1920  she  tried  marriage  again.  Her 
husband  is  James  B.  Regan,  Jr.,  handsome  son 
of  the  man  who  owned  the  once-famous 
Knickerbocker  Hotel,  the  old-time  center  of 
New  York's  gayest  life. 

Wealthy,  happy,  beautiful,  Mice  announced 
then  that  she  had  left  the  screen  forever.  She 
had  another  little  girl  and  she  devoted  all  her 
time  to  her  children  until  George  Arliss  lured 
her  back  to  play  in  "The  Green  Goddess." 

After  that  offers  came  to  her  from  every 
studio.  She  finally  signed  with  Paramount. 
For  them  she  has  made  "The  Little  French 
Girl"   and   "Dancing   Mothers." 

Her  next  release  is  "Beau  Geste"  and  she 
is  now  working  opposite  Menjou  in  "The  Ace 
of  Cads." 

And  if  that  isn't  a  success  story,  what  is? 


Photoplay  Magazine — Advertising  Section 


What  the  World  Expects 
of  Women  Today 

In  society  —  in  business  —  demands  the  discarding  of  makeshift  hygienic  methods 


75 


Eight  in  every  ten  women  have  adopted  this 
NEW  way  which  solves  woman's  most  im- 
portant hygienic  problem  so  amazingly  .  .  . 
by  ending  the  uncertainty  of  old  ways  .  . .  and 
adding  the  convenience  of  disposabilky 


No    I 

nm 

drv 

A3 

easy 

to 

di 

spose 

pie 

tissu 

; — thus 

end- 

the 

tr 

ying 

problem 

ot 

dis- 

posal 

Bjr  ELLEN  J.  BUCKLAND,  Registered  Nurse 

THE  lives  of  women  today  are  different 
from  those  of  yesterday.  More  is  accom- 
plished, more  is  expected.  The  modern 
woman,  unlike  her  predecessors,  cannot  af- 
ford to  lose  precious  days. 

Thus  makeshift  hygienic  methods  had  to  go. 
There  is  a  new  way.  A  way  that  supplants 
the  uncertainty  of  old-time  methods  with 
scientific  security. 

You  meet  all  exactments  every  day.  You 
wear  filmiest  frocks  and  sheerest  things  with- 
out a  second's  thought.  You  meet  every  day 
in  confidence  .  .  .  unhandicapped,  at  your  best. 

These  new  advantages 

This  new  way  is  Kotex,  the  scientific  sanitary 
pad.  Nurses  in  war-time  France  first  dis- 
covered it.  It  is  made  of  the  super-absorbent 
Cellucotton. 

It  absorbs  and  holds  instantly  sixteen  times 
its  own  weight  in  moisture^  It  is  five  times 
as  absorbent  as  cotton. 


Kotex  also  deodorizes  by  a  new  disinfec- 
tant.   And  thus  solves  another  trying  problem. 

You  can  get  it  anywhere,  today 

If  you  have  not  tried  Kotex,  please  do.  It 
will  make  a  great  difference  in  your  view- 
point, in  your  peace  of  mind  and  your  health. 
Many  ills,  according  to  leading  medical 
authorities,  are  traced  to  the  use  of  unsafe 
and  unsanitary  makeshift  methods. 

Thus  today,  on  eminent  medical  advice, 
millions  are  turning  to  this  new  way. 

There  is  no  bother,  no  expense,  of  laundry. 
Simply  discard  Kotex  as  you  would  waste 
paper — without   embarrassment. 

Only  Kotex  is  "like"  Kotex 

In  purchasing,  take  care  that  you  get  the 
genuine  Kotex.  It  is  the  only  pad  embody- 
ing the  super-absorbent  Cellucotton.  It  is 
the  only  pad  made  by  this  company.  Only 
Kotex  itself  is  "like"  Kotex. 

You  can  obtain  Kotex  at  better  drug  and 
department  stores  everywhere.  Comes  in 
sanitary  sealed  packages  of  12  in  two  sizes, 
the  Regular  and  the  Kotex-Super.  Cellu- 
cotton Products  Co.,  166  West  Jackson  Blvd., 
Chicago. 


Easy- 
Disposal 

and  2  other 
important  factors 


Utter  prot 

erti 

on  — 

Kotex     ab 

sorb 

s     1G 

times  its  o\ 

vn  w 

eight 

in  moisture 

•    S> 

imes 

that    of    co 

ton 

and 

it    deodori 

thus 

assuring  dc 

utile 

pro- 

tection. 

Many  stores 
lem  ready- 
id  in  plain 
simply  help 
If,  pay  the 
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Photoplay  Magazine — Advertising  Section 


Brickbats  and  Bouquets 


[  CONTINUED  FROM  PAGE  12  ] 


"I  DARED  NOT  BELIEVE 
WHAT  I  FELT...." 

('Letters  from  Lovers:  I J 

"(1  dared  not  believe  what  1  felt  as  I  sat 
)  with  yoM.  The  spirit  of  old  loves  was 
in  the  room— the  fragrance  of  lost  gardens 
—the  glamour  of  moonlight.  I  could  [ 
almost  hear  the  whisper  of  tapestries  stir-  ! 
ring  in  the  wind— and  in  u  all  you  were 
bcautifd-strangely,  mystically  beautiful." 

FROM  HER  DIARY 

"Hon.1  fit  looked  at  itfaat  night— with 
something  new  and  wonderful  in  his 
eyes.  I  kad  burned  temple  incense 

(y°0  create  in  the  room  about  them  tha 
v_}  atmosphere  of  eternal  mystery  that  is  so 
irresistible  to  men,  lovely  women  burned 
temple  incense  thousands  of  years  ago.  For 
women  of  today  that  old  charm  secret  of 
the  Orient  is  still  preserved,  unchanged,  in 
Vantine's  Temple  Incense.  It  awaits  you,  in 
six  exquisite  odors,  at  alljdrug  and  depart- 
ment stores. 

What  new  charmcan  incense  give  you?     ] 
Send  ten  cents  for  six  sample  odors. 

A.  A.  VAN  TINE   &  CO.,   INC. 

DEPT.  5  71  FIFTH  AVENUE,  NEW  YORK 


Miss  Marjorie  Hume  and  Mr.  Brian  Aherne. 
I  do  not  think  that  either  of  these  artists  have 
been  seen  in  America,  but  their  work  in  the 
two  English  films,  "King  of  the  Castle"  and 
"The  Squire  of  Long  Hadley,"  proved  them 
as  good  as  the  best  American  movie  stars. 

Also  in  my  first  letter  I  called  attention  to 
the  fact  that  American  stars  appeared  to 
better  advantage  in  English  productions.  This 
has  been  proved  again  by  Dorothy  Gish  in  her 
performance,  "Nell  Gwyn." 

Do  not  for  one  moment  think  that  I  do  not 
like  American  films,  I  certainly  do,  but  I  do 
think  that  our  films  deserve  a  chance  in 
America. 

Cline  Gay. 

Richard,  the  Riot 

Jackson  Heights,  N.  Y. 

Three  Cheers  for  Dix!  !  !  ! 

We  are  wild  about  Richard  Dix  and  think 
he  is  superb!  !  !  He  was  simply  great  in 
"  Womanhandled,"  "Let's  Get  Married"  and 
"The  Lucky  Devil,"  but  "The  Vanishing 
American"  was  sublime!  We  like  him  better 
in  more  serious  and  "sheiky"  parts.  Some 
people  compare  him  with  John  Gilbert,  but 
we  can't  see  any  comparison  at  all.  We  love 
the  very  mannish  way  in  which  he  acts.  He  is 
big,  strong,  funny,  handsome,  thrilling  and 
a  WONDERFUL  actor. 

A  Model  American  Man!  !!!!!!!!! 
His  Ardent  Admirers, 

Lydia  and  Pat. 

A  Fine  Wet  Movie 

Lexington,  Mo. 

Having  just  seen  the  Fox  production,  "The 
Johnstown  Flood."  I  would  like  to  express  my 
appreciation  to  William  Fox  and  to  Irving 
Cummings,  the  director. 

Beyond  all  doubt  it  will  remain,  to  me,  one 
of  the  most  thrilling  of  pictures.  The  story 
value  was  not  forgotten  in  view  of  the  historical 
happening;  thus,  we  have  a  most  entertaining 
picture,  boasting  a  perfect  cast. 

The  work  of  Janet  Gaynor  deserves  special 
notice.  She  is  certainly  one  of  the  big  film 
finds  of  the  year.  George  O'Brien  was  interest- 
ing, and  has  a  wonderful  profile,  but  what  I 
can't  see  is  why  someone  didn't  hand  a  little 
praise  to  Florence  Gilbert.  In  the  striking  old 
costumes  of  the  period  she  was  a  lovely 
creature,  and  as  to  acting,  left  nothing  to  be 
desired.  She  deserves  more  publicity  and 
should  be  seen  more  often.  In  the  Van  Bibber 
series  she  was  attractive,  but  never  so  much  as 
in  this  film. 

To  everyone  who  enjoys  thrills  I  say,  don't 
fail  to  see  "The  Johnstown  Flood"! 

Owen  Couey. 

Here's  A  Rich  One 

Woodhaven,  N.  Y. 
Well,  some  one  has  awakened  at  last.  I  have 
read  Ambrose  Royo's  charming  letter  to 
Photoplay,  praising  Irene  Rich  and  wish  to 
congratulate  him.  I  have  also  seen  "Lady 
Windermere's  Fan"  and  think  about  it  as  he 
does.  Irene  should  be  more  appreciated. 
Why,  she  is  twice  as  beautiful,  charming  and 
talented  as  the  overpraised  and  raved  about 
Gloria  Swanson.  All  you  hear  and  read  is 
Gloria,  Gloria,  Gloria.  Oh,  movie  fans,  where 
are  your  eyes!  Norma  Talmadge  and  Mary 
Pickford  are  the  only  two  who  deserve  to  be 
raved  about  as  they  are.  I  realize  now  that 
any  actress  can  become  famous  if  supported 
by  prominent  movie  folks  and  newspapers. 
Irene  is  not  one  who  gained  fame  through  pub- 
licity. It  is  not  fair  to  star  a  genius  like  Irene 
in  those  unimportant  domestic  dramas.    As  a 

•ry  advertisement  in  PHOTOPLAY   MAGAZINE  is  enarante 


feminine  Menjou  she  is  a  knockout.  Give  her 
a  picture  like  "  The  Merry  Widow,"  then 
Gloria  Swanson  and  many  more  will  start 
worrying,  because  Irene  is  an  ambitious  little 
lady.  A  bouquet  for  Gloria,  basket  for  Norma 
and  a  garden  of  roses  for  Irene  Rich  and  Mary 
Pickford. 

Nellie  Lutzak. 

Paging  the  He-Man 

London,  England. 
The  next  time  I  read  that  someone  suggests 
a  clean-up  of  all  my  favorites,  viz.:  Thomas 
Meighan,  Conway  Tearle,  Milton  Sills  and 
great  Will  Famum,  I  shall  feel  inclined  to 
rush  across  the  pond  and  tell  them  their  for- 
tune. Give  me  the  real  men  every  lime,  who 
know  something  about  life,  instead  of  the 
"bits  of  boys"  we  see  so  much  of  in  most 
every  picture.  And  please,  why  is  Thomas 
Holding  never  given  even  one  line?  He  has 
been  my  favorite  since  I  was  a  kid,  and  he 
does  some  great  work,  without  even  getting 
his  name  on  the  screen. 

Winifred  D.  Salmon. 


It's  True 

Chicago. 

I  would  like  to  know  why  all  the  new 
actresses  on  the  screen  are  labeled  as  a  combi- 
nation of  Gloria  Swanson?  Do  they  think  it 
will  attract  attention  to  her  fans?  There  is 
only  one  Gloria,  which  is  sufficient. 

Everybody  dislikes  a  person  who  incessantly 
imitates  some  one  else.  The  same  goes  for 
acting.  Take  Gloria  Swanson,  she  has  at 
least  a  half  a  dozen  audibly  giving  her  process 
of  acting.  However,  it  appears  the  directors 
are  partly  responsible.  They  could  correct 
Pauline  Starke,  who  has  repeatedly  enacted 
Miss  Swanson.  These  take-offs,  as  we  all 
know,  are  not  Miss  Starke's  characteristics. 
I  am  voicing  this  for  a  score  of  fans  who  greatly 
disapprove  of  these  impersonations.  If  Pauline 
Starke  wishes  to  establish  herself,  my  advice 
is — Be  Yourself.  This  also  applies  to  a  number 
of  actors  and  actresses. 

Mrs.  B.  H.  Dickenson. 


A  Call  for  Chotsy 

Oak  Terrace,  Minn. 

When  Sally  O'Neil  first  stepped  into  the 
limelight,  I  could  not  help  wondering  where 
all  the  Sallys  were  coming  from.  Then  a  short 
time  after  I  read  a  piece  in  Photoplay  about 
her  and  when  I  found  out  that  her  own  name 
was  Chotsy  Noonan,  I  was  disgusted,  to  say 
the  least. 
Why,  in  the  name  of  goodness,  did  she  forsake 
such  a  quaint  Irish  name  as  Chotsy  Noonan 
and  fasten  on  to  the  other  one,  only  to  become 
one  of  the  many  famous  Sallys. 

We  have  Sally  Long,  Sally  Rand,  Sally 
Irene  and  Mary,  Sally  in  our  Alley,  Blue  Eyed 
Sally  and  too  many  others.  Can  you  tell  me 
anybody  who  has  made  the  name  "Chotsy" 
famous?  No  one  ever  thought  of  it,  but  there 
was  a  chance  to  make  it  become  as  famous  as 
Gloria  or  Pola  or  Norma. 

Chotsy  Noonan,  why  in  the  world  did  you 
ever  change  your  name?  Please  go  back  to 
your  old  one  before  it  is  too  late. 

W.  R.  McInnis. 

Stellar  Tunes 

Salisbury,  N.  C. 
Ben  Lyon — "Collegiate." 
Mary    Pickford— "Oh,    What    a    Tal    was 
Mary." 

[  continued  on  page  86  ] 


Photoplay  Magazine — Advertising  Section 


77 


1 1  i  u    I    i  /       it\  i  t 


SILVER  SERVICES  EOR  SMART  TABLES 


r^o .  Vfxa  u_l/»Ltely    ilia  peel .    I  umii\iHi:   ou*   rnoo-nijLg  rut   ... 

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ERSONALLY,  Mary  Pickford  would  rather  stay  home 
and  make  movies.    These  sight-seeing  trips  to  Europe 
are  Doug's  idea.   So  Mary  ventures  forth  to  shake  hands 
ith  Mussolini,  to  open  theaters  in  Berlin,  to  explore  Soviet 
Russia.   And  when  she  returns,  she  confesses  to  enjoying  it 
as  much  as  Doug.     Certainly,  no  living  woman  has  crowded 
so  many  triumphant  experiences  into  such  a  short  period  of  life. 


78 


Temptation! 


Every  lover  of  good  candy  is  won  over  to  Baby  Ruth. 

It  is  always  welcome — always  appreciated.  A  rare  treat 
awaits  you  in  its  luscious  opera  cream  center,  dipped  in 
delicious  caramel,  filled  with  crisply  roasted-then-toasted 
peanuts,  all  coated  with  rich  milk  chocolate. 

Better  join  the  five-million-a-day  who  say  it  is  America's 
Favorite  Candy ! 

CURTISS  CANDY  COMPANY 

New  York  Boston  CHICAGO        San  Francisco        Los  Angeles 


5 


w* 


hen  Indian  summer 
days  are  come — and  "with  gay 
companions  you  saunter 
over  the  friendly  fields 
— have  a  Camel! 


No  other  cigarette  in  the  world  is  like  Camels.  Camels  contain  the 
choicest  Turkish  and  Domestic  tobaccos.  The  Camel  blend  is  the 
triumph  of  expert  blenders.  Even  the  Camel  cigarette  paper  is 
the  finest — made  especially  in  France.  Into  this  one  brand  of  ciga- 
rettes is  concentrated  the  experience  and  skill  of  the  largest  tobacco 
organization  in  the  world. 


WHEN  Indian  summer 
days  are  here.  And  the 
smoky  haze  lies  over  the 
fields.  When  the  merry 
notes  of  the  horn,  sounding 
after  the  coach  and  four, 
remind  you  of  other  days 
— have  a  Camel! 

For  life  is  never  so  com- 
plete, so  joyous  as  when  a 
lighted  Camel  sends  up  its 
fragrant  smoke.  On  city 
street  or  country  road,  in 
any  season  of  the  year,  no 
other  cigarette  was  ever  so 
rich  and  fragrant — so 
smooth  and  mellowy  mild. 
When  you  become  a  Camel 
smoker,  there's  no  end  to 
your  enjoyment,  for  they 
never  tire  the  taste.  You'll 
never  get  choicer  tobaccos, 
more  superbly  blended, 
than  you  get  in  Camels. 

So,  this  perfect  autumn 
day  as  your  trail  leads  over 
the  fields  or  along  the  turn- 
ing road — 

Have  a  Camel! 


0  1926 


Our  highest  wish,  if  you 
do  not  yet  know  Camel 
quality,  is  that  you  try 
them.    We  invite  you  to 


spar, 


ill,  , 


cigarette   made   at 

any  price. 

R.  J.   Reynolds  Tobacco 

Company 

Winston-Salem,  N.  C. 


hut/ 

Kiddin 
Kid 

Good  natured  Bill 
Haines  found  himself 
swirled  along  to  fame 
and  popularity 


By 

Dorothy 

Spensley 


He  liked  "Brown  of 
Harvard"  because  he 
says  he's  the  same 
kind  of  a  fellow  as 
Brown — "lazy,  good- 
natured,  wise-crack- 
ing." And  perhaps 
that's  a  good  word- 
picture    of    the    Kid 


"  "T^  ILL  is  very  much  of  a        "syffi 

L^kid,"  Katherine  Albert 
■ltold  me. 

"^"^  And  Katherine 
should  know.  She  is  the  little 
sister   to   every   actor  on   the 

Metro-Goldwyn-Mayer  lot.  Their  public  confessor.  To  her 
they  bring  their  troubles — those  they  want  printed.  Their 
secrets — those  they  want  printed.  Their  sorrows — those  they 
want  printed.  And  Katherine  sorts  them,  labels  them  and  files 
them  in  her  boyishly  bobbed  head  for  just  such  an  occasion 
as  this. 

"Bill  is  very  much  of  a  kid,"  Katherine  had  said.  And  I 
agree  with  her.  The  kind  of  a  kid  that  Bernard  Shaw  wrote 
about  in  his  "Back  to  Methuselah."  A  kid  who  comes  out 
of  the  shell,  fully  developed  and  partially  clothed,  at  tin- 
ripe  age  of  seventeen.  A  kid  who  has  wisdom  far  beyond  his 
present  peers.     A  kid  whose  philosophy  is  invigorating. 

Bill  is  that  kind  of  a  kid,  if  you  dare  call  a  wit  like  Bill  a 
kid.  Such  a  wit  as  it  is  too!  Such  a  darting,  daring,  ever- 
alert  wit  that  shoots  with  the  rapacity  of  a  machine-gun  and 
the  keen,  cool  thrust  of  a  rapier. 


He  has  a  reputation  in  Hollywood  for  wisecracks  that  is 
second  to  none.  Hostesses  have  been  known  to  postpone 
dinner  parties  because  Bill  Haines  was  out  of  town.  "You 
know,  my  dear,"  they  will  murmur,  "we  just  couldn't  give  a 
dinner  party  without  Bill.  He's  better  than  cocktails  and 
things." 

And  that  settles  it.     No  finer  tribute  could  be  paid. 

"Bill  is  very  much  of  a  kid,"  said  Katherine  for  the  third 
time.     And  we  might  as  well  let  her  tell  us  why. 

"He  feels  that  'Brown  of  Harvard'  was  the  best  picture  he 
has  done.  And  so  do  we.  Every  time  Bill  goes  out  of  town, 
for  location  or  vacation  or  any  place  where  there  is  the  remotest 
chance  that  he  may  fall  over  a  cliff  or  otherwise  sever  his 
earthly  connections,  he  hunts  up  'Brown  of  Harvard'  and 
takes  another  look  at  his  masterpiece. 

"But  the  funniest  thing  happened  the  other  day.  Bill  was 
seeing  the  picture  for  the  'steenth  time.  He  sat  in  front  of  a 
fellow  who  panned  every  actor  in  the  cast.  He  had  a  dirty 
remark  to  make  about  each  one.  Finally  Bill  came  on  the 
screen. 

"The  fellow  groaned.  'Now  look  at  that  "pan,"  will  you! 
Look  at  the  mouth  on  it!     Terrible!' 

"Bill  could  stand  it  no  longer.  He  turned  squarely  around 
in  his  seat  and  let  the  fellow  have  a  long  lingering  look.  Then 
said  slowly:  'Well,  how  about  yourself.  You're  no  Helen  of 
Troy.'     And  the  fellow  shut  up. 

"Wasn't  that  just  like  a  kid?" 

But  let  Bill  talk  about  himself.  What  man  doesn't  like  to? 
He  squinted  at  me  through  a  cirrus  of  cigarette  smoke.  Nice 
candid  eyes,  they  were.  Candid  and  humorous  and  altogether 
human. 

"It's  funny,"  he  said.  "Nobody  around  the  lot  realized  it 
until  we  started  shooting.  But  I  was  'Brown  of  Harvard.'  I 
didn't    have    to    act.      I    was    just  myself.       'Brown'  was  the 

SI 


Photoplay  Magazine — Advertising  Section 


^Prettier  Lips 


at  the  eBjtz 


T>ear  U^an^: 

They  are  all  back  in  town. 

—  I  knew  it  the  minute  Theodore 
at  the  Ritz  gave  me  my  table  today. 
The  women  who  come  to  New 
York  for  the  smart  season  are  allso 
comme  ilfaut! —  So  many  of  them 
are  using  the  dainty  Pompeian  Lip 
Stick.  How  it  adds  to  their  youth 
and  beauty  with  its  natural  colozing, 

Specialist!  e 

Pompeian  Lip 
Stick  gives  natu- 
ral rosy  tint ;  pro- 
tects lips  —  pure 
and  harmless;  has 
chisel -point  for 
easy  application. 


the  sort  of  fellow  I  am  .  .  .  kind  of  lazy,  good- 
natured,  wisecracking." 

And  that's  the  way  it  was.  That  is  the 
amazing  thing  that  happened  to  Bill  Haines 
and  swirled  him  along  to  fame.  It  swirled  him 
along  to  a  fame  that  makes  him  the  most  popu- 
lar man,  in  point  of  fan  mail,  on  the  Metro- 
Goldwyn-Mayer  lot.  That  is  next  to  the 
record-crashing,  heart-smashing  Jack  Gilbert. 
Today  Bill's  fan  mail  lacks  just  one  hundred 
and  fifty  letters  per  month  of  equaling  Jack's 
immense  following. 

Can't  the  girls  do  something  about  it?  Who 
will  contribute  one  little  letter?  Ah,  that's  it, 
my  dear!  Now  one  hundred  and  fifty  more 
just  like  it!  Rah!  Rah!  Rah!  for  "Brown  of 
Harvard"! 

BUT,  seriously.  Bill  Haines'  "Brown  of  Har- 
vard" was  one  of  those  rare  magical  things 
that  seldom  happens.  That  thing  of  getting 
a  part  that  fits  like  the  glass  slipper  or  the 
mystic  wishing  ring.  Rarely,  oh  so  very  rarely, 
an  actor  has  a  chance  to  play  a  role  that  is  really 
his.  There  have  been  instances.  There  was 
Richard  Dix  in  "The  Christian."  Colleen 
Moore  as  Srliiida  in  "  So  Big."  Betty  Bronson 
as  Pclcr  Pan.  Rudolph  Valentino  as  The 
Sheik.  Ramon  Novarro  as  Ben  Ihir.  Price- 
less roles.  Never-to-be-forgotten  parts.  Char- 
acters that  are  synonymous  with  the  name 
of  the  actor. 

"I  like  goofy  people,"  said  Bill,  smiling  and 
yawning  a  bit  at  the  same  time,  for  Bill  was 
very,  very  tired,  and  I  had  interrupted  a  three- 
day  vacation.  He  had  been  working  and  drill- 
ing for  four  months  on  "Tell  It  to  the  Marines," 
his  next  picture.  And  next  day  he  was  to  start 
on  "The  Little  Journey." 


"They're  going  to  make  a  juvenile  Menjou 
out  of  me  in  this.  But  I  like  things  like 
'Brown'  and  this  'Tell  It  to  the  Marines.'  A 
lot  of  action.  It's  interesting  and  the  people 
like  it." 

"Tell  It  to  the  Marines"  takes  Bill,  as  a 
race  track  tout,  from  the  recruiting  station  to 
China,  to  Carmel  Myers,  to  Eleanor  Boardman, 
to  the  end.  Four  years  of  vigorous  first-on- 
land-and-sea  life. 

"But  I  like  goofy  people,"  reiterated  Bill, 
yawning  again  a  bit,  I  must  admit.  "I  like 
people  who  are  themselves.  As  soon  as  they 
begin  to  get  famous  they  forget  to  be  natural. 
There  are  two  little  extra  girls  whom  I  like. 
Of  course,"  hastily,  "I  don't  see  them  often. 
But  when  I  do  I'm  always  glad  to  talk  with 
them.  They  are  themselves.  No  sham.  And 
you  get  plenty  of  sham  in  Hollywood." 

"DILL  is  most  catholic  in  his  affection  for  fem- 
■'-'  ininity.  Handsome  male  stars  usually  fete 
lovely  ladies  of  the  stage  when  they  wander 
west,  but  Bill  is  the  only  actor  that  I  know  of 
to  tender  a  dinner  to  two  of  Hollywood's 
dearly  beloved  character  women — buxom 
Kate  Price  and  Polly  Moran.  And  what  a 
cosmopolite  group  was  invited.  Society  leader 
was  seated  next  to  movie  extra  and  Bill 
reigned  supreme  as  host. 

And,  on  the  other  hand,  Bill  let  out  a 
mighty  whoop  and  descended  on  exotic  Aileen 
Pringle,  absent  from  the  studio  for  six  months, 
with  an  exclamation  sounding  greatly  like 
"Mother  of  God!"  and  a  resounding  smack  on 
one  pallid  Pringle  cheek. 

It  would  seem  that  he  loved  them  all.  ' 
I  am  sure  he  must,  for  what  Virginia  gentle- 
|  CONTINUED  ON  PAGE  1 1 7] 


A. 


When  Arlette  Marchall  wants  to  know  the  time,  she  has  to  take  off 
her  hat.     However,  the  diamond  bar  pin  watch  is  a  great  conven- 
ience for  Arlette's  friends.     This  jeweled  ornament  can  also  be 
worn  on  the  front  of  the  dress 

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the  gift  (^comfortable feet 


83 


WHAT  a  reserve  force  of  bodily  health 
and  vitality  lies  behind  the  radiant 
personality  of  a  star!  She  must  always  be 
poised  and  carefree,  ready  for  any  activity. 
No  personal  discomfort  can  be  allowed  to 
limit  the  highest  expression  of  her  art. 

How  can  she  romp  through  a  gay  vivacious 
role  if  her  feet  are  tired  and  aching?  The 
pitiless  camera  magnifies  the  slightest  awk- 
ward motion  and  any  fatigue  unconsciously 
revealed  in  the  eyes. 

No  wonder  that  the  popular  big  salaried 
stars  like  May  McAvoy  keep  their  feet 
happy  and  active  with 

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It  is  the  shoe  that  has  opened  new  realms 
of  activity  to  thousands  and  thousands  of 
women  the  country  over.  Now  they  can  "do 
things"  —  walk,  skate,  climb,  dance,  golf 
—  and  know  that  their  feet  are  as  well 
groomed  as  they  are  comfortable. 

No  other  shoe  can  give  you  the  grace  of 
utter  foot  freedom,  because  the  exclusive 
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built-in  arch  bridge  which  gives  you  sup- 
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and  blood-vessels! 

What  happiness  to  fasten  on  a  beautiful, 
foot-flattering  pair  of  Arch  Preserver  Shoes, 
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PHOTOPLAY  MAGAZINE. 


Ken  Maynard  got  his  ideas 
about  being  a  cowboy  star 
while  playing  the  phonograph 
in  a  small  theater  at  Mission, 
Texas,  while  "Broncho  Billy" 
Anderson  and  Bill  Hart  flick- 
ered across  the  old-fashion- 
ed screen 


A  new  vaquero  hangs  his 
sombrero  alongside  Tom 
Mix's  five  gallon  hat 


Ken  Maynard  knows  how  to  ride.     Back  in  1919  he 

was  the  star  cowboy  rider  with  the  Ringling  Brothers' 

Circus.      Doing    the    Paul    Revere    ride    in    "Janice 

Meredith"  started  him  in  pictures 


oung 

Lochinvar 

Maynard 

By  Dorothy  Spensley 


IT  was  all  very  exciting  that  night,  and  really  a  shame 
that  Ken  Maynard  arrived  on  the  crest  of  the  laugh. 
But  the  laugh  settled  in  the  throats  of  the  onlookers 
and  turned  into  a  wild  huzzah  of  applause  when  he 
rode  into  the  center  of  the  arena  on  his  white  horse.  Just 
like  Lochinvar  come  out  of  the  west. 

Straight  as  an  arrow — and  slim — he  sat.  And  the  kid 
who  had  caused  the  laugh  gulped  twice  and  breathed  an 
audible  "Gee!" 

There  were  so  many  kids  there.  They  lined  the  inside 
of  the  Breakfast  Club  arena  like  flies  in  a  honey  cup. 
Their  parents  sat  back  in  complacent  enjoyment.  It 
was  a  rodeo  for  the  visiting  members  of  the  Theater 
Owners'  Association.  Crammed  with  pomp  and  lights 
and  thrills  like  everything  that  Hollywood  does  to  enter- 
tain its  guests.  Little  tremors  thrilled  the  audience  as 
Jack  Holt  and  Tom  Mix  rode  out  into  the  field. 

The  radio  announcer  boomed  forth: 

"Ladies  and  gentlemen,  the  next  feature  will  be  Ken 
Maynard,  First  National  star,  who  will  do  some  trick 
riding  for  the  benefit  of  the  delegates." 

And  the  little  boy  who  caused  the  laugh — the  freckle- 
faced  kid  with  buck  teeth,  one  missing — shouted  in  the 
pause:     "Hey,  Pop!    What's  a  dcl-c-gatc?" 

And  they  laughed.  Everyone  did.  And  then  came 
Ken  Maynard,  on  that  fine  white  horse — galloping 
around  and  around  the  ring — and  the  laughs  changed  to 
cheers. 

It  was  really  quite  breath-taking  and  splendid,  if  you 
like  that  sort  of  thrill.  And  who  doesn't?  Who  doesn't 
like  to  read  of  "Chip  of  the  Flying  'U'  "  and  dream  of 
the  days  when  "The  Virginian"  rode  the  old  West  order- 
ing men  to  "Smile  when  you  call  me  that!"  Knights  of 
the  plains.  Rugged  romance.  The  magic  of  the  mesa. 
That  wide-open-spaces-men-are-men  vogue  is  still  potent. 
Consider  the  popularity  of  Harold  Bell  Wright  and  Zane 
Grey.  And  now  we  have  a  new  hero  of  the  cow  country. 
A   new  vaquero  to  hang  his        [  continued  on  pace  110] 


84 


Photoplay  MAGAZINE — ADVERTISING  SECTION 


85 


l(dwn  kcmllcwm 


w. 


O  ONE  ever  made  a  social  error — 
a  dreaded  faux  pas — in  deciding  to 
"say  it  with  flowers."  Flowers  always 
are  in  perfect  taste  ....  a  gracious 
gift  for  any  occasion. 

A  dainty  box  from  your  florist  holds 
more  happiness  than  you  can  buy  any- 
where else  for  the  money.  Moreover, 
flowers  play  a  subtle  refrain  on  human 
heart  strings.  They  say  thu^e  things  that 
stumbling  words  can  never  quite  express. 

Fashion,  of  course,  decrees  real  flowers. 
Imitations  lack  the  spark  and  sparkle 
of  life. 


oiCei's 


You  may  telegraph  cut  flowers  or  a  potted  plant  to  anyone, 

anywhere,  at  any  time.  The  service  is  simple.  Only  the  cost 

of  the  message  is  added.  Ask  your  florist  to  explain. 


-vO 


mltfl  if  ttlv 


,.  i.lc 


in  11  PBOTOl'LAV   M  Ml  kZINE. 


Photoplay  Magazine — Advertising  Section 


Yaking  stock 
of  your  beauty 

—  at  the  end  of  a  perfect  summer 

ON  the  one  hand,  you  have  health,  radi- 
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the  penalties  of  neglected  beauty. 
For  quickly  clearing  and  bleaching  the  skin 
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Check  each  of  the  items  which  applies  to  yourself — 
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(      )  Wrinkles  (      )    Tan,  Freckles 

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(      )  Sallowness  (      )    Pimples,  Acne 

(      )    Blackheads  (      )    Hollows 

(     )  Enlarged  Pores    (     )   Dry,  Red  Hands 

Name 

Address 

City State 


Brickbats  and  Bouquets 


'  CONTINUED  FROM  PACE  76  ] 


Harrison  Ford — "I'll  Be  Loving  You  Always." 

Colleen    Moore — "Sweet    Little    You    I'm 
Just  Crazy  About  You." 

Ramon  Novarro — "  Yearning  Just  for  You." 

Mae  Murray — "Sleepy  Time   Gal  'You've 
Danced  the  Evening  Away." 

John  Patrick — "Had  a  Little  Drink  About 
an  Hour  Ago." 

Marie   Prevost — "Has   She   Got   Naughty 
Eyes?" 

Richard  Dix— "Why  Did  I  Kiss  That  Girl?" 

Gloria  Swanson — "Angry,  Please  Don't  be 
Angry." 

Richard  Barthelmess — "I'll  see  You  in  My 
Dreams." 

Dorothy  Mackaill— "Still  I  Feel  the  Thrill 
of  Your  Charms." 

Reginald  Denny — "There'll  be  a  Hot  Time 
in  the  Old  Town  Tonight." 

Bebe  Daniels — "Yes  Sir,  She's  My  Baby." 

Norma  Talmadge — "Can  You  Blame  Any- 
one for  Falling  in  Love  with  You"? 

Adolphe  Menjou— "Why  Should  I  Cry  Over 
You?" 

Barbara  La  Marr — "Remember." 

Two  Dusib  Bells. 


Widows  Versus  Sea  Beast 

Brooklyn.  X.  V. 

Why  is  it  that  people  go  to  see  pictures  like 
"The  Sea  Beast"  and  condemn  it  as  horrible 
because  of  some  realistic  scenes  and  then  rave 
over  ones  like  "The  Merry  Widow"? 

"The  Merry  Widow"  was  one  of  the  most 
absurd,  vulgar  and  nonsensical  films  I  ever 
witnessed. 

I  was  warned  by  friends  not  to  see  "The 
Sea  Beast."  It  was  gruesome,  horrid  and 
nauseating,  they  said.  It  was  gruesome  in 
some  parts  I'll  admit,  but  John  Barrymore's 


marvelous  acting  overshadowed  these  parts. 

The  agony  of  the  iron  being  placed  on  his 
torn  leg  or  the  heart-breaking  scene  when  he 
first  wears  the  wooden  limb;  the  beautiful  love- 
scene  in  the  tropical  garden,  one  wishes  to 
remember  such  scenes.  It  was  a  revelation  in 
the  art  of  love-making.  There  was  not  a  scene 
when  Barrymore  was  not  at  his  greatest 
heights  in  the  portrayal  of  the  sea-faring  lover. 

Barrymore  is  certainly  the  one  finished  actor 
on  the  screen  today.  It  is  to  be  hoped  that  one 
can  forget  John  Gilbert's  and  Mae  Murray's 
disgusting  love  scenes  in  "The  Merry  Widow." 
There  was  nothing  beautiful  or  refined  in  any 
of  them. 

It  is  quite  true  that  Gilbert  is  a  lover,  but 
it  is  to  be  looked  forward  to  that  he  acquires 
a  little  of  the  Barrymore  refinement  and  finesse 
in  his  passionate  love  scenes. 

Loraine  Gilbert. 

.    Mary  Carr's  Bouquet 

San  Francisco,  Calif. 
I've  seen  all  of  Mary  Carr's  pictures.  I 
would  gladly  see  them  all  again.  One  cannot 
get  enough  of  her.  I  have  been  thrilled  by 
Youth,  Beauty  of  the  screen,  but  when  I  be- 
hold Mary  Carr  in  her  bonnet  and  shawl,  I 
know  ihey  still  have  the  power  to  charm  us 
when  they  have  reached  her  age.  Mary  Carr's 
beauty  is  that  of  autumn  warning  us  that 
winter,  a  beauty  that  has  withstood  all  the 
storms  of  life,  and  came  through  unmarred. 
Surely  she  must  have  had  her  share  of  grief 
in  her  life,  from  the  natural  way  she  produces 
such  scenes  in  pictures.  Oh!  how  I  love  her 
for  that  sweet,  simple  way  in  which  she  takes 
all  hardships  and  for  her  portrayal  of  the  sweet 
spirit  of  motherhood.  My  largest  and  best 
bouquet  is  for  her.  E.  L.  M. 

[  ttlMI.NtED  on  page  147  j 


Not  a  squirrel  cage — but  Rin  Tin  Tin's  gymnasium.    A  dog  with  a 

big  matinee  following  must  watch  his  waistline.     Nobody  likes  a 

fat  dog.     So  Lee  Duncan,  Rinty's  trainer,  has  provided  him  with 

this  exercise  wheel 

Every   advertisement   in    rriOTOPLAY   MAGAZINE  is  guaranteed. 


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MANUrACTUnCD       DV       DOVD  -W  E  L  9  U 


The  notes  of  style  which  distinguish  the  Adoree 
(illustrated)  and  other  Peacock  models  for  Fall 
are — sheer  beauty  of  lirie,  new  and  exquisite 
leathers,  and  the  masterly  fashion  in  which  the 
elements  of  charm  have  been  combined  to  create 
a  perfect  and  lasting  fit. ..  Peacock  Shoes  for 


women  are  contrived  by  master- craftsmen   to 

heighten   the  beauty  of  ankle  and  toot.  They 

are  purchased   by   women  who   anticipate  the 

mode  at  better  shops  throughout  the  country. 

PEACOCK     SHOES 

NEW   YORK     •    PARIS     •    LONDON 

ART    IN    SHOES 


rllOTUl'LAY   MAGAZINE. 


Call 
Him 


Mr.  Santell  walked 
right  into  the  Big 
Time  and  made 
himself  at  home 

By  Myrtle  West 


AL  SANTELL  directed  Corinne  Griffith  in  "  Classified." 
And  immediately  after  seeing  the  picture  First 
National  made  out  a  contract  to  Alfred  Santell. 
"The  'Alfred,'"  says  Mr.  Santell,  "was  none  of  my 
doing.  '  Al '  had  been  good  enough  for  me  when  I  was  making 
two-reel  comedies  and  melodramas.  The  'Alfred'  that  now 
goes  on  the  screen  is  supposed  to  be  the  stamp  of  Big  Time." 

Mr.  Santell  is  very  much  Big  Time  these  days  and  "Classi- 
fied" did  it.  Mr.  Santell  was  more  or  less  of  an  experiment 
when  he  was  entrusted  with  Corinne  Griffith's  picture.  When 
"Classified"  reached  the  screen,  the  producers  knew  that  the 
experiment  was  a  success.  For  the  first  time  in  her  career, 
Corinne  Griffith  ran  to  high  voltage  without  blowing  a  fuse. 

Mr.  Santell  hears  his  name  mentioned  as  one  of  the  best  light 
comedy  directors  and  finds  himself  listed  among  the  torch- 
bearers  who  are  bringing  more  intelligence  to  the  screen.  It 
hasn't  made  him  mad;  neither  has  it  enlarged  the  size  of  his  hat 
band.  Directors  who  have  made  two-reel  comedies  have  no 
illusions.  By  the  time  they  are  promoted  to  the  feature  class, 
they  are  usually  slightly  cynical  and  inclined  to  make  rather 
sophisticated  pictures,  as  witness  Lubitsch  and  Mai 
St.  Clair. 

Directors  are  notoriously  shy  interview  subjects.  They  feel 
that,  unlike  the  stars,  nobody  is  interested  in  their  matrimonial 
affairs  or  their  hair-cuts.  And  yet  they  are  the  most  interesting 
men  in  the  movies  and,  if  this  writer  had  a  lot  of  quarters  to 
send  around  in  exchange  for  photographs,  she  would  spend  them 
collecting  pictures  of  directors  instead  of  stars. 

Jus*  by  way  of  explaining  himself,  Mr.  Santell  trotted  out 
"Subway  Sadie."     It  was  no  hardship  to  look  at  it. 

"  In  this  picture,"  said  Mr.  Santell,  "I  have  told  the  story  of 
a  girl  who  works  in  a  department  store.  She  hasn't  much  senti- 
ment and  she  isn't  very  deep,  but  she  has  ambitions  and  brains. 
I  think  she  is  a  fairly  accurate  study  of  a  modern  girl. 

"And  although  this  girl,  Sadie,  works  in  a  shop  she  isn't  in- 
sulted by  a  floor-walker,  a  buyer  or  a  rich  customer.  That's 
something  new  in  the  movies.  In  fact,  Sadie  isn't  insulted  or 
tempted  by  anyone.  She  gets  along  in  business  because  she 
uses  her  head.  And  she  happens  to  marry  a  rich  man  because 
she  loves  him  and  he  loves  her. 

"  I  don't  think  the  modern  girl  is  tempted  or  insulted  as  often 

88 


Not  so  long  ago,  Al  Santell  was  directing  two- 

reelers.     With  "Classified"  he  made  his  debut 

in  the  swankier  field.     Now  he's  listed  among 

the  best  light  comedy  directors 


as  the  movies  would  have  us  believe.  I  don't  think  that  girls 
are  forced  to  'go  wrong,'  as  the  saying  goes.  I  think  the 
average  girl,  these  days,  makes  her  own  choice.  If  she  'goes 
wrong,'  she  does  so  with  her  eyes  open. 

"But  to  keep  on  telling  the  old  story  of  the  seduced  maiden 
and  the  wicked  villain  of  Victorian  novels  and  trying  to  pass  it 
off  as  modern  stuff,  is  just  plain  ridiculous.  It's  about  time 
the  movies  were  breaking  away  from  it. 

"Nor  do  I  believe  that  sex  appeal  is  a  matter  of  scanty 
clothes.  You  can't  give  a  girl  sex  appeal  by  dressing  her  in  a 
few  beads  and  a  little  chiffon.  If  the  girl  has  the  appeal,  it 
doesn't  make  any  difference  how  she's  dressed.  You  can  put 
her  in  a  Mother  Hubbard  and  she'll  get  away  with  it." 

Mr.  Santell  doesn't  believe  in  Santa  Claus  nor  Michael 
Arlen.     And  Michael  Arlcn  is  a  sensitive  subject  with  him. 

"I  made  'The  Dancer  of  Paris',"  confessed  Mr.  Santell, 
blushing  a  deep  scarlet,  "and  I  thought  it  was  a  good  picture. 
And  a  lot  of  people  said  it  was.  But  when  I  went  to  the 
Coast,  another  director  was  called  in  and  he  shot  a  lot  of  hot 
stuff. 

"I  had  tried  to  make  some  sense  of  the  story  and  to  tell  it 
simply  and  logically.  But,  no,  the  picture  needed  more  sex 
appeal,  so  they  took  off  little  Dorothy  Mackaill's  clothes, 
staged  a  lot  of  cabaret  scenes  and  weighted  the  whole  thing 
down  with  a  lot  of  titles. 

"But  I  keep  my  mouth  shut  about  'The  Dancer  of  Paris.' 
It's  making  a  lot  of  money  and  that's  the  final  argument.  But 
if  'Subway  Sadie'  makes  money,  I  will  prove  my  side  of  the 
argument  and  the  question  will  be  quits." 

The  society  drama  has  no  lure  for  Mr.  Santell,  neither  has  the 
million  dollar  special.  He  likes  the  dear,  old  middle-class,  so 
beautifully  depicted  by  O.  Henry.     O.  Henry  is  an  idol  to  him. 

Mr.  Santell  has  been  assigned  to  direct  Richard  Barthelmess 
in  "The  Patent  Leather  Kid."  Adela  Rogers  St.  Johns  is 
writing  the  adaptation  of  the  Rupert  Hughes  story.  And 
what  could  be  more  Big  Time  than  that? 


man  may  be  1{nown  by  the  company  he  \eeps" 
— declares  May  McAvoy,  who  has  added  the  exquisite 
portrait  of  Esther  in  Ben  Hur  to  her  gallery  of  screen 
triumphs — "but  a  woman  is  certainly  \nown  by  the 
perfume  she  uses.  Toothing  so  enhances  the  charm  and 
sets  off  the  personality  of  a  girl  or  woman  as  the  right 
perfume  and  nothing  is  so  fatal  as  the  wrong  one. 

"A  woman  should  find  that  dainty  and  striding  fra- 
grance that  suits  her  own  taste  and  pleases  her  friends. 
Personally  I  have  found  nothing  in  perfumes  more  de- 
lightful than  Ben  Hur."  , 


May  McAvoy  as  Esther,  the  beauti- 
ful blonde  daughter  of  Stmomdes,  in 
the  great  Metro-Goldu/yn-Mayer  spec- 
tacle, Ben  Hur 


The  great  scene  between  Esther  jnd 

Ben  Hur,  placed  by  tu'o  u'onder-stars 

of  the  silver  screen.  May  McAvoy 

and  Ramon  Novarro 


q!May  Q^flccAvoY  chooses 
Ben  Hur  Perfume  for 

.  .  .  "its  dainty  and 
striding  fragrance 


Le  Louvre,  Ben  Hur:  a  brilliant  case 
in  tapestry  design,  delicately  lined  u'lth 
satin,  containing  Ben  Hur  Perfume 
and  Toilet  Water,  and  a  beautiful  sil- 
ver-finished Double  Compact.  A  love- 
ly gi/t  box  for  milady's  toilet  table 


MAY  McAVOY,  who  plays 
the  lovely  part  of  Esther 
in  the  Metro-Goldwyn-Mayer 
masterpiece,  Ben  Hur,  believes 
that  nothing  about  a  woman's 
toilet  is  more  critical  and  reveal' 
ing  than  the  perfume  she  uses. 

In  the  exotic  fragrance  of  Ben 
Hur,  which  seems  to  waft  on  its 
breath  all  the  mystery  of  the  lux- 


urious East,  she  has  at  last  found 
the  perfume  that  suits  her  per- 
sonality. 

"I  have  found  nothing  in  perfumes 
more  delightful  than  Ben  Hur,"  she 
declares. 

"It  seems  to  distill  the  romance  which 
its  name  so  long  has  typified,"  adds 
Ramon  Novarro,  who  plays  the  thrilling 
role  of  Ben  Hur,  the  young  Roman  hero 
in  the  play. 

"Exquisite,  delightfully  different,"  — 
this  from  Carmel  Myers  who  gives  a 
marvellous  interpretation  of  Iras,  the 
beautiful  Egyptian  temptress. 

Ben  Hur  is  sold  by  leading  druggists 
and  at  the  toilet  goods  counters  of  nearly 


all  department  stores.  It  comes  in  ex- 
tract, toilet  water,  face  powder  (both 
compact  and  loose),  toilet  powder  and 
dusting  powder  for  the  bath. 

Packages  and  boxes,  gay  and  attractive, 
make  charming  Christmas  gifts  and  gifts 
for  remembering  other  occasions,  too, 
$1.00  to  $10.00.  The  extract  also  comes 
in  miniature  bottles,  in  bulk  and  in 
dainty  little  bottles  to  slip  into  your 
purse.  (      t      t 

Wouldn't  you  like  to  try  this  delightful 
fragrance  so  in  keeping  with  the  mode? 
If  so,  write  for  free  miniatures  of  Ben 
Hur  Extract  and  Face  Powder.  The 
Andrew  Jergens  Company,  SpringGrove 
Ave.,  Cincinnati,  Ohio. 


QUESTIONS    5?    ANSWERS 


Read  This  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  lone  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. 


*»    F5S 


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  tiiis  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. 


M.  B.,  Palmetto,  Fla  —  So  Donald  is  com-  "Meal,"  Tuscaloosa,  Ala.— Say,  Richard 
ing  in  for  his  share  of  praise  from  a  sweet  little  will  be  tickled  to  death  to  send  you  his  photo- 
lady.    Well,  lady,  I  can't  blame  you  a  bit  for     graph.    Write  him  at  the  Paramount  Studios, 


I,  too,  thought  Donald  was  very  grand  in 
"The  Plastic  Age. "  Donald  is  quite  a  young- 
ster, date  of  birth — Sept.  5,  1905.  He  hasn't 
taken  the  final  step  yet  in  spite  of  the  fact  that 
the  newspapers  linked  his  name  with  Clara 
Bow's.  Vilma  still  remains  a  free  lady — wise 
girl,  this  Vilma.    May  I  see  you  again! 

E.  A.  R.,  East  Chicago,  Ind. — I  just  want 
to  set  you  right.  The  picture  you  refer  to  is 
"The  Sporting  Lover. "  Arthur  Rankin  played 
the  brother.  He's  the  guy  who  bleached  his 
hair  for  a  part  in  "The  Volga  Boatman." 
All  for  art,  Sister,  all  for  art. 

V.  M.  W.,  Bern,  Kan. — You  will  find  a  list 
of  all  the  companies  in  our  Studio  Directory. 
It  is  listed  under  What  the  Stars  and  Di- 
rectors Are  Doing  Now  Don't  write  me  and 
tell  me  you  can't  find  it.  You'll  find  it  listed 
at  the  bottom  of  the  second  contents  page. 

Mrs.  D.  J.,  Nashville,  Tenn. — What  a 
nice  way  you  go  about  to  get  me  to  answer 
your  questions.  But  I'm  going  to  fool  you. 
Even  though  I  am  susceptible  to  the  charms 
of  all  my  fans,  still  no  one  can  ever  get  me  to 
answer  a  question  relating  to  the  Cut  Picture 
Puzzle  Contest.  How  did  I  find  it  out?  Don't 
you  think  I  read  the  magazine?  Every  page, 
every  month.  But  if  your  questions  have  no 
connection  with  the  contest  write  me  when  the 
contest  is  over  and  I'll  answer  them. 

J.  A.,  Kansas  City,  Mo. — Sure,  I'll  tell  you 
all  about  Louise  Dresser.  At  least,  all  that  I 
know.  Louise  is  forty-one  Born  in  Evanston, 
111.  She  has  light  brown  hair.  O.K.  Now  see, 
I  was  just  forgetting  the  most  important  event 
in  her  life — she's  married  to  Jack  Gardner. 

S.  McB.,  Fresno,  Calif. — It  looks  as 
though  you  want  me  to  change  my  mind  about 
my  sex,  Sally.  For  the  six  thousand,  three 
hundred  and  sixty-fourth  time  —  I'm  an  old 
man  struggling  along  in  this  wicked 
world  and  trying  to  earn  an  honest 
living.  However,  I  do  admit  I  was 
very  fortunate  when  I  picked  this 
position.  What  could  be  sweeter  than 
receiving  lovely  letters  from  fair  ladies 
every'  day  in  the  week?  I  suppose 
after  that  speech  I'll  have  to  tell  you 
all  about  Larry.  He  was  born  in  San 
Francisco,  Calif.,  July  27,  1898.  He's 
not  married — neither  is  he  engaged. 
I  presume  that's  good  news.  His  first 
part — he  was  the  store  manager,  Allan 
Stone,  in  ''The  Dressmaker  from 
Paris."  You'll  see  him  soon  in  "Kid 
Boots."  That's  the  picture  Eddie 
Cantor  is  making  for  Famous  Players. 

R.  E.,  K.C.,  Mo— Mr.  B.  P.Schul- 
bergcanbereachedat  the  Lasky  Studio, 
5341  Melrose  Ave.,  Hollywood,  Calif. 


Pierce  Ave.  &  Sixth  St.,  Long  Island  City,  N.Y. 
Alyce  Mills  was  the  heroine  in  "  Say  It  Again. " 
Colleen  Moore  is  now  working  on  "Twinkle- 
toes,"  but  I  am  quite  sure  she  will  find  time  to 
send  that  precious  picture.  She  is  working  at 
the  First  National  Studios,  Burbank,  Calif. 
Don't  forget  the  two-bits.  And  how  about 
writing  me  another  letter? 

Betty,  Kansas  City — Sorry,  Betty,  I  can- 
not answer  questions  relating  to  the  Cut  Pic- 
ture Puzzle  Contest. 

P.  H.,  Louisburg,  N.  C. — And  who  is  your 
source  of  information,  Missy?  Little  children 
should  be  seen  and  not  heard. 

L.  S.  &  H.  S. — Rudolph  Valentino  received 
his  mail  at  the  Pickford-Fairbanks  Studios, 
Hollywood,  Calif.  Pola  is  working  at  the 
Lasky  Studio,  5341  Melrose  Ave.,  Hollywood, 
Calif.  Rudy's  last  picture  was  "The  Son  of 
The  Sheik,"  made  for  United  Artists. 

A  George  O'Brien  Admirer — From  all 
accounts  George  and  Olive  are  very  much  in 
love.  Suppose  you  feel  bad  now.  He  was 
graduated  from  Santa  Clara  College.  His  eyes 
are  brown.  The  "Iron  Horse"  was  produced 
in  1924.  George  has  a  five  year  contract  with 
Fox.  I  do  not  know  when  it  expires.  He  just 
completed  "Fig  Leaves."  Olive  played  in  it 
too.     It's  a  very  nice  picture,  don't  miss  it! 

Miss  Brown  Eyes,  East  Providence, 
R.  I. — Florence  Vidor  has  received  her  final 
decree  of  divorce  from  King  Vidor.  The  suit, 
brought  more  than  a  year  ago,  declared  that 
too  much  talent  in  one  family  led  to  "sub- 
mergence of  individuality"  and  interfered 
with  the  careers  of  both.  Florence  is  reported 
engaged  to  George  Fitzmaurice.  When  will 
the  wedding  take  place?  No  one  knows.  Miss 
Vidor  can  be  addressed  at  the  Lasky  Studio, 
5341  Melrose  Ave.,  Hollywood,  Calif. 


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. 


M.  Z.,  Dubuque,  Ia. — Gloria  Swanson,  522 
Fifth  Ave.,  N.  Y.  C.  Bebe  Daniels,  Lasky 
Studio,  5341  Melrose  Ave.,  Hollywood,  Calif. 
Norma  and  Constance,  Pickford-Fairbanks 
Studio,  Hollywood,  Calif.     Anything  else? 

M.  H.,  Quincy,  III. — I  am  delighted  to  tell 
you  that  Lloyd  Hughes  was  born  Oct.  21, 
1897.  He  has  dark  brown  hair  and  gray  eyes. 
Six  feet  tall  and  married  to  Gloria  Hope.  As 
for  Bessie  Love,  she  was  born  Sept.  10,  1898, 
and  has  brown  eyes  and  blonde  hair.  Not 
married. 

MillyofBurkburnett. — You're  on  my  list 
of  friends,  Milly,  and  you  would  be  even  if  you 
didn't  have  a  cousin  who  is  a  movie  star.  Irene 
Rich  is  the  one  who  has  the  two  daughters. 
Lillian  is  the  girl  with  the  dimple  in  her  chin. 
The  two  Richs  are  not  sisters.  Claire  Windsor 
has  a  small  son,  Billy.    Call  again. 

H.  L.,  Nashville,  Tenn. — Francis  X.  Bush- 
man was  the  first  husband  of  Beverly  Bayne, 
so  Beverly  never  had  a  divorced  husband  who 
has  married  again,  if  you  get  what  I  mean. 
However,  Francis  was  divorced  from  Mrs. 
Josephine  Bushman.  That's  probably  why 
you  got  mixed  up. 

"Brochie,"  San  Antonio,  Texas.— Right 
you  are!  Dorothy  Mackaill  was  not  in  the  cast 
of  "The  Reckless  Lady."  Lois  Moran,  Ben 
Lyon,  James  Kirkwood  and  Belle  Bennett 
were  among  those  present. 

D.  S.,  Seattle,  Wash.— The  screen  is  de- 
ceiving, isn't  it?  They  all  look  much  taller 
than  they  are  in  real  life.  The  little  camera 
trick  makes  a  lot  of  work  for  yours  truly. 
Greta  Garbo  is  five  feet,  six  inches  tall;  Rich- 
ard Dix  is  six  feet;  and  Lois  Wilson  is  five 
feet,  five  and  a  half  inches. 

T.  P.,  Kalispell,  Mont. — "An  old  duck 
with  whiskers!"  That's  the  meanest  yet.  I 
don't  boast  about  my  age;  I  just  accept  it  as 
inevitable.  If  I  say  I  am  Irish,  I'll  have  a 
fight  on  my  hands  sure.  That's  the 
way  of  the  Irish.  I  suspect  that  you 
just  dropped  in  for  a  chat  and  that 
the  question  was  only  an  excuse.  Am 
I  right?  If  so,  come  again.  Lloyd 
Hughes  is  the  hero  of  "  Ella  Cinders. " 

L.  B.  S.  of  California. — Thomas 
Meighan  was  born  April  9,  1879.  He 
didn't  attend  the  school  you  mention, 
as  far  as  I  know.  Pittsburgh  is 
Tommy's  native  city. 

K.  M.,  Bethesda,  Md. — William 
Haines  again!  I  can  recite  his  biog- 
raphy in  my  sleep.  Born  Jan.  1,  1900. 
Not  married — yet.  Black  hair  and 
brown  eyes  and  six  feet  tall.  Address 
him  at  the  Metro-Goldwyn-Mayer 
Studios,  Culver  City,  Calif. 

[continued  on  page  92] 

91 


02 


Photoplay  Magazine — Advertising  Section 


,  ;/> 


Jact 

no  woman  can  afford 
to  overlook 

THE  vital  importance  of  keeping 
their  pores  open  and  active  is  an 
accepted  and  well  known  fact  to 
most  of  the  intelligent  women  of  to- 
day. They  know  that  a  sick  body  and 
a  blemished  skin  usually  result  from 
pores  that  are  clogged  and  unable  to 
function  properly. 

There  is  one  fact,  however,  which 
many  women  overlook — the  absolute 
necessity  for  preserving  the  natural  oil 
of  the  skin.  Remove  this  protective  oil 
and  the  skin  becomes  dry,  cracked, 
rough — a  prey  to  many  of  the  more 
serious  forms  of  skin  disorder. 

The  soft,  luxuriant  lather  of  Resinol 
Soap  most  thoroughly  cleanses  the  tiny 
pores,  yet  its  action  is  so  gentle  the  del- 
icate oil  is  preserved  and  the  skin  re- 
mains soft  and  supple.  These  results 
are  possible  only  because  of  the  Resi- 
nol properties  in  this  delightful  toilet 
soap — those  properties  which  give  its 
rich  color  and  distinctive  fragrance. 
It's  the  soap  that  makes  and  keeps 
skins  lovely. 

If  little  irritations  are  already  present, 
apply  a  touch  of  Resinol — that  soothing 
ointment  which  doctors  have  prescribed 
for  years  in  treating  itching,  burning 
skin  troubles.  Excellent  for  the  rashes 
and  chalings  of  childhood  and  as  a  heal- 
ing home  remedy.    At  all  druggists. 


Free — Send  this  coupon  today 

Dept.  G-10  Resinol,  Baltimore,  Md. 
Please  send  me,  free,  a  trial  size  package  of 
Resinol  Soap  and  Ointment. 

Name 

Street 

City State 


Questions  and  Answers 


[  CONTINUED  FROM  PAGE  91  ] 


Frank  Gilbert,  St.  Joseph,  Mo. — Vera 
Reynolds  was  born  Nov.  25,  1905.  Oh,  yes, 
Vera  has  been  working  steadily  for  the  past 
two  years.  She  is  under  contract  with  Cecil  B. 
De  Mille.    You'll  write  me  again,  won't  you? 

E.  E.  J.,  Portland,  Conn. — George  Marion 
was  the  father  in  "Anna  Christie."  Did  you 
mean  what  you  said?  Then  I'm  peeved.  You'll 
have  to  write  me  another  nice  letter  in  order  to 
get  back  into  my  good  graces  again. 

E.  V.  &  M.  M. — Douglas  Fairbanks  was 
born  in  Denver,  Colorado,  in  May,  1883.  It 
was  the  ambition  of  his  parents  to  see  Douglas 
a  mining  king,  and  after  graduating  from  the 
Denver  High  School  and  Jarvis  Military 
Academy,  he  was  sent  to  the  School  of  Mines 
at  Golden,  Colorado.  Before  he  had  learned 
very  much  about  mining,  he  decided  upon  a 
stage  career  which,  in  time,  became  very  suc- 
cessful. His  initial  photoplay  was  "The 
Lamb."  Douglas  has  black  hair  and  gray 
eyes.  He  measures  five  feet,  ten  inches  in 
height  and  weighs  145  pounds.    How's  that? 

R.  E.  B.,  Toledo,  Ohio. — Warner  Baxter 
was  the  hero  in  "Miss  Brewster's  Millions." 
William  Haines  is  twenty-six.  Address  him  at 
the  Metro-Goldwvn-Maver  Studio,  Culver 
City,  Cal. 

K.  J.  A..  Piedmont,  Calif. — Xow  you  don't 

mean  to  tell  me You  didn't  look  very 

hard,  for  the  players  you  mentioned  are  con- 
tinually working  and  they  are  listed  each 
month  in  the  Studio  Directory  under  What 
the  Stars  and  Directors  Arc  Doing  Xow. 
Richard  Dix  and  Lois  Wilson  can  lie  reached 
at  the  Paramount  Studio,  Long  Island  City, 
N.  Y.  Ben  Lyon  is  working  at  the  BiogTaph 
Studio,  807  East  175th  St.,  Xew  York  City. 
Address  Xorma  Shearer  at  the  Metro- 
Goldwyn-Maycr  Studio,  Culver  City,  Cal. 
Xo  excuses  the  next  time. 

Bud  M.,  Cleveland,  Ohio. — You're  right, 
my  dear.  You  can  write  the  actors  and 
actresses  at  the  studios  you  find  mentioned  and 
they  will  send  you  their  photograph  provided 
of  course  you  send  the  two-bits.  The  com- 
panies loan  their  players  out  at  times.  In  the 
case  of  Clara  Bow,  it's  this  way.  Clara  was 
under  contract  with  B.  P.  Schulberg  who  in 
turn  "farmed"  her  out  to  Fox  for  a  few  pic- 
tures. Schulberg  recently  became  Production 
Manager  of  the  West  Coast  Studio  of  Famous 
Players  and  of  course  Famous  took  over 
Clara's  contract.  I  doubt  if  you  will  see  Clara 
in  anything  but  Paramount  pictures  from  now 
on.    Drop  in  again! 

A  Bee  From  Chicago. — Welcome  to  the  big 
city!  I'm  sure  you  won't  neglect  me  in  the 
future.  Greta  Xissen  was  born  in  Norway,  in 
1905.  She  is  blonde  and  has  blue  eyes.  She 
measures  5  feet,  4  inches  and  weighs  118  pounds. 
Mae  Murray  and  John  Gilbert  can  be  reached 
at  the  Metro-Goldwyn-Mayer  Studios,  Culver 
City,  Cal.  Richard  Barthelmess  is  working  at 
the  Marshall  Xeilan  Studio,  1845  Glendale 
Blvd.,  Hollywood,  Cal.    Call  again! 

Olive  O'C,  Xew  York  City. — I  have  been 
wondering  just  how  long  it  would  be  till  I  re- 
ceived letters  about  the  handsome  John  Barry- 
more.  I  suppose  as  soon  as  his  latest  picture  is 
shown  my  mail  will  be  overburdened.  John  is 
five  feet,  ten  inches  in  height.  What  difference 
does  the  weight  make?  Joseph  Schildkraut  is 
working  at  the  Cecil  B.  De  Mille  Studios,  Cul- 
ver City,  Cal.  I'm  sure  he  would  be  glad  to 
send  you  his  photo. 


Roses  of  Cedar  Hills,  Wis. — I'm  delighted 
to  hear  from  you  again.  Your  worries  are  over 
for  you  can  see  Theodore  Kosloff  in  "  The  Volga 
Boatman,"  which  was  recently  released. 
Be  quiet,  girls,  Robert  Frazer  is  married.  Xow 
don't  do  anything  rash.  You'll  live  through  it, 
for  your  other  favorite,  Raymond  Keene,  is 
still  walking  around  loose. 

Patty  Keith,  St.  Paul,  Minn. — And  you 
fall  for  Harrison  Ford.  Every  letter  I  receive 
has  a  different  crush,  but  I  notice  very  few  of 
them  contain  any  "sweet  nothing  notes"  to 
me.  Just  because  I  am  an  old  man  the  young 
girls  have  no  use  for  me.  But  have  a  care  I'll 
show  up  all  these  young  idols  some  day.  Har- 
rison was  born  in  Kansas  City,  Mo.,  in  1892. 
His  hair  is  brown  and  his  eyes  are  brown.  He 
is  five  feet,  ten  inches  in  height  and  weighs  157 
pounds.  And  here's  a  good  bit  of  news — he's 
not  married  now — he's  divorced. 

Stephanie  B. — Say,  here,  I  don't  belong  to 
a  circus.  How  do  you  get  that  way?  Hey, 
girls,  look  out  for  this  lady,  she  says  she  is 
going  to  propose.  You  can  propose  if  you  like, 
but  I've  promised  faithfully  to  remain  a  jolly 
old  bachelor  so  that  all  of  you  can  continue  to 
write  me  without  angering  my  wife.  Andbythe 
way,  missy,  I'll  be  nobody's  second  fiddle.  Of 
course,  it  is  the  truth  about  Connie.  She  gave 
us  all  the  slip.  Well,  if  you  must  know  the 
truth.  I  won't  agree  with  you.  Just  the  same, 
let  me  hear  from  you  again! 

H  Higgins,  Albany,  N.  Y. — You  will  find 
the  first  part  of  your  questions  answered  above, 
Helen.  Write  to  the  Mctro-Goldwyn-Maycr 
Studio,  Culver  City,  Cal. 

Dot,  Chicago,  III. — I  can't  help  it,  Dot. 
But  here's  something  about  your  favorite — I 
think  he's  growing  old  gracefully.  He's  not 
working  at  present.  Write  me  later — perhaps 
I'll  have  his  address  then. 

"E.  O'B.,  Cleveland,  Ohio. — If  publishing 
this  will  do  you  any  good  why  here  goes. 
PLEASE  TAKE  NOTICE:  The  Laura  la 
Plai»te  Club  has  been  organized.  Anyone 
info  rested  may  write  to  Erich  O'Brock,  4221 
Woodbridge  Ave.,  Cleveland,  Ohio.  Won't 
somebody  please  start  a  club  in  my  honor? 

M.  H.,  D.  W.  I. — I'm  quite  proud  that  a 
little  lady,  from  a  spot  so  far  away,  is  so  inter- 
ested in  the  movies  as  to  write  me.  Ann  Corn- 
wall measures  four  feet,  eleven  inches  in  height. 
I  don't  know  what  you  girls  would  do  without 
me — now  you  want  to  know  what  actresses 
have  long  hair.  Here  are  a  few:  Irene 
Rich,  Mary  Brian,  Betty  Bronson,  Jetta 
Goudal,  Xorma  Shearer.  Mary  Pickford  and 
Mary  Philbin.  I  know  there  are  others  but  I 
couldn't  tax  my  brain  too  much.  The  Costello 
girls  were  born  in  Brooklyn.  Olive  Thomas 
died  in  1920 — she  was  twenty.  Martha  Mans- 
field was  twenty-four  at  the  time  of  her  death — 
that  was  in  1923. 

Rene,  Wanette,  Oklahoma. — Bill  Haines 
can  go  when  and  where  he  pleases — why? — be- 
cause he  hasn't  any  wife  tagging  after  him.  I 
suppose  that  is  sweet  music  to  your  ears.  Bill 
is  just  twenty-six.  D'ya  like  him?  Me  too — 
we  are  great  pals.  Why  not  write  him  at  the 
Metro-Goldwvn-Mayer  Studios,  Culver  City, 
Cal.? 

Ax  Admirer,  Brooklyn,  X.  Y. — You  will 
note  at  the  top  of  the  Question  and  Answer 
Department  that  we  do  not  answer  questions 
relating  to  religion,  scenario  writing  or  studio 
employment. 

[  continued  on  page  96  ] 


Every  advertisement  in  PHOTOPLAY   MAGAZINE 


Photoplay  Magazine  -Advertising  Section 


93 


c/1  spirited  horse.  A  sharp  turn 
in  the  road.  A  roaring  motor. 
Fright.   A  sudden  fall. 

Dust.  Torn  clothes.  Dishevel- 
ment.  And  then — a  smile.  Afiash 
of  gleaming  teeth — a  revelation 
of  beauty  triumphant  over  cir- 
cumstance that  spells  disaster  to 
art  i fee. 

Unintendings  she  had  met — 
and  passed  —  The  Smile  Test. 


judge  Beauty  so  differently  from  wvmen 


Mistress  of  all  the  arts  of  beauty,  the 
woman  of  today  skillfully  improves 
upon  Nature  — here  carefully  accentu- 
ating, there  subtly  subduing. 

Men  admire  the  resulting  ensemble 
as  women  do.  But,  instinctively,  they 
differentiate  between  that  which  is 
artificial  and  that  which  is  natural — 
the  centuries-old  appeal  of  a  woman 
to  a  man.  So,  without  analyzing  the 
logic  which  impels  it,  they  recognize 
this  great,  outstanding  fact: 

Gleaming,  clean  teeth  are  the  only 
attribute  of  beauty  that  no  artifice  can 
adorn  or  conceal. 

Yet,  it  is  so  easy  to  have  the  loveli- 
ness of  gleaming  teeth.  It  is  yours  for 
this  simple  care :  Buy  a  new  Dr.  West's 


Tooth  Brush.  Use  any  good  denti- 
frice. Brush  your  teeth  thoroughly 
— away  from  the  gums.  Do  it  twice 
a  day  and  at  least  two  minutes  at  a 
time.  The  sturdy,  upstanding  bristles 
of  the  Dr.  West's  brush  will  polish 
your  teeth  to  a  brilliance  you  probably 
never  have  suspected  was  possible. 

The  secret  is  in  the  brush!  Scientifi- 
cally constructed  of  polishing  bristles 
exclusively,  it  is  built  to  fit  the 
mouth,  to  contact  every  curve  and 
crevice.  That  is  why  it  cleans  in- 
side, outside  and  between  the  teeth. 
And  polishes  as  it  cleans! 

For  your  protection,  Dr.  West's  is 
packed  in  a  sealed  glassine  container 
inside  the  usual  carton. 


THIS  CABINET  on  your  deal- 
er's counter  is  placed  there  to 
remind  you  to  buy  the  tooth  brush 
you've  been  forgetting,  and  to 
enable  others  to  examine  Dr. 
West's  without  handling  theW.V 
brush  you  will   ultimately  buy 


Thirc's  a  Dr.  West's  Tooth  Brush  for  every 
member  of  the  family.  Adult' s,  roc;  Youth's, 
;sc;  Child' s,  zsc;  Special  Gum  Massage,  j;c 


DR.  WEST'S  TOOTH  BRUSH 
is  made  convex  to  fit  the  inside 
contour  of  the  teeth.  The  polish- 
ing tufts  are  wedge-shaped  to 
penetrate  the  interdental  crevices. 


_nd  spaced  to  keep  your  br 
clean — automatically. 


sh 


©  1926.  W.  B.  M.Co. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


■OfdsomMoomln 

You'll  want  to  use  Deodo 
every  day! 

by  Letitia  Hadley 

How  we  all  love  daintiness  in  a  woman — 
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Studio  News  and  Gossip — East  and  West 

[  CONTINUED  FROM  PAGE  51  ] 


GLORIA'S  first  picture  for  United  Artists 
will  be  "Eyes  of  Youth,"  released  under  a 
new  title.  Albert  Parker,  who  has  a  lovely  dis- 
position and  a  great  sense  of  humor,  will  direct 
her.  Parker  made  the  first  version  of  "  Eyes 
of  Youth,"  and  it  was  one  of  the  best  pictures 
ever  filmed  with  Clara  Kimball  Young. 

As  for  Gloria,  she  has  been  insured  for  many 
millions.  The  policy  covers  every  known  con- 
tingency. If  Gloria  so  much  as  loses  her 
appetite,  the  insurance  company  makes  good 
the  loss. 

"Everything  is  insured,"  said  Gloria,  "but 
Henry's  affections.  And  I  have  learned  that 
there  is  no  possible  way  of  insuring  a  man's 
love." 

She  made  this  statement  when  Henry  was 
far  away.  And.  somehow,  without  him  she 
seemed  almost  tragically  lonely. 

CHE  was  one  of  those  fat  dowagers 
^who  strive  to  please.  It  was  her 
first  visit  to  a  studio. 

He  was  one  of  those  extras.  Hand- 
some and  unknown. 

The  perspiring  guide  was  taking 
her  through  the  studio. 

"Sorry  there  aren't  more  stars  for 
you  to  meet."  And  then  with  faint 
jocularity,  turning  to  the  extra  who 
had  trailed  along,  "But,  of  course, 
you  have  met  Mr.  Montmorency." 

The  stout  lady  beamed  sweetly: 

"Oh,  yes,  Mr.  Montmorency!  It 
has  been  a  real  pleasure  to  meet  you. 
I  have  seen  you  so  often  in  pictures." 
Then,  doubtfully— "In  fact,  we  al- 
ways go  to  see  a  Montmorency 
picture !" 

The  extra  swooned. 

THERE'S  one  little  foreign  masterpiece  that 
will  never  be  shown  at  your  neighborhood 
theater.  It's  called  "The  Cruiser  I'otemkin." 
and  it  was  made  under  the  auspices  of  the 
Soviet  government  of  Russia.  The  picture  is 
one  nf  the  greatest  ever  filmed,  and  it  has  had  a 
long  run  in  Berlin.  Nevertheless,  you  won't 
see  it.  because  it  is  Bolshevik. 

James  Creelman,  scenario  writer  for  Famous 
Players- Lasky.  obtained  a  print  of  "The 
Cruiser  Potemkin"  and  showed  it  to  a  few  of 
his  friends,  as  a  little  lesson  in  picture-making. 
After  witnessing  it.  nobody  went  Bolshevik, 
but  a  lot  of  people  left  with  some  revolutionary 
ideas  of  film  making. 

THE  events  pictured  in  the  film  took  place  in 
1905  in  the  harbor  of  Odessa,  on  the  Black 
Sea.  The  film  tells  of  a  mutiny  on  board  the 
Potemkin,  and  pictures  the  revolt  of  the  sailors 
against  the  filthy  meat  offered  them  as  food. 
At  the  time  the  motto  of  the  Russian  navy  was, 
"Join  the  Xavy  and  See  the  Worms."  This 
little  mutiny  was  one  of  the  first  of  many  small 
outbreaks  that  led  to  the  Revolution.  The 
city  of  Odessa  sympathized  with  the  mutineers, 
and  the  Cossacks,  so  the  film  tells  us.  were 
ordered  to  train  their  guns  on  the  crowd  that 
assembled  to  cheer  the  men  of  the  Potemkin 
and  shoot  down  the  civilian  populace. 


THERE  is  no  story'  to  this  film,  or  no  leading 
actors.  If  you  weren't  told  that  it  was 
staged,  you'd  swear  it  was  a  prehistoric  news 
reel.  The  photography  is  beautiful  enough  to 
enchant  an  artist  and  the  action  is  vivid  enough 
and  swift  to  satisfy  any  box  office  demand  for 
melodrama.  The  scene  in  which  the  Co-sacks 
pursue  the  populace  dow  n  a  long  flight  of  steps, 
shooting  in  the  crowd,  is  unforgettably  im- 
pressive.    When  enough  of  our  directors  have 


seen  this  episode,  you'll  find  it  duplicated  in 
home-made  dramas. 

And  yet,  alas,  the  ugly  head  of  propaganda 
intrudes  itself  to  mar  an  artistic  triumph.  The 
Imperialist  officers  of  the  Potemkin  are  repre- 
sented as  brutes,  when,  as  a  matter  of  fact, 
they  were  probably  as  helpless  in  the  situation 
as  the  men  themselves.  And,  with  a  great  dis- 
regard for  the  facts  of  the  case,  the  ending  has 
been  changed.  In  the  film,  other  ships  of  the 
Russian  navy  are  sent  to  punish  the  Potemkin. 
But  instead  of  firing  on  her  and  her  crew,  the 
sailors  sent  up  a  great  shout  of  "Brother!"  No 
such  love  feast  took  place  back  in  1905.  The 
Potemkin  escaped  from  the  Black  Sea,  but  its 
crew  were  captured  and  interned  in  Bulgaria. 

TT  was  at  the  opening  of  "The  Scarlet 
Letter"  and  the  Rev.  Dimmesdale 

had  just  bared  the  fatal  letter  burned 

on  his  chest. 

"Ah!"  said  a  none-too-interested 

spectator,  "the  title  of  this  picture 

should     be     'Two     Letters' —  Both 

Scarlet.'  " 

BY  the  time  you  read  these  lines.  Rex  Ingram, 
the  director,  will  again  be  in  our  midst. 
Ingram  has  been  making  pictures  and  enjoying 
himself  on  the  Riviera  for  about  two  years. 
The  first  result  of  this  sojourn  was  "Marc 
Nostrum."    The  second  is  "The  Magician." 

They  say  that  Ingram  will  make  a  picture 
o\cr  lure.  Maybe  he  has  taken  to  heart  the 
comments  of  trie  critics  who  watched  "Mare 
Nostrum  "  and  said  that  Rex  had  gotten  out  of 
step  with  the  fast  moving  movie  procession. 

THAT  1  harming  old  favorite.  "Alice.  Where 
Art  Thou  Going?"  would  have  been  a  most 
appropriate  selection  for  the  band  to  play  in 
i-  el<  oming  Alice  Terry  back  to  Hollywood 
after  some  months  spent  abroad  with  her 
husband.  Rex  Ingram. 

To  be  brutally  frank  about  it,  it  looks  as 
though  Alice  were  headed  for  the  circus. 

Photoplay  is  against  wholesale  reduction, 
and  I  am  not  particularly  enamoured  of  these 
skeleton  thin  women.  But  for  a  woman  of 
such  superlative  beauty  as  Alice  Terry  to  allow 
herself  to  get  so  fat  that  her  face  is  out  of  shape 
is  a  crime  against  humanity.  There  are  so  few 
beautiful  women. 

Alice  Terry's  loveliness  has  always  ranked 
with  me  side  by  side  with  that  of  Florence 
Vidor.  But  when  I  saw  her  the  other  day  for 
the  first  time  since  she  got  back  I  burst  into 
loud  sobs  and  abandoned  the  rest  of  my 
luncheon,  food  having  suddenly  become 
obnoxious  to  me. 

T  WANDERED  onto  "The  Strong 
Man"  set  the  other  day  where 
Harry  Langdon  is  cavorting  in  the 
funniest,  baggiest  tights  you  ever 
saw  and  listened  while  the  doleful- 
faced  comedian  gave  his  reason  for 
preferring  motion  pictures  to  the 
stage. 

When  Harry  was  just  a  kid  start- 
ing out  on  the  stage  he  played  in 
stock  with  an  old  trouper  who  had  the 
disconcerting  habit  of  adding  insult- 
ing words  in  an  undertone  to  his  fel- 
low players  after  giving  his  lines. 
One  night  he  decided  to  kid  Harry. 
The  trouper  was  to  say:  "And  then 
what  will  you  do?"  at  a  tense 
moment  in  the  play.  Harry  was  to 
chirp,  "I  shall  jump  on  the  horse  and 
gallop  away!" 

[  CONTINUED  ON  PAGE  102  ] 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 
".  .  .  to  see  oursels  as  others  see  us!" — Robert  Burns 


95 


\&  follow  yourself  ^ 


sP 


zT 


Could  you  come  home  be- 
hind yourself  from  the  bridge 
club  some  afternoon,  what 
would  you  see?  .  .  .  A  lady  (a 
little  larger  than  you  thought 
you  were)  in  the  dress  you 
gave  so  much  time  and  effort 
to  choosing.  .  .  .  But  hardly 
the  dress  you  expected  you 
were  wearing.  This  one  rises 
up  where  it  shouldn't,  pulls 
in  where  it  ought  not  to.  In- 
stead of  being  effective,  its 
lines  are — bad.  Instead  of 
curves,  you  can  actually  see 
ridges  where  your  corsets  end ! 

If  this  could  happen  to  you, 
don't  blame  your  dress  or 
your  figure.  But  do  see  that 
you  have  a  foundation  gar- 
ment that  fits  you  perfectly 
before  you  wear  the  dress 
again. 

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You  will  be  charmed  with 
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THE  ANTISEPTIC    LINIMENT 


Questions  and  Answers 


[  COXTINTTED  FROM  PAGE  Q2  ] 


L.  Stone,  Crookston,  Minn. — No,  my 
dear,  Walter  Miller  and  Allene  Ray  are  just 
partners  in  picture-making.  Walter  has  played 
in  most  of  the  serials  featuring  Allene.  Their 
latest  production  is  "The  Green  Archer."  Miss 
Ray's  life-partner  is  Larry  Wheeler.  They 
were  married  July  20,  1925. 

Edna  Bell,  Quincy,  III. — That  must  be 
some  little  scratch  pad.  Laurette  Taylor  has 
temporarily  deserted  the  screen  for  the  speak- 
ies.  Get  me  right.  I'm  not  speaking  of  speak- 
easies. I'm  alluding  to  the  legitimate  stage. 
The  last  picture  that  Laurette  appeared  in  was 
"One  Night  in  Rome."  You're  right  about 
Betty  Bronson's  address.  Smart  young  lady! 
The  Studio  Directory  is  listed  under  "What 
The  Stars  And  Directors  Are  Doing  Now." 
Colleen  Moore  is  at  the  First  National  Studios", 
Madge  Bellamy  at  the  Fox  Studio.  Call  again! 

V.  Munoz,  Oakland,  Calif. — I  would  like 
to  have  the  same  thing,  old  pal.  Hut  it  just 
can't  be  had.    Better  luck  the  next  time. 

B.  K.,  Highland  Park,  III. — You're  quite 
an  inquisitive  little  person  but  that's  what  I'm 
here  for — to  answer  all  your  questions.  Connie 
Bennett  is  just  twenty.  Just  when  we  wire 
getting  all  hct  up  about  her  she  leaves  us  flat 
and  gets  married  to  Philip  Morgan  Plant. 
When  she  married  Connie  stated  she  would 
never  return  to  the  screen — it  seems  to  me  I've 
heard  that  some  place  before.  Viola  Dana  and 
Shirley  Mason  are  sisters.  Their  family  name 
is  Flugrath.  Richard  Dix  was  formerly  known 
as  Ernest  Carlton  Brimmer.  Mary  Pickford  is 
divorced  from  Owen  Moore.  Douglas  Mac- 
Lean  is  twenty-nine.  Hands  off  Doug,  he's 
married. 

Peggy  A.,  Littleton,  N.  H. — Don't  worry, 
Peg,  Tony  is  still  alive  and  kickin'.  It  takes 
nearly  all  of  Tom's  weekly  salary  to  buy  that 
fella'  oats.  He's  an  expensive  proposition. 
Now  you  just  sit  right  down  and  write  a  letter 
to  Fred  Thomson,  at  the  F.  B.  O.  Studios.  780 
Gower  St.,  Hollywood,  Cal.,  and  ask  him  for  a 
photograph  of  Silver  King.  Not  forgetting  to 
enclose  the  twenty-five  cents.  He'll  grant  your 
request.    Fred's  big-hearted. 

M.O. P.,  Chicago,  III. — So  you  think  I  have 
a  lot  of  nerve — listen,  lady,  I  haven't  any  more 
nerve  than  a  set  of  false  teeth.  What  I  tell  you 
young  folks  is  the  truth  and  nothing  else  but. 
The  honorable  John  Gilbert  is  divorced  from 
Leatrice  Joy.  Jack  is  working  on  "  Bardelys 
the  Magnificent"  at  the  Metro-Goldwyn- 
Mayer  Studio,  Culver  City,  Cal.  Sure,  ask 
him,  he  won't  refuse.    Jack  is  a  good  skate. 

A  School  Girl,  Calfax,  Calif. — I  wonder 
what  Richard  and  Lois  would  have  to  say 
about  your  suggestion.  I  think  they  should  be 
consulted  first  before  you  get  these  wild 
notions.  Richard  was  known  as  Ernest  Carl- 
ton Brimmer  before  he  entered  pictures. 
That's  where  you  and  I  differ — I'm  tickled 
pink  with  my  job. 

Bobbie  Marie,  La  Grande,  Oregon. — 
Ben  Lyon  is  still  whole-hearted  and  fancy  free. 
Write  him  at  the  Biograph  Studios,  807  East 
1 75th  St.,  New  York  City. 

A.  K.,  Sheboygan,  Wis. — That  charming 
personality  you've  seen  fluttering  across  the 
screen  at  your  favorite  movie  house  can  be 
reached  at  the  Metro-Goldwyn-Mayer  Studio, 
Culver  City,  Cal. 

O.  O'C,  N.  Y.  C— Me  too.  We  had  an  in- 
terview with  the  handsome  Apollo  in  the 
August,  1925,  issue. 


L.  B.,  New  York. — Well,  I'm  going  to  tell 
Richard  and  Lois  what  you  fans  think.  This 
is  the  third  letter  I  received  this  morning  that 
had  the  same  suggestion.  Richard  and  Lois! 
The  movie-going  public  insist  that  you  two 
get  married..    Now,  what  have  you  to  say? 

George,  Waukegan,  III. — We  all  have 
wondrous  moments,  George.  Write  Betty 
Bronson  at  the  Lasky  Studio.  Are  you  trying 
to  give  me  a  jolly  run-around?  How  do  you 
think  the  star  would  receive  your  letter  if  you 
didn't  place  her  name  on  the  envelope?  And 
don't  forget  the  two-bits! 

Bobby,  Buffalo,  N.  Y. — Sorry  to  disap- 
point you,  but  actors  and  p  'resses  seldom  have 
time  to  answer  their  let i  ..  personally.  You 
see.  they  receive  thousand  A  them,  and  if  they 
stopped  to  answer  them  all,  when  would  they 
have  time  to  act?  However,  why  don't  you 
write  for  photographs  of  your  favorites?  Send 
a  quarter  with  your  requests.  As  for  myself, 
there  is  only  one  of  me.  That's  a  pretty  picture 
you  paint  of  my  big  office  and  my  huge  staff. 
But  it  just  ain't  so.  My  friends  tell  me  that  I 
do  not  look  my  age.  Blanche  Sweet  was  bom 
on  I'ebruary  6,  igor.  Ben  Lyon  isn't  married. 
As  for  your  other  questions,  there  are  so  many 
of  them  that  you'll  have  to  send  a  self-ad- 
dressed stamped  envelope  for  the  replies.  Will 
you  do  that  little  thing? 

Mebbe,  Bluffton,  Ind. — Mebbe  what? 
Mebbe  not  or  mebbe  so?  Buster  and  William 
Collier,  Jr.,  are  one  and  the  same  person.  Lon 
Chancy  is  married.  Born  on  April  1,  1883.  If 
you  could  fall  in  love  with  the  Phantom  of  the 
Opera,  you're  easier  pleased  than  most  girls. 

M.  B.  Georgetown,  S.  C. — Pauline  Starke 
was  born  on  January  10,  1901,  in  Joplin.  Ma 
Brown  hair  and  blue  eyes.  Not  married — as 
yet.  Yilma  Banky  was  born  on  January  g, 
1903.  Never  on  the  stage.  Jack  Pickford  and 
Marilyn  Miller  are  separated.  They  may  gel  a 
divorce.  Ah  me,  such  is  romance!  Alyce 
Mills  has  been  on  the  screen  about  two  years. 
Dorothy  Mackaill  was  bom  on  March  4,  1904. 
Glenn  Hunter  is  twenty-nine  years  old.  Light 
brown  hair  and  light  gray  eyes. 

Esther  Ralston  Fan,  Atlanta,  Ga. — 
Don't  be  frightened.  Step  right  in  and  sit 
down.  I  have  an  extra  polite  manner  for  new- 
comers. Address  both  Esther  Ralston  and 
Richard  Dix  at  the  Famous  Players-Lasky 
Studio,  Astoria,  L.  I.  You  have  a  big  treat 
ahead  of  you;  both  Esther  and  Richard  will 
appear  in  "The  Quarterback, "  Dix's  new  foot- 
ball comedy.  Harrison  Ford  is  divorced. 
Esther  Ralston  was  born  on  September  17, 
1902.  Write  to  Douglas  Fairbanks,  Jr.,  at  the 
Lasky  Studios,  Hollywood,  Calif.  Doug,  Jr., 
was  born  December  9,  1910.  Jackie  Huff 
played  in  "Zander  the  Great." 

Newsy  Ned,  Philadelphia,  Pa. — Newsy  is 
right;  and  curious,  too.  How  is  the  dear  old 
Sesquicentennial?  I  may  drop  in  to  see  you 
some  time.  Alberta  Vaughn  was  born  on  June 
27,  igo6.  She  is  five  feet,  two  inches  tall  and 
weighs  106  pounds.  Born  in  Ashland,  Ky. 
Dark  brown  hair  and  eyes  to  match.  One  sister 
— named  Adamae.  As  for  the  state  of  Alberta's 
heart — I  think  she  is  very  much  fancy  free. 
But  I'll  make  no  promises  for  the  future. 
These  girls  are  too  uncertain. 

F.  S.,  Philadelphia,  Pa. — You  will  find 
your  answer  elsewhere  in  these  columns. 

Willard  A.,  De  Land,  Florida. — Norma 
Shearer  was  born  in  Montreal,  Canada.  Is 
that  all? 


Every  advertisement  in  PHOTOPLAY   MAGAZINE  is  gua 


Photoplay  Magazine — Advertising  Section 


97 


UNKNOWN  BEAUTY 

The  Girl  Who 
Lives  Next  Door 
You  do  not  know  her  name.  She  is 
not  known  to  fame.  Yet  thousands 
as  lovely  as  she  —  grace  the  homes 
of  America.  For  this  is  the  land  of 
beauty  —  beauty  famed  —  beauty  un- 
known-andthis  is  the  land  of  Tre- 
Jur  —  the  helpmate  to  true  charm 


QyliicL  now  it's  been  done— 

a  Tfejwr  compact  at  50? 

We  once  said  that  when  a  greater  value  in  quality  compacts 
could  be  found — Tre- Jur  ivould  show  the  way Meet — 

"The  Little  One" — 

Your  heart's  desire  in  Beauty  Aids ! 

Light  and  slim,  and  two  inches  in  girth,  is  its  lovely  silver- 
finished  case.  Slipping  handily  into  the  smallest  purse — the 
social  equal  of  the  finest  bag.  An  aristocrat  in  its  quality 
of  powder —an  inspiration  in  its  delightful  scent.  Ample 
in  its  contents — amazing  in  its  price  of  50c  (Refills  35c). 

And  may  we  introduce  two  more  Style  notes  in  compact  fashions  for 
Fall?  Tre-Jur's  "Thinest" — truly  the  thinnest  Compact  ever  designed. 
Gracefully  convexed  in  rich,  gunmetal  finish  —  a  large  mirror  and  a 
bountiful  measure  of  powder.  Single,  $1 — Double,  $1.50.  The  "Purse 
Size  Twin" — in  friendly  size  for  the  little  purse — contains  powder  and 
rouge  at  the  price  of  $1.  .  .  .  Each  brings  you  the  quality  of  cosmetic  for 
which  Tre-Jur  is  famed — scented  ivith  that  exquisite  perfume,  Joli  Memoire. 

If  not  sold  nearby,  any  Tre-Jur  item  will  be  forwarded  by  mail,  upon 
receipt  of  price.  A  generous  sample  of  Tre-Jur  Face  Powder  sent  for  10c 
— stamps  or  coin.  House  of  Tre-Jur,  Inc.,  19  West  18th  Street,  N.  Y. 

TR.E-JUR. 


The  name  Tre-Jur  in  toiletries 


is  your  promise  of  money's  most 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Friendly 

Advice  on 


wirls1 


B 


roblems 

from 

Carolyn  Van  Wyck 


DEAR  CAROLYN  VAN  WYCK . 
Is  there  any  way  by  which  a  girl  with 
a  very  limited  income  can  be  well 
dressed?  I  am  a  bookkeeper-stenographer  and 
as  I  am  self-supporting  and  do  not  live  at  home, 
I  really  can't  spend  more  than  Sio  a  week  at 
the  very  most  on  my  clothes.  Just  like  every 
girl  I  love  pretty  things,  but  somehow  when  I 
have  a  new  pair  of  shoes,  I  have  an  old  hat, 
or  when  I  have  the  hat,  I  need  a  coat.  I  never 
seem  to  get  my  wardrobe  quite  assembled.  Is 
this  because  of  the  small  amount  I  have  to 
spend  or  do  I  manage  badly?  Please  help  me. 
I  read  your  columns  every  month  and  I  think 
they're   wonderful. 

J.  M. 

The  only  way  by  which  a  girl  with  a  limited 
clothes  allowance  can  be  well  dressed  is  by 
careful  planning,  more  careful  shopping  and  a 
cultivated  sense  of  style. 

Every  girl  should  be  just  as  well  dressed  as 
she  can  possibly  afford.  It  is  more  important 
today  to  be  well  dressed  than  ever  before. 
I  sincerely  feel  that  the  best  investment  girls 
starting  out  in  business  or  life  can  make  is  in 
anything  that  tends  toward  an  improvement 
in  their  appearance.  The  girl  who  makes  less 
money  must  spend  a  larger  proportion  of  her 
income  for  clothes  than  the  girl  in  easier  cir- 
cumstances. No  girl  who  hopes  to  succeed 
should  let  herself  appear  shabby. 

Yet  money  isn't  the  real  answer.  It  isn't  the 
amount  you  spend  that  rules  whether  you  shall 
be  well  dressed.  It  is  good  or  bad  purchasing. 
Many  women  who  spend  large  amounts  are 
atrociously  dressed  and  many  who  have  little 
or  no  cash  invested  are  well  dressed. 

How  can  you,  J.  M.,  make  your  money  cover 
all  your  needs? 

Well,  first  of  all,  you  must  stop  hit-or-miss 
buying.  You  can't  buy  an  unrelated  hat  or  un- 
related pair  of  shoes,  or  gloves,  or  stockings 
and  hope  to  come  out  solvent  or  well  groomed. 
The  girl  with  a  small  amount  to  spend  must 
see  that  every  hat,  dress,  coat  and  piece  of 
underwear  adapts  itself  to  one  or  more  other 


garments  she  already  possesses.  You  can't 
wear  a  picture  hat  with  a  tailored  suit  J  OU 
can't  wear  a  beaded  blouse  «ith  ;t  separate 
skirt.    But  you  can,  for  instance,  wear  patent 

leather  opera  pumps  with  either  a  tailored  suit 
or  a  silk  afternoon  dress.  A  silk  sweater  de- 
mands a  rerlain  type  of  skirt.  A  woolen 
sweater  may  be  worn  with  anything.  There  is 
the  difference  between  related  and  unrelated 
buying. 

Each  girl's  clothes  problem  is  to  some  extent 
individual.    I  myself,  for  instance,  must  spend 


Dressing  on  a  Limited 

Income 

Is  This  Month's  Problem 

WRITE  me  your  problems.  If 
you  desire  a  personal  reply 
in  matters  that  need  understand- 
ing rather  than  rules,  enclose  a 
stamped  and  addressed  envelope. 
In  addition,  I  have  had  printed 
for  you  booklets  on  the  care  of  the 
skin  and  reducing.  The  eight 
page,  illustrated  booklet  on  re- 
ducing costs  ten  cents.  The  other 
is  free.  CAROLYN  VAN  WYCK 


a  terrible  amount  for  shoes.  Try  as  I  will  I 
scuff  shoes  out  in  no  time  whatsoever  and  must 
spend  too  much  in  keeping  my  feet  even  pass- 
ably shod.  On  the  other  hand,  I  can  wear  a 
coat  several  seasons,  which  many  people  can't 
do  at  all. 

But  no  matter  what  your  clothes  failing  is, 
there  is  a  general  list  of  things  we  all  of  us  must 


buy  Therefore,  you  must  proceed  carefully  to 
avoid  making  a  single  expensive  clothes  error. 
Remember,  that  dress  you  don't  wear — that 
idle  dress  hanging  in  your  closet — is  the  most 
expensive  one  you  have. 

To  begin  with,  don't  rush  about  your  shop- 
ping. You  can't  get  anything  but  stuck  that 
way.  Know  approximately  what  you  want 
before  you  set  out  to  buy  it.  The  way  to  that 
knowledge  is  the  style  publications.  I  think 
every  girl  ought  to  "follow  all  the  better  ones. 
If  you  feel  you  can't  afford  subscriptions  to 
them,  get  them  in  the  magazine  room  of  your 
local  library.  Style  is  not  what  it  once  was. 
Our  skirt  lengths  do  not  jump  from  knee  to 
sidewalk  in  a  season,  or  our  waistlines  from 
hip  to  armpit,  as  they  used  to.  But  there  are 
certain  subtle  style  manifestations  that  come 
and  go  yearly  and  which  any  girl,  even  with  a 
small  wardrobe,  can  follow  somewhat. 

Furthermore,  the  more  you  observe  good 
styles,  the  more  your  eye  gets  trained  for  pur- 
chasing them.  Remember,  the  simplest  style 
is  always  the  best  style.  And  the  second  rule 
is  like  unto  it — sports  and  tailored  things  are 
always  more  modish  than  fussy  things.  On 
these  two  commandments  you  can  hang  your 
whole  wardrobe. 

But  now,  to  get  down  to  specific  pieces.  For 
a  year's  wardrobe  every  girl— and  particularly 
the  business  girl — must  have: 

First — a  tailored  suit.  This  may  be  either 
a  spring  or  a  fall  purchase,  though  spring  is  the 
better  time,  as  a  suit  can  be  worn  for  cool  sum- 
mer and  early  fall  clays,  where  a  fall  suit  is  less 
modish  and  too  heavy  for  spring  wear.  Buy  as 
simple  and  as  well  tailored  a  suit  as  your  purse 
will  permit.  A  correctly  tailored  suit  never 
loses  its  style.  It  can  be  worn  at  any  hour  of 
the  day  and  to  every  function  except  the  most 
formal'  evening  party.  It  is  fine  for  business 
and  excellent  socially.  If  a  girl  really  had  to. 
she  could  get  along  for  a  year  on  a  good  tailored 
suit  and  a  heavy  winter  coat.  Therefore,  ex- 
cept for  your  coat,  you  may  pay  more  for  your 
suit  than  for  any  other  single  thing.    Forty-five 

[  COXTINIED  c.N  PAGE    I  20  ] 


Gruen    Cartouche,    $35 
Others,  $40  to  $100 


Gruoi  Diamond  Cartouche,  $  1 50 

17- jewel  Precision  movement 

Others,  $75  to  $1500 


Smartest  of  timekeepers 
are  the  latest  GRU6(I1  creations 


First,  of  course,  they 
are  watches  of  great 
dependability.  You 
knowthat  because  you  know 
the  reputation  of  their 
makers,  the  Gruen  Watch 
Makers  Guild. 

Then— they  have  style! 
They  have  all  the  smartness 
young  people  want.  And, 
withthat,  they  haveenough 
dignity  to  make  these  same 
young  people  still  proud  to 
wear  them  as  the  years  go 
on.  They  must  be  made  that 
way,  for  each  of  them  is 
built  for  long  service. 


Gruen  Pentagon,  $75  (Pat'd) 

Precision  movement 

Others,  $100  to  $500 

SemiThirr  pocket  watches,  $25  to  $40 


Gruen  Quadron,  with 

Ben  Hur  Band,  $75 

17-|ewel  Precision  movement 

Other   Gruen   strap   watches,  $25   to  $250 


They  offer  plenty  of  vari- 
ety, too.  They  cost  from 
$25  up  into  the  thousands, 
with  sufficient  range  for 
choice  at  each  price  to 
please  any  taste. 

Those  pictured  here  are 
onlyafew  examples  of  what 
any  Gruen  jeweler  can  show 
you.  Why  not  go  and  see 
them?  Gruen  jewelry  stores, 
the  best  ineachcommunity, 
are  marked  by  the  Gruen 
Service  emblem. 

Gruen  Watch  Makers  Guild 

Time  Hill,  Cincinnati,  U.  S.  A. 

Canadian  Branch,  Toronto 

Engaged  in  the  art  of  fine  watchmaking  for 

more  than  half  a  century 


Yon  will  see  ibis 

emblem    only    on 

jrwttry  stores   of 

character 


Gruen  Guild  Watches 


g 


Specially  posed  by  Helene  Chadwick, 
Warner  feature  player 


&: 


\ 


rV  ?<#  '  V'JBL 

»tfc   /rT.  \,    r    -r 


3 


Whatever  Is  Qood  -  -  Endures 

N  CREATING  the  exquisite  Orange  Blossom  design,  the  Trauh  Manu- 
facturing Company  did  more  than  institute  a  fashion;  it  set  a  standard  of 
quality  that  has  insured  everlasting  satisfaction  to  every  buyer  of  a  Trauh 
ring.  How  natural,  then,  that  the  same  generation  which  gave  the  decor- 
ated marriage  ring  its  vogue  should  also  establish  its  originator  as  un- 
questioned leader  in  this- field.  Today's  purchasers  of  engagement  and 
wedding  rings  insist  upon  the  trade  mark  of  Traub  not  only  because  it 
identifies  the  Genuine  Orange  Blossom  design,  but  because  it  is  a 
guarantee  of  worth.  In  every  city,  the  better  jewelers  offer  Traub  Orange 
Blossom  wedding  rings  in  a  wide  variety  of  styles  -priced  as  low  as  $12. 

Oi4r  delightful  booklet,  "Wedding  Ring  Sentiment."  free  on  request 

TRAUB    MANUFACTURING    COMPANY,    DETROIT,    MICHIGAN 

New  York,    576   Fifth   Ave.  Windsor,  Ont.  San   Franciico,   704    Market  St. 

TRAUB 

TRAUB  genuine 

Orange  mossom 

Engagement  and  Wedding  Rings 


Iridic- platinum,  jeweled 
with.  24  diamonds 


'platinum,  full  jeweled 


Popular  style  and  price 


What  the  Stars  and  Directors  Are  Doing  7v[0W 


WEST  COAST 

(Unless  otherwise  specified  studies  arc  at  Hollywood) 


METRO-GOLDWYN-MAYER  STUDIOS,   Culv 
City,  Cal. 


ASSOCIATED  STUDIOS.  3800  Mission  Road. 
William   Kraft  directing   "Lawless  Valley"    with 
BUI  Cody. 

CHARLES  CHAPLINSTUDIOS,  1416  La  Brea  Ave. 
Inactive. 

CECIL  B.  DE  MILLE  STUDIOS.  Culver  City.  Cal. 
Wm.  de  Milie  directing  "Nobody's  Widow"  with 
Leatrice  Joy. 

Cecil  De  Mille  directing  "The  King  of  Kings'* 
with  H.  B.  Warner  and  Joseph  Schildkraut. 

COLUMBIA  PICTURES,  1438  Gower  Street. 

Harry  Hoyt  has  completed  "The  Belle  of  Broad- 
way" with  Betty  Compson.  Andre  Mattoni,  Ar- 
mand  Kaliz  and  Edith  Yorke. 

Frank  Strayer  has  completed  "Sweet  Rosie 
O'Grady"  with  Shirley  Mason. 

F.  B.  O.  780  Gower  Street. 

Phil   Rosen  directing   "The   Adorable   Deceiver" 

with  Alberta  Vaughn. 

Bob  De  Lacey  directing  "  Cowpunching  for  Cupid  " 

with  Tom  Tyler. 

Production  will  soon  start  on  "Mother."    Cast 

not  yet  named. 

Sally  Long  and  George  O'Hara  working  on  "Going 

the  Limit." 

FIRST    NATIONAL    PRODUCTIONS,    Burbank. 
Cal. 

Frank  Capra  directing  "The  Strong  Man"  with 
Harry  Langdon  and  William  V.  Mong. 


Sydney   Franklin  directing   "The  Sun  of   Mont- 
martre"  with  Norma  Talmadge. 

Colleen  Moore  will  soon  start  work  on  "Orchids 
and  Ermine"  with  Jack  Mulhall. 

Al  Santell  directing  "The  Pa  tent-Leather  Kid" 
with  Richard  Barthelmess  and  Dorothy  Mackaill. 

WILLIAM  FOX  STUDIOS.  1400  X.  Western  Ave. 
George  Mellord  directing  "Going  Crooked"  with 
Bessie  Love  and  Victor  McLaglen. 

J.  G.   Blystone  directing  "Wings  of  the  Storm" 
with  Virginia  Brown  Faire  and  Reed  Howes. 


Howard  Hawks  directing  "Royal  Romance"  with 
George  O'Brien  and  J.  Farrell  McDonald. 

R.    William    Xeill    directing    "The    City"    with 
Walter  McGrail. 

Buck  Jones  will  soon  start  work  on  "Kit  Carson." 
John  Griffith  Wray  directing  "Upstream"  with 
Shirley  Mason.  Walter  Pidgeon,  Leslie  Fenton, 
Dolores  del  Rio  and  Charles  Stevenson. 
Tom  Mix  will  soon  start  work  on  "The  Canyon 
of  Light."  Ralph  Slpperly  Is  also  in  the  cast. 
Edwin  Carewe  will  direct  "Carmen"  with  Dolores 
del  Rio. 

,  Cal. 


LASKY  STUDIOS.  5341  Melrose  Avenue. 

William  Wellman  completing  "Wings"  with  Clara 

Bow  and  Charles  Farrell. 

Arthur    Rosson    directing    "Be    Yourself    with 

Raymond  Griffith. 

John  Waters  directing  "The  Man  of  the  Forest" 

with  Jack  Holt. 


Jack  Conway  directing  "The  Understanding 
Heart"  with  Joan  Crawford.  Rockcliffe  Fellowes 
and  Francis  X.  Bushman,  Jr. 

Dimitri  Buchowetskt  will  direct  "Valencia"  with 
Mae  Murray. 


Gertrude  Olmsteid  will  soon  start  work  on  "Thirty 
Days"  with  Charles  Ray. 


Greta  Garbo  is  being  considered  for  the  role  of 
"Jenny  Lind." 


Lewis  Milestone  completing  "The  Mountain  Lad" 
with  Harold  Lloyd.  A  Harold  Lloyd  Production 
(Paramount). 


MACK  SEXNETT  STUDIOS.  1712  Glendale  Blvd. 
Johnny  Burke,  Thelma  Parr.  Vernon  Dent.  Bar- 
bara Tennant,  Ruth  Hiatt,  Raymond  McKec, 
Janet  Royce.  Andy  Clyde.  Ben  Fredericks.  Made- 
line Hurlock.  Danny  O'Shea,  Man-in  Lobach  and 
Barney  Helm— all  playing  in  two-reelers. 


Production  will  soon  start  on  "  Resurrection"  with 
Dolores  del  Rio  and  Rita  Carewe.  Edwin  Carewe 
will  direct. 


Alan  Crosland  directing   "Francois  Villon"   with 
John  Barrymore  and  Vilina  Banky. 


UNIVERSAL  STUDIOS,  Universal  City,  Cal. 


Millard  Webb  directing  "Beware  of  Widows" 
with  Laura  La  Plante. 

Irvin  Willat  directing  "The  Black  Rider"  with 
Richard  Talmadge. 

Edward  Sloman  directing  "The  Bargain  Bride" 
with  Mary  Philbin. 

WARXER  BROTHERS.  5S41  Melrose  Ave. 

Roy  del  Ruth  completing  "Across  the  PaciOc" 
with  Monte  Blue.  Jane  Winton  and  Myrna  Loy. 
Production  will  soon  start  on  "The  Third  Degree." 
Cast  or  director  not  yet  named. 


Mai  St.  Clair  completing  "The  Popular  Sin"  with 
Florence  Vidor.  Clive  Brooks  and  Greta  Xissen. 
Frank  Tuttle  directing  "  Love  'em  and  Leave  'em" 
with  Lois  Wilson.  Louise  Brooks,  Ford  Sterling 
and  Larry  Gray. 

TEC  ARTS  STUDIO.  332  West  44th  Street.  New- 
York  City. 

First  National  Production.  Charles  Hines  di- 
recting "The  Knickerbocker  Kid"  with  Jolinny 
Hines  and  Ruth  Dwyer. 

Sam  Zeller  Production.  Nat  Ross  directing 
"The  Winning  Oar"  with  George  Walsh. 


LONDON 


Graham  Wilcox  Production.  Dorothy  Gish  is 
working  on  "Tip  Toes."  a  British  film,  with 
Will  Rogers  and  Xelson  Keys. 

FOX 

Harry  Beaumont  is  directing  "One  Increasing  Pur- 
pose" with  Lila  Lee  and  Eduiund  Burns. 


CHANGE  IN  TITLES 

PARAMOUXT 

"Captain  Sazarac"  with  Florence  Vidor  and  Ri- 
cardo  Cortez  has  been  changed  to  "The  Eagle  of 
the  Sea." 

FIRST  XATIOXAL 

"A  Desperate  Woman"  with  Lloyd  Hughes  and 
Doris  Kenyon  has  been  changed  to  "  Ladies  at 
Play." 

"Just  off  Broadway"  with  Corinne  Griffith  has 
been  definitely  changed  t<>    'Sj  ocop:iting  Sue." 


EAST  COAST 


Howard   Hijigins  directing   "Not   Herbert"   with 
Ben  Lyon. 


BUSINESS  OFFICES 

Associated  Exhibitors.  Inc..  35  West  45tb  St.,  New 
York  City. 

Associated  First  National  Pictures.  383  Madison  Ave  , 
New  York  City.  Richard  Barthelmess  Prod..  In- 
spiration Pictures.  565  Fifth  Ave..  New  York  City, 

Educational  Film  Corporation.  370  Seventh  Ave  . 
New  York  City. 

Famous  Players-Lasky  Corporation  (Paramount). 
485  Fifth  Ave..  New  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. 
Principal  Pictures  Corporation.  1540  Broadway,  New 
York  City. 

Producers  Distributing  Corporation.  469  Fifth  Ave., 
New  York  City. 

Rothacker  Film  Mfg.  Company.  1339  Dlversey 
Parkway,  Chicago.  III. 

United  Artists  Corporation,  729  Seventh  Ave.,  New 

York  City. 
Universal  Film  Mfg.  Company.  Heckscher  Building. 

5th  Ave.  and  57th  St.,  New  York  City. 

Warner  Brothers.  1600  Broadway.  New  York  City. 


101 


102 


Photoplay  Magazine — Advertising  Section 


V&h?l3zer 


Studio  News  and  Gossip — East  and  West 


[  CONTINUED  FROM  PAGE  04  ] 


Couldn  't  Play  a  Note  — 

Now  Makes  $10022 

Week 

"When  I  sent  for  your  catalog.  I  didn't  know  a 
note  of  music.  A  few  months  after  I  bought  my 
Wurlitzer  instrument,  I  had  taken  my  place  in  a 
professional  orchestra.  Now  I  am  making  $100 
a  week,  three  times  what  I  made  as  a  clerk.  I 
wish  everybody  knew  how  easy  it  is  —  anyone 
who  can  whistle  a  tune  can  learn  to  play  a  musi- 
cal instrument."— Bill  Carola. 

Free  Trial— Easy  Payments 

You  may  now  have  any  Wurlitzer  instrument 
for  anamnle  free  trial  in  your  own  home.  Examine 
the  instrument,  note  the  fine  workmanship,  the 
full,  rich  tone  value  and  especially  how  easy  it 
is  to  play.  No  obligation  to  buy — no  expense  for 
the  trial.  We  make  this  liberal  offer  because  we 
want  you  to  try  for  yourself  a  genuine  Wur- 
litzer instrument,  the  result  of  200  years' experi- 
ence in  musical  instrument  building. 
Easy  payments  are  arranged  to  suit  your  con- 
venience. This  is  your  opportunity  to  try  a  fam- 
ous Wurlitzer  instrument  in  your  own  home. 


The  time  came  and  the  old  trouper 
repeated:  "And  then  what  will  you 
do?"  adding  in  a  low  tone:  "What  an 
awful  actor  you  are !" 

Harry  heard  the  remark.  Gulped. 
Reddened.    And  then  blurted  out: 

"I  hal  hump  on  the  jorse  and  shal- 
lop away !" 

He  brought  down  the  house. 

ERNST  LUBITSCH  has  moved  over  to 
Famous  Players  to  direct.  That  is,  he  has 
signed  on  the  well-known  dotted  line.  He 
hasn't  moved  yet. 

The  original  announcement  that  Lubitsch 
had  been  signed  created  something  of  a  sensa- 
tion in  the  film  world.  The  announcement 
carried  the  information  that  Lubitsch  would  go 
over  t<>  Famous,  later  to  return  to  Warner  to  do 
two  pictures  still  included  in  his  contract. 

Then  came  a  lot  of  conflicting  reports.  It 
was  said  that  Lubitsch  would  remain  with 
Warners.  That  he  would  do  three  pictures  for 
Warners  and  then  go  over  to  Famous.  There 
were  a  whole  lot  of  other  reports. 

The  facts  of  the  case  are  that  Lubitsch  is 
definitely  signed  by  Famous  and  that  he  will, 
now  or  later,  do  two  more  pictures  for  Warners. 
It  is  said  that  Famous  Players  will  have 
Lubitsch  direct  Emil  Jannings  when  he  comes 
over.  Also  that  he  will  have  a  try  at  Adolphe 
Menjou. 

"TT"  is  going  to  be  the  name  of  a  motion 
-'■picture  feature. 

It  wasn't  so  long  ago  that  Mme.  Elinor  Glyn 
defined  sex  appeal  as  IT.  Ever  since  that 
Hollywood  has  been  seeking  possessors  of  IT 
and  endeavoring  to  get  IT  into  its  pictures. 

Elinor  Glyn,  by  the  way,  came  to  the  rescue 
of  the  Los  Angeles  Day  Nursery  recently  In- 
giving  a  lecture  at  the  Ambassador  Hotel. 
Mme.  Glyn  did  not  talk  on  IT.    She  discussed 


jolly,  dear  old  Russia  when  the  jolly,  dear  old 
Czar  was  ruling  and  before  the  nasty  Soviets 
got  in  power.  When  etiquette  was  etiquette 
and  the  only  genuine  whiskers  belonged  to 
grand  dukes. 

Mme.  Glyn  said  that  she  went  to  Russia  to 
write  the  truth  about  the  aristocracy.  "His 
Hour"  was  the  result.  "When  it  was  com- 
pleted." Mme.  Glyn  told  her  breathless  Los 
Angeles  audience,  "I  read  it  aloud  to  the 
Imperial  family  and  it  received  their  warm 
approbation." 

"pROM  all  rumors  it  must  be  understood  that 
*■  Vilma  Banky  is  having  an  invigorating  lime 
at  Barbara  Worth,  Nevada,  where  she  is  that 
one  hundred  per  cent  American  girl,  Barbara 
Worth,  in  Harold  Bell  Wright's  famed  saga  of 
the  lady's  winning. 

The  West — particularly  the  desert — is  inter- 
esting to  our  Hungarian  .  beauty.  But  the 
names  they  give  their  inhabitants!  "Cow- 
boys," for  instance,  who  hold  no  resemblance 
to  the  long-horned  steers.  And  the  women 
.  .  .  what  to  call  them?  ...  it  is  all  so 
puzzling? 

"What  are  you  playing  in  the  picture?" 
queried  Paul  McAllister. 

Vilma  smiled  the  famous  Banky  smile:  "I 
am  cowboy 's-girl." 

QOMEONE  asked  Vilma  Banky 
about  the  bathing  facilities  at 
Camp  Barbara  Worth.  Her  wide 
eyes  open  and  her  hands  move  ex- 
pressively. Roundly  her  mouth 
forms  soft  syllables: 

"There  is  a  big  box  overhead  and 
two  handles  on  the  wall.  Turn  the 
one  that  says  'Hot'  and  cold  water 
comes.  Turn  the  one  that  says  'Cold' 
and  hot  water  comes!" 

CONTINUED  ON  PAGE  104  ] 


TkeRudolphWurlitzerCcDept.  1727 
I17E.4lkSl.,  Cincinnati     329  S.WabashAvt 
120W.42ndSL.N.Y.       250SlocklonSl..San  Francisco  1 
slend  me  yoar  Free  Book  on  maBlci 
your  Pre©  Trial,  Easy  Payment  Plan.    Ho  oblig 

Name  .... ..... .. „ 

Address 

City... State 

Instrument...,. _„.._ . 

WuruKeh    (( 

Cofnrioht  1SSG,  ThfRudolvh  WurliUcr  Co. 


Poor  Harry  Langdon !  He  has  a  nice,  noisy  gun  and  yards  and  yards 
of  bullets,  but  the  German  soldiers  in  a  nearby  trench  have  just 
dropped  off  to  sleep  and  he  doesn't  like  to  disturb  them.  Harry  plays 
a  dough-faced  doughboy  in  his  new  comedy,  "The  Strong  Man" 


riTOTOn.AT    MAGAZINE 


Photoplay  Magazine — Advertising  Section 


Smartly  Gloved  Hands  that  Point 
the  Way  to  Chic 

A4"ISS  WINDSOR'S  choice  of  beige  cape  gloves  illustrates 
the  new  fashion  tendency  of  introducing  a  note  of 
contrast  to  the  costume.  Having  a  keen  sense  of  style,  Miss 
Windsor  always  selects  gloves  that  are  appropriate  in  color, 
style  and  material  for  her  costume  and  the  occasion  when 
they  will  be  worn. 

You,  too,  may  now  select  appropriate  gloves  to  harmonize 
with  your  autumn  costume.  Merchants  in  your  city  are 
displaying  in  windows  and  departments  smart  new  gloves 
for  dress,  street  and  sport  wear. 

Consult  the  glove  department  as  to 
the  correct  gloves  for  each   costume 


The    Associated    Glove    Crafts,    395    Broadway,    New   York    City 

When  you  write  to  advertisers  please  mention  PHOTOfLAT  MAGAZINE. 


104 


Photoplay  Magazine — Advertising  Section 


lANNlNG  THROUGH  [  Studio  News  and  Gossip— East  and  West 

the  New  Pictures 


LIONEL  BARRYMORE 

AS  HE  APPEARS  IN 

"THE  BELLS" 

WHEN  I  learned  that  Lionel 
Barrymore  was  to  play  in 
"The  Bells,"  the  Chadwick  picture 
of  the  immortal  Sir  Henry  Irving 
play,  I  knew  that  a  real  treat  was 
in  store  for  me.  When  I  saw  it, 
my  expectations  were  more  than  ful- 
filled. Lionel  has  a  part  that  only  a 
Barrymore  could  play.  All  of  his 
rare  talent,  which  never  before  was 
fully  realized  in  his  screen  produc- 
tions, has  full  play  in  the  ten-e 
struggle  of  Mathias  to  overcome  the 
Stern  relentlessness  of  his  harrowing 
conscience. 

MATHIAS  is  a  new  type  of  screen 
hero,  a  complex  character  that 
is  rare  in  motion  pictures, — just  as 
rare  as  the  unusual  story  of  "The 
Bells,"  which  will  hold  you  spell- 
bound throughout  its   unfolding. 

JAMES  YOUNG,  who  has  directed 
so  many  other  fine  pictures,  may 
well  point  with  pride  to  this  Erck- 
mann-Chatrian  play  as  his  master- 
piece. Every  detail  is  so  well  con- 
ceived that  you  seem  to  live  the  story 
as  it  develops  on  the  screen. 

AND  the  cast !  Lola  Todd,  Edward 
Phillips,  Gustav  von  Seyfertitz, 
Otto  Lederer,  Boris  Karloff,  Fred 
Warren,  Lorimer  Johnston  and  Car- 
oline Frances  Cooke.  What  more 
could  you  ask? 

ROP    me    a    line    when    you    see 
'The    Bells."      I    am    anxious    to 
know  if  you  agree  with  me. 


D 


<j-aAV»y 


CONTINUED  FROM  PAGE   102 


THADWICK  PICTUREC 

UCOB.POR.ATIONJ 
729  Sei)  tnthjlpenut 
New  YotvKw   City 


RUDOLPH  VALENTINO'S  last  picture, 
"The  Son  of  the  Sheik,"  opened  in  Los 
Angeles  one  night. 

The  next  night.  Pola  Negri's  "Naughty  But 
Nice."  opened  at  a  theater  next  door. 

Pola  sent  Rudy  a  huge  mass  of  red  roses  on 
a  giant  frame,  taller  than  his  head  and  twice 
as  long.    It  was  really  a  superb  thing. 

Rudy  sent  Pola  a  tribute  of  orchids  that 
cost  $1,000. 

A  few  days  later  he  left  for  New  York 
where  his  fatal  illness  claimed  him. 

ONE  of  the  most  dashing  and  courageous 
things  I  have  seen  in  some  time  took  place 
at  the  Los  Angeles  opening  of  the  Valentino 
picture,  "The  Sun  of  the  Sheik."  and  in- 
cidentally showed  the  type  of  man  he  was. 

At  the  close  of  the  first  showing  of  the 
picture,  Valentino  came  out  to  make  a  brief 
speech  and  personal  appearance.  He  came 
well  down  toward  the  footlights,  said  his  little 
say.  and  was  about  to  bow  himself  out  when 
he  saw  that  one  of  the  huge  vases  used  for 
decorative  purposes  at  the  side  of  the  stage  was 
about  to  fall.  The  vase  was  some  foil  rl  ecu 
feet  high,  and  very  heavy,  and  it  was  headed 
directly  into  the  orchestra,  where  it  would  un- 
doubtedly have  struck  some  women  seated  in 
the  front  row. 

VALENTINO  jumped  across  the  stage,  and 
put  his  shoulder  against  the  vase  to  try  to 
steady  it,  but  its  weight  was  too  great  and  it 
bore  him  over  backwards.  He  managed  to 
deflect  its  fall  sufficiently  so  that  it  went  into 
the  orchestra  pit  and  so  did  he,  flat  on  his 
back.  It  knocked  him  unconscious,  and  it  was 
some  minutes  before  the  hastily  summoned 
doctors  were  able  to  bring  him  round. 

Then  he  stangered,  somewhat  the  worse  for 
wear,  to  his  place  in  the  audience,  amid  the 
most  terrific  applause  I  have  heard  in  a  picture 
theater  in  many  a  long  day. 

The  thing  happened  so  quickly  that  nobody 
had  any  time  to  think,  and  it  showed  both 
courage  and  quick  thinking  on  Rudy's  part. 
After  all,  the  actor  who  takes  a  chance  of  a 
smash  is  taking  a  chance  with  much  more  than 
a  mere  broken  bone  or  two.  He  is  taking  a 
chance  of  a  broken  contract. 

Rudy  deserved  all  the  applause  he  got.  He 
acted  like  a  man  and  a  gentleman,  and  the 
incident  will  be  long  remembered. 

f~\NCE  a  pedagogue  always  a  ped- 
^agogue.  That's  right!  Now  look 
at  John  Griffith  Wray  who,  before  he 
became  a  director,  was  a  school 
teacher.  It  cropped  out — his  old 
occupation  did — the  other  day  when 
he  was  directing  a  flock  of  extras  at 
the  Fox  studio  where  he  is  making 
"Up-Stream." 

I  stood  watching  the  short  dynamic 
Wray  explaining  the  action  of  the 
scene  to  the  extras,  and  when  he 
finished  he  ran  his  hand  through  his 
curly  grey  mop  of  hair  and  said : 

"Now  do  all  you  children  under- 
stand what  I  have  said?  If  anyone 
doesn't  will  he  please  raise  his 
hand?" 

THE  most  thoroughly  exhausted  girl  in  all 
Hollywood  these  days  is  the  new  little  Mrs. 
Robert  Leonard,  who  was  Gertrude  Olmsted. 
Incidentally,  she  tells  me  that  she  has  gone 
to  so  many  teas,  luncheons  and  dinner  parties 
that  she  is  losing  her  figure  from  sheer  social 
over-eating  and  the  desire  not  to  offend  her 
hostesses. 


"\  7ERY  large  month  in  Hollywood,  socially. 
v  The  Lionel  Barrymores  had  a  simply 
huge  party  and  sent  out  gold  engraved  invita- 
tions! Nothing  like  that  has  ever  happened  in 
Hollywood  before.  Wherever  they  found  that 
anybody  they  wanted  at  their  party  was 
having  a  party  or  going  to  another  party,  they 
invited  all  the  guests  to  come  to  their  party. 
Which  was  all  very  well,  but  a  little  astonishing 
to  people  who  had  never  met  the  Lionel  Barry- 
mores.    But  it  was  a  gorgeous  affair. 

Mr.  and  Mrs.  James  Kirkwood  took  the 
whole  Rancho  Country  Club  and  "threw  a 
party"  (excuse  the  expression,  but  no  other 
fits),  and  its  praises  are  still  being  sung. 

And  Jack  Gilbert  proved  what  a  mere  man 
can  do  in  the  way  of  entertaining  when  he  gave 
a  supper  party  for  Ethel  Barrymore  at  his 
house  on  the  hilltop. 

While  as  for  Mrs.  Earle  Williams'  luncheon 
for  Jeanne  Eagles.  I  doubt  if  anybody  at  Palm 
Beach,  Newport  or  Back  Bay  could  have 
beaten  it  for  class.  And  the  list  of  guests  was 
certainly  exciting. 

r^RAUFURD  KENT,  the  charming 
^'English  actor,  and  his  wife,  who 
are  very  popular  in  Hollywood,  were 
having  a  party  the  other  evening  for 
a  distinguished  novelist. 

About  midnight  I  heard  him  whis- 
per to  his  wife,  "It's  all  right,  darling. 
The  party's  a  huge  success.  Every- 
body is  trying  to  talk  at  once,  and 
that  proves  it's  a  great  success." 

IF  you  want  to  ruin  Tom  Mix's  day,  bring 
some  insects  on  the  set.  Any  kind  of  insects. 
Short  ones,  long  ones,  fuzzy  ones.  Particularly 
centipedes.  Tom  has  a  violent  aversion  to  the 
latter.    So  would  I.  after  what  he  told  me. 

When  Tom  was  a  lean  cowboy,  riding  the 
Western  plains,  he  rolled  himself  up  in  his 
blanket  one  night  under  the  starry  sky  and 
prepared  for  a  deep  snooze.  About  ten  o'clock 
he  felt  something  creep  up  his  trouser  leg. 
Something  that  wriggled  like  a  tomato  worm 
and  had  as  many  limbs.  It  was  a  centipede. 
Poisonous,  of  course. 

Tom  knew  that  if  he  so  much  as  twitched  a 
muscle  the  insect  would  bite,  so  until  dawn 
Tom  lay  rigid.  When  morning  came  the  centi- 
pede crawled  out  of  Tom's  trouser  leg,  yawned, 
stretched  each  one  of  its  thousand  legs  and 
staggered  away. 

And  Tom  .  .  .?  Well,  somehow  or  other, 
Tom  doesn't  care  about  insects  of  any  sort. 

TOM  MIX  goes  in  for  realism.  While  work- 
ing on  his  latest  picture,  "The  Great  K.  and 
A.  Train  Robbery,"  in  the  Royal  Gorge  of  the 
Colorado,  the  script  called  for  Tom  to  jump 
from  a  moving  train,  catch  a  tunnel  warning 
sign  and  hang  there  until  the  train  backed  up 
to  remove  him. 

Tom  did  the  stunt,  lost  his  grip  on  the  sign 
and  crashed  to  the  tracks  below.  He  was  laid 
up  several  days  from  the  painful  bruises. 

T  WAS  sitting  in  the  casting  office  at 
■*■  M-G-M  chatting  to  Gus  Corder. 
Great  chap  to  know,  for  he  hires  all 
the  extra  girls  and  sure  knows  some 
good-lookers. 

The  phone  rang,  and  this  is  what  I 
overheard: 

"Guess  you've  forgotten  me,  Mr. 
Corder.  I'm  the  blonde  with  the 
dimples." 

"Couldn't  forget  you  when  I 
haven't  even  thought  of  you,"  says 
the  gallant  Gus. 


Kvery  advertisement  in  rHOTOri.AY   MAGAZINE 


. 


Photoplay  Magazine — Advertising  Section 


io5 


IT  was  in  the  Commissary  at  the  M-G-M 
studios  one  afternoon.  I  was  chatting  with 
Dorothy  Phillips.  There  was  one  other  girl  in 
the  place,  a  homely  little  extra,  and  a  couple  of 
men. 

The  phone  rang  and  the  cashier  (a  new  girl) 
answered. 

"Are  you  Miss  Walker?"  the  cashier  asked 
Miss  Phillips. 

Dorothy  left  us  both  flat,  the  cashier  and  me, 
and  the  little  extra  girl  proved  Miss  Walker. 

Such  is  fame. 

Now  Miss  Phillips  takes  her  lunches  at  the 
Palomar  Tennis  Club  in  Culver  City. 

They  may  not  know  her  on  her  own  lot,  but 
they  do  at  the  club. 

THERE  has  been  a  tremendous  exodus 
beachward  this  summer. 

Stretched  along  the  ocean  front,  right  on  the 
sands,  you  can  find  most  of  Hollywood. 

The  Harold  Lloyds  have  taken  a  cunning 
little  bungalow,  and  little  Gloria  has  donned 
her  first  bathing  suit. 

Mr.  and  Mrs.  Conrad  Nagel  and  their 
daughter,  Ruth,  have  a  house  almost  next  door, 
while  just  beyond  are  Sidney  Franklin  and  his 
cunning  wife.  Anne.  Really,  it's  a  shame  Anne 
Franklin  is  so  domestic.  She  might  have  been 
a  miniature  Anna  Q.  Nilsson. 

Norma  Talmadge  has  opened  her  stunning 
beach  house,  and  gives  marvelous  parties  there, 
and  Marion  Davies  has  rented  a  place,  pending 
the  completion  of  her  beach  castle,  which  is 
being  built  on  a  little  pier  right  over  the  ocean. 

Mr.  and  Mrs.  Henry  King  have  a  place 
right  next  door  to  the  house  Dick  Barthelmess 
has  taken  for  his  small  daughter,  Mary  Hay 
Barthelmess,  and  little  Mary  Hay  and  young 
Henry  King,  Jr.,  are  great  cronies. 

THE  telephonic  pest  who  has  been  annoying 
Ethel  Shannon  in  the  wee  sma'  hours  of  the 
morn  is  certainly  going  to  get  his — or  hers. 
Ethel,  the  titian-haired  picture  darling,  has 
been  annoyed  by  persistent  jingles  of  the  tele- 
phone. When  she  answered  she  heard  naught; y 
murmurings,  which  she  knew  were  untrue,  as 
to  the  whereabouts  of  her  fiance. 

Ethel  lived  up  to  the  vivid  hue  of  her  hair 
and  told  the  police  about  the  annoyance,  and 
they  are  Sherlocking  the  case  to  the  ground. 

TX7HEN  Lillian  Gish  was  with  In- 
spiration  Pictures,  a  script  was 
submitted  that  called  for  her  appear- 
ance in  the  usual  role  of  the  un- 
wedded  mother  of  a  che-ild. 


PHOTOPLAY  gave  Julian  Johnson 
his  first  push  on  the  downward 
path  in  this  movie  business.  Since 
leaving  PHOTOPLAY,  Mr.  Johnson 
has  gone  from  bad  to  worse  and  is 
now  starving  along  as  production 
editor  for  Paramount 


Clearing  film  from  teeth 
whitens  surprisingly 

Restores  cloudy  teeth  to  clearness 


Please  accept  full  10-day 
tube  of  this  new  dental 
achievement,  urged  by 
world's  authorities.  Note 
the  difference  in  the  color 
of  your  teeth  and  health  of 
your  gums  as  film  is  cleared 
off  in  this  new  way. 


THOUSANDS  go  through  life  with 
clouded  teeth,  needlessly.  Dental 
science  proves  this  true. 

Cloudy  teeth  now  are  restored  to 
sparkling  clearness.  A  way  found  that 
clears  the  dingy  film  coats  from  teeth 
that  old-time  dentifrices  failed  to  com- 
bat successfully.  One's  whole  appear- 
ance is  often  changed. 

Please  accept  10-day  tube  of  the  way 
leading  dental  authorities  now  are  urg- 
ing to  accomplish  that  result. 

That  stubborn  film  .  .  .  enemy 
of  pretty  teeth  and  firm  gums 

Dental   science   now   traces    scores    of 

tooth  and  gum  troubles 

to   a   germ-laden    film 

that  forms  on  teeth.  Run 

your  tongue  across  your 

teeth  and  you  will  feel 

it  —  a   slippery,   viscous 

coating. 

That  film  absorbs  dis- 
colorations  from  food, 
smoking,  etc.  And  that 
is  why  your  teeth  look 
"off  color,"  dingy  and 
cloudy  .  .  .  why  smiles 
are    often    unattractive. 

It  clings  to  teeth,  gets 
into  crevices  and  stays. 


It  lays  your  gums  open  to  bacterial 
attack.  Germs  by  the  millions  breed 
in  it.  They,  with  tartar,  are  a  chief 
cause  of  pyorrhea  and  decay. 

Old  ways  won't  clear  it  ofifi 

Ordinary  dentifrices  and  cleansing 
won't  fight  film  successfully.  Feel  for 
it  now  with  your  tongue.  Note  how 
your  present  cleansing  method  is  fail- 
ing in  its  duty. 

Now  new  methods  are  being  used.  A 
dentifrice  called  Pepsodent  —  different 
in  formula,  action  and  effect  from  any 
other  known. 

Largely  on  dental  advice,  the  world 
has  turned  to  this  method. 


Cleans  film  ojfi- — 
Firms  the  Gums 

It  accomplishes  two  impor- 
tant things  at  once:  Re- 
moves that  film,  then  firms 
the  gums. 

A  few  days'  use  will 
prove  its  power  beyond  all 
doubt.  Send  the  coupon. 
Clip  it  now  before  you 
forget  and  mail  at  once. 


FJJsM  the  worst 

enemv  to  teeth 

You  can  (be    il  with  your  tongue 


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"I  should  think,"  remarked  a 
friend,  as  she  threw  down  the  script, 
"that  Lillian  would  be  ashamed  to 
look  a  baby  in  the  face !" 

NOW  it's  Michael  Cudahy  who  is  Holly- 
wood's champion  squire.  If  you  don't  see 
him  in  the  dancing  contest  of  a  Wednesday 
night  at  Montmartre  with  Julanne  Johnston, 
you  will  see  him  on  a  quiet  Monday  night 
dining  with  Virginia  Yalli.  and  before  her  de- 
parture for  England,  ycu  might  see  him  at  a 
gay  luncheon  on  Saturday  with  Constance 
Talmadge. 

And  all  this  since  his  engagement  to  Joan 
Crawford  was  definitely  terminated  by  mutual 
consent.  Yes,  the  Crawford-Cudahy  romance 
is  as  cold  as  a  pancake  on  ice.  No  one  seems  to 
know  just  what  the  bone  of  contention  was,  but 
the  romance  is  over,  and  Joan  is  wearing  a 
flashing  solitaire  of  different  style  and  dimen- 
sion which  she  refuses  to  comment  on,  save  for 
an  inscrutable  smile. 

Mike,  who  is  surrounded  by  the  aura  of 
meat-packing  millions,  is  a  very  likeable  boy. 
not  yet  out  of  his  teens,  and  to  my  way  of 
thinking  is  strikingly  like  Ben  Lyon.  I  wonder 
if  that  type  of  manly  beauty  is  fatal  to  the 
ladies  Hen  always  had  (and'  still  has)  a  way 
with  the  other  sex.  Anyway.  Mike  is  a  splen- 
did solace  for  twisted  hearts.  Virginia  Yalli 
celebrated  the  receipt  of  her  interlocutor} 
decree  of  divorce  from  Demmy  Lamson  b\ 
dining  with  Mike  that  self-same  night. 

DURING  the  filming  of  "What  Trice  Glory" 
the  Fox  company  had  what  might  be  called 
a  "blow-out"  at  Westwood,  the  site  of  their 
new  studio.  Technically,  it  should  be  called  a 
"blow-up."  for  the  spectacular  battle  scenes  <  I 
"What  Price  Glory"  were  shot.  Beverly  Hills 
hemes  shook  with  the  reverberation  of  shells 
breaking  in  air  and  a  whole  hillside  on  which 
perched  a  quaint  little  French  village  was 
razed. 

Three  hundred  and  fifty  marines  marched 
into  the  inferno,  airplanes  stole  by  overhead — 
illuminated  occasionally  by  glaring  flashes — 
and  smoke,  following  the  thundering  crack  of 
dynamite,  fogged  the  scenery  until  it  looked 
like  a  segment  of  Verdun  had  been  tossed  onto 
the  peace  of  Westwood  hills. 

Twenty  assistants  to  Raoul  Walsh,  who  is 
directing,  scurried  to  his  radioed  orders.  A 
stretcher  corps  stood  at  attention  ready  to  run 
to  any  of  the  boys  injured  by  the  falling  debris 
or  a  presumptuous  shell. 

"Anybody  hurt?"  anxiously  queries  Raoul 
Walsh  as  the  first  film  of  the  battle  arose.  And 
a  sturdy  chorus  of  "No!"  came  from  the 
smoking  chasm.  "Thank  God!"  came  the 
voice  of  Walsh,  choked  and  metallic  over  the 
radio. 

'"PHEY  were  making  a  war  picture 
on  the  Associated  lot.  It  must 
have  been  von  Stroheim's  "Wedding 
March."  There  was  much  mud  in  the 
trenches  and  a  corps  of  extras 
wallowed  in  it. 

Along  came  Bill  Beaudine,  that 
long,  lean  and  lanky  director  'who 
purloins  at  least  a  thousand  Warner 
dollars  a  week.  Bill  had  just  left  the 
set  where  he  had  been  telling  Doug 
MacLean  what  to  do  to  "Ladies 
First." 

Bill  must  have  been  traveling  in- 
cognito, for  when  he  glanced  at  the 
muck  and  mire  and  remarked:  "Gee, 
I  wouldn't  want  to  be  in  there !"  one 
of  the  extras  piped  up  with: 

"You  would  if  you  got  $7.50  a  day 
for  it!" 

IT  won't  be  rage  that  will  keep  a  handful  o( 
Paramount  plavers  and  craftsmen  "up  in  the 
air"  this  season.  It  will  be.  "Wings."  which  is 
to  be  to  the  air  what  "The  Covered  Wagon" 


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was  to  the  undulating  plains  and  "Old  Iron- 
sides" is  to  the  sea.    You  guessed!    An  epic. 

Paramount  handpicked  their  craftsmen  on 
the  picture  and  have  named  as  author  a  former 
American  flyer,  John  Monk  Saunders.  William 
Wellman  will  direct.  He  was  a  former  member 
of  the  Lafayette  Kscadrille.  Louis  Lighten, 
who  is  doing  the  script  with  Hope  Loring,  was 
an  American  ace. 

LINCOLN  STEDMAN  staggered  into  my 
office  the  other  day,  heaved  a  cyclonic  sigh, 
and  collapsed  into  the  nearest  chair. 

"Whassa  matter,  Line?"  we  queried. 
Myrtle's  son  usually  looks  robust  and  rotund. 
Line  was  decidedly  thinner.  Almost  svelte,  if 
3'ou  know  what  we  mean.    We're  not  certain. 

"Whew!  I've  been  playing  football  with 
'Red'  Grange  .  .  .  and  George  Wilson  .  .  . 
and  'Bullet'  Baker  ...  all  champs  .  .  .  and 
the  Southern  California  huskies  .  .  .  and  the 
Pomona  College  team  .  .  ." 

Just  one  poor  movie  actor  in  a  bunch  of  hard- 
boiled  football  players!  Can  you  imagine  the 
fun  they  had  with  the  tenderfoot?  Line  said  it 
was  terrible  the  first  couple  of  days.  They  all 
laid  for  him.  Then  they  got  to  be  friendly  and 
Line  only  had  a  dozen  bruises  instead  of  three 
dozen. 

The  picture  "Red"  made  is  called  "The 
Halfback,"  and  immediately  after  its  comple- 
tion the  million  dollar  football  player  left  for 
Wheaton,  Illinois,  and  the  famous  ice  wagon, 
where  he  will  spend  his  vacation  delivering 
frozen  water. 

"Red"  was  very  exclusive  when  he  was  in 
Hollywood.  Didn't  go  around  places.  In  fact, 
the  only  time  I  ever  saw  him,  except  before  the 
camera,  was  at  a  Friday  night  fight  at  the 
Hollywood  Legion  Stadium.  He  was  there 
with  his  manager. 

Someone  must  have  cautioned  "Red"  to 
beware  of  our  fatal  blondes. 

■RRED  BEETSON,  Mr.  Hays'  right  bower  in 
•*-  Hollywood,  had  some  of  our  very  best  little 
producers  considerably  worried  during  the 
recent  Hollywood  visit  of  Crown  Prince 
Gustavus  Adolphus.  of  Sweden. 

So  intent  was  Fred  (whom  I  must  confess  is 
just  a  trifle  serious  at  times)  upon  seeing  that 
things  were  done  in  the  right  and  proper  style 
when  the  Prince  was  entertained  that  he  sent 
out  a  letter  to  each  producer  which  might  be 
called  "Etiquette  on  Entertaining  Royalty." 

And  one  of  the  passages  said  in  part  or  there- 
abouts: 

"Gates  must  be  thrown  open  with  a  flourish 
on  sight  of  the  Prince  and  when  His  Highness 
and  party  have  entered  they  must  be  closed 
with  a  bang"  (probably  so  the  Prince  could 
hear  the  bang). 

Now  the  bang  part  wasn't  so  bad.  For  we  of 
the  picture  business  know  how  to  fake  most 
any  kind  of  a  bang,  and  a  gate  bang  is  a  cinch. 
But  how  to  open  studio  "gates  with  a  flourish" 
when  there  is  only  a  door,  or  at  best  a  chair  or  a 
wire  gate,  was  what  put  many  a  grey  hair  in  the 
heads  of  said  producers. 

MACK  SWAIN  was  all  set  to  be  a  jolly  tar 
on  the  bounding  main.  He  had  his  best 
sea  gait  ready  and  was  on  lesson  No.  3  of  the 
sailor's  hornpipe,  ready  for  a  part  in  "The 
Yankee  Clipper." 

"Don't  see  any  signs  of  a  ship  on  the  lot 
here,"  said  Coxswain  Swain  to  Skipper  Rupert 
Julian.  "When  are  they  going  to  build  it?" 
Ofttimes,  you  know,  stirring  sea  stories  are 
made  right  in  the  studio. 

"Never.  We're  going  out  on  the  broad 
Pacific  and  chase  the  roughest  weather  we  can 
find  .  .  .  somewhere  off  the  coast  near  Santa 
Barbara  where  those  destroyers  were  wrecked 
a  couple  of  years  ago,"  edicted  Skipper  Julian. 

Swain  turned  one  shade  lighter  than  pea 
puree. 

"I  get  seasick  when  I  look  at  a  glass  of 
water.    Count  me  out,  mate." 

And  this  from  a  veteran  of  the  Sennett  pool. 
Anyway,  "The  Yankee  Clipper"  lost  a  damed 
good  actor. 


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Perfect  Behavior  in  Hollywood 


[  CONTINUED  FROM  PAGE  45 


Says  the  doctor. 

"I've  just  sold  mine." 

"So  have  I,"  says  the  undertaker. 

"If  you  fellows  will  shut  up  a  minute,"  says 
the  dying  man,  "I  would  like  to  prophesy  the 
great  future  of  motion  pictures." 

"He's  failing  rapidly,"  says  the  doctor. 

"It  won't  be  long  now,"  says  the  undertaker. 

"By  the  way,"  says  the  doctor,  "have  you 
seen  this  month's  Photoplay?" 

"No,"  says  the  undertaker,  "I'm  so  busy.  I 
don't  even  have  time  for  the  trade  journals. 
Is  it  interesting?" 

"Not  very,"  says  the  doctor.  "There's  an 
article  by  Donald  Ogden  Stewart — " 

"All  right,  you  fellows,"  says  the  patient. 
"You'll  be  sorry  you  didn't  listen  to  my 
prophecy,"  and  he  dies. 

"He's  dead,  I  guess,"  says  the  doctor,  with  a 
kindly  smile  to  the  man's  wife. 

"What  was  that  article  about?"  asks  the 
undertaker. 

"Perfect  Behavior  in  Hollywood,"  says  the 
doctor.    "Shall  I  read?" 

"Pray  do."  says  the  undertaker. 

"I'll  bet  he  isn't  dead."  says  the  man's  wife. 
"You've  told  me  that  before." 

"If  he  isn't,"  says  the  doctor,  "this  article 
will  help." 

"Which  way?"  asks  the  undertaker 
anxiously. 

"Iinn'l  you  worn."  says  the  doctor,  and 
with  that  he  begins  i<>  read. 

CHAPTER  IV 
"Adaptations"  and  "Continuity" 

IX  our  last  issue  we  considered  the  preliminary 
steps  in  the  "adaptation"  of  a  book  in  order 
to  make  it  suitable  for  the  screen,  but  only  got 
as  far  as  changing  the  spirit,  the  contents  and 
the  name  of  the  book.  There  still  remains  the 
major  work  of  writing  what  is  called  a  "con- 
tinuity." 

A  "continuity."  in  Hollywood  parlance,  is  a 
description  of  the  action  to  be  followed  by  the 
various  characters  in  telling  the  story.  In  its 
"finished"  state  it  consists  of  a  great  many 
scenes,  each  numbered  with  an  appropriate 
number  (such  as  24  or  176,  or,  in  case  it  is  for 
Yon  Stroheim,  24,386),  and  it  is  this  "finished" 
continuity  which  is  used  as  a  guide  by  the 
director  in  "shooting"  the  picture  and  is 
referred  to  by  him  as  the  "script"  or,  more 
often,  "that  script"  or  perhaps  simply  "that 
lousy  script." 

In  order  to  write  a  "continuity"  for  "scen- 
ario," as  it  is  called  by  outsiders'!,  it  will  be 
necessary,  first  of  all,  to  prepare  a  "treatment." 
and  before  it  is  possible  to  make  a  "treat- 
ment" it  will  be  necessarv  to  have  a  "confer- 


ence." These  conferences  are  called  "story 
conferences"  and  are  generally  participated  in 
by  the  continuity  writer,  the  director,  the  pro- 
duction manager,  a  stenographer  with  a  cold, 
three  executives,  eleven  "gag"  men,  four  "title 
writers,"  the  office  boy  and  two  visiting  friends 
of  the  first  vice-president  who  want  to  see  what 
studios  are  "really  like."  Occasionally  (but 
not  more  than  once)  the  author  of  the  book 
which  is  being  "adapted"  is  also  invited  to 
participate. 

""THESE  conferences  are  called  "story  con- 
-I  fcrences"  because  they  are  usually  begun 
by  telling  a  story.  Any  story  will  do,  provided  it 
is  one  which  they  have  all  heard  before.  At 
present  the  favorite  one  in  Hollywood  seems  to 
be  the  one  about  the  young  Swedish  couple 
who  went  out  buggy  riding  and  came  to  a 
brook,  but  if  the  stenographer  present  is  a  lady, 
there  are  lots  of  other  stories  which  will  do  just 
as  well.  It  is  usually  the  custom  to  let  the  first 
story  be  told  by  the  highest  executive  present, 
and  at  the  conclusion  all  laugh  very  heartily 
and  say,  "That's  a  good  one,"  or  "That's  a 
wow."  The  next  highest  executive  then  tells 
his  story,  and  so  on  down  the  line.  In  this  con- 
nection it  is  interesting  to  note  that  the  con- 
tinuity writer  ranks  just  after  the  stenographer 
and  before  the  office  boy,  and  it  is  also  note- 
worthy that  the  laughter  becomes  less  hearty 
as  it  comes  the  turn  of  these  more  minor  em- 
ployees to  contribute  their  bit. 

As  soon  as  all  the  stories  have  been  told  it  is 
time  for  two  of  the  executives  and  eight  of  the 
"gag  men"  to  go  to  another  conference,  and 
shortly  after  this  the  remaining  executive,  the 
office  boy  and  all  the  "title  writers"  are  called 
away  by  automobile  salesmen  who  are  waiting 
outside  the  studio  to  show  them  the  new 
Chrysler.  This  leaves  the  continuity  writer, 
the  director,  the  production  manager,  the 
stenographer  'whose  cold  has  got  worse)  and  a 
few  others  who  drop  in  from  time  to  time,  to 
borrow  Lucky  Strikes  or- matches.  The  con- 
ference "Proper"  is  then  ready  to  begin. 

The  first  subject  to  be  discussed  is  golf,  in 
which  half  an  hour  is  usually  devoted  to  a  con- 
sideration of  the  first  nine  holes  on  the  Midwick 
course,  and  half  an  hour  to  the  second  nine. 
Various  other  subjects,  such  as  the  best  way  to 
soften  a  beard  and  keep  ants  out  of  a  refriger- 
ator, are  then  brought  up  for  discussion,  in  the 
midst  of  which  the  production  manager  dis- 
covers that  it  was  on  Friday  instead  of  Wed- 
nesday that  he  took  a  3  on  number  11,  and 
this,  of  course,  causes  a  reopening  of  the  whole 
subject.     It  is  then  time  for  lunch. 

In  our  next  issue  we  shall  go  further  into  a 
consideration  of  the  proper  preparation  for  a 
'treatment"  and  a  "continuity." 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  55  ] 


THE  MIDNIGHT  KISS— Fox 

A  NICE  little  movie  with  a  nice  little  plot 
wpl 


able  to  stand  this.  The  hero,  of  course 
wealthy,  does  a  disappearing  act,  but  returns  in 
the  disguise  of  a  notorious  ex-convict.  He  finds 
his  cousin  making  ill  use  of  his  wealth.  After 
explaining  he  reveals  his  identity'  and  out  Dies 
cousin.    Rather  silly,  isn't  it? 


■well  enacted  by  a  nice  little  cast  headed  by 

pretty  Janet  Gaynor  and  an  attractive  boy, 

Richard     Walling— that's     "The     Midnight 

Kiss."    It  concerns  the  adventures  of  a  pair  of 

youngsters  who  nurse  a  lot  of  sick  pigs  back  to     MORAN  OF  THE  MOUNTED— Rayart 

health,  sell  them  and  pay  off  the  mortgage  on     TUST  gaz£  at  the  tjde  and  you  know  the  whole 

orks.  Yep,  the  hero  is  a  Mounty,  quick  on 
the  draw,  etc.,  etc.  And  then  the  hero  solves 
the  murder  for  which  he  is  accused  and  marries 
the  girl.  Young  ladies  note:  Reed  Howes  is 
the  latest  addition  to  the  royal  forces.  That 
makes  it  interesting — doesn't  it? 


neann,  sen  mem  anu  pay  uu  111c  mon^ayc  uu      yTT 
dad's  home.    Then  they  kiss  and  get  married.      Jw 

PALS  FIRST— First  National 

THE  story  is  trite  but  through  the  charming 
personality  of  Lloyd  Hughes  and  the  beauty 
of  Dolores  Del  Rio,  we  think  you  might  be 

litery  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


A  ROMANCE  OF  A  MILLION 
DOLLARS— Bachman 

AND  really  quite  an  exciting  romance.  You 
see  there  were  two  rivals,  beneficiaries  of  a 
conditional  will.  Now  the  bad  fellow  tried  to 
frame  the  hero,  but  the  truth  will  out.  Glenn 
Hunter,  Alyce  Mills  and  Jane  Jennings  are 
splendid  in  their  roles.  Really,  girls,  Gaston 
Glass  is  an  interesting  villain.  You'll  like  this 
— if  you  aren't  too  fussy. 

THE  HIDDEN  WAY— Associated 
Exhibitors 

THREE  bitter,  disillusioned  men  found  life 
beautiful  again  through  the  eyes  of  a  woman 
who  loved  mankind — this,  my  dear  brethren, 
is  the  text  of  this  moral  preachment.  And,  as 
you  might  imagine,  this  is  another  wishy-washy 
affair  that  leads  one  to  believe  that  there  is 
some  truth  in  the  saying — Movies  are  still  in 
their  infancy.  Some  women  will  weep  over 
this,  but  we'll  bet  men  will  use  some  strong 
words. 

THE  HONEYMOON  EXPRESS— 
Warner  Bros. 

YOU  may  like  this — it  all  depends  on  your 
viewpoint.  We'll  pass.  The  title  has 
nothing  to  do  with  the  story,  so  don't  think 
this  a  romantic  love  story.  It's  far  from  that — 
you  are  again  reminded  that  the  modern  gen- 
eration is  still  throwing  some  snappy  parties 
and  that  the  old-fashioned  mammas  can  still  be 
rejuvenated,  look  like  a  million  dollars,  grab 
some  swell  boy  friend  and  forget  papa.  Oh, 
you've  heard  that  before — so  did  we. 

THE  WILD  HORSE  STAMPEDE— 
Universal 

TDASS  this  up.  It's  stupid.  So's  the  hero  and 
*-  the  remainder  of  the  cast.  It's  all  about  a 
suffering  hero  who  corrals  wild  horses  to  win 
the  gal  of  his  heart.  But  while  said  hero  was 
out  chasing  horses,  the  said  heroine  was  being 
courted  by  the  villain.  They  almost  are 
married  when  a  stampede  starts  and  the  hero 
saves  the  girl.  Even  the  youngsters  will  find 
this  actionless. 

TWISTED  TRIGGERS— Associated 
Exhibitors 

THE  whole  cast  is  framed — that's  the  plot. 
But  that's  no  reason  why  you  should  be 
framed  into  wasting  a  perfectly  good  hour  on 
this  silly  nonsense.  Wally  Wales,  another  new 
cowboy,  is  the  star.  Now  we  gave  you  fair 
warning. 

DEVIL'S  ISLAND— Chadwick 

'"THE  famous  Devil's  Island  of  the  French 
■*-  government  has  been  transcribed  to  the 
screen  from  the  story  of  Leah  ISaird.  Leah,  if 
you  remember,  graced  the  screen  many  years 
ago.  The  story  is  interesting,  but  it  has  been 
developed  in  such  a  slipshod  manner  that  it  be- 
comes very  tiresome.  One  thing  at  least  we  can 
recommend  is  the  impressive  performance  of 
Pauline  Frederick.  George  Lewis  and  Marion 
Nixon  are  in  the  cast. 

THE  COWBOY  COP—F.  B.  O. 

A  S  a  greenhorn  in  Los  Angeles,  Tom  Tyler 
■**-finds  himself  an  easy  prey  for  the  pilfering 
hands  of  crooks.  So  he  gets  himself  a  job  as  a 
mounted  cop.  Falling  in  love  with  the 
daughter  of  his  former  boss,  he  saves  her  jewels 
from  the  villains  and  brings  the  story  to  a 
happy  close.  Plenty  of  fighting  and  odd  bits 
of  humor  give  the  Western  fans  the  wanted 
thrills.  We  nearly  forgot  to  tell  you  how 
grand  little  Frankie  Darro  is.  He's  worth  the 
price  of  admission. 


Psyche's  Ankles 
wouldn't  pass  inspection  Today 


Lea Jhis,  sttr, 
"Onyx"Hosi 

I -he '-'Point,  .v' 


!  ei-eryu-bere  scl 
n  ax*  especial/; 
styles  listed  beku 


Silk,  with  Lisle  Top 


i  new  4  inch  hslc  top    * 

Pure  Thread  Silk 


J.  HE  most  mythological  thing  about 
Psyche  was  the  fabled  charm  of  her  ankle 
lines.  Psyche's  beauty  may  have  excited  Venus 
to  green-eyed  flights  of  jealousy,  but,  when 
one  considers  her  ankle-girth,  she'd  never 
cause  the  modern  girl  to  miss  a  heart-beat — 
L'NLESS  Psyche  wore  "Onyx  Pointex". 

For,  Psyche's  ankles  were  FAT!  They 
would  be  as  much  out  of  place  on  a  country 
club  porch  today  as  a  bustle  or  a  leg  o'mutron 
sleeve. 

That  is,  as  remarked  above  —  L'NLESS 
she  wore  "Onyx  Pointex". 

For,  "Pointex"  is  that  little  wonder-work- 
ing slcndenzer  at  the  back  of  the  heel  that 
accentuates  every  graceful  charm  that  Nature 
places  in  ankles.  "Pointex"  allows  ankles  to 
look  their  best  —  stockings  to  wear  their 
best.  You  will  find  this  little  worker  of 
ankle  miracles  ONLY  in  "Onyx". 


"Onyx  "M  Has  iery 


'Pointex 


©  1926 


' Onyx"  Hosiery  inc. 


Manufacturer! 


New  York 


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I  IO 


Photoplay  Magazine — Advertising  Section 


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THE  COLLEGE  BOOB—F.  B.  O. 

•"THE  latest  hero  to  succumb  to  the  football 
-*-  appeal  is  Lefty  Flynn.  It's  the  usual  story 
of  the  country  bumpkin  who  goes  to  college  and 
makes  good  on  the  team.  However,  we  will  say 
that  the  game  itself  is  really  very,  very  excit- 
ing. We  can  almost  hear  the  youngsters 
screaming  with  delight  when  they  see  this. 

THE  RUNAWAY  EXPRESS— Universal 

THERE  is  nothing  like  the  good  old-fash- 
ioned railroad  melodrama.  This  is  filled 
with  good  suspense  interest  and.  my  dear, 
what  a  thrilling  climax.  Jack  Daugherty  loses 
his  position  as  engineer  of  a  locomotive  but 
when  he  learns  the  train  is  in  danger,  he  dashes 


madly  on  his  steed  and,  just  as  the  train  is 
about  to  go  over  a  cliff,  he  succeeds  in  pulling 
the  brakes  and  saves  the  day.  Good  for  the 
kiddies  and  grownups. 

NO  MAN'S  GOLD— Fox 

HERE'S  a  Tom  Mix  picture  that  the 
children  will  go  wild  over.  And  the  older 
folks  will  get  a  kick  out  of  it  too.  It  is  crammed 
full  of  action  and  suspense  and  has  a  delightful 
love  interest.  Tom  and  Tony  perform  an  un- 
usual amount  of  thrilling  stunts.  Tom's  a 
smart  fellow  when  it  comes  to  saving  the 
heroine.  What  he  doesn't  think  of  doing! 
Suppose  love  would  do  a  thing  like  that 
though.    Jane  Novak  is  the  feminine  interest, 


Young  Lochinvar  Maynard 


!  CONTINUED  FROM  PAGE  84  , 


sombrero  alongside  the  five-gallon  hats  of  Bill 
Hart,  Tom  Mix,  Will  Rogers,  Fred  Thompson, 
Jack  Holt,  "Buck"  Jones,  "Hoot"  Gibson, 
Art  Acord. 

He  is  Ken  Maynard,  a  Texan  with  a  drawl, 
a  real  cowboy,  a  Wild  West  show  follower,  a 
circus  performer,  a  rodeo  champion,  a  soldier 
of  fortune  and  now  a  Western  star.  All  these 
accomplishments  crowded  into  thirty  full  \  ears 
of  life. 

Madame  Glyn  prepared  me  for  my  meeting 
with  Ken  Maynard,  but  that  dear  lady  doesn't 
know  it.  It  was  once  when  she  was  telling  me 
all  about  that  pulsating  IT.  Madame  named 
the  movie  stars  who  had  IT,  and  then  she 
paused  and  her  eyes  narrowed  to  green  slits: 

"  But  I  will  tell  you."  oracles  Madame  Glyn, 
"that  you  will  find  IT  more  often  in  those 
splendid  virile  cowboys  than  you  will  in  Holly- 
wood or  anywhere  in  America.    Those  real  men 


of  the  range.  They  are  the  ones  w  ho  possess  IT 
to  a  superlative  degree." 

I  wonder  if  Madame  Glyn  could  possibly 
have  met  Ken  Maynard? 

He  is  tall,  and  has  a  lean,  tanned  grin. 
Smile  wrinkles,  too.  cluster  about  his  eyes.  Or 
maybe  it  was  the  sun  on  those  Texas  plains  of 
his  youth  lhat  made  them.  He  has  an  affable, 
toothy  smile  which  reminds  you  a  bit  of  the 
affable,  toothy  smile  of  Taylor  Holmes.  And  he 
has  one  of  those  God-given  Virginia-nurtured 
Southern  drawls. 

He  shoved  his  blonde  sombrero  back  on  his 
dark  hair  and  scratched  his  head  reflectively: 

"Well,  if  I  hadn't  broken  all  those  records,  I 
reckon  I  might  still  be  in  Texas  hoping  some 
day  to  be  a  cowboy  actor." 

"Records?"  said  we.  "For  broncho  bust- 
ing? Roping?  Riding?  Throwing?  'Uull- 
dogging'?  " 


Notice  the  new  roguish  make-up  on  Lillian  Gish.  And  observe  the 
change  in  Norman  Kerry.  You  may  credit  these  improvements  to 
John  Robertson,  the  kind  and  sympathetic  director  in  charge  of 
"Annie  Laurie."  It's  a  gay  and  vigorous  Scotch  romance  with  Lillian 
as  a  dressed-up  and  perky  heroine  instead  of  a  broken  blossom 
Evrrr  advertisement  in  rnOTor-LAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I  I  1 


"No,  ma'am,"  in  liquid  syllables.  "They 
were  phonograph  records.  I  broke  'em  when  I 
was  a  kid.    You  see  it  was  this  way.  .  .  ." 

And  now  you  shall  hear  the  strange  story  of 
how  Ken  Maynard  realized  his  heart's  ambi- 
tion— to  be  a  Western  actor. 

"  Down  in  Mission,  Texas,  where  I  was  born, 
they  had  just  one  little  stuffy  showhouse. 
They  played  nothing  but  'Broncho  Billy' 
Anderson  and  Jack  Kerrigan  and  Bill  Hart 
pictures.  I  was  a  glutton  for  them.  Finally  it 
got  too  costly,  going  every  night,  and  I  got  a 
job  changing  the  phonograph  records  on  the 
machine  in  front  of  the  theater  and  then  I  saw 
the  pictures  for  nothing. 

"One  day  I  stumbled  and  broke  all  the 
records.  It  was  then  I  decided  I  might  as  well 
be  sore  from  learning  how  to  ride  a  horse  than 
from  being  kicked  out  of  theaters,  and  I  ran 
away  with  a  small  Wild  West  show.  I  was 
pretty  sick  of  it  when  my  dad  came  after  me 
and  sent  me  back  to  school.  But  that  was  too 
tame  after  those  other  exciting  days  and  I  ran 
away  again  and  got  a  job  on  a  ranch  .  .  . 
wrangled  horses,  oiled  windmills,  helped  the 
cook,  and  in  my  spare  time  practiced  trick 
riding. 

"Kids  think  they  know  so  darned  much," 
and  Maynard  let  me  have  another  lean,  tanned 
grin.  "I  went  with  another  wagon  show  and 
dad  came  and  got  me  a  second  time  and 
shipped  me  East  to  Virginia  and  a  military 
school.  Even-thing  was  jake  when  I  learned 
they  had  a  cavalry  unit,  and  after  a  while  I  got 
to  be  captain. 

"  Summers,  mostly,  I'd  go  back  to  Texas  and 
just  about  spend  my  vacation  on  horseback — 
riding  and  trying  out  new  tricks.  I  graduated 
from  school  and  stuck  my  degree  in  civil 
engineering  in  the  bottom  of  my  trunk  and  I 
guess  it's  still  there,  because  right  after  that  I 
joined  another  wagon  show  and  next  season,  in 
Birmingham,  Alabama,  I  hooked  up  with  'The 
Kit  Carson  Buffalo  Ranch  Wild  West  Show.' 
It  was  a  big  outfit.  Billed  itself  as  an  'Aggrega- 
tion.'   It  was  my  first  run  in  big  time. 

"•"pHERE  were  great  days  for  a  kid.    Every 

■*-  kind  of  crook  in  the  country  followed  the 
circus  for  easy  money.  Talk  about  buzzards! 
Soft  pickings  on  the  townsmen,  you  know. 
And  fights!  They'd  all  right  at  the  drop  of  a 
hat  or  at  the  murmur  of  'Hey,  Rube!' 

"Then  along  came  the  war  and  I  helped 
around  in  that.  In  ioro  I  went  with  Ringling 
Brothers  as  their  star  rider,  which  is  just  about 
the  finest  thing  that  can  happen  to  a  Wild 
West  show  man.  And  then  somebody  said 
something  about  pictures,  and  I  went  to 
Hollywood.  I  worked  around  a  bit.  Did  a 
couple  of  pictures  for  Lynn  Reynolds,  who  was 
Tom  Mix's  director,  and  then  got  a  chance  at 
some  real  riding  when  I  did  the  Paul  Revere 
ride  in  'Janice  Meredith.' 

"Well,  you  know  how  Hollywood  is.  Stick- 
ing around.  Waiting.  Getting  nothing.  Then 
having  a  run  of  luck.  I  was  signed  for  a  series 
of  independent  pictures.  Then  Charles  Rogers 
picked  me  out  and  I  got  in  big  time  with  '  Senor 
Dare-Devil.'  Now  we've  just  finished  'The 
Unknown  Cavalier,'  with  Al  Rogell  directing. 
He's  a  great  guy." 

The  blonde  sombrero  was  shoved  forward 
over  the  gray  Maynard  eyes: 

"See  that  white  horse  out  yonder?  That's 
'Tarzan.'  And  I  didn't  capture  him  from  any- 
wild  horse  band  or  catch  him  running  out  from 
under  any  revolutionary  general.  He's  a 
darned  good  horse.    And  I  bought  him." 

"But  there  was  a  revolutionary  general  in 
your  life,  wasn't  there?"  said  Dorothy. 

Another  smile  and  the  blonde  sombrero  went 
leeward  on  the  Maynard  head: 

"Down  in  Mexico.  I  got  mixed  up  in  a  red- 
hot  revolution.  Joined  Creighton's  Texans 
when  Madero  tried  to  overthrow  Diaz.  They 
promised  us  S7.50  a  day  .  .  .  that's  what  the 
extras  get  out  here  .  .  .  and  all  the  loot  we 
could  help  ourselves  to.  The  only  thing  I  got 
was  a  guitar  that  I  stole  in  the  battle  of  Casa 
Grande — and  no  check.    But  the  guitar  wasn't 


ET7  Q^U  ETTE    DEMANDS 
CThf  E    P  E  \S  O  JST  A   L     L  ETT E  A 

)  JKBETTYLEE   MONTAG 

/Ac  meat  women,,  aJ  lave  tie  scr- called 
little  attentiund.  ol/t  tons  heart- neinn- 
mg  Cfii  inn  lirtlidanjrceiitlnjcr  leceive 
letters  .and  printed  .ej-reefineis  from* 
all  nuj,  friends-.  ^JSut, .svmelioto,  zj 
warmed  iv  the  letters  most.       zJlietj, 

■u/ete,  personal tlietu  had  -aeerv 

cambered  esheciallu  for  me / 

We,-cf  the  old  South,  feel  that  a  personal 
letter  on  the  shoddiest  of  paper,  is  yet 
personal — and  to  be  prized  accordingly. 

But,  of  course,  the  paper  is  important. 

The  smart  and  dainty  woman  of  fashion, 
the  well-bred  man  of  the  world,  are  writ- 
ing letters  (and  clever,  engaging  letters 
they  are)  on  papers  that  express  their 
personalities,  and  reveal  theirgood  taste. 

MONTAG'S  writing  papers,  with  their 
colorful,  shimmery, inner-lined  envelopes, 
are  a  joy  to  see,  to  handle  and  to  write 
upon.  Always  in  superb  taste — they  are 
supremely  fashionable  and  "different." 


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I  12 


Photoplay  Magazine — Advertising  Section 


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Even  the  most  attractivelight  hair  loses  beauty  with 
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only,  prevents  light  hair  from  darkening  and  keeps  it 
beautifully  attractive — always!  Also  brings  back  the 
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Introducing  the  gigolo  or  the  per- 
fumed answer  to  why  girls  leave 
Rome — and  go  to  Cannes,  Deau- 
ville  and  Monte  Carlo.  Rod  La 
Rocque,  late  of  Piccadilly,  has  gone 
gardenia  and  cream  broadcloth  as 
a  debonair  dancing  dandy  in 
"Gigolo."  The  devastating  eye- 
brow is  created  by  putty  and  pencil, 
and  the  gray  forelock  by  art,  not 
worry 


so  bad.    I've  still  got  it.    And  a  lot  of  battles 

arc  fought  for  less. 

''I  did  get  a  commission  from  some  grubby- 
looking  aide  to  General  Orosco.  Gave  me  an 
officer's  hat  cord,  but  I  had  to  work  just  as 
hard  afterward.  Then  I  went  with  Garibaldi, 
grandson  of  the  old  Italian  liberator,  and  quit 
after  the  battle  of  Juarez.  Two  Irishmen,  a 
negro  and  I  left  the  Mexican  army  after  the 
fighting  died  down  and,  as  we  came  across  the 
bridge,  we  met  a  lot  of  tourists  who  were 
souvenir-hunting.  We  sold  them  bullets  at  a 
dollar  apiece,  and  ran  out  of  bullets,  so  we  un- 
loaded a  few  rounds  into  a  post  in  back  of  a 
chili  parlor,  picked  them  out  with  a  pocket 
knife  and  went  back  to  the  flourishing  souvenir 
selling  business.  That  ended  the  soldier  of 
fortune  era." 

And  that  ends  my  story  of  Ken  Maynard. 
It  makes  those  dear  old  Wild  West  thrillers 
read  like  cambric  tea  and  wafers,  doesn't  it? 


Temperament?    Certainly, 
says  Nasimova 


[  COXTIXUED  FROM  PAGE  33  J 

against  your  screen,  brings  you  that  depression. 
Little  things  big  things,  undercurrents,  un- 
known thoughts,  who  knows? 

"But  temperament  is  like  a  harp.  The 
lightest  wind  brings  forth  some  response. 

"You  may  find  what  the  world  calls  success 
without  temperament.  Oh  yes,  there  are 
workers,  stickers,  who  by  plugging  along  get 
there  and  do  good  things. 

"But  you  cannot  have  genius  without  tem- 
perament.    It  is  impossible!" 

She  put  a  cigarette  in  a  long,  black  holder 


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and  contemplated  the  glowing  end  in  silence. 
Then  her  eyes  began  to  shine  and  she  laughed. 
It  is  odd,  how  her  eyes  begin  to  shine  each  time 
before  she  laughs. 

"Now,"  she  said,  "some  people  would  call 
this  temperament."  She  waved  the  long, 
black  holder  at  me.  "But  I  assure  you  that  it 
is  not.  It  is  simply  that  I  do  not  like  the  little 
pieces  of  tobacco  to  stick  on  my  lips.  I  like  the 
smoke  cooled. 

"Personal  habits  have  nothing  to  do  with 
temperament.  For  instance,  to  you,  in  America, 
a  samovar  seems  very  temperamental.  But  to 
me,  a  Russian,  it  seems  just  a  very  inconven- 
ient, awkward  piece  of  furniture. 

"But  I — I  am  unfortunate.  I  fall  between 
two  tires.  I  am  neither  the  one  thing  nor  the 
other.    I  will  show  you. 

"When  I  was  in  New  York  this  year,  the 
Moscow  Junior  Art  Players  were  there.  I  went, 
and  sat  looking  up — up.  I  felt  again  like  the 
little  extra  girl  I  was  when  I  was  in  the  Moscow- 
Art  Theater.  When  I  was  coming  out  of  the 
theater,  I  met  their  director — who  used  to  be 
my  teacher  in  the  school.  I  did  not  dare  to 
speak  to  him.  I  was  slipping  away.  But  he 
recognized  me.  He  called  me.  Before  I 
thought,  I  blurted  out,  "Would  you  consider 
staying  in  New  York  this  winter  to  direct  my 
new  play  'Calerina'? 

"He  is  a  very  great  man.  He  considered, 
and  I  held  my  breath.  He  said  we  would  talk 
it  over.  The  next  day  I  went  to  his  hotel.  For 
three  hours  we  talked.  He  told  me  how  he 
would  like  to  produce  the  play,  and  I  told  him 
how  it  must  be  produced  in  America.  We  saw 
it  would  not  be  possible  to  work  together  and 
I  cried. 

"When  I  went  away,  he  said,  'You  have 
become  American,  Alia.  You  speak  Russian 
with  an  American  accent.' 

"So,  you  see,  to  them,  I  am  practical  and 
American. 

"To  you,  I  am  temperamental  and  Russian. 

"It  all  depends  on  the  point  of  view. 

"A  manager  called  me  up  in  New  York  to 
play  a  big  role  in  a  play  that  is  now  a  huge  suc- 
cess. I  read  the  play.  I  said.  'I  am  sorry. 
It  is  a  good  play.  But — I  could  not  stand  up 
there  on  the  stage  and  let  them  call  me  Madam 
Goddam,  I  would  like  to,  but  I  could  not. 
Now,  is  that  what  you  call  temperament?  But 
— I  could  not  help  it.  In  my  desk  I  have 
thirty-two  plays,  suggested  by  managers.  But 
— I  could  not  play  them.  I  am  sorry.  But  I 
could  not. 

"  I  love  motion  pictures.  I  think  I  love  them 
better  than  the  stage — as  well,  anyway.  But 
it  is  the  same  with  pictures. 

"  You  speak  of  success  and  failure.  I  will  try 
to  show  you  how  that  is  all  a  matter  of  luck,  of 
circumstance. 

"V\  THEN  I  first  came  to  America  I  had  so 

W  much  luck  it  frightened  me.  All  was 
luck  —  the  whole  thing.  I  did  not  want  to 
come.  I  said ,  '  No — I  will  not  go.  I  will  be 
seasick.'  But  at  last  they  persuaded  me,  and 
I  was  seasick  for  twelve  days. 

"Then — I  had  luck.  People  took  an  interest 
in  me.  I  had  great  plays.  Great  plays.  I  did 
not  get  what  you  call  the  swelled  head.  In- 
stead, I  used  to  think — can  this  be  true?  Is 
this  really  happening  to  me?  When  will  some- 
thing come  to  end  it  all? 

"I  was  like  the  king  in  the  story — do  you 
know  that  story?  ' Once  there  was  a  king  who 
was  so  lucky  that  his  friends  and  ministers 
became  frightened.  Everything  he  touched 
went  exactly  right.  So  they  told  him  the  gods 
would  become  envious  of  him  and  he  had  better 
offer  up  something  he  prized  to  propitiate 
them.  So  he  took  a  ring  that  he  loved  very 
much  from  his  finger  and  threw  it  into  the  sea. 
But  the  next  day  he  went  fishing  and  the  big 
fish  he  caught  had  the  ring  in  his  belly.  And 
his  luck  kept  on  until  the  gods  noticed  him  and 
destroyed  him.' 

"I  was  as  lucky  as  that. 

"And  then,  the  luck  turned.  But  I  have 
made  my  sacrifice  to  the  gods  now,  and  perhaps 
it  will  change  back  again." 


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ii4 


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Laborless 

^and  safer 


The  toilet  bowl  must  be  kept 
sanitary.  It  is  dangerous  to 
neglect  it.  But  there  is  no  need 
to  resort  to  old-fashioned  scour- 
ing and  scrubbing.  Sani-Flush 
keeps  the  toilet  bowl  glistening 
white.  It  eliminates  all  the  work. 
And  it  does  a  more  thorough  job 
because  it  cleans  the  hidden  trap 
which  no  brush  can  reach. 

All  you  need  do  is  to  sprinkle 
Sani-Flush  in  the  bowl.  Follow 
the  directions.  Then  flush.  You 
will  see  every  mark,  stain,  in- 
crustation vanish.  Foul  odors 
disappear. 

Sani-Flush  is  a  necessity  in 
every  home.  Keep  it  always 
handy  in  the  bathroom. 

Buy  Sani-Flush  in  new  con- 
venient punch-top  can  at  your 
grocery,  drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.   35c  in  Canada. 


111-. 


Cleans  Closet  Bowls  Without  Scouring 

The   Hygienic  Products   Co. 
Canton,  Ohio 


Something  DIFFERENT 

for  Bobbed  Hair 

Therb  is  a  tremendous  difference  in  bobs.  Some 
are  wonderfully  attractive  and  becoming,  while 
others,  well  — which  kind  isvours? 

I  wish  you  could  picture  the  becoming  kind  I 
have  in  mind  — the  sort  that  makes  men  turn  to 
admire.  I  can't  tell  you  what  the  color  is,  but 
it's  full  of  those  tiny  dancing  lights  that  somehow 
suggest  auburn,  yet  which  are  really  no  more  ac- 
tual color  than  sunlight.  It's  only  when  the  head 
is  moved  that  you  catch  the  auburn  suggestion — 
the  fleeting  glint  of  gold. 

You  have  no  idea  how  much  your  bob  can  be 
improved  with  the  "tiny  tint"  Golden  Glint 
Shampoo  will  give  it.  If  you  want  a  bob  like  that 
I  have  i  n  mind,  buy  a  package  and  see  for  your- 
self. At  all  drug  stores,  or  send  25f  direcr  to 
J.  W.  Kobi  Co.,     6io  Rainier  Ave.,  Seattle, Wn. 

Golden  Glint 

SHAMPOO 


And  I  knew  by  her  eyes  that  she  was  think- 
ing of  the  tragic  ending  of  her  great  love.  But 
she  did  not  say  anything  and  I  could  not. 

"You  asked  me  why  I  made  'Salome.'  Well 
— 'Salome'  was  a  purgative.  You  see,  when  I 
started  to  make  pictures,  I  did  not  have  enough 
temperament  for  my  own  good.  No — do  not 
smile — that  is  true.  I  have  always  had  too 
much  regard  for  my  word,  for  a  mere  contract, 
a  scrap  of  paper,  ft  seems  impossible  now  that 
I  should  ever  have  been  asked  to  play  such 
parts  as  'The  Heart  of  a  Child'  and  'Billions.' 
But  I  was.  And  instead  of  saying,  'No.  I  will 
not  play  such  trash.  I  will  not  play  roles  so 
wholely  unsuited  to  me  in  every  way,'  I  went 
on  and  played  them  because  of  my  contract, 
and  they  ruined  me. 

"Y\  TORSE  than  that,  they  made  me  sick  with 
*»  myself.  So  I  did 'Salome 'as  a  purgative. 
I  wanted  something  so  different,  so  fanciful,  so 
artistic,  that  it  would  take  the  taste  out  of  my 
mouth.  'Salome'  was  my  protest  against  cheap 
realism.  Maybe  it  was  a  mistake.  But — I  had 
to  do  it.     It  was  not  a  mistake  for  me,  myself. 

"My  inside  feeling  is  important  to  my  work, 
you  see? 

"For  instance,  Mr.  Cecil De  Mille  called  me 
up  and  asked  me  to  make  a  test  for  his  Mary 
Magdalene.  I  said  I  would  not.  He  was  hurt. 
He  said  many  other  well  known  screen  stars 
had  made  tests  for  it  and  it  would  not  hurt  me 
and  why  would  I  not?  I  said,  'Oh,  it  is  not  that 
I  mind  being  the  thousandth  to  make  this  test. 
But  it  is  like  this.  Miss  Curlylocks  can  come 
down  and  make  tests  for  you.  If  you  call  her 
up  the  next  day  and  say,  "Sorry,  but  you're  not 
just  the  type  we  want. "she  will  say,"  Ho,  those 
idiots — they  could  have  had  me  to  play  Mary 
Magdalene  and  they  didn't  have  sense  enough 
to  take  me,"  But  me?  I  make  the  test,  and 
then  if  you  should  call  up  and  say,  "Sorry,  but 
you  haven't  this  or  that  or  the  other."  then  I 
am  rolled  out  flat  like  a  pancake.  I  am  hurt. 
I  am  depressed  for  a  month.' 


"Is  that  what  you  call  temperament? 
Maybe.    But  at  least  it  is  not  bad  temper. 

"I  have  never  wasted  energy  in  these — 
blow-ups.  Ask  the  electricians,  the  carpen- 
ters, the  casts.  They  call  me  'Nazy.'  They 
like  me.  They  will  tell  you  I  never  make 
scenes.    I  save  that  energy  for  my  scenes. 

"But  producers,  directors,  business  men — 
they  call  me  temperamental  because  I  always 
speak  the  truth. 

"I  never  lie.  I  will  not  lie.  Why  do  people 
lie?  From  fear  or  from  vanity.  I  am  not 
afraid  of  anybody  and  I  have  no  vanity.  So 
why  should  I  lie? 

"I  have  never  yet  found  the  person  who  was 
worth  lying  to. 

"If  I  know  of  apart  I  believe  in,  I  may  say, 
'I  can  play  that  part  better  than  anybody.' 
But  if  they  ask  me  about  another  part,  I  will 
say,  'But  you  do  not  want  me  for  that  part. 
You  want  a  much  vounger  and  more  beautiful 


"TT  is  like  this  with  me  now.  I  have  had 
-••great  worldly  success.  I  know  the  taste  of  it . 
I  have  earned  much  money  and  had  all  the 
things  of  the  earth.  I  have  known  poverty — 
failure — hard  work.  Now,  I  do  not  care  for 
success  any  more.  I  do  not  care  for  money. 
My  needs  and  tastes  are  simple.  I  have  leased 
my  Hollywood  property  where  my  house  was 
for  oo  years,  for  enough  money  to  take  care  of 
me  always.  Now,  I  want  only  my  work  to 
count.  I  want  to  find  great  plays,  if  I  can,  and 
fine  pictures,  that  I  really  want  to  do.  I  shall 
be  happier  so  than  if  I  was  the  greatest  box 
office  success  in  the  whole  world.  I  want  peace. 
I  want  work  that  I  love.  I  w  ill  not  do  ever  the 
things  I  do  not  want  to  do. 

"Is  that  being  temperamental?  Maybe. 
But  out  of  it  may  come — I  hope  will  come — 
work  to  justify  the  kind  things  you  have  said 
about  my  art." 

There  is  one  thing  more  to  be  said  about 
Nazimova. 


Close-up  of  a  chic  young  woman.  May  Allison's  bag  is  a  cubist 
affair,  with  patches  of  different  colored  leathers.  The  rainstick  is 
a  far  cry  from  the  old,  ungainly  umbrella.  It  has  a  carved  handle 
and  it  is  pretty  enough  to  carry  even  in  sunshiny  California.  For  a 
picture  of  May's  face,  turn  to  the  rotogravure  section  in  the  front 
of  the  magazine 

Iirery  advertisement  In  PHOTOPLAY  MAGAZINE  is   guaranteed. 


Madame  Nazimova  is  the  only  person  who 
ever  gave  me  so  much  in  an  interview  that  it 
was  a  really  difficult  task  to  select  the  things 
you  might  enjoy  most. 

I  haven't  told  you  the  half  of  it.  I  haven't 
told  you  the  story  about  Duse,  nor  what  she 
once  did.  all  unknowingly,  for  a  little  girl 
called  Alia  Nazimova.  And  I  haven't  told  you 
any  of  the  witty  things  she  said — you  always 
have  to  get  through  Nazimova's  sense  of  humor 
first. 

I  went  away  in  a  daze  of  trying  to  remember. 
I  got  arrested  for  parking  my  car  in  front  of  a 
fire  plug.  I  didn't  care.  I  was  thinking  of 
Nazimova  and  her  temperament. 


Photoplay  Magazine — Advertising  Section 

CASH    MERE 


IJ5 
BOUQUET 


How  They  Popped  the 
Question 


l  CONTINUED  FROM  PAGE  35  J 

took  it.  Perhaps  I  hoped  Harold  would  miss 
me  and  quit  thinking  of  me  as  just  a  little  kid 

If  it  was  strategy,  it  worked,  for  the  second 
day  I  was  on  the  picture  Harold  phoned  and 
asked  me  to  go  for  an  auto  ride  that  evening. 

I  was  a  bit  disappointed  when  he  drove  up, 
for  he  had  brought  the  chauffeur.  But  that 
didn't  seem  to  bother  Harold  for  a  minute. 
He  was  most  serious.  And  you  know  when 
Harold's  serious  he  has  something  on  his  mind. 

The  car  was  hardly  started  when  Harold  got 
down  to  the  business  in  hand.  Seems  he  had 
missed  me  horribly,  wanted  me  to  marry  him. 

Of  course  I  was  fussed — very,  very  fussed. 
I  was  sure  the  chauffeur  could  hear.  But  I 
wasn't  so  fussed  I  didn't  murmur  yes!  Then 
Harold  pulled  a  ring  from  his  pocket.  It  was 
perfect. 

"Hope  you  like  the  stone,  Mid.  I've  been 
looking  for  it  for  six  months." 

Then  I  was  good  and  mad 

"I  like  your  nerve!"  I  told  him.  "Looking 
for  the  ring  so  far  in  advance  looks  as  if  you 
knew  I'd  marry  you !" 

And  that  was  our  first  fight — but  not  our 
last. 

Ben  got  huffy 

By  Babette  Turpin 

D  F.N"  and  I  first  met  in  a  Los  Angeles  hospital. 
■^You  get  pretty  lonesome  in  a  hospital  and 
when  I  learned  my  favorite  comedian  and  I 
were  under  the  same  roof  I  marshaled  all  my 
courage  and  called  upon  him. 

The  result  of  my  visit  was  a  charming  friend- 
ship and  an  autographed  photograph  on  which 
he  wrote  "To  My  Little  Fat  Babette." 

I  still  have  that  picture.  It  is  one  of  my 
most  cherished  possessions.  But  I'm  not  so 
fat  now.  I  won't  deny  that  the  autograph 
might  have  had  an  effect.  Anyway,  I've  taken 
off  a  lot  of  weight  since  then. 

When  Ben  was  stricken  in  Santa  Barbara 
last  year  and  went  under  the  knife,  he  wired 
for  me  to  come,  and  I  did. 

From  then  on  we  saw  a  lot  of  each  other,  but 
it's  hard  for  me  to  tell  you  just  how  he  pro- 
posed. He  tried  it  so  many  different  ways 
before  I  understood. 

I  suppose  one  almost  always  thinks  a  pro- 
fessional comedian  is  joking.  I  know  I  did.  and 
Ben  had  to  get  downright  angry  to  convince 
me  he  was  serious. 

He  seems  to  think  he  proposed  a  lot  of  times 
before  he  was  accepted,  but  I  assure  you  I  said 
yes  the  first  time  I  knew  he  meant  it. 

We  might  have  been  married  weeks  before 
if  I  hadn't  always  been  looking  for  the  laugh 
in  the  things  Ben  said  and  did. 

So  you  see  being  a  comedian,  even  a  high 
salaried  one,  has  its  drawbacks,  for  it  certainly 
made  it  hard  for  Ben  to  propose. 


(Dibw  -  a   fine  hard-milled   soap 
that  fairly  caresses  your  skin 


What  girl  docs  not  long  for  a  skin  with 
rose-petal  tints  and  texture?  Everybody 
admires  a  lovely  complexion.  Beauty 
inspires  the  kneeling  courtier  .  .  .  leads 
on  to  love  and  happiness. 

Advice  of  Skin  Specialists 

If  you  go  to  a  reputable  dermatologist — a 
physician  who  knoivs  all  about  skin  and 
treatments  for  it — he  will  be  sure  to  tell  you 
that  water  and  the  right  soap  should  be  used 
every  day  to  keep  your  skin  youthfully  fresh 
and  smooth.  • 

But  be  sure  you  use  the  right  soap — one 
that  is  firm,  not  squdgy ;  one  that  cleans- 
es the  pores  but  does  not  clog  them. 
Choose  Cashmere  Bouquet  as  the  soap 
for  your  face,  your  hands  and  the  deli- 
cate skin  of  your  neck  and  shoulders. 
Cashmere  Bouquet  is  "hard-milled," 
which  means  that  each  cake  is  put 
through  special  processes  which  make 
it    firm    and    hard — not    the    least    bit 


A  'Book  of 
'Beauty  Secrets 


squdgy.  Its  lather  is  all  lather.  There 
is  no  undissolved  soap  to  crowd  into 
pores,  stay  there  and  cause  enlarged 
pores  and  then — blemishes. 

An  Indescribable  Fragrance 

Cashmere  Bouquet  has  a  lasting,  dainty 
fragrance — a  Colgate  secret  for  genera- 
tions. It  is  this  fragrance  which  prompts 
so  many  to  lay  a  cake  of  Cashmere 
Bouquet  among  their  choicest  silks  and 
other  fabric  treasures. 
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His  best  performance 

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•  • 


I  AM  afraid  I  spoiled  what  would  have  been 
one  of  the  most  romantic  proposals  in  history. 
You  see  Douglas  and  I  were  romantic  young- 
sters when  it  happened. 

Our  flare  for  romance  had  led  us  both  to  the 
American  Academy  of  Dramatic  Arts.  That  is 
where  we  met  and  fell  in  love. 

We  both  knew  we  were  in  love,  but  Douglas 
did  not  actually  ask  me  to  be  his  wife  until  he 
had  completed  his  first  season  as  a  profes- 
sional, plaving  a  lover  opposite  Maude  Adams. 

I  think 'he  planned  to  propose  according  to 
all  of  the  best  rules  of  the  theater.  But  when 
he  started  I  broke  up  the  show  by  saying 
"Yes!"  and  falling  on  his  neck  before  he  had 
half  finished.  At  that,  I  will  always  insist  that 
it  was  his  most  perfect  dramatic  performance. 

Romance  a  la  carte 
By  Lilyan  Tashman  Lowe 

OURS  was  really  love  at  first  sight  and  pro- 
posal at  first  meeting. 

I  was  in  the  Follies,  and  Eddie,  out  in  the 
audience,  saw  me.    But  we  didn't  meet. 

Then  Eddie's  show  opened  and  I,  in  the 
audience,  saw  him.    Still  we  didn't  meet. 

But,  confidentially,  we  adored  from  afar. 

One  night  I  was  asked  by  a  friend  to  join 
another  couple  at  dinner.  Eddie  was  in  the 
party. 

Over  the  hors  (Torture  he  told  me  I  was  the 
only  woman  in  the  Follies  to  him. 

Over  the  soup  I  told  him  I  adored  him  in  his 

play- 
Over  the  salad  he  told  me  he  loved  me. 
Over  the  chicken  I  told  him  I  loved  him. 
Over  the  ices  he  asked  me  to  marry  him. 
And  I  answered  "Yes"  into  the  demi-tasse. 

She  went  Mah  Jongg 

By  Daisy  Canfield  Moreno 

'( >\Y  proposed  to  me  over  the  pungs  and 

honors"  with  the  E.ist  \\  ind  blowing  gustih 

We  were  playing  Mah  Jongg  with  a  married 

couple,  when  Tony  suddenly  turned  to  the  wife 

and  said: 

"Will  you  marry  me?" 

She  smiled  and  replied:  "I  would,  but  my 
husband  might  object." 

"I'll  marrv  vou."  I  offered. 

"That's  what  I  wanted  all  the  time,"  said 
Tony. 

But  I  still  insist  it  was  Tony  who  proposed. 

They  said  they'd  never 
marry 

By  Jacqueline  Logan  Gillespie 

BOB  and  I  were  both  against  marriage.  We 
would  never  marry,  we  vowed.  That  was 
before  we  met. 

Then  Harry  Garson  invited  us,  separately  of 
course,  to  attend  a  dinner.  One  of  the  guests 
was  Judge  Work,  a  charming  gentleman,  who 
believed  that  all  theories  should  be  proven. 

"I  do  not  believe  in  marriage,"  declared  Bob 
in  the  course  of  the  dinner. 

"Neither  do  I,"  I  remarked  severely. 

And  then  we  went  on  to  give  our  reasons. 

Judge  Work  entered  the  conversation: 

"You  are  just  the  kind  of  people  who  should 
get  married  to  prove  your  theory'  is  right — or 
wrong." 

The  next  morning  Bob  and  I  were  married  in 
his  office  by  Judge  Work. 

We  have  been  married  eighteen  months  and 
Bob  and  I  are  about  to  toss  our  theory  out  the 
window.  Somehow  it  isn't  practical.  We've 
changed  our  minds,  you  see.  about  marriage. 


When  Rex  played 

Beatrice  Fairfax 

By  Alice  Terry  Ingram 


I  FIRST  met  Rex  when  he  directed  me  in 
"Hearts  Are  Trumps"  at  the  old  Metro 
studios,  and  before  we  had  finished  "The  Four 
Horsemen"  we  were  great  pals. 

In  thpse  days  Rex  was  most  emphatic  that 
he  would  never  marry  and  of  course  I  believed 
him.  He  was  all  against  marriage  for  pro- 
fessionals. 

At  his  oft  repeated  request  I  came  to  look 
upon  Rex  as  my  best  and  truest  friend. 

"If  you  ever  need  advice  or  have  an)-  prob- 
lems come  to  me ! ' '  This  is  what  Rex  said  to  me 
time  after  time. 

Then  he  went  to  New  York. 

Shortly  after  I  started  going  with  a  young 
chapwhose  name  doesn't  matter,  and  soon  this 
lad  was  insisting  that  I  many  him.  He  was 
nice  and  so  persistent.  I  was  on  the  verge  of 
saying  "Yes"  when  I  thought  of  Rex  and  his 
offer  of  advice.  Surely  if  ever  I  needed  advice 
it  was  before  taking  such  a  serious  step. 

So  I  wired  Rex  that  I  needed  his  advice 
badly. 

He  came  west  immediately  and  over  the 
dinner  table  in  a  little  Hollywood  cafe  I  laid 
the  whole  problem  before  him. 

"Very  serious!  Good  thing  you  sent  for 
me!"  said  Rex.  "Let's  walk.  I  think  better 
walking." 

And  we  started  out,  arm  in  arm,  down 
Hollywood  Boulevard.  .  .  . 

Oh,  yes!  I  took  his  advice  and  became  Mrs. 
Rex  Ingram. 

Not  so  funny 

By  Laura  Rhinoc\  UArcy 

THE  MERRY  WIDOW"  was  really  the 
cause.  If  I  had  not  attended  the  premiere 
in  New  York  that  night,  I  never  would  have 
persuaded  my  father  to  join  Marcus  Loew's 
party  going  to  the  coast.  And  I  never  would 
have  gone  west  ...  to  see  how  pictures  were 
made,  of  course. 

But  I  saw  "The  Merry  Widow."  I  saw  Roy 
D'Arcy.  I  became  tremendously  interested — 
in  learning  how  pictures  were  made. 

I  might  have  been  disappointed  when  I  saw 
the  Crown  Prince  of  "The  Merry  Widow"  off- 
screen. But  I  wasn't.  Oh,  no!  We  first  met 
at  a  dinner  given  for  Mr.  Loew.  After  dinner 
there  was  a  garden.  And  a  lemon-colored  Cal- 
ifornia moon.  And,  I  think,  an  ingratiating 
mocking  bird. 

The  following  day  I  had  to  see  the  country'. 
being  a  newcomer.  And  Roy  D'Arcy  kindly 
acted  as  my  guide. 

The  third  evening  it  was  the  theater  and, 
later,  the  same  moon — a  little  fatter  and  older, 
perhaps,  as  moons  go — made  a  silver  thread 
of  a  road  for  us  to  follow  to  the  beach. 

"Wouldn't  it  be  funny,"  said  Roy,  glancing 
at  me,  "wouldn't  it  be  funny  if  we  should 
marry?" 

But  I  didn't  think  it  would  be  exactly  funny. 
And  we  both  finally  decided  it  would  be  rather 
nice. 

Tears  did  it 

By  Robert  Leonard 

BEING  a  director  has  its  advantages.  But 
having  tears  in  the  script  is  more  advan- 
tageous. If  it  hadn't  been  that  the  scenario 
writer  put  a  crying  scene  into  the  story,  there 
might  have  been  no  romance  between  Gertrude 
and  me. 

Gertrude  had  cried  for  two  day's,  complying 
with  the  script.  Now  Gertrude  always  has  to 
have  someone's  arm  about  her  to  make  her  cry. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


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Mae  Busch  had  furnished  the  arm  the  first 
two  days.  The  third  day  Mae  was  absent  and 
I  supplied  the  arm. 

It  was  then  I  discovered  I  loved  her. 

But  how  to  propose? 

Then  an  idea!    I  secured  the  ring. 

"We  are  going  to  make  an  insert  of  yourhand 
with  this  engagement  ring,  Gertrude,"  I  told 
her.  "Let  me  see  if  it  fits."  It  did.  "May  it 
remain  there  permanently?  ..." 

And  Gertrude  nodded,  so  we  didn't  need  to 
bother  about  the  insert. 

Romance  en  route 

By  Albert  Par\er 

■\yf  ARGARET  and  I  were  traveling  with 
*"4-William  Gillette's  repertory  company. 
And  we  had  to  make  a  lot  of  long  and  tiresome 
railroad  jumps.  So  while  we  were  traveling 
through  New  England,  I  finally  argued  Mar- 
garet into  saying  "Yes."  I  didn't  have  any- 
thing, but  I  promised  her  a  lot!  Shetookme.so 
I  must  have  been  a  good  salesman. 

Just  like  a  novel 

By  Alma  Rubens  Cortez 

"D  ICARDO  really  had  the  advantage.  He 
"■saw  me  first.  And  it  wasn't  until  several 
years  later  that  I  saw  him. 

As  Ricardo  told  me  later,  the  hour  was  nearly 
six  on  Fifth  Avenue  in  New  York.  There  was 
a  ( hurch  across  the  street — St.  Patrick's 
Cathedral.  There  was  a  display  of  pictures. 
And  there  was  I. 

Ri  ardo  looked  at  me.  A  large  fat  woman 
waddled  between  us.  Ricardo  was  swept  away 
in  the  throng. 

He  says  he  fell  in  love  with  me  then  and 
there,  but  by  the  time  the  stout  person  had 
ambled  away  I  was  gone. 

Several  years  later  a  dinner  was  given  in 
Hollywood  for  Ricardo  Cortez,  the  newest 
Laskvstar.     I  attended. 

Ricardo  came  to  me  after  dinner. 

"I  could  have  killed  that  fat  woman  that 
day  on  Fifth  Avenue!" 

And  then  he  told  me  about  it. 

"If  you  had  killed  her,  you  wouldn't  be  here 
tonight."  I  said. 

"Now  that  I  am  here — will  you  marry  me? 
I've  been  waiting  for  you  ever  since  that  fat 
woman  came  between  us!" 

I  didn't  refuse. 


The  Kidding  Kid 


'  CONTINUED  FROM  PAGE  82  ] 

man  does  not?  And  Bill  is  Virginian  in  appear- 
ance and  speech.  A  Staunton  boy,  educated 
at  the  Staunton  Military  Academy.  From 
there  to  New  York  and  a  broker's  office. 
Then  one  day  he  had  his  picture  taken.  It 
was  the  beginning  of  the  path  to  films.  He 
liked  to  have  his  picture  taken.    He  admits  it. 

He  started  posing  for  hats  and  suits  and 
whatnots.  Also  what  the  well-dressed  young 
man  will  wear.  In  19J2  Bob  Mclntyre,  at  the 
behest  of  the  old  Goldwyn  company,  under- 
took to  select  two  new  faces  for  the  films.  The 
new  faces  he  selected  were  William  Haines  and 
Eleanor  Boardman.  And  that's  how  Bill  got 
into  pictures.  He  played  in  many — "Memory 
Lane"  and  "Sally,  Irene  and  Mary."  Many 
more.    Then  "  Brown  of  Harvard." 

Bill  isn't  particularly  collegiate  in  type. 
Rather  more  like  a  successful  young  business 
man.  Not  as  collegiate  as  Conway  Tearle  in 
his  golf  togs  or  Bobbie  Agnew  and  his  Oxford 
bags  or  even  Carl  Miller  and  his  array  of 
passionate-hued  sweaters. 

Not  a  rah-rah-rah  boy.  Nor  a  Frank  Merri- 
well  boy.  Nor  a  Rollo  boy.  Just  a  nice,  clean 
wholesome  kid,  with  a  devastating  wit,  who 
likes  goofy  people. 


The  Iyon  &Healy  is 
so  popular  because 
its  easier  to  play/' 

-says  Wm.  Haines 


"Now  I  know  why  the  Lyon  &  Hcaly 
Saxophone  is  so  popular  with  men  in 
high  school  and  college.  It's  easier 
to  play.  No  long  weeks  trying  to 
learn.  Just  a  few  short  lessons  on 
the  Lyon  6?  Healy  Sax  and  you're 
ready  for  the  orchestra." 

Yours  very  truly, 


As  a  devil-dog  or  as  a  college  hero,  Bill 
Haines,  star  of  "Brown  of  Harvard," 
"Tell  It  to  the  Marines"  and  other  Metro- 
Goldvvyn-Mayer  films  is  a  favorite.  He 
knows  how  to  "put  it  across"  because  he 
knows  men,  knows  the  qualities  and  ac- 
complishments which  are  admired  in  a 
man.  His  words  of  advice  are  worth  the 
serious  attention  of  every  man  in  school 
or  out  in  the  world,  fighting  for  success. 

For  Popularity  or  Profiit 
the  "Sax"  Player  Wins 

Your  friends  multiply  as  soon  as  you  learn 
to  play  the  saxophone.  You  begin  to  pick 
and  choose  your  invitations.  You  never 
have  a  dull  evening  with  nothing  to  do. 
But  if  you  want  to  stay  home,  what  is 
more  delightful  than  an  hour  or  two  with 
your  "sax"  working  up  your  own  moans 
and  "blues"  for  a  popular  foxtrot  to  sur- 
prise your  crowd?  Thousands  of  others, 
like  yourself,  who  at  first  played  only  for 
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You  Learn  Quickly  on  a 
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cial  musical  ability — these  men  select  the 
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The  Wild  Way   I  continued  from  page  66 ; 


She  thought  a  minute  and  then: 

"It's  just  pity,"  she  said  sadly.  "If  I 
thought  you  really  loved  me — " 

"I  do,  dammit,"  he  exclaimed  angrily. 
"Don't  you  think  I  know  whether  I  love  you 
or  not?" 


his  head  approvingly.  "Yes  sir,  you've  hit  it, 
Mr.  Sonnenberg.  That's  just  what's  the 
matter.    It  lacks  something. " 

"I  think  so,  too, "  said  Harry  Kingman,  who 
was  to  be  the  hero  in  the  picture. 

The  Ihree  who  were  in  agreement  looked 


"If  you  really  loved  me  you  wouldn't  swear     accusinrly  at  Haskins.  the  remaining  member 
at   me,"    she    argued,   choking    back   a  sob.'  of  the  conference.    They  waited  for  an  answer. 


"I  didn't  mean  to,' 
he  apologized.  "Only 
you  make  me  so  damn 
mad —  " 

"There!"  she  ex- 
claimed. "You  see,  I 
make  you  mad.  How 
can  you  say  you  love 
me  if  I  make  you 
mad?  " 

"Say,  what  is  this? 
A  debating  society  or 
a  courtship?"  Has- 
kins demanded.  "  I 
tell  you  I  love  you  and 
you  call  me  a  liar!" 

"I  did  not!"  Ella- 
line  protested  in  a 
shocked  voice. 

"You  did  so!"  Has- 
kins almost  shouted. 

"Mr.  Haskins!" 

"You  heard  me!" 

"After  that  I  think 
you'd  belter  go,  " 
Ellalinc  said  ii  ily. 

"After  that  I  will!" 
Haskins  retorted. 

He  got  his  hat  and 
went  —  all  the  way 
a  ross  the  room.  Then 
he  came  back. 

"Now  look  here — " 
he  began. 

Illaline  commenced 
to  cry.  He  took  her 
in  his  arms  anil  kissed 
lur.  Everything  was 
rosy  until  he  spoke  of 
marriage  again. 

"We  must  wait, 
dear,  till  I've  made  my 
success. "  she  explained 
to  him  gently. 

"Your  what?"  he 
exclaimed  aghast. 

"Before  I  get  mar- 
ried and  settle  down  I  do  want  the  satisfaction 
of  proving  to  myself — and  all  those  people 
back  in  Danbury  who  laughed  at  me  when  I 
came  out  here  and  said  I'd  fail — that  I  could 
succeed  if  I  just  wanted  to. " 

"Why,  of  course  you  could  succeed  if  you 
wanted  to."  Haskins  lied  earnestly.  "You're 
sure  of  that,  aren't  you?" 

"Absolutely!"  she  declared. 

"So  am  I,"  said  Haskins.  "Why  should 
you  waste  time  proving  it  to  other  people?" 

"It  won't  be  long."  she  assured  him  fondly. 
"I  might  distrust  my  own  judgment,  but  if 
you're  so  sure  I  can  succeed — " 

"Marry  me  now  and  then  succeed, "  Haskins 
urged  wildly. 


Haskins  sighed. 
"Well,  maybe  it  does," 
he  admitted  dispirit- 
edly. 

Everyone  smiled 
brightly.  They  were 
in  agreement.  The 
conference  was  cer- 
tainly getting  some- 
w  here. 

"It  lacks  somc- 
ing, "  Sonnenberg  rc- 
peated.  "Now  the 
next  thing  we  got  to 
think  about  is  this — 
what  it  is  that  it 
lacks." 

"That's  it, "  said 
Tracy  profoundly. 
"Yes  sir,  that's  just 
what  we  got  to  think 
about.  What  it  is  that 
it  lacks."  He  put  his 
head  in  his  hands  and 
gave  an  imitation  of  a 
man  thinking. 

"I  feel  that  wa\ 
about  it,  too,"  said 
Kingman.  He  tipped 
back  his  head,  shut  his 
eyes  and  also  pretend- 
ed to  think. 

Haskins  nodded 
agreement  and  ner- 
vously made  marks  on 
a  piei  e  of  paper. 

Mr.  Sonnenberg  lit 
a  cigar  and  leaned  bade 
in  his  chair  with  his 
eyes  on  the  ceiling. 

"I  got  it!"  he  said 
explosively  after  a  mo- 
ment. "I  know  what 
it  is  it  lacks.  " 

"Can  you  beat  it?" 
said  Tracy  in  an  awed 
voice.     "The  way  he 
works  things  out!"  as  he  nodded  admiration. 
"He  has  a  gift  for  situation,"  Ham'  King- 
man said  admiringly. 

"What  is  it?"  Haskins  asked  lugubriously. 
"What  does  it  lack,  Mr.  Sonnenberg?" 

"Punch!"  said  Mr.  Sonnenberg  impres- 
sively. "That's  what  it  lacks.  It  lacks 
pun'h." 

"My  idea  exactly."  said  Kingman.  "I  was 
just  going  to  say  that." 

Haskins  nodded  reluctant  agreement. 
"I  guess  so,"  he  admitted.    "Maybe  that's 
it." 

"Sure    it    is."    said    Sonnenberg.    his    face 
wreathed  in  smiles.     "Sure,  that's  it." 
He  rose,  indicating  that  the  conference  was 
"No,  dear,"  she  said  with  a  gentle  mulish     at  an  end. 
stubbornness,  which  he  had  come  to  recognize 


Ellaline  was  pretty,  movingly 
so.  A  slim,  wholesome  girl, 
big  frank  blue  eyes  and  a 
warm,  sweet,  impulsive  face. 
And  she  was  so  desperately  in 
earnest  about  getting  into 
the  movies 


and  dread,  "when  we  get  married  I  want  to 
give  up  my  art  forever. " 

Haskins  worried.  The  worry  showed  in 
his  work. 

The  result  was  a  conference  following  his 
delivery  of  a  screen  version  of  a  popular 
c  urrent  novel,  called  "The  Wild  Way." 

"It  lacks  something."  Max  Sonnenberg.  the 
producer,  said  portentously.  "Yes, sir.  That's 
what's  the  matter  with  it.  It  lacks  something.  " 

"That's  it."  Ed  Tracy,  the  director,  said 
slamming  the  table  with  his  fist  and  nodding 


•You  fix  that  up  now.  Haskins."  he  said 
genially.  "Get  it  done  by  say  two  o'clock 
this  afternoon,  maybe,  and  we  will  have  another 
conference." 

"  Fine!"  said  Tracy. 

"Good  idea."  said  Kingman. 

They  started  towards  the  door. 

"Hey,  wait  a  minute."  said  Haskins  desper- 
ately. "Let's  talk  this  thing  over  a  little. 
Where  .are  we  going  to  put  this  punch  in5 
What's  it  going  to  be?" 

Sonnenberg  frowned  and  looked  at  his 
watch. 


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"I'm  busy  this  morning,"  he  said.  "I  got 
a  lot  of  appointments.  You  get  Tracy  and 
Kingman  to  work  it  out  with  you. " 

Tracy  and  Kingman  walked  with  Haskins 
to  his  office. 

"I've  been  thinking,"  said  Tracy  as  they  sat 
down.    "How  about  a  scene  on  a  yacht?" 

"What  kind  of  a  scene?"  Haskins  asked. 

"Some  kind  of  a  big  scene,"  said  Tracy 
vaguely.  "I  haven't  thought  it  out.  It's  just 
an  idea  I  had. " 

"How  could  you  get  'em  on  a  yacht?" 
Haskins  persisted. 

"I  don't  know,"  said  Tracy  unhelpfully. 
"Mavbe  it  wouldn't  work.  I  just  thought 
of  it." 

"Couldn't  you  work  up  some  sort  of  a  big 
scene  for  Ned  Wilcox?  "  Kingman  suggested 
enthusiastically.  Ned  Wilcox  was  the  part 
he  was  to  play.  "You  know  a — well,  a  real 
big  scene  of  some  sort?  " 

"What  kind  of  a  scene?"  Haskins  asked. 

"I  hadn't  thought  it  out  yet,"  Kingman 
said.  "  Some  kind  of  a  good  big  scene,  though. 
I  think  that  would  put  punch  in  the  picture, 
all  right." 

Tracy  looked  at  his  watch.  "I  just  hap- 
pened to  think,"  he  said  hurriedly.  "I  have 
to  see  some  people  this  morning. " 

He  got  up  and  started  for  the  door. 

"You  and  Kingman  work  it  out,"  he  said 
to  Haskins  encouragingly  over  his  shoulder. 
"I  think  you  have  tie  idea  now,  all  right." 

He  went  out. 

Kingman  fidgeted  for  a  few  minutes  and 
arose.  "I'll  go  over  to  my  dressing  room  and 
think  over  there,"  he  said.  "If  anything 
comes  to  me  I'll  let  you  know.  I  think  you 
got  the  idea  and  all  it  needs  is  working  out." 

He  went  out. 

Haskins  was  alone.  He  swore  wearily  and 
began  a  reperusal  of  the  script  that  lacked 
punch.  His  thoughts  wandered  to  Ellaline 
Warren  and  her  obsession  to  get  into  the 
movies.  How  to  cure  her?  What  to  put  into 
the  script?  Would  she  give  up  after  a  while 
and  marry  him  anyhow?  Where  could  he  get 
a  punch  into  the  dam  yarn?  Thus  the  futile 
run  of  his  thoughts  for  a  wasted  hour. 

Curly  Jacklin,  one  of  the  publicity  men, 
stuck  his  head  in  the  door. 

"  Busy?  "  he  asked. 

"Yes!"  said  Haskins  emphatically. 

Curly  entered  and  sat  down.  "How  they 
coming?"  he  inquired. 

"They're  not,"  said  Haskins  gloomily. 
"I'm  stuck."  He  explained  the  nature  of  his 
predicament. 

"I  got  just  what  you  want,"  said  Curly 
confidentially.  "I  came  on  it  when  I  was  out 
hunting  last  fall  and  I've  never  tipped  any- 
body. " 

"What  is  it?"  Haskins  asked,  a  note  of 
hope  in  his  voice. 

"A  cliff,"  said  Curly. 

"A  cliff?"  Haskins  repeated. 

Curly  explained  in  detail. 

"Real  stuff,  see?"  he  urged.  "No  fake 
business  on  a  set  in  the  lot.  You  can  shoot  it 
so  the  fans'll  know  it's  real.  It's  made  to 
order,  I  tell  you!" 

Haskins  shivered  violently.  "Just  talking 
about  it  gives  me  the  jimmies,"  he  explained 
to  Curly.  "I'm  that  way  about  the  high 
places. " 

"  Ain't  it  a  darb?"  said  Curly. 

"A  wow,"  said  Haskins.  "Get  out  and  let 
me  write  it. " 

THE  car  crawled  slowly  up  the  mountain 
grade.  The  right  wheels  grazed  the  base 
of  the  steep  slope.  On  the  left  there  was  the 
little  matter  of  a  five  hundred  foot  drop  into 
a  rocky  canon.  Haskins  gripped  the  steering 
wheel  so  tightly  his  knuckles  seemed  about  to 
pop  through  the  drawn  skin.  His  eyes  were 
fixed  intently  on  the  road  ahead.  Ellaline 
Warren  sat  beside  him  babbling  delightedly. 
They  were  on  their  way  to  the  spot  on  the 
mountain  where  the  great  cliff  scene  was  to  be 
taken.    At  one  of  the  turn  out  places  on  the 


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narrow  mountain  road,  Haskins  edged  the  car 
close  into  the  mountain  side  and  stopped. 
He  set  the  brakes  carefully  and  relaxed  with  a 
sigh  of  relief.  There  were  beads  of  sweat  on 
his  forehead. 

"Zowie!"  he  exclaimed  prayerfully.  "Driv- 
ing these  mountain  roads  certainly  does  get 
my  goat!" 

"Are  you  sure  Sonnenberg's  going  to  be 
here  today?"  Ellaline  asked. 

"Be  here!"  Haskins  said  bitterly.  "He 
wouldn't  miss  it  for  worlds.     He  thinks  he 


he  agreed  disgustedly.  "A  day  gone  to  hell 
is  nothing  to  people  that  ain't  got  to  pay 
salaries,  I  suppose." 

Ellaline  Warren  stepped  forward.  "Let  me 
do  it,  Mr.  Sonnenberg, "  she  begged.  "  Please 
let  me  do  it.  I'm  here.  I'll  do  it.  I'll  double 
for  her. " 

"Ellie!" 

It  was  a  shriek.  It  was  Haskins  who 
shrieked.  He  grabbed  Ellaline  Warren  round 
the  waist  and  dragged  her  back  from  the 
cafion.    She  was  standing  twenty-five  or  thirty 


thought  this  scene  up.    I  get  all  the  ideas  and     feet  from  the  edge,  but  he  dragged  her  still 
do  all  the  work  and  then  he  takes  all  the     further  back. 


credit." 

"  How  did  you  happen  to  think  of  this  cliff 
scene?"  Ellaline  asked. 

Haskins  flushed.  "Why — er — uh — it  just 
came  to  me,"  he  said  guiltily. 

"My!  I  wish  I  were  in  this  scene  today." 
Ellaline  said  wistfully.  "Sonnenberg  could 
see  me  work.  I  just  know  that  if  he  once 
saw  me — " 

Haskins  muttered  something  under  his 
breath  and  began  the  painful  business  of  driv- 
ing once  more.  Nerve  wearing  as  it  was,  he 
preferred  it  to  listening  to  Ellaline's  persistent 
discussion  of  her  prospects.  He  had  brought 
her  along  as  his  guest  to  watch  the  shooting 
of  the  great  cliff  scene  and  he  was  beginning 
to  wish  he  had  left  her  home.  Ellaline's  per- 
sistent discussion  of  her  hopes  and  chances 
was  becoming  irritatingly  monotonous,  even  to 
her  lover's  ears. 

A  narrow  rock  cafion,  high  in  the  Sierras. 
On  one  side  a  cliff  face  rising  sheer  for  two 
hundred  feet  to  break  then  into  a  steep  slope 
reaching  to  the  peak  a  thousand  feet  above. 
Near  the  top  of  this  steep,  trough-like  slope, 
a  rock  slide,  hundreds  of  tons  of  loose  stuff, 
resting  miraculously  quiet  on  the  sharp  incline. 

Along  the  face  of  the  cliff,  some  one  hundred 
and  fifty  feet  above  the  narrow,  boulder  cov- 
ered floor  of  the  cafion,  a  rock  ledge,  varying 
in  width  from  one  to  three  feet.  The  face  of 
the  cliff  was  rounded  like  the  stern  of  an 
enormous  ship,  the  ledge  was  like  a  crude 
balcony  running  from  an  easily  scaled  chap- 
arral covered  slope  on  one  side  to  an  equiva- 
lent formation  on  the  other. 

Across  the  narrow  cafion  from  this  ledge 
and  about  on  a  level  with  it,  the  flat  top  of  a 
small  butte.  Upon  this  Hat  a  movie  cast  with 
full  equipment.  Haranguing  this  cast,  Max 
Sonnenberg,  producer.  The  subject  under 
discussion — that  rock  slide  away  up  near  the 
peak,  but  directly  above  the  cliff  face. 

"Why  should  them  rocks  come  down  now?  " 
he  demanded.  "I  ask  you  why!  They've 
been  there  God  only  knows  how  many  years! 
You  think  they  got  sense  in  'em,  they're  going 
to  come  down  now  and  bother  you?  " 

Lottie  Birdlong,  the  leading  woman, 
laughed.  "They  may  not  have  any  sense, 
Mr.  Sonnenberg,  but  believe  me  I  have.  If 
you  think  I'm  going  to  monkey  around  over 
there  on  that  ledge  with  that  rock  slide  up 
there  just  waiting  to  come  down  any  minute, 
you  can  think  again.    Not  me!    Noindeedy!" 

"I  tell  you  there  is  no  danger,"  Mr.  Sonnen- 
berg shouted. 

"I  hear  you,"  Lottie  Birdlong  said  calmly. 
"You  could  tell  me  the  sun  is  not  shining,  but 
that  wouldn't  make  me  believe  it  is  dark. 


Mr.  Sonnenberg  looked  on  interested.  "Who 
is  the  young  lady?"  he  asked. 

"Nobody,"  said  Haskins  wildly,  shielding 
Ellaline  with  his  body  and  holding  her  desper- 
ately as  she  struggled  to  escape.  "She's 
never  had  any  experience,  she's — " 

Smack!  That  was  Ellaline's  little  hand  laid 
violently  against  Haskin's  cheek.  She  strug- 
gled loose  from  his  grasp  and  ran  towards 
Sonnenberg. 

"I  can  too,  Mr.  Sonnenberg,"  she  cried.  "I 
can  too  act!  Don't  you  listen  to  him.  You 
just  let  me  try  it  and  see  if  I  can't." 

Mr.  Sonnenberg  rubbed  his  hands.  The 
beginnings  of  a  smile  appeared  on  his  face. 

"Well,  now,  maybe  we  got  somet'ing  here," 
he  said.    "Who  are  you,  young  lady?" 

"I'm  Ellaline  Warren,"  Ellie  panted.  "I 
can  act,  Mr.  Sonnenberg.  Honest  I  can. 
Just  give  me  a  chance.  " 

"A  chance!"  Miss  Lottie  Birdlong  sneered. 
"Take  cyanide,  dearie!    It'll  be  over  quicker.  " 

"I  came  out  with  Mr.  Haskins,  Mr.  Sonnen- 
berg," Ellie  chattered  on.  "I've  had  some 
experience — a  little  bit.  I  can  do  it.  Don't 
you  listen  to  him." 

"Oh  ho,"  said  Mr.  Sonnenberg.  "You 
came  with  Mr.  Haskins,  hey?" 

"What  a  busy  little  boy  Haskins  turned 
out  to  be!"  Miss  Birdlong  said  nastily.  "He 
writes  the  script  and  furnishes  the  girl  and 
from  the  look  of  things  he'll  be  the  chief 
mourner  at  the  funeral." 

"  Ellie,  come  here  to  me! "  Haskins  implored. 
"Come  away  from  that  cliff.  Come  away 
from  Mr.   Sonnenberg.     Come  here,  I   say!" 

"  You  leave  me  alone, "  Ellie  flamed.  "  Don't 
you  pay  any  attention  to  him,  Mr.  Sonnen- 
berg. He  hasn't  got  anything  to  say  about  it. 
You'll  let  me  do  it.  won't  you?" 

"A  day  is  a  day  when  you  got  to  pay 
salaries,"  said  Sonnenberg.  "If  you  want  to 
try  it " 

ON  the  flat  gravel  summit  everything  was 
set.  The  plot  of  the  piece  at  this  point 
was  as  follows:  The  heroine,  fleeing  from  a 
forest  fire,  is  cut  off  from  every  avenue  of 
escape,  except  the  narrow  ledge  leading  around 
the  cliff  face.  Fearfully  she  works  her  way 
around.  The  smoke  curls  up  about  her.  Ex- 
hausted, half  suffocated,  she  sinks  on  the 
ledge,  unconscious.  Who  comes  along  and 
rescues  her?  Strangely  enough  it  turns  out 
to  be  the  hero. 

The  smoke  making  devices  were  set  in  the 
bottom  of  the  cafion.  Ed.  Tracy,  standing 
behind  the  camera  with  Sonnenberg,  raised 
the  megaphone  to  his  lips  and  called  out: 
"All  right.    Come  on,  Miss  Warren." 

Around  the  cliff  face  from  the  left,  Ellaline 


'I'm 


to   take  a   chance,"   Harry     appeared  inching  her  way  along  the  ledge. 


Kingman  offered. 

"I'm  willing  you  should,"  Lottie  Birdlong 
said  spitefully.    "Help  yourself!" 

"I  believe  Miss  Birdlong 's  right,  Mr.  Son- 
nenberg. "  Haskins  put  in,  his  voice  shaking, 
his  eyes  round  with  terror  as  he  gazed  up  the 
steep  slope  above  the  cliff.  "If  that  slide  up 
there  ever  should  start — " 

"Shut  up!"  Sonnenberg  bellowed.  "Ain't 
everybody  scared  enough  without  you  making 
it  worse?" 

"We  could  send  back  to  Hollywood  and 
get  a  double  for  Miss  Birdlong, "  Kingman 
suggested. 

Sonnenberg  waved  his  arms.     "All  right," 

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'Camera!"  Tracy  called. 

"Fine!"  Sonnenberg  exclaimed.  "She's  do- 
ing it  fine." 

She  was.  The  script  called  for  her  to  act 
scared  at  this  point.  A  running  rabbit  with 
a  hound's  breath  tickling  its  tail  could  not 
have  expressed  fear  more  perfectly  than  did 
Ellie.  She  was  trembling  from  head  to  foot, 
flattened  up  against  the  cliff  face,  her  out- 
spread fingers  clutching  desperately  at  every 
bit  of  roughness,  her  feet  fumbling  along  the 
ledge,  literally  an  inch  at  a  time. 

"Great!"  Sonnenberg  went  on,  rubbing  his 
hands.    "That's  immense!" 

"Shut  up,  you  big  stiff,"  Lottie  Birdlong 


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said  in  a  low  tense  voice.  "Haven't  you  got 
any  sense?  That  kid's  not  acting.  She's 
scared.  Get  her  back  off  of  there  or  she's 
going  to  fall." 

Ilaskins  groaned  and  sat  down.  It  was  not 
a  voluntary  act.  His  legs  just  suddenly  ceased 
to  support  him  and  down  he  went. 

"She's  all  right,"  Sonnenberg  said.^  albeit 
somewhat  uneasily.    "She's  doing  fine." 

"Easy  now,  Miss  Warren,"  Tracy  coached 
her  anxiously.  "Come  along  easy.  \  ou're 
doing  great.     A  little  farther  now." 

Ellie  had  stopped. 

"A  little  farther,  Miss  Warren."  Tracy 
urged.     "Then  you  sink  slowly  down  and — " 

"I  c-can't,"  Ellie 's  voice  came  across  the 
chasm  in  a  muffled  wail.  "I  c-can't  do  it. 
Oh  help!    Please,  help!    I—" 

"My  God!"  said  Tracy  in  a  low  voice. 
"She's  going  to  fall!" 

"Don't  fall.  Miss  Warren!"  Sonnenberg 
called  imploringly.  "Steady  now!  Don't 
fall!" 

Ellie  screamed  and  swayed. 

Haskins  groaned  and  rubbed  his  fare  in  the 
gravel. 

Tracy  swore. 

Sonnenberg  put  out  his  hands  as  though  he 
would  reach  across  the  chasm  and  shove  her 
back. 

SLOWLY  the  form  of  the  girl  on  the  ledge 
swayed,  went  limp  and  miraculously  came 
to  rest,  face  down,  still  on  the  ledge,  outrlung 
fingers  clutching  frantically  at  the  naked  rock. 
She  was  safe  for  the  moment. 

"Don't  move!"  Tracy  shouted  at  her. 
"You're  all  right  now."  And  then,  more 
loudly:  "Kingman!  Come  on!  Miss  War- 
ren's in  trouble.  Come  help  her  off  there. " 
"What's  the  matter?"  he  called  shakily. 
Before  Tracy  could  answer  Lottie  Birdlong 
gave  a  startled  exclamation,  clutched  his  arm 
and  pointed  up  the  steep,'  trough-like  slope 
above  the  cliff. 

Away  up  near  the  peak,  a  thousand  feet 
above,  two  men  with  rifles  on  their  arms  were 
venturing  cautiously  out  onto  the  rock  slide. 
Even  as  Lottie  Birdlong  pointed,  a  big  boulder, 
just  beneath  the  two  figures,  rumbled  loose 
from  its  resting  place  and  started  down.  The 
two  hunters  scrambled  hastily  back  off  the 
slide  as  the  great  rock  began  its  dcs~ent. 
swiftly  gathering  speed  as  it  came  and  bringing 
in  its  wake  an  alarming  movement  of  smaller 
stuff. 

"Kingman!  Get  a  move  on!"  Tracy 
shouted.  "  Get  that  girl  out  of  there!  There's 
a  rock  coming!" 

Kingman  looked  up  and  listened  for  an 
instant.  He  heard  the  ominous  crash  and 
bang  of  the  big  boulder  rocketing  down  the 
slope.  He  hurried!  Hurried  back  in  the 
direction  from  which  he  had  come,  away  from 
the  face  of  the  cliff.  Mr.  Kingman  had 
temporarily  resigned  his  job  as  hero.  He  was 
through.     For  that  day  at  least. 

Haskins  yelled  and  started  to  his  feet.  He 
began  to  run  off  to  the  left  and  down  the 
slope.  The  rest  of  the  party  followed  his 
example.  That  onrushing  boulder  was  aimed 
in  the  general  direction  on  the  spot  on  which 
they  had  been  standing.  It  might  bound 
clear  across  the  caiion  and  land  there.  Only 
the  camera  man  remained,  crouched,  tense, 
grinding  away. 

The  huge  boulder  whizzed  off  the  slope  at 
the  top  of  the  cliff,  and  thundered  into  the 
opposite  caiion  wall,  not  twenty  feet  below  the 
gravel  flat,  on  which  the  camera  man  stood 
his  ground,  and  banged  into  the  bottom  of 
the  caiion.  It  had  shot  right  over  where 
Ellie  Warren  lay  stretched  on  the  ledge.-  Some 
of  the  smaller  stuff  following  it  slid  over  the 
cliff  top  with  less  momentum  and  rattled  and 
banged  down  all  around  her. 

"She's  all  right,"  Tracy  gasped,  peering 
through  the  dust. 

Lottie  Birdlong  screamed  and  pointed  up 
the  mountain.  Tracy  looked.  The  whole 
slide  was  beginning  to  move. 


FREE: 

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gives  new  beauty  secrets.  Free, 
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J^our 
Simple  Ways 

to  improve  your  skin 
—NOW! 

By  FRED  INGRAM  Jr.,Ph.c. 
B.  Sc.,(Pharm.) 

I.  From  1G  to  30  you  need  from  7  H  to 
8  hours  sleep — at  least  four  nights  out 
of  seven.  At  30  to  50,  6 }  i  to  7  hours 
will  do  with  a  daily  short  rest  after 
lunch  or  just  before  dinner.  If  you 
would  have  beauty  after  30 — get  your 
rest.  No  cream  or  cosmetic  can 
compete  with  loss  of  sleep. 

And  you  simply  must  eat  each  day 
either  lettuce,  celery,  cabbage,  carrots, 
spinach,  oranges,  white  cherries,  grape- 
fruit, lemons  or  tomatoes.  Your  doc- 
tor will  tell  you  just  what  combina- 
tions are  good  for  you  personally. 
Sleep  and  these  foods  are  a  sure 
foundation  for  beauty. 

II.  For  the  arms,  neck,  shoulders  and 
hands — at  least  once  a  day,  lukewarm 
water  and  any  good  soap  (Ingram's 
Milkweed  Cream  Soapistine).  Then  use 
Ingram's  Milkweed  Cream  on  hands, 
arms,  neck  and  shoulders.  Rub  it  in 
gently.  Don't  rub  it  off.  Use  only  at 
night  before  retiring — wear  old  gloves 
on  hands.  You  will  be  astonished. 
Your  friends  will  comment  on  the  re- 
markable change  in  the  appearance  of 
your  skin  with  this  simple,  common 
sense  treatment.  Under  no  conditions 
use  any  other  cream  while  you  are 
making  this  test. 

HI.  For  the  face,  give  our  cream  two 
weeks'  exclusive  use.  Write  the  date 
on  the  label  so  that  you  may  watch  re- 
sults carefully.  Use  no  other  cream  of 
any  kind.  Wash  your  face  at  night 
with  lukewarm  water  and  Ingram's 
Milkweed  Cream  Snap.  Rub  cream  in 
gently;  don't  rub  it  off.  Use  morning 
and  night,  using  water  only  at  night  to 
cleanse  face.  Blotches,  blemishes, 
blackheads,  redness,  tan,  wind-  and 
sunburn  will  go  if  you  follow  the  diet 
suggested  anil  use  Ingram's  Milkweed 
Cream  exclusively. 

Women  tuday  will  tell  you  this 
simple  treatment  gets  results.  We 
have  thousands  of  letters  over  a  period 
of  40  years  that  back  up  our  state- 
ments. And  today  thousands  are  en- 
joying the  beauty  insurance  which 
this  simple  method  brings. 

IV.  If  y°u  have  a  good  beauty  shop 
operator,  stay  with  her,  but  insist  that 
she  use  your  own  jar  of  Ingram's 
Milkweed  Cream.  Infections  are  dan- 
gerous. Not  one  woman  in  a  hundred 
has  a  scientific  beauty  operator. 

We  are  always  glad  to  answer  ques- 
tions— to  help  those  who  have  been  un- 
successful in  their  search  for  skin  love- 
liness. Particularly  those  who  want  to 
protect  their  beauty  over  a  long  period 
of  years. 

If  you  are  in  doubt,  take  no  chances. 
Do  your  own  facials,  arm,  neck,  hand 
and  shoulder  treatments  at  home.  We 
will  teach  you  how  in  our  little  book 
that  comes  with  each  jar  of  Ingram's 
Milkweed  Cream. 


Lovely  Skin 

in  two  weeks 
—this  easy  way 

See  blemishes  go — skin  grow  lovely. 
Here  is  beauty  insurance ! 

"ERE  is  a  simple,  NEW  method. 
One  that  thousands  of  beautiful 
women  have  used  for  ten  years  or  more. 
Lovely  skin  is  so  important  to  your 
beauty.  Now  every  "woman  can  have  it — -quickly, 
easily.  This  way,  every  woman  can  appear  5 
to  10  years  younger.  For  blemishes  do  actually 
vanish — often  in  two  short  weeks! 

Read  the  four  common-sense  beauty  secrets 
in  the  column  at  the  left.  Then  obtain  a  jar  of 
Ingram's  Milkweed  Cream  at  your  favorite 
store.  Get  it  in  the  50  cent  or  dollar  size.  The 
dollar  size  is  more  economical. 

You  and  your  friends  will  notice  —  a  remark- 
able improvement  within  two  weeks.  And 
remember:  You  need  only  one  cream  .  .  .  Ingram's! 

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PHOTOPLAY  MAGAZINE. 


122 


Photoplay  Magazine — Advertising  Section 


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"God!"  said  Tracy  prayerfully.  "She's 
gone!" 

Miss  Birdlong  gripped  his  arm  and  yelled 
again,  pointing,  across  the  cafion  this  time. 
Haskins  was  there,  on  the  ledge,  just  coming 
around  the  face  of  the  cliff.  He  had  scrambled 
down  into  the  cafion  and  up  the  slope  on  the 
opposite  side  on  the  left  of  the  cliff  by  which 
the  ledge  was  gained.  He  was  the  personifi- 
cation of  terror,  eyes  distended,  mouth  open — 
but  there  he  was — on  that  narrow  ledge,  mak- 
ing his  way  rapidly  towards  Ellie. 

"Hurry!"  Tracy  yelled  at  him  frantically. 
"The  whole  slide's  coming!    Hurry!'' 

"LJASKINS  heard  and  stopped  for  an  instant. 
-'--'-Terror  shook  him.  There  might  be  time 
lo  get  back  to  safety  alone.  He  could  hear  the 
dull  rumbling  roar  of  the  moving  rock  slide 
far  above  him.  The  girl  was  still  a  dozen  feet 
beyond.  He  couldn't  hurry  with  her  after  he 
reached  her.  He  wasn't  even  sure  that  he 
could  move  her  at  all. 

He  tried  to  look  up  the  cliff.  Just  above 
him  a  slight  bulge  shut  off  his  view.  It 
wasn't  much  of  a  bulge,  but  it  was  there, 
A  slight  overhang,  some  two  or  thru-  Feet 
above  bis  head,  completely  shutting  out  his 
view.  A  crazy  hope  flamed  up  in  his  heart, 
lie  staried  recklessly  along  the  led]  e. 

Horrified;  the  watchers  on  the  other  side  of 
the  cafion  saw  him  reach  her  and  drag  her 
back  a  dozen  feet  along  the  ledge  while  ihe 
great  slide  roared  down.  Now  the  wicked 
crest  of  it  was  only  a  hundred  yards  from  the 
top  of  the  cliff.  The  game  camera  man  gave 
up  and  ran  for  it.  Some  of  that  stuff  would 
shoot  c  Lear  over  sure. 

They  saw  Haskins  drag  Ellie  to  her  feet 
and  with  her  stand  flattened  against  ihe  face 
of  the  cliff.  Then  the  hideous  torrent  of  rocks 
ceil  them  from  view,  a  grey,  rushing,  thunder- 
ous torrent  that  roared  don  n  steadily  over  the 
face  of  the  cliff  and  half  tilled  the  narrow  cafion. 

Then  a  dust  cloud  gradually  thinning  and 
there  on  the  ledge  were  Walter  Haskins  and 
Ellie  Warren,  still  flattened  against  the  face 
of  the  cliff,  as  they  had  been  before  the  rushing 
rock  slide  hid  them  from  view,  still  alive  and 
unhurt.  The  crazy  hope  that  had  flamed  in 
Haskins'  heart  had  been  fulfilled.  That  de- 
flecting overhang  had  saved  them  from  the 
rush  of  rocks  as  the  same  formation  gives 
shelter  under  a  waterfall. 


With  his  right  arm  around  Ellie's  waist  and 
his  body  pressed  close  against  the  cliff  Haskins 
moved  slowly  to  the  left  till  he  had  negotiated 
the  length  of  the  ledge  to  where  it  met  the 
chaparral  clad  slope  of  the  draw.  Arrived 
there  he  abruptly  sat  down  on  the  firm  ground, 
sat  down  flat,  grabbed  the  limb  of  a  man- 
zanita  bush  in  both  hands  and  held  on  tight, 
as  though  he  feared  the  earth  might  tilt  and 
toss  him  off. 

Ellie  knelt  beside  him  and  threw  her  arms 
around  him. 

"Oh,  Walter!"  she  cried  wildly.  "Walter!" 

Haskins  roughly  shook  loose  from  her 
embrace. 

Still  sitting  flat  on  the  blessed  ground  and 
still  tightly  gripping  the  manzanita  limb,  he 
spoke  his  mind,  spoke  it  freely  and  with 
emphasis. 

"Shut  up!"  he  said  savagely.  "Look  at 
me.  Now  listen:  You  can't  act  worth  a  damn, 
do  you  hear  me?  You  can't  act  and  you  don't 
screen  well  enough  to  be  any  good  if  you 
could  and  you  haven't  got  nerve  enough  to 
go  through  with  a  stunt.  I  just  love  you  to 
death,  but  if  you're  going  to  keep  on  with 
this  pic  lure  foolishness  of  yours,  we're  through 
right  now. 

"You  can  marry  me  and  cut  out  this  damn 
nonsense  or  you  can  go  to — you  can  go  do 
whatever  you  want." 

"Why,   Walter,"  Ellie  exclaimed.      "I — " 

""yOU  heard  me!"  said  Haskins.    "If  you'd 

*■  rather  be  a  fool  extra  that  everybody 
laughs  at  than  my  wife,  go  ahead.  You  can't 
be  both.  I'll  tell  you  that!  You  can't  keep 
me  wailing  around  while  you  make  a  fool  of 
yourself  trying  to  butt  into  a  business  you 
don't  belong  in,  either.  You  can  take  me  or 
leave  me,  but  you've  got  to  do  one  or  the 
other  and  do  it  now!" 

Ellie  threw  her  arms  around  him  again. 

"I  don't  want  to  act,  Walter,"  she  cried 
"Honest,  I  don't.  I  won't  act  any  more. 
I  promise,  Walter.  I'll  marry  you  right  now, 
honey.  Walter,  speak  to  me!  Don't  you 
love  me  any  more?  " 

Haskins  let  go  the  manzanita  limb  and 
pressed  her  to  him. 

"Flaming  sheiks!"  Lottie  Birdlong  ex- 
claimed, watching.  "I  guess  the  censors 
wouldn't  overwork  their  scissors  on  that 
clinch,  what?" 


Clarence  Brown,  the  Metro-Goldwyn  director,  and  his  wife.  When 
the  Browns  were  married,  Clarence  was  in  the  automobile  business. 
He  became  an  assistant  to  Maurice  Tourneur,  developed  into  a 
director— and  you  know  the  rest.  Now  he  is  recognized  as  one  of 
the  dozen  leading  wielders  of  the  megaphone. 


Even  adTortlse 


in    riTOTOn.AV    MAGAZINE    Is    EU 


Photoplay  Magazine — Advertising  Section 


Bringing  Sound  to  the 
Screen 


[  CONTINUED  FROM  PACE  43  ] 

The  registration  apparatus  gathers  the  sounds 
and  transmits  them  into  waves  of  electrical 
energy.  A  vacuum  tube  amplifier  magnifies 
the  fluctuations  to  a  degree  sufficient  to  operate 
a  rutting  machine.  This  machine,  utilizing  a 
needle,  cuts  its  impressions  into  the  wax  disc. 

Tt  should  be  pointed  out  that  the  Yitaphone 
is  not  used  in  connection  with  "Don  Juan," 
save  to  record  the  orchestral  accompaniment. 
"  Don  Juan"  is  not  a  talking  picture. 

The  executives  of  Warner  Brothers,  the  Bell 
Telephone  Company  and  the  Western  Electric 
Company  believe  that  the  Vitaphone  will 
revolutionize  the  presentation  of  motion 
pictures.  It  will  bring  famous  singers  and 
orchestras  to  the  smallest  theaters.  Exhibitors 
will  be  able  to  get  an  accompaniment  to  their 
feature  pictures  played  by  the  most  famous 
orchestras.  The  Vitaphone  will  not  be  sold  to 
exhibitors.  The  Vitaphone  mechanism,  which 
can  be  attached  to  any  projector,  will  be  leased. 

Perhaps,  back  in  their  minds,  these  experts 
believe  that  the  Yitaphone  eventually  will 
make  possible  a  genuine  talking  picture.  How- 
ever, no  definite  plans  have  been  made  along 
this  line.  So  far  they  are  confining  their 
activities  to  an  invention  which  bids  fair  to 
transform  the  exhibition  of  pictures. 


Fifty-Fifty 


[  CONTINUED  FROM  PACE  46  ] 

of  the  greatest  pictures  up  to  that  time  and 
which  still  stands  undimmed  by  later  efforts. 
Incidentally,  they  made  the  late  Rudolph  Val- 
entino. 

But  something  happened.  There  is  a  story 
back  of  the  splitting  up  of  that  great  team, 
but  I  don't  know  it.  I  doubt  if  anybody  does. 
Only  I  feel  there  was  a  story  there,  something 
more  than  the  mere  desire  of  every  producer 
who  ever  lived  to  spread  things  out  too  thin. 
If  two  people  are  a  great  success  together  they 
always  want  to  separate  them  and  have  two 
great  successes. 

June  Mathis  went  to  Paramount  with  Val- 
entino. Perhaps  she  thought  she  would  try 
collaboration  with  an  actor. 

She  worked  with  Fred  Niblo  as  director  on 
"  Blood  and  Sand."  But  they  didn't  turn  out 
to  be  successful  collaborators.  They  got  the 
results,  but  the  casualties  were  too  great. 
Everybody  loves  June  Mathis  and,  of  course, 
Fred  Xiblo  is  one  of  the  most  popular  men  in 
Hollywood.    But  it  was  one  of  those  things. 

So  June  made  a  picture  by  herself,  and  it 
was  terrible. 

riTOMEN  cannot  direct  pictures.  (With 
»Y  apologies  to  Lois  Weber,  who  seems  to  be 
the'exception  that  provestherule.)  Itisnotthat 
they  haven't  the  creative  art,  since  they  stand 
head  and  shoulders  above  the  men  in  writing 
for  the  screen.  But  they  cannot  stand  the 
gaff — the  hard,  physical  work,  the  tremendous 
weight  of  detail,  the  necessity  of  executive 
organization.  June  Mathis,  Frances  Marion, 
Jane  Murfin  and  Marion  Fairfax  are  four  great 
women  writers  who  have  had  to  admit  defeat 
on  that  battlefield. 

Then  June  was  made  some  impossibly  im- 
portant sort  of  supervisor  and  editorial  chief 
and  power-that-be  at  Goldwyn's,  and  she  made 
a  fortune,  and  some  line  pictures,  but  she  didn't 
like  it  and  she  didn't  rind  there  what  she  was 
seeking — the  director  who  would  work  with 
her  as  she  and  Ingram  had  worked  together. 
When  she  went  to  First  National,  she  was 


"The  Tljer-Kiss" 

Interpreted  By  Malaga  Grenet 
Is  she  not  the  loveliest  vision,  the-Iady-who-uses-my-Dier-Kiss?  She 
sat  for  this  portrait  to  Julio  Malaga  Gtenet,  of  Peru,  Paris  and  Lon- 
don. A  kiss,  light  as  thistledown,  rewards  het  lovely  mirrored  image 
—  such  allurement  do  my  Toiletries  Djer-Kiss  bring  to  their  users! 
{Signed) 

KERKOFF,  Paris. 

Loveliness  Intangible. . . 
Irresistible with  Djer-Kiss! 

TV/TORE  precious  than  her  lovely  frock  and  jewels,  is 
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124 


Glorient   Is    Almost    Human 

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practically  in  charge  of  the  editorial  end  of  all 
productions,  and  she  still  is.  And  she  and 
Charles  Brabin  had  one  brief  fling  at  settling 
down  to  real  collaboration  when  they  made 
"So  Big." 

Then  came  "The  Greater  Glory,"  in  collab- 
oration with  Curt  Rehfeld,  who  had  been  Rex 
Ingram's  assistant.  Much  was  hoped  for  from 
this  new  team,  but  they  only  made  the  one 
picture  together. 

It  is  my  personal  opinion  that  June  Mathis 
fell  in  love  with  young  Balboni  because  she  saw 
in  him  the  man  who  might  prove  to  be  her 
other  half — who  might  prove  to  be  her  perfect 
and  permanent  collaborator. 

Balboni  started  in  the  picture  business  in 
Italy  sixteen  years  ago.  \Vhen  he  was  a  stu- 
dent, he  was  chosen  to  play  Dante  on  the 
screen  in  the  big  Italian  production  based  on 
the  life  of  that  poet.  But  he  wasn't  interested 
in  acting.  So  he  went  into  the  technical  end, 
and  for  years  was  recognized  as  one  of  the  fore- 
most men  in  Europe  at  camera  work.  Also, 
he  has  continually  studied  direction. 

Now,  after  two  years  in  an  American  studio 
as  cameraman,  assistant  and  director,  he  and 
his  wife  are  making  a  picture  together.  It  is 
called  "The  .Masked  Woman." 


lt&  %*&■&«& 


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COLORS  HAIR  \\    , 
AS  NATURE  DID 

H  UNDREDS   of  thousands   of   the  very  women 

most    hesitant   ;ilmut    mliinn-   their   u*r:iv    lialr   imw 

do  bo  with  Notox. 

Beeause  Xotox  is  so  natural  that  it  rannnt  he  de- 
t'Tted— and  this  is  why:  The  Xotox  principle 
differs  (mm  that  <~>r  the  old-fashioned  restorer  that 
merely  paints  over  the  cray. 

Notox  is  a  seientiile  coloring.  It  plan's  pigment  in 
the  thread  of  libers  u  it'iin  t  he  hair's  lu.tnuis  cover- 
ing— rik'ht  where  Nature's  color  us"d  to  arow 
Notox  has  to  look  natural  because  its  method  is 
natural. 

Notox  is  specifically  L'Uaraiitced  to  impart  color  to 
Kray,  streaked  or  faded  hair,  and  uuanl  all  its  for- 
mer harmonious  beauty  ot  lustre  and  of  silken  tex- 
ture. It  is  guaranteed  permanent;  its  color  with- 
stands any  condition  or  treatment  that  Nature's 
will — brushing,  shainponjm:,  sunshine,  salt  water, 
perspiration,  Turkish  baths,  ])crinanent  waving, 
mareelins,  It  is  safe,  it  cannot  iniure  texture  or 
growth.  The  ease  of  application  enables  anyone  to 
apply  it  with  invariable  success  in  the  privacy  of 
her  own  home. 

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Mad''    l>>     Notoi,    Ltd 


T  BELIEVE  that  June  Mathis  will  gladly  give 
1  up  her  important  position,  and  her  tre- 
mendous salary,  and  everything  else,  if  she  and 
her  husband  can  work  together  and  make- 
great  pictures.  That  is  her  dream.  That  is 
her  real  ambition — to  make  great  pictures,  to 
write  them,  see  them  directed,  stand  by  and 
collaborate.    She  hales  the  word  "supervise 

When  John  McCormick,  who  runs  produc 
tion  for  First  National  in  the  West,  read  the 
lln  script  on  "The  Masked  Woman."  he  said 
tn  June: 

"You  certainly  must  trust  your  husband. 
You've  got  this  simply  full  of  wild  women." 

June  Mathis  smiled,  her  subtle,  twinkling 
little  smile,  and  said.  "I  do  trust  him.  But  I 
shall  be  on  the  set  all  the  time." 

1  think  it  is  rather  like  that  about  the  pic- 
ture She  trusts  him,  but  she  will  be  on  the 
set  all  the  time.  She  will — to  use  the  word  she 
loves  I  n'st  and  always  uses  herself — she  will 
collaborate. 

I  hope  "The  Masked  Woman"  will  be  a 
great  picture. 

I  hope  it  will  be  such  a  picture  as  June 
Mathis  and  Rex  Ingram  once  made;  such  a 
picture  as  Cecil  DeMille  and  Jeanie  Mc  Pher- 
son  used  to  make,  when  they  gave  us  "Joan, 
the  Woman"  and  "The  Ten  Commandments"; 
such  a  picture  as  Marshall  Xeilan  and  Frances 
Marion  gave  us  in  "Stella  Maris"  and  "Re- 
be    a"  and  "Daddy  Long-Legs." 

1  hope  we  shall  have  another  great  team, 
and  that  June  Mathis  has  found  her  perfect 
and  permanent  collaborator. 


When  the  Movies  Were 
Poor  Relations 


[  COXTIXl'EI)  FROM  PACE  58  ] 

Shakespearian  thespian  out  of  a  job,  he'd  turn 
on  me  like  I'd  tried  to  pick  his  pocket  and  yelp. 
'How  dare  you.  sir?  The  very  suggestion  of 
making  a  motion  picture  is  an  affront.  I 
wouldn't  even  consider  it.' 

"And  now,"  said  Bob  Vignola,  with  a  smile, 
"John  Barn-more,  the  stage's  greatest  young 
actor,  has  definitely  abandoned  it  for  the 
movies,  and  there  is  hardly  a  star  on  Broadway 
who  doesn't  make  a  picture  once  in  a  while. 

"Why.  the  only  way  I  ever  got  trained 
actors  to  play  in  pictures  in  those  days  was  to 
lure  them  by  promises  of  a  trip  to  Florida.  If 
they  didn't  happen  to  be  working  and  I  could 
hold  out  a  few  weeks  in  Palm  Beach  as  a  bait, 
they'd  go. 

"  Stars   like   Beatrice  Lillie  and   Gertrude 

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Laurence,  of  the  "Chariot  Revue,"  and  Fanny 
Brice,  and  Raquel  Meller  are  glad  to  make 
tests  while  they're  playing  a  show  in  Holly- 
wood or  Los  Angeles,  just  to  see  if  they  might 
have  a  chance  in  pictures. 

"I  was  the  third  person  ever  hired  regularly 
in  stock  by  the  Kalem — the  other  two  were 
Sidney  Olcott  and  Gene  Gauntier.  Nowadays 
the}  pay  directors  thousands  of  dollars  a  week, 
they  pay  stars  thousands  of  dollars  a  week,  but 
I  remember  that  in  those  days  Gene  Gauntier 
left  Kalem  because  they  paid  me  twenty-five 
dollars  a  week  and  she  was  only  getting 
twenty.  And  she  was  their  star  and  their  best 
scenario  writer,  and  pretty  good  at  making 
wardrobe.  They  hired  her  back  for  thirty 
dollars  a  week,  but  they  sure  wolfed  when  they 
did  it.  All  I  did  for  my  twenty-five  dollars  a 
week  was  all  the  errands  and  some  of  the 
janitor  work,  assistant  director,  property  boy, 
leading  man  and  character  actor.  Now  even 
an  actor  has  a  staff  of  helpers  that  looks  like 
somebody's  cabinet. 

"Costumes  for  a  Cecil  De  Mille  production 
cost  hundreds  of  thousands  of  dollars.  The 
fashion  show  in  "Irene,"  one  of  Colleen 
Moore's  starring  vehicles,  cost  over  a  hundred 
thousand  dollars  to  put  on. 

"Y\  7ELL,   we  used  to  have  our  wardrobe 

W  troubles  in  those  days.  I  remember 
when  I  was  directing  my  firstpictureforKalem, 
we  had  a  wedding  in  the  story.  It  was  a 
fashionable  wedding,  and  required  the  leading 
man  to  wear  a  cutaway.  Nobody  we  knew  had 
a  cutaway.  But  I  knew  an  actor  named  Jimmy 
Vincent  that  had  one.  I  went  and  persuaded 
him  to  play  the  part;  I  told  him  nobody  else 
could  play  the  part,  he  was  just  the  only  one 
I  knew  that  had  the  qualifications.  He  played 
it  and  wore  his  cutaway.  Incidentally,  he 
became  a  very'  good  motion  picture  actor. 

"Kenean  Buel,  who  made  the  first  Westerns, 
started  as  a  character  actor.  And  he  always 
worked,  because  he  had  a  lot  of  wardrobe. 
He  had  enough  old  suits  so  that  he  could  lend 
them  to  other  members  of  the  cast,  when  he 
was  working. 

"  Now  they  think  nothing  of  reproducing  the 
Circus  Maximus  or  the  Czarina's  palace. 

"We  used  to  work  principally  on  people's 
front  porches.  You  may  remember  that  most 
of  the  dramatic  scenes  and  all  the  love  scenes 
were  always  played  on  the  front  porch.  That 
was  because  we  could  beg  front  porches  and  we 
couldn't  afford  to  build  sets.  We  used  to  go 
round  like  a  troop  of  book  agents,  and  when  we 
saw  a  nice  front  porch,  we'd  ring  the  bell  and 
ask  if  we  might  use  it  for  a  motion  picture. 
Usually,  the  good  lady  of  the  house  was  so 
intrigued  by  the  idea,  that  she  let  us  do  it  so 
she  could  watch. 

"As  for  extras — we  never  heard  of  such  a 
thing  as  hiring  an  extra.  Now  one  of  the 
greatest  problems  a  director  has  is  getting 
through  with  his  extras  because  of  the  way 
they  run  up  the  overhead.  In  'The  Ten  Com- 
mandments' Cecil  De  Mille  took  a  thousand 
extra  people  up  to  the  desert  and  kept  them  for 
months. 

"The  only  extras  we  ever  had  were  inter- 
ested spectators.  When  a  crowd  would  gather 
to  watch,  we'd  ask  them  if  they  didn't  want  to 
be  in  a  movie.  They  usually  did.  And  so 
we'd  use  them  for  atmosphere.  In  Florida,  we 
always  shot  our  scenes  that  needed  extras  on 
Sundays,  when  the  beach  crowd  was  out.  and 
we  had  a  lot  of  millionaires  and  society  leaders 
playing  in  our  backgrounds. 

"Times,"  said  Bob  Yignola,  beaming,  "have 
changed.  When  I  directed  Marion  Davies  in 
'When  Knighthood  Was  in  Flower'  it  didn't 
seem  to  me  I  could  ever  get  that  story  into 
eight  reels.  I  remember  the  first  two-reeler  I 
made  with  Marguerite  Courtot.  Then  I 
thought  nobody  could  ever  pad  a  story  out  to 
take  in  two  whole  reels. 

"Nowadays,  they  conduct  hunts  for  new 
faces,  contests  for  beauty,  and  send  scouts  out 
to  the  theaters,  not  only  in  New  York  but  in 
Europe,  to  look  for  their  new  stars  and  leading 
actors.    We  usually  got  them  when  somebody 


I25 


QJQfiotnc  i  (lanqee  cSeautu. 


MISS    KATHLENE    MARTVN 


VN 


6he  woman  who  id  endowed  with  lovely 

natuzal  coloz.and  the  one  who  owed 

net j  to  (Dangee,  ate  alike  the 

cnvij  of  all  othezd^-foi  no 

on  e  ca  n  tell  which 

id  wlacli 

Tangee' s  astonishing  -property,  of  changing  color  to  blend  with  each 
type  of  complexion,  distinguishes  it  from  other  make-up — and 
likewise  distinguishes  the  woman  who  uses  it  from  those  who  envy 
her  beauty.  Lipstick,  $i;  Crime  Rouge,  $i;  Rouge  Compact,  j;c; 
Face  Powder  in  Peachblow,  Rose,  Cream,  Rachel  and  White,  $i. 

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credited to  Tangee  DAY  and  Tangee  NIGHT.  These  creams 
effectively  improve  the  texture  of  the  skin  and  give  you  the  true 

basis  for  lovely  color. 


ANtt^ 


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Dept.  88 

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417  Fifth  Ave.,  New  York 

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brought  over  a  friend  that  would  like  to  be  in 
the  movies.  Alice  Joyce  was  the  first  big  star 
I  directed,  and  I  remember  that  one  day  she 
brought  over  a  girl  friend  of  hers  and  said  she 
thought  she'd  be  good  in  pictures.  That  girl 
was  Anna  Q.  Nilsson.  A  few  days  later,  Anna 
Q.  came  leading  a  friend  along,  and  her  friend 
was  Miriam  Cooper,  who  was  a  beauty  and  a 
charming  actress. 

"They  have  made  great  strides,  haven't 
they?  You  see  it,  looking  back  like  that  to  the 
old  days,  that  for  all  that,  are  suchalittlevvhile 
ago. 

"But  they  haven't  produced  any  better 
screen  actresses  than  Pauline  Frederick  was 
when  I  first  directed  her.  I  made  more  pictures 
with  her  than  anybody  has  ever  made.  And 
she  was  a  great  artist.  She  did  a  great  deal  for 
pictures  when  she  came  to  the  screen  from  the 


stage — she  lifted  the  standard  of  acting  a 
hundred  percent, and  the  screen  should  always 
be  grateful  to  her. 

"Another  fine  actress  I  directed  was  Ethel 
Clayton.  I  made  all  her  first  Famous-Players 
pictures,  and  she  was  lovely. 

"Well,  sometimes  I  look  back  on  the  good 
old  days  and  think  they  were  a  lot  of  fun.  But 
when  you  direct  a  star  like  Marion  Davies  in  a 
story  like  'When  Knighthood  Was  in  Flower,' 
and  have  everything  in  the  world  to  work  with, 
it  makes  you  feel  grateful  for  all  that's  been 
accomplished." 

So  we  finished  up  the  near-beer  and  went  for 
a  swim. 

And  I  didn't  intend  to  write  a  story  about 
the  reminiscences,  but  I  got  to  thinking  about 
them  and  I  thought  you  might  enjoy  them 
as  much  as  I  did. 


Love  and  Esther  Ralston 


'  CONTINUED  FROM  PACE  63  ] 


It  had  a  tiny  jumper  of  lace  in  the  front  of  it 
and  a  high  collar  of  silk  about  her  throat.  She 
hadn't  any  make-up.  She  says  she  gets  fed  up 
on  it  at  the  studio. 

Esther  explained  about  the  Swanson  follow- 
up.  "I'm  just  being  groomed  for  the  clothes- 
horse  Gloria,"  she  said  gently.  "Gloria  has  so 
distinctive  a  personality.  I  could  never  follow 
that  end  of  it.  But  I  like  the  clothes-horse 
idea.  Really,  I  do.  For  I  can't  act."  She  was 
perfectly  serene  about  it.  "I  know  I  can't  act 
now.  I  didn't  for  such  a  long  lime.  Back  in 
the  days  when  I  rushed  around  on  a  horse  for 
Universal,  opposite  Herb  Kawlinson  and  1 1 <  >■  ■  t 
Gibson  and  other  Westerns,  I  still  had  hopes  of 
turning  Duse.  I  hadn't  seen  so  much  of  myself 
then.  But  now  I  know  I'm  really  a  prett  j  good 
background.  I  told  Mr.  Zukor  if  they  would 
only  keep  me  walking  around  in  the  back  of 
things,  while  somebody  really  good,  like  Louise 
I  »resser.  stayed  up  around  the  camera  and  did 
the  work.  I'd  be  all  right.     The  clothes-horse 


idea  is  practically  the  same  thing,  and  I  shall 
like  wearing  beautiful  gowns  and  having  nice 
leading  men  act  a  little  bit  crazy  about  me." 
And  she  smiled  across  the  room  direct  into  her 
husband's  eyes. 

He  smiled  back,  adoring  her.  "Want  tea?" 
he  asked. 

"I'd  love  it,"  said  Esther,  and  her  eyes  fol- 
lowed him  out  of  the  room. 

"You  see,"  she  continued,  "there  may  be 
people  who  pull  their  hair  and  snarl  when  (hey 
arc  emotionally  moved.  There  must  be.  But 
I  have  never  known  anyone  like  that  or  ever 
felt  like  that.  I  sort  of  die  inside  when  I'm 
hurt,  but  nothing  shows  on  the  outside  of  me. 
So,  when  I  have  to  go  through  one  of  those 
physically  agitated  scenes,  I  get  such  a  desire 
to  giggle.  Did  you  see  'The  Blind  Goddess'? 
I  had  a  scene  where  I  was  supposed  to  be  ter- 
ribly dramatic.  I  played  it  and  I  didn't  say 
much  about  it,  but  privately  I  believed  I  had 
succeeded  in  being  wonderful.    Then  I  saw  the 


The  gentleman  giving  orders  to  Adolphe  Menjou  is  Luther  Reed, 
who  makes  his  debut  as  a  director  with  "The  Ace  of  Cads."  After 
being  a  scenario  writer,  an  editor  and  a  doctor  for  sick  pictures, 
Luther  finally  has  been  entrusted  with  a  picture.  Luther  is  crazy 
to  find  new  girls  for  his  pictures  and  has  no  objections  to  inexperi- 
enced beginners.    If  you  want  to  break  into  the  movies,  ask  for  Mr. 

Reed  at  the  Famous  Players-Lasky  Studio  in  Astoria,  L.  I. 
ement  in  niOTor-LAY  magazine  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


rushes  and  I  had  my  eyes  screwed  up  so  that 
instead  of  looking  intense  I  only  looked 
Chinese."  And  again  her  smile  worked  its 
magic. 

"  Your  portrait  of  Mrs.  Darling  was  ex- 
quisite," I  told  her,  watching  her  face  and 
understanding  how  her  husband  worships  her. 

Her  color  rushed  up  to  her  golden  hair  and 
then  receded  again.  "Oh,  that!"  she  said,  and 
her  hands  stirred  softly.  "Why,  you  see,  she 
was  so  easy  to  understand.  I've  always  more 
than  half  believed  all  the  fairy  stories  and  all 
my  life  I've  dreamed  of  a  mother  like  her  and 
children  like  hers." 

George  Webb  came  back  behind  the  maid 
with  the  tea  tray.  He  saw  the  color  in  Esther's 
cheeks  and  the  starry  radiance  of  her  eyes. 
"Here,  here,"  he  ordered,  "you  drink  your  tea 
and  behave." 

She  hid  her  shyness  behind  the  teacup  and 
gulped  obediently.  Her  free  hand  reached  out 
to  caress  him.  "He's  trying  to  fatten  me,"  she 
explained,  and  ate  a  cake. 

"Go  on  with  your  story,"  he  told  her,  and 
grinned  down  at  her. 

"I'd  like  most  of  all,"  Esther  said,  "to  play 
very  American  girls — nice,  free  ones — not  free 
in  the  llapper  sense,  but  free  from  make-up  and 
hampering  clothes,  out-of-door  girls.  My 
father  was  a  physical  instructor,  you  know, 
right  here  on  Fifth  Avenue,  and  I'm  very  proud 
of  being  so  ail-American  as  I  am.  My  people 
came  over  in  the  Mayflower." 

"Along  with  the  16,000  other  families," 
spoofed  her  husband. 

"Don't  mind  him,"  Esther  murmured. 
"Mine  really  did.  One  of  my  ancestors  was 
Governor  Bradford  of  Massachusetts.  I  was 
born  in  Bar  Harbor,  Maine,  just  twenty-three 
years  ago.  By  the  time  I  was  three  I  was  on 
the  stage.  Mother  was  very  ambitious  for  us 
in  the  theater.  She  taught  me  Shakespeare 
and  finally  wrote  a  play  for  the  three  of  us. 
We  toured  in  that  and  somehow  I  grew  up  and 
got  in  the  movies." 

She  moved  her  pretty  shoulders  against  a 
satin  pillow  her  husband  had  just  tucked  be- 
hind her  and  looked  at  me. 

"Isn't  that  enough  about  me?"  she  asked, 
and  her  tone  was  almost  timid.  "If  it  is  I'd — 
I'd  like  to  show  you  our  home.  It's  our  first 
and  I'm  so  excited  about  it." 

IT  would  have  been  as  easy  to  strike  a  sleeping 
angel  as  to  have  refused  her.  Besides,  the 
happiness  of  both  of  them  flashed  into  such 
active  life  that  before  I  had  eagerly  said, 
"Please  do,"  they  were  both  hustling  around 
pointing  out  things. 

There  were  the  rugs  that  George  had  bought 
and  the  lamps  Esther  had  selected — they  had 
ships  on  them,  since  she'd  rather  come  to  liking 
ships  since  "Old  Ironsides" — and  the  radio 
George  tuned  in  on — he  was  just  wonderful 
getting  the  long  distance  stations  hours  after 
she  was  in  bed  and  asleep — and  the  carved 
chest  that  Esther  had  picked  up  that  was  just 
as  good  as  an  original  and  twice  as  natural. 

Then  their  room  and  how  the  lights  worked 
— a  light  over  just  one  bed,  or  over  both,  or 
beside  each  bed  or  not  at  all.  And  Esther's 
new  clothes  and  George's  cellar — which  was  a 
top  shelf  in  one  of  the  clothes  closets — and 
Esther's  dolls — didn't  I  adore  dolls — and  the 
cabinet  where  George  keeps  Esther's  pictures, 
the  ones  they  love  and  which  are  never  going 
to  be  published — and  the  kitchenette — elec- 
tricity cooks  just  as  well  as  gas  when  you  get 
used  to  it,  and  aren't  electric  ice  boxes  won- 
derful the  way  they  freeze  cubes  in  no  time  at 
all — and  the  place  where  they  kept  the  table 
when  they  weren't  eating  off  of  it. 

"You  see,"  Esther  said,  and  she  laughed 
tenderly,  "Mr.  Webb  has  been  my  manager 
for  three  years.  I  came  East  to  do  a  picture 
with  Richard  Dix — my  next  one  is  with  him, 
too,  and  I'm  so  glad,  for  he's  such  a  good  actor 
I  won't  have  to  do  anything — and  it  was  pub- 
lished in  the  papers  that  I  was  engaged  to 
Richard." 

"Imagine  that!"  said  Mr.  Webb  grimlv. 


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LTOW  closely,  yet  how  comfortably  this 
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"  He  never  waited  to  find  out  if  it  was  true  or 
not,"  Esther  gloated.  "He  just  got  in  his  car 
and  drove — from  Hollywood  to  New  York — in 
eight  days.  I  don't  believe  he  stopped  to  eat 
or  sleep. 


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WHEN  he  got  here  he  said  I  was  going  back 
to  Hollywood  at  once  and  marry  him.  So 
I  went,  and  when  I  got  there  it  was  the  day 
before  Christmas.  There's  a  Mission  Inn  at 
Monterey — the  sweetest  place,  so  old  and 
serene.  It  used  to  be  a  real  mission  with  old, 
old  priests,  and  we  decided  to  be  married  there. 
George  wanted  a  double  ring  ceremony — don't 
you  think  that's  sweet? — and  since  we're  not 
Catholics,  he  had  the  mission's  old  walls 
hidden  beneath  flowers.  Everywhere  you 
looked  you  saw  them,  those  vivid,  beautiful 
California  flowers.  And  oh,  it  was  so  sweet 
there  on  Christmas  day. 

"1  had  the  Hamiltons,  Neil  and  Elsa,  and 
dear  little  Mar)'  Brian  and  her  mother.  Mary 
was  bridesmaid,  and  the  night  before  I  prac- 


"When  the  minister  asked  her  would  she 
take  me  and  she  was  supposed  to  say,  '  I  do, ' 
firmly,"  her  husband  teased  her,  "she  looked 
up  meekly  and  said,  'Do  I?'" 

"And  my  bouquet,"  said  Esther.  "Instead 
of  handing  it  to  Mary,  I  stuck  it  under  my  arm 
like  an  umbrella  and  marched  out,  and  when 
I'd  come  to  a  little,  I  asked  why  they  hadn't 
played  my  music. 

"  They  played  every  moment,'  Mary  told 
me,  and  everybody  agreed  with  her.  I'd  been 
so  happy  and  excited  I  hadn't  heard  a  note." 

"  Love,"  I  said. 

"Love,"  agreed  Esther  simply. 

It  was  quite  dark  in  the  room  now  and  from 
outside  the  sounds  of  late  afternoon  in  Man- 
hattan, taxicabs  and  shoutings  and  subway 
rumblings,  beat  upward.  Esther  moved  over 
and  put  her  head  close  to  her  husband's 
shoulder,  just  as  it  is  in  the  painting  they  have 
of  themselves  together. 

"He  treats  me  as  though  I  were  a  precious 
child,"  she  said.     "He  manages  my  business 


Illustrating 


Name 

Present  Occupation  . 
Address 


I  Want  to  Tell 
You  Something 

PLUMP- 
NESS 


THE  STAR  DEVELOPING  SYSTEM 
Dept.  122  SPRINGFIELD,  ILL. 


ticed  and  practiced  how  gracefully  I  was  going  affairs  and  fights  for  the  right  parts  for  me 
to  hand  her  my  bridal  bouquet."  She  illus- 
trated with  eyes  mocking  and  hands  white  and 
fragile.  "Another  thing  I  was  very  particular 
about  was  the  music.  I  wanted  the  'Wedding 
March'  and  'Oh,  Promise  Me'  and  'At 
Dawning,'  and  George  promised  me  them." 


He  takes  me  into  the  projection  room  and 
shows  me  myself  whenever  I  get  in  danger  of 
thinking  I'm  an  actress.  He  looks  after  me  all 
the  while.  You'll  never  know  how  wonderful 
it  is  to  be  loved  that  way,"  said  Esther  Ralston. 
She's  right.    I  never  will.    Few  ever  will. 


Peroxide  Pep 


[  CONTINUED  FROM  PACE  3 1  ] 


Colors,  for  instance.  I  never  used  to  like  blue. 
Now  that  I  am  a  blonde  I  can't  get  enough  of 
it.  Once  orange  was  my  favorite  color.  Now 
I  don't  want  it  around  me.  I  suppose  a 
woman's  taste  is  mostly  influenced  by  what  is 
becoming  to  her." 

Miss  Bellamy  speaks  with  a  thin,  timid 
voice.  You  think  that  she  is  going  to  break 
into  baby  talk  any  minute.  With  her  voice, 
she  could  read  a  page  of  "The  Critique  of  Pure 
Reason"  and  make  it  sound  like  nursery 
prattle.  And  yet.  when  you  get  used  to  her 
strange  little  voice,  you  discover  that  what  she 
says  makes  sense. 

But  she  can't  talk  personalities;  she  can't  be 
cruel  for  the  sake  of  being  clever.  And  she 
hasn't  a  single  wise-crack  to  defend  herself 
against  a  bitter  world. 

"I  never  say  interesting  things,"  she  com- 
plained. 

"Very  few  people  do,"  I  told  her.  trying  to 
be  consoling.  "Why  don't  you  try  cussing? 
A  conversation  sprinkled  with  well-chosen 
swear  words  always  sounds  clever." 

"I  see,"  said  Madge.. "If  you  say.  'It's  nice 
weather.'  you  are  stupid.  But  if  you  say.  'It's 
a  damn  fine  day,'  then  you're  brilliant.    I  must 

try  it" 

And  somehow,  when  Madge  said  'Damn.'  it 
was  as  funny  as  a  girl  in  hoop  skirts  doing  the 
Charleston. 

Madge  was  in  the  mood  for  self-revelation. 
"I  know."  she  went  on.  "that  I  have  been 
wrong  about  a  lot  of  things.  Acting,  for 
instance.  I  always  thought  that  acting  was  a 
question  of  emotions — that  you  felt  a  scene  and 
plaved  it  as  you  felt  it. 

"Well.  I  was  wrong  about  that.  Acting  is  a 
matter  of  intelligence  and  observation.  You 
don't  have  to  feel  an  emotion  to  portray  it.  But 
you  must  observe  how  other  people  express 
their  emotions. 

"Mr.  Dwan  and  I  had  an  interesting  con- 
versation on  the  set  this  morning.  I  had  been 
playing  a  sad  scene  and  when  I  finished.  Mr. 
Dwan  asked  me  what  I  had  been  thinking 
about.  And  I  told  him  that  I  had  been  think- 
ing about  something  sad.  'Well.'  said  Mr. 
Dwan,  'you  should  have  been  thinking  of  the 
muscles  of  your  face.' 

" Now  I  see  what  has  been  wrong  with  me. 
I  have  been  trying  to  Ieel  emotions  and  express 


them,  I  never  have  thought  much  about  the 
technique;  I  simply  wanted  to  be  sincere.  That 
was  a  mistake. 

"So  I  have  been  sitting  here  practising  with 
the  muscles  of  my  face.  Look!"  and  Miss 
Bellamy  drew  her  eyebrows.  Instantly  the 
tears  slowly  rose  to  her  ever..  "See.  I  am  cry- 
ing and  yet  I  am  not  thinking  of  anything  sad. 
It's  just  a  muscular  reaction." 

If  Mr.  Dwan  has  no  Gloria  Swanson  to 
direct,  at  least  he  has  a  star  who  is  willing  to 
learn.  For  the  little  girl  with  the  wide,  saucer 
eyes  is  pathetically  tractable  and  painfully 
sensitive.  She  would  have  made  an  ideal  wife 
for  one  of  those  Victorian  heroes  who  wanted  a 
"yes  woman"  in  the  home. 

As  it  is,  Madge  has  never  married.  She  lias 
worked  hard,  and  you  feel  that  she  has  been 
intensively  chaperoned. 

"Once,"  she  told  me,  "the  newspapers  heard 
that  I  had  eloped  to  San  Francisco  and  been 
married.  The  reporters  came  to  the  studio  and 
said  that  there  was  a  story  that  I  had  quarrelled 
with  my  mother  and  left  home. 

"It  was  all  nonsense,  and  I  don't  know  how 
the  story  got  about.  I  never  had  quarrelled 
with  my  mother — publicly." 

MADGE  has  a  background  that  antedatesher 
film  debut.  She  was  a  Somebody  before  she 
went  into  pictures.  As  a  child,  Madge  made  a 
great  hit  on  the  stage  in  "Dear  Brutus."  Her 
father  was  a  musician  and  Madge  treasures  her 
friendships  with  those  gypsies  in  evening 
clothes — the  musicians. 

It  was  Geraldine  Farrar  who  encouraged 
Madge  when  she  took  her  first  screen  test. 
Farrar  put  a  friendly  arm  around  the  trembling 
wraith  and  told  her  to  keep  up  her  nerve. 
Madge  kept  up  her  nerve  and  played  in  a 
Farrar  picture.  But  the  protecting  arm  of  the 
prima  donna  was  withdrawn  and  Madge  slid 
into  the  ranks  of  the  wide-eyed  ingenues. 

And  then  came  "Sandy."  with  the  blonde 
wig  and  the  new  pep.  Somehow  or  other,  her 
success  in  that  picture  only  served  to  awaken 
Madge  to  a  sense  of  her  own  deficiencies. 

It  was  after  the  release  of  "Sandy"  that  she 

thought    desperately    of    leaving    the    screen. 

Came  Dwan  and  a  new  hope  and  the  painful 

process  of  beginning  all  over  again  and  learning 

•again  an  old  trade. 


Erery  advertisement   In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Girls''  Problems 


[  CONTINUED  FROM  PAGE  Q»  J 

or  fifty  dollars  invested  in  a  suit,  together  with 
the  cost  of  keeping  it  neatly  pressed  and 
cleaned,  is  the  best  investment  you  can  make. 
Buy  tweed  rather  than  serge.  A  tweed  suit 
never  "shines,"  no  matter  how  old.  A  serge 
one  always  does. 

Since  the  well  dressed  girl  must  plan  out  all 
her  costumes  in  units,  the  next  step  is  to  buy 
shoes,  stockings,  a  hat,  gloves  and  handbag 
to  accompany  her  suit.  Oxfords  or  opera 
pumps  are  the  best  footwear.  Opera  pumps 
are  continuously  smart,  year  after  year,  and 
in  satin,  can  be  worn  at  evening.  Incidentally 
silver  kid  slippers  in  this  model  are  ideal  for 
evening  dances.  They  cost  more  than  silver 
brocade,  but  they  never  tarnish.  In  patent 
leather  they  are  about  ten  dollars.  In  silver 
kid,  three  or  four  dollars  more. 

The  next  big  thing  to  get  out  of  the  way  is 
that  winter  coat.  I  don't  believe  you  can  es- 
cape for  less  than  $65  on  that.  I  advise  a  good 
quality  fur-trimmed  coat,  rather  than  a  sport 
model.  A  fur-trimmed  coat  is  dressy  enough 
to  masquerade  as  an  evening  wrap,  when  that 
becomes  necessary.  It  is  wise  in  buying  a  coat, 
too,  to  think  about  its  lasting  for  a  second 
season.    Don't  get  an  extreme  style. 

After  this,  every  girl's  wardrobe  should  have 
a  black  satin  dress,  simply  made,  simply 
trimmed  and  of  excellent  quality.  Such  a  dress 
can  be  worn  anywhere  and  for  a  long  time. 
Next  to  it  in  value,  comes  the  black  lace  dress 
or  printed  chiffon  for  dinner  wear.  Both  are 
always  good.  The  best  solution  of  the  party 
frock  is  a  chiffon  or  crepe  de  chine  model, 
girlishly  ruffled.  It  will  contrast  with  your 
plain  daytime  clothes.  Choose  a  bright  color 
for  this. 

These  things  out  of  the  way,  you  have  a  cer- 
tain freedom.  If  a  girl  has  the  will  power  to 
conserve  her  money,  she  can  make  bargain 
purchases.  I  don't  mean  the  typical  "bargain" 
sales — which  are  rarely  anything  of  the  sort — 
but  buying  at  a  seasonal  sale  instead.  Mil- 
linery, for  instance,  is  greatly  reduced  in  the 
months  of  June  and  January.  The  smarter 
shops  in  every  city  mark  down  their  fatally 
simple  little  hats  during  those  months  so  that 
any  girl  can  afford  them.  The  same  is  true  of 
shoes,  of  sweaters,  separate  skirts  and  some- 
times of  furs.  The  small  untrimmed  felt  hats, 
good  skirts  and  sweaters,  good  shoes,  fur 
scarfs,  do  not  change  greatly  in  style  from  one 
season  to  another.  Therefore,  watch  for  sales 
at  good  shops.    Buy  cheap  and  wear  high. 

Stockings,  those  expensive  things,  and  under- 
wear must  come  out  of  your  "extra"  money 
after  dresses  and  coats  are  out  of  the  way. 
Contrast  tailored  dresses  with  simple,  inex- 
pensive summer  dresses  of  cotton.  Be  neat 
always.  Remember,  a  good  hat,  good  shoes  and 
neat  accessories,  such  as  gloves  and  handbag, 
can  make  a  slightly  worn  dress  unnoticed. 

Billy: 

No,  short  stories  do  not  have  to  be  copy- 
righted. It  would  probably  be  better  for  you 
to  send  your  stories  directly  to  some  literary 
agent  than  to  send  them  to  magazine  pub- 
lishers. If  you  will  look  at  the  contents  pages 
of  the  magazine,  however,  you  can  tell  whether 
they  are  in  the  market  for  material. 

A  Brunette: 

You  can  wear  ivory  and  cream  white;  no 
black;  mahogany  and  Negro  browns;  darkest 
blues;  dark  green;  gray  not  good;  dark,  warm 
reds;  amber  and  canary  yellow;  pink  in  warm 
and  pale  colors.  Light  rachel  powder  and 
rouge  and  lipstick  with  more  yellow  than  red 
in  it  would  be  most  becoming  to  you.  As  for 
the  colors  of  your  home,  it  would  be  difficult 
for  me  to  advise  you  without  knowing  more 
about  it.  If  it  is  a  dark  house  or  situated  in  the 
shade  your  walls  and  furniture  should  be  in 


I  29 


^he  Qirl  "Who  Itydiates  youth 

5 he's  a  lithesome,  graceful  girl — slim  as  a  young  white 
birch  tree.  She  moves  with  the  music  and  rhythm  of 
rippling  brooks.  Her  hair  may  curl  in  delicious  little  vine- 
like tendrils,  or  be  straight  and  sleek  as  a  boy's.  Her  eyes 
may  be  clear  blue  as  a  summer  sky,  deep  pansy-brown,  or 
calm  grey-green  as  the  sea — but  always  she  suggests  un- 
trammeled,  care-free  youth. 

Her  perfume  is  April  Showers — the  fragrance  that  dances 
down  the  breeze  after  a  soft  Spring  rain. . .  And  this  per- 
fume, held  captive  in  gleaming  little  bottles,  is  brought  to 
you,  by  Cheramy.  Get  it  at  your  favorite  shop,  which  also 
has  face-powder,  rouge,  and  the  other  toiletries  you  use — 
all  in  this  lovely  fragrance. 

CHERAMY 

NEW     YORK 

)i  and  Aped,  SkicnVePS 


April  Showers  Perfume  — $1,  $2.50 
and  $4.  Cberam>  Permanent  Rouge. 
a  cream  rouge  that  lasts,  orange  or 
carmine  shades — 50c.  Face  Powder, 
in /ire  true  tones,  light  flesh,  dark 
flesh,  I, eht  brunette,  dark  brunette, 
and  white — 75c.  Double  Compact, 
perfect  shades  in  both  rouge 
and  powder — $2. 


PEKFUMES      OF      YOUTH 


When  sou  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


i3° 


VT 


7^"d--rL 


Photoplay  Magazine 

*1 


-Advertising  Section 


— who  staged  the  best  edi- 
tions of  "The  Follies"  "Palm 
Beach  Nights"  and  over  500 
other  successful  revues, 
musical  comedies  and  head- 
line vaudeville  productions 
— will  show  you  how  to 

Develop  Your 
Talents  For 
The  Stage 

Health,  Beauty,  Big  Money.  Fame, 
Await  the  Trained  Stage  Dancer. 
Let  this  World-Famous  Producer. 
Stage  Director  and  Maker  of  Stars 
Help  You  to  Success,. 

IT  is  no  longer  necessary  to 
study  for  years  and  years,  and 
spend  a  large  amount  of  money  to 
learn  Stage  Dancing.  For  Ned  Way- 
burn,  who  has  directed  and  inspired 
more  famous  dancers  than  any  other 
the  world — has  perfected  a 
marvelously  simple  method  by  which 
anyone— even  without  any  previous 
training  or  experience — can  quickly  master  the  essen- 
tials of  this  fascinating  art. 

All  Ned  Wayburn  pupils  set  the  benefit  or  exactly  the 
same  method  Mr.  Wayburn  used  to  help  Evelyn  Law, 
Ann  Pennlnytun,  Marilyn  Miller,  GiM:i  Cray.  Fred  and 
Adele  Astaire.  Oscar  Shaw  and  scores  of  other  dancing 
stars  up  the  ladder  of  fame  It  is  the  one  course  of  train- 
ing that  leads  to  prompt  and  lucrative  engagements  — 
that  opens  the  door  to  popularity,  financial  independence, 
fame. 

At  the  Ned  Wayburn  Studios  in  New  York— by  far  the 
largest  and  most  suei-essfui  school  of  its  kind  to  be  found 
anywhere — you  can  learn  <:rm/  type  of  dancing— Musical 
Comedy,  American  Tap.  Step  and  Specialty  (Clogging), 
Acrobatic,  and  NVd  \\  avhurn.s  new  Americanized  Ballet 
Technique  (including  •Toe."  "Classical."  "Character" 
and  "Interpretive"  Dancing).  Mr  Wayburn's  personal 
method  of  Limbering  and  Si  retelling;  facial  make-up,  and 
the  essentials  of  Stagecraft  and  Showmanship  are  also 
features  of  the  course.  Class  or  Private  Instruction  for 
Men  and  Girls,  Children.  Beginners,  Advanced  Pvpits, 
Professionals  and  Teachers. 


Evelyn 


New  Daytime  and  Evening  Classes  for 
Adult  Girls  start  Man.,  Oct.  4thandMon.,Nov. 
1st.  Enroll  now  to  be  sure  of  a  place.  Children's 
classes  on  Saturdays.  Children's  Winter  Term 
(12  weeks)  starts  Sat..  Jan.  8th.    Enroll  at  once. 


Write  today   for  illustrated  booklet  AK-1  and 
full  information.      No  obligation.     Do  it  NOWi 

NED  WAVBURN 

Studios  oF  Stage  Dancing  Inc. 

1841  Broadway, Studio  AK-i.New  York  City 

At  Columbus  Circle  (Entrance  on  60th  Street). 

(Open  Daily  9  A.  M.  to   10  P.  M.  Except  Saturday 

Evenings  and  Sundays.) 


yellow  or  some  tone  that  brings  a  sort  of  arti-  resolving  to  snap  out  of  it.  On  the  whole,  men 
hcial  daylight  into  the  rooms.  And  exactly  the  seem  to  be  more  shy  than  women  and  where  a 
reverse  is  true,  of  course,  of  a  house  that  gets  a  girl  keeps  herself  in  the  background  she  is  un- 
great  deal  of  sunshine.  Whether  or  not  you  likely  to  be  sought  out.  If  you  want  to  cure 
are  going  to  live  there  the  year  around  will  also  this  complex  take  intelligent  steps  toward  con- 
have  its  effect  on  the  colors  you  choose  because  quering  it  and  don't  rely  on  the  desire  or  wish 
the  colors  for  winter  are  often  not  best  for  to  overcome  it.  Improve  your  personal  ap- 
summer.  More  dominant  colors  may  be  used  pearance  and  look  after  your  health.  Have  as 
in  the  dining  room  or  rooms  least  used.  If  much  pep  and  vitality  as  possible  and  learn 
you  want  to  write  me  more  fully  and  tell  me  things  that  will  make  you  interesting.  You 
whether  you  are  going  to  have  papered  walls  or  should  know  some  sport  and  get  yourself  into 
plaster  or  something  of  that  sort,  I  can  advise  some  social  activity  wherein  you  are  going  to 
you  more  specifically. 


meet  people  in  a  social  way.  I  sincerely  believe 
that  any  girl  who  wishes  to  be  popular  either 
with  other  girls  or  men  and  who  will  intelli- 
gently work   toward   that   end   will  succeed. 

of  changing  the  color  of  the  eyes.    Sometimes     The  way  to  have  friends,  you  know,  is  to  be  a 

as  one  grows  older  the  pigmentation  decreases,     friend. 


L.  H.,  Chicago: 
There  is  no  way  of  which  I  have  ever  heard 


but  that  is  the  only  change  of  which  I  know. 
If  you  will  get  the  proportions  of  the  Venus 
de  Milo  and  figure  them  out  in  comparison 
with  your  height,  you  will  know  about  what 
each  of  your  measurements  should  be.  You 
can  get  Venus  de  Milo's  dimensions  at  almost 
any  public  library. 


April: 

Swimming  will  overcome  a  great  deal  of  your 
difficulty  and  I  also  advise  you  to  take  up  a 
gymnasium  course  at  once.  Undeveloped  arms 
and  "wings"  as  you  call  them,  are  very  easily 
cured.  You  can  also  overcome  your  thin 
thighs.  Tell  the  gym  instructor  definitely  what 
you  are  after.  Inside  a  few  months  your 
troubles  will  all  be  removed. 


Theo: 

You're  a  little  underweight  for  your  height, 
but  don't  worr}-  about  it  as  you  will  probably 

increase  your  weight   in   the  next  couple  of  Sharon"  Kim: 

years.     As  for  this  boy  of  jours,  he  doesn't  You  really  don't  need  to  worry  about  your 

sound  so  good  to  me,  Theo.    If  he  is  already  weight.     You're  about  five  pounds  over  the 

engaged  to  a  girl  whom  you  say  he  calls  his  standard    weight    for   your   height,  but    five 

wife,  why  do  you  want  to  play  around  with  pounds  doesn't  really  matter.    I  must  say  that 

him?    It  is  only  a  school  girl  crush  and  the  only  I  do  not  quite  see  your  mother's  objection  to 

trouble  with  school  girl  crushes  is  they  are  apt  your  going  to  the  movies  with  a  boy  when  she 

to  become  serious  and  then  you  will  get  hurt,  iets  you  go  to  parties  with  him.  The  embarrass- 


Stay  away  from  him.  my  dear,  and  pal  around 
with  boys  of  your  own  age  or  one  who  is  at 
least  free. 

Mavis  Carol: 

Your  letter  indicates  that  in  a  way  you  are 
about  ready  to  cure  your  "inferiority  com- 
plex" as  you  call  it.  i  he  fact  that  you  recog- 
nize you  have  it  is  a  good  sign  and,  of  course, 


ing  situation  can  easily  be  avoided  by  care- 
fully selecting  your  pictures  before  you  go.  I 
do  not  mean  to  advertise  Photoplay,  but  if 
you  will  consult  our  reviews  you  can  determine 
what  the  story  is  going  to  be.  Of  course,  if 
your  mother  really  feels  seriously  on  this  point 
it  is  better  to  give  in  to  her.  If  I  were  you  I 
would  explain  to  the  boys  that  you  are  simply 
obeying  your  mother  and  not  being  ritzy 
your  self-consciousness  and  self-pity  all  spring  toward  them  when  you  refuse  their  invitations, 
from  the  same  thing.  It  really  is  very  difficult  Yes,  I  think  your  mother  is  quite  right  about 
for  anyone  to  cure  this  "inferiority  complex"  not  permitting  you  to  go  to  another  town  to 
except  by  taking  oneself  firmly  in  hand  and     dance    unchaperoned.     Too    many    girls    are 


Ned  Wavburn  Studios  of  Stage  Dancing,  Inc. 
1841  Broadway.  Studio  AK-1.  New  York  City 

Please  forward  your  illustrated  Booklet — and  complete 
information  recardioe  your  Course  in  st:o:i>  nanrina. 


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131 


doing  it.    I  recognize  this  is  an  age  of  liberty 
but  discretion  is  still  the  better  part  of  valor. 

Irish: 

You  can  wear  black  with  white  relief;  cream 
and  ivory  white;  all  shades  of  brown;  electri: 
and  sapphire  blues;  orchid ;  burgundy  and  dark 
red;  amber  and  canary  yellows;  pink  in  warm 
and  pale  colors.  With  your  height  and  color- 
ing you  can  wear  almost  any  type  of  clothes 
you  choose.  You  are  a  lucky  girl  to  be  tall  and 
slim.  Irish,  don't  let  the  boys  kid  you  when 
they  tell  you  you're  difficult  to  understand. 
Of  course,  I  do  think  if  they  really  mean  it,  it's 
a  good  asset  for  a  girl  to  have,  because  the 
woman  a  man  can't  understand  is  the  woman 
he  is  going  to  hang  around  and  try  to  find  out 
about.  So  either  way  you've  nothing  to  worry 
about. 

I.  C.  E.: 

You  can  wear  black;  deep  dark  browns; 
reddish  browns;  midnight  and  darkest  navies; 
pale  greens;  taupe  with  a  pinkish  cast;  no  reds; 
amber  tones  and  pale  yellows;  flesh  pink  and 
palest  blue.  Yes,  you  are  overweight.  You 
can  easily  afford  to  lose  ten  pounds.  Why 
don't  you  do  some  exercise — swimming  would 
help  you.  No,  I  don't  think  you  should  model 
yourself  on  your  friend  who  kisses  every  boy 
that  comes  along.  It's  a  dangerous  pastime  at 
best.  And  since  you  don't  like  to  pet  anyway, 
it  is  best  to  be  yourself.  To  act  any  other  way 
is  only  going  to  make  you  unhappy. 

Gennleaf: 

You  don't  have  to  worry  about  your  weight 
at  all,  my  dear.  What  a  relief  to  get  a  letter 
from  a  land  where  they  don't  have  petting 
par'.ies.  I  fear  I  will  have  to  ship  some  of  my 
correspondents  to  Australia.  The  diet  you  are 
now  on  is  excellent.  You  can  wear  mahogany 
and  Negro  browns;  darkest  blues;  dark  and 
pale  greens;  gray  and  purple  not  good;  dark 
warm  reds;  terra  cotta  and  buff  and  apricot; 
[link  in  warm  and  .pale  colors.  Light  rachel 
powder  would  be  best  for  you. 

Eighteen: 

No,  I  don't  think  you're  foolish  to'want  boy 
friends.  I  don't  see  any  reason  why  an  attrac- 
tive girl  of  your  age  should  be  expected  to  be 
contented  if  she  doesn't  know  any  boys  to  pal 
around  with.  Of  course,  if  you  impress  people 
as  being  snobbish,  you  are  going  to  scare  off  the 
boys.  It  is  still  true  that  the  clinging  vine 
has  an  immense  attraction  for  the  opposite 
sex.  That  old,  old  trait  of  asking  a  man  for 
advice  in  order  to  attract  his  attention  is  still 
as  good  as  it  ever  was.  It  may  be  that  you  are 
a  little  reserved.  Try  to  be  a  little  snappier 
and  I  think  you  will  succeed  more. 

Two  CiniMS — Both  Named  Carolyn: 

You  girls  want  to  know  a  lot,  don't  you?  I 
Hill  try  my  best  to  tell  you,  though.  Blonde 
hair  must  be  kept  very  clean,  first  of  all  I 
have  known  blondes  who  insist  that  putting 
a  little  blueing  in  the  watei  with  whkh  they 
shampoo  keeps  the  color  in  the  hair.  Don't 
put  much  oil  or  grease  or  anything  of  that 
order  on  your  scalp  as  it  has  a  tendency  to 
darken  the  hair.  Sunshine  will  help  retain  the 
color,  too.  Beautiful,  sparkling  eyes  come 
from  sleep,  good  health  and  proper  diet. 
The  following  tonic  is  excellent  for  promoting 
the  growth  of  the  lashes:  Yellow  vaseline,  two 
ounces;  oil  of  lavender,  15  drops;  and  oil  of 
rosemary,  15  drops.  Pretty  shaped  legs  and 
ankles  come  from  good  physical  tone  and  from 
exercise.  Do  a  lot  of  walking,  swimming  and 
even  dancing.  This  will  keep  them  in  shape, 
I  am  sure.  Don't  dye  your  hair.  Dyed  hair 
always  looks  artificial  and  gives  a  girl's  face  a 
horrid  expression.  The  best  way  to  whiten 
your  skin  is  from  within.  Again,  good  diet, 
proper  rest  and  plenty  of  drinking  water. 

Jacqueline  R.: 

What  makes  a  girl  popular?  Vivacity; 
health;  desire  to  be  a  good  fellow;  willingness 
to  be  a  friend;  knowledge  of  certain  sports  or 


N. 


Yes— "the  woman  pays" 

'-'for  this  kind  of  carelessness 

Do  we  pay  a  price  for  everything  in  life?  .  .  .  spiration    in    troublesome    spots — underarms, 

One  thing  is  certain.  We  pay,  and  pay  dearly,  palms,  etc. 
for  what  sometimes  seem  like  minor  blunders.  They  all  agree  that  this  is  absolutely  harm- 
Social  errors,  personal  crudities — the  lack  of  less  in  such  limited  areas.  Dr.  Lewis  B.  Allyn, 
savoir  jaire!  head   of  the  famous  Westlield   Laboratories, 

Yes,  the  woman  pays  a  costly  toll  in  popu-  Westfield,  Mass.,  says,  "We  do  not  believe  that 
larity,  who  neglects  the  niceties.  any  harm  can  come  from  stopping  the  excretion 
,  ,  ,  ,  of  perspiration  in  limited  areas,  such  as  under 
In  combating  Bromidrosis  (perspiration  odor)  the  arms,  feet,  forehead,  etc." 
and  Hvperidrosis  (excessive  moisture),  you  Modern  medical  science  now  provides  a  cor- 
have  a  peculiar  physiological  condition  to  deal  rective  upon  which  you  can  absolutely  rely  for 
with.  The  perspiration  glands  under  the  arm  safety  and  effectiveness.  Odorono! 
are  stimulated  to  unusual  activity  by  heat,  Odorono  is  an  antiseptic  liquid  used  by  mil- 
excitement,  nervousness.  Clothing  and  the  hoi-  lions  the  world  over,  who  want  relief  from  the 
1  jw  of  the  underarm  prevent  normal  evapora-  distress  of  perspiration.  Physicians  and  nurses 
tion  of  moisture.  depend  upon  it  in  hospitals. 

This  results  in  a  disagreeable  odor  which  you  You  need  apply  it  only  twice  a  week  to  enjoy 

may  be  sure  is  always  perfectly  apparent  to  absolute  assurance  of  perfect  underarm  cleanli- 

others  even  though  you  yourself  are  quite  un-  ness.    Never  a  tell-tale  trace  of  odor;  never  an 

conscious  of  it.  unsightly  stain!   You'll  need  no  other  protec- 

And  as  for  the  moisture — you  do  not  need  to  tion  for  your  clothing, 

be  told  how  ruinous  those  half  circles  of  stain  Start  the  twice-a-week  Odorono  habit  now. 

are  to  your  appearance  and  your  clothing!  The  Its  regular  use  means  an  underarm  comfort 

best drycleaningcannottakethemout, once  in.  you've  never  enjoyed  before!   Get  a  bottle  at 

Avoiding  underarm  odor  and  moisture  is  not  any  toilet  counter,  35c,  60c  and  $1,  or  sent  by 

a  matter  of  cleanliness — soap  and  water  are  mail  postpaid. 

utterly  powerless  here.  Note:  We  have  a  pamphlet  giving  opinions 
t       r        1       t  of  the  best  medical  authorities  on  the  harmless- 
Physicians  advise  that  the  only  effective  way  ness  of  limiting  perspiration.    We  will  gladly 
to  handle  this  condition  is  to  control  the  per-  send  it  to  you  free — check  coupon  below. 

THE  ODORONO  COMPANY,  910  Blair  Avenue,  Cincinnati,  O. 
Canadian  address,  468  King  Street,  West,  Toronto,  Canada 

"*"*»»» »♦' ...«»«.»|m^i«i««i_ij_i_t»i««»^ 

RUTH  MILLER  | — 1    Please  send  me  sample  of  Odorono  and  j 

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Photoplay  Magazine — Advertising  Section 


BATHASWEET 


For  a  lovely 

dainty  body 

What  girl  or  woman  has  not  the 
keenest  desire  to  be  always  sweet, 
fresh  and  dainty — not  only  for  an 
hour  or  so  after  her  bath,  but  all  day 
long!  And  who  does  not  long  for  a 
soft,  smooth  skin — the  very  height  of 
lovely  beauty. 

Bathaswect  fulfills  these  desires  completely— 
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No  wonder  Bathasweet  is  the  favorite  luxury 
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A  free  can  if  you  write  to  the 
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Scientific   Facts 
About  Diet 

A  CONDENSED  book  on   diet   entitled 
"  Eating  tor  Health  and  Efficiency  *'  has 
been  published    for  free  distribution   by  the 
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Mich.  Contains  set  of  health  rules,  many  of 
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Bebe  Daniels  was  always  the  little  speed  demon.  And  so  it  isn't 
surprising  that  she  picked  Charlie  Paddock  for  her  husband. 
Charlie  is  the  fastest  mortal  that  ever  put  on  running  shoes.  He's 
appearing  with  Bebe  in  "The  Campus  Flirt."  He  may  be  a  star  in 
his  own  line,  but  he's  only  a  supporting  player  to  Bebe.  The  title 
of  this  photograph  is,  "A  Scratch  Start  in  the  Race  of  Life" 


accomplishments;  and  that  elusive  thing  called 
charm.  If  you  want  specific  instructions  on 
the  cure  of  blackheads  send  me  a  stamped, 
self-addressed  envelope  and  I  will  forward 
them  to  you.  You  are  probably  washing  your 
hair  too  often  and  that  is  what  is  making  il  so 
oily.  Let  it  go  two  weeks  at  least  in  between 
shampoos. 

Orchid: 

Yes,  your  mother  is  right  about  your  weight 
fluctuating.  Before  thirty  one  should  be  over- 
weight rather  than  under- weight.  I  think  it 
would  be  advisable  for  you  to  go  on  a  diet. 
Milk;  butter;  eggs;  cream;  fruits;  vegetables; 
and  lots  of  sleep — all  these  are  the  things  you 
need.  It  seems  to  me  I  would  go  out  with  this 
young  man  whom  you  like,  but  can't  love,  until 
he  demands  some  definite  statement  from  you 
regarding  your  feeling  for  him.  Since  he  hasn't 
spoken  to  you  of  love,  I  see  no  reason  for  your 
rejecting  his  friendship  on  those  grounds. 
Take  your  good  times  while  you  have  the  op- 
portunity, Orchid.  Of  course  you  haven't 
bored  me.  I  am  always  glad  to  hear  from  you 
girls. 

V.  A.: 

No,  I  don't  think  it  is  wrong  for  a  girl  of 
fourteen  to  use  powder  and  rouge,  but  "I  cer- 
tainly don't  think  it  is  very  wise.  Let  the 
rouge  alone.  If  you  really  feel  you  must  put 
powder  on  to  keep  the  shine  off  your  nose,  get 
a  good  brand  and  use  it  lightly. 

Ptzzled: 

Yes,  you  ought  to  lose  more  than  five  pounds 
— you  ought  to  lose  ten.  You  can  wear  white 
relieved  with  some  other  color;  golden  brown; 
blue;  blue-gray;  darkest  purple;  no  red;  pale 
pinks  and  soft  rose.  The  only  way  I  know  of 
getting  over  being  tongue-tied  is  by  using  your 
tongue  as  much  as  possible.  I  know  that's  not 
so  easy  to  do,  but  there's  always  something  to 
talk  about  if  it's  only  the  weather.  If  you  feel 
you  can't  talk  the  only  thing  to  do  is  make  the 
other  person  talk.  If  you  begin  by  asking  them 
a  lot  of  questions  about  themselves,  believe  me, 
they  will  talk. 

Louise  : 

You  should  weigh  about  125  pounds.  You 
can  wear  black  of  high  lustre;  a  clear  and 
oyster  white;  dark  brown  and  bronze  brown; 
peacock  and  delft  blue;  pale  and  dark  green; 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guarant* 


pearl  and  dove  grays;  soft  violet  and  wistaria; 
no  reds;  softest  yellows;  and  most  delicate 
shades  of  pink.  Yellow  is  sometimes  very 
pretty  on  blondes  and  it  isn't  generally  worn 
by  them.  If  you  Like  to  wear  it,  I'd  do  it  if  I 
were  you. 

Jessie  Ruth,  New  York: 

You  should  wear  belted  dresses  with  graceful 
fullness  in  the  skirt.  Have  your  simple  dresses 
trimmed  horizontally  and  with  stripes  going 
around  to  cut  your  height.  Wear  blue  and 
green  and  orchid  and  occasionally  mauve.  If 
you  eat  rich  foods  you  will  gain  weight.  Drink 
a  glass  of  milk  that  is  half  cream  with  every 
meal  and  before  going  to  lied. 

Plump.  Eagle  River.  Wis.: 

If  you  lost  three  pounds  last  week,  you  can 
lose  three  pounds  this  week.  Continue  your 
diet  until  you  have  lost  the  amount  you  want 
to  lose.  Then  diet  enough  all  the  time  to  keep 
your  weight  at  that  mark.  This  is  the  best 
thing  to  do  if  you  are  afraid  of  inherited  ten- 
dencies to  stoutness.  The  most  satisfactory 
thing  to  do  is  never  to  eat  potatoes  nor  sweets. 
In  this  way  you  can  control  your  weight. 
Green  and  blue  and  red  are  your  best  colors. 

G.  J.  Son: 

Training  is  very  important  as  ground  work 
for  success  on  the  stage.  I  should  advise  you 
to  ask  the  opinion  of  the  directors  of  your 
dramatic  club.  If  they  think  you  have  dra- 
matic ability,  ask  them  to  suggest  a  training 
school  or  to  introduce  you  to  any  producers 
they  know. 

Axnie,  Louisiana: 

You  have  a  lot  of  troubles  on  your  mind, 
haven't  you?  But  never  mind,  there  is  a  way 
out  of  all  of  them.  To  reduce  your  ankles  hold 
your  leg  straight  out  in  front  of  you  and 
describe  a  circle  with  your  foot.  Do  this  half  a 
dozen  times  a  day,  stopping  each  time  before 
your  muscles  become  too  tired.  Wear  your 
dresses  a  medium  length  and  wear  stripes  going 
around,  and  horizontal  trimmings.  All  this 
will  make  your  height  less  noticeable.  Do  not 
wear  high  heels,  but  do  not,  on  the  other  hand, 
wear  heels  that  are  too  flat,  for  they  will  make 
your  feet  look  larger  than  they  are.  You  really 
must  give  some  time  to  your  hair  or  you  cannot 
expect  it  to  look  well.  Every  night  rub  well 
info  your  scalp  a  good  tonic,  then  brush  your 


hair  for  half  an  hour.  Wash  your  face  care- 
fully in  hot  water  with  a  good  facial  soap  and 
dash  cold  water  on  it.  This  will  stimulate  the 
circulation  and  give  your  skin  a  healthier  ap- 
pearance. Use  a  vanishing  cream  and  a  deep 
flesh  shade  of  powder.  Instead  of  bemoaning 
your  green  eyes,  be  extremely  glad  that  you 
are  one  of  the  few  girls  in  the  world  with  really 
green  eyes.  Wear  all  shades  of  green  to 
accentuate  your  eyes.  When  you  have  im- 
proved your  appearance  by  care  and  thought 
you  will  find  that  you  make  friends  much  more 
easily. 

Enid,  Sunbury,  Pa.: 

I  think  you  should  look  charming  in  the  new 
pansy  shade.  I  cannot  tell  what  your  weight 
should  be  unless  I  know  your  height  and  build. 
I  don't  really  believe  you  have  a  double  chin. 
How  could  any  one  weighing  only  ninety-two 
pounds  have  a  double  chin?  Wait  a  few  years 
and  if  you  do  seem  to  be  developing  such  a 
thing,  wear  a  chin  reducer. 

Chubby: 

Exercise  the  ankles  every  morning  and  eve- 
ning, but  be  careful  not  to  tire  the  muscles. 
Extending  the  leg  stiffly  before  you,  describe 
an  arc  with  the  ankle  twenty  times.  This  is 
splendid  for  slenderizing  the  ankles. 

Paula,  Sharon,  Mass.: 

The  young  man  is  very  impolite  in  treating 
your  friend  as  he  did.  Be  sure  that  you  can 
trust  him  before  you  become  too  fond  of  him. 
However,  if  you  find  that  he  means  a  great  deal 
to  you,  you  have  a  right  to  his  affections  for  he 
prefers  you  to  the  other  girl.  The  best  thing  to 
do  is  to  wait  and  let  events  take  their  own 
course  and  happen  naturally. 

Esther,  Milwaukee,  Wis.: 

You  should  try  to  gain  five  or  ten  pounds. 
Wear  orchid,  flame  and  light  brown  and  some- 
times green.  A  correct  posture  is  necessary 
before  you  can  walk  correctly.  Stand  with  the 
weight  evenly  distributed  on  the  balls  of  the 
feet.  Then  walk  naturally  and  easily,  carrying 
yourself  carefully  straight  with  your  head  up. 


Love  and  Defection 


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Here's  the  Remarkable 

New  way  of  removing 

Cleansing  Cream 

that  experts  say  makes  an  almost  unbelievable 
difference  in  the  fineness  of  your  skin 


No  more  oily  skins.  Your  make-up  holds 
hours  longer  than  before.  Instead  of  towels, 
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[  continued  from  page  38  ] 

sen-ices  and  Midnight  negotiated  a  deal  with 
her  by  which  she  was  brought  over  from  At- 
lanta where  she  was  closing  out  a  vaudeville 
engagement. 

Her  screen  tests  were  more  than  successful. 
She  was  amenable  to  direction.  The  prelimi- 
nary technical  work  was  finished,  the  con- 
tinuity ready,  the  company  cast.  And  now 
President  Eatimer  wanted  Opus  Randall  to 
play  the  luscious  part  opposite  this  imported 
damosel!  Opus  as  a  yearning  dusky  Romeo. 
Opus  playing  straight — in  the  best  part  of  the 
kind  Caesar  had  ever  directed.  Opus,  who 
had  violated  all  rules  by  carrying  his  troubles 
over  Caesar's  head  to  the  chief  executive  of 
the  company!  J.  Caesar  stamped  one  large 
foot  upon  the  floor.    He  clenched  his  bony  fists. 

"Never!"  he  swore.  "Never  is  I  gwine  give 
Opus  a  fine  jiart  like  that  until  I  has  got  good 
an'  even  with  him  fo'  all  the  dirty  tricks  he 
has  done  me." 

Caesar  was  firm.  Caesar  was  honest. 
Caesar  was  grimly  unyielding. 

And.  as  Caesar  stepped  into  his  own  office, 
a  man  rose  to  greet  him. 

This  man  was  not  large,  but  he  was  certainly 
imposing.  He  was,  perhaps,  five-eight  in 
height  and  almost  that  broad.  lie  possessed  a 
thundercloud  complexion,  a  jutting  jaw,  beetle 
brows  and  a  slightly  cauliflowered  ear.  A 
mighty  chest  heaved  beneath  a  shirt  which 
was  distinctive  for  its  red  and  white  vertical 
stripes.  His  suit  was  loudly  checkered  and  he 
wore  a  cap  to  match.     The  cap  was  pulled 

When  yo 


MODERN  beauty  science  has  dis- 
covered that  the  way  you  remove 
cleansing  cream  has  an  almost  amaz- 
ing influence  on  the  texture  and  soft- 
ness of  your  skin. 

Now  a  new  way  has  been  found — 
one  that  ends  oily  nose  and  skin  con- 
ditions amazingly.  That  holds  your 
make-up  fresh  for  hours  longer  than 
before.  That  largely  ends  skin  im- 
perfections and  eruptions. 

Virtually  every  prominent  motion  picture 
star  employs  this  method.  Foremost 
beauty  specialists  are  urging  it  as  marking  a 
new  era  in  skin  care. 


The  only  'way  that  removes  germ-laden 
matter  from  the  pores 

This  new  way  is  called  Kleenex  'Kerchiefs — 
absorbent.  A  new  kind  of  material ;  different 
from  any  other  you  have  ever  seen;  de- 
veloped in  consultation  with  leading  au- 
thorities in  skin  care  solely  for  the  removal 
of  cleansing  cream. 

It  comes  in  exquisite,  aseptic  sheets  of 
handkerchief  size.  You  use  it,  then  discard 
it. 

It  is  the  first  method  known  that  removes 
all  cleansing  cream,  dirt,  grime  and  germ- 
laden  matter  from  the  pores. 


T\(o  more  soiled  towels 

Soft  as  down  and  white  as  snow,  it  is  27 
times  as  absorbent  as  an  ordinary  towel. 
It  ends  the  "soiled  towel"  method  that  is 
dangerous  to  skin  beauty.  It  avoids  the 
harshness  of  paper  makeshift  ways. 

Because  it  removes  all  dangerous  mat- 
ter and  grease  from  the  pores,  it  combats 
greasy  skin  and  nose  conditions.  A 
greasy  skin  often  means  cold  cream  left 
in  the  skin  which  the  pores  constantly 
exude. 


KLEENEX 

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"Tip  oily  skins 

A  blemished  skin  largely  indicates  a  germ 
condition  of  the  pores.  You  must  clean 
them  out.  Old  ways — towels,  etc. — won't 
doit. 

Those  remove  but  part  of  the  cream  and 
dirt,  rub  the  rest  back  in.  Thus  your  skin 
not  only  is  endangered,  but  may  seem 
several  shades  darker  than  it  is. 

In  two  or  three  days  you  will  be  surprised 
at  the  difference  Kleenex  will  make  in  your 
skin.  In  its  fairness,  freedom  from  "shine," 
in  the  way  your  make-up  holds  its  charm 
and  freshness. 

Send  the  coupon 

The  coupon  brings  a  full  7-dav  supply  with- 
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"Aint  nothin'  gwine  happen. 
"You  said  it!    Ise  gwine  be  tl 


gwine  be  there  to  see  that 
nothin'  does.  I  know  all  'bout  these  men 
actors  ...  an'  boy!  Ise  gwine  be  in  the  back- 
ground watchin'  to  see  the  fust  time  that  any 
actor  gits  fresh  with  my  gal.  An'  when  he 
does,  blooie!" 


Photoplay  Magazine— Advertising  Sectio: 


down  over  the  right  ear,  almost  concealing  one 
eye  and  imparting  to  the  other  a  terrifically 
sinister  aspect.  The  arms  were  long,  the  hands 
which  dangled  therefrom,  bony  and  huge. 
The  feet  were  slightly  splayed  and  covered  a 
large  area. 

"My  name,"  boomed  this  person,  "is  Styp- 
tic Smith." 

J.  Caesar  gazed  apprehensively.  His  ac- 
knowledgment came  in  an  awed  whisper. 

"Ise  please'  to  meet  you,  Mistuh  Smith." 

"Humph! "commented  Styptic  significantly. 
"Maybe  you  is  an'  maybe  you  aint." 

Inwardly  J.  Caesar  agreed.  He  invited  the 
gentleman  to  be  seated. 

"T  DOES  as  I  likes, "  reverberated  Mr.  Smith. 

-*■  "Nobody  has  got  to  invite  me  to  do 
nothin',  no  time.  What  I  wants,  I  gits— an' 
what  I  don't  want  nobody  forces  on  me." 

"Aint  it  the  truth?" 

"You  is  dawg-gone  tootin'  it  is."  Stvptic 
inserted  a  flagrant  cigar  into  the  middle  of  his 
countenance  and  thrust  his  head  forward. 

"Does  you  know  who  I  is?"  he  inquired 
forcefully. 

"N-n-n-nossuh,"  quavered  the  worried 
director,  "but  I  bet  you  is  champeen  of  the 
world  at  somethin'." 

"Pff!  Anybody  could  be  that.  Me— Ise 
got  impawtant  things  to  think  about.  Feller, 
I'll  tell  you  who  I  is.  Ise  the  fiansay  of  Miss 
Amnesia  Truck!" 

"Oh!"  Director  J.  Caesar  Clump  seated 
himself  suddenly.     "You  is?" 

The  big  lists  clenched.  "What  has  you  got 
to  say  about  it?" 

"  C-c-c -congratulations!" 

"Right  you  is.  Amnesia  is  the  swellesl  gal 
in  the  whole  world.  Ise  been  crazy  about  that 
gal  ever  since  I  fust  met  up  with  her.  Was 
anybody  to  look  twice  at  her.  I'd  take  him 
between  my  two  fingers — so — an'  squash  him 
— Ssswsh! — thataway!    Dnderstan'?" 

"  Yassuh!" 

"I  come  to  this  place  an'  hunted  you  Up," 
continued  the  warlike  Mr.  Smith,  "  'cause 
somebody  said  you  was  the  big  boss." 

"Ise  the  director,  suh." 

"You  direc's  my  fiansay,  Miss  Truck?" 

"  Y -y -yassuh. " 

"Good.  I  an'  you  is  gwine  git  better 
'quainted.  Because,  Mistuh  Director,  wher- 
ever Amnesia  goes — Im  also  go  there.  What- 
ever she  does — I  watches.  Me,  I  is  her 
chaperone,  an'  b'lieve  me,  I  don't  stan'  fo' 
fumadiddles  fum  uobody." 

Styptic  was  lelhallv  in  earnest.  J.  Caesar's 
spine  seemed  all  marrow,  his  knees  trembled. 
He  looked  into  the  grim  visage  of  his  visitor 
and  decided  that  he  didn't  want  an  audience 
while  he  was  directing  Miss  Truck. 

"Mistuh  Smith."  he  said  softly,  "you  is 
suttinly  welcome  aroun'  heah — " 

"I'd  better  be!" 

" — But  we  has  got  an  ironclad  rule  that  no 
visitors  is  allowed  on  the  lot  while  we  is 
shootin'. " 

"Shootin'  what?" 

"Pitchers." 

Styptic  smiled  disdainfully:  "Boy,  you  has 
showly  got  one  rule  which  is  about  to  git 
busted  right  in  the  eye.  'Cause  when  you 
starts  shootin',  Mistuh  Styptic  Smith  is  gwine 
be  in  the  vicinity,  an'  he's  gwine  remain  there. " 

"But—" 

"Don't  go  buttin'  me.  Ise  a  set  man,  I  is. 
I  don't  take  nothin'  off  nobody.  I  says  what 
I  does,  an'  I  does  it. "  A  bit  of  the  harshness 
left  the  stranger's  voice,  and  he  made  an 
explanation.  "Ise  heard  about  these  movies, 
Mistuh  Director.  I  has  heard  heaps  about 
them  ...  an'  I  aint  aimin'  to  see  nothin' 
happen  to  the  gal  which  is  fixin'  to  become 
Mis'  Styptic  Smith." 


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"Now  ..."  Director  J.  Caesar  Clump 
started  to  say  something.  Abruptly,  he 
ceased  talking.  He  looked  at  the  awesome 
figure  of  Mr.  Smith  and  he  thought  of  Mr. 
Opus  Randall,  the  portly,  pompous,  trouble- 
making  star. 

An  idea  hit  him  right  square  in  the  brain! 

It  was  really  a  gorgeous  idea.  Clump  real- 
ized that  fact  even  before  the  plan  crystallized. 
He  spoke  in  a  soft  voice,  freighted  with 
friendliness. 

"Mistuh  Smith,"  he  asked — "Is  you  bad?" 

'•  Bad?  "  Styptic  stretched  to  full,  muscular 
height  and  glowered  upon  the  dapper  little 
director.  "Man!  I  aint  bad.  Ise  awfull  Ise 
terrible!  Ise  the  most  devastatin'  thing  that 
ever  wore  pants.  When  I  busts  loose,  cyclones 
run  away.  Bad?  Me?  Feller — Ise  a  positive 
catastrophe!" 

T  CAESAR  was  gazing  at  him  through  nar- 
•rowed,  appraising  eyes.  In  a  second  the 
stranger  had  lost  his  sinister  appearance  and 
now  seemed  to  be  a  weapon  of  revenge  pro- 
vided by  a  smiling  and  benign  fate. 

There  was  no  mistaking  the  badness  of  the 
visitor.  He  looked  bad  and  he  talked  bad. 
He  was  all  muscle  and  pugnacity.  Within  his 
bosom  there  flamed  the  spark  of  jealousy. 
Director  J.   Caesar  Clump  waxed  cheerful. 

"I  bids  you  welcome,  Mistuh  Smith."  he 
said  enthusiastically5— "  I  suttinly  does.  We 
is  always  glad  to  have  the  finsays  of  our 
actresses  hangin'  around.  We  is  delighted  to 
break  our  rule  fo'  you.  Just  make  yo'se'f  at 
home." 

"Ise  been  at  home  ever  since  I  come  in 
heah,  Cullud  Man.  An'  Ise  warnin'  you — " 
"You  needn't  warn  me,"  suggested  Caesar 
happily.  "You  just  keep  yo'  eyes  open." 
Mr.  Clump  made  a  getaway.  As  he  left 
the  forbidding  presence  of  the  human  ava- 
lanche, his  thin  face  expanded  into  a  beautiful 
grin.  Here  indeed  was  the  greatest  stroke  of 
luck  which  had  ever  occurred  to  him.  He 
visioned  a  revenge  so  delicately  subtle,  so 
superbly  devastating,  as  to  be  beyond  the 
wildest  hopes  of  the  average  hoper. 

On  the  lot  he  encountered  Mr.  Opus  Randall. 
Opus,  large  and  bulky  and  with  a  rather  in- 
growing disposition,  was  wearing  the  habili- 
ments of  slapstick  while  Director  Eddie  Fizz 
made  ready  for  some  retakes.  But  scream- 
ingly funny  as  Opus  could  be  when  the  camera 
started  clicking — he  was  a  brooding  and 
melancholy  person  off  the  set. 

He  glowered  now  upon  the  slender  director 
who  was  his  particular  bete  noir.  Opus  rec- 
ognized Caesar's  enmity — and  chafed  under 
his  own  helplessness.  After  all.  he  was  merely 
one  of  Midnight's  galaxy  of  stars,  and.  as 
such,  most  definitely  under  the  thumb  of  the 
chief  director.  Mr.  Randall  tensed  himself 
for  an  acid  scene. 

But  instead — Director  Clump  advanced 
smilingly. 

"Mawnin',  Opus." 

Mr.    Randall    hesitated.      He    suspected    a 
mailed  fist  inside  the  velvet  glove. 
"Humph!" 

"Opus,"  anounced  Director  Clump  loudly — 
"I  has    been  thinkin'  things  over,  an'  I  has 
decided  unamimous  that  maybe  I  aint  been 
doin'  you  right." 
Opus's  jaw  dropped. 
"Y-y-you  has  whiched?" 
"I  has  decided  that  I  has  done  you  wrong, 
an'  I  aims  to  commit  rectitude  therefor." 

"Great  Sufferin'  Tripe!"  Mr.  Randall  was 
completely  dazed.  "Is  my  hearin'  correct,  or 
does  I  dream?" 

"Yo'  hearin'  is  imminently  correct.  Brother 
Randall.  Co'se,  I  aint  sayin'  that  you  is  the 
most  person  I  like,  but  there  aint  no  reason 
why  I  should  be  givin'  you  the  dirty  jobs  all 
the  time,  is  there?" 

"Idunno  .  .  .  Golla!  I  don't  know  nothin' 
when  you  makes  that  kind  of  talkment .  " 

"I  has  made  up  my  mind,  Opus,"  continued 
the  director  suavely,  "that  there  ain't  no  time 
like  the  beginnin'  for  commencin'.  Therefore 
I  has  changed  aroun'  the  cast  of  this  new 


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pitcher  so  that  Welford  Fotts  plays  the  villain 
an'  you  works  opposite  Miss  Amnesia  Truck. 
Provided,  of  course,  that  you  is  willin'. " 

Opus  discovered  that  he  craved  a  seat. 
This  was  entirely  too  much.  A  frown  of 
puzzlement  appeared  on  his  colorado-maduro 
brow  and  he  stared  with  glazed  eyes  at  the 
metamorphosed  director. 

J.  Caesar  smiled  guilelessly.  Mr.  Clump 
was  building  well  for  the  catastrophic  future. 
His  genial  face  masked  a  vengeful  heart.  Not 
easily  did  Mr.  Clump  forget  or  forgive.  And 
he  had  plans.   .  .  . 

V  ord  of  J.  Caesar's  nobility  became  bruited 
about  the  lot.  It  reached  the  presidential 
ears,  and  Orifice  Latimer  showered  congratu- 
lations.   Clump  accepted  the  praise  languidly. 

"I  don't  aim  to  rub  it  in  to  nobody.  Brother 
Latimer.  I  aint  crazy  'bout  Opus — but  if  he 
was  so  all  fired  set  on  playin'  opposite  Miss 
Truck,  I  reckon  I  di'n't  have  no  right  to 
refuse." 

The  following  morning  the  company  gath- 
ered on  the  lot.  Harmony  reigned.  Opus 
Randall  was  in  a  jovial  mood.  He  was  particu- 
larly expansive  toward  the  imported  star.  He 
explained  to  her  loudly  and  frequently  that  he 
was  considerable  pumpkins  in  the  Midnight 
organization  and  had  won  this  assignment  by 
sheer  force  of  merit.  Miss  Truck  seemed 
vastly  interested.  She  even  appeared  to  be 
impressed,  and  it  was  obvious  to  the  casual 
bystander  that  she  was  not  entirely  averse  to 
arousing  Opus's  interest  in  her. 

The  first  scene  was  called.  The  company 
was  all  there:  Opus  and  Welford  and  Amnesia. 
There  were  also  J.  Caesar  and  Exotic  Hines, 
the  cameraman,  and  Forcep  Swain,  the  com- 
pany's author  and  continuity  man.  Caesar 
worked  rapidly  and  efficiently.  The  leads 
wore  in  a  talking  humor  and  all  through  the 
forenoon  he  busied  himself  with  unimportant 
shots  requiring  little  rehearsal. 

After  lunch  Styptic  Smith  appeared. 

IF  Mr.  Smith  had  seemed  pugilistic  in  the 
hallway  the  previous  day,  he  appeared 
like  nothing  less  than  a  human  terror  now. 
He  walked  on  the  lot  with  not  so  much  as  a 
by-your-leave  and  seated  himself  on  an  old 
soap  box.  J.  Caesar  nodded  to  him  briefly 
but  performed  no  introductions.  Opus  voiced 
a  question — voiced  it  in  a  whisper. 

"Who's  yo'  big-jawed  friend?" 

"Just  somebody, "  answered  Caesar  vaguely, 
"who  is  named  Smith." 

"Humph!  Thought  he  might  be  Samson's 
big  brother." 

Director  Clump  was  not  crude.  He  pro- 
ceeded with  his  directorial  work  as  though 
Styptic  was  not  among  those  present,  and  in 
the  first  few  hours  Mr.  Smith  found  nothing 
to  arouse  the  green-eyed  monster  which 
crouched  within  him. 

The  next  day's  work  was  also  innocuous, 
and,  too,  the  shots  which  were  taken  the  day 
after  that.  Always  Mr.  Smith  appeared  early 
in  the  morning.  During  the  day  he  brooded 
about,  hugging  the  background,  and  bunching 
his  massive  muscles.  On  the  fourth  day  they 
w-ent  out  on  location  for  a  few  shots  and  he 
went  with  them,  tut  by  that  time,  the  silent 
Mr.  Smith  was  accepted  as  some  crazy  friend 
of  J.  Caesar's  and  no  questions  were  asked. 

Meanwhile,  Mr.  Clump  was  using  his  eyes 
as  well  as  his  brain.  Things  were  happening 
which  dovetailed  nicely  with  his  scheme  for 
revenge. 

Opus  Randall  was,  by  nature,  an  impression- 
able gentleman.  It  was  not  at  all  difficult  to 
convince  him  that  ladies  were  inclined  to  fall 
for  him  unconditionally.  And  before  the  com- 
ing of  the  fifth  morning  he  was  positive  that 
he  had  conquested  Miss  Amnesia  Truck  in  no 
halfway  fashion. 

There  was,  as  a  matter  of  fact,  no  valid 
reason  for  him  to  think  otherwise.  Amnesia 
admitted  that  she  was  dazzled  by  the  atmos- 
phere of  a  regular  movie  lot.  She  was  am- 
bitious to  make  good  and  perhaps  secure  a 
beneficial  and  permanent  contract  with  Mid- 
night— America's  foremost  negro  picture  pro- 


ducing organization.  Wherefore,  she  did  not 
hesitate  to  let  her  interest  in  Mr.  Randall  be 
known.  There  wasn't  a  person  on  the  lot, 
from  the  humblest  mechanic  to  President 
Latimer  himself,  who  did  not  scent  a  budding 
romance. 

Even  Styptic  Smith  saw  it! 

And  then  Director  J.  Caesar  Clump  got 
busy. 

On  this  morning  he  directed  the  first  of  the 
love  scenes.  He  took  Opus  aside  and  held 
whispered  converse. 

"Brother  Randall,"  he  said  sweetly,  "fo'  a 
long  time  you  has  ast  for  the  chance  to  play 
straight.  You  gits  it  in  this  pitcher.  Now, 
we  is  beginnin'  the  love  scenes,  an'  I  craves 
that  you  make  'em  look  like  somethin'.  A 
li'l  pep — " 

"Hot  Ziggity  dam!    Trust  me." 

"  Real  stuff,  Opus.  You  got  to  convince  all 
them  audiences  all  over  the  country  that  you 
is  a  heavy-lovin'  cullud  person.  I  want  yo' 
to  show  all  yo'  enthusiasm. " 

"Man  alive!  You  watch!  'Taint  no  part 
of  a  hard  job  with  a  swell  gal  like  Amnesia." 

"  Reckon  not  .  .  .  Le'sgo!" 

""pHEY  went.  Opus  threw  himself  into  the 
*■  more  amorous  passages  of  the  picture  with 
reckless  abandon.  His  very  first  scene  called 
for  a  clinch  and  a  kiss.  At  sight  of  it.  Director 
Clump  saw  a  heavy  figure  detach  itself  from  a 
soap  box  and  start  forward — beetling  brows 
contracted  with  fun,-.  J.  Caesar  grew  nervous 
for  an  instant.  The  time  was  not  yet — and 
his  voice  cut  through  the  morning  air. 

"Le's  try  that  over,  Mistuh  Randall.  We 
requires  a  li'l  more  lingerin'  on  that  last  note." 

Neither  principal  seemed  averse.  The 
second  clinch  was  longer  and  more  inspiring 
than  the  first. 

"Again!"  commanded  the  director.  Out  of 
the  corner  of  his  eye  he  could  see  that  Mr. 
Smith  was  suffering  acutely.  But  he  wanted 
Styptic  to  wait.  Better  let  the  jealousy  sim- 
mer a  few  days  longer.  .  .  . 

The  third  rehearsal  seemed  satisfactory. 
Styptic  was  about  to  froth  at  the  mouth. 
Clump  gave  his  orders. 

"Now  us  shoots!  Make  this  a  good  one, 
you  folks.     Ready!     Action!     Camera!" 

There  was  little  acting  and  much  genuine- 
ness in  this  scene.  It  fairly  sizzled  with 
realism.  Poor  Mr.  Smith,  unable  to  control 
himself  any  longer,  turned  on  his  heel  and 
walked  off  the  set.  Only  the  director  saw 
Amnesia's  large  brown  eyes  turn  amusedly 
after  his  broad  back.  Amnesia  was  willing 
that  her  fiance  should  be  a  trifle  jealous. 

With  Styptic  absent,  however,  no  more  love 
scenes  were  tried  that  morning.  But  in  the 
afternoon  Mr.  Smith  reappeared  and  J.  Caesar 
Clump  gave  the  command  for  additional  ardor. 

There  was  no  mistaking  the  enthusiasm 
which  Amnesia  and  Opus  exhibited.  The 
company  stood  around  and  gasped.  This  pic- 
ture promised  to  be  red  hot — and  the  occa- 
sional slapstick  lapses  required  by  the  scenario 
were  mere  breathing  spaces  between  love 
scenes. 

Once  Forcep  Swain  remonstrated  with  the 
director.  He  declared  that  Clump  was  shoot- 
ing more  love  stuff  than  he  had  written  into 
the  story.    Caesar  waved  him  aside — 

"I  shoots  lots,"  he  said,  "an'  then  I  uses 
the  best." 

"Golla!  They're  all  best,  fum  what  I  can 
see. " 

Clump  was  happy.  Styptic  was  sad.  Mr. 
Smith  was,  in  fact,  horribly  sad.  And  devas- 
tating!)- angry. 

The  following  day  he  was  early  on  the  set. 
and  all  through  the  long,  torturing  hours  he 
glowered  at  the  love  making  of  his  fiancee  and 
Opus  Randall.  He  gloomed  around  with  big 
fists  clenched  and  heart  pounding.  His  furs- 
was  tumescing  swiftly  and  terribly,  and  Di- 
rector J.  Caesar  Clump  chuckled  to  himself. 

It  was  really  a  glorious  situation  for  the 
little  director.  He  extended  himself  in  his 
directing  and  injected  enough  saccharine  into 
the  picture  to  fill  five  hectic  reels. 


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He  anticipated  with  unholy  joy  the  moment 
when  the  impressionable  Mr.  Smith  should  be 
able  to  restrain  himself  no  longer.  He  awaited 
eagerly  the  moment  when  Styptic  should  rise 
up  in  righteous  wrath  and  proceed  to  commit 
slaughter  upon  the  pudgy  star  who  was  so 
flagrantly  making  love  to  the  temporary 
staress. 

Caesar's  plan  was  perfect.  At  least  Caesar 
thought  it  was.  It  just  happened  that  he  did 
not  overhear  a  conversation  of  some  impor- 
tance which  occurred  that  night  between  Mr. 
Styptic  Smith  and  Mr.  Opus  Randall. 

OPUShaddriftedintoBudPeaglar'sBarbecue 
Lunch  Room  &  Billiard  Parlor  for  a  bowl  of 
Brunswick  stew,  a  cup  of  coffee  and  a  game 
of  pool.  The  first  two  proved  eminently  sat- 
isfactory. The  last  not  so  much.  Florian 
Slappey,  his  opponent,  was  in  fine  fettle  and 
succeeded  in  extracting  several  dollars  from 
Opus  before  the  big  actor  was  convinced  that 
he  was  no  match  for  theDarktown  fashionplate. 

Opus  left  Bud's  place.  And  as  he  stepped 
into  Eighteenth  street,  someone  touched  him 
on  the  arm  and  a  hoarse  voice  rasped  into  his 
ear. 

"Fat  boy,"  said  this  voice,  "I  craves  to 
have  speechment  with  you." 

Something  in  the  tone  brought  apprehension 
to  Mr.  Randall.  He  looked  down  upon  the 
squat,  powerful  figure  of  the  mysterious  stran- 
ger who  had  been  watching  the  shooting  of 
the  current  picture. 

Opus  thought  to  disobey  the  other's  demand. 
But,  after  swift  consideration,  he  changed  his 
mind.  This  man  didn't  look  as  though  dis- 
obedience would  prove  popular  with  him. 

"  Yassuh,"  said  Opus  sweetly.  "What  can  I 
do  you  fo'?" 

"Come  along,"  growled  Mr.  Smith.  "I 
yearns  to  discuss  somethin'." 

They  moved  south  across  the  L.  &  N.  Rail- 
road tracks,  and  thence  to  Avenue  E,  where 
they  turned  west.  There  were  no  houses  any- 
where around.  Just  solitude  and  lots  of  it. 
Deliberately  and  terrifyingly  Styptic  swung 
on  Opus. 

"Feller,"  he  asked,  "does  you  know  who 
lis?" 

"X-n-nossuh.    I  has  seen  you — " 

"Yeh — an'  also  I  has  seen  you.  Heaps  too 
much."  Mr.  Smith  hunched  his  shoulders. 
"My  name  is  Styptic  Smith  an'  I  is  the  en- 
gaged fiansay  of  Miss  Amnesia  Truck!" 

For  a  moment  Opus  was  silent.  Then  he 
emitted  a  brief  "Oh!"     He  started  to  think. 

Mr.  Randall  was  not  naturally  a  rapid 
thinker,  but  this  was  a  situation  calculated  to 
quicken  thought  processes.  He  looked  into 
the  somber  eyes  of  his  companion  and  read  a 
message  of  complete  extermination  and  abso- 
lute death.  His  own  mind  flashed  back  to  the 
events  of  the  past  five  days  and  he  commenced 
to  understand  several  things  which  he  had 
hitherto  regarded  as  phenomena. 

In  a  second,  the  Machiavellian  scheme  of 
Director  J.  Caesar  Clump  became  crystal  clear. 
This,  then,  explained  Clump's  apparent  change 
of  heart  and  generosity  of  spirit.  It  was 
Clump's  idea  to  direct  the  terrible  wrath  of 
this  person  against  himself  by  the  jealousy 
route — then  to  sit  back  and  laugh  when  the 
physical  violence  started.  So  this  was  why 
Clump  allowed  him  to  play  the  lover's  role 
opposite  Amnesia  Truck ! 

Mr.  Randall  experienced  a  moment  of  mixed 
fear  and  anger.    He  realized  that  only  effective 
persuasion  could  stave  off  instant  annihilatioi 
But  at  the  same  time,  he  had  a  crow  to  p: 
with   Director   Clump.      He   spoke   fast   an 
furiously — 

He  poured  into  the  ears  of  the  astonished 
Styptic  a  tale  of  his  feud  with  Director  Clump 
He  craftily  neglected  to  mention  any  detail 
which  might  justify  Clump's  desire  for  revenge. 
And  finally  he  dropped  a  fraternal  hand  on 
Mr.  Smith's  shoulder. 

"You  aint  no  darn  fool,  Mistuh  Smith," 
said  he.  "You  know  as  well  as  me  that  I  aint 
nothin'  but  a  movie  actor.  An'  what  has  a 
movie  actor  got  to  do?    I  ask  you.     He  aint 


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ot  nothin'  to  do  but  what  the  director  tells 
him.    Aint  that  right?" 

Styptic  nodded  slowly.    "Seems  so." 

"Co'se  it's  so.  Aint  you  been  watchin'  long 
enough  to  see  what?  Is  it  ever  I  which  says 
that  I  should  git  lovin'  Miss  Truck?  " 

"Better  not  be." 

"Showly  not.  An'  it  never  has  been.  It's 
Mistuh  Clump.  He's  always  sayin'  'Opus — 
show  mo'  pep.'  'Opus — grab  her  tighter.' 
Always  somethin'  like  that  he  is  savin'.  An' 
I  aint  nothin'  but  an  actor  which  has  to  do 
what  Clump  says.  Shuh!  Mistuh  Smith — 
taint  me  you  ought  to  be  sore  at — it's  Director 
Clump!" 

This  was  a  new  idea  for  Styptic,  and  a 
rather  startling  one.  He  groped  for  ex- 
planation. 

"Why  should  Clump  do  this  sort  of  a 
thing?" 

"Fust  off  'cause  he  thought  you  would  git 
sore  at  me  an'  bust  me  one — which  same  he 
aint  man  enough  to  do  his  ownse'f.  An'secon' 
because  when  you  come  along  an'  said  you 
was  gwine  hang  aroun'  an'  watch  the  pitcher — 
he  got  sore.  Directors  hates  to  have  gals' 
fiansays  lookin'  at  them  while  they  is  workin'. 
Caint  you  see  he'd  git  mad  on  account  of  how 
you  was  crampin'  his  style?  Caint  you  see 
that  he  was  aimin'  to  embarrass  you?  Aint 
that  plain?" 

The  bullet  head  of  Mr.  Smith  inclined 
slowly.   Opus  was  quick  to  press  his  advantage. 

"You  do  what  I  advise.  Brother  Smith. 
You  keep  on  hangin'  aroun'  an'  preten'  like 
you  is  sore  at  me.  You  watch  Mr.  Clump 
direc'  this  pitcher.  You  see  how  he  makes 
me  git  lovin'  with  yo'  fiansay.  An'  just  reelize 
who  is  doin'  it.  'Taint  me.  'Taint  Miss 
Truck.  It's  all  him.  An',  since  he  wanted  to 
make  you  sore — there  aint  no  reason  why 
you  caint  go  ahead  and  get  as  sore  as  he  wants 
you  to.  On') — be  sure  you  gits  sore  at  the 
right  person." 

Styptic  reflected  deeply.  Instinctively  he 
knew  that  Opus  was  telling  the  truth.  He 
spoke  softly  and  menacingly. 

"I  waits  until  the  picture  is  done,"  he  mur- 
mured. "An'  then  when  I  finishes  with  Mistuh 
Clump,  he  aint  goin'  to  do  nothin'  but  countin' 
roots." 

'"THAT  night  Opus  retired  early.  But  he  did 
■*■  not  immediately  sleep.  Instead  he  lay  in  bed, 
puffing  on  an  Invincible  and  grinning  broadly. 

The  very  cleverness  of  Mr.  Clump's  scheme 
made  the  future  all  the  more  roseate.  He 
could  see  Clump  blundering  ahead,  directing 
more  and  more  unnecessary  passion  into  the 
picture  and  believing  that  Mr.  Smith's  ire  was 
being  twined  against  Opus.  Mr.  Randall 
chuckled  at  the  inevitable  conclusion — the  end 
of  the  picture,  Mr.  Smith's  declaration  of  ex- 
termination, and  then  his  attack — not  upon 
Opus,  but  upon  J.  Caesar  Clump  himself. 

"Just  like  a  feller  doublin'  up  his  fist," 
reflected  the  happy  Opus,  "an'  bustin'  hisse'f 
right  in  the  nose." 

When  Opus  went  on  the  set  the  following 
morning  he  felt  as  though  he  were  treading  on 
air.  He  could  see  Styptic  glowering  off  to  one 
side.  He  could  see  Director  Clump's  smiling 
face — and  only  he.  himself,  knew  actually  what 
was  brewing.  It  was  really  excruciating  to 
watch  the  director  blunder  deeper  and  deeper 
into  the  mire.  Plot  against  him,  would  he? 
It'd  take  a  better  man  than  J.  Caesar  to  have 
Opus  beaten  up! 

Opus  plunged  into  the  daily  love  scenes  with 
greater  fervor  than  usual.  Amnesia  Truck, 
completely  dazzled  by  the  big  star,  did  her 
part  with  enthusiasm.  The  company  stood 
around  and  gasped — and  Director  Clump 
figuratively  patted  himself  on  the  back. 

And  Mr.  Smith  sat  alone — and  boiled! 

Mr.  Smith  saw  many  things  and  thought 
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laughing  stock  of  him  by  inviting  him  to  come 
on  the  lot — and  then  forcing  Amnesia  to  play 
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Photoplay  Magazine — Advertising  Section 


39 


time  he  thought  of  Amnesia  he  winced,  and 
each  time  he  looked  at  her  and  Opus  he 
squirmed. 

It  was  only  because  he  was  convinced  that 
Amnesia  was  a  fine  actress  that  Mr.  Smith 
succeeded  in  restraining  himself.  It  had  not 
occurred — even  to  his  jealous  mind — that  she 
might  possibly  be  finding  her  role  other  than 
personally  distasteful.  True,  for  the  past 
couple  of  days,  she  had  been  more  than  a  little 
upstage  with  him,  but  he  had  interpreted  that 
as  interest  in  her  work. 

T^AYS  passed.  Midnight  neverworkedslowly. 
-1-^Two  companies,  producing  twenty -six 
two-reel  pictures  a  year,  are  not  permitted 
much  spare  time.  Clump  drove  his  cast  re- 
lentlessly. He  fairly  outdid  himself  in  concoct- 
ing situations  calculated  to  arouse  Styptic's 
wrath  to  the  boiling  point.  And  the  night 
before  the  picture  was  finished  Caesar  cornered 
Mr.  Smith. 

"Well."  he  announced,  "us  completes  the 
pitcher  tomorrow.  " 

"Does  you?"  growled  Mr.  Smith. 

"Uh-huh.    Has  you  enjoyed  it?" 

Biceps  jumped  beneath  silken  sleeves.  "  Not 
as  much  as  Ise  gwine  enjoy  swingin'  into 
action  when  she's  all  finished. " 

Caesar  laughed  light-heartedly,  never  sus- 
pecting that  the  rancor  of  this  powerful  person 
was  directed  against  him. 

"Guess  somebody  is  gwine  get  a  terrible 
surprise  when  you  lights  on  him.  aint  he?" 

"You  bet  yo'  sweet  life  he  is!"  prophesied 
Styptic,  "And  that  aint  no  lie,  either." 

Caesar  moved  away.  In  the  gloom  of 
descending  night  the  portly  figure  of  Opus 
Randall  ranged  itself  alongside  of  Mr.  Smith. 

"Mistuh  Clump  seems  awful  happy,"  he 
professed. 

"Leave  him  to  be  happy  tonight,"  said 
Styptic,  "  'cause  tomorrow  night  he's  gwine 
be  all  covered  up  with  liniment." 

Opus  chuckled  with  unholy  glee.  "Ev'ry 
time  I  think  what's  gwine  happen  to  that 
feller,  Mistuh  Smith — it  gits  me  a  loud  ha-ha. " 

That  night  three  men,  in  different  sections 
of  Birmingham,  indulged  in  eager  anticipation 
of  the  morrow.  Mr.  Smith,  having  suffered 
for  nearly  two  weeks  under  the  scourge  of 
stifled  jealousy,  looked  forward  to  venting 
physical  reprisal  on  the  person  of  the  dapper 
director  who  had  humbled  him  by  forcing  the 
unsuspecting  and  innocent  Amnesia  Truck  to 
perform  arduous  love-making  with  Opus 
Randall. 

Director  J.  Caesar  Clump  revelled  in  con- 
templation of  the  beating  which  his  hated  star 
was  to  get  from  Mr.  Smith.  It  was  going  to 
be  such  a  surprise  for  Opus.  Afterwards, 
Caesar  intended  to  let  Mr.  Randall  know  that 
this  had  been  all  of  his  doing. 

But  the  most  genuine  laughter  came  from 
the  throat  of  Mr.  Randall  himself.  That 
person  knew  that  every  ace  in  the  deck  was  in 
his  hand.  He  knew  now  of  the  scheme  which 
J.  Caesar  had  concocted  against  him.  He  had 
taken  that  very  scheme  and  turned  it  against 
its  inventor.  He  visioned  the  scene:  the  com- 
pletion of  the  last  shot  in  the  picture,  the 
stepping  of  Mr.  Smith  into  the  middle  of  the 
lot — and  then  the  complete  annihilation  of 
Director  Clump!  That  in  itself  was  joy 
enough  .  .  .  but  there  was  additional  pleasure 
in  the  knowledge  that  Clump  would  eventually 
learn  how  he  had  been  outwitted. 

"An'  as  fo'  Styptic  Smith,"  reflected  Opus, 
"he  aint  nothin'  but  a  one-poundin'  dumb- 
bell. " 

The  final  shots  of  the  picture  were  filmed 
the  following  afternoon  on  the  Midnight  lot. 
Eddie  Fizz's  unit  finished  its  work  on  another 
comedy  while  Clump  was  still  shooting,  and 
the  whole  company  came  over  to  watch  the 
last  love  scene  between  Opus  and  Amnesia. 

It  was  a  most  touching  scene.  Opus  and 
Amnesia,  letter-perfect  by  now  in  the  art  of 
making  love  to  one  another,  outdid  themselves 
under  the  inspired  direction  of  Mr.  Clump. 

Somehow,  the  air  was  surcharged  with  im- 
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there  seemed  a  tension  in  I  he  very  atmosphere. 

And  always  in   the  background  there  hovered 

the   broad-shouldered,   evil-visaged    lent,    >,i 
Mr.  Styptic  Smith. 

PVENTUALLY  the  last  command  to  "Cut" 
*-*issued  from  the  director's  lips.  Exotic 
i  sed  cranking  the  camera.  A  lad  held 
a  slate  up  before  the  lens  and  the  scene  mini 
Iter  was  photographed.  Opus  anil  Amnesia 
untangled  themselves  and  stepped  back,  lii- 
rector  Clump  laced  the  audience  in  general — 
and  most  particularly  Styptic  Smith. 

"Well."  he  announced  loudly,  "we  is  all 
finished!" 

A  small  cheer  went  up — the  usual  con- 
gratulations over  the  completion  of  a  new 
Midnight  epic  crowded  about  the  director  and 
stars.      There  was  much  handshaking. 

And  into  the  midst  of  that  group  a  fearsome 
figure  shouldered.  It  was  Mr.  Styptic  Smith, 
and  Styptic  seemed  very  determined. 

"Stan'  back,  folks,"  he  ordered  gruffly. 
"Stan'   back  an'   watch  somethin'  happen!" 

lie  needed  to  give  no  second  command. 
Wide-eyed  the  others  dropped  back. 

Then  quite  solemnly  and  deliberately,  Mr. 
Smith  commenced  to  shed  his  coat.  He  did 
not  hurry;   he  paid  no  attention  to  anyone. 

The  coat  came  off,  was  folded  neatly  and 
laid  upon  the  ground.  The  cap  was  placed  on 
top  of  it.  Then,  with  scrupulous  care,  Mr. 
Smith  rolled  the  sleeves  of  his  striped  shirt 
above  the  elbows.  The  muscles  of  his  fore- 
arms, brought  thus  into  view,  were  fearful 
things. 

A  ring  had  formed;  a  ring  of  bewildered  but 
excited  movie  persons.  Who  was  this  stranger 
and  what  dire  thing  was  he  planning?  They 
looked  at  one  another  in  fear  and  inquiry. 

Two  of  them  were  smiling.  One  was  Di- 
rector J.  Caesar  Clump  who  gazed  into  the 
unsuspecting  countenance  of  Opus  Randall. 

"When  that  earthquake  lan's  on  him!"  re- 
flected Caesar  bcatifically,  "Sweet  Mama, 
fetch  the  lilies!" 

Opus  was  grinning  broadly.  He  was  amused 
because  Clump  was  unsuspecting.  He  knew 
what  he  knew — and  that  was  a-plenty.  He 
looked  first  at  Caesar  and  then  at  the  warlike 
gentleman  who  was  preparing  for  conflict.  "In 
just  about  two  minutes,"  mused  Opus  happily, 
"Mis tub.  Clump  is  gwinc  be  in  a  position  where 
there  wont  be  nothin'  to  do  but  throw  a  heap 
of  dirt  in  his  face." 

Styptic  straightened.  His  deep,  resonant 
voice  boomed  across  the  lot. 

"Heah,"  he  commenced,  "is  where  some- 
thin'  commences  to  happen."  He  drew  a 
deep  breath.  "I  is  Miss  Truck's  fiansay. 
Fo'  two  weeks  I  has  watched  all  this  fancy 
love-makin'  fumadiddles  which  has  been  goin' 
on,  an'  I  knows — " 

A  wild  shriek  rent  the  air.  A  feminine 
figure  detached  itself  from  the  sidelines  and 
leaped  forward.  Miss  Truck's  eyes  were  filled 
with  a  horrid  fear  and  she  stood  quivering 
before  the  vengeful  figure  of  her  gentleman 
friend. 

"Styptic,"  she  questioned  hysterically, 
"what  is  you  fixin'  to  do?" 

"Ise  fixin'  to  make  gumbo  out  of  the  feller 
which  has  made  you  ca'y  on  thisaway.  Ise 
fixin'  to  squash  him  until — " 

"No!"  Amnesia  swept  into  the  breach. 
"You  shan't  touch  him.  I  aint  goin'  to  stan' 
fo'  you  beatin'  up  no  feller  which  I  is  fond  of, 
an' — " 

Mr.  Smith  paused.  He  frowned.  Then  he 
took  one  step  forward. 

"Says  which?"  he  inquired  with  deadly 
seriousness. 

"You  aint  gwinc  beat  him  up.  If  Ise  fond 
of  him,  (hen  il's  my  fault.  'Taint  his'n.  An' 
he's  the  swellest  feller — " 

Styptic  moved  another  step.  Miss  Amnesia 
Truck  saw  that  she  was  dealing  with  a  deter- 
mined man  \\  hereupon  she  did  a  very  queer 
thing. 

She  whirled  on  Opus  Randall  and  flung  her 
arms  around  the  fat  neck  of  that  astonished 
gentleman. 

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"You  aint  gwine  beat  him  up!"  she  affirmed 
shrill>'.     "  You  leave  him  be!" 

Mr  Smith  was  dumbfounded.  His  forehead 
corrugated  into  a  bewildered  frown.  And 
then,  as  the  situation  struck  home  to  him  in 
all  its  terrible  fury,  a  great  anger  welled  in  his 
bosom . 

So  it  was  Opus  after  all?  So  Mr.  Randall 
had  pulled  the  wool  over  his  eyes  and  directed 
his  anger  against  the  wrong  person  in  order 
thai  there  might  be  more  opportunity  to  make 
love  to  the  bewitching  Amnesia! 

Styptic  was  beginning  to  see  clearly. 

And  so  was  Opus  Randall. 

TT  struck  Mr.  Randall  that  this  wasn't 
-'■what  he  planned.  Somehow,  it  had  never 
occurred  to  him  that  perhaps  he  was  making 
inroads  on  the  affections  of  the  impressionable 
Miss  Truck.  By  all  the  rules  Styptic  should 
have  been  in  the  act  of  ploughing  turf  with 
Caesar  Clump.  Instead,  Styptic's  girl  was 
hanging  around  his  neck  and  Mr.  Smith  him- 
self was  getting  ready  to  commit  extermination 
upon  him. 

Styptic  emitted  an  inhuman  howl  of  rage. 
He  forgot  J.  Caesar  Clump,  he  even  forgot 
the  perfidious  Amnesia  Truck. 

He  forgot  everything  save  that  he  wished  to 
extract  satisfaction  from  the  person  of  .Mr. 
Opus  Randall. 

Opus  read  Styptic's  mind.     And  Opus  ai  ted. 

Mr.  Randall  tore  from  the  cmbrai  e  of  Miss 
Truck.  He  gave  vent  to  a  large  yell — and  he 
dug  big  feet  into  the  ground. 

Opus  made  a  flying  start.  His  vast  figure 
cleaved  the  balmy  evening  air.  He  vanished 
around  the  corner  of  the  building. 

And  immediately  behind  him  flew  Styptic 
Smith. 

The  others  of  Midnight  stared  in  amaze- 
ment. All  except  Director  Clump.  That 
dapper  little  gentleman,  never  suspecting  that 
until  a  few  seconds  before  he  himself  had  been 
in  the  gravest  of  danger — thrust  hands  into 
trousers  pockets  and  whistled,  "My  Sweetie 
Went  Away." 

Less  than  fifteen  minutes  later  a  smiling  and 
purposeful  Mr.  Styptic  Smith  returned  to  the 
lot.  He  ignored  everybody  except  Miss  Am- 
nesia Truck.  He  moved  to  her  vicinity, 
locked  iron  fingers  around  her  arm  and  dragged 
her  away.     He  vouchsafed  only  one  remark: 

"Director  Clump,"  said  he,  "us  has  re- 
signed fum  the  movies." 

Clump  waved  a  fond  and  ignorant  farewell. 
And,  along  with  the  others,  he  waited. 

The  wait  was  not  lengthy.  From  out  of 
the  dusk  came  a  sad  figure.  It  was  battered 
and  bruised.  Even  the  most  inexpert  could 
tell  at  a  glance  that  Opus  Randall  hail  run 
foul  of  the  business  end  of  a  buzzsaw. 

Opus's  story  was  short  but  poignant.  He 
gave  vivid,  gory  details.  And  as  he  talked  a 
flash  of  Thespian  pride  came  to  him.  lie 
raised  his  eyes  to  the  face  of  his  director. 

"There's  one  thing  you  got  to  admit,  Misttlh 
Clump,"  he  boasted.  "Showly  must  have 
been  some  actor  fo'  that  man  to  take  them 
love  scenes  so  serious.  " 

J    ( laesar  nodded  magnanimously. 

"You  said  it.  Opus.  But" —  with  a  signifi- 
cant nod — "when  you  starts  congratulatin' 
yo'se'f  on  that,  please  don't  forget  that  I 
directed  all  the  action!" 


'4' 


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On  the  7\[ewsstands  Dec.  15 


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142 


Photoplay  Magazine — Advertising  Section 


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Formerly  ttio.se  who  wished  to  re- 
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2  had  to  po  to  a,  professional 


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The  Weil  Method  of  re- 
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Complete  for  every  picture  reviewed  in  this  issue 


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T~)0  you  get  easily  excited — 
easily  fatigued?  Do  you 
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palpitation,  dizziness,  ringing  in  the  ears? 
These  are  only  a  few  of  the  signs  of 
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scores  of  apparently  healthy  men  and  women 
and,  unless  checked,  slowly  undermines 
their  whole  nervous  system. 

Richard  Blackstone,  famous  nerve  specialist,  has 
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based  on  his  many  years  of  study  and  experience.  In 
it  he  gives  certain  easy-to-follow  rules  that  have 
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and  bring  back  the  glowing  vigorous  health  of  youth. 

"New  Nerves  for  Old"  is  invaluable  to  you,  yet  it 
costs  only  25c  in  stamps  or  coins.  .Send  for  your  copy 
TODAY.  Address  Richard  Blackstone,  2210  Flat- 
iron  Building,  New  York,  X.  Y. 


"DON  JUAN"— Warner  Brothers  — 
From  the  poem  by  Lord  Byron.  Adapted  to 
the  screen  by  Bess  Meredyth.  Directed  by 
Alan  Crosland.  Photography  by  Byron  Has- 
kins.  The  cast:  Don  Juan.  John  Barn-more; 
Adriana  Delia  Varnese,  Man'  Astor;  Pedrillo, 
Willard  Louis;  Lucrclia  Borgia,  Estelle  Taylor; 
Rcna,  Adriana's  maid,  Helene  Costello;  Main, 
Lucrelia's  maid,  Myrna  Loy;  Beatrice,  Jane 
Winton;  Lcandro,  John  Roche;  Trnsia,  June 
Marlowe;  Don  Juan  (5  years  old),  Yvonne  Day; 
Don  J  nun  (in  years  old),  Phillipe  de  Lacy; 
Hunchback,  John  George;  Murdrcss  of  Jose, 
Helene  D'Algy;  Caesar  Borgia,  Warner  Oland; 
Donali,  Montagu  Love;  Duke  Dcllc  Varnese, 
Josef  Swickard;  Duke  Marconi,  Lionel  Brahm; 
Imcria,  Phyllis  Haver;  Marquis  Rinaldo,  Nigel 
de  Brulier;  Marquise  Rinaldo,  Hedda  Hopper. 

"YOU     NEVER     KNOW     WOMEN"— 

Paramount. — Story  by  Ernest  Yadja.  Scenario 
by  Benjamin  Glazer.  Directed  by  William 
Wellman.  The  cast:  Vera,  Florence  Yidor; 
Norodin,  Clive  Brook;  Eugene  Foster,  Lowell 
Sherman;  Toherchik,  EI  Brendcl;  Dimitri,  Roy 
Stewart;  Strong  Man,  Joe  Bonomo;  Olga, 
Irma  Kornelia;  Manager,  Sidney  Bracey. 

"SON  OF  THE  SHEIK,  THE"— United 
Artists. — From  the  novel  by  E.  M.  Hull. 
Scenario  by  Frances  Marion.  Directed  by 
George  Fitzmaurice.  The  cast:  Ahmed, 
Rudolph  Valentino;  Yasmin,  Yilma  Banky; 
Andre,  George  Fawcett;  Ghabah,  Montagu 
Love;  Ramadan,  Karl  Dane;  AH,  Bull  Mon- 
tana; Pincher,  Bynunsky  Hyman. 

"WALTZ  DREAM, THE "-UFA-Metro- 
Goldwyn- Mayer. — From  the  operetta  by 
Oscar  St  rauss.  Scenario  by  Robert  Licbman  and 
Norbert  Falk.  Directed  by  Ludwig  Berger. 
Photography  by  G.  Brandes.  Thecast:  Eber- 
hard  XIII,JacobTiedtke;PrincessAlix,'M.ady 
Christians;  Archduke  Ferdinand,  Carl  Becker- 
sachs;  Nicholas  Count  Preyn,  Willi  Fritsch; 
Rockhoff  Yon  Hoifrock.  Julius  Falkenstein; 
Lady  Kockcritz,  Mathilda  Sussin;  Franzi, 
Xenia  Desni;  Steffi,  Lydia  Potechina. 

"SCARLET  LETTER,  THE"  —  Metro- 
GoldwyN-MayER. — From  the  novel  by  Na- 
thaniel Hawthorne.  Adapted  by  Frances 
Marion.  Directed  by  Yictor  Seastrom. 
Photography  by  Henrik  Sartov.  The  cast: 
Hester  Prynne,  Lillian  Gish;  Reverend  Dimmes- 
dale,  Lars  Hanson;  Roger  Prvnnc,  Henrv  B. 
Walthall;  Giles,  Karl  Dane;  Governor,  William 
H.  Looker;  Mistress  Hibbins,  Marcelle  Corday; 
Jailer,  Fred  Herzog;  Beadle,  Jules  Cowles; 
Patience,  Mary  Hawes;  Pearl,  Joyce  Coad; 
French  Sea  Captain,  James  A.  Marcus. 

"ONE  MINUTE  TO  PLAY"— F.  B.  O  — 
Story  and  Continuity  by  Byron  Morgan. 
Directed  by  Sam  Wood.,  Photography  by 
Charles  Clarke.  The  cast:  Red  Wade,  Red 
Grange;  Sally  Rogers,  Man'  McAllister;  John 
Wade,  Charles  Ogle;  "Flash'"  Mcany,  George 
Wilson;  "Biff"  Wheeler,  Ben  Hendricks,  Jr.; 
Tex  Rogers,  Lee  Shumway;  Toodlcs,  Lincoln 
Stedman;  President  Todd,  Jay  Hunt;  Mrs. 
Wade,  Edythe  Chapman. 

"DUCHESS  OF  BUFFALO,  THE"  — 
First  National. — Based  on  the  play  by  Max 
Brody  and  Franz  Martos.  Screen  story  by 
Hans  Kraly.  Directed  by  Sidney  Franklin. 
The  cast:  Marion  Duncan,  Constance  Tal- 
madge;  Lieut.  Vladimir  Orloff,  Tullio  Car- 
minati;  Grand  Duke  Gregory  Alcxandrovilch, 
Edward  Martindel;  Grand  Duchess  Olga 
Petrovna,  Rose  Dione;  Hotel  Manager,  Chester 
Conklin;  Commandant,  Lawrence  Grant; 
Maid,  Martha  Franklin;  Adjutant,  Jean  De 
Briac. 

PHOTOri-AY   MAGAZINE  is  guarantee 


"LAST  FRONTIER,  THE"  —  Pro- 
ducers Dist.  Corp. — Story  by  Courtney 
Ryley  Cooper.  Adapted  by  Will  M.  Ritchey. 
Directed  by  George  B.  Seitz.  The  cast:  Tom 
Kirby,  William  Bovd;  Beth.  Marsjuerite  De  La 
Motte;  Wild  Bill,  J.  FarrelTMacDonald; 
Buffalo  Bill,  Jack  Hoxie;  Buddy,  Junior  Cogh- 
lan;  Lige,  Mitchell  Lewis;  Cynthia  J  aggers, 
Gladys  Brockwell;  Pawnee  Killer.  Frank  Lack- 
teen. 

"MISMATES"— First  National— From 
the  play  by  Myron  C.  Eagan.  Directed  by 
Charles  Brabin.  The  cast:  Judy,  Doris  Ken- 
yon;  Ted  Carroll,  Warner  Baxter;  Belle,  Mae 
Allison;  Jim  Winslow,  Philo  McCullough; 
Black,  Charles  Murray;  Mrs.  Winslow,  Maude 
Turner  Gordon;  Watson,  John  Kolb;  Helwig, 
Cyril  Ring;  Jimsy,  Nancy  Kelly. 

"OH,  BABY"— Universal.— Story  by  Har- 
lcy  Knoles.  Adapted  by  Arthur  Hoerl. 
Directed  by  Harley  Knoles.  The  cast :  "  Billy" 
Fitzgerald,  Little  Billy;  Jim  Stone,  David 
Stone;  Dorothy  Brennan,  Madge  Kennedy; 
Arthur  Graham,  Creighton  Hale;  Mary  Bond, 
Ethel  Shannon;  Aunt  Phoebe.  Flora  Finch. 
At  the  ringside:  Joe  Humphreys,  "Bugs" 
Baer,  Graham  McNamee,  Fred  Keats,  S.  Jay 
Kaufman,  Damon  Runyon,  Ripley,  Frank 
O'Neil,  Sid  Mercer. 

"GREAT  DECEPTION,  THE"— First 
NATIONAL. — From  the  story  by  George  Gibbs. 
Scenario  by  Paul  Bern.  Directed  by  Howard 
Higgin.  Thecast:  Cyril  Mansfield,  Ben  Lyon; 
Lots,  Aileen  Pringle;  Rizzio,  Basil  Rathbone; 
Handy,  Sam  Hardy;  Mrs.  Mansfield,  Charlotte 
Walker;  Lady  Jane.  Amelia  Summerville;  Gen. 
Von  Frankenhauser.  Hubert  Wilke;  Von 
Markow,  Lucian  Prival;  Burton,  Lucius  Hen- 
derson; Maxwell,  Mark  Gonzales. 

"SAVAGE,  THE"— First  National  — 
From  the  story  by  Ernest  Pascal.  Directed  by 
Fred  Xewmeyer.  The  cast:  Danny  Terry, 
Ben   Lyon;    Ysabcl  Alwater,    May   McAvoy; 

Prof.  Alwater,  Tom  Maguire;  Howard  Kipp, 
Philo  McCullough;  Managing  Editor,  Sam 
Hardy;  Mrs.  Alwater.  Charlotte  Walker. 

"INTO  HER  KINGDOM"— First  Na- 
tional.— Story  by  Ruth  Comfort  Mitchell. 
Adapted  by  Carey  Wilson.  Directed  by  Svend 
Gade.  The  cast:  Grand  Duchess  Tatiana, 
Corinne  Griffith;  Slcpan,  Einar  Hanson;  Ivan, 
Claude  Gillingwater;  Senov.  Charles  Crockett; 
Stepan's  Mother,  Evelyn  Selbie;  A  farm  hand, 
Larry  Fisher;  Czar  Nicholas,  H.  C.  Simmons; 
Czarina,  Elinor  Yanderveer;  Czarevitch,  Byron 
Sage;  Bolshevik  guard,  Tom  Murray;  Tatiana's 
maid.  Marcel  Corday;  Court  Chamberlain.  Maj. 
Gen.  Michael  Pleschkoff;  Russian  officers  and 
court  leaders,  Maj.  Gen.  M.  Lodigenski,  Maj. 
Gen.  Ikanikoff,  Maj.  Gen.  Bogomoletz,  Nav. 
Lieut.  George  Blagoi,  Lieut.  Gene  Walski, 
Feodor  Chaliapin,  Jr.,  George  Davies;  Shoe- 
string Salesman,  Max  Davidson;  American 
Customer,  Alan  Sears;  Daughter  of  Stepan  and 
Tatiana.  Baby  Man-  Louise  Miller. 

"HER  HONOR,  THE  GOVERNOR"— 
F.  B.  O—  Story  by  Hyatt  Daab  and  Weed 
Dickinson.  Adaptation  and  Continuity  by 
Doris  Anderson.  Directed  by  Chet  Withey. 
Photography  by  Andre  Balatier.  The  cast: 
Adele  Fenway,  Pauline  Frederick;  Bob  Fenway, 
Carroll  Nye;  Marian  Lee,  Greta  Yon  Rue; 
Richard  Palmer,  Tom  Santschi;  Jim  Dornlon, 
Stanton  Heck;  Snipe  Collins,  Boris  Karloff. 

"WHOLE  TOWN'S  TALKING,  THE"— 
UNIVERSAL. — Story  by  John  Emerson  and 
Anita  Loos.  Scenario  by  Raymond  Cannon. 
Directed    bv   Edward    Laemmle.      The    cast : 


For  Eyes  Reddened 
by  Weeping— Murine 

Perhaps  it's  only  a  touching 
movie  ...  or  an  affecting  maga- 
zine tale.  Whatever  the  cause, 
Murine  quickly  relieves  the  red, 
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invariably  follows  a  good  cry. 

Just  another  reason  for  keeping 
Murine  always  handy.  It's  in- 
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and  dust . . .  and  for  relieving  the 
eye  strain  caused  by  protracted 
reading  or  sewing.  Used  regularly 
each  night  and  morning,  this 
harmless,  long-trusted  lotion 
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Our  valuable  illustrated  book  on 
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Donald  Barton,  physical  director 
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Skin  Troubles 

Cleared  up— often  in  24  hours.  To  prove 
you  can  be  rid  of  pimples,  blackheads,  acne 
eruptions  on  the  face  or  body,  barbers'  itch, 
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simply  send  me  your  name  and  address  tc;da\ — no  cost 
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When  y 


Photoplay  Magazine — Advertising  Section 

Chester  Binney,  Edward  Everett  Horton;  Ethel 
Simmons,  Virginia  Lee  Corbin;  Mrs.  Simmons, 
Trixie  Friganza;  Mr.  Simmon';,  litis  Harlan; 
Donald  Mont-Allen,  Robert  Ober;  Mrs.  Von 
Loon,  Aileen  Nanning;  Tom  Murphy,  Hayden 
Stevenson;  Sadie  Wise.  Margaret'  Quimby; 
Rita  Ren. mil.  Dolores  del  Rio;  Jack  Shields. 
Malcolm  Waite. 


"FAMILY  UPSTAIRS,  THE"— Fox.— 
From  the  play  by  Harry  Delf.  Scenario  by 
L.   G.  Rigby.     Directed  by  J.   G.   Blystone. 

The  cast:  Louise  Heller.  Virginia  Yalli;  Charles 
Grant,  Allan  Simpson;  Joe  UelUr,  J.  Farrell 
MacDonald;  Emma  Heller,  Lillian  Elliott; 
Willie  Heller,  Edward  Piel,  Jr..  Mademoiselle 
Clarice,  Cecille  Evans;  Annabelle  Heller,  Ja> 
queline  Wells. 

"MIDNIGHT  KISS,  THE"— Fox.— From 
the  play,  "Pigs,  "by  Ann  Morrison  and  Patter- 
son McNutt.  Scenario  by  Alfred  Cohn.  Di- 
rected by  Irving  Cummings.  The  cast: 
Thomas  H.  Atkins,  Jr.,  Richard  Walling;  Mil- 
dred Hastings,  Janet  Gaynor;  Thomas  H.  Hast- 
ings, Sr.,  George  Irving;  Ellen  A. kins,  Doris 
Lloyd;  Spencer  Atkins,  Gene  Cameron;  Hector 
Spencer,  Arthur  Housman;  Grandma  Spencer, 
Penpe  Pigott;  Lenore  Hastings,  Gladys  Mc- 
Conncll;  Smith  Hastings,  Herbert  Prior;  Swed- 
ish Maid,  Ilodil  Rosing. 

"DEVIL'S  ISLAND"— Chadwick  Pic- 
tures Corp. — Screen  play  and  scenario  by 
Leah  Baird.  Directed  by  Frank  O'Connor. 
Photography  by  Andre  Barlatier.  The  cast: 
Jeanette  Pieto,  Pauline  Frederick;  /mm  Valvon, 
Richard  Tucker;  Gnillet,  William  Dunn;  Chico, 
Leo  White;  Andre  Lc  Fevier,  John  Miljan;  Leon 
Valyon,  George  Lewis;  The  Commandant, 
Harry  Northrup;  Rose  Marie,  Marion  Nixon. 

"  ROMANCE  OF  A  MILLION  DOLLARS, 
A"  —  Preferred  Pictures.  —  From  the 
novel  by  Elizabeth  Dejeans.  Adapted  bv 
Arthur  Hoerl.  Directed  by  Tom  Terriss.  Pho- 
tography by  Wm.  Miller  and  Stuart  Kelson 
The  cast:  Breek  Dunbarlon,  Glenn  Hunter 
Marie  Moore,  Alyce  Mills;  West  MacDonald 
Gaston  Glass;  Mrs.  Dunbarlon,  Jane  Jennings 
The  Detective,  Bobby  Watson;  Mrs.  Olwin,  Lea 
Penman;  Ezra  Dunbarlon,  Tom  Brooks. 

"RUNAWAY  EXPRESS,  THE"— Uni- 
versal.— Story  by  Frank  Spearman.  Scenario 
by  Curtis  Benton.  Directed  by  Edward  Sedg- 
wick. Photography  by  Virgil  Miller.  The 
cast:  Joseph  Foley,  Jack  Daugherty;  Norah 
Kelly,  Blanche  Mehaffey;  Sandy  McPherson, 
Tom  O'Brien;  Jim  Reed,  Charles  K.  French; 
Blackie  McPherson,  William  A.  Steele;  Dad 
Hamilton,  Harry  Todd;  Mrs.  Foley,  Madge 
Hunt. 

"HIDDEN    WAY,    THE  "—Associated 

Exhibitors. — Screen  story  and  arrangement 
by  Ida  May  Park.  Directed  by  Joseph  De 
Grasse.  Photography  by  Joseph  Dubrav.  The 
cast:  Mother,  Mary  Can-;  Mary,  Gloria'  Grey; 
Bill,  Tom  Santschi;  Harry,  Arthur  Rankin; 
Mulligan,  Ned  A.  Sparks;  The  Woman.  Jane 
Thomas;  The  Child,  Billie  Jeane  Phelphs;  Sid 
Atkins,  Wilbur  Mack;  Samuel  Atkins,  William 
Ryno. 

"HONEYMOON  EXPRESS,  THE"  — 
Warner  Bros. — From  the  story  by  Ethel 
Clifton  and  Brenda  Fowler.  Scenario  by 
Mary  O'Hara.  Directed  by  James  Flood.  The 
cast:  John  Lambert,  Willard  Louis;  Mary 
Lambert,  Irene  Rich;  Jim  Donaldson,  Holmes 
Herbert;  Gene  Lambert,  Helene  Costello; 
Nathan  Peek,  John  Patrick;  Eslellc,  Jane 
Winton;  Becky  Lambert,  Virginia  Lee  Corbin; 
Lance  Lambert,  Harold  Goodwin;  Dick  Donald- 
son, Jason  Robard. 

"TWISTED  TRIGGERS"  — Associated 
Exhibitors. — Story  by  Tommie  Gray.  Con- 
tinuity by  Betty  Burbridge.  Directed  by 
Richard  Thorpe.  The  cast:  Watty  Weston, 
Wally  Wales;  Ruth  Regan,  Jean  Arthur;  Norris, 


'43 


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.  a  New  Kind  of  Lotion 
Skin  Whitener 

NOW  you  can  have  the  smooth,  flawless  complexion 
you  have  always  longed  for  .  .  .  the  exquisite 
white  skin  you  see  only  in  famous  beauties.  The 
kind  of  skin  that  powder  cannot  give!  The  skin  itsi  If 
must  be  soft,  smooth  and  white.  My  marvelous  dis- 
covery now  gives  you  this  striking  complexion  in  just 
three  to  six  days.  It  smooths  the  skin  to  soft,  silky 
texture.    It  whitens  the  skin  to  ivory  whiteness. 

Freckles  and  Tan  Vanish! 

All  trace  of  freckles,  tan,  blackheads,  roughness, 
and  redness  disappear  almost  as  if  you  had  wished 
them  away.  Never  before  have  women  had  such  a 
preparation!  Mild,  gentle  and  guaranteed  safe  and 
harmless!  Apply  it  in  just  three  minutes  at  bedtime. 
Every  woman  should  have  it.  There  is  not  one  com- 
plexion in  a  thousand  that  will  not  be  clearer, 
smoother,  more  radiant  through  its  use. 

Test  It  .  .  .  Whiten  Your  Neck 

Test  this  preparation  on  your  arm,  hands,  or  on 
your  neck  where  the  skin  is  usually  much  darker  than 
on  the  face.  See  what  an  amazing  improvement  three 
days  make.  Use  my  Lotion  Face  Bleach  any  way 
you  like  for  six  days.  Then  if  you  are  not  simply  de- 
lighted, I  ask  you  to  let  me  refund  your  money. 

Large  Bottle  .  .  .  Low  Price  .  .  . 
Guaranteed ! 

Send  no  money — simply  mail  coupon.  When  pack- 
age arrives  pay  postman  only  SI. SO  for  the  regular 
large-size  bottle.  Use  this  wonderful  cosmetic  six 
days.  Then,  if  not  delighted,  return  it,  and  I  will 
refund  your  money  without  comment.  Mail  coupon 
today  to  (Mrs.)  GERVA1SE  GRAHAM.  Dept.  P-10, 
25  W.  Illinois  St.,  Chicago. 

GERVAISE  GRAHAM 

Jjtftim  FACE  BLEACH 


(Mrs.)  GERVAISE  GRAHAM, 

Dept.  P-10,  25  W.  Illinois  St.,  Chicago. 

Send   me,    postage   paid,  one  Lotion  Face    Bleach. 

n  arrival,  I  will  pay  postman  only  SI. 50.  If  not 
delighted  after  six  days'  use  I  will  return  it  and  you 
will  at  once  refund  my  money. 

Name 


PHOTOPLAY  MAGAZINE. 


144 


Photoplay  Magazine — Advertising  Section 


CLASSIFIED    ADVERTISING 

Rate  40  cts.  per  word. 
FORMS  FOR  DECEMBER  ISSUE  CLOSE  OCTOBER  TENTH 


AGENTS    AND    SALESMEN 


SALESMEN  AND  AGENTS 
keep  posted  on  what's  going 
on  new  lines,  and  new  things  to  sell,  then  you  should 
read  Opportunity  Magazine  (The  Square  Salesman 
Guide)  every  month.  Don't  pass  up  the  big  oppor- 
tunities in  the  direct  selling  field.  Every  issue  of 
this  live  wire  magazine  has  hundreds  of  new  ideas 
for  making  money.  The  articles  are  written  by  high 
powered  salesmen  who  know  the  game.  Formerly 
$2.00— now  only  $1.00  per  year  (sells  on  newsstand 
for  25c,  or  at  that  rate  12  issues  for  $3.00).  Just 
send  a  dollar  bill  with  this  ad  and  receive  the  next 
12  issues.  Mail  it  to-day  and  save  the  difference 
($2.00).  Address  Opportunity  Magazine,  Dept.  P-10, 
750   No.   Michigan  Ave.,   Chicago. 


AGENTS— SELL  NECESSITIES  LIKE  TEA,  COF- 
fee.  Baking  Powder,  Flavors,  Perfumes,  Soaps  and 
other    products :    used    every    day    in    the    year ;    repeat 


this  line,  why  not  y< 
ing  plan;  don't  delay. 
Products  Co..  6003  Amer.  Bldg.,  Ciri 


Write    today    for 


GOLD  INITIALS.  EASILY  APPLIED  ON  AUTO- 
mohiles.  Biggest  money-maker  today.  Costs  5c,  you 
get  $1.50.  No  experience  needed.  Free  samples. 
"Ralco"     Monograms,     in -15    Washington.     Boston.    Mass. 


AGENTS— NEW  PLAN,  MAKES  IT  EASY  TO 
earn  $50.00  to  $100.00  weekly,  selling  shirts  direct  to 
wearer.  No  capital  or  experience  needed.  Represent 
a    real     manufacturer.      Write    now    for     Free    Samples. 

Madisnn    Shirts.    ."(12    Broadway.    New  York. 


$11. SO  DAILY  IN  ADVANCE  (SEND  FOR  SWORN 
proof)  introducing  new  insured  hosiery.  57  styles,  40 
colors,  guaranteed  seven  months.  No  capital  or  ex- 
perieiu-e  required.  You  simply  take  orders.  We  de- 
liver and  collect  (or  you  can  deliver;  suit  yourself)  ; 
credit  given.  Pay  you  daily,  monthly  bonus  besides. 
We  furnish  samples.  Spare  time  satisfactory.  Ma- 
cochee   Textile    Company,    Card    24410.    Ci 


$3.50     to     $2n. 
ducers    for    men    and    women    agents.      Write    for    selling 
outfit.       Bosworth    Mills.     B-12,     Melrose,     Mass. 


EARN  $45  TO  $85  EXTRA  A  WEEK.  SELLING 
beautiful  shirts.  Commission  in  advance.  We  deliver 
and  collect.  Write  quick.  Fashion  Wear  Shirts,  Dept. 
M-1712.    Cincinnati. 


WE  START  YOTI  WITHOUT  A  DOLLAR.  SOAPS 
Extracts,  Perfumes,  Toilet  Goods.  Experience  unnec 
essary.       Carnation    Co.,    Dept.     2420,     St.     Louis,    Mo 


BOY    AND    GIRL    AGENTS    WANTED 


BOYS  AND  GIRLS.  EAI 
Write  for  50  sets  St.  Nicholas  CI 
10c  a  set.  When  sold  send  us 
No  work — just  fun.  St.  Nichola 
Brooklyn,    N.    Y. 


Z  TRAITS  AND  TENDENCIES 
in  your  handwriting,  Write  for 
eadings.       M.     C.     McKee.    Dept.    H- 


HOW    TO    ENTERTAIN 


PLAYS.  MVSICAL  COMEDIES  AND  REVI'ES.  M1N- 
strel  music,  blackface  skits,  vaudeville  acts,  monologs, 
dialogs,  recitations,  entertainments,  musical  readings. 
Stage  handbooks,  make-up  goods.  Big  catalog  free. 
Wabash,    Dept.    76, 


DIRECT     TO      SMOKER— CIGARETTES 


SEND  10c  SILVER  OR  STAMPS  FOR  SAMPLE 
package  20  fine  cigarettes.  Direct -to-smoker.  French 
Tobacco    Company,    Dept.    17,    Statesville,    North    Caro- 


Feminine  Hydiene 


somewl 
Affordi 


OMEN  who  use  MU-COL  will  tell 
you  the  periodical  discomfort  at- 
tending1 normal  functioning- can  be 
somewhat    reduced  by   its    application. 
Affords  cooling,  soothing-  relief.  Aiding- 
womankind  since  1900.    Dis- 
solves instantly  in  warm  water. 
Make  any  strength  desired,  use 
freely  without  harm.    Powder 
form,  handy  for  travelers. 

MU-COL 

At  Druggists,  35c,  60c,  $1.20  or 

The  MU-COL  Company 

156  Tupper,  East,  Buffalo,  N.Y. 

Write  for  free  sample 


DfuiwcNra&Hs 

Turn  Your  Talent  Into  Money 

Cartoonists  earn  from  S50  to  S300  per 
week — some  even  more.  Remarkable 
new  Circle  System  of  Drawing   teaches 


explaining  full  details  of  the  Course. 


HELP    WANTED 


SIDE  LINE  SALESMEN 

:  HERE  IS  ^ 

BIG  SELLER. 

Just 

the 

that    over 

50.000.000    i 

been 

beaulifu 

Art 

I'ortr 

ot 

:he    leading 

film    stars 

vith    brief 

bio- 

erapt 

ical 

sketch   of   each   star's   career. 

Beautiful 

binding 

Sells     on 

sight.       Retail     price. 

tilllT 

.      V 

nif 

Address  Photo- 

play 

M.i 

b.    Dept.    C- 

10.    750    N. 

Michigan 

Ave., 

Chica 

„'0. 

EARN  $120  TO  $1150  MONTHLY,  EXPENSES  PAID 
as  Railway  Traffic  Inspector.  We  secure  position  for 
you  after  completion  of  :i  months'  home  study  course 
or  money  refunded.  Excellent  opportunities.  Write  for 
Free  Booklet  G-215,  Stand.  Business  Training  Inst., 
Buffalo.    N.    Y. 


..00-S225.00  MONTH.  MEN— WOMEN.  18  IT. 
Government  Jobs.  Steady.  Candidates  coached, 
non  education   sufficient,      32   page   book   with   nar- 


AI.L  MEN-WOMEN.  1S-60,  WANTING  TO  QUALITY 
for  Government  Positions,  $140-$225  monthly,  local  or 
traveling,    write   Mr.    O/.mcnt.    2fi5,    St.    Louis,    Mo.,    im- 


LADIES  EARN  MONEY  EMBROIDERING.  SEW- 
ns.  crocheting,  etc.  Details  for  stamp.  Eller  Cora- 
lany,    P-296    Broadway.    New   York. 


S6-S1S  A  DOZEN  DECORATING  PILLOW  TOPS 
at  home.  Experience  unnecessary;  particulars  for 
itamp.     Tapestry  Paint   Co-..    131,   LaGrange.   Ind. 


PATENTS 


INVENTORS  DESIRING  TO  SECURE  PATENTS 
should  write  for  our  book,  "How  to  Get  Your  Patent." 
Send  model  or  sketch  of  inventions  for  free  Inspection 
and  Instructions.  Randolph  &  Co.,  Dept.  462.  Wash- 
ington. D.  C. 


PATENTS— WRITE  TOR  FREE  GUIDE  BOOKS 
and  "Record  of  Invention  Blank"  before  disclosing  In- 
ventions. Send  model  or  sketch  for  Inspection  and  In- 
structions Free.  Terms  reasonable.  Victor  J.  Evans 
&  Co.,  763  Ninth.  Washington.  D.   C. 


St.   Louis,    Mo. 


PLAYS 


WE  WANT  PLAYS!  WE  ARE  DAILY 
days  of  merit  by  unknown  writers  direct  tc 
ml     repertoire    producers.      If    you    have 


LEASING 
■  tin'  -li  <  k 
Idea  that 
develop  it  Into  a 
Play  Technique,  an 
invaluable  course  in  play  construction  by  Ted  and  Vir- 
ginia Maxwell,  authors  of  over  thirty  Professionally 
produced  successes.  Price  one  dollar!  Huffman-Max- 
well   Play     Co.,    830    Market    St.,    San    Francisco.    Cali- 


MAKE  $75  TO  $250  WEEKLY 
•ortrait  and  Commercial  Photos! 
?or    special    offer,    write    New    Y< 


MOTION    PICTURE, 


OLD    COINS,    GOLD    AND    SILVER 


OLD  MONEY  WANTED.  WILL  PAY  FIFTY  DOL- 
lars  for  nickel  of  1913  with  Liberty  head  (no  Buffalo). 
We    pay    cash    premiums    for    all    rare    coins.       Send     \<- 


R£d 


With  Flo-Ra-Zo-Na 
in  your  bath 

European    discovery    makes    it 

possible  to  reduce  by  Nature's  me" 
expelling  fat  through  the  porea  of 
No  dieting,  no  exercising  no  drug 
ply  dissolve  Florazona,  a  fragrant 
vourbath;  stay  in  for  15  minutes 
of  fat  melt  and  are  washed  away! 

Flo-Ra-Zo-Na 


postpaid,  Includ- 
ruarantee.      At  Beauty 
Parlors,  Drug  and  Department  Stores,  or  send  direct  to 

FLORAZONA  Corp.,  Suite  JJ.100  FifthAve.,N.Y.C. 


I  Otter  You       <*\4*%r 

Write  quiet  for  new  proposition  and 

Chrysler  4   Coach   offer.     Many    make 

S12.00aday  and  up  demonstrating  and 

taking  orders  for  Coiner  Suits. 

Smart  Styles.  Wonderful  values. 

Work  spare  time.  No  experience 

required.     Sample  o-itrit   free. 

Write  now. 

COMER  MFG.  CO.,  Dept.  N-15,  [DAYTON,  OHIO 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Al  Richmond;  "Angel-Face,"  Art  Winkler; 
Hiram  Weston,  J.  P.  Lockney;  Jim  Regan, 
William  Bertram;  The  Cook,  Harry  Belmour; 
The  Sheriff,  Lawrence  Underwood. 

"NO  MAN'S  GOLD"— Fox— From  the 
story  by  J.  Allan  Dunn.  Scenario  by  John 
Stone.  The  cast:  Tom  Stone,  Tom  Mix;  Jane 
Rogers,  Eva  Novak;  Frank  Hcaly,  Frank  Cam- 
peau;  Wat  Lyman,  Forrest  Taylor;  Lefty  Logan, 
Harry  Gripp;  The  Bov,  Mickey  Moore;  Pete 
Krell,  Malcolm  Waite.' 

"COLLEGE  BOOB,  THE"— F.  B.  O  — 
Story  by  Jack  Casey.  Directed  by  Harry  Gar- 
son.  The  cast :  A  loysius  A  ppleby,  Lefty  Flynn ; 
Angela  Boolhby,  Jean  Arthur;  Horatio  Win- 
ston, Jr.,  Jimmv  Anderson;  Shorty  Buzcllc, 
Bob  Bradburv;  Smacky  McNeil,  Cecil  Ogden; 
Aunt  Polly,  Miss  Walbert;  Uncle  Lish,  Will 
Mallen;  Whitenings  Washington,  Raymond 
Turner. 

"COWBOY  COP,  THE"— F.  B.  O— Story 
by  Frank  Richardson  Pierce.  Directed  by 
Robert  De  Lacey.  The  cast:  Jerry  McGill, 
Tom  Tyler;  Virginia  Sclby,  Jean  Arthur;  Count 
Miriski.  Irvin  Renard;  Frankic.  Frankie  Darro; 
Dago  Jack  (first  crook),  Pat  Harmon;  Second 
Crook,  Earl  Haley. 

"PALS  FIRST"— First  National— From 
the  novel  by  Francis  Perry  Elliott.  Adapted 
by  Olga  Printzlau.  Scenario  by  Lois  Leeson. 
Directed  by  Edwin  Carewe.  The  cast:  Rich- 
ard Castlcman,  Danny  Rowland,  Lloyd  Hughes; 
Jeanne  Lament,  Dolores  del  Rio;  Dominic,  Alec 
Francis;  The  Squirrel,  George  Cooper;  Doctor 
Harry  Chilton,  Edward  Earle;  Judge  Lament, 
Hamilton  Morse;  Uncle  Alex,  George  Reed; 
A  mil  Caroline,  Alice  Nichols;  Charley  Ander- 
son, Alice  Belcher. 

"WILD  HORSE  STAMPEDE,  THE"— 
Universal.— Story  by  W.  C.  Tuttle.  Sce- 
nario by  Doris  Malloy.  Directed  by  Albert 
Rogell.  Photography  by  William  Nobles. 
The  cast:  Jack  Parker,  Jack  Hoxie;  Jess  Hay- 
den.  Fay  Wray;  Complon,  William  Steele; 
Grace  Connor,  Marin  Sais;  Cross  L.  Hay  den, 
Clark  Compstock;  Henchmen,  Jack  Pratt, 
George  Kesterton,  Bert  De  Marc,  Monte 
Montague. 

"MORAN  OF  THE  MOUNTED  "—Ray- 
art  Pictures. — Directed  by  Harry  J.  Brown. 
The  cast:  Moron,  Reed  Howes;  Sergeant 
Churchill,  J.  P.  McGowan;  Flcurettc,  Virginia 
Warwick;  Lanwnt,  Sheldon  Lewis;  Carlson, 
Bruce  Gordon;  "Mooch"  Mnllins,  Billy  Fra- 
ney;  Dubuc,  Harry  Semels;  "Biting  Wolf," 
Chief  Youlache. 

"THREE  BAD  MEN"— Fox.— Story  by 
Herman  Whitaker.  Scenario  by  John  Stone. 
Directed  by  John  Ford.  Photography  by 
George  Schneiderman.  The  cast :  Dan  O 'Mai- 
ley,  George  O'Brien;  Lee  Carlton,  Olive  Borden; 
Laync  Hunter,  Lou  Tellegen;  Mike  Costigan, 
J.  Farrell  MacDonald;  Bull  Stanley,  Tom 
Santschi;  Spade  Allen,  Frank  Campeau;  Joe 
Minsk,  George  Harris;  Old  Prospector,  Jay 
Hunt;  Millie  Stanley,  Priscilla  Bonner;  Zack 
Leslie,  Otis  Harlan;  Pat  Monahan,  Walter 
Perry;  Millie's  Pal,  Grace  Gordon;  Rev.  Calvin 
Benson,  Alec  B.  Francis;  General  Neville, 
George  Irving. 

"FINE  MANNERS"— Paramount.— Story 
by  James  Ashmore  Creelman  and  Frank  Yree- 
land.  Scenario  by  James  Ashmore  Creelman. 
Directed  by  Richard  Rosson.  Photography  by 
George  Webber.  The  cast:  Orchid  Murphy, 
Gloria  Swanson;  Brian  Aldcn,  Eugene  O'Brien; 
Aunt  Agatha  Aldcn,  Helen  Dunbar;  Buddy 
Murphy,  Walter  Goss;  Courtney  Adams,  John 
Miltern. 


Have  you  cast  your  vote  for  the 
best  picture  of  1925?     See  page  68. 


Photoplay  Magazine — Advertising  Section 


H5 


Brief  Reviews   of 
Current   Pictures 


CONTINUED  FROM  PAGE   IS  ] 


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

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 
p  'tticoats  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.) 

OLD  SOAK,  THE— Universal.— Another  success- 
ful  stage  play  gone  wrong — in  fact  ruined.     (July.) 

OTHER  WOMEN'S  HUSBANDS  —  Warner 
Bros. — A  thoroughly  amusing  and  clever  domestic 
comedy  well  directed  and  well  acted.     (July.) 

OUTSIDE  THE  LAW— Universal.— A  reissue  of  a 
crook  drama  released  many  years  ago.  Splendid  plot 
and  cast.    Good  entertainment.     (July.) 

PADLOCKED— Paramount.— Superior  entertain- 
ment. Honest,  mature  drama,  in  its  presentation  01 
a  young  girl's  life  nearly  ruined  by  the  severity  of 
hypocritical  morality.     (.4  ugust.) 

PARIS— Metro-Goldwyn-Mayer.  —  Leave  befor- 

the  last  reel  and  you  will  find  this  an  absorbing  talc  of 
love.  Charles  Ray,  Joan  Crawford  and  Douglas  Gil- 
more  are  in  the  cast.      (August.) 

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.) 


PHANTOM     BULLET,     THE  —  Universal.  —  A 

Western  that  has  a  sure  fire  appeal  for  grownups  and 
children.     (July.) 

POKER  FACES— Universal.— Edward  Horton, 
the  director,  and  cast  try  desperately  hard  to  be  aw- 
fully funny  with  a  disastrous  result.     (September.) 

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

PUPPETS— First  National.— You  won't  go  wrong 
on  this.  An  interesting  vehicle  because  (and  we're 
glad  to  say  it)  of  the  fine  performance  of  Milton  Sills. 
(September.) 

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 
Beaumont  story  picturized  into  splendid  entertain- 
ment. William  Collier,  Jr.,  and  Georgia  Hale  give  a 
splendid  performance.     (July.) 

RANSON'S  FOLLY— First  National.— Richard 
Barthehness  in  just  another  movie — that's  all. 
(August.) 

RAWHIDE— Associated  Exhibitors.— All  the  in- 
gredients of  a  rip-roaring  Western — last  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.  Corp.— A  twisted 
melodrama  of  crooks,  boot'eggers  and  a  desperate 
soldier,  that  is  swift  moving  and  frequently  amusing. 

ROADTO  MANDALAY,  THE- Metro-Goldwyn- 
Mayer. — It's  not  the  story  but  Lon  Chaney's  fine  per- 
formance tliat  puts  the  ginger  in  this  cookie.   (Sept.) 


WINJC 

Wa  terproof 


Romantic  Syes 

weave  strange  spells! 


7 HE  expressive  beauty  of  dark-veiled 
eyes  thrills  and  lures  with  each  co- 
quettish glance.  All  the  dreams  of  the 
ages  are  caught  and  held  in  the  shadowy 
sweep  of  midnight  lashes. 

To  bring  out  the  expressive  beauty  in  your  eyes 
darken  your  lashes  with  WlNX.  Touch  them 
up  lightly  with  this  harmless,  waterproof  liquid 
and  the  hidden  glory  of  your  eyes  is  at  once 
revealed  —  emphasized.  Just  a  few  touches  or 
the  brush  attached  to  the  stopper  of  bottle  and 
your  lashes  instantly  appear  longer  — darker- 
heavier.  WlNX  is  waterproof  and  will  not  run 
or  smear.  Black  or  brown  75c.  U.  S.  or  Canada. 

To  outline  the  brows  after  powdering  use 
Winxette  (cake  form)  Black  or  Brown  —  com- 
plete with  one  row  brush  and  mirror,  50c. 

Offer!  Mail  coupon  at  once  for  a  generous 
sample  of  Winx.  Another  12c  brings  a 
sample  of  Pert  moist  rouge  —  'water- 
proof and  won't  rub  off. 

MAIL  THIS  NOW  __ 

ROSSCO.,24l-JWestl7thSt.,NewYork 

Enclosed  find    12c    for    a    generous  sample  of  Wmx. 
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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.) 

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


SAY  IT  AGAIN— Paramount. — A  grand  and  glori- 
ous tee-hee  at  all  the  mythical  kingdom  yarns. 
Good  stuff.     (August.) 

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— Producers  Dist.  Corp.— A 
thriller — taken  from  the  famous  Jack  London  story. 
It's  rough  and  ready,  as  are  most  sea  stories,  but 
darned  good.     (September.) 

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 
optics.      (June.) 

SENOR  DARE-DEVIL— First  National.— Intro- 
ducing Ken  Maynard  as  a  First  National  star.  Better 
than  most  Westerns.     (September.) 

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.) 

SEVENTH  BANDIT,  THE— Pathe—  A  splendid 
Western  that  grownups  and  children  should  not  over- 
look. Harry  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.) 

SHAMROCK  HANDICAP,  THE  —  Fox/— Trot 
yourself  down  to  the  first  theater  showing  this  if  you 
want  an  evening's  fun — and  that's  not  blarney. 
(July.) 

SHIPWRECKED  —  Prod.  Dist.  Corp.— If  you 
haven't  been  sleeping  lately  try  this  on  your  in- 
somnia.     Terrible.      {August.) 


SILENCE— Prod.  Dist.  Corp.— The  finest  melo- 
drama that  the  screen  has  shown  for  vears.  Only  for 
adults.     (August.) 

SILKEN  SHACKLES— Warner  Bros.— A  splendid 
cast  gone  to  the  four  winds  because  of  a  poorly  de- 
veloped plot.     (July.) 

SO  THIS  IS  PARIS— Warner  Bros.— Another 
variation  of  the  domestic  infidelity  theme  presented 
by  the  sophisticated  Ernst  Lubitsch.  The  weakest  of 
the  famous  director's  efforts  to  date.     (September.) 

SOCIAL  CELEBRITY,  A— Paramount.— Adolphe 
Menjou.  as  an  ambitious  young  shaver  .'borrows  some 
clothes  and  becomes  the  toast  of  New  York.  Another 
fascinating  Menjou  picture.     (July.) 

SOCIAL  HIGHWAYMAN,  THE— Warner  Bros. 
— This  purports  to  be  a  comedy  but  it's  a  tragedy  and 
vice  versa.     Don't  be  annoyed.     (August.) 

SPARROWS— United  Artist?.— Watching  the  an- 
tics of  Mary  Pickford  and  a  bunch  of  other  kids  is  a 
safe  bet  for  an  enjoyable  evening.     (August.) 

SPEEDING  VENUS,  THE— Producers  Dist. 
Corp. — Not  so  good.  Priscilla  Dean  is  the  feminine 
interest.     (September.) 

SPORTING  LOVER,  THE  — First  National  — 
This  might  have  been  worse,  but  it  doesn't  seem 
nnssible.     Just  another  movie.     (September.) 


SUNNY  SIDE  UP— Producers  Dist.  Corp.— A 
concoction  of  a  Cinderella  yarn  and  a  Pollyanna-ish 
character..    You  guessed  it — awful.      (September.) 

SWEET  DADDIES— First  National.— The  Jew- 
ishers  and  Irishers  are  at  it  again — and  what  a  sweet 
comedy  this  is.     It's  worth  while.     (September.) 

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'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  WEEKS  IN  PARIS— Warner  Bros.— 
Matt  Moore  is  again  the  sap  with  the  result  that  you 
sit  through  a  sappy  picture.     (August.) 

TONY    RUNS    WILD— Fox.— Tom    Mil    in    an 

average  Western.     (July.) 

TORRENT,THE— Metro-  Goldwyn.— Introducing 
the  charming  new  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.    Worth  while.    (May.) 

TRIP  TO  CHINATOWN,  A— Fox.— Two  reels  of 
this  would  have  been  sufficient.  Not  worth  while. — 
(August.) 

TWO-GUN  MAN,  THE— F.  B.  O— Go  see  this 

very   grand    hero,    Fred    Thomson,    and    his   famous 

Ivei  King.     They  are  a  delight.     (September.) 

UNDER  WESTERN  SKIES— Universal.— A  story 
as  old  as  the  hills  where  it  is  laid.  Yep.  the  good  old 
Western  stuff.     Fair.     (September.) 

UNKNOWN  SOLDIER,  THE— Prod.  Dist.  Corp. 
— A  sad  attempt  at  being  another  "  Big  Parade."  It's 
funny — unintentionally.     (August.) 

UNTAMED  LADY,  THE— -Paramount.— An  awful 

disappointment  in  spite  of  the  fact  that  it  stars 
Gloria  Swanson.  A  total  washout  from  beginning  to 
end.     (May.) 

UP  IN  MABEL'S  ROOM— Prod.  Dist.  Corp.— 
Laughter  for  all.  The  players — Marie  Prevost  and 
Harrison  Ford.     (August.) 

VARIETY— UFA-Famous  Players.— This  absorb- 
ing story  of  vaudeville  life  has  more  popular  qualities 
than  any  German  production  imported  to  America 
since  "Passion."  Emil  Jannings'  work  is  superb. 
(September.) 

VOLGA  BOATMAN,  THE  —  Producers  Dist. 
Corp. — Not  Cecil  Do  Milleat  his  best,  but  the  strength 
of  thethemeandthe  beautiful  composition  and  photog- 
raphy lift  it  above  the  ranks.      (June.) 

WET  PAINT— Paramount.— Raymond  Griffith  in 
a  great  film  for  those  to  whom  fun  is  fun.    (July.) 

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.  Corp.- An 
interesting  crook  drama  with  Viola  Dana  and  Bobby 
Agnew.     (June.) 

WILD    TO    GO— F.     B.     O.— Tom     Tyler    and 

Frankie  Darro  prove  to  be  a  splendid  combination  in 
Westerns.     It's  worth  seeing.     (July-) 

WILDERNESS  WOMAN,  THE— First  National. 
— Mild  entertainment.  Chester  Conklin  gives  an  ex- 
cellent performance  as  a  rough  miner  with  a  million. 
(July.) 

WISE  GUY,  THE— First  National.— Just  for 
grownups.  All  about  crooks  who  preach  religion  to 
cover  their  shady  connections.    Fair.     (August.) 

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 
vou  fo'rget  all  about  the  story  as  you  see  her  flittering 
across  the  screen.  And  we  don't  mean  maybe!  (June.) 


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the  best  picture  of  1925.    Use  the  ballot  on  page  68 


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[  CONTINITED  FROM  PAGE  86  ] 

Norma's  Grand 

Jamestown,  N.  Y. 

If  there  were  more  portrayals  like  Norma 
Shearer's  in  "His  Secretary',"  many  wasted 
stories  would  be  worth  while. 

Miss  Shearer's  characterization  of  the 
stenographer  was  perfect.  She  neither  over- 
did it,  nor  made  you  feel  that  the  girl  was 
heartless.  She  was  just  a  good  girl,  but  hope- 
lessly unattractive. 

When  she  made  the  change  to  the  attractive 
secretary  she  remembered  to  retain  her  former 
manner  throughout  the  picture  and  did  not 
become  an  entirely  different  person,  as  so  many 
would  have  done.  She  still  held  her  chin  in  and 
was  somewhat  stiff  as  the  girl  could  not  have 
helped  being.  No  one  can  change  all  their 
mannerisms  over  night. 

Mrs.  Clarence  H.  Greenquist. 

Grandma  Speaks  and  Nicely 

Cleburne,  Texas. 
No  wonder  we  love  Marion  Davies  on  the 
screen;  in  real  life  she  seems  to  be  so  kind  and 
sweet.  Corinne  Griffith  looks  so  weary  and 
bored  these  days.  Has  she  played  emotional 
parts  so  long  that  she  can  no  longer  smile? 
Raymond  Hatton  has  always  impressed  me 
as  an  excellent  actor,  one  who  can  play  many 
parts.  Let  us  have  better  title  artists,  for  it 
means  so  much  to  have  a  picture  rightly 
named,  as  all  of  Harold  Lloyd's  are. 

I  wish  Pola  Negri  would  never  appear  in 
modern  clothes;  she  looks  "dowdy"  in  any- 
thing except  something  of  a  Spanish  or  foreign 
type. 

Let  us  hope  that  "Doug"  and  "Mary"  will 
find  something  suitable  in  which  they  can 
appear  together  to  hand  down  to  posterity. 

I  have  not  seen  "La  Boheme,"  but  what  did 
John  Gilbert  do  when  making  love  to  that 
demure,  cold  Lillian  liish?  I  cannot  think  of 
her  as  Mimi,  althoughl  admire  her  very  much. 
When  "Krazy  Kat"  pictures  are  thrown  on 
the  screen  here,  the  children  cheer  greatly,  and 
the  grown-ups  enjoy  them  also.  A  sigh  of 
boredness  goes  up  when  "Topics  of  the  Day" 
are  unrolled!    Long  live  the  movies! 

A  Grandmother. 

The  Glad  Girl 

St.  Louis,  Mo. 
I  AM  GLAD 

That  John  Barrymore  has  deserted  the  stage, 
thus  giving  us  confirmed  movie-goers  a  chance 
to  marvel  at  his  artistry. 

Tho.t  we  have  Richard  DLx,  of  the  dimples 
and  physique,  who  once  in  a  while  is  given  a 
chance  to  act. 

That  Irene  Rich  got  a  chance  to  prove  her 
ability  and  change  her  type  in  "Lady  Winder- 
mere's Fan." 

That  the  gods  took  pity  on  us  girls  one  day, 
and  gave  us  Ronald  Colman. 

That  Carol  Dempster  is  finally  being  ac- 
claimed great. 

That  Samuel  Goldwyn  discovered  Vilma 
Banky. 

That  Jean  Hersholt  and  George  K.  Arthur 
are  winning  recognition. 
I  WILL  BE  GLAD 

If  Colleen  Moore  ever  does  anything  half  as 
good  as  "So  Big." 

If  Ricardo  Cortez  is  given  another  part 
which  fits  him  like  the  one  in  "The  Pony  Ex- 
press." 

When  my  favorite,  Gloria  Swanson,  stops 
breaking  in  all  the  young  leading  men  in  Pic- 
turedom,  and  takes  time  to  make  some 
pictures  that  are  worthy  of  her. 

Oriana  Kimler. 


10  DAYS'  TRIAL 
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Please  send  me  a  New  PHONIC  reproducer  for 

...... I  will  pay  the  postman  S3. 85 

(Bive  name  of  PhonogTSDh)  plus  few  cents  postage.      If  I 

am  not  satisfied  after  trial,  I  will   return  your  reproducer 
within  10  days  and  you  guarantee  to  refund  my  money. 


DARKENS   and    BEAUTIFIES 
EYELASHES    and     BROWS 

INSTANTLY.makesthem  appear 

IJy  dark,  long  and  luxuri- 

inderful  charm,  beauty 


MAYEELLINE  CO..  CHICAGO 


"lien  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


148  Photoplay  Magazine — Advertising  Section 

CHOOSE  YOUR  PIANO  AS  THE  ARTISTS   DO 


WHEN  friends  drop  in— the  Baldwin  Welte-Mignon* 
Reproducing  Piano,  with  its  wide  .  uriety  of  artists' 
recordings,  at  once  becomes  the  life  of  the  party. 

Songs,  dances,  hits  from  the  latest  Broadway  Revue 
are  played  for  your  guests  with  the  irresistible  rhythm  of 
the  Master  Pianists. 

At  any  time,  on  any  day,  the  Baldwin  Welte-Mignon* 
Reproducing  Piano  stands  ready  to  make  your  home  the 
rendezvous  and  your  parties  a  success. 

The  Baldwin  Dealer  in  your  city  will  be  very  glad, 
indeed,  to  give  you  a  demonstration. 

Grands  and  Uprights  in  Modern  and  Period  Designs 


THE  BALDWIN   PIANO   CO, 

CINCINNATI,    OHIO 

'Licensed  under  the  original  Welte  patents. 


iafttmn 

SHelte-CDignoa 

Reproducing  Piano 

Every  advertisement  in  I'HOTol'LAY   MAGAZINE  is  guaranteed. 


The  Winder  Soap  of  The  Age ! 

CHEX  Nourishes  Your  Skin  Like  A  Cream 
CHEX  Banishes  Perspiration  Odors  for  36 Hours 
CHEX   Completely  Eliminates  Dandruff — - 


'You'll  Love  It— 

I  Know  You  Will," 
Odean  Garrison 


TRY  CHEX !  For  a  month— delight 
in  its  amazing  wonders !  Use  it 
in  your  toilette  to  soften  and  whiten 
your  skin.  Use  it  in  the  bath.  It  re- 
moves and  prevents  all  perspiration 
odors.  Use  it  for  the  next  shampoo. 
It  brings  new  beauty  to  your  hair  and 
completely  eliminates  dandruff.  You 
will  find  CHEX  gives  you  qualities 
entirely  new  in  a  soap.  CHEX  does 
MORE  than  soap! 

Milder   Than    Many   Creams 

The  lather  of  CHEX  is  as  mild  as  a  cream. 
It  quickly  removes  all  soil.  Even  that  soil 
at  the  base  of  the  pores — preventing  any 
skin  blemishes.  No  blackheads  can  form. 
And  it  corrects  that  despair  of  so  many 
— oiliness. 

But  CHEX  does  the  work  of  both  a  soap — 
and  a  cream.  It  has  an  extraordinary  in- 
gredient that  nourishes  your  skin.  No 
other     soap      contains  it.  While      CHEX 


cleanses,  it  is  making  you  a  lovely  new ' 
complexion.  Your  skin  is  freshened  to  a 
fine,  delicate  texture.  The  "nap"  or  dead 
skin  is  removed— giving  an  exquisite,  satiny 
smoothness.  And  it  gently  whitens  to  a 
tone  in  perfect  harmony  with  your  type 
and  coloring. 

An   Odorless  Deodorant 

CHEX  brings  you  still  another  gift!  Skin 
specialists  proclaim  it — "The  Perfect  De- 
odorant." It  checks  perspiration  odors  or 
any  body  odor  for  36  hours  or  more!  The 
abundant  lather  of  CHEX  penetrates  to  the 
very  base  of  the  pores.  There— it  banishes 
the  cause  of  odors.  It  dissolves  and  washes 
away  every  particle  of  the  decomposed  body 
moisture  and  waste— unaffected  by  other 
soaps.  And  unlike  other  deodorants,  it 
does  not  close  the  pores.  It  does  not  irri- 
tate or  discolor  the  skin.  It  does  not  leave 
any  odor  of  its  own. 

Obtain  CHEX  from  your  drug  or  depart- 
ment store,  25c  a  cake.  Or  .  .  .  send  the 
coupon — with    10c — for    a    large    Trial    Cake. 


CHEX 


SendFor Large  Trial CakeToday 


Does  More  _____ 

Than  Soap  WWWWWWVWWWWW 


Pioneer  Prod.  Co..  Dept    C— 10,  Dayton.  Ohio 

I  enclose Send  postpaid,  size  Chex  marked 

50c  box  Chex  □      25c  bar  of  CJ»ex  Q 
10c  Large  Trial  Size  D 


Jfame- 


Y< 


ou  can  never  have  Perfect  Ovals 
and  Half  Moons  •  •  if  you  neglect 

to  Shape  the  Cuticle 


Exquisitely  groomed  women  everywhere  care  for  their  nails  this  famous  way 


NOT  only  in  America  but  in  the  capitals  of  Europe 
and  at  the  French  Resorts,  charming  and  accom- 
plished women  depend  on  the  Cutex  method.  And 
there   more   Cutex   preparations   are   sold   than    any 

other  kind. 

*        *        t 

"  I  have  sung  in  most  of  the  important  capitals  in  Europe 
and  everywhere  it  has  been  a  satisfaction  to  find  the  de- 
lightful Cutex  preparations  as  easily   obtained  as   in 

—  LUCREZIA  Bori,  Spanish  prima  donna 
of  the  Metropolitan. 


"Long  ago  in  London  I  learned  how  indispensable  are 
the  Cutex  preparations." 

— La  d v  Robert  Peel,  widely  known  as 

Beatrice  Lillie,  comedienne  of  the  Chariot 
Revue,  New  York  and  London 


Oai.f  the  charm  of  beautiful  hands  de- 
pends on  properly  shaping  your  cuticle. 

Yet  the  correct  care  of  the  cuticle  is  ac- 
tually the  most  difficult  part  of  the  mani- 
cure. Just  softening  and  pushing  back 
isn't  enough.  Even  cuticle  creams  won't 
remove  the  rough,  dead  skin  that  clings  so 
tightly  to  the  nail  base,  causing  the  rim  to 
split  and  crack.  Or  it  grows  up  over  the 
nail  and  hides  the  Half  Moons. 

Northam  Warren  spent  years  perfect- 
ing a  dainty  liquid  that  removes  every  bit 
of  dead  skin.  Frees  it  from  the  nail  so  you 
can  shape  the  cuticle  perfectly — let  the 
lovely  Half  Moons  show. 

It  is  Cutex,  an  essential  of  the  manicure. 
FIRST  WASH  YOUR  HANDS  thoroughly  and  file 
the  nails.  With  orange  stick  and  cotton  dipped  in 
Cutex  work  gently  around  the  base  of  each  nail,  re- 
moving the  dry,  dead  skin.  Pass  the  wet  stick  under 
the  nail  tips  to  clean  and  bleach  them.  You  can  now 
round  the  cuticle  in  lovely 
ovals. 

Rub  Cutex  Cuticle  Cream 
into  the  cuticle  to  keep  it 
soft  and  pliant.  For  a  white 
finish,  smooth  the  least  bit 
of  Nail  White  under  the  tips. 

Then  buff  your  nails  with 
Cutex  Powder  Polish  or 
brush  a  drop  of  Cutex  Liq- 
uid Polish  over  each  nail. 

CutexSets  are  35c  to  S5.00 
wherever  toilet  goods  are 
sold.  Or  see  special  ofFer.  If 
you  live  in  Canada,  address 
Northam  Warren,  Dept.Q-iO 
8c  St.  Alexander  Street, 
Montreal. 


Mail  Coupon  with  roc  for 
Introductory  Set 

Send  10c  for  Introductory  Set  contain' 
ing  Cutex  Cuticle  Remover,  Liquid 
and  Powder  Polishes,  Cuticle  Cream, 
emery  board,  orange  stick,  cotton  and 
helpful  booklet. 


Northam  Warren,  Dept.  Q-10 

1 14  West  17th  Street,  New  York  City 

I  enclose  10c  in  stamps  or  coin  for  Introductory  Set. 


The  ^tiondl  Qwde  to  {Motion   Pictures 

D 


NOVEMBER         25    CENT 


fchey  Paid  for 

Stardom 


Untold 
Tragedies 
P    of  the 

Screen 


Valentino's 

last  ^Photograph 

Taken  especially 
for  Photoplay 

i 


heme 
-//dore'e 


\ 


DANDRUFF? 


Here's  good  news  for  you — 


IT'S  a  fact:  Listerine,  the  safe  antiseptic,  and 
dandruff  simply  do  not  get  along  together.  Many 
were  incredulous  when  we  first  announced  this. 
But  the  word  is  fast  going  around  from  the  lips  of 
those  Who  have  found  how  wonderfully  it  works. 

As  you  probably  know,  dandruff  is  a  germ  disease 
and  that  annoying  white  shower  on  dark  clothes  is  a 
warning  of  more  serious  scalp  trouble — falling  hair, 
possibly  baldness. 

Try  Listerine  for,  say,  one  week,  every  night  and 
learn  for  yourself  how  remarkably  it  works.     The 


use  of  Listerine  for  dandruff  is  not  complicated. 
You  simply  douse  it  on  your  scalp,  full  strength,  and 
massage  thoroughly.  The  effect  is  wonderfully 
refreshing.  And  you  will  be  amazed  to  see  how  this 
treatment,  followed  systematically,  does  the  trick. 
Moreover,  Listerine  will  not  discolor  the  hair  nor 
will  it  stain  fabrics.  And  it  is  not  greasy  or  smelly. 
Many  of  the  better  barber  shops  are  now  prepared 
to  give  you  this  treatment.  Try  Listerine  for  dan- 
druff. You'll  be  delighted  with  the  results. — 
Lambert  Pharmacal  Co.,  St.  Louis.  U.  S.  A. 


LISTERINE 

—and  dandruff  simply  do  not  get  along  together 


Photoplay  Magazine — Advertising  Section 


"What  the  dentists  say  about  this 
modern  plague  of  gum  disorders 


Soft  food  is  to  blame,  they  declare, 
because   it   deprives  our  gums  of 
the  stimulation  they  need  to  keep 
them  sound  and  healthy 


""THERE  are  three  short  quotations 
*■  printed  on  this  page.  They  are  picked 
at  random  from  a  mass  of  similar  evidence, 
but  they  give  the  gist  of  the  dentists'  view 
toward  these  stubborn  troubles  of  the 
gums  that  plague  so  many  thousands. 

And  as  to  the  cause  of  these  troubles, 
there  is  no  longer  a  shadow  of  doubt. 
Soft  food,  the  dentists  agree,  must  bear 
the  major  share  of  the  blame. 

It's  these  creamy,  rich  and  appetizing 
foods  of  ours  —  these  modern  culinary 
triumphs,  if  you  please  —  that  cause  most 
of  the  trouble.  For  these  foods  make 
things  too  easy,  too  luxurious,  for  our 
gums.  They  completely  lack  the  coarse 
and  fibrous  elements  that  stimulate  the 
gums  and  encourage  a  vigorous  circula- 
tion of  the  blood  within  their  walls. 

So,  deprived  of  the  normal  massage 
that  mastication  should  provide,  thegums 
become  soft  and  sensitive  —  too  weak  to 
resist  the  encroachments  of  disease  and 
infection.  And  sooner  or  later  "pink 
tooth  brush"  puts  in  its  appearance— 
a  warning  of  greater,  more  serious 
troubles  to  come. 

How  to  offset  the  damage 

soft  food  does  to  gums 

If  you  ask  your  own  dentist  how  best  to 
care  for  your  gums,  he  will  tell  you  that 
the  first  step  is  to  restore  to  them  the 
stimulation  your  food  deprives  them  of. 
Very  likely  he  will  explain  to  you  the 
new  doctrine  of  gum  massage  that  is 
gaining  so  many  thousands  of  followers, 
and  show  you  the  simple  technique  of 
this  gentle  frictionizing  with  the  fingers 
and  with  the  brush. 

Probably,  too,  he  will  recommend  that 
you  perform  both  the  massage  and  the 


Hoiv  dentists 
state  the  case 


against  soft  food 

Look  over  these  excerpts. 

The  dentists  agree   that 

soft  food  is  the  cause  of  nearly  all 

gum  troubles  and  that  stimulation  and 

massage  are  the  proper  correctives. 

From  a  recent  professional  paper: 

"Rendering  the  food  superfine  is  an  echo  of 
the  oft-repeated  charge  that  we  do  not  use  our 
mastication  muscles  enough  — that  we  establish  a 
blood  stasis  and  thus  deprive  the  teeth  and  gums 
of  circulating  nourishment." 

From  a  noted  authority: 

"To  replace  the  benefits  detived  from  natural 
living,  which  now  seems  almost  impossible,  the 
artificial  production  of  similar  effects  is  attempted 
through  the  several  forms  of  exercise.  Applied 
to  the  dental  tissues  various  methods  have  been 
devised  to  artificially  stimulate  an  adequate  blood 
supply  to  compensate  in  some  degree  for  the 
loss  of  normal  function." 

From  a  textbook  on  preventive  dentistry: 

"The  instant  the  gums  are  brushed  properly 
the  blood  starts  to  flow  more  rapidly  and  a  new 
life  and  color  make  their  appearance.  After  a 
thorough  prophylactic  treatment  ic  is  not  un- 
usual to  see  the  tissues  lighten  in  color,  possibly 
two  or  three  shades  in  twenty-four  hours." 


?{early  all  our 
modern  food  is  soft,  entirely 
Licking  in  the  roughage  and 
fibre  that  once  kept  gums  and 
teeth  sound  and  health} . 


regular  twice-daily  brushing  of  your  teeth 
with  lpana  Tooth  Paste. 

For  because  of  its  ziratol  content,  lpana 
will  exert  its  own  healing  influence. 
Ziratol  is  an  antiseptic  and  hemostatic 
held  in  high  regard  by  dentists  the 
country  over.  Its  presence  gives  lpana 
the  power  to  aid  in  the  toning  and 
strengthening  of  weakened  gum  tissue, 
and  to  enhance  the  benefits  both  of  the 
massage  and  of  the  ordinary  brushing. 

Give  your  gums  Ipana's  benefits 

for  just  a  single  month 

The  ten-day  tube,  sent  gladly  if  you  mail 
the  coupon,  will  quickly  show  you  that 
for  keeping  your  teeth  white  and  brilliant 
lpana  has  no  superior.  Its  flavor,  too, 
will  delight  you. 

But  the  full-size  tube,  good  for  more 
than  a  hundred  brushings,  offers  the  fairer 
tests  of  its  good  effects  upon  your  gums. 
So  get  a  large  tube  at  the  drug  store  to- 
day and  start  tonight  to  restore  your 
gums  to  sound  and  sturdy  health. 


1PANA  Tooth  Paste 

—  made  by  the  makers  of  Sal  Hepatica 


BRISTOL-MYERS  CO. 

Dem.  1-116,  73  West  St.,  New  York,  N.  Y. 

Kindly  send  me  a  trial  tube  of  ipana 
paste.  Enclosed  is  a  two-cent  stamp  t 
partly  the  cost  of  packing  and  mailing. 


Bristol-Myers  Co.,  1926 


PHOTOPLAY  MAGAZINK. 


Photoplay  Magazine — Advertising  Section 


<p0int 


A  L 

JAMES  CRUZE  * 

PRODUCTION 

&* 

l|   ^^  Story  try 

}  Laurence  Stalling 

•with 

WALIACE  BEERY.  ESTHER  RALSTON. 

GEORGE  BANGROFT^CHARLES  EARRELL 


To  every  one  of  the  7  5  pictures  in  this 
year's  Paramount  program  "we  point 
with  pride"  as  examples  of  the  best  in 
motion  picture  entertainment,  worthy  of 
all  that  the  name  "Paramount"  implies. 
To  these  four  we  point  as  examples  of 
the  quality,  as  well  as  the  variety,  in  the 
Paramount  program  for  1926-1927. 


THE 


ROUGH 
RIDERS* 


VICTOR  FLEMING 

PRODUCTION 

with 

MARYASTOR.  CHARLES  FARRELL 

CEORGE  BANCROFT  AND 

ALL  STAR  CAST 

Story  {by    HERMAhTrlACEDOrVN 


D.WGriffith's 

Sorrows 

0F SATAN  " 


"«4 


MARIE  CORELLI 


ADOIPHE  MENJOU 

RICARDO  CORTEZ 

CAROL  DEMPSTErwnd  LYAdePUTTI 


?*** 


JJL     Herbert  Brenon 

If         Production 

6eau    , 

.GESTE' 

Ronald  Colman 

3j>  arrangement  with  Samuel  tjolduryn 

Alice  Joyce,  Neil  Hamiltoa 
Noah  Beery,  Mary  Brian, 
William  Powell.  Norman  Trevor. 
Ralph  Forbes  ^  Victor  Mlaglan 
From  the  novel  by 
Percival  C.  Wren 


"Old  Ironsides"  sails  again 
in  this  great  production  im- 
mortalizing the  romance 
and  drama  centering  around 
the  glorious  fighting  career 
of  this  famous  vessel.  The 
most  spectacular  picture 
ever  filmed  by  Paramount. 
Firstshowings  in  November. 


The  most  picturesque  band 
of  adventurers  in  American 
History  recruited  from  every 
walk  of  life  in  the  stirring 
days  of '98  lives  again  in  a 
picture  as  great  in  scope 
and  power  as  "The  Covered 
Wagon."  Coming  soon. 


A  modern  drama  of  love, 
temptation  and  regenera- 
tion produced  by  D.  W. 
Griffith  from  Marie  Corelli's 
book  that  has  been  read  and 
re-read  by  millions  ofpeople 
and  translated  into  every 
language.  Coming  soon. 


P.  C.  Wren's  baffling  ro- 
mance of  the  Sahara,  the 
book  that  held  a  million 
readers  spellbound,  comes 
to  life  in  the  most  exciting 
motion  picture  story  in 
years.  New  York  critics  say 
"The  Year's  Greatest  Melo- 
drama." 


YOU  CAN  ENJOY  THESE  PARAMOUNT  PICTURES  NOW 

Douglas  MacLean  in  ^  Richard  Dix  in  Frank  Lloyd's 

"The  Quarterback"  "The  Eagle  of  the  Sea" 


"Hold  that  Lion" 


Eddie  Cantor  in 
"Kid  Boots" 


Bebe  Daniels  in 
"The  Campus  Flirt" 


Herbert  Brenon's 
"The  Great  Gatsby" 


AND   HAROLD    LLOYD   IN  A   GREAT   NEW   COMEDY 

f   it's  a  Paramount   Picture    it's  the  best  show  in  town/' 


^Paramount  ^Pictures 

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


ill  I'nOTOPLAY  MAGAZINE 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


JAMES  R.  QUIRK,  Editor 


IVAN  SI  .  JOHNS 


Vol.  XXX 


No.  6 


Contents 

November,  1926 


Cover  Design:  Renee  Adoree 

From  a  painting  by  Carl  Van  Buskirk 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

As  We  Go  to  Press 

Last  Minute  News  from  East  and  West 

Brickbats  and  Bouquets 

Frank  Letters  from  Readers 

Rotogravure:  New  Pictures 

Norma  Shearer,  Fay  Wray,  Jacqueline  Logan.  Regi- 
nald Denny,  "Red"  Grange,  Greta  Garbo,  Blanche 
Sweet 


James  R.  Quirk 
Myrtle  West 


10 

12 
19 


28 


Agnes  Smith     30 


Speaking  of  Pictures  (Editorials) 

The  Price  They  Paid  for  Stardom 

Sacrifices  of  Favorites  to  Reach  the  Top 

Mary  Herself 

Miss  Philbin,  Who  Would  Rather  Work  Than  Play 

Health— Hollywood's  Greatest  Asset  32 

Picturizing  How  the  Film  Folk  Keep  Fit 

The  Lark  of  the  Month  35 

Raymond  Griffith's  Whisper  Is  Embarrassing 

Illustrated  by  Frank  Godwin 

(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 

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  Postotfice  at  Chicago,  III.,  under  the  Act  ol  March  3.  1879. 


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  52 

Beau  Geste Paramount 

The  Strong  Man First  National 

The  Nervous  Wreck 

Producers  Dist.  Corp. 

Page  53 

Bardelys  the  Magnificent 

Metro-Goldwyn-Mayer 

Tin  Gods Paramount 

Subway  Sadie First  National 

Page  54 

Battling  Butler. Metro-Goldwyn-M aver 

Her  Big  Night Universal 

The  Kickoff Excellent 

Hold  That  Lion. Paramount 

The  Show-off Paramount 

Diplomacy Paramount 

Page  55 

The  Blue  Eagle Fox 

It  .Must  Be  Love First  National 

The  Gay  Deceiver 

Metro-Goldwyn-Mayer 
The  Amateur  Gentleman .  First  National 

Michael  Strogoff Universal 

Risky  Business .   Producers  Dist.  Corp. 

Page  102 

Marriage  License? Fox 

The  Texas  Streak Universal 

The  Ice  Flood Universal 


Copyright.  1926,  by  the  PHOTOPLAY  PUBLISHING  COMPANY,  Chicago. 


Contents — Continued 

Fighting  for  the  Crown  Cal  York     36 

Friendly,  Rival  Hostesses  Strive  for  Hollywood  Social  Leadership 

Buying  an  Audience  of  Ten  Million  38 

Why  Sam  Goldwyn  Paid  S125.000  for  a  Novel 

Why  I  Like  Hollywood  Better  Than  the  Bronx 

Eddie  Cantor     40 
There's  No  One  Could  Tell  It  Like  Eddie  Himself 

Camera  Angles  42 

Revealing  Which  Side  of  Their  Faces  the  Stars  Turn  to  the  Lens 

A  Monument  to  Youth  and  Romance  Matlack  Price     44 

Perpetuating  the  Memory  of  Rudolph  Valentino 

Studio  News  and  Gossip — East  and  West  Cal  York    46 

What  the  Screen  Folk  Are  Doing 

Donald  Ogden  Stewart's  Guide  to  Perfect  Behavior  in 
Hollywood 

The  Shadow  Stage 

The  Department  of  Practical  Screen  Criticism 

Buy  on  Fifth  Avenue  Through  Photoplay's  Shopping 
Service 


SGW 


-<*&■ 


Ivan  St.  Johns 
Becomes    Iris   Stuart. 


Two  Hands  and  a  Face 

Frances   McCann,    the   Advertising   Girl. 
Screen  Actress 

Rotogravure:  Ramon  Navarro,  Who?,  Rudolph  Valentino 

High  Lights  in  the  Life  of  Rudolph  Valentino 

On  Account  of  Monte  Cristo  (Fiction  Story) 

Octavus  Roy  Cohen 
"The  Midnight  Pictures  Corporation"  Temporarily  Deserts  Bir- 
mingham Illustrated  by  J.  J.  Gould 

Carmel  Myers  (Photograph) 

The  Businessman-Comedian  Dorothy  Spensley 

That's  Douglas  MacLean 

Greta  Nissen  (Photograph)  ' 

Questions  and  Answers 

Stop  Thief! 

Three  Fellows  Who  Are  Running  Away  with  the  Pictures 

Girls'  Problems 

The  Department  of  Personal  Service 


The  Answer  Man 


94 
Frederick  James  Smith  101 


Hill-Billy  Drama  (Photographs) 
No  Ice  Today 

"Red"  Grange  Before  the  Camera 

Aileen  Pringle  (Photograph) 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


Addresses  and  working  programs  of  the  leading  picture 
studios  will  be  found  on  page  111 


50 
52 

56 
58 


63 

66 

70 
72 

74 
77 
78 


Carolyn  Van  Wyck    81 


The  Girl  on  the  Cover:  Renee  Adoree  Cal  York     84 

Up  to  His  Old  Tricks  88 

Erich  von  Stroheim  Again  Before  the  Camera 

A  Boyd  in  a  Gilded  Cage  Dorothy  Spensley    91 

William,  Who  Has  Been  in  All  of  De  Mille's  Pictures  Except  One 


108 
152 


Fakers 

of 

Hollywood 


Every  rich  colony  at- 
tracts them  — the  par' 
asites,  impostors  and 
"nuts"  that  seek  to 
prey  on  wealth.  One 
of  the  chief  problems 
of  Hollywood's  police 
force  and  the  studio 
detectives  is  to  protect 
the  stars  from  the 
schemes  of  ingenious 
fakers. 


In  the 

December 

issue  of 

Photoplay 

you  will  find  an  inside 
story  of  this  strange 
phase  of  the  studios. 


Watch  for  it  on 
the  newsstand 


«c(2z^_ 


it^Si; 


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


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for  parties  can  be  obtained  with 
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Wherever  you   need   safe, 


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When  you 


bright,  portable  light — use  an 
Eveready.  In  dark  closets. 
Along  dark  hallways.  In  the 
bedrooms.  In  the  garage. 
When  motoring.  Eveready  is 
a  silent  sentinel  of  safety,  ever 
ready  to  light  the  way.  The 
finest  flashlight  money  can  buy. 
Only  Eveready  has  the  new 
ring-hanger.  To  get  all  the 
newest  and  best  flashlight 


Eveready  Flashlight  Batteries  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. 


features,  insist 
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PHOTOPLAY   M  U". AZINE. 


Brief  Reviews  of  Current  Pictures 


ALOM  A  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.) 

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- Gold wyn.— 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    (May.) 

BETTER  MAN,  THE— F.  B.  O—  Richard  Tal- 
madge  with  his  usual  bag  of  tricks.  That's  all. 
(September.) 

BEVERLY  OF  GRAUSTARK— Metro-Goldwyn- 
Mayer. — A  light,  frothy,  romantic  piece  of  nonsense 
this,  spiced  with  the  presence  of  Marion  Davies  and 
Antonio  Moreno.    See  it.     (July.) 

BIGGER  THAN  BARNUM'S—F.  B.  O—  Here's 
the  old  circus  formula  again.  Not  good  enough  and 
not  bad  enough  to  create  a  stir.     (September.) 


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.) 

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.) 

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

BORN  TO  THE  WEST— Paramount.— Lives  up 
to  its  name  in  exciting  fashion  without  a  thrill  left  out. 
A  good  Zane  Grey  Western.     (September.) 

BRIDE  OF  THE  STORM— Warner  Bros.— A 
gripping  melodrama  against  the  background  of  the 
sea.    Gruesome  at  times.     (June.) 

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.) 

BROKEN  HEARTS—  Jafte—  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  DERBY,  THE— First  National.— Good 
light  entertainment  for  those  who  prefer  the  sudden 
loud  laugh  to  the  slow  smile.     (August.) 

BROWN  OF  HARVARD  —  Metro-Goldwyn- 
Mayer. — College  life,  flip  and  lively,  against  the  real 
background  of  Harvard  College.  Fine  entertainment. 
(July.) 

BUCKING  THE  TRUTH— Universal.— A  story 
of  the  great  West  with  quite  some  riding  and  excite- 
ment.    Pete  Morrison  is  the  star.     (August.) 

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.) 


COHENS  AND  THE  KELLYS,  THE— Universal. 

— New  York  went  wild  over  this  and  so  will  every 
other  town.     See  it  and  howl!    (May.) 

COLLEGE  BOOB,  THE— F.  B.  O.— Lefty  Flynn. 
in  a  popular  college  football  affair.  It  will  please  the 
youngsters.     (October.) 

COWBOY  COP,  THE— F.  B.  O.— Don't  miss  the 
delightful  combination  of  Tom  Tvler  and  Frankie 
Darro.     They're  good.     (October.) 

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

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  bit 
impressive.      (May.) 

DANGEROUS  DUB,  THE— Associated  Exhibi- 
tors.— Buddy  Roosevelt  does  some  hard,  fast  riding — 
with  little  else  to  recommend.  O.  K.  for  the  kiddies. 
(September.) 


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. 


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

DEVIL  HORSE,  THE— Pathe.— A  picture  that  is 
worth  your  money.  A  family  picture — one  that  we 
recommend.     (August.) 

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.) 


DEVIL'S  ISLAND— Chadwick.— At  least  we  can 
recommend  the  performance  of  Pauline  Frederick. 
The  rest  of  the  picture  is  the  bunk.     (October.) 

DON  JUAN— Warner  Bros.— A  picture  that  has 
great  acting,  thrilling  melodrama  and  real  beauty. 
With  the  Vitaphone,  a  real  film  event.     (October.) 

DUCHESS  OF  BUFFALO,  THE— First  National. 
— Connie  Talmadge  in  a  brisk,  racy  and  lightly  amus- 
ing farce.     (October.) 

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.) 

ELLA  CINDERS  —  First  National.  —  Colleen 
Moore  breaks  into  the  movies  in  this  enjoyable  Cin- 
derella story.    Take  the  children.     (August.) 

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.) 

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.) 

FAMILY  UPSTAIRS,  THE— Fox— Take  the 
whole  family  to  see  this  enjoyable  picture.     (October.) 

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.) 

FIGHTING  BOOB,  THE— F.  B.  O— A  boring 
Western.  Now  don't  blame  us  if  it  doesn't  please. 
(June.) 

FIGHTING     BUCKAROO.    THE— Fox.— Buck 

Jones  still  does  all  the  necessaries  to  keep  one  amused. 
It's  good  stuff.     (June.) 

FIG  LEAVES— Fox.— A  slender  little  story  built 
around  a  gorgeous  fashion  show  filmed  in  colors. 
Olive  Borden  runs  away  with  the  picture.     (Sept.) 

FINE  MANNERS— Paramount.— Gloria  Swanson 
is  delightful  in  one  of  those  roles  she  does  so  perfectly 
— that  of  a  shabby  working  girl  who  loves  devotedly. 
(October.) 

FLAME  OF  THE  ARGENTINE,  THE— F.  B.  O. 

— A  change  of  scenery  is  about  the  only  new  thing  in 
Evelyn  Brent's  latest.     (September.) 

FLAME  OF  THE  YUKON,  THE— Prod.  Dist. 
Corp. — A  magnetic  story  of  the  adventuresof  the  gold- 
seekers  in  the  far  North.  Only  for  the  big  folks. 
(August.) 

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.) 

FOOTLOOSE  WIDOWS— Warner  Bros.— How  to 
win  a  millionaire  husband — according  to  the  movies. 
This  belongs  in  the  "quite  interesting"  list.    (Sept.) 

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

FRONTIER     TRAIL,     THE— Pathe.— A      red- 
blooded  Western  with  Harry  Carey.     If  you  like  swift 
melodrama  you  are  sure  to  like  this  one.    (August.) 
[  CONTINUED  ON  PAGE  14  ] 


Photoplay  Magazine — Advertising  Section 

"THE  SPICE   OF  THE   PROGRAM" 


What  is  a 
Feature  Picture? 


"The  best  thing  on  the  whole 
bill  was  that  comedy." 

"I  liked  it  better  than  the  long 
picture,  too.  It  was  a  good  show." 


"LJOW  often  has  this  happened  to  you  ?  Think 
it  over — does  length  determine  which  is  the 
"feature"  picture,  or  does  entertainment  value 
decide  it? 

Short  Features  are  playing  a  greater  part  in 
picture  programs  everywhere  this  season.  You 
and  the  rest  of  the  great  picture-going  public  are 
responsible.  You  have  insisted  on  all-round  pro- 
grams of  entertainment.  Short  Features  have 
made  this  possible. 

And  Educational  Pictures,  more  than  any 
others,  have  led  in  producing  finer  Short  Features 
from  season  to  season. 

Insist  on  knowing  in  advance  all  your  theatre 
is  showing.  If  you've  seen  "The  Vision,"  or  that 
other  classic  in  natural  colors,  "The  Blue  Boy," 
you'll  be  watching  for  other  Romance  Productions. 
And  you  won't  want  to  miss  the  comedies  of  Lloyd 


Hamilton,  Lupino  Lane,  Bobby  Vernon,  Billy 
Dooley,  Jimmie  Adams,  Johnny  Arthur,  Al  St. 
John  and  the  other  Educational  Pictures'  stars. 
Equally  full  of  chuckles  and  entertainment  are 
Educational's  well-chosen  cartoons  and  novel- 
ties— and  Kinograms,  Educational's  edition  of 
the  most  universally  popular  of  all  motion  picture 
features,  the  news  reel. 

Your  theatre  manager  can  keep  you  informed 
on  the  Educational  Pictures  he  is  to  show — by 
lobby  displays,  in  programs,  in  advertising,  and 
on  the  screen.  INSIST  THAT  HE  DO  SO. 
Educational  Pictures  are 

The  Spice  of  the  Program" 

ROMANCE  PRODUCTIONS 

HAMILTON  COMEDIES 

LUPINO  LANE  COMEDIES 

BOBBY  VERNON  COMEDIES 

JIMMIE  ADAMS  COMEDIES 

BILLY  DOOLEY  COMEDIES 

CHRISTIE  COMEDIES 

MERMAID  COMEDIES 

(Jack  White  Productions) 

JUVENILE  COMEDIES 

TUXEDO  COMEDIES 

CAMEO  COMEDIES 

LYMAN  H.  HOWE'S  HODGE-PODGE 

FELIX  THE  CAT  CARTOONS 

ROBERT  C.  BRUCE  SCENIC  NOVELTIES 

CURIOSITIES  LIFE 

The  Movie  Side-show  Cartoon  Comedies 


tlcrruxi.  0 'VctuAjzA-' 


'THE  SPICE  OFTHE  PROGRAM" 


EDUCATIONAL  FILM  EXCHANGES.  Inc. 

E.  W.  Hammons,  President 
Executive  Offices,  370   Seventh  Avenue,  New  York,  N.  Y. 

Ion  PH0T0PLA1  MAGAZINE. 


Last  Minute  ?^ews  from  East  and  West 


M 


ABEL   NORMAND   and  Lew  Cody     TD  ENEE  ADOREE  denies  she  is  going  to     "DILLIE  DOVE  has  signed  a  contract  to 
were    married    on    September    six-     -t^-be  married,  contradicting  her  reported     -•—'star  in  First  National  Pictures. 


teenth  at  Ventura,  California. 

ADOLPHE  MENJOU  and  Florence  Vidor 
are  to  be  co-starred  in  "The  Last  of 
Mrs.  Cheney,"  played  behind  the  New 
York  footlights  by  Ina  Claire.  Ernst  Lu- 
bitsch  will  direct  this  as  his  first  Famous 
Players  release. 

IT  seems  pretty  definite  now  that  Ramon 
Novarro  will  make  "Old  Heidelberg." 
John  Robertson  probably  will  direct  the 
production. 

DW.  GRIFFITH'S  next  production  for 
•  Famous  will  be  the  old  melodrama, 
"The  White  Slave."  Richard  Dix  will  have 
the  lead,  and  Carol  Dempster  will  play  the 
heroine. 

PRESENT  rumors  indicate  that,  when 
Famous  films  Dreiser's  "An  American 
Tragedy,"  Jack  Pickford  and  Fay  Wray  will 
have  the  leading  roles. 

REX  INGRAM  is  to  direct  a  new  version 
of  "The  Garden  of  Allah"  for  Metro- 
Goldwyn,  filming  a  large  part  of  the  picture 
at  his  studio  in  Nice,  France,  and  the  re- 
mainder on  the  Sahara.  Alice  Terry  will 
play  the  leading  role. 


JOHN  BARRYMORE 
J  has  signed  KonradVeidt 
for  the  r31e  of  Louis  XI  in 
his  production  of  "The 
Vagabond  King,"  based 
upon  the  life  of  Francois 
Villon.  Veidt  will  be  re- 
membered for  his  work  in 
"The  Cabinet  of  Dr.  Cali- 
gari."  Heisnowenroufe 
from  Berlin  to  Hollywood. 

DOROTHY  GISH  ar- 
rived in  New  York 
September  25  for  a  visit 
with  her  husband,  sister 
and  mother  before  return- 
ing to  London  to  resume 
work  for  the  British  Na- 
tional Pictures,  Ltd.  Miss 
Gish  has  completed  "Tip- 
toes" and  will  next  do 
"Madame  Pompadour." 

RALPH  FORBES,  who 
does  so  well  in  "Beau 
Geste,"  has  been  signed 
by  Metro-Goldwyn. 

ANOTHER  Clara  Bow 
engagement  is  an- 
nounced, this  time  to  Vic- 
tor Fleming,  the  director. 

10 


engagements  to  Rudolph  Friml  and  Gaston 
Glass. 

OCTAVUS  ROY  COHEN,  author  of  those 
delightful  Midnight  Film  short  stories 
appearing  in  PHOTOPLAY,  has  been  signed  to 
write  original  comedies  for  Universal. 

VERA  REYNOLDS  goes  abroad  for  va- 
cation. 


for  divorce 
her  director- 


LOUISE  LOVELY  brings  suit 
in  Sidney, Australia,  against  h 
husband,  Wilton  Welch. 


WALLACE  BEERY  has  signed  a  new 
Famous  Players'  contract. 

AMONG  film  luminaries  witnessing  the 
Dempsey-Tunney  fight  were  Mr.  and 
Mrs.  Jesse  Lasky,  Mr.  and  Mrs.  Monte 
Blue,  Mr.  and  Mrs.  William  Russell,  Win- 
field  Sheehan,  Carmel  Myers,  Patsy  Ruth 
Miller. 

CONNIE  TALMADGE  is  to  play  an  Ital- 
ian girl  in  her  next  film,  "Carlotta." 

BUCK  JONES  is  back  at  work  on  the 
Fox  lot. 


"Hurry  Up"  Yost,  the  famous  coach  of  the  University  of 
Michigan,  was  called  in  to  supervise  the  football  scenes  of 
"The  Quarterback,"  Richard  Dix's  new  picture.  Yost  is  at 
the  left  and  Donald  Morey,  former  Brown  star,  at  the  right. 
And,  of  course,  Dix  is  in  the  center 


ON  December  first,  Gilda  Gray  starts 
work  in  Hollywood  on  "Glorifying  the 
American  Girl,"  the  Famous  Players-Zieg- 
feld  special. 

CLARA  KIMBALL  YOUNG  has  sailed  for 
a  vacation  abroad. 

TAOROTHY  HUGHES,  the  D.  W.  Grif- 

-'--'fith  discovery,  is  appearing  in  Florence 
Vidor's  "The  Popular  Sin." 

KING  VIDOR  is  to  make  a  big  special 
around  the  history  of  the  Panama  Canal. 
The  story  is  by  Irvin  Cobb. 

NORMA  SHEARER'S  next  picture  will  be 
"Polly  of  the  Circus"  with  Tod  Brown- 
ing directing. 

CAROL  DEMPSTER  is  visiting  her  fam- 
ily in  California. 

ALBERTA  VAUGHN  denies  her  engage- 
ment to  Grant  Witheir. 

"PMIL  JANNINGS,  star  in  the  UFA 
-'—'masterpiece,  "Variety,"  sailed  for  Amer- 
ica on  September  twenty-sixth. 

DOLA  NEGRI  starts 
-^  work  on  "Barbed 
Wire,"  based  on  Hal 
Caine's  "Woman  of 
Knockaloe."  "Camille," 
despite  reports  that  it 
had  been  shelved  because 
of  Norma  Talmadge's 
production,  will  follow. 

WORK  is  about  to 

*  *    start   on    "Greatest 

Show  on    Earth,"    with 

Wallace  Beery  as   P.    T. 

Barnum. 

"D  OY  D'ARCY  has  been 
-'•*•  given  a  new  contract 
by  Metro-Goldwyn. 

T  LOYD  HUGHES  is 
-'—'playing  opposite  Mae 
Murray  in  "Valencia." 

DOROTHY  SEBAS- 
TIAN is  given  Metro- 
Goldwyn  contract. 

MILTON  SILLS  is 
elected  president  of 
newly  organized  Holly- 
wood Film  Guild,  further- 
ing the  little  theater  move- 
ment of  the  films. 


Photoplay  Magazine — Advertising  Secth 


.^.i 


sc  supreme  productions : 

WHAT    PRICE    GLORY 

THE    MUSIC    MASTER 

7TH    HEAVEN 

all  made  from  renowned  stage  successes 

3    BAD    MEN 

staged  by  John  Ford,  who  directed  "The  Iron  Horse" 

ONE    INCREASING    PURPOSE 

by  the  author  of  "If  Winter  Comes" 


Watch  your  theatres  for  Fox  Pictures — for  they 
bring  you  the  utmost  magic  of  the  screen! 


WILLIAM    FOX 


vrite  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


The  Real  Critics,  the  Fans,  Give  Their  Views 


Brickbats  and  Bouquets 


letters  from 

PHOTOPLAY  READERS 


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


The  Monthly  Barometer 

FOLLOWING  the  death  of  Rudolph  Valen- 
tino, this  department  received  an  ava- 
lanche of  letters  expressing  the  deep  and 
sincere  sorrow  of  the  fans.  The  letters  follow- 
ing Valentino's  death  received  during  August 
outnumbered  those  on  any  other  topic. 

"The  Big  Parade"  is  still  the  most-praised 
of  the  "special  productions,"  with  "Ben-Hur" 
and  "The  Vanishing  American"  as  close 
seconds.  "The  Sea  Beast"  is  coming  in  for  its 
share  of  comments,  with  "The  Merry  Widow" 
falling  off  in  interest. 

"Brown  of  Harvard"  and  "The  Torrent" 
are  the  most  popular  program  pictures,  receiv- 
ing nothing  but  bouquets. 

John  Gilbert  and  Ronald  Colman  are  the 
most  widely  discussed  stars,  but  Richard  Dix 
and  Lon  Chaney  enjoy  the  distinction  of  in- 
spiring nothing  but  kind  words.  Colleen 
Moore,  Gloria  Swanson  and  Ricardo  Cortez 
also  have  plenty  of  loyal  boosters. 

William  Boyd  and  William  Haines  are  run- 
ning away  with  all  the  honors  among  the  new- 
comers. 

Thomas  Meighan  and  Richard  Barthelmess 
were  the  targets  for  the  most  brickbats,  but  the 
blame  was  placed  on  their  pictures,  not  on 
the  stars. 

Photoplay's  interview  with  Canon  Chase 
received  more  responses  than  any  article  pub- 
lished in  the  magazine,  and  Richard  Dix's 
matrimonial  intentions  seem  to  be  the  subject 
of  the  greatest  interest. 


$25.00  Letter 

New  York,  N.  Y. 

I  do  not  agree  with  the  spokesman  of  the 
reformers,  Canon  Chase. 

To  me,  pictures  are  neither  moral  norimmoral. 
Human  beings  are  the  only  ones  to  whom  the 
word  "moral"  may  be  rightly  applied. 

It  is  the  obvious  intention  of  some  producers 
to  subvert  motion  pictures  to  a  base  appeal, 
and  many  beholders  will  see  evil  in  pictures 
whether  or  not  it  is  there — we  are  so  apt  to  find 
what  we  look  for.  But  it  is  a  happy  fact  that 
such  producers  and  beholders  are  a  small 
minority.  The  hearts  of  men  may  need  to  be 
purified,  but  that  is  the  job  of  the  church. 

I  don't  believe  in  censorship,  even  when 
called  regulation. 


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. 


"All  constraint  except  what  wisdom  lays  on 
men  is  evil." 

Pictures  may  not  be  true  to  life.  They  are 
an  escape,  a  surcease,  between  life's  reality. 

I  cannot  imagine  filling  out  one  of  Canon 
Chase's  score  cards.  If  I  tried  to  write  down 
my  analysis  of  "The  Big  Parade"  I  would  feel 
that  I  was  dissecting  the  body  of  a  friend. 

My  advice  to  those — with  special  emphasis 
for  the  co-workers  of  Canon  Chase — whoattend 
motion  pictures  with  the  idea  of  searching  for 
"off"  coloring,  is — stay  away.  Pictures  can- 
not be  worth  the  price  of  admission  to  such 
people. 

As  regards  sex,  keep  in  mind  there  are  only 
two  sexes,  and  cheer  up. 

The  producers  are  often  mistaken  as  to 
"what  the  public  wants,"  but  the  public 
doesn't  know  seven-eighths  of  the  time. 

Pictures  are  THE  GIFT  OF  GOD  to  the 
lonely  transient,  and  we  are,  each  one  of  us, 
at  some  time,  and  some  of  us  at  all  times,  lonely 
transients. 

Elizabeth  Van  Deusen. 

$10.00  Letter 

Philadelphia.  Pa. 
Whenever  somebody  remarks  "pictures  are 


s!  ill  in  infancy,"  IJrecall  Harry  Langdon's  babv 
clothes  for  "Tramp,  Tramp,  Tramp."  The 
screen  today  and  Harry  make  equally  over- 
grown "infants." 

Consider  the  advances  in  photography,  color 
process.  Consider  the  favorites  of  a  decade 
ago  —  Man,'  Pickford,  Marguerite  Clark, 
Charles  Ray,  Vivian  Martin — juvenile  types, 
portraying  fain,'  tales,  child  roles,  or  lightest 
romances.    It  was  the  age  of  I'ollyanna. 

Gradually  the  film  mind  expanded.  Today 
we  have  the  more  worldly  Negris,  Swansons, 
and  Gilberts;  the  Lubitsch  comedy-drama,  the 
Vidor  insight.  Von  Slroheim's  realism.  The 
prospective  of  the  screen  is  lengthening  toward 
maturity. 

The  old  fashioned  "movie  magazine"  has 
grown  apace.  Witness  Photoplay — replete, 
mil  with  sugar-coated  interviews  about  the 
stars'  favorite  desserts,  but  with  instructive 
articles,  advance  news  items,  fearless  criti- 
cisms, enjoyable  to  old  and  young. 

The  infancy  of  pictures  was  in  the  old  two- 
reeler  Biograph  days  of  jumpy  continuity, 
blotchy  photography,  and  unnamed  stars. 
Then  the  movies  attained  the  primary  grades 
and  began  showing  romances  or  childish 
"vamp"  pictures,  which  never  got  beyond 
adolescence.  Today,  in  the  era  of  sophisti- 
cated film-fare, the  motion  picture  is  on  the  high 
road  to  a  college  degree. 

Karlexe  A.  Armstrong. 

83.00  Letter 

Spokane,  Wash. 

The  organ  was  playing  some  serious  thing 
lightly  as  I  watched  the  Grand  Duchess  being 
embraced  by  her  waiter  when,  suddenly,  it 
appeared  to  me  a  delicious  joke  that  this  same 
Florence  Vidor,  this  velvet-gowned,  pearl-laden 
woman,  had  portrayed  in  all  sincerity  "Bar- 
bara Fritchie."  Sweet,  simple  Barbara; 
Barbara  in  hoopskirts;  Barbara  who  undoubt- 
edly thought  babies  were  found  cooing  in 
cabbage  heads  on  misty  mornings! 

Not  that  she  didn't  suit  the  role.  She  did — 
at  the  time.  She  was  sweetly  simple  and 
charmingly  wide-eyed  and  all  thus  and  thus. 
One  seeing  her  was  pleased,  mildly  pleased  with 
her  performance  and  ■personality.  And  im- 
mediately forgot  her. 

Then  quite  abruptly  there  was  a  change. 
Out  of  a  period  of  saccharine  characterizations 

[  CONTINUED  ON  PACE  86  ] 


Photoplay  Magazine — Advertising  Secti 


Are  You  Well  Bred- 
Still  An  Outsider? 


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Brief  Reviews    of  Current   Pictures 


[  CONTINUED  FROM  PAGE  8  ] 


GALLOPING  COWBOY,  THE— Associated  Ex- 
hibitors.— If  you're  in  the  mood  for  a  good  Western — ■ 
see  this.     (.July.) 

GENTLE  CYCLONE,  THE— Fox— Not  up  to 
the  standard  of  the  usual  Buck  Jones  feature.  (Au- 
gust.) 

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.) 

GLENISTER  OF  THE  MOUNTED— F.  B.  O  — 
Lefty  Flynn  in  an  Arthur  Guy  Empey  story  of  the 
Mounted  Police.  The  same  as  the  other  6.462. 
(.August.) 

GOOD  AND  NAUGHTY— Paramount.— A  flip- 
pant farce  comedy  with  Pola  Negri.  Ford  Sterling  and 
Tom  Moore.    Sterling  steals  the  picture.    (August.) 

GREAT  DECEPTION,  THE— First  National.— 
This  is  sadly  lacking  in  entertainment  value.  The 
secret-service  again.     (October.) 


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.) 

HANDS  ACROSS  THE  BORDER— F.  B.  O.— 

Fred  Thomson  and  Silver  King  make  this  an  interest- 
ing picture.     (August.) 

HF.LL  BENT  FER  HEAVEN— Warner  Bros.— 
Another  disappointment,  especially  alter  the  success 
of  the  stage  play.  Gardner  James  gives  an  inspired 
performance.     (July.) 

HELL'S  400 — Fox. — It's  funny — unintentionally. 

Grownups  may  see  this  if  they  promise  not  to  lau^li 
too  loud.     (July.) 

HER  HONOR  THE  GOVERNOR— F.  B.  O.— 
Pauline  Frederick  and  Carroll  Nye  wast.-  masterly 
performances  on  celluloid  claptrap.  Their  work  is 
worth  seeing,  but  the  film  itself  is  a  disappointment. 
(October.) 


HIDDEN  WAY,  THE— Associated  Exhibitors.— 
Another  weepy  affair  that  isn't  worth  the  famous  two- 
bits.     (October.) 

HIGHBINDERS.  THE— Associated  Exhibitors. 
— William  Tilden  stepping  out  as  an  actor,  but  he 
h  id  betti  r  stick  to  tennis  if  be  wish,  s  to  becom  :  a 
success  in  life.     Terrible.     (June.) 

HONEYMOON  EXPRESS.  THE— Warner  Bros. 
— Some  more  carryings-on  of  the  younger  generation. 
It's  not  so  bad.     (October.) 

IMPOSTOR,  THE— F.  B.  O— A  carbon  copy  of 
the  former  Evelyn  Brent  productions.    Fair.     (Juty.) 

INTO  HER  KINGDOM— First  National.— Don't 
wnstc  your  money  on  this  atrocity  filled  with  flowery 
subtitles,  stupid  symbolism,  bad  photography  and 
commonplace  direction.     (October.) 

ISLE  OF  RETRIBUTION,  THE— F.    B.    O.— 

Lillian  Rich  and  Robert  Frazer  are  in  the  cast — if 
that  means  anything.  Entertainment  value?  Fair. 
{July.) 

IT'S  THE  OLD  ARMY  GAME— Paramount.— 
W.  C.  Fields  is  disappointing  as  starring  material. 
His  comedy — fair.     (September.) 

JADE  CUP,  THE— F.  B.  O—  Do  you  know  your 
movies?  Then  vou  know  what  to  expect  from  Evelvn 
Brent.     It  will  pass.     (September.) 

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.) 

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  1     (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.) 


LAST  FRONTIER,  THE— Prod.  Dist.  Corp.— 
Here  is  another  and  feeble  version  of  "The  Covered 
Wagon"  plot,  with  the  long  trek  over  the  plains,  the 
buffalo  stampede,  the  rascally  redskins,  the  battle  and 
the  brave  young  hero.     (October.) 


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

LEW  TYLER'S  WIVES— Preferred  Pictures.— If 
you're  serious  minded,  this  faithful  screen  version  of 
Wallace  Irwin's  uncompromising  story  of  a  weak  man 
whom  three  loved  will  interest  you.  It's  too  adult  for 
the  children.      (September.) 

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

LOVE  THIEF,  THE— Universal.— The  marriage 
of  convenience  is  dressed  up  in  royal  garments  with 
Norman  Kerry  and  Greta  Nissen  in  the  royal  robes. 
Passable.     (August.) 

LOVEY  MARY— Metro-Goldwyn-Mayer.  —  The 
famous  "Cabbage  Patch"  does  not  provide  good 
screen  material.  It's  harmless  and  we'll  guarantee  it 
won't  overtax  the  mentality  of  The  Tired  Business 
Fan.     (August.) 

LUCKY  LADY,  THE— Paramount.— Could  you 
think  of  a  better  way  to  spend  an  hour  than  gazing  at 
the  fair  Greta  Nissen  and  William  Collier.  Jr..  forming 
the  love  interest  in  this  wholly  effective  melodrama? 
(September.) 

MADAME  MYSTERY— Pathe.— The  first  Thcda 
Bara  comedy  and  it's  a  riot!  Be  sure  to  see  it. 
(May.) 

MAN  FOUR  SQUARE,  A— Fox.— A  Buck  Jones 
Western— which  means  it's  a  good  one.     (July.) 

MAN  IN  THE  SADDLE,  THE— Universal- 
Hoot  Gibson  always  proves  himself  a  hero  all  the 

ti"<.  .     Y.. n  can  always  depend  on  Hoot  if  you're  in  the 
in 1  Li  a  Western.     (September.) 

MANTRAP — Paramount. — Clara  Bow's  excellent 
performance  makes  the  film  version  of  Sinclair  Lewis' 
l.iti  st  novel  good  entertainment.     (September.) 

MARRIAGE  CLAUSE,  THE— Universal— One 
of  the  most  appealing  stories  of  life  across  i  foot- 
lights. Billie  Dove  gives  a  splendid  performance. 
(August.) 

MEET  THE  PRINCE— Producers  Dist.  Corp.— 
Not  much  of  a  picture,  this.  Don't  waste  vour  time. 
(September.) 

MEN  OF  STEEL— First  National.— Don't  miss 
this  interesting  picture  that  has  the  sweeping  back- 
er, inn. 1  of  ..  huge  steel  mill  in  operation.  It  is  a  whole 
pi,  ture  of  good  performances.     (September.) 

MIDNIGHT  KISS,  THE— Fox.— A  nice  little 
movie  with  a  nice  little  plot  well  enacted  by  a  nice 
little  cast.      (October.) 

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

MISMATES— First  National.— The  cast  is  the 
only  interesting  thing:  Doris  Kenvon.  Warner  Bax- 
ter and  May  Allison.    The  story  is  the  bunk.     (Oct.) 

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

MISS  NOBODY— First  National.— Another  ex- 
ample of  a  good  story  gone  wrong.  If  you  can  think 
of  anything  else  to  do,  pass  this  up.     (August.) 

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.) 

MONEY  TALKS  —  Metro-Goldwyn-Mayer.  — 
Slapstick  at  its  best— a  la  Svd  Chaplin  stvle.  It's 
fluffy,  but  lots  of  fun.     (Julv.) 

MORAN  OF  THE  MOUNTED— Rayart.— The 
title  tells  the  story.  Reed  Howes  makes  it  quite 
interesting.      (October.) 

MORE  PAY  LESS  WORK— Fox.— Splendid  en- 
tertainment.    Need  more  be  said?     (September.) 

MY  OLD  DUTCH— Universal.— This  could  have 
been  a  knockout,  hut  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.) 

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.) 


Every  adviitis.nunt 


riluTciPLAY  MAGAZINE  i 


Photoplay  Magazine — Advertising  Section 


15 


NO  MAN'S  GOLD— Fox.— A  good  Tom  Mix  pic- 
ture— what  more  could  be  said?     October.) 

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  BABY— Universal. — A  lot  of  fun  for  every- 
body.    (October.) 

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 
atlords  splendid  entertainment.     (May.) 

OLD  LOVES  FOR  NEW— Fir^t  National— Fiir 
entertainment,  if  you  like  desert  stuff,  but  nothing  to 
cause  a  rush  of  adjectives  to  the  typewriter.     (July.) 

OLD  SOAK,  THE— Universal. — Another  success- 
ful stage  play  gone  wrong — in  fact  ruined.     (July.) 

ONE  MINUTE  TO  PLAY— F.  B.  O.— Red  Grange 
is  a  real  screen  personality  in  this  football  pictun  — 
the  very  spirit  of  youth  and  good  sport.  It's  a  gem. 
(October.) 

OTHER  WOMEN'S  HUSBANDS  —  Warner 
Bros. — A  thoroughly  amusing  and  clever  domestic 
comedy  well  directed  and  well  acted.     (July.) 

OUTSIDE  THE  LAW— Universal.— A  reissue  of  a 
crook  drama  released  many  years  ago.  Splendid  plot 
and  cast.    Good  entertainment.     (July.) 

PADLOCKED — Paramount. — Superior  entertain- 
ment. Honest,  mature  drama,  in  its  presentation  of 
a  young  girl's  life  nearly  ruined  by  the  severity  of 
hypocritical  morality.     (August.) 

onal. — Don't  be  annoyed. 


PARIS— Metro-Goldwyn-Mayer.  —  Leave  before 
the  last  reel  and  vou  will  find  this  an  absorbing  tale  of 
low.  Charles  Ray,  Joan  Crawford  and  Douglas  Gil- 
more  are  in  the  cast.      (August.) 

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.) 

PHANTOM  BULLET,  THE  —  Universal.— A 
Western  that  has  a  sure  fire  appeal  for  grownups  and 
children.     (July.) 

POKER  FACES — Universal.— Edward  Horton, 
the  director,  and  cast  try  desperately  hard  to  be  aw- 
fully funny  with  a  disastrous  result.     (September.) 

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

PUPPETS— First  National.— You  won't  go  wrong 
on  this.  An  interesting  vehicle  because  (and  we're 
glad  to  sav  it)  of  the  fine  performance  of  Milton  Sills. 
(September.) 

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 
Beaumont  storv  picturized  into  splendid  entertain- 
ment. William  Collier.  Jr.,  and  Georgia  Hale  give  a 
splendid  performance.     (July.) 


RANSON'S  FOLLY— First  National.— Richard 
Barthelmess  in  just  another  movie — that's  all. 
(August.) 

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.) 

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

ROAD  TO  M  ANDAL  AY,  THE— Metro-Goldwyn- 
Mayer. — It's  not  the  story  but  Lon  Chaney's  fine  per- 
formance that  puts  the  ginger  in  this  cookie.   (Sept.) 

.ROLLING  HOME— Universal.— Reginald  Denny 
always  manages  to  make  an  otherwise  dull  evening 
amusing.     Lots  of  fun  for  the  whole  family.     (July.) 

ROMANCE   OF   A   MILLION  DOLLARS.    A  — 

Bachman.— You'll  like  this— if  you  aren't  too  fussv. 
(October.) 

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.) 

RUNAWAY  EXPRESS,  THE— Universal- 
Nothing  like  the  good  old-fashioned  railroad  melo- 
drama.    This  is  worth-while.     (October.) 

RUSTLER'S  RANCH— Universal.— The  usual 
Art  Acord  stuff  that  the  children  like.     (August.) 

RUSTLING   FOR   CUPID— Fox— Cow   thieves 

double  for  Cupid  giving  us  a  new  slant  on  the  love 
question.     Good  entertainment.      (June.) 
I  CONTINUED  ON  PAGE  1 54  ] 


GEORGE  LEWIS  in  "THE  COLLEGIANS' 


Watch  This  Column 


Here  comes  the 

breeze  from  the  cam- 
pus, the  sparkle  of  youth, 
the  tinkle  of  the  ukulele, 
the  strenuous  efforts  of 
the  young  giants  to  make 
the  team  and  the  caustic 
comments  of  the  coach. 
Great  stuff,  and  we  all 
love  it. 

It  is  all  in  "THE 
COLLEGIANS/' 

the  series  of  2 -reel  fea- 
ture plays  of  college  life, 
written  by  Carl  Laemmle, 
Jr.,  and  produced  by  Uni- 
versal. GEORGE  LEWIS 
is  playing  the  college  hero 
role  and  unless  my  judgment  is  warped,  he  is  going  to 
make  himself  a  snug  berth  in  stardom.  He  is  young,  good 
looking,  full  of  pep,  a  good  actor  and  full  of  ambition.  Surely, 
there  isn't  much  more  than  that. 

Can't  you  imagine  HAYDEN  STEVENSON  as 

the  coach — the  pleasing  chap  who  played 
the  trainer  in  "The  Leather  Pushers"  in 
which  REGINALD  DENNY  made  his  first 
big  hit.  As  the  coach  of  the  college  team,  he 
has  a  much  bigger  chance  and  takes  full  ad- 
vantage of  it. 

This  whole  series  of  2-reelers 

should  be  shown  everywhere  because 

hayden  stevenson     they  reflect  the  scenes  which  everybody  loves 

and  are  in  accord  with  the  spirit  of  the  day — 

youth,  beauty,  romance.  Thrills,  too,  motor  boat  races,  the  campus 

rush,  polo  games,  all  that  the  "speed  of  youth"  conveys. 

By  all  means  see  JEAN  HERSHOLT  in  "The 

Old  Soak,"  Don  Marquis' now  celebrated  comedy-drama; 
also  that  thrilling  Jules  Verne  drama,  "Michael  Strogoff,  "  and 
LAURA  LA  PLANTE  in  the  brilliant  spectacle,  "The  Midnight 
Sun."  Don't  overlook  REGINALD  DENNY  in  "Take  It  From 
Me"  and  FRANCIS  X.  BUSHMAN  and  BILLIE  DOVE  in  "The 
Marriage  Clause,  "a  powerful  play  of  life  behind  the  scenes.  I  am 
waiting  for  a  personal  letter  from  you.  Yes,  of  course  I'll  answer  it. 


(jarl  \aemmh 


e 

President 


Send  10c  each  for  autographed  photographs  of 
George  Lewis  and  Hayden  Stevenson 


UNIVERSAL  PICTURES 

730  Fifth  Ave New  York  City 

in  write  to  advertisers  please  mention  PHOTOPLAY,  magazine. 


i6 


Photoplay  Magazine — Advertising  Section 


{f)Ve(y  Qirst  <National3kctur& 


"I'll  Wait  for  You 
—Forever!" 

"I  don't  care  how  long  it 
takes  you  to  make  good — 
To  show  my  folks  how  fine 
you  are...  'Cause  we've  got 
to  have  each  other — we've 
just  got  to!" 

But  when  he  came  back — 
hero  of  the  gridiron  and 
the  battlefield — did  Love 
come  back  with  him? 

Here's  a  picture  that's  all 
youth  and  tenderness — and 
thrills!  Boy-and-girl  love — 
campus  romance — great 
moments  on  the  football 
field — stirring  war  scenes... 
You'll  be  sorry  "forever 
after"  if  you  miss  it. 

Also  be  sure  to  see  — 

HARRY  LANQDON  in  "TKe 
Strong  Man."—  New  York  hailed 
it  as  "the  funniest  comedy  ever 
screened."  Langdon  at  his  hilarious 
best. 

"DON  ]UAN'S  THREE 
NIQHTS,"  with  Lewis  Stone  and 
Shirley  Mason. — A  "great  lover" 
who  sacrifices  his  greatest  love — be- 
cause it  is  real!  Luxurious  settings, 
spectacular  scenes. 


FirstNationalKctures^ 

••  presents 

FOREVER  AFTER" 

"MARYASTOR 
LLOYD  HUGHES" 

c^dapkdjrurri  OwenDauis  'Stage,  Success 

Directed  by  F.  Haimon Wfeight 

ffiodu&onjfanatjemeni  (B.'P3inem<M 


A  liiat  national  Picture 


rHOTOPI^iT  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


J7 


Ss  an  Entertainment  Qvent 


Robert  Kane  presents 

ThePrince^mpiers 

LOIS  MORANBEN  LYON 
LYADEPUTTI^ 

MARY  BRIAN  •  IAN  KEITH 
Sam  Hardy  •  •  •  OliveTell 

JldaptedfmTHEfr-DUMAWvelbijEPhillipOppenkim, 

ALotharMendes  Production 


iPPs\ 


a 


What  is  the  Greatest 
Temptation? 

Wine?  —  Gold?  — Jewels? 
— Luxury? — Excitement? — 
Fame? 

The  Prince  of  Tempters 
thought  he  knew  .  .  .  For 
he  knew  life  .  .  .  He  knew 
women  .  .  .  And  many 
women  had  known  him. 

But  he  didn't  know  this 
woman  .  .  .  and  she  hardly 
knew  herself  when  she 
found  she  was  falling  in 
love  with  the  man  she  had 
been  paid  to  hurt! 

The  most  amazing  drama 
of  the  year. — And  just  look 
at  that  cast! 

Other  popular  hits 

COR1NNE  QRIFFITH  in  "Syn- 
copating Sue." — "The  most  beauti- 
ful woman  in  the  world"  is  lovelier 
than  ever  in  this  fascinating  ro- 
mance of  Broadway's  famous  Tin- 
Pan-Alley. 

MILTON  SILLS  in  '-Paradise," 
with  BETTY  BRONSON.— Para- 
dise for  two  in  the  South  Seas  .... 
A  tropic  island  all  their  own  —  if 
he'd  fight  for  it  ...  .  And  how  he 
fought!     All-star  cast  of  favorites. 


A  lirat  national  Picture 


When  you  uTite  to  aclverti; 


i  PHOTOPLAY  MAGAZINE. 


i8 


Photoplay  Magazine — Advertising  Section 


"It  keeps 
your  hands 
from  getting 
old  ...  " 


says 


Claire  Windsor,  lovely  Metro-Goldu-yn-Mayer  star,  playing  in  the  new  screen  production 
"The  Little  Journey."  Miss  Windsor's  beautiful  hands  are  everywhere  admired 


lovely  Claire  Windsor 


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^Pictures 


ALL  dressed  up  for  a  snowstorm  in  Cali- 
*lV  fornia — Norma  Shearer  and  two  Rus- 
sian wolfhounds  who  are  a  long  way  from 
home.  The  Russian  influence  in  fashions  is 
great  if,  like  this  lady,  you  are  beautiful 
enough  to  get  away  with  it. 


Here  are  two  ladies 
raised  to  new  im- 
portance by  being 
cast  by  big  direc- 
tors for  prominent 
roles  in  "special" 
films.  Out  of  a  clear 
sky,  Eric  von  Stro- 
heim  selected  the 
almost  unknown 
Fay  Wray  for  the 
lead  in  "The  Wed- 
ding March." 


Kenneth  Alcxundu 


A  ii  J  Cecil  D  e 
Millc  rescued  Jac- 
queline Logan  from 
minor  movies  by 
choosing  her  for 
the  rule  of  Mary 
Magdalene  in  "The 
King  of  King s." 
This  is  the  first 
photograph  of  Miss 
Logan  as  the  Scarlet 
Woman  of  Biblical 
history. 


I 


I 


PROVING  that  the  name  Reginald  is  no  handicap.   Like  the  handsome  lad  across  the 
page.  Mr.  Denny's  athletic  prowess  gave  him  his  first  prominence  on  the  screen.     He 
was  an  amateur  boxer  in  England  before  he  went  on  the  stage. 


Spurr 


PROVING  that  the  name  Harold  is  not  fatal  to  success.     Signed  merely  as  a  football 
celebrity,  "Red"  Grange,  under  the  congenial  direction  of  Sam  Woods,  has  developed 
into  a  gFeat  film  personality.     There's  a  story  about  him  in  this  issue. 


GRETA  GARBO — the  object  of  John  Gilbert's  fervent  wooing  in  "Flesh  and  the 
Devil."  If  you  saw  "The  Torrent,"  you'll  know  that  Greta  plays  a  mean  love  scene 
herself.     So  won't  the  combination  be  a  great  one  for  these  chilly  evenings? 


■■■■Mi 


■■■■MHHHHHHnHi 


WILL  someone  explain  Blanche  Sweet's  unfading  beauty  and  unfailing  fascination  ? 
Blanche  looks  younger  than  when  she  played  Judith  of  Bethulia.     Perhaps  the 
studio  lights  hold  the  secret.     Or  perhaps  Blanche's  love  for  her  work  does  the  trick. 


Xanana  utdaed  Iter  sudors  - 


"~\  X  7E  simply  must,"  said  the  lovely 
V  V    Princess    Mariana   to   the    Royal 
Secretary,  "sort  that  list  of  suitors.  Don't 
tell  my  Royal  Father,  but  the  man  1  seem 
to  like  best  is  the  first  assistant  gardener. 
Or  course,  I  don't  suppose — but  proceed." 
The  Secretary  bowed  and   began  to  read: 
"l.    Prince  Prunello.    Gift:   a  magic  lo- 
tion to  preserve  youthful  beauty  for- 
ever." 
"Goodness,"  said  the  Princess,  "he  is  in- 
clined to  exaggerate,  don't  you  think?  Cross 
him  off. " 


"2.    Prince  Balakia.    Gift:  magic  beauty 
soap  full  of  wondrous  oils  and  drugs." 
"1  think  you  can  cross  him  off,  too." 
"3.    Prince  William.    Gikt:   Ivory  Soap, 
to  protect  with  its  simple  purity  the 
loveliest  face  in  the  world." 
"Now,  that's  more  like  it.  Prince  William 
sounds  worthy  Ot  an  interview." 
"If  Your  Highness  please,"  ventured  the 
Secretary,  "I  happen  to  know  that  the  first 
assistant  gardener  is  none  other  than  Prince 
William  in  disguise." 

"How  thrilling!  Tell  him  he  is  discharged 
at  once — and  bring  him  hither." 


ITU  health, complexions  need  little 
more  than  cleanliness  to  keep  them 


w 

lovely. 

Because  they  realize  this  simple  truth, 
millions  of  woman  entrust  the  care  ol  their 
skins  to  Ivorv  Soap  alone.  They  know  that 
lvorv  is  pure  as  dew,  as  gentle  as  the  fall 
of  a  snow  flake.  Ivory  does  not  agree  to  cure 
complexions  or  transform  them  magically 
with  oils  and  drugs.  It  does  promise — and 
give — all  that  a  soap  can  bring  to  beauty 
— safe  cleansing.  Your  complexion  can 
have  no  surer  friend. 

HROCTU     &     C  A  M  B  I.  F. 


ORY    SOAP 


Volume  XXX 


The  'Rational  Quide  to  3/lotion  Pictures 


Number  Six 


PHOTOPLAY 


November,  1926 


Speaking  of  Pictures 

By  James  R.  Quirk 


WILL  HAYS  has  been  in  conference  with 
President  Coolidge.  Hays  has  been  doing 
his  best  to  have  the  United  States  govern- 
ment maintain  a  special  bureau  for  the  keeping  of 
important  historical  films. 

Years  ago  Photoplay  launched  a  movement  to  have 
the  government  protect  films  of  public  value.  It  has 
steadily  advocated  this  action. 

There  are  important  historical  films  available,  which 
should  be  preserved.  There  are,  for  instance,  thousands 
of  feet  of  valuable  World  War  negative.  There  are 
scores  of  shots  of  Roosevelt,  Wilson  and  other  public 
figures  at  important  crises  in  their  lives.  National 
leaders  have  not  fully  appreciated  the  patriotic  neces- 
sity of  saving  and  protecting  these  bits  of  negative. 

Photoplay  hopes  that  the  Hays  conference  with  our 
national  executive  will  bear  fruit. 

W/HY  is  it  that  the  sensational  section  of  the  daily 
**  press  digs  up,  from  an  obscure  weekly,  an  eye- 
opening  "expose"  of  college  girls'  morals  and  then  so 
vigorously  defends  those  same  co-eds  in  the  editorial 
columns?  If  the  newspapers  had  ignored  this  article 
the  chances  are  that  hardly  anyone  would  ever  have 
heard  of  it.  Anyway,  the  charges  are  too  sweeping  to  be 
true,  but  why  print  them  in  the  first  place?  Well,  first 
comes  the  shekels  from  purveying  sensational  dirt. 
Then  the  crown  of  laurel  on  the  editorial  brow  for 
defending  American  pure  womanhood. 

Hypocrisy?  That's  one  sin,  at  least,  that  motion 
pictures  have  never  been  accused  of. 

IF  a  movie  star  suddenly  disappeared  from  a  studio — 
if  this  star  just  as  suddenly  turned  up  with  a  hair- 
raising  story  of  kidnapers — if  columns  and  columns  of 
publicity  appeared  in  the  newspapers  about  the  exploit 
— if  there  were  sob  stories  about  the  star's  return  and 
huge,  hysterical  ovations  of  welcome — if  there  were 
subsequent  strange  stories  of  a  man  in  the  case  and  a 
romantic  bungalow  by  the  sea — 

If,  I  say,  all  these  things  happened  to  a  movie 
star,  wouldn't  all  the  reforming  parsons  take  occasion 
to  denounce  the  screen  from  their  pulpits? 

And  yet,  have  the  movies  been  unkind  enough  to  say 
a  word  against  Aimee  Semple  McPherson,  the  famous 
Los  Angeles  evangelist  and  head  of  the  Angelus  Temple? 
How  about  the  parsons  remembering  this  little  inci- 
dent in  their  own  clan,  the  next  time  an  unfortunate  girl 
in  the  movies  stravs  from  the  fold? 


HpHAT  last  sad  journey  of  Rudolph  Valentino  across 
-*■  the  continent  increased  my  respect  for  the  big, 
human  heart  of  the  American  public.  Crowds  don't 
wait  patiently  in  the  rain  at  four  o'clock  in  the  morning 
out  of  idle  curiosity.  The  roots  of  such  action  strike 
deeper  than  that.  All  the  way,  from  New  York  City  to 
Los  Angeles,  the  throngs  that  assembled  for  a  glimpse 
of  the  funeral  train  paid  their  one  greatest  tribute  to  his 
memory — the  tribute  of  silence. 

Somewhere  on  the  prairies  of  Iowa  as  the  dawn — 
which  "Rudy"  was  leaving  behind  forever — began  to 
grey  the  east,  the  train  paused  for  a  moment  at  a  tiny 
hamlet.  An  elderly  woman  rushed  up  and  thrust  a 
great  bunch  of  flowers  into  the  hands  of  a  porter. 
"For  him,"  she  explained,  and  then  the  train  was  on  its 
way. 

Reverence,  not  curiosity,  does  things  like  that. 

A  GROUP  of  maharajahs  in  India  are  protesting 
■**■  against  the  number  of  American  films  shown  in 
that  country. 

If  the  maharajahs  want  to  make  pictures  themselves, 
they  might  try  it.  The  film  business  is  any  man's  game 
and  the  competition  is  open.  But  the  maharajahs 
ought  to  leave  their  rubies  and  diamonds  in  the  family 
safe  before  embarking  in  a  fight  against  fifteen  years  of 
hard-won  supremacy.  They  will  lose  their  elephants  if 
they  try  to  buck  Hollywood! 

HpHE  United  States  seems  to  be  growing  more  favor- 
■*■  able  toward  screen  importations.  This  is  not  be- 
cause there  has  been  a  change  in  sentiment  among  our 
picture  theater  patrons,  but  rather  because  the  recent 
importations  are  based  on  subjects  more  in  harmony 
with  our  national  viewpoint.  There  never  has  been  any 
prejudice  amongst  us  against  importations  as  such. 
But  theme  and  treatment  often  were  not  in  accord  with 
American  psychology.  The  public  here  has  always 
whole-heartedly  welcomed  alien  actors  of  merit.  The 
same  fair-mindedness  has  been  displayed  toward  foreign 
films. 

A  fear  has  been  expressed  in  some  quarters  that  film 
importations  may  compete  too  vigorously  with  our 
native  productions.  This  is  hardly  likely.  If  American 
productions — as  they  do — can  dominate  the  European 
continent,  obviously  we  have  certain  merits  in  methods 
— merits  of  universal  appeal — that  cannot  be  du- 
plicated abroad.  Let  Europe  send  us  her  best  pictures. 
We  want  to  see  them. 

27 


Tte  Price  -thy  Paid 


By  Myrtle  /  West 


Do  they  profit  by  their 

popularity — or  are  they 

victims  of  fate? 


Gloria  Swanson  has  paid  for  stardom  at 
the  price  of  her  peace  of  mind.    No  won- 
der she  has  a  constant  fight  to  guard  the 
privacy  of  her  home  life ! 


IT  was  at  the  funeral  services  for  Rudolph 
Valentino  in  New  York.     St.  Malachy's 
Church   was  crowded   with   movie  stars. 
The  greatest  and  the  highest  in  the  profession  were  in  that 
reverent   congregation — Mary   and   Doug,   Norma   and   Con- 
stance, Gloria,  Pola,  Richard  Dix,  Ben  Lyon  and  a  score  of 
others. 

As  the  flower-covered  casket  passed  slowly  out  of  the  church, 
a  wave  of  pity  and  fear  swept  over  the  church,  a  strange  and 
terrifying  emotion  that  imprinted  an  expression  on  the  faces  of 
the  stars  that  you'll  never  see  before  the  camera. 

In  the  church,  there  was  one  thought  and  that  thought  was 
something  like  this:  If  Rudolph  Valentino  hadn't  been  a  movie 
star,  he  wouldn't  be  lying  there.  If  he  had  remained  in  Italy 
and  become  a  farmer,  he  would  be  alive  and  happy  today  on 
some  sunny  slope,  working  in  some  rich  vineyard. 

And,  perhaps,  each  star  thought  of  his  or  her  own  fight  for 
stardom  and  wondered  if,  after  all,  it  is  wise  and  right  to  buy 
fame  and  money  at  the  price  of  contentment;  if,  in  the  struggle 
for  success,  it  is  good  to  kill  all  those  emotions  and  feelings  that 
make  life  worth  living. 

It  isn't  easy  to  feel  sorry  for  people  who  are  making  thousands 
of  dollars  a  week,  who  have  everything  in  the  world.  It  is  only 
when  one  of  these  favorites  of  fortune  dies  that  the  public 
extends  its  belated  sympathy.  While  they  are  living,  they 
seem  glamorous  and  enviable;  but  when  they  die  and  the  light 


Stardom  came  so  easily  to  Vilma  Banky !  On  the 
surface  of  things,  she  was  lucky.  And  yet  no  one 
knows  of  the  tragedy  of  isolation  and  homesick- 
ness that  beset  Vilma's  first  year  in  Hollywood 


is  suddenly  switched  off,  you  see  their  lives  in  all  their  stark 
emptiness. 

And  some  of  them  actually  do  pay  for  success  with  their 
lives.  Wallace  Reid  did.  Wally  worked  himself  to  death.  He 
didn't  work  for  the  money;  no  one  cared  less  for  money  than 
Wally.  If  he  had  stopped  to  rest,  his  salary  would  have  gone 
on  just  the  same.  It  wasn't  vanity  that  made  him  go  on 
making  pictures  when  he  should  have  been  resting,  gathering 
strength  for  the  fight.  Wally  held  a  unique  place  in  the  affec- 
tions of  the  public;  it  never  has  been  filled  and  it  never  will  be. 

Wally  worked  himself  to  death  because  he  couldn't  say  "  No." 
He  was  too  good  a  fellow  to  stop.  There  was  an  insistent 
demand  for  his  pictures;  the  studio  plans  called  for  more  and 
still  more  Wallace  Reid  comedies.  And  Wally  wasn't  selfish 
enough  to  say:  "Studio  plans  be  damned!  I  have  myself  to 
consider.    My  health  won't  stand  any  more." 


or 


Stardom 


W/ouId  you  want  to  be  a  star— 

If  you  knew  that  you  never  could  laugh? 
If  you  had  to  go  through  life  with  cross-eyes? 
If  it  cost  you  the  love  of  your  husband  or  wife  ? 
If  you  might  have  to  pay  for  fame  with  your  life  ? 


Belle  Bennett  paid  for  glory  with  her  deepest 
happiness.  For  it  was  the  death  of  her  son  that 
inspired  Miss  Bennett  to  give  her  great  portrayal 
of  Stella  Dallas.     Her  fame  was  bought  by  tears 


The  sunny  smile,  the  golden  disposition  that  made  Wally 
a  star  also  caused  his  death. 

In  movie  circles,  they  say  that  Barbara  La  Marr  committed 
suicide.  Not  that  she  actually  and  willingly  killed  herself  by 
her  own  hand.  But  she  did  deliberately  shut  her  eyes  to  danger 
and  plunge  on  to  her  death.  And,  months  before  anyone  else 
knew  that  Barbara  was  ill,  the  star  herself  knew  that  she  was 
going  to  die. 

When  Barbara  made  her  first  hit,  she  was  a  slim  young  girl. 
Slender,  perhaps,  because  in  those  years  of  sordid  obscurity 
Barbara  often  hadn't  had  enough  to  eat.  And  so  when  the 
money  came  rolling  in,  Barbara  became  a  victim  of  luxury. 
She  grew  plump  and  prosperous;  naturally,  because  she  was 
carefree  and  happy. 

But  the  public  didn't  like  it.  Her  "fans"  complained;  the 
exhibitors  kicked;  the  critics  laughed  at  her.     Barbara's  ad- 


No  face-wrinkling  laugh- 
ter. No  beauty-destroying 
grief.  Mae  Murray  lives  by 
her  beauty.  And  for  her 
beauty  must  she  live.  It's 
a  pretty  dull  life 


*& 


mirers  wanted  to  see  her  slim  and  big-eyed.  Barbara,  alas, 
looked  far  too  healthy  for  a  "vamp." 

And  Barbara  was  sensitive  and  proud,  and  she  hated  to  be 
laughed  at.  And  so  she  went  on  the  starvation  diet  that 
caused  her  death.  When  she  saw  its  devastating  effects  on  her 
health,  she  might  have  stopped.  But  by  that  time  Barbara 
didn't  care.  Life  meant  success,  and,  without  success,  Barbara 
didn't  want  to  live. 

Death  certificates  say  that  Harold  Lockwood  died  of  influ- 
enza. Only  the  doctors  who  attended  him  at  the  time  know 
why  Harold  didn't  recover,  as  did  hundreds  of  others  who  had 
good  care  during  the  epidemic.  But  Harold,  it  seems,  had  prom- 
ised to  make  a  personal  appearance    [  continued  on  page  134  ] 


The    Story    of   a    Girl    wh 


o 


bel 


leve    it    or 


ary 


IT  takes  all  kinds  to  make  a  movie  world. 
There  is,  for  instance,  the  celebrity  who 
hires  a  section  of  the  Ambassador  or  the 
Ritz  and  receives  you  in  a  room  scented 
with  the  morning's  roses  and  the  evening's 
cocktails. 

And,  on  the  other  hand,  there  is  Mary  Phil- 
bin,  registered  at  the  Hotel  McAlpin  merely 
as  "J.  Philbin,  wife  and  daughter." 

Mary  was  in  New  York  for  her  first  visit  and 
she  enjoyed  the  view  from  the  Woolworth 
Building  and  Lenore  Ulric  as  Lulu  Belle.  Par- 
ticularly Lenore  Ulric  as  Lulu  Belle. 

Mary  went  to  Newport,  not  to  take  tea  with 
Mrs.  Arthur  Curtiss  James  or  to  play  golf  on 
the  private  links  of  Suffern  Tailer,  But  to  visit 
the  little  house  in  the  village  where  her  grand- 
parents lived.  And  to  see  the  old  mill  where 
grandpa  proposed  to  grandma. 

Mary  had  luncheon  on  the  day  of  her  de- 
parture for  the  Coast  at  the  Hotel  Al- 
gonquin. When  she  entered  the  lobby  she 
said,  "Where  am  I?"  But  once  she  entered 
the  dining  room,  she  recovered  from  her  ner- 
vousness and  ate  two  plates  of  soup,  a  good- 
sized  steak  and  a  platter  of  hashed  browned 
potatoes.  It  was  a  record  luncheon  for  a  movie 
star.  Mary  weighs  99  pounds  and  she  is  trying 
to  achieve  the  century  mark.  The  Philbin 
grocery  bills  must  be  enormous.  Mary 
has  the  unabashed  appetite  of  a  Babe 
Ruth. 

To  sum  her  up,  Miss  Philbin  is  pretty 
much  the  real  thing.  The 
ingenue  stuff  is  not  a  pose. 
Like  another  Mary,  Miss 
Philbin  knows  what  she 
wants  and  how  to  get  it. 
She  knows  what  she  can  do 
and  what  she  can't  do. 

"I  give  everything  I  have 
to  my  profession,"  she  says. 

Romance, pleasure. friend- 
ships and  all  the  trappings 
that  go  with  the  glory  of  be- 
ing a  screen  star  mean  ab- 
solutely  nothing  to  Mary. 
To  her,  the  glory  of  being  an 
actress  is  enough  reward.  She  has  no  wish 
to  ape  the  social  life  of  a  debutante.  Beaux 
and  parties  are  nothing  in  her  life.    Any 
pretty  girl  can  have  these  things;  but  not 
every  pretty  girl  can  act.    And  Mary  has 

30 


Herself 


Mary  Philbin,  as  she  looked  when 
she  first  arrived  at  Universal  City, 
just  another  winner  of  a  beauty 
contest,  just  another  ambitious 
nobody 


sense  enough  to  know  that  she  has 
the  gift  and  that  it  is  worth  all 
kinds  of  sacrifices  to  keep  that  gift 
from  being  lost. 

"Everyone  tells  me,"  says  Man-, 
"that  I  ought  to  go  around  more. 
That  I  ought  to  go  to  parties.  That 
1  ought  to  see  things.  They  tell  mc 
that  going  places  and  meeting  peo- 
ple will  improve  my  work.  They 
say  that  I  keep  to  myself  too  much. 
"I  don't  see  why  I  should  'go 
about,'  as  people  say.  Not  in  Holly- 
wood, anyway.  When  you  do  go  to 
parties,  all  you  hear  is  pictures. 
Everyone  talks  about  the  same 
thing.  All  the  ideas  that  come  along 
are  pooled  and  anything  that's  new 
becomes  everyone's  property.  In 
an  atmosphere  like  that,  it  is  hard 
to  keep  one's  individuality.  No 
wonder  so  manv  of  the  pictures  look 
alike!" 

There  is  an  admirable  streak  of 
snobbishness  in  Mary  Philbin.  It  is 
the  snobbishness  of  an  artist  with  a 
high-strung   and   sensitive   nature. 
Mary    Pickford    has    it.       Maude 
Adams  had  it.     There  are  certain 
aspects  of  the  film  world  that  make 
Miss  Philbin's  lips  curl  and  her  nos- 
trils twitch.    She  feels  that  there  is 
something  immensely  fine  in  this 
career  of  being  an  actress  and 
that  it  is  wrong  and  vulgar  for 
persons  who  are  clever  and  gifted 
to  behave  like  newly-rich  mil- 
lionaires, just  because  it's  "the 
smart  thing  to  do." 

"Keeping  to  myself  was  my 
own  idea,"  Miss  Philbin  ex- 
plained. "  I  did  it  right  from  the 
start.  I  know  that  when  I  get 
through  work  at  the  studio,  I 
haven't  the  strength  to  go  out  in 
the  evenings.  I  haven't  the  en- 
ergy to  give  to  outside  distrac- 
tions. And  the  longer  I  am  in 
pictures,  the  more  I  realize  the  necessity 
for  complete  concentration." 

Little  Mary  is  neither  a  fool  nor  a  prig. 
Nor  is  she  a  professionally  "goody-goody" 
girl.    She  has  more  than  a  touch  of  Celtic 


not  —  would     rather    Wo  r\    than     Play 


The  bridal  outfit  is  for  photographic  effect.     Mary's 

romance  is  her  devotion  to  the  studio.     "I  love  my 

work  so  much,"  she  explains,  "that  it  wouldn't  be 

fair  to  think  of  anything  else" 


gayety.  And  she  likes  persons  and  things  that  no  "goody- 
goody  "  girl  would  mention.  Her  parents  may  accompany  their 
daughter  on  all  her  trips  but  parental  chaperonage  doesn't  seem 
to  hang  heavy  upon  her. 

Eric  von  Stroheim  is  somewhat  of  a  god  to  her,  and  Eric's 
productions  are  scarcely  kindergarten  classes.  The  gay  dogs  of 
pictures  have  more  fascination  for  her  than  the  nice  young  men. 
The  drama  with  a  bit  of  spice  interests  her  more  than  milk  toast 
films.  There  is  nothing  of  the  "my  public  doesn't  want  to  see 
me  in  sophisticated  stories"  attitude  about  Mary. 

Mary's  start  in  pictures  was  discouraging  enough.  As  you 
know,  she  won  a  Chicago  beauty  contest  and  was  given  a  con- 
tract with  Universal.  Von  Stroheim  selected  her  from  among 
the  thousands  of  contestants,  although  she  was  far  too  thin  and 
frail  to  measure  up  to  the  usual  standards  of  beauty. 

Once  at  the  Universal  studios,  Mary  became  merely  a  de  luxe 
sight-seer.  Von  Stroheim  was  deeply  involved  in  "Foolish 
Wives"  and  had  no  time  to  give  to  his  protege.  Other  directors 
wouldn't  even  consider  the  eager,  gauche  child.  But  she 
learned  a  lot,  watching  the  others. 

Finally,  her  contract  was  nearing        [  cont'd  on  page  132  ] 


When  Mary  came  to  New  York,  she  was  registered  at 
the  hotel  as  "J.  Philbin,  wife  and  daughter."  Mary 
takes  no  interest  in  the  trappings  and  glories  of 
stardom.  And  hers  is  the  quietest  and  simplest 
home  in  Hollywood 

31 


Archery  is  a  popular  Holly- 
wood  recreation.  The 
ancient  game  is  coming 
into  its  own  again.  Here 
Reginald  Denny  is  showing 
Marion  Nixon  exactly  how 
to  hit  the  target.  It's  a 
matter  of  accuracy  and 
strength 


^Hollywood's 

The  coast  film  colony 

is  the  healthiest  community 

in  the  world — and  it's  because  the 

screen  stars  know  there  is  no 

substitute  for  real  exercise 


Tennis  is  a  fine  game  to  keep  a  screen  star  in  con- 
dition. Florence  Vidor's  tennis  court  is  shown 
above.  Miss  Vidor  is  close  to  the  camera  and 
Director  George  Fitzmaurice  is  just  across  the  net 


There  are  some  star  golf  players  in  Hollywood  and 
a  lot  of  others  who  aren't  bad.  This  scene  is  at  the 
Lakewood  Country  Club  and  the  players  are 
Pauline  Frederick.  Wally  McDonald,  Helene  Chad- 
wick  and  Huntley  Gordon 


Greatest  Asse 


""lk      "T"0  group  of  people  in  the 

|^^  I  world  with  the  exception 

^^  of     the     college    athletes 

takes    better   care   of    its 

health  than  the  stars  of  the  motion 

picture  industry." 

This  is  the  statement  of  Dr.  Nathan 
O.  Reynolds,  popular  Hollywood 
physician,  who  looks  after  the  wel- 
fare of  many  of  those  who  are  promi- 
nent in  the  film  world. 

"Keeping  fit  with  them  is  a  reli- 
gion. With  both  men  and  women 
their  faces  and  figures  are  a  great 
part  of  their  fortune  and  constant 
exercise  keeps  them  young-looking 
and  prevents  those  few  extra  pounds 
which  might  prove  fatal. 

"I  know  many  stars  who  work 
harder  keeping  'in  the  pink'  than  do 
some  of  our  champion  fighters. 


Sally  O'Neil  couldn't  swim 
before  she  started  work  in  her 
present  film,  "The  Mysteri- 
ous Island."  She  has  prac- 
ticed for  months  in  the  studio 
pool  until  now  she  can  swim 
expertly  and  stay  underwater 
for  seventy  seconds 


The  Hollywood  tennis  courts  see  active 
service  on  off  studio  days.  Mae  Allison, 
Virginia  Valli  and  Julanne  Johnston,  shown 
above,  can  star  in  celluloid  or  on  the  courts. 
All  three  play  a  mean  game  of  tennis 


Every  star  exercises  reg- 
ularly. Ramon  Novarro 
likes  to  do  his  on  the  Santa 
Monica  Beach.  He  likes 
swimming  best  of  all  and 
he  goes  through  his  beach 
gymnastics  every  morn- 
ing before  breakfast 


Hollywood  —  out    where    Exercise    is    j  u  s  t  P  I  ay 


Yachting  is  popular 
with  the  Hollywood 
stars.  John  Barry- 
more,  Jack  Gilbert, 
Corinne  Griffith,  Dick 
B  art  hel  mess  ,  Al 
Christy  and  Reginald 
Denny  all  have  yachts 
of  their  own.  Here 
Bill  Powell  and  Ron- 
ald  Colman  are 
spending  a  week-end 
with     Dick     Barthel- 


"  There  are  many  ways,  but  few 
of  them  safe,  of  taking  off  extra 
poundage.  There  is  only  one  way  to 
keep  it  off  and  that  is  constant  ex- 
ercise and  proper  diet. 

"The  people  of  the  film  colony 
know  this.  Taking  exercise  which  is  a 
pleasure  helps  make  exercise  easy. 
That  is  why  you  find  the  stars  spend- 
ing most  of  their  spare  time  on  the 
tennis  court,  golf  links,  in  their  swim- 
ming pools,  cantering  over  the 
Beverly  Hills  bridle  path  of  a  Sunday 
morning  and  enjoying  various  other 
games  which  take  their  fancy." 

Athletes  go  on  the  training  table 
for  certain  periods  each  year.  The 
prize  fighter,  the  football  player,  the 
baseball  star  and  the  college  athlete 
go  into  training  for  their  limited  sea- 
sons. But  the  screen  star's  season  is 
twelve  months  under  the  searching 
and  relentless  eve  of  the  camera. 


Here  is  a  glimpse  of  the 
squash  court  of  the 
Hollywood  Athletic 
Club,  where  waist  lines 
are  put  to  rout  every 
day.  Left  to  right: 
Monte  Blue,  Wally 
McDonald,  Eddie  Burns 
and  Bill  Bailey 


Hollywood  is  the  center 
of  the  swimming  pool 
zone.  This  is  Charlie 
Ray's  pool  and,  from 
left  to  right,  you  may 
observe  Julanne,  John- 
ston, Virginia  Valli, 
Carmelita  Garaghty, 
Charlie  himself,  Sidney 
Russel,  Mrs.  Ray  and 
Walter  Pidgeon 


84 


The  Lark  of  the  Month 


ALL  Hollywood  knows  Raymond  Griffith's  fascinating,  husky 

/™\    whisper.    When  he  was  on  the  speaking  stage,  Ray  lost  his 

voice  and  was  obliged  to  turn  to  the  silent  drama. 

The  girls  all  say  that  it  adds  to  his  charm — this  whisper  which 

always  sounds  as  though  Ray  were  saying  something  very  intimate 

and  a  little  daring. 

It  was  at  a  party  and  the  Girl  was  new  to  the  film  circle.  But 
she  had  heard  all  about  the  movie  folks  and  their  heart-breaking 
ways. 


And  the  Silk  Hat  comedian  has  a  most  ingratiating  manner 
with  the  ladies. 

The  Girl  wanted  to  meet  him.  For  the  Comics  have  a  reputatior 
of  being  a  fascinating  lot. 

And  so  Raymond  was  brought  forth  and  presented. 

"I  am  glad  to  meet  you,"  he  hoarsely  murmured. 

The  Girl  smiled  sweetly  and  replied:  "You — you  needn't  whis- 
per.    My  husband  can't  hear  us.     He's  across  the  room." 

And,  after  that,  how  could  Ray  find  the  nerve  to  explain? 

35 


ighting 
for  the 

Crown 

By  Col  York 


YOU  will  no  doubt  remember  your 
childhood  rhyme  about  the  lion 
and  the  unicorn  who  were  fight- 
ing for  the  crown. 

Very  exciting  it  always  sounded  to  me, 
too.  Something  dashing.  I  always  had  a 
clear  picture  of  the  crown,  too — large 
diamonds  and  rubies,  with  maybe  a  dash 
of  emeralds. 

Well,  there  is  a  fight  for  a  crown  going 
on  in  Hollywood  right  now  that  the  out- 
side world  knows  nothing  about.  It  is 
the  battle  for  the  social  crown,  and 
although  I  wish  you  to  know  that  it  is 
purely  figurative,  it  is  nevertheless  as 
exciting  and  dashing  as  anything  de- 
scribed in  society  novels. 

The  two  ladies  who  are  combatants  in 
this  battle  royal  are  both  friends  of 
mine,  and  I  would  not  for  the  world 
have  you  misunderstand  them,  and, 
therefore,  I  must  inform  you  at  the  very 
start  that  the  fight  is  being  conducted  in 
most  gallant  fashion  and  strictly  accord- 
ing to  all  rules  laid  down  for  social  war- 
fare. You  will  find  its  precedent  often 
enough  in  the  days  of  the  English 
"country  houses,"  when  hostesses  and 
social  leaders  were  of  vast  importance 
and  often  controlled  the  fate  of  empire. 

Certainly  the  social  dictatorship  of  Hollywood  is  worth  fight- 
ing for. 

Hollywood,  as  you  may  or  may  not  have  heard,  is  a  strange 
place.  In  the  beginning,  which  is  not  so  long  ago,  we  had  no 
social  life  worth  mentioning.  People  gave  parties.  Sometimes 
they  threw  parties.  You  were  invited  up  to  dinner  or  over  to 
lunch.    A  gang  got  together  for  week-ends. 

But  society,  in  its  proper  and  more  intricate  meanings,  we 
had  not. 

Now  all  that  is  changed.  Hollywood  has  become  intenselv 
social.  And  I  venture  to  say  that  no  more  brilliant  social  circle 
has  existed  since  the  days  of  Lady  Holland  and  Lady  Mel- 
bourne. For  where  those  two  great  social  geniuses  exercised  all 
their  talents  to  bring  together  the  wits  and  lions,  the  beauties 
and  royalty  of  their  day,  society  in  Hollywood  is  naturally  made 
up  of  nothing  but  celebrities,  beauties,  picked  brains  and  the 
dazzling  royalty  of  filmdom. 


In   this   corner:     Mr.   and  Mrs.   Antonio  Moreno   in 
their  hilltop  home.     Mrs.  Moreno  was  Daisy  Canfield, 
daughter  of  the  first  oil  king  of  California.     She  in- 
herited an  enormous  fortune 


There  are,  of  course,  small  cliques  that  have  their  own  little 
affairs  among  themselves.  But  all  these  are  now  welded  into  a 
whole,  that  is  Hollywood  society.  And,  say  what  you  will,  it  is 
bound  to  be  impressive  and  exclusive  since  you  must  be  either 
a  great  name,  a  great  beauty,  a  great  success,  or  extremely 
amusing  to  belong  to  it. 

In  such  a  case,  there  are  bound  to  be  social  leaders. 

Nine  cases  out  of  ten,  there  develops  one  great  social  czar  or 
czarina — as  in  the  case  of  Mrs.  Potter  Palmer,  Mrs.  Eleanor 
Martin.  Ned  Greenway,  Beau  Nash,  and  Alice  Roosevelt 
Long  worth. 

Today  there  are  two  ladies  in  Hollywood  fighting  for  the 


The  Inside  Story  of  the  Subtle  Struggle 


And  in  this  corner:  Mr.  and  Mrs.  Earle  Williams.  Florine 
Williams  was  a  New  York  millionairess  when  she  mar- 
ried the  ex-Vitagrapher.     She  loves  to  entertain,  and 
Hollywood  calls  her  a  perfect  hostess 


throne  that  will  place  them  in  undisputed  sway  over  the  social 
customs  and  destinies  of  the  brilliant  movie  colon}'. 

Ladies  and  gentlemen,  allow  me  to  introduce  to  you  these  two 
charming  contestants  for  a  royal  diadem — first,  that  lovely, 
that  gracious,  that  much-loved  lady,  Mrs.  Antonio  Moreno. 
And  second,  the  vivacious,  clever,  startling  millionairess,  Mrs. 
Earle  Williams. 

Let  us  look  for  a  moment  upon  these  two  ladies,  who  are 
almost  unknown  to  the  great  motion  picture  public,  but  who 
occupy  such  exalted  and  important  positions  in  the  exclusive 
inner  circle  of  Hollywood,  whose  invitations  delight  the  greatest 
stars  and  who  can  gather  beneath  their  roofs  probably  the 


Two  friendly  rival 
hostesses,  Mrs. 
Antonio  Moreno 
and  Mrs.  Earle 
V/illiams,  are 
striving  for  the 
social  leadership 
of  Hollywood 


greatest    number   of    movie    celebrities 
ever  seen  in  private  homes. 

They  are  so  different.  They  are  great 
friends,  of  course,  as  all  clever  rivals  are. 
But  never  were  two  women  so  different. 
They  are  beyond  question  the  two  most 
popular  and  successful  hostesses  in 
Hollywood — I  except  Marion  Davies,  of 
whom  a  word  later — and  yet  their 
methods  are  as  different  as  night  is  from 
day. 

Dear  Daisy  Moreno!  I  defy  anyone 
not  to  love  Daisy.  Daisy  is  a  darling. 
Daisy  has  that  gift  of  the  gods,  the 
ability  to  put  everyone  at  their  ease. 

There  is  a  remarkable  history  back  of 
Daisy  Moreno.  She  was  born  Daisy 
Canfield.  Her  father  was  the  first  oil 
king  of  California.  But  he  was  more 
than  that.  He  was  a  great  pioneer  of 
California,  and  he  was  one  of  the  most 
loved  men  of  his  time.  Her  mother  was 
famous  for  her  charities  and  for  her 
beautiful  home.  Daisy  claimed  heritage 
from  them  both,  besides  her  enormous 
fortune. 

I  don't  suppose  anyone  would  call 
Mrs.  Moreno  a  beauty.  But  she  is 
lovely,  she  is  graceful,  she  wears  the 
divinest  clothes,  the  most  exquisite 
jewels,  she  has  the  manner  of  a  queen  or 
a  gentlewoman.  She  has  understanding, 
she  has  intellect,  she  has  endless  tact. 
Her  hilltop  palace  is  by  far  the  most 
gorgeous  home  in  Hollywood.  It  was  designed  for  entertaining 
upon  a  large  scale  so  that  forty  people  can  dine  in  the  apple- 
green  dining  room  without  feeling  at  all  crowded,  and  two 
hundred  people  can  dance  in  the  huge  drawing  room  with  the 
greatest  comfort.  Yet  it  has  the  distinct  impress  of  its  mistress 
upon  everything. 

Somehow  you  are  never  conscious  of  Daisy  Moreno  in  her 
own  house,  yet  you  are  always  conscious  of  her.  Everything 
always  moves  perfectly,  but  without  any  apparent  effort.  The 
beauty  of  the  appointments,  the  ease  of  the  service  is  like  a 
miracle.  John  McCormack  will  sing  in  that  big  drawing  room 
for  the  sheer  pleasure  of  singing,  or  Heifetz  will  play,  or  Raquel 
Meller  enchant — and  it  is  just  all  part  of  the  beauty  and 
graciousness  of  Mrs.  Moreno's  gift  of  entertaining. 

At  Daisy  Moreno's  you  can  wander  off  into  the  library  with 
a  book,  you  can  stav  all  evening  in  a  corner  talking  politics  with 
Charlie  Chaplin,  you  can  dance      [  continued  on  page  156  ] 


for   H  oily  w  0  0  d'  s   Social   Dictatorship 


37 


an 


Audience  of 
Ten  Million 

Why  Sam  Goldwyn  paid 
$125,000  for  a  Novel 


WHY  did  Samuel  Goldwvn  pay  Harold  Bell  Wright 
$125,000  for  the  picture  rights  of  his  novel,  "The 
Winning  of  Barbara  Worth"? 

Big  prices  have  been  paid  in  the  past  for  plays. 
But  not  for  novels.  "  Ben-Hur"  and  "  The  Birth  of  a  Nation  " 
paid  huge  returns  because  they  were  sold  on  a  royalty  basis. 
"Kiki,"  an  assured  dramatic- success,  cost  $105,000,  but  then 
its  plot  was  a  guaranteed  stage  success. 

"The  Winning  of  Barbara  Worth"  sets  a  new  record  for  a 
novel.    Let  Mr.  Goldwyn  explain  it — he  paid  the  money. 

"In  the  first  place,"  he  says, '"The  Winning  of  Barbara 
Worth'  was  published  in  1914.  It  was  written  by  Harold  Bell 
Wright,  who  is  perhaps  the  most  popular  writer  of  fiction  in 
the  United  States.  Over  2,800,000  copies  have  been  sold. 
That  means  at  least  10,000,000  people  have  read  the  book- 
There  have  been  more  copies  sold  of  this  book  than  any  other 
printed  in  the  English  language 
—  excepting,  of  course,  the 
Bible. 

"There  is  a  ready-made  au-  Tea— iced— for  two. 

dience  of  10,000,000  who  know  Ronald  Colman  and 

the  story  and  will  be  interested  Vilma  Banky  enjoy 

in  seeing  it  on  the  screen.    Do  themselves  on  the  ver- 

you   see   my   first  reason?  anda  of  Vilma's  bunga- 

" Now  my  second  reason:  I  low  in  the  desert.    And 

have  always  wanted  to  make  a  who  would  complain  of 

desert  story.    I've  never  found  the  desert  with  Vilma 

a  story  that  was  big  enough.  to  Provide  an  oasis? 


-■'■ 


A  drama  of  Man's  conquest  of  Nature — that's  the  story 
of  "Barbara  Worth."    The  settlers  pouring  into  Kings- 
ton,   to   wrest    a   living — maybe    a   fortune — from   the 
great  desert 


I   ? 


Mr.   Colman   and  Miss  Banky — a  great  co-starring 

team  and  two  of  the  reasons  why  Sam  Goldwyn  is 

considered  an  astute  producer 


The  appeal  of  'The  Winning  of  Barbara  Worth'  is  as  vast  as 
the  earth — this  story  of  converting  a  hell  of  parched  lands 
into  a  paradise.  This  mighty  struggle  of  man  against  nature. 
It's  drama  in  itself. 

"Expensive?    Surely — but  worth  it." 

Three  complete  towns  were  built  for  "The  Winning  of 
Barbara  Worth." 

Henry  King  and  his  company,  headed  by  Ronald  Colman 
and  Vilma  Banky,  will  spend  live  months  on  the  desert  to 
film  the  scenes. 

A  technical  staff  of  over  one  hundred  persons  are  employed 
on  the  picture. 

89 


hy  I  Like  Hollywood 

better  than 

the  Bronx 


By  Eddie  Cantor 


FRANK  TUTTLE  said  to 
me  one  day,  making  con- 
versation, if  you  had  to 
live  either  in  Hollywood  or 
the  Bronx — which?  You  must 
be  bright  to  answer  the  foolish 
questions  of  your  director,  so  I 
said  quickly,  Beverly  Hills.  Fair 
enough,  said  Frank,  so  I  got  by 
with  that  for  then. 

Beverly  Hills  is  a  ritzy  sub- 
urb of  Hollywood ;  it's  where  the 
cream  of  the  colony  is  supposed 
to  live  and  almost  never  does. 

Realtors  settled  it;  picture 
celebrities  built  on  it,  and  but- 
ter-and-egg  men  are  buying  it 
up. 

Will  Rogers  says  if  they  keep 
on  invading  the  sacred  soil  hal- 
lowed by  the  white  elephants 
erected  by  the  Swansons,  Fair- 
banks, Chaplins,  Negris,  and 
what  nots,  he'll  be  borrowing  his 
morning  coffee  from  perfect 
strangers  instead  of  off  the  cooks 
and  second  help  who  live  in  the 
houses  of  the  famous  while  they 
travel  in  Europe  or  live  in  good 
hotels. 

Rogers  and  I  used  to  park  our 
gum  under  the  same  chair  when 
we  worked  for  laughs  in  Zieg- 
feld's  shows.  I  remember  well 
when  he  first  got  his  idea  to  be- 
come an  author. 

"  These  writin'  fellers  have  all 
the  luck,"  he  said,  twitching  his 
rope  preparatory  to  going  on. 

"I  don't  see  that  at  all,"  I  re- 
monstrated; "you'd  find  pretty 
darn  quick  that  it  would  be  a  lot 
harder  hitting  a  typewriter,  than 
it  is  to  throw  the  bull  instead  of 
the  rope  that  you're  paid  for 
throwing." 

I  couldn't  convince  him;  he 
was  hit  with  the  bug  of  toying 

Ifi 


Eddie  Cantor  is  the  boy  from 
the  Bronx  who  has  been  such 
an  unfailing  hit  on  Broad- 
way that  Paramount  hired 
him  to  film  his  stage  success, 
"Kid  Boots" 


with  a  clean  sheet  of  paper  and  a  pencil  and 
the  fact  that  he  later  offered  me  the  loan  of 
one  of  the  biggest  mausoleums  in  Beverly 
Hills  shows  that  it  sometimes  pays  to  toy. 
He  told  me  to  move  right  in,  while  he  went 
to  Europe  portfolioing.  I  was  afraid  my 
four  daughters  might  dent  up  his  early  Okla- 
homa and  late  Grand  Rapids  furniture,  but 
he  said  no — two  boys  are  more  destructive 
than  eight  girls,  and  I  only  had  four. 


"Mr.  Lasky  said,  'Bring  the  daughters 
to  Hollywood.  There  are  accommoda- 
tions for  large  families  on  account  of 
nearly  everyone  having  several  chil- 
dren.1 They  pushed  me  off  every  high 
place  in  Southern  California" 


I'd  have  taken  advantage  of  his 
offer,  but  the  pictures  can't  make  up 
their  minds  yet  whether  I'm  going  to 
stay  in  Hollywood.  If  pictures 
should  claim  me  for  their  own,  I'll 
beat  Bill  to  his  privately-owned- 
clean  -  water  -  every  -  day  -  tiled  -  swim- 
ming-hole or  know  the  reason  why. 

I've  been  wondering  if  Frank  Tut- 
tle  meant  anything  by  that  dirty 
crack  about  the  Bronx.  Sometimes  I 
think  directors  know  everything;  they 
get  so  canny  they  can  point  out  a 
guy's  $150.00  peg  tooth  and  tell  the 
name  of  the  grinning  devil  who  put  it 
in. 

The  Bronx — well,  yes,  I'll  have  to 
admit  I  know  it  a  little;  a  man  has  to 
have  a  few  rough  contacts  before  he 
can  live  in  more  than  one  room  at  a 
time.  It's  been  a  long  while  since 
those  amateur  days  when  I  used  to 
get  the  tin  can  regularly  from  Bronx 
audiences — dear  dead  days  that  I 
thank  the  Lord  are  dead. 


"The  bus  boys  at  the  Hotel  had 
never  seen  me  in  pictures  be- 
cause I  was  just  making  my 
first,  and  they  won't  serve  a 
pat  of  butter  to  anyone  they 
haven't   seen   on   the   screen" 


" 


"Beverly  Hills  is  a  ritzy 
suburb  of  Hollywood. 
Realtors  settled  it;  picture 
celebrities  built  on  it,  and 
butter-and-egg  men  are 
buying  it  up" 


"We  were  so  comfortable 
in  our  Beverly  Hills  bun- 
galow, I  was  late  to  work 
three  mornings  and  my 
gags  were  so  funny  nobody 
laughed" 


"The  pulchritudeness  of  the  place  goes  to  the 
head  like  pre-war  stuff.  If  Titian,  Rubens, 
Gainsborough  or  Reynolds  could  only  have 
lived  today  instead  of  me!  Something  should 
be  done  about  it!" 


Although  I'm  not  mercenary,  one  of  the  reasonsl 

can  see  Hollywood  is  because  it's  so  much  easier  to 

pry  loose  a  million  nickels  there  than  it  used  to 

be  to  Joeschenck  one  out  of  a  nickelodeon  in 

the  Bronx. 

I  get  a  great  kick  out  of  sitting  on  one 
of  those  benches  placed  along  Hollywood 
Boulevard  for  the  convenience  of  Pacific 
Electric  passengers.  A  parade  of  Rolls- 
roycesrenaultsmercedcspackardscadillacs- 
lincolns  roll  past  in  balloon-tired  silence, 
their  haughty  occupants  once  poor  chorus 
girls  or  singing  waiters  like  me.  They 
sometimes  [  continued  on  page  150  ] 


"The  birds  in  Hollywood  have 
it  all  over  the  poor  beasts  in 
the  Bronx  Zoo.  They  are  as 
free  as  air  and  sing  on  full 
stomachs" 


41 


(Camera 

WHAT  is  the  best  side  of  your  face? 
That's  the  first  question  a  photographer  asks  you 
when  you  go  to  have  your  picture  taken.     And  a 
good  photographer,  with  a  camera  eye,  can  tell 
instantly  whether  to  take  your  picture  from  the  right  or  the 
left. 

Don't  be  insulted  if  the  photographer  tells  you  that  your 
right  eye  is  larger  than  your  left;  or  that  the  contour  of  youi 
left  cheek  is  better  than  your  right.  All  our  faces  area  trifle  askew. 
Few  of  us  have  noses  that  sit  squaiely  in  the  center  of  our  faces. 
Every  star  has  a  favorite  camera  angle.  Every  cameraman 
must  study  the  individual  irregularities  of  the  star  he  is  photo- 
graphing. A  thin  face  looks  bad  from  a  three-quarters  view.  A 
tall  star  is  photographed  with  the  camera  slightly  raised;  a 
short  star  is  photographed  with  the  camera  placed  low  to  add 
height. 


Clara  Bow's  favorite 
pose — that  over-the- 
shoulder,  catch-me-if- 
you-can  glance.  But  if 
it  is  used  too  often,  it 
gets  to  be  too  much  of 
a  good  thing 


here  are  slight  irregularities 
in  even  the  most  beautiful  faces. 
And  it's  up  to  the  camera' 
man   to   find   the  "best 
side"  of  his  star 


Florence  Vidor's 
mask  of  tragedy — a 
three-quarters  shot 
with  head  drooping. 
Somehow  or  other, 
this  pose  instinc- 
tively suggests 
pathos  and  bids  for 
your  sympathy 


Even  stars  who  are  almost  "cam- 
era perfect"  must  watch  their  cam- 
era angles,  for  different  shots  have  a 
way  of  registering  different  moods. 
Full-face,  head  up,  makes  for  com- 
edy. Three-quarters  face,  with 
head  drooping,  suggests  pathos. 

So  here  are  the  stars,  as  their 
cameramen  see  them: 


Colleen  Moore  can  look  straight  at  the  camera 
and  laugh  without  breaking  the  lens  or  the 
cameraman's  heart.  Douglas  MacLean  is  "shot" 
with  the  camera  placed  above  him  to  shorten  his 
high  brow 


REGINALD  DENNY 

Reginald  Denny  is  one 
of  those  fortunate  indi- 
viduals who  can  be  pho- 
tographed from  any 


angle,  except  the  back  of  his  neck.  At  least,  that  is  the  asser- 
tion of  Arthur  Todd,  who  photographs  the  majority  of  his  pic- 
tures. Reggie  has  no  best  angle,  though  the  crooked  whimsical 
smile  of  his  is  more  pronounced  when  "shot"  three-quarters 
rather  than  full  on.  From  a  back  view,  Reg's  neck,  due  to  his 
athletic  ability,  is  inclined  to  be  too  heavy. 

HOOT  GIBSON 

Hoot  Gibson's  best  angle  is  a  three-quarter  shot  from  the 
left,  and  whenever  it  is  possible  the  riding  star  presents  this 
part  of  his  visage  for  the  camera.  However,  as  an  action  star, 
he  is  "shot"  from  all  angles. 

BOBBY  AGNEW 

Bobby  Agnew's  full  face  presents  an  appearance  of  youthful 


boyishness  which  is  most  often  cap- 
tured for  the  camera — and  so  is 
considered  his  best  angle. 

NORMA  TALMADGE 

Norma  Talmadge  names  a  close- 
up  profile  as  the  one  she  likes  the 
best.    However,  she  believes  that  it 
is  up  to  the  director  and 
the  photographer  to  de- 
vise the  "shots"  which 
will  best  picturize  the 
scene.    In  one  of  her  pic- 
tures the  director  and 
the  cameraman  rode  on 


"Woof!"  shouts  Wallace 
Beery.  "Camera  angles 
are  only  for  the  pretty 
ones.  So  far  I  haven't 
been  bothered  with  people 
hanging  around  telling 
me  how  good-looking  I 
am."  Bring  on  your  big 
scene  and  Mr.  Beery  will 
do  the  rest 


/ 


a  perambulator  and 

caught   a   close-up   of 

her  profile  as  she 

walked   along.      It   proved 

very  effective  on  the  screen. 

Another  camera  angle  she 

always  likes    is    a    "shot" 

from  a  ten  foot  parallel  on  the  set 

below. 


Miss  Vidor's  mask 
of  comedy — a  full- 
face  shot.  When  the 
scene  calls  for  a  light 
mood,  Miss  Vidor 
faces  the  camera. 
It's  a  little  studio 
trick  all  the  come- 
dians use 


/  CONSTANCE  TALMADGE 

W  Sister  Constance  has  been  "shot" 

from  every  conceivable  angle.     "If  I 

ever  did  have  a  preference  no  one  ever 

asked  me  to  express  it  while  we  were 

making  a  picture,"  she  says.     "A  comedienne  has  to  neglect 

dignity  for  laughs,  and  I'm  sure  the  camera  has  caught  me  in 

some  very  unconventional  poses.     I  remember  one  picture  in 

which  I  was  being  spanked  and  that  certainly  was  not  my 

favorite  camera  angle.     Seriously,  I  dote  on  full  face  close-ups. 

I  hope  I  do  not  seem  egotistical  in  saying  this,  but  I  always 

have  taken  a  great  delight  in  getting  my  face  as  close  to  the 

camera  as  possible  and  making  faces." 

BUSTER  KEATON 
Any  camera  angle  suits  Buster,  just  so  he  can  get  a  laugh 
out  of  it.  He  doesn't  care  if  his  cameraman  shoots  him  standing 
on  his  head,  hanging  on  his  toes,  rest- 
ing on  his  chin  or  what  haven't  you. 
The  only  angle  he  has  to  worry  about 
is  that  the  camera  may  start  grinding 
too  soon  some  day  and  catch  him  smil- 
ing. 

[  CONTINUED  ON  PAGE  1 36  ] 


"I  like  to  get  my  face  as  close  as  possible  to 
the  camera,"  says  Constance.  Bebe  Daniels' 
eyes  are  her  fortune  and  so  Bebe  always  plays 
"two-eyed  queens,"  as  is  the  old  saying  of  poker 
players 


43 


First    P ublication    of  a    Design   for    the 


h\ 


A 

?f  IsAonument 

to 

1      YOUTH 

and 

R  ROMANCE 


By 

Matlack 

Price 


The  direct  front  elevation, 
showing,  in  plan  also,  the 
half-circle  of  columns,  the 
location  of  the  equestrian 
figure  of  the  Sheik,  and  the 
informal  pergolas  that  ex- 
tend along  the  ends  of  the 
terrace,  designed  to  be  paved 
with  red  Spanish  tiles 


WHAT  are  monuments?  What  do  they  mean? 
From  prehistoric  times  man  has  built  a  monu- 
ment to  an  ideal — an  aspiration — something  he 
wanted  in  his  life,  but  somehow  hadn't  got.  First, 
he  built  rude  cairns  of  stones;  his  monuments  usually  were  to 
various  beings  he  called  gods,  glorified  in  immortal  architecture 
by  the  Egyptians  and  Assyrians — then  by  the  Greeks  and 
Romans. 

But  the  point  is  that  man  was  not  content  to  harbor  empty 
longings — it  was  his  peculiarity  to  want  to  do  something  about 
it,  to  put  up  a  tangible  something  that  would  symbolize  his 
aspiration,  or  commemorate  some  hero  who,  to  him,  at  least, 
personified  the  aspiration  in  human  form. 

So,  since  we  have  more  than  some  of  us  readily  admit  in 
common  with  primitive  man,  we  are  concerned  now  with  a 
monument  to  youth  and  romance — intangible  things — things 
desired,  at  one  time  or  another,  by  virtually  every  man  and 
woman. 

Some  people  have  youth  but  lack  romance;  to  some  romance 
comes  too  late,  when  youth  has  flown;  some  find  themselves 
wanting  both  youth  and  romance.  Intangible  things,  yes — but 
they  make  the  difference  between  night  and  day  in  life  as  it  has 
to  be  lived,  regardless  of  any  human  condition. 

U 


This  story  really  begins  with  a  dark  young  man  from  the 
Italy  of  storied  romance  moving,  shadow-like  and  graceful, 
across  the  screen  and  (I  willingly  risk  being  trite)  by  means  of 
that  miraculous  device  called  the  motion  picture,  the  cinema, 
the  movie,  or  what  you  will,  brought  youth  and  romance  not  to 
thousands  but  to  millions  of  this  earth's  disillusioned  in- 
habitants. Of  his  triumphant  succession  from  that  insolently 
handsome  young  Franco-Argentine,  Julio,  in  "The  Four 
Horsemen,"  through  the  characterization  of  the  immortal 
Sheik,  on  to  the  son  of  that  same  illustrious  lover,  of  his  con- 
quest of  an  ever-widening  audience,  better  information  than  is 
possessed  in  the  present  owner's  store  is  set  forth  elsewhere  in 
this  issue  of  Photoplay.  It  is  simply  of  the  monument  to 
youth  and  romance  that  I  would  write  here,  and  from  the  point 
of  view  of  the  designer. 

That  our  primitive  impulses  prompt  the  building  of  a  tangible 
memorial  to  Rudolph  Valentino  is  obvious,  as  well  as  being 
true  to  human  instinct,  and  it  is  a  spontaneous  expression  of 
the  feeling,  now  that  the  young  man  is  no  longer  with  us.  that 
he  brought  into  countless  lives  a  closer  realization  of  the  bright 
colors  of  youth  and  romance  than  most  of  us  could  have  found 
for  ourselves,  even  if  all  had  ample  chance  to  seek.  Thrills — 
emotional   thrills — a  clear  vision  of  escape  from   prosaic  or 


Rudolph  Valentino    Memorial    in    Hollywood 


An  impression  of  the  memorial,  standing  in  classic  silhouette 
against  a  dark  background  of  trees 


unhappy  conditions  of  life.  If  he  gave  us  this — if  he  helped 
hundreds  of  thousands  to  escape,  even  for  a  few  hours,  from 
dull,  embittered  lives — who  is  more  splendidly  worthy  of  a 
lasting  monument? 

The  difference  between  a  flapper  and  a  college  president  is 
not  so  great  as  either  believes — and  plenty  of  both  have  ex- 
pressed their  views  about  Rudolph  Valentino.  I  will  leave  the 
flapper's  expression  to  your  imagination.  The  college  president, 
perhaps,  expresses  himself  more  ably.  Thus  Dr.  Glenn  Frank, 
of  the  University  of  Wisconsin: 

"His  films  brought  high  romance  into  lives  oppressed  by 
harsh  realities. 

"A  Valentino  picture  meant  music  to  lives  that  were  mo- 
notonous. 

"  For  millions  of  men  and  women  he  crowned  dark  days  with 
colorful  evenings. 

"In  Valentino,  men  and  women,  upon  whom  life  had  for- 
gotten to  smile,  found  escape  from  themselves  and  their  en- 
vironment. 


"  For  a  fleeting  hour  he  brought  to  them  the  priceless  boon  of 
bright  illusions." 

Dr.  Frank  was  not  one  of  the  not-quite-bright  people  who 
affected  amazement  at  the  great  disparity  of  space  accorded  in 
the  daily  press  to  Rudolph  Valentino  and  Dr.  Charles  Eliot, 
former  president  of  Harvard  University,  both  having  died 
within  the  same  day's  news. 

To  the  man  who  reached  millions,  those  millions  wish  to  erect 
a  memorial,  not  only  to  express  their  gratitude  for  the  thing  he 
brought  into  their  lives,  but  to  remind  themselves  of  it  and  keep 
it  alive — the  spirit  of  youth  and  romance. 

The  designer,  thinking  of  this  monument,  thought  directly 
away"from  anything  like  a  mausoleum.  The  tomb  is  the  sharp 
dividing  line  between  life  and  death;  when  we  look  at  it  we  feel 
the  dark  gulf  that  must  lie  ever  between  the  quick  and  the 
dead.  So  we  prefer,  mostly,  not  to  look  at  tombs,  but  to  pass 
them  by,  on  the  other  side  of  the  street. 

What  would  the  man  himself  have  liked? 

[  CONTINUED  ON  PAGE   133  ] 

46 


STUDIO  NEWS  6?  GOSSIP 


King  and  his  Queen!  Eleanor  Boardman  and  King  Vidor  were  married 
at  the  home  of  Marion  Davies  recently.  From  left  to  right  we  have: 
Irving  Thalberg,  Mr.  Vidor,  Rev.  E.  P.  Ryland,  Mrs.  Vidor,  Miss  Davies, 
George  Van  Cleve  and  John  Gilbert.  This  was  the  first  of  a  parade  of 
September  movie  colony  weddings 


His  name  is  Measles,  because  he's 
easy  to  catch.  Everywhere  Carol 
Dempster  goes,  Measles  goes  too. 
He  has  that  Adolphe  Menjou  ex- 
pression around  his  eyes 


IT  is  Eleanor  Boardman  Vidor  now.  The  marriage  of  Miss 
Boardman  and  King  Vidor  took  place  at  the  home  of  Marion 

Davies  recently.  Of  course,  no  one  was  surprised.  And  yet 
again,  there  were  those  who  predicted  that  the  wedding  would 
never  take  place. 

Florence  Vidor  was  in  New  York  when  word  of  the 
marriage  arrived.  After  all,  Florence  and  King  had  been 
genuinely  in  love  with  one  another,  and  even  though  it  is  all 
in  the  past,  it  wasn't  exactly  pleasant.  But  George  Fitzmau- 
rice  is  Florence's  constant  and  devoted  suitor,  so  why  shouldn't 
everyone  concerned  wish  each  other  happiness? 

BY  the  time  you  read  this,  Doris  Kenyon  and  Milton  Sills 
may  be  starring — we  said  "starring"  not  "sparring" — 
partners  for  life.  Anyway,  it  won't  be  long  now  before  Milton 
and  Doris  are  married  at  Miss  Kenyon's  home  in  the  Adiron- 
dacks.  And  it  ought  to  be  a  happy  marriage.  Doris  and  Milton 
have  plenty  of  common  sense  and  plenty  of  tastes  in  common. 

"QASH  AND  CARRY"  PYLE  tells  a  funny  one  on  "Red" 
^■'Grange.  When  "Red"  started  work  at  the  studio,  the 
producers  proceeded  to  treat  him  like  a  regular  movie  star. 
So  they  engaged  an  orchestra  to  play  on  the  set. 

However,  "Red"  didn't  pay  much  attention  to  the  music 
and  so,  after  several  days,  Mr.  Pyle  asked  him  if  he  had  any 
suggestions  to  make  about  music. 

"What  music?"  asked  Grange. 

THERE  is  a  Samuel  Goldwyn,  Jr.,  now.  For  three  days  after 
little  Sam  made  his  debut  into  this  world,  Goldwyn,  pcre, 
never  even  mentioned  "The  Winning  of  Barbara  Worth." 
Frances  Howard  Goldwyn  is  completely  happy,  because  she 
had  hoped  for  a  boy.  And  everyone  in  Hollywood  has  showered 
the  Goldwyns  with  congratulations. 

ALTOGETHER  it  was  a  busy  week  for  Marion  Davies.  On 
one  day,  she  gave  a  small  and  quiet  dinner  party  for  Lady 
Ravensdale.  The  next  day  was  Rudolph  Valentino's  funeral  in 
Hollywood,   with   Marion  escorting   Pola  Negri   through   the 

46 


ordeal.  Then  the  Goldwyn  baby  was  born  and  Marion  and 
Mrs.  Goldwyn  are  great  friends.  And  the  following  day  the 
Boardman-Vidor  wedding  was  celebrated  at  Marion's  home. 

THE  stork  seems  to  have  a  busy  season  ahead  of  him. 
Among  the  Hollywood  celebrities  who  it  is  said  are  keep- 
ing the  window  open  and  anxiously  awaiting  his  arrival  are  Mr. 
and  Mrs.  Herb  Rawlinson,  Mr.  and  Mrs.  Lloyd  Hughes  and 
Mr.  and  Mrs.  Fred  Thomson  (Frances  Marion,  peer  of  all 
scenario  writers). 

The  Thomsons,  I  am  informed,  have  denied  to  some  that 
they  are  expecting  the  stork  and  admitted  it  to  others,  so  you 
can  take  your  choice  here. 

With  the  Rawlinsons  and  Hugheses,  there  is  no  question,  for 
they  all  very  happily  admit  it. 

T  MET  my  good  friend  Nick  Grinde  amiably  munching 

apfelstrudel  in  Henry's  cafe  the  other  noon.  Nick  is  as- 
sistant director  to  that  clever  Monta  Bell  and,  if  you  will 
take  my  word  for  it,  one  is  the  perfect  complement  to  the 
other. 

"Who,"  said  I  to  Nick,  "is  the  girl  over  there,"  thinking 
that  Nick  knew  everyone  in  the  business.    He  did. 

"She's  the  girl  who  ran  for  the  doctor  in  'The  Birth  of  a 
Nation',"  replied  Nick,  and  his  mouth  closed  over  a  forkful 
of  strudel. 

That  goes  in  the  niche  next  to  Ben  Lyon's  "he  played  the 
title  in  'The  Poisoned  Gumdrop'." 

RUDOLPH  VALENTINO'S  will  caused  wide  comment.  He 
left  his  fortune,  estimated  at  over  a  million  dollars,  to  be 
divided  equally  among  his  sister  Maria,  his  brother  Alberto  and 
Mrs.  Teresa  Werner.  Mrs.  Werner  is  the  aunt  of  Natacha 
Rambova,  Rudie's  second  wife.  And  these  three  were,  perhaps, 
the  most  deserving  persons  Rudie  ever  had  known. 

It  was  Mrs.  Werner  who  was  Rudie's  staunch  and  loyal  friend 
during  the  most  unhappy  days  of  his  life — his  separation  from 
Natacha.  That  he  remembered  her  so  generously  is  only  an- 
other indication  of  the  greatness  and  loyalty  of  Rudie's  heart. 


EAST  AND  WEST      «yGrfy«* 


These  attractive  shoes,  worn  by 
Claire  Windsor,  are  made  of  rattle- 
snake skin.  Now  what's  to  prevent 
Claire  from  wearing  the  rattles  on 
her  garters  ? 


Here's  what  one  baby  can  do  to  a  well-regulated  studio.  Jack  Conway 
wants  the  baby  to  smile  for  a  close-up  for  "The  Understanding  Heart." 
And,  in  spite  of  a  collection  of  the  best  talent,  the  baby  refuses  to  give  a 
single  crow.  It's  a  wonder  he  isn't  yelling  at  the  top  of  his  voice  with 
that  mob  around  him 


AS  for  Natacha  Rambova,  Rudie's  will  left  her  one  dollar. 
But  perhaps  Rudie  felt  that,  if  Natacha  were  ever  in  real 
need  of  money,  Mrs.  Werner  would  be  able  to  look  after  her. 
Natacha's  film,  "What  Price  Beauty?"  may  be  released,  in 
spite  of  the  fact  that  it  was  originally  judged  too  exotic  for  pop- 
ular taste.  But  the  producers  who  have  money  invested  in  the 
picture  are  anxious  to  get  a  little  cash  back  from  it.  You  can't 
blame  them. 

Remember,  we  are  all  only  human. 

"TSN'T  it  disgraceful,"  murmured  the  $5,000  a  week  star, 
■^■"how  these  women  tennis  players  are  turning  profes- 
sional?" 

PHILLIPS  SMALLEY  and  Phyllis  Loraine  Ephlin  were 
married  recently.  Very  shortly  after  the  marriage  of  Lois 
Weber  to  Captain  Harry  Gantz,  in  fact.  And  as  you  will  recall, 
Phillips  Smalley  was  Miss  Weber's  first  husband. 

I  wonder  if  there  is  a  bit  of  hidden  romance  in  this  little 
domestic  story.  Smalley  and  Miss  Weber  were  divorced  in 
1923.  Rumors  were  that  they  were  to  be  re-married.  Rumors 
are  rumors,  though,  and  always  will  be,  but  it's  prettily  senti- 
mental to  imagine  that  he  waited  for  her  to  marry  first  before 
he  again  became  a  benedict. 

The  new  Mrs.  Smalley  is  a  charming  girl  who  has  done  con- 
siderable dramatic  work  in  pictures. 

I  MET  May  Allison  at  Montmartre  the  other  day.  She  was 
lunching  with  Ruth  Roland  and  Florence  Strauss.  Mrs. 
Strauss  is  the  clever  lady  who  tells  Dick  Rowland  and  others  of 
First  National  whether  or  not  a  story  should  be  purchased. 
May  looked  particularly  joyous  in  a  cubistic  dress,  all  splotched 
with  squares  of  red  and  green  and  yellow  applied  to  a  dark  blue 
background.  She  is  one  girl  who  has  the  ability  to  wear  ultra- 
smart  things  with  charming  insouciance. 

Fortunately  we  are  to  be  privileged  to  see  more  of  May,  for, 
assuming  the  prerogatives  of  her  beauty  and  sex,  she  has  de- 
cided to  stay  in  the  West  for  a  while  and  appear  in  two  of  Mr. 
William  Fox's  films.    The  day  I  saw  her  she  was  about  to  com- 


mence a  prominent  role  in  "The  City,"  after  which  she  is  to 
play  the  other  brother's  wife  in  "One  Increasing  Purpose." 

NOTHING  slow  about  our  Jackie  Coogan  if  you  will 
listen  to  this  bit  of  repartee  I  overheard  between  the 
little  actor  and  his  director,  Millard  Webb,  when  they 
were  making  "Johnnie  Get  Your  Hair  Cut." 

In  Webb's  eyes  Jackie  was  a  bit  temperamental,  so  he  un- 
dertook to  lecture  him: 

"See  here,  Jackie,"  said  Webb,  "I  have  directed  bigger 
stars  than  you  .  .  .  John  Barrymore,  for  instance." 

Jackie  gave  Webb  a  long  look  and  then  said  slowly: 

"Bigger,  yes,  but  only  in  size." 

UNCLE  TOM'S  CABIN"  has  been  a  troublesome  propo- 
sition for  Universal.  Charles  Gilpin,  the  negro  actor, 
was  engaged  for  the  role  of  Uncle  Tom.  But  all  didn't  work 
out  well  and  Gilpin's  agreement  was  cancelled. 

And  then  came  a  big  bloodhound  shortage,  with  Harry  Pol- 
lard, the  director,  offering  to  buy  bloodhounds,  at  any  price. 

The  casting,  too,  is  progressing  slowly  with  Mona  Ray,  a 
fourteen-year-old  child,  being  the  only  prominent  member  of 
the  cast  definitely  decided  upon.     Little  Mona  will  play  Topsy. 

THE  movies  sure  do  have  their  lure. 
This  time  it  is  Rabbi  Harry  Trattner  who  has  deserted 
his  Los  Angeles  synagogue  to  become  confidential  assistant  to 
Mike  Levee,  general  executive  manager  of  First  National. 

Some  of  Mike's  well  wishing  enemies  are  hinting  that  this 
is  a  very  clever  move  on  Mike's  part  to  get  plenty  of  good  wine 
at  a  price. 

THERE  are  all  sorts  of  stories  and  rumors  floating  around 
about  the  picture  career  of  the  Duncan  Sisters. 
I'll  let  vou  in  on  the  latest  one. 

It  is  that  they  are  NOT  signed  by  First  National  and  may 
not  appear  on  the  screen  at  all. 

Seems  they  insisted  on  appearing  as  children  if  they  did  a 
picture  at  all  and  that  the  tests  showed  Sister  Vivian  anything 

47 


"Copy  cat!"  says  Norman  Kerry  to  Lucille  Pinson. 
"You've  gone  and  had  your  bathing  suit  made  like  my 
kilts."  Miss  Pinson  was  the  winner  of  the  "Red" 
Grange  swimming  trophy.  We  bet  she  didn't  wear 
this  suit  when  she  won  the  prize 


but  childlike.  A  chap  who  looked  at  them  confided  that  Vivian 
looked  more  like  Kate  Price  wearing  curls. 

Anyway,  First  National  is  supposed  to  have  the  picture  rights 
to  "Topsy  and  Eva." 

Don't  you  think  Colleen  Moore  would  make  a  wonderful 
Topsy?     I  do. 

TJELP!     The   title    of   Lon    Chaney's   next    picture   is 
-*--*"'Alonzo  the  Armless." 

JUST  as  things  were  breaking  nicely  for  Charles  Ray,  along 
comes   a   little   disagreement   with   Metro-Goldwyn-Mayer. 
And  as  a  result,  Ray  has  been  released  from  his  contract. 

Charles  wouldn't  give  the  reason  for  the  quarrel  because  he 
said  there  weren't  any  hard  feelings.  But  the  studio  gossips 
say  that  Ray  was  offered  the  role  of  John  in  the  De  Mille  pro- 
duction, "The  King  of  Kings."  Metro-Goldwyn  couldn't 
come  to  terms  with  De  Mille  on  the  question  of  salary  and  Ray 
was  displeased,  so  the  rumor  runs. 

Anyway,  Charlie  has  made  a  strong  come-back  within  the 
past  year  and  so  he  won't  be  hanging  around  idle  for  long. 

THEY  seem  to  be  going  in  heavily  for  foreigners  at  Metro- 
Goldwyn-Mayer  Studios.  Harry  Rapf,  recently  returned 
from  Paris,  has  signed  Viacheltslav  Tourjanski,  director,  and 
his  wife,  Nathalie  Kovanko,  emotional  actress,  to  make  the 
studios  completely  cosmopolitan. 

They  are  Russians,  these  Tourjanskis,  well-known  abroad 
for  their  dramatic  work,  refugees  of  the  revolution  and, 
from  what  I  understand,  Madame  Tourjanski  is  a  woman  of 
most  unusual  beauty. 

48 


At  last  Edward  Sedgwick  is  going  to  get  a  chance  to  boss 
his  sister,  Eileen.  Although  both  sister  and  brother 
have  been  in  pictures  for  six  years,  Eileen  will  appear  for 
the  first  time  under  her  brother's  direction  in  "Tin 
Hats" 


Well,  M-G-M  imported  Greta  Garbo  from  Norseland,  and 
they  gave  Norma  Shearer,  the  fair  Canadian,  a  contract,  to  say 
nothing  of  Renec  Adorce  of  France.  So  I'm  not  worried  about 
the  beauty  and  histrionic  ability  of  Nathalie  Kovanko,  although 
I  am  a  bit  worried  about  the  pronunciation  of  her  name.  And 
her  husband's   .    .    .    words  fail  me! 

RETAKES  on  "The  Winning  of  Barbara  Worth"  presented 
difficulties  to  Ronald  Colman  who,  since  the  completion  of 
the  picture,  has  devoted  himself  to  yachting,  swimming,  surf 
bathing  and  growing  sideburns  for  a  Spanish  picture  in  which 
he  is  to  be  an  Andalusian  amorist  under  command  of  George 
Fitzmaurice  whose  direction  of  erotic  sequences  is  second  to 
none,  in  my  estimation. 

Ronnie  had  sideburns,  and  his  part  in  the  Harold  Bell  Wright 
story  called  for  none.  What  to  do?  Shave  off  the  verdure  and 
then  wait  for  it  to  again  jut  out  on  the  cheek? 

No.  Ronnie  had  a  better  idea.  He  shaved  off  one  sideburn 
and  used  left  profile — bare  and  unadorned — for  the  retakes  on 
the  desert  picture,  while  Fitzmaurice  used  the  right  sideburned 
profile  for  the  Spanish  film. 

'  I  ''HIS  happened  in  no  particular  community  so  no  par- 
ticular  community  will  be  defamed.  It  happened  to  no 
particular  person  so  no  particular  person  will  be  slandered. 
Let  it  suffice  that  it  happened. 

A  crowd  of  gay  roisterers  were  making  merry — very 
merry.  There  was  peal  after  peal  of  merriment,  then  the 
peal  of  a  doorbell.  It  was  the  police.  Someone  had  'phoned 
for  them. 

But  there  was  just  as  much  merriment  among  the  gay 
roisterers  as  the  police  escorted  them  to  the  black  maria. 

An  indignant  householder  thrust  a  curl-papered  head  out 
of  the  window: 

"Stop  making  so  much  noise !  If  you  don't,  I'll  call  the 
police !" 

Yelled  one  of  the  roisterers: 

"Say,  lady !    What  do  you  think  these  are — Boy  Scouts?" 

OF  course  it  might  have  been  the  climate.  Visitors  often 
experience  difficulty  in  becoming  acclimated.  But  climate 
or  no  climate,  the  Jessels  had  one  of  their  periodic  split-ups 
when  they  were  in  Hollywood. 

Georgie,  you  see,  came  out  to  make  "Private  Izzy  Murphy" 
for  Warner  Brothers,  and  Mrs.  George,  who  used  to  be  that 
clever  vaudevillian,  Florence  Courtney,  came,  too.  Then  the 
climate,  or  something,  interfered  and  the  Jessels  separated. 
But  they  had  been  married  and  divorced  to  each  other  three 
times  before. 

So  I  personally  think  it  was  staged  to  give  them  a  bit  of 
practice,  in  case  they  should  forget. 

They  went  back  to  New  York  together,  with  promises  to 
return,  and  eveiything  seemed  serene. 


Douglas  Fairbanks  and  his  much-discussed  Russian 
associates.  Doug  created  a  lot  of  talk  when  he  signed 
up  a  director  from  Soviet  Russia.  On  the  right  is 
Izenstein,  the  director,  and  at  the  left  is  Tessa,  the 
photographer 


EVERYONE  in  Hollywood  thought  they  would  be  reunited 
— Jacqueline  Saunders  and  her  former  husband,  E.  D. 
Horkheimer.  They  were  forever  being  seen  lunching  and  sup- 
ping together.  Then  Jackie,  being  quite  as  womanly  as  she  is 
beautiful,  decided  to  change  her  mind  and  marry  J.  Ward 
Cohen.  They  were  wed  at  Santa  Barbara  in  the  garden  of 
El  Mirasol  Hotel. 

Cohen  is  well-known  in  Los  Angeles  and  the  wedding  was 
attended  by  many  people  of  prominence. 

VIRGINIA  BUSHMAN  and  Jack  Conway.  They  have 
announced  their  engagement.  Yes,  my  dear,  it  is  Francis 
X's  little  girl  who  is  to  marry  the  director  of  "Brown  of 
Harvard." 

It  doesn't  seem  possible,  does  it?  That  one  of  Bushman's 
little  girls  is  old  enough  to  marry.  Just  yesterday  Bushman  a 
celebrated  leading  man.  Today  Bushman  staging  this  re- 
markable come-back  in  "Ben-Hur"  and  successive  pictures. 
And  then  his  little  daughter  grown-up  and  old  enough  to  be 
engaged.     To  say  nothing  of  married. 

Oh,  Father  Time,  be  a  wee  bit  lenient  with  us.  It'll  be 
Jackie  Coogan  or  Baby  Peggy  next. 

A  LL  of  Hollywood — or  at  least  as  many  as  could  get 
■'~*,away  from  work — were  in  Philadelphia  on  September 
23rd  to  see  Jack  Dempsey  defend  his  title.  And  Jack  acted 
as  ticket  agent  for  all  his  picture  friends. 

Winnie  Sheehan  received  a  wire  from  the  Champ 
saying : 

"Am  fighting  in  Philadelphia  on  September  twenty-third. 
Am  saving  ten  ring-side  seats  for  you." 

Sheehan's  answer  read: 

"Who  are  you  fighting?" 

VON  STROHEIM  is  a  great  actor  and  a  great  director.  He 
is  tireless  and  often  temperamental.  He  gives  each  extra 
individual  attention  and  flatters  him  by  relying  on  his  intelli- 
gence. Extras  get  as  much  attention  from  Von  as  the  star  does. 
There  were  four  greased  negroes  on  the  set.  Male  and  female, 
they  were  chained  into  two  couples  who  served  cigarettes  and 
— root  beer — to  the  gamboling  nobles.  To  the  couple  nearest 
the  camera,  stripped  almost  nude  and  gleaming,  Von  Stroheim 
said,  "  I  want  you  to  walk  among  the  couples,  slowly.  When 
you  see  something  funny,  smile.  But  not  until  you  see  some- 
thing to  make  you  laugh.  Use  your  intelligence."  And  they 
did. 

I  SUSPECT  Von  of  a  capricious  trick  to  get  his  people  to  do 
their  utmost  for  the  camera.  He  rehearsed  a  scene  and,  when 
it  was  finished,  he  looked  long  and  sadly  into  the  end  of  his 
megaphone  and  then  said  slowly: 

"I  am  sorry  that  I  have  not  the  word  in  my  vocabulary  to 
tell  you  how  you  acted   ..." 


And  this  is  the  price  Norma  Shearer  pays  tor  stardom. 
Monta  Bell  asked  her  if  she  would  mind  being  the  target 
for  a  knife-throwing  act.  And  Norma,  who  has  played 
with  lions  in  previous  pictures,  cheerfully  played  the 
scene 


Expectancy  jostled  doubt  on  the  faces  under  the  kleigs. 

"...   It  was  the  quintessence  of  lousiness." 

Chagrin  clouded  every  face.  Then  Von,  whose  speech  is 
thoroughly  Americanized,  said: 

"Come  on.    Let's  make  this  a  wow!" 

It  was  a  "wow." 

And  Von  Stroheim,  carrying  the  everlasting  cane,  exuded  a 
satisfied  glow. 

■pjERE'S  an  echo  from  "The  Merry  Widow"  war.  A 
-^■shell  that  never  exploded.  A  bomb  that  was  never 
thrown. 

Remember  the  battle  between  Mae  Murray  and  Von 
Stroheim  that  almost  resulted  in  a  young  insurrection  at 
the  Metro-Goldwyn-Mayer  studios  and  laid  low  production 
on  the  picture  until  it  was  ironed  out  and  Mae  and  Von 
(figuratively,  of  course)  kissed  and  made  up? 

I  was  watching  Von  Stroheim  direct  a  scene  for  "The 
Wedding  March"  the  other  day.  It  was  a  typical  Von  Stro- 
heim-Viennese-gay-royal-swirl  orgy.  Even  the  waxen  ta- 
pers swooned  onto  each  other  in  the  sultry  sinful  atmosphere. 
But  Von  didn't  seem  to  get  the  proper  spontaneity  from  the 
actors. 

Finally  he  said  slowly  and  clearly  and  so  every  one  on  the 
vast  stage,  including  myself,  could  hear: 

"Wait  a  minute!  This  is  not  a  Mae  Murray  production. 
You  do  not  have  to  leave  a  pathway  to  the  star.  Act  like 
human  beings ! " 

Everybody  giggled,  Von  looked  quite  complacent. 

You  wanted  me  to  print  it,  didn't  you,  my  dear  Von? 

[  CONTINUED  ON  PAGE  1 14  ] 


49 


Donald 

Ogden  Stewart's 


perfect 


GUIDE  to   .. 


Here  the  famous 
becomes  louder 


Mr.  Stewart  insists  that  this  is  the  synopsis  of 
preceding  chapters: 

LEW  CODY  and  Norman  Kerry,  two  Yale  men,  set  out 
for  Hollywood.  Lew  has  the  matches,  while  Norman 
carries  the  butter  and  potato  chips.  Both  have  sex 
appeal  and  high  hopes,  although  Lew  has  forgotten  to 
bring  along  any  winter  underwear.  As  the  train  is  leaving 
Albuquerque  a  storm  breaks  out,  the  engineer  gets  wet  and 
catches  cold.  His  constant  sneezing  is  a  source  of  annoyance  to 
the  passengers  during  the  night.  In  the  morning  they  find  that 
they  are  at  the  Grand  Canyon. 

"Grand  Canyon,"  says  the  conductor.     "All  out." 

"What?"  asks  Norman. 

"Grand  Canyon,"  repeats  the  conductor. 

"What  Grand  Canyon?"  asks  Norman. 

"Is  this  Hollywood?"  asks  another  voice. 

50 


"No,  lady,"  replies  the  conductor,  a  little  sarcastically,  "we 
don't  reach  Hollywood  until  tomorrow  afternoon." 

"Oh,  dear,"  says  the  young  girl,  "and  I  told  Mr.  Lambert  I 
would  arrive  today." 

"Is  that,  by  any  chance,  Ed.  Lambert?"  asked  a  stranger 
who  happened  to  be  passing  through  the  car.  "Ed.  Lambert, 
of  Kansas  City?" 

"No,"  replied  the  girl. 

"Well,  then,"  said  the  stranger,  "would  you  like  to  buy  any 
oranges,  lemon  drops,  or  souvenir  post  cards?" 

"No,"  replied  the  girl. 

"Indian  rugs?" 

"No." 

"Genuine  bows  and  arrows?" 

"No." 

"Well,  would  you  like  to  hear  me  imitate  two  locomotives 
on  a  steep  grade?" 


The  building  of  the  first  studio  in  Hollywood.  William  de  Mille  is  sent 
to  the  corner  to  get  nails  and  a  nickel's  worth  of  licorice.  He  returns 
with  the  motion  picture  rights  to  one  of  Ibsen's  plays.  After  a  confer- 
ence William  is  given  a  good  sock  in  the  eye  and  told  to  go  back  and 
get  the  nails 


Behavior  in 

Hollywood 


humorist's  advice 
and   funnier 


"No." 

"Is  that  man  annoying  you?"  asked  a  severely  upright 
masculine  voice. 

"Will  Hays!"  exclaimed  the  girl.  "Thank  God  you  arrived 
in  time." 

And  that,  incidentally,  was  the  beginning  of  censorship. 

MEANWHILE,  out  in  Hollywood,  the  first  studio  is  being 
slowly  and  painfully  erected  by  two  men  named  De  Mille 
and  a  couple  of  other  men  whose  real  names  have  since  been 
forgotten.  Work  is  being  temporarily  held  up  on  account  of 
William  de  Mille  having  forgotten  to  bring  any  eightpenny 
nails,  and  the  question  arises  as  to  who  will  be  the  one  to  go 
down  to  the  corner  and  get  some  eightpenny  nails.  After  a 
conference,  William  is  selected  to  get  the  nails  and  also  some 
of  those  red  and  white  peppermint  drops  and  a  nickel's  worth 
of  licorice.    Cecil  and  the  other  two  geniuses  then  sit  down  to 


speculate  on  the  future  of  moving  pictures  as  an  Art.  The 
financial  side  is  also  touched  on. 

William  returns  without  the  nails  or  the  licorice  because  he 
has  had  a  chance  to  buy  the  moving  picture  rights  to  one  of 
Ibsen's  plays  and  has  spent  the  money  on  that.  He  is  very 
excited.  So  are  the  other  three.  After  a  conference  William  is 
given  a  good  sock  in  the  eye  and  told  to  go  back  and  get  the 
nails.    He  complies  and  the  great  work  goes  on. 

Soon  the  studio  nears  completion,  and  the  question  arises  as 
to  what  to  call  it.  There  doesn't  seem  to  be  any  word  that  will 
really  suggest  how  good  it  all  is,  so  they  compromise  on  "  Para- 
mount." From  then  on,  events  move  very  rapidly.  Flumbing 
is  introduced  into  Hollywood,  and  a  Writer's  Club  is  formed. 
Hundreds  of  "extra"  girls  arrive  and  a  street  lighting  system 
is  installed.  Universal  City  is  founded  on  the  site  of  an  old 
circus.  Hollywood  becomes  a  "boom"  town  overnight. 
Everybody  goes  crazy.  [  continued  on  page  132  ] 

51 


THE    NATIONAL    GUIDE    TO     MOTION    PICTURES 


THE  STRONG  MAN— First  National 

MARCHING  into  stardom  with  "Tramp,  Tramp, 
Tramp,"  Harry  Langdon's  second  laugh-provokcr 
firmly  establishes  the  wistful  comedian  in  the  front  ranks  of 
the  screen's  mirth-makers.    Watch  out,  Charlie  and  Harold! 

It's  a  grand  and  glorious  laugh  from  the  start  to  the  finish. 
It  begins  with  one  laugh  overlapping  the  other.  Chuckles 
are  swept  into  howls.  Howls  creep  into  tears — and  by  that 
time  you're  ready  to  be  carried  out.  And  we  don't  mean 
maybe! 

The  story  runs  along  at  a  merry  gait  with  Langdon  keep- 
ing pace  with  his  clever  pantomime.  Wait  and  sec  his  in- 
terpretation of  a  cold.  Gertrude  Astor  is  outstanding  as  a 
big-blonde-mama  vamp. 

Don't  be  selfish — treat  the  whole  family. 


i**>Y<# 


THE  NERVOUS  WRECK— Producers  Distributing  Corp. 

OWEN  DAVIS'  famous  stage  play  was  a  New  York  hit. 
And  the  delightful  screen  version  of  this  play  will  play 
havoc  with  every  town  it  is  shown  in. 

An  animated  pill  box,  on  doctor's  orders,  goes  West  to 
regain  his  health.  He  expects  peace  and  quietness  to  reign, 
but  finds  matters  entirely  different.  Then  he  discovers  his 
heart  isn't  working  just  right — the  owner  of  the  ranch 
happens  to  have  a  beautiful  daughter  who  causes  the  un- 
certain pitter-patter.  Unforeseen  difficulties  arise  and,  after 
a  lot  of  fun,  a  complete  metamorphosis  envelops  the  hypo- 
chondriac. 

Comedies  when  transferred  from  the  stage  to  the  screen 
are  usually  lacking  in  spontaneity,  and  this  is  no  exception. 
However,  there  still  remain  enough  horse  play  and  hilarity 
to  make  this  worthy  of  your  evening's  entertainment. 


The 

Shadow 
Sta 


A  Review  of  the  T^ew  Pictures 


BEAU  GESTE— Paramount 

THEY'RE  advertising  this  special  as  a  man's  picture,  but, 
girls,  don't  let  that  keep  you  away.  Glance  over  the 
cast:  Ronald  Colman,  Ralph  Forbes  and  Neil  Hamilton  play 
the  heroic  Geste  brothers.  Noah  Beery  is  that  remorseless 
scoundrel  of  the  Foreign  Legion,  Sergeant  Lcjuane,  and 
William  Powell  is  a  sly  and  sinister  Legionaire.  That's  a 
cast! 

"Beau  Geste"  is  a  mystery  story,  first  and  last.  The 
screen  has  too  few  good  mystery  tales.  The  love  element  is 
pretty  slender,  but  the  swing  of  adventure  makes  up  for  it. 
Perhaps  you  read  Percival  Wren's  best  seller.  In  filming  it, 
Director  Herbert  Brenon  has  followed  the  original  with  a  lot 
of  fidelity.  We  aren't  going  to  tell  you  about  the  mystery 
here,  save  that  there  is  a  stolen  sapphire,  "  the  Blue  Water," 
of  great  value.  All  three  Gcstcs  shoulder  the  blame  of  the 
theft  and  run  away  to  join  the  Foreign  Legion,  that  little 
army  of  lost  men  trying  to  forget  and  be  forgotten  in  the 
African  sands. 

If  you  read  Wren's  novel,  you  will  recall  the  fascinating 
and  startling  opening  of  the  story.  A  detachment  of  the 
Legion  is  moving  to  the  relief  of  Fort  Zinderneuf .  Approach- 
ing through  the  shifting  sands,  the  advance  guard  hails  the 
fort.  At  each  battlement  soldiers  can  be  observed  standing, 
gun  in  hand.  But  there  is  no  answer  to  the  rescuers'  calls. 
Each  man  is  dead,  standing  at  his  post. 

The  brave  Gestes  are  splendidly  played  by  Messrs. 
Colman,  Ralph  Forbes  (here's  a  good  bet),  and  Hamilton. 
But  the  real  acting  honors  go  to  Mr.  Beery  for  his  Lcjuane 
and  Mr.  Powell  for  his  cringing  Boldini.  Watch  those  two 
boys  cop  the  picture. 


SAVES      YOUR      PICTURE     TIME      AND      MONEY 


The  Six  Best  Pictures  of  the  Month 

BEAU   GESTE 

BARDELYS  THE  MAGNIFICENT 

THE  STRONG  MAN 

THE  NERVOUS  WRECK 

TIN  GODS  SUBWAY  SADIE 

The  Best  Performances  of  the  Month 

John  Gilbert  in  "Bardelys  the  Magnificent" 

Eleanor  Boardman  in  "Bardelys  the  Magnificent" 

Noah  Beery  in  "Beau  Geste" 

Ronald  Colman  in  "Beau  Geste" 

William  Powell  in  "Beau  Geste" 

Renee  Adoree  in  "Tin  Gods" 

Dorothy  Mackaill  in  "Subway  Sadie" 

Casts  of  all  pictures  reviewed  will  be  found  on  page  152 


BARDELYS  THE  MAGNIFICENT— M-G-M 

SO  long  as  King  Yidor  and  John  Gilbert  take  Raphael 
Sabatini's  story  seriously,  this  picture  remains  just 
another  costume  production,  smoothly  told,  artfully  acted, 
but  not  guaranteed  to  give  any  ticket-seller  a  nervous  break- 
down.    But   when  star  and  director  say; 

"  Come,  come,  enough  of  this  seventeenth  century  intrigue. 
Let's  make  a  comic  movie,"  then  it  snaps  into  great  enter- 
tainment. 

It's  a  story  of  another  one  of  those  mediaeval  male  Peggy 
Joyces,  who  sets  out  to  win  a  hard-to-get-Gertie  of  the 
provinces,  in  spite  of  the  fact  that  Louis  XIII  simply  can't 
bear  to  have  his  favorite  wisecracker  leave  Paris.  Once  the 
boy  vamp  sets  eyes  on  the  champion  "No  girl"  of  France, 
he  gets  a  bad  case  of  honorable  intentions  and  risks  his  life 
in  her  service.  Vidor  tells  the  conventional  story  smoothly 
and  sincerely,  even  if  his  atmosphere  of  those  careless  days 
is  a  little  too  spick-and-span.  When  he  kicks  over  the  traces 
at  the  climax ,  he  hits  a  really  gorgeous  combination  of  farce 
and  romance. 

And  there's  a  love  scene,  in  a  boat  drifting  among  the 
willows,  that  has  genuine  poetic  feeling.  It's  enough  to 
make  any  picture. 

Mr.  Gilbert's  performance  is  bold,  fiery  and  immensely 
clever.  Eleanor  Boardman  acts  with  her  brains;  in  spite  of 
the  beauty  of  her  romantic  scenes,  there  is  a  refreshing 
sharpness  about  her  performance.  As  the  villain,  Roy 
D'Arcy  makes  some  mean  faces  and  John  T.  Murray,  as  the 
King's  "yes  man,"  does  great  work.  Of  course,  your  season 
won't  be  complete  unless  you  see  this  picture.  It's  safe 
enough  for  the  children. 


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TIN  GODS— Paramount 

CRITICS  have  been  demanding  that  Thomas  Meighan  do 
a  real  acting  role.  Here  is  Tommy's  answer.  He  plays 
the  husband  of  a  lady  politician,  who  goes  to  South  America  to 
forget  the  sort  of  callers  who  clutter  up  the  front  room. 
Roger  Drake  is  a  bridge  builder,  but  instead  of  constructing 
them  he  devotes  his  time  to  licker.  That  is,  until  he  meets 
Carila,  the  dance  hall  girl.  Carita  is  Renee  Adoree.  Does 
Roger  forget?  Well,  you  remember  Renee  in  "The  Big 
Parade"?  She  gives  a  fine  performance  here,  too,  actually 
running  away  with  the  picture.  That  is  nothing  against 
Meighan,  who  gives  a  corking  characterization  also. 
Meighan  can  act,  when  he  wants  to.  William  Powell  does 
a  tiny  bit  neatly.  This  is  Meighan's  best  picture  in  several 
years.    It  proves  his  almost  forgotten  acting  abilities. 


SUBWAY  SADIE— First  National 

IN  spite  of  its  Cinderella  ending,  a  true  and  human  story  of 
New  York's  underground  army.  Its  heroine  is  a  girl  who 
is  up  against  the  everyday  problem  of  choosing  between 
ambition  and  romance.  As  played  by  Dorothy  Mackaill, 
this  strictly  modern  young  person  is  sympathetic,  under- 
standable and  attractive  enough  to  get  new  customers  for 
the  subway. 

It  proves  just  how  clever  Miss  Mackaill  can  be  when  she 
isn't  required  to  play  nonsense.  Jack  Mulhall,  too,  gives  a 
thoroughly  likeable  performance. 

Alfred  Santell's  treatment  of  a  slender  story  is  adroit,  and 
his  New  York  atmosphere  is  not  the  traveling  man's  dream 
of  a  modern  Babylon.  It's  the  real  thing.  Altogether,  this 
film  is  far  better  entertainment  than  many  of  the  widely 
exploited,  highly-colored  "specials." 

53 


BATTLING 
BUTLER— 

Metro- 

Goldwyn- 

Mayer 


HOLD  THAT 

LION— 

Paramount 


HERE'S  an  amusing  number.  Buster  Keaton,  as  a  weak  and 
pampered  son  of  a  wealthy  family,  finds  himself  in  love 
with  a  mountain  maid.  Her  tough  brothers  believe  Buster  to 
be  the  champion  prizefighter — and  so  he  must  prove  his  worth. 
Unknowingly,  he  finds  himself  in  the  champion's  place  training 
for  the  big  bout.  And  what  a  funfest  this  turns  out  to  be. 
Sally  O'Neil  is  cute  as  the  girl.  Check  this  a  must  when  it 
comes  to  your  town. 


THE  picture  is  sprinkled  with  sufficient  action  and  incidents 
to  enliven  your  interest  even  though  it  follows  the  regulation 
plot  familiar  to  Douglas  MacLean  fans.  Doug  always  has  the 
habit  of  meeting  the  girl  just  as  she  is  leaving  town.  He  is 
smitten  and  proceeds  to  follow  her — and  what's  a  trip  around 
the  world  among  friends?  Her  Dad  starts  a  cat  hunt  and  Doug 
proves  himself  a  hero  by  bringing  one  in  alive — unintention- 
ally.   It's  funny — not  hilariously,  though. 


HER  BIG 
NIGHT— 
Universal 


THE 

SHOW -OFF - 
Paramount 


THE  inside  dope  on  what's  what  in  the  movies  always  proves 
interesting  to  an  audience.  Here  we  have  Laura  La  Plante, 
a  little  shop-girl,  doubling  for  a  famous  movie  star  at  a  personal 
appearance.  An  old  newspaper  reporter  with  a  nose  for  news 
senses  the  duality  and  tries  to  prove  it.  Now  the  star  happened 
to  have  a  husband,  and  husbands  are  such  nuisances  at  times. 
After  a  big  mix-up,  matters  gradually  become  straightened,  and 
everybody's  happy. 


AN  amusing  study  of  a  smart  aleck,  played  broadly  but 
expertly  by  Ford  Sterling.  If  the  picture  lacks  the  subtle 
qualities  of  the  stage  play,  blame  the  difference  in  the  mediums 
and  not  the  director,  Mai  St.  Clair,  who  made  a  good  job  of  a 
tricky  subject.  Mr.  St.  Clair  had  to  prove  his  hero  a  boob, 
whereas  it  is  the  usual  job  of  a  director  to  conceal  this  painful 
fact  from  the  audience.  Gregory  Kelly  walks  off  with  a  hit 
in  this  one. 


THE 

KICKOFF- 

Excellent 


DIPLOMACY 
— Paramount 


LOOKS  as  though  football  will  live  forever,  at  least  on  the 
screen.  George  Walsh  is  the  latest  hero  to  don  the  college 
colors  and  do  his  stuff.  What's  it  all  about? — you  know — the 
country  boy  goes  to  college  and  makes  good  on  the  team  in 
spite  of  the  fact  that  the  villain  tries  to  blacken  his  character. 
The  cast  is  splendid — Lelia  Hyams,  Jane  Jennings  and  Earl 
Larrimore.  This  is  another  one  of  those  films  you  should  put 
away  a  quarter  for. 


SARDOU'S  play  has  its  face  lifted  by  Marshall  Neilan.  The 
operation  is  not  quite  successful.  Consciously  or  uncon- 
sciously, Mr.  Neilan  kids  the  old  melodrama  when,  as  a  matter 
of  fact,  he  should  have  edited  it.  There  is  too  much  action  to 
it,  too  many  characters  involved,  for  our  pure  modern  taste. 
And  there  is  a  lot  of  fuss  about  "papers" — in  this  day  and  age! 
Blanche  Sweet's  beauty  shines  radiantly  from  the  confusion  of 
these  Victorian  doings. 


THE  BLUE 

eagle- 
Fox 


THE 

AMATEUR 

GENTLEMAN 

—First 

National 


A  FAIR  picture  with  a  cast  of  popular  favorites — George 
O'Brien,  Janet  Gaynor,  William  Russell  and  Robert 
Edeson.  It  starts  with  two  opposite  factions  battling  for 
neighborhood  supremacy.  C'estle  Guerre.  All  grievances  are  for- 
gotten and  the  two  rivals  enlist  in  the  navy.  But  when  the 
war's  over  another  starts  until  a  menace  threatens  the  neigh- 
borhood— and  together  they  fight  it  out.  That's  brotherly  love, 
sister. 


IT'S  not  Dick  Barthelmess  at  his  best— but  who  gives  a  hoot 
about  story  or  anything  else  as  long  as  we  have  Dick?  Adapted 
from  Jeffrey  Farnol's  romance  of  England  in  1817,  the  film 
tells  the  story  of  a  prizefighter's  son  who  inherits  a  fortune  and 
goes  to  London  to  become  a  gentleman.  And  he  succeeds  in 
becoming  a  sort  of  Beau  Brummcl  and  wins  the  love  of  a  titled 
lady.  You'll  have  to  go  see  it  to  find  out  the  way  he  does  it. 
And  how!     We  are  sure  you'll  like  it. 


IT  MUST 
BE  LOVE— 
First 
National 


MICHAEL 
STROGOFF- 
—  Universal 


SHE'S  the  daughter  of  a  delicatessen  keeper,  and  the  aromas 
of  the  bolognas  are,  well,  just —  Wouldn't  it  be  lovely  to 
be  betrothed  to  a  handsome  boy  instead  of  a  frankfurter  manu- 
facturer? Wouldn't  it  be  grand  to  receive  a  pretty  little 
bungalow  as  a  wedding  present?  And  all  the  sweet  dreams  of 
the  fair  maiden  come  true.  She  meets  and  marries  the  hand- 
some fellow,  and  her  wedding  present — that's  where  the  title 
comes  in.    Fair. 


A  RUSSIAN  importation  that  cannot  be  compared  with  the 
recent  successful  foreign  pictures.  It's  spectacular,  and 
some  of  the  big  scenes  are  done  in  beautiful  color  work,  but 
that  is  about  the  only  interesting  thing  in  the  picture.  The 
story  is  the  usual  hero  stuff  of  an  aide  of  the  king,  during  the 
Tartar  uprising,  delivering  a  message  to  the  Grand  Duke  in  a 
distant  part  of  the  country.  If  you  like  revolutions  and  all  that 
sort  of  thing — go  right  ahead. 


THE  GAY 
DECEIVER— 

Metro- 

Goldwyn- 

Mayer 


RISKY 

BUSINESS— 

Producers 

Distributing 

Corp. 


THERE  is  plenty  of  glitter  of  the  Paris  variety  in  this  enter- 
taining piece,  centered  around  an  actor  whose  fame  was 
widespread  because  of  his  magnetic  charm  over  women.  It  is 
very  pleasing  to  gaze  again  at  another  of  our  former  favorites — 
Dorothy  Phillips — although  she  is  in  a  setting  somewhat  far 
removed  from  those  in  which  she  used  to  glide  across  the 
screen.  The  picture  is  presented  in  a  light  vein,  and  as  such  you 
should  receive  it.    Don't  take  it  seriously  or  you'll  be  annoyed. 


TRITE"  can  be  marked  against  this  one.  Mediocrity 
stalks  through  it  from  beginning  to  end.  It  presents  the 
fabulous  yarn  of  the  ritzy  mother  who  endeavors  to  marry  her 
daughter  to  the  wealthy  gay  youth  instead  of  the  poor  country 
doctor.  But  love  cares  nothing  for  wealth,  and  the  girl  chooses 
the  man  of  her  heart.  We  don't  think  you  will  be  enter- 
tained by  this  one.  Vera  Reynolds,  Ethel  Clayton  and  Ken- 
neth Thompson  are  in  the  cast.  [  continued  on  page  102  ] 

2  55 


Plaids  are  smart  and  new — ami 
plaid  velveteen  is  smartest  and 
newest.  In  this  model,  sketched 
on  Esther  Ralston,  it  is  com- 
bined with  fine  ivool  jersey,  mak- 
ing a  distinctly  yovthful  cos- 
tume for  fall  and  winter.  The 
velveteen  blouse  may  have  red, 
green  or  tan  predominating,  and 
the  skirt  matches  the  predominant 
color  of  the  plaid.  In  sizes  14  to 
20,  it  is  reasonably  priced  at 
$25.00 


Clara  Bow  wears  a  frock  of 
supple  black  satin,  showing  the 
new  bloused  silhouette.  The  trim- 
ming on  the  full  sleeves,  and  the 
becoming  scarf  collar,  are  of  em- 
broidered georgette  in  red  or  French 
blue.  This  model  also  in  cocoa 
with  tan.  Sizes  16-40.  Price 
813.75.  The  shoes  sketched  just 
above  are  a  combination  of  kid 
and  snake  calf,  in  black  or  brown. 
$12.00.  In  all  patent  or  satin — 
$10.00.     State  size 


WITH  every  issue  of  Photoplay  a  greater 
number  of  our  readers  are  using  this 
Shopping  Department,  and  we  want  to  im- 
press on  every  reader  of  Photoplay,  whether 
a  subscriber  or  not,  that  this  Service  is  for 
your  benefit  and  at  your  disposal. 

Photoplay's  Shopping  Service,  221  West  57th 
Street,  New  York,  N.  Y.,  will  purchase  any  of 
these  lovely  things  for  you.  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  pur- 
chase, return  it  immediately  and  your  money 
will  be  refunded  without  question.  IMPOR- 
TANT: Send  articles  direct  to  Photoplay  Shop- 
ping Service,  221  West  57th  Street,  New  York 
City,  within  three  days  after  receipt. 


Wool  jersey  has  a  leading 
place,  this  year,  among  the  fab- 
rics for  sports  and  general 
wear.  The  foremost  designers 
are  showing  this  popular  fab- 
ric in  charming  models.  The 
one-piece  frock  sketched  on 
Miss  Ralston  pretends  to  be  a 
jumper  dress.  It  features  a 
flattering  neckline  and  front 
pleated  skirt.  Sizes  16-40.  In 
blue,  red,  green,  tan  or  henna 
the  modest  price  is  $7.95 


JOHN/O 


The  crepella  frock  sketched  on 
Florence  Vidor  is  just  right 
for  the  girl  or  woman  who  can- 
not wear  "flapper"  frocks,  but 
who  wants  youthful  models. 
Suitable  for  the  small  or  large 
figure.  In  red,  green  or  wal- 
nut (brown)  it  costs  $25.00. 
Sizes  14  to  42.  The  shoes 
sketched  above  may  be  obtained 
in  brown  kid,  or  patent, 
trimmed  with  a  buckle.  Price 
$10.00.     State  size 


56 


The  crepe  de  chine  knick- 
ers sketched  below  may  he 
ordered  in  peach  or  flesh, 
and  are  edged  with  nar- 
row filcl.  They  are  of 
good  quality  and  repre- 
sent excellent  value  at 
$2.95.  They  come  in  25- 
27-29  inch  lengths 


The  "Orange  Blossom 
Ensemble"  sketched  be- 
low is  particularly  suit- 
able for  wear  with  dance 
frocks.  The  colors  arc  flesh 
and  peach.  Give  ivaist 
and  bust  measure  when 
ordering.  Set  complete. 
S5.60 


The.  adorable  pajamas  sketched  above 
come  in  peach  or  flesh  cotton  crepe. 
The  coat  is  striped  with  small  flowers 
in  contrasting  shades,  and  the  neck- 
line  is  particularly  becoming.  Spe- 
cial value  at  S1.95.     Sizes  15-16-17 


The  luxurious  quilted  boudoir  robe 
sketched  below  is  of  two-tone  satin, 
warmly  interlined.  Rose  and  French 
blue;  turquoise  and  silver; copen  and  gold; 
black  and  wistaria;  navy  and  red.  Sizes 
84-44.     Price  S10.95 


The.  useful  morning  frock  proves  that  it 
can  be  smart  as  well,  when  fashioned  of  a 
lustre  print,  in  black  or  blue  with  white. 
This  material  tubs  beautifully.  Sizes 
36-44— $2.95     Sizes  46-50— $3.95 


The  beacon  blanket  robe  sketched  below 
insures  comfortable  winter  nights.  This 
is  far  smarter  than  the  usual  bathrobe, 
and  comes  in  brown,  copen  or  red,  icith 
cord  trim  and  girdle.  Remarkable  value 
at  $5.00.     Sizes  34-44 


Two  Hands 


Photographers  say  that  Iris 
Stuart's  are  the  most  beauti- 
ful hands  in  the  world.  And 
her  face  has  looked  at  you 
from  a  million  advertisements 


ace 


By 


Frances  McCann,  the  Magazine 
Advertising  Girl,  becomes  Iris 
Stuart,  screen  actress 


Ivan  St.  Johns 


I'VE  seen  her  a  million  times  and  so  have  you — this  girl 
whose  beautiful  hands  and  face  have  made  her  dream 
come  true. 

As  Frances  McCann  she  started  her  career  as  a  business 
secretary.  But  there  were  the  hands  and  that  strikingly  beau- 
tiful face,  and  soon  she  found  herself  posing  before  the  camera — 
and  then  she  became  famous  as  "The  Magazine  Advertising 
Girl." 

You  can't  open  a  magazine  today  but  that  her  face  looks  out 
at  you.  And  the  hand  wearing  that  engagement  ring  so  effec- 
tively in  the  ad — that  is  Frances'  hand. 

She  is  one  of  the  highest  priced  advertising  models  in  the 
world.  Millions  of  dollars  have  been  spent  upon  advertise- 
ments carrying  her  face  and  hands.  She  became  known  as  "  the 
girl  with  the  million  faces." 

And  now  she  has  come  to  Hollywood  to  bring  those  hands  and 
face  to  the  screen. 

58 


As  Iris  Stuart,  another  career  has  opened  up  to  the  girl  who, 
but  a  short  time  ago,  was  a  business  secretary.  She  has  a  Para- 
mount contract  and  starts  work  soon  as  a  featured  player. 

So  much  for  two  hands  and  a  face  which  make  me  wish  I  were 
a  poet  so  I  might  describe  them  to  you. 

Do  you  ever  see  a  face — a  face  in  a  magazine  or  on  a  billboard 
which  arrests  you  with  its  sheer  beauty  and  charm?  And  then 
do  you  wonder  if  there  really  is  any  such  person  and  wish  you 
might  meet  and  know  that  person,  if  she  really  exists? 

Well,  that's  the  way  I've  felt  about  Frances  McCann  a  good 
many  times,  only  I  didn't  know  her  name  was  Frances  or  if  she 
really  was  a  girl.     Perhaps  just  some  artist's  dream. 

Then  I  came  face  to  face  with  her  in  the  Cocoanut  Grove  one 
evening.  I  hope  I  wasn't  rude.  I  wanted  to  dash  right  over  to 
her  table  and  babble  things.  Of  course  I  stared.  Wouldn't 
you? 

So  I  found  out  her  name  and  what      [  con-tinted  on  page  150  ] 


THERE  are  plans  on  foot  for  sending  Ramon  Novarro  off  to  Europe  again.     This 
time  it  will  be  Germany,  and  there  Ramon  will  make  "Old  Heidelberg,"  that  most 
charming  of  romances.     It  might  have  been  written  especially  for  Ramon. 


One.    This  lady  is  not  as  old  as  she  looks. 

Usually   sedate,  she   once  went  Wilde. 

Famous  as  the  only  woman  who  could 

play  love  scenes  with  Will  Rogers. 


t 


Two.    Plays  any  age  from  flaming 

youth  to  so  big!    Flaps  or  emotes 

at  will.     A(ot  a  new  star  from 

Sweden. 


*  <« 


Three.  From  the  ball-room  to  the 
Great  Open  Spaces.  From  Marie 
Corelli  to  piracy.  Marriage  hasn't 
interfered  with  his  popularity.  And 
why  should  it? 


Four.    This  comic  stuff  is  new  bo 
him.    He  helped    fight   the   Revo- 
lution.    Known  as  the  movie  star 
who  reads  all  the  books  he  buys. 


*v 


4 


Six.  Don't  let  her  kid  you.  She's 
really  nice-looking.  A  graduate  of 
the  School  of  Slapstick.  Though 
her  ancestors  were  Italian  and 
French,  she's  never  played,  so  far, 
a  Glynish  love  scene. 


i 


Five.  Raised  in  an  en- 
chanted cottage.  Once 
wooed  and  won  by 
Ramon  Novarro  at  a 
crucial  period  in  the 
world's  history.  Un- 
bobbed  and  unmarried. 


Seven.  Asia  Minor  Col- 
legiate outfit  worn  by 
a  man  who  has  played 
the  League  of  Nations. 
One  of  his  former  lead- 
ing women  is  also  on 
this  page. 


^^^^^^^^K^^^^^m^^m 

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§■■■1 

HIS  last  photograph— taken  especially  for  Photoplay.     In  answer  to  thousands  of 
requests,  Photoplay  is  reprinting  an  abridged  version  of  the  life  story  of  the  most 
romantic  figure  the  screen  has  known — Rudolph  Valentino. 


Life  of  Rudolph 

alentino 


Rudolph  Valentino's  life  story  was  published  seven;! 
years  ago  by  Photoplay  Magazine,  proving  a  distinct 
sensation  in  the  magazine  'world.  It  attracted  wide  atten- 
tion and  many  requests  have  been  received  since  by 
Photoplay  for  its  publication  again. 

The  life  story,  exactly  as  written  by  the  popular  star,  is 
presented  here  in  condensed  form,  edited  by  James  R. 
Quirk,  editor  of  Photoplay. 


By  Rudolph  Valentino 


IN  my  early  studio  days  I  once  tried  to  sell  the  story  of 
my  life  as  a  scenario.  It  was  rejected  as  being  "  too  wild 
and  improbable."  To  have  one's  life  thus  characterized 
by  a  company  which  specializes  in  the  most  frantic 
serials  was  rather  disconcerting. 
*  *  * 
Naturally  sensitive  and  inclined  to  intro- 
spection, I  have  tried  above  all  else 
to  know  myself.  But  when  I  take 
what  we  call  a  "long  shot"  at  that 
self,  starting  forth  in  the  world 
from  a  poor  little  village  at  the 
heel  of  Italy,  traveling  curious 
ups  and  downs  in  early  life  and 
vacillating  between  occupa- 
tional calls,  sailing  blithely  off 
to  win  riches  in  America,  reach- 
ing America  to  experience  the 
grilling  poverty,  loneliness  and 
utter  misery  which  break  or 
make,  from  these  depths  sud- 
denly arising  a  few  years  later 


The  youthful  Rudy  when  he 
struggled  through  his  course  at 
Dante  Alighieri  College.  Then 
it  was  his  ambition  to  become  a 
cavalry  officer 


This  was  Rudolph  Valentino  in  1913, 
when  he  first  came  to  America.  He 
spoke  not  a  word  of  English,  but  had 
four  thousand  dollars,  courage  and 
youth 


One  of  the  last  portraits  of 
Rudolph  Valentino.  The  tragic 
death  of  the  beloved  Rudy,  at 
the  very  apex  of  his  brilliant 
career,  stirred  America  to  its 
depths 


to  the  finest  place  a  man  could 
occupy — a  place  in  the  esteem 
and  affection  of  the  American 
public — when  I  view  that  self 
of  myself  I  feel  I  haven't  even  a 
speaking  acquaintance.  And  I 
wonder  how  men  can  write  auto- 
biographies that  disclose  their 
characters  and  feelings,  since  the 
man  who  you  were  yesterday  is  a 
stranger  today. 

But  I  can  speak  with  confi- 
dence of  the  real  heroic  charac- 
ter of  my  story.  The  character 
of  my  mother.  A  brave,  black- 
haired,  black-eyed  little  woman,  so 
gentle.  She  had  met  suffering  in  her 
early  youth  when,  with  her  parents,  she 
endured  the  terrors  and  privations  of 
the  siege  of  Paris.  She  was  the  daugh- 
ter of  a  learned  Parisian  doctor,  Pierre 
Filibert  Barbin.  My  father,  Giovanni 
Guglielmi,  a  romantic  figure  in  the 
uniform  of  captain  of  Italian  cavalry, 
won  her  heart  and  brought  her  to  the 
family  home  in  the  little  village  of  Cas- 
tellaneta.  I  was  born  there  at  three 
o'clock  in  the  morning  of   May  6th, 

63 


children  in  the  house,  Beatrice,  Alberto, 
Rodolpho  and  Maria.  But  Beatrice, 
the  eldest,  died  when  I  was  very  young. 
Alberto,  the  next  in  age,  was  two 
years  my  senior  and  far  too  important 
to  associate  with  me.  Thus  Maria  and 
I  became  partners  in  nefarious  under- 
takings. I  used  to  think,  that  I  led  and 
Maria  followed,  but  now,  looking 
back  with  the  wisdom  of  years,  it 
would  appear  that  Maria  did  the  lead- 
ing. At  least,  she  led  me  into  a  lot  of 
difficulty. 

Our  house  was  a  typical  Italian 
farmhouse,  square,  flat-roofed,  built  of 
heavy  white  stone,  its  thick  walls 
broken  by  casement  windows  with 
heavy  blinds  that  are  closed  and  barred 
at  night.  On  the  main  floor  was  the 
great  living  room,  the  dining  room, 
kitchen  and  my  father's  study. 
Attached  to  the  house  and  formed 
about  a  courtyard  in  the  rear  were 
the  servants'  quarters  and  the  stables. 
*     *     * 

When  I  was  eleven  years  old  my 
father  died.  He  had  lived  for  his 
work,  and  he  died  for  it.  There  had 
been  many  deaths  among  the  cattle  of 
our  district,  and  my  father,  in  line 
with  the  work  of  Pasteur  in  Paris,  was 


Jean  Acker,  Rudolph  Valentino's  first  wife.  Rudy 
met  Miss  Acker  at  a  party  given  by  Pauline 
Frederick.  "I  was  unutterably  lonely,"  says 
Valentino.     "I  longed  for  a  great  and  real  friend" 


Rudolph  Valentino  in  one 
of  his  first  screen  appear- 
ances, with  Earle  Wil- 
liams in  "A  Rogue's  Ro- 
mance." Rudy  did  a  bit 
as  an  Apache  dancer 

1895.  And  shortly  after 
I  was  taken  into  the 
church  to  which  my 
mother  was  devoted  and 
christened  most  solemnly 
Rodolpho  Alfonzo  Raf- 
faelo  Pierre  Filibert  Gug- 
lielmi  di  Valentina  d'An- 
tonguolla.  No  matter 
how  poor  an  Italian  fam- 
ily may  be,  it  never  suf- 
fers a  shortage  of  names. 
The  real  surname  in  our 
particular  line-up  is  Gug- 
lielmi. 


My  father  was  a  quiet,  studious  man,  devoting  all  his  time 
to  his  work,  that  of  a  veterinary  doctor.    There  had  been  four 


Valentino's  playing  of  Julio  in  "The 
Four  Horsemen  of  the  Apocalypse" 
is,  of  course,  one  of  the  unforget- 
table memories  of  the  screen 


Rudolph  Valentino  achieved  a  great 
popular  success  with  "The  Sheik." 
At  the  moment  the  star  was  receiv- 
ing $500  a  week,  but  "The  Sheik" 
lifted  it  two  hundred 


studying  constantly  for  a  method  of 
checking  the  epidemic.  He  finally  diag- 
nosed the  disease  as  malaria.  This  dis- 
covery does  not  seem  particularly  as- 
tounding now,  but  it  was  very  important 
at  the  time,  for  until  then  malaria  had 
been  considered  as  a  disease  peculiar  to 
human  beings.  Although  we  knew  that 
people  contracted  malaria  through  the 
bites  of  mosquitoes,  we  had  not  discov- 
ered that  cattle  were  infected  in  the 
same  way.  My  father  spent  months 
testing  his  theory,  and  then  many 
months  more  working  out  a  formula  for 
a  vaccine  that  would  act  as  a  prevent- 
ive. As  a  result  of  his  protracted  labor 
he  fell  ill.  Ten  days  after  the  sickness 
had  attacked  him,  he  called  us  to  him 
and  told  us  that  he  had  only  a  little 
while  to  live.  Dread,  a  sort  of  clammy 
terror,  overwhelmed  me  as  my  father, 
that  quiet,  strong,  reliant  man  who 
seemed  to  be  a  master  of  everything, 
turned  his  pale  face  toward  us  and 
calmly  spoke  of  death. 

Calling  Alberto  and  me  closer,  he  took 
down  the  crucifix  from  the  wall  and  gave 
it  to  me.  His  great  black  eyes  were  glow- 
ing and  gentle,  but  he  spoke  firmly  and 
his  words  were  those  of  the  captain  of 
cavalry —       [  continued  on  page  140  ] 


One  of  the  few  existing  portraits 
of  Rudolph  Valentino  and  his 
second  wife,  Natacha  Rambova. 
Rudy  met  Natacha  when  he  was 
making  "The  Four  Horsemen," 
but  the  romance  did  not  develop 
until  considerably  later 


Valentino  in  his  last 
film,  "The  Son  of  the 
Sheik."  This  would 
have  been  Rudy's  most 
popularmotion  picture. 
It  is  now  breaking  rec- 
ords everywhere 


"The  Eagle"  presented  Val- 
entino in  a  new  sort  of  role,  and 
it  proved  to  be  highly  popular. 
It  was  his  first  United  Artists 
release 


"Blood  and  Sand"  was  Val- 
entino's favorite  picture. 
Critics  have  pronounced  his 
flashing  playing  of  the 
tragic  matador  to  be  his 
best  screen  characterization 


65 


On  Ac- 
count of 


onte 
Cristo 


Octavus 

Roy 

Cohen 


THE  dining  room  of  an  exceedingly  modest 
hostelry  situated  far  out  on  the  Boulevard  de 
la  Madeleine,  Marseilles,  was  filled  with 
oratory. 

The  speaker — a  wiry,  bearded  little  Frenchman 
who  possessed  a  loud  voice  and  much  language — 
orated  with  creditable  agility  and  reckless  abandon. 

In  the  main  portion  of  the  dining  room  and  facing 
the  speaker  sat  twenty  members  of  The  Midnight 
Pictures  Corporation,  Inc.,  of  Birmingham,  Ala- 
bama, U.  S.  A.  These  ladies  and  gentlemen  of  color 
were  on  tour  in  Europe  for  the  purpose  of  manufac- 
turing hilarious  two-reel  comedies  for  American  con- 
sumption, and  already  they  had  sojourned  in  the 
odorous  metropolis  of  Southern  France  for  more  than 
three  weeks. 

These  twenty  colored  persons  listened  spellbound 
to  the  harangue  of  the  French  gentleman.  They 
could  not  understand  one  word  he  was  saying,  but 
they  sensed  that  he  was  a  person  of  importance  and 
that  his  oration  was  of  a  distinctly  complimentary 
nature.  Also  they  were  curious  to  know  why  Welford 
Potts  and  Opus  Randall  had  been  selected  to  sit  on 
the  platform  where  the  speaker  performed. 

Welford  and  Opus  were  the  masculine  stars  of  Midnight. 
The  former  was  skinny  to  the  point  of  emaciation  while  the 
latter  possessed  a  mezzanine  of  astounding  proportions.  They 
were  both  natural  comedians  and  perfect  foils  for  one  another. 

Personally,  there  was  no  love  lost  between  the  two  satellites. 
For  one  thing,  jealousy  was  rampant.  Opus  resented  the  slight- 
est favor  shown  to  Welford,  and  Mr.  Potts,  on  his  part,  strove 
with  great  particularity  to  see  that  the  best  roles  in  Midnight 
screen  productions  were  given  to  him.  The  sympathies  of  the 
company  were  with  the  smaller  man,  Opus  possessing  a  some- 
what ingrowing  disposition  and  being  too  inclined  to  back  his 
arguments  with  the  force  of  his  massive  bulk. 

But  for  this  brief  moment  they  shared  the  spotlight  with  no 
thought  of  feud.  They  had  an  idea  that  the  main  portion  of  the 
French  gentleman's  oration  had  to  do  with  themselves,  and 
since  they  were  certain  he  was  nattering  them — they  could  find 
nothing  to  protest  against. 


Illustrated    by    J.  J.  Gould 


The  meeting  had  been  called  by  special  request.  They  were 
informed  that  they  were  to  be  visited  by  a  representative  of  the 
Marseilles  Society  for  the  Uplift  of  Marseilles.  This  gentleman 
was  the  result  and  it  was  obvious  that  he  was  exceedingly 
pleased  with  the  particular  job  of  uplifting  he  was  engaged 
upon. 

The  French  language  cascaded  from  his  lips  in  unlimited 
quantities.  He  spoke  loudly,  impressively  and  constantly. 
Occasionally  he  would  gesture  wildly  toward  the  two  actors 
who  sat  immediately  abaft  him  and  on  one  such  occasion  Opus 
nudged  his  co-star. 

"Welford,"  he  asked,  "does  you  reckon  he  is  talkin'  about 


"Uh-huh,  Opus,"  came  the  prompt  response, 
one  thing  he  aint  doin'  nothin'  else  but." 


•Tha's  the 


The     D  u  s\y     Midnight     Pictures     Company 


66 


The  speech  developed  passion  and  fervor.  The  spokesman 
leaped  about  wildly  as  though  dancing  the  Charleston.  Then 
he  came  to  an  abrupt  and  impressive  stop.  When  he  resumed 
it  was  with  greater  enthusiasm  than  ever.  But  now  he  seemed 
to  be  approaching  the  point.  From  all  the  mass  of  foreign 
words  the  members  of  the  Midnight  troupe  were  able  to  catch 
references  to  Monte  Cristo  and  Edmond  Dantes.  That  at 
least  was  a  clue. 

"It's  about  this  pitcher  we  is  shootin',  Opus.  That  thing  we 
calls  '  Monte  Cristo  Takes  the  Count.'  You  reckon  he's  sore 
'cause  we  is  burlesquin'  it?" 

"Sore?  Him?  Golla!  Welford— if  tha's  how  he  acts  when 
he's  sore,  I'd  hate  to  see  him  when  he  got  lovin'." 

Eventually  the  oration  came  to  an  end.  Whereupon  the 
Frenchman  turned  expectantly  toward  the  negroes  in  the  main 
portion  of  the  room.  It  was  quite  evident  that  he  waited  with 
pardonable  pride  for  the  translation  of  his  fervid  remarks. 

Ethiope  Wall  uncoiled  himself.    Mr.  Wall  was  a  lengthy  in- 


"Gimme  that  medal,  Opus,"  demanded  Welford 
Potts. 

"Hush  yo'  mouf,  Small  Boy,"  sneered  Opus  Ran- 
dall. "Where  at  you  git  that  gimme  stuff?  You 
don't  know  nothin'  an'  you  talks  about  it  con- 
stant. There's  one  medal  an'  there  is  two  of  us. 
Aint  but  one  can  wear  it,  an'  Ise  him" 


dividual  who  had  come  to  France  in  1917  with  the  American 
Expeditionary  Forces  and  had  remained  after  the  war  to  per- 
form various  menial  and  unremunerative  tasks  in  the  city  of 
Nice.  He  had  joined  the  company  in  the  role  of  interpreter  and 
general  handyman— and  it  was  to  him  that  the  troupe  now 
looked  for  an  interpretation  of  what  the  white  gentleman  was 
driving  at. 

Mr.  Wall  did  not  imitate  the  gestures  of  the  orator.  Nor  did 
he  draw  unduly  upon  his  supply  of  vivid  adjectives.  He  spoke 
simply,  but  effectively. 


Meets    up 


with    High    Adventure   in 

2 


France 

67 


Opus  Randall   confronted   Florian  Slappey   and   his 
friend,  Welford. 

"What  you  two  shrimps  talkin'  about?"  he  inquired. 
"NothinV  snapped  Florian.  "Wewasdiscussin'you" 


"This  gentleman  says,"  he  announced  quietly,  "that  the 
sassiety  he  represents,  an'  also  the  whole  city  of  Marseilles,  is 
dog-gawn  happy  that  us  is  makin'  pitchers  heah,  because  ev'v- 
body  what  lives  heah  wants  America  to  know  mo'  about  this 
town.  He  says  American  tourists  come  to  France  all  the  time 
an'  they  never.see  Marseilles  an'  so  the  town  don't  git  none  of 
the  money  that  Paris  and  Nice  an'  them  places  gits. 

"  He  says  they  have  been  watchin'  us  an'  they  feel  we  is  the 
greatest,  finest,  mos'  superbest  actors  in  the  world  an'  he  don't 
wonder  we  is  all  millionaires — an'  a  lot  he  knows  about  that! 
He  says  that  he  has  just  heard  that  us  is  filmin'  a  pitcher  called 
'  Monte  Cristo  Takes  the  Count, '  which  is  one  of  the  finest 
books  ever  written  an'  mo'  folks  ought  to  come  heah  to  visit  the 
Chateau  d'lf  which  can  be  done  very  cheap  an'  in  one  afternoon 
an'  he  hopes  our  pitcher  will  git  a  lot  of  folks  in  Marseilles  to 
visit  same. 

"  He  says  that  his  sassiety  met  the  other  night  an'  decided 
that  they  craved  to  give  this  comp'ny  a  tokum  of  their  esteem 
fo'  what  us  is  doin'  fo'  the  city  an'  they  made  up  a  collection  an' 
bought  a  medal — "  he  turned  to  the  Frenchman  and  spoke 
suggestively — "La  medaille,  M'sieu   ..." 

That  was  evidently  a  cue,  for  M'sieu  swung  again  into  violent 
action.  From  the  capacious  pockets  of  his  frock  coat,  he  res- 
cued a  large  velvet  box — a  thing  perhaps  eight  inches  long  and 
six  inches  wide.  This  he  held  up  in  front  of  the  audience  and 
did  some  more  French  speaking. 

Suddenly  his  forefinger  touched  the  clasp  and  the  box  flew 
open.    There  was  a  gasp  from  the  assembled  troupers. 

68 


The  medal  was  indeed  an  impressive  thing.  It  was  a  huge 
affair  of  gold  in  the  form  of  a  star  from  the  points  of  which  tiny 
gold  threads  emanated,  supposed,  unquestionably,  to  represent 
twinkles.  The  center  of  the  star  was  a  thing  resembling  a  coin 
on  which  was  engraved — in  French — a  summary  of  the 
Society's  appreciation  for  the  free  advertising  which  they  fig- 
ured Midnight  was  about  to  give. 

The  ornament  was  held  by  a  red,  white  and  blue  ribbon  of 
ribbed  silk  and  the  pin  by  which  it  was  supposed  to  be  affixed 
to  the  bosom  of  some  person  was  in  itself  no  mean  decoration. 

On  the  whole  it  was  quite  the  most  gorgeous  thing  which  any 
person  present  had  ever  set  eyes  upon.  Beside  it,  the  emblem 
of  the  Grand  Magnificent  High  Potentate  of  The  Sons  &  Daugh- 
ters of  I  Will  Arise  was  a  pallid  and  puny  thing.  There  was  an 
audible  intaking  of  breath,  a  sitting  forward  in  chairs  and  a 
craning  of  necks. 

The  French  gentleman  turned  slowly  and  exhibited  the 
trophy  to  Opus  and  Welford.  The  portly  star  gasped  with 
delight. 

"Great  Sufferin'  Tripe!    Just  look  at  that." 

Welford's  brow  wrinkled  in  thought.  "  Whaffo'  is  he  showin' 
it  to  us.  Opus?" 

"I  dunno    ..." 

"You  reckon  he's  gwine  give  it?  You  reckon  tha's  how  come 
us  to  be  sittin'  up  heah?" 

Opus's  brain  functioned  more  slowly  than  that  of  the  short 
and  slender  Mr.  Potts. 

"'Taint  possible  we  could  git  somethin'  so  grand.  If  I 
thought—" 

"Stop  thinkin'  an'  listen  to  Ethiope  Wall.  He's  speechi- 
fyin'  again." 

Mr.  Wall  was  indeed  talking.  He  spoke  honeyed  words 
freighted  with  glorious  promise.  [  continued  on  page  g8  J 


Photoplay  Magazine — Advertising  Section 


Her  Majesty,  The  Queen  of  Roumania 
granddaughter  of  Queen  Victoria,  states- 
woman,  author,  beautiful  and  stately, 
says:  "Beauty  can  be  thoroughly  guarded 
by  the  daily  use  of  Pond's  Two  Creams." 


The  Duchesse  de  Richelieu 

of  a  prominent  Baltimore  family  and 
wife  of  the  head  of  one  of  the  noblest  old 
houses  in  France,  says:  "  Pond's  Creams 
keep  the  skin  exquisitely  soft  and  lovely." 


Miss 
Elinor  Patterson 

Daughter  of  Mr.  and  Mrs. 
Joseph  Medill  Patterson 
of  Chicago,  successful  as 
"The  Nun"  in  "The  Mir- 
acle," says:  "Pond's  Two 
Creams  are  perfect,  fra- 
grant, sure  infulfillment" 


'WO 


aeens 


Reigning  Qi 

Nobkwomen 
Society  Jeaders 
7^  You/zgerSet 


OMEN  of  royal  blood,  of  noble  birth, 

W/        of  high  position  whose  destiny  demands 

that  they  face  the  world  with  skins  as 

clear  and  delicate  as  dawn,  pursue  a 

time-tested   method  of  caring  for  their  skin,  of 

keeping  their  loveliness  safe  from  weariness  and 

strain,  inclement  weather,  grit  and  dust. 

Pond's  are  the  Two  Creams  they  use.  Forming 
a  complete  method  of  caring  for  every  normal  skin 
they  should  daily  be  applied  as  follows: 

First  Step:  During  the  day  whenever  your  skin  needs  cleansing 
— especially  after  exposure  to  weather,  wind  and  dust  and  al- 
ways before  retiring — apply  Pond's 
Cold  Cream  generously.  Let  it  stay  on 
a  few  moments.  Its  fine  oils  will  pene- 
trate the  pores  and  bring  to  the  sur- 
face the  dirt  and  powder  which  clog 
them.  Wipe  off  cream  and  dirt  and 
repeat  the  treatment,  finishing  with  a 
dash  of  cold  water  or  a  rub  with  ice. 
If  your  skin  is  dry,  after  the  nightly 
cleansing,  pat  on  more  Cream  and 
leave  it  until  morning. 

Second  Step:  After  every  Pond's  cleans- 
ing except  the  bedtime  one,  over  your 
freshly  cleansed  skin,  apply  Pond's 
Vanishing  Cream  thinly.  Your  skin 
has  a  new  and  delicate  finish  now,  an 
even,  satiny  tone,  and  is  perfectly  pro- 
tected from  harsh  weather,  soot  and 
dust.  Fluff  your  powder  on!  See  how 
long  it  clings,  with  velvety  smoothness! 
Cleanse,   freshen   and  protect  your 


Her  Majesty,  The  Queen  of  Spain 

who  also  has  signified  her  pleasure  in 
Pond's  Two  Creams,  is  the  embodiment 
of  queenly  majesty  and  beauty — tall,  fair, 
distinguished  in  dress  and  bearing. 


Mrs.  Nicholas  Longworth 

wife  of  the  speaker  of  the  United  States 
House  of  Representatives,  daughter  of 
the  late  President  Roosevelt,  declares: 
"A  clear  skin  may  be  safely  and  surely 
had  by  the  use  of  Pond's  Two  Creams." 


Miss 
Marjorie  Oelrichs 
New  York  debutante,  con- 
nected with  several  of  New 
York's  oldest  families,  and 
a  chic  and  charming  per- 
son, says:  "  Pond's  is  the 
method  I  follow." 


Vree  Clffpr  •  Mail  coupon  if  you  would  like  to 
r  /  te  KJJJ  CI  .  kave  jree  triai  tubes  0j  Pond's  Two 
Creams  with  instructions  for  using. 


skin  the  gentle,  safe  Pond's  way. 


Evtry  normal  skin  needs  these  Two 
famous  Creams.  Pond's  Cold 
Cream  for  cleansing,  Pond's  Van- 
ishing CREAM/or  smoothness,  pro- 
tection, a  delicate  powder  base. 


The  Pond's  Extract  Company,  Dept.  L 
147    Hudson  Street,  New  York  City 

Please  send  me  your  free  trial  tubes  of  Pond's 
Two  Creams  and  instructions  for  using. 

Name 

Street 

City State. 


write  to  aOvertii 


pie 


l'tt<iTi>rl_\Y  .MAGAZINE. 


o 


NE  of  the  lines  in  "What  Price  Glory"  was  "Join  the  Marines  and 
See  the  Girls."  And  so  you  may  make  your  own  joke  when  we  tell 
you  that  Carmel  Myers,  playing  the  role  of  Zaya,  wears  this  cos- 
tume in  "Tell  It  to  the  Marines." 


70 


Photoplay  Magazine — Advertising  Section 


"WHILE  HEAD  COACH  AT  A 
LARGE  UNIVERSITY  the  mem- 
bers of  tile  football  squad  were  taken 
clown  with  boils.  I  tried  every  known 
remedy — no  results.  A  trainer  of 
another  University  team  recom- 
mended Fleischmann's  Yeast.  In  a 
short  time  after  giving  my  players 
Yeast  three  times  a  day  the  boils 
began  to  disappear.  I  have  known 
of  many  other  similar  cases.  No 
person  entrusted  with  the  care  of 
athletes  should  be  without  a  supply 
of  Fleischmann's  Yeast." 
Tom  Thorp,  Rockville  Center,  L.  I. 


Tom  Thorp  ( 


Pictures  of  Health 

They  conquered  the  common  ills— found  glorious,  vital  health- 
fey  eating  one  simple  food 


"I  SUFFERED  FROM  SEVERE  IN- 
DIGESTION and  became  nervous  and 
irritable.  Then  I  discovered  Fleisch- 
mann's Yeast.  In  six  weeks,  marvel  of 
marvels,  I  found  that  my  indigestion  had 
disappeared  and  I  was  no  longer  tired." 
Ethel  Y.  Ginz,  Indianapolis,  Ind. 

BELOW 

"CONSTIPATION  WAS  MAKING  ME 
ILL.  I  had  intestinal  pains  at  all  times. 
One  day  a  friend  suggested  Yeast.  I 
have  been  eating  three  cakes  a  day  ever 
since.  The  pains  are  gone  and  I  feel  one 
hundred  per  cent  better." 

Julius  C.  Andrews,  Hopewell,  Va. 


NOT  a  "cure-all,"  not  a  medicine— Fleisch- 
mann's Yeast  is  simply  a  remarkable 
fresh  food. 

The  millions  of  tiny  active  yeast  plants  in 
every  cake  invigorate  the  whole  system.  They 
aid  digestion— clear  the  skin— banish  the 
poisons  of  constipation.  Where  cathartics 
give  only  temporary  relief,  yeast  strengthens 
the  intestinal  muscles  and  makes  them 
healthy  and  active,  daily  releasing  new  stores 
of  energy. 

Eat  two  or  three  cakes  regularly  every  day, 
one  before  each  meal:  on  crackers,  in  fruit 
juices,  water  or  milk— or  just  plain,  in  small 
pieces.  For  constipation  dissolve  one  cake  in 
hot  water  {not  scalding)  before  meals  and  at 
bedtime.  Dangerous  habit-forming  cathartics  will 
gradually  become  unnecessary.  All  grocers  have 
Fleischmann's  Yeast.  Buy  several  cakes  at  a 
time— they  will  keep  fresh  in  a  cool  dry  place 
for  two  or  three  days. 

And  let  us  send  you  a  free  copy  of  our  latest 
booklet  on  Yeast  for  Health.  Health  Research 
Dept.  23,  The  Fleischmann  Company,  701 
Washington  Street,  New  York. 


THIS   FAMOUS   FOOD   tones   up   the   entire   system  — 
aids    digestion  —  clears    the    skin  —  banishes    constipation. 


.  please  mention  PHOTOPLAY  MAGAZINE. 


Picture'ivisdom  from  a  Specialist 


Businessman 

-Comedian 


By 

Dorothy  Spensley 


"Make  your  audience  feel 
superior  to  you,"  says 
Douglas  MacLean,  "but 
don't  let  them  feel  superior 
to  the  picture" 


"  •"   \  NCE  upon  a  time,"  said  Douglas  MacLean,  his  face 
I  llapsing  into  the  expression  that  Uncle  John  of  Station 

V^  ^/KFI,  Los  Angeles,  must  use  when  he  launches  into 
the  nightly  bedtime  story,  "  there  was  a  flock  of  sea 
gulls  that  lived  on  a 
Scandinavian  fjord, 
and  every  time  a 
ship's  whistle  blew 
those  sea  gulls  would 
fly  skyward  and  com- 
pletely obliterate  the 
sun. 

"It  got  to  be  a  fea- 
ture of  the  trip — that 
bird  eclipse.  The 
boat  would  round  the 
bend.  The  captain 
would  blow  the 
whistle.  The  birds 
would  fly  heaven- 
ward. And  the  pas- 
sengers got  their 
thrill.  It  was  never- 
failing.  It  was  the 
high-spot  of  the  jour- 
ney. Travelers  would 
crowd  the  decks  to 
see  it.  It  was  sure- 
fire for  a  gasp. 

"  'This  is  greal  !' 
the  captain  probably 
said.  'We  have  an 
attraction  here.'  But 
the  birds  got  accus- 
tomed to  the  whistle. 
Finally,  they  wouldn't 
budge  when  it  was 
blown.  Everyone  was 
disappointed.    Then 

7f2 


someone  suggested  that  they  use  a  cannon  in  place  of  the 
whistle.  They  did.  The  birds  flew  and  the  sure-fire  thrill  went 
merrily  on. 

"That's  the  way  comedy  is  today.    It's  chock-full  of  sure-fire 

situations  that  went 
over  big  when  custard 
pies  were  first  thrown. 
The  sure-fire  situa- 
tions always  brought 
laughs.  So  they 
brought  them  down 
the  ages  of  film  prog- 
ress and  used  them 
every  place  they 
could.  But  they're 
getting  rather  moth- 
eaten  now,  those  sure- 
fire laughs.  Some- 
times they  don't  get  a 
giggle.  Occasionally 
they  get  a  guffaw  from 
some  fellow  who  was 
present  at  the  horn- 
ing, years  ago,  and 
laughs  out  of  defer- 
ence to  the  age  of  the 
gag- 

"  Those  sure-fire 

[  CONTINUED  ON 
PAGE  139  ] 


"I  don't  try  to  make  my 
pictures  comic.  I  try 
to  make  them  enter- 
taining. I  try  to  put 
humor  into  them.  Not 
obvious  comedy" 


Photoplay  Magazine — Advertising  Section 


THE    TEA-SET    SHOWN    IS    $-45.00    FOR    THE  THREE    PIECES 

rvJo  liver  &  ho  pes ,  Lixrru.ri.ou  J 
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TEASPOONS,    J3.75    FOR    SIX   »  *   ALL   IN    THE    FINEST    PLATE 

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OO  temperamental,  said  Famous  Players-Lasky  about  Greta 
Nissen.  And  they  let  Greta  move  her  spangly  costumes  to 
another  studio.  Along  came  Florenz  Ziegfeld  and  Greta  was 
engaged  for  his  Revue  of  1926.  Malcolm  St.  Clair,  eager  to 
make  "The  Popular  Sin"  even  more  popular,  insisted  upon 
Greta  for  the  leading  feminine  role.  So,  temperament  or  no 
temperament,   Greta  is  back  once  more  in  the  home  circle. 


74 


Photoplay  Magazine— Advertising  Section 


75 


This  Is  Ending  Women's  Greatest 
Hygienic  Mistake 

—  the  hazardous  use  of  makeshift  methods 


This  7s(£W  way  solves  woman's  most 
important  hygienic  problem  scientif- 
ically, providing  charm  and  immac- 
ulacy beyond  all  doubt,  and  at  all 
times,  by  banishing  the  insecurity  of 
old  ways  ...  by  giving  the  convenience 
of  disposability. 


Easy 
Disposal 

and  2  other 
important  factors 


By  ELLEN  J.  BUCKLAND 
Registered  Nurse 

FROM   the  standpoint  of  modern 
social  life,  with  its  activities  and 
full  days,  its  filmy  frocks  and  often  ill-timed 
exactments,    millions    of    women    urge   this 
new  way. 

From  the  standpoint  of  health,  highest 
authorities  urge  it.  Virtually  every  great 
hospital  in  America  today  employs  it. 

It  ends  the  hazards  and  uncertainties  of 
the  old-time  methods,  the  use  of  which  is  a 
great  mistake.  Largely  on  expert  advice, 
8  in  every  10  women  in  the  better  walks  of 
life  now  employ  it. 

You  wear  sheerest  things  without  a  sec- 
ond thought.  You  meet  every  day  unhan- 
dicapped.  It  is  making  a  great  difference 
in  the  lives  of  women. 

These  new  advantages 
This  new  way  is  Kotex,  the  scientific  sani- 
tary pad.  Nurses  in  war-time  France  first 
discovered  it.  It  is  made  of  the  super- 
absorbent  Cellucotton.  It  absorbs  and  holds 
instantly  sixteen  times  its  own  weight  in 
moisture.  It  is  five  times  as  absorbent  as 
cotton.    Kotex  also  deodorizes  by  a  new  dis- 


infectant,   thus    solving    an- 
other trying  problem. 

You  can  get  it  anywhere,  today 
If  you  have  not  tried  Kotex,  please  do.  It 
will  make  a  great  difference  in  your  view- 
point, in  your  peace  of  mind  and  your 
health.  Many  ills,  according  to  leading 
medical  authorities,  are  traced  to  the  use  of 
unsafe  and  unsanitary  makeshift  methods. 
Thus  today,  on  eminent  medical  advice, 
millions  are  turning  to  this  new  way. 

There  is  no  bother,  no  expense,  of  laun- 
dry. Simply  discard  Kotex  as  you  would 
waste  paper — without  embarrassment. 

Only  Kotex  is  "like"  Kotex 

In  purchasing,  take  care  that  you  get  the 
genuine  Kotex.  It  is  the  only  pad  embody- 
ing 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 
department  stores  everywhere.  Comes  in 
sanitary  sealed  packages  of  12  in  two  sizes, 
the  Regular  and  Kotex-Super.  Cellucotton 
Products  Co.,  166  W.Jackson  Blvd.,  Chicago. 


Utter 

protect! 

Kotex      a 

times 

its    own    w 

in    mo 

isture;    5 

that  of  cotton,    a 

deodo 

izes.  thus  a 

ins   dc 

uble   prote 

(CAsk  for  them  by 


*Supplied  also  in  personal  service  ca 
in  rest-rooms  by 
West  Disinfecting  Co. 


KOT6  X 

PROTECTS  — DEODORIZES 


Ko 


Regular: 
65c  per  dozen 
Kotex-Super: 
90c  per  do;en 


Easy  to  buy  anywhere.* 
Many  stores  keep  them 
ready-wrapped  in  plain 
paper  —  simply  help 
yourself,  pay  the  clerk, 
that  is  all. 


No  laundry — discard  as 
easily  as  a  piece  of  tissue 


PIIiiTmI'I.AY  MAGAZINE. 


76 


Photoplay  MAGAZINE — ADVERTISING  Sim  i  [ON 


Your  Whole  Appearance 

Depends  upon  Your  Hair 

Without  beautiful,  well-kept  hair,  you  can  never  be  really  attractive.     Soft,  silky  hair  is  the 
most  ALLURING  CHARM  any  woman  can  possess. 

It  makes  the  plainest  features  appear  soft  and  sweet.    Fortunately,  beautiful  hair  is  no  longer 
a  matter  of  luck.     You,  too,  can  have  beautiful  hair  if  you  shampoo  it  properly. 


PROPER  shampooing  is  what  makes  your  everywhere,  now  use  Mulsified  cocoanut  oil 
hair  soft  and  silky.  It  brings  out  all  the  shampoo.  This  clear,  pure  and  entirely  grease- 
real  life  and  lustre,  all  the  natural  wave  less  product  brings  out  all  the  real  beauty  of 
and  color,  and  leaves  it  fresh-looking,  glossy  the  hair  and  cannot  possibly  injure.  It  does  not 
and  bright.  dry  the  scalp  or  make  the  hair  brittle,  no  matter 

When  your  hair  is  dry,  dull  and  heavy,  life-  how  often  you  use  it. 

less,  stiff  and  gummy,  and  the  strands  cling  to-  If  you  want  to  see  how  really  beautiful  you 

gether,  and  it  feels  harsh  and  disagreeable  to  can  make  your  hair  look,  just  follow  this  simple 

the  touch,  it  is  because  your  hair  has  not  been  method. 


shampooed  properly 

While  your  hair  must  have  frequent  and  reg 


A  Simple,  Easy  Method 


alar  washing  to  keep  it  beautiful    it  cannot    THIRST,  wet  the  hair  and  scalp  in  clear,  warm 
stand  the  harsh  effect  of  free  alkah   which  IS     H  ^t„r     Then  apply  a  little  Mulsified  cocoa- 


common  in  ordinary  soaps.  The  free  alkali 
soon  dries  the  scalp,  makes  the  hair  brittle  and 
ruins  it.     That  is  why  thousands  of  women. 


Jl    water, 
nut  oil  shampoo. 

Two  or  three  teaspoonfuls  will  make  an  abun- 
dance of  rich,  creamy  lather.  This  should  be 
rubbed  in  thoroughly  and  briskly  with  the 
finger  tips,  so  as  to  loosen  the  dandruff  and 
small  particles  of  dust  and  dirt  that  stick  to  the 
scalp. 

After  rubbing  in  the  rich,  creamy  Mulsified 
lather,  give  the  hair  a  good  rinsing.    Then  use 


another  application  of  Mulsified,  again  working     last  for  months. 

up  a   lather  and   rubbing  it  in 

briskly    as    before.      After  the 

final    washing,  rinse    the    hair 

and   scalp   in    at    least  two 

changes   of  clear,  fresh,  warm 

water.    This  is  very  important. 


Just  Notice  the  Difference 

YOU  will  notice  the  difference  in  your  hair 
even  before  it  is  dry,  for  it  will  be  delight- 
fully soft  and  silky.  The  entire  mass,  even 
while  wet,  will  feel  loose,  fluffy  and  light  to  the 
touch  and  be  so  clean  it  will  fairly  squeak 
when  you  pull  it  through  your  fingers. 

After  a  Mulsified  shampoo  you  will  find  your 
hair  will  dry  quickly  and  evenly  and  have  the 
appearance  of  being  much  thicker  and  heavier 
than  it  really  is. 

If  you  want  to  always  be  remembered  for 
your  beautiful,  well-kept  hair,  make  it  a  rule  to 
set  a  certain  day  each  week  for  a  Mulsified  co- 
coanut oil  shampoo.  This  regular  weekly  sham- 
pooing will  keep  the  scalp  soft  and  the  hair  fine 
and  silky,  bright,  fresh-looking  and  fluffy,  wavy 
and  easy  to  manage. 

lou  can  get  Mulsified  cocoanut  oil  shampoo 
at  any  drug  store  or  toilet  goods  counter,  any- 
where in  the  world.    A  4-ounce  bottle  should 


Mail  This  Coupon  and  Try  it  FREE 

THE  R.  L.  WATKINS  COMPANY  26M-  44 

1276  West  3rd  Street,  Cleveland,  Ohio 
Please  send  me  a  proerons  supply  of  "Mulslned"  FREE,  all  charges 
paid.      Also   your   booklet   entitled   "Why   Proper  Shampooing    Is 
BEAUTY  INSURANCE." 


More  than  a  Shampoo, 

i>'s  "BEAUTY  INSURANCE 


Mulsified 

-  Cocoanut  Oil  Shampoo' 


Address State . 


462  Wellington  St..  We 


PIKITIIPI.  \Y    M.Wi  \ZI\i: 


QUESTIONS    5?    ANSWERS 


Read  This  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  Ions  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. 


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  Bllbjectfl  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  VV. 
57th  St.,  New  York  City. 


Fritzi,  Portland,  Ore. — You're  out  of 
luck.  John  Barrymore  is  married.  And  so  is 
Lionel.  They're  a  fascinating  family,  aren't 
they?  John  Barrymore  has  written  a  book 
about  his  life.  It's  good  reading.  He  is  five 
feet,  ten  inches  tall.  Douglas  Gilmore  isn't 
married.  He's  six  feet,  one  inch  tall  and 
weighs  175  pounds.  I  hope  Dad  doesn't  miss 
his  letter  paper. 

H.  C.  E.,  Silyerdale,  Wash. — So  you  like 
the  Scandinavian  beauties?  Greta  Garbo  is 
five  feet,  six  inches  tall.  She  was  born  in  1906. 
Weighs  125  pounds.  Anna  Q.  is  about  thirty 
years  old  and  weighs  135  pounds.  Tom  Tyler 
isn't  married.  He  was  born  in  igo3.  Mae 
Murray  is  five  feet,  three  inches  tall  and 
weighs  115  pounds.  She  was  born  May  10, 
1893.  Save  your  other  questions  for  another 
letter.  My.  but  you  are  eager  for  information, 
but  I  can  only  answer  five  questions  at  a  time. 
There  i-.  no  rule  against  your  coming  again. 

JERRY,  Tulsa,  Okla. — Hard  work  didn't 
bring  on  my  gray  hairs.  I  was  disappointed  in 
love.  Five  questions  at  a  time,  Jerry!  Tony 
Moreno  was  born  Sept.  26,  18S8.  That's  his 
real  name.  His  latest  picture  is  "The  Tempt- 
ress." Viola  Dana  and  Alberta  Vaughn  are 
Americans;  Norma  Shearer  is  a  Canadian. 
Evelyn  Brent  was  born  in  1899  and  Laurence 
Gray  in  [898.     See  you  again  next  month! 

M.  1L.  Lorain,  O. — Bill  Haines  certainly 
mowed  em  down  in  "Brown  of  Harvard." 
Bill  is  a  Southerner,  born  in  Staunton.  Va .. 
on  Jan.  1,  igoo.  He's  a  good  kid.  SLx  feet 
tall,  and  he's  been  in  pictures  since  March,  1922. 

II.  L..  Ci.aremore,  Okla. — Bill  and  Richard 
keep  an  old  man  busy.  No,  I  don't  know  why 
Mr.  Dix  isn't  married.  I  suppose  he's  par- 
ticular and  he  doesn't  want  tomake  a  mistake. 
You  can't  blame  such  a  nice  young  man  for 
being  fussy.  Richard  has  brown  hair  and 
brown  eyes  and  was  born  Aug.  iS,  1895.  And 
he's  as  nice  off  the  screen  as  he  is  on  it. 


Bars,  Portland,  Ore. — Here  we  are  again' 
William  Haines  was  born  Jan.  1,  1900,  and 
weighs  172  pounds.  Six  feet  tall.  Doris 
Kenyon  played  opposite  Milton  Sills  in  "The 
LTnguarded  Hour." 

Drusie  for  Short,  Pittsfield,  Mass. — 
What  do  you  mean,  "dumb  looking,  but 
clever?  "  It  can't  be  done,  not  even  by  a  movie 
star.  John  Patrick  is  married.  Clive  Brook  is 
five  feet,  eleven  inches  tall  and  was  born  June 
1,  1891.  Married!  Mr.  Brook  has  just  signed 
a  contract  with  P'amous  Players-Lasky,  so 
you'll  probably  see  more  of  him  in  the  future. 
Richard  Dix  is  six  feet  tall,  and  was  born  Aug. 
18,  1895.    Mr.  Patrick  was  born  Nov.  22,  1897. 

F.  A.  L.,  De  Pere,  Wris. — Sit  down  and 
make  yourself  at  home.  Lloyd  Hughes  was 
born  Oct.  21,  1897.  Clara  Bow  is  twenty-one 
years  old.  I  wonder  if  Clara  votes.  Dolores 
Del  Rio  is  married  and  Betty  Bronson's  next 
picture  is  "Paradise." 

Julia.  Chicago. — Thomas  Meighan  was 
born  in  Pittsburgh,  Pa.,  April  9,  1S79.  He's 
married  to  Frances  Ring.  Tommy  is  six  feet, 
one  inch  tall,  and  weighs  180  pounds.  Dark 
hair  and  blue  eyes. 

Tulsa  Maid,  Tulsa,  Okla. — William  Boyd 
is  married  to  Elinor  Faire,  the  girl  who  plays 
opposite  him  in  "The  Volga  Boatman."  Write 
to  him  at  the  De  Mille  Studios,  Culver  City. 
Calif.  Tullio  Carminati  played  the  role  of 
Uylolf  in  "The  Duchess  of  Buffalo." 

N.  M.  and  E.  B.,  Parsons,  Kan. — Pola 
Negri  says  she  was  engaged  to  Rudolph 
Valentino.  And  there  was  some  sort  of  under- 
standing between  them.  Anyway,  Pola 
mourned  and  mourned  when  poor  Rudy  died, 
even  if  she  didn't  come  East  when  he  was  sick. 
Clara  Bow  is  a  fascinating  kid.  Lots  of  pep. 
She  has  reddish  brown  hair  and  brown  eyes. 
Clara  is  twenty-one  and  is  five  feet,  three  and 
one-half  inches  tall  and  weighs  120  pounds. 


Just  a  Big  Shot  from  Win- 
CHESter. — Listen  and  learn,  dear 
pupil.  Leslie  Fenton  has  gone  back  to 
the  legitimate  stage  for  a  season,  so 
you'll  have  to  wait  until  he  returns. 
Mr  Fenton  was  bom  in  Liverpool, 
England,  March  12,  1003.  He  is  live 
feet,  nine  inches  tall  and  weighs  150 
pounds.  black  hair  and  gray  blue 
eyes     Vnd  that's  that. 

Dorse,  Chicago. — Are  you  trying 
to  involve  me  in  a  romance?  Maybe 
the  lady  wouldn't  like  it.  Bessie  Love 

was  born  Nov.  10,  1898,  and  she  isn't 
married.  Write  to  her  at  the  Lasky 
Studios  in  Hollywood,  Calif  Address 
William  Boyd  at  the  De  Mille  Studios, 
Culver  City.  Calif.  Steal  some  more 
note  paper  and  write  me  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. 


A.  B.  E.,  Lordsbtxrg,  X.  M  —  Why  should  I 
complain  about  the  trouble  when  I  get  such  a 

reward?    My.  I  never  was  more  surprised  in 

my  life  than  when  I  opened  your  letter' 
Harold  Lloyd  was  born  April  20. 1894.  Douglas 
Fairbanks.  Jr.,  is  too  young  for  a  seriou> 
romance.  He  has  light  brown  hair  and  blue- 
eyes.     Yes,  Mary  Brian  is  a  sweet  girl. 

"Chip,"  Zapata  on  the  Rio  Grande. — 
Tom  Mix  and  I  speak  the  same  kind  of 
Spanish.  Hot  tamale  to  you.  old  dear!  Did 
you  have  a  good  time  in  Philadelphia?  Pretty 
quiet  after  Texas,  wasn't  it?  Maynard  is 
Ken's  real  name.  He  was  born  in  Mission, 
Texas,  July  21,  1895.    Adios. 

Veronica,  Inwood,  N.  Y. — Since  William 
Haines  is  a  gentleman,  he  must  prefer  blondes. 
But  he  has  never  confided  in  me,  so  I  can't  say 
for  sure.    Conway  Tearle  is  married. 

II.  F.,  Hammondsport,  N.  Y. — Older  and 
wiser  girls  than  you  have  tried  to  stump  me 
w  ith  questions.  Florence  Yidor  is  divorced 
from  King  Yidor.  She  is  five  feet,  four  inches 
tall  and  weighs  120  pounds.  Florence  is  thirty 
one  years  old. 

Sweet  Sixteen,  Merced,  Calif.  —  Well, 
Twinkletoes,  I  guess  something  will  have  to  be 
done  about  getting  Leslie  F'enton  to  play  in 
more  pictures.  Your  favorite  was  born  in 
Liverpool,  England,  March  12,  1903.  He  has 
gray-blue  eyes  and  black  hair.  Not  married 
His  next  picture  is  "LTpstream." 

D.  W.,  St.  Louis,  Mo— Write  to  the 
Warner  Brothers  Studio,  5842  Sunset  Blvd., 
Hollywood,  for  a  picture  of  Rin-Tin-Tin. 

L.  W .,  New  Orleans,  La. — Actresses  arc 
supposed  to  be  more  ornamental  than  actors, 
so  that  is  why  the  girls  get  all  the  cover  on 
Photoplay.  However,  when  a  man  is  par- 
ticularly good  looking,  PHOTOPLAI  honors  him. 
Valentino  and  Novarro  both  had  their  pictures 
on  the  cover,  so  maybe  there  is  hope 
for  John  Gilbert.  Aileen  Pringle  i- 
about  twenty-nine  years  old.  She  i^ 
five  feet,  three  inches  tall  anil  weighs 
119  pounds.  Gareth  Hughes  and 
Bessie  Love  were  the  boy  and  girl  in 
"  Forget-me-not." 

Dimples,  Superior,  Wyo  -  Mosl 
men  don't  like  to  answer  questions 
but  that  is  because  they  don't  receive 
the  nice  letters  that  come  to  me.  If 
the  other  fellows  could  read  my  mail. 
they'd  be  glad  to  have  my  job.  You 
are  right  in  your  philosophy  about 
mm.  Pretty  wise  for  such  a  young 
girl!  Is  that  what  the  great  open 
spaces  out  past  where  the  v.c-t  begins 
does  to  one?  Barbara  La  Marrdied  at 
Altadena,  Calif.,  Jan.  30.  tg 

[  continued  on  pace  96  ] 

77 


°  Thief/ 


These 
fellows  are 
running  away 
with  the 
pictures 


The  rise  of  Charles 
Murray  to  stardom  in 
"McFadden's  Row  of 
Flats"  proves  that  the 
screen  wants  youth  and 
beauty.  Before  mak- 
ing his  film  debut  with 
Mack  Sennett,  Murray 
was  Pavlowa's  dancing 
partner.  Born  in 
Odessa,  Murray  joined 
the  Imperial  Russian 
Ballet,  quitting  to  play 
Little  Eva  with  the 
Moscow  Art  Theater. 
At  the  outbreak  of  the 
Revolution,  he  became 
engaged  to  Queen  Marie 
of  Roumania  and  took 
a  flyer  in  grand  opera, 
singing  with  Caruso 
and  Scotti.  His  hobby 
is  china  painting 


Ford  Sterling,  formerly 
leading  man  for  Mrs. 
Siddons,  makes  his 
screen  debut  in  "The 
Show-Off."  Sterling 
was  born  in  Athens  of  the  ancient  Silver 
family.  After  studying  for  the  ministry 
at  the  Moller  Barber  College,  he  created 
an  instant  success  in  Paris  in  "Abie's 
Irish  Rose."  He  then  became  a  six  day 
bicycle  rider,  winning  two  six  day  races 
in  one  week,  thus  creating  a  world's 
record.  Mr.  Sterling  frequently  contrib- 
utes to  the  magazines  under  the  pen 
name  of  H.  G.  Wells 


Not  many  of  his  admirers  realize  that  Chester  Conklin,  now 
appearing  in  "The  Duchess  of  Buffalo,"  is  an  Albanian  Count, 
once  prominent  in  the  diplomatic  affairs — if  any — of  his  native 
country.  Tiring  of  diplomatic  life,  with  its  ceaseless  rounds  of 
gayety,  Conklin  joined  Max  Reinhardt's  company,  playing 
everything  from  soup  to  nuts.  His  next  dramatic  venture  was 
as  understudy  to  Eleonora  Duse.  Mack  Sennett  saw  him  play 
"Hedda  Gabler"  and  immediately  signed  him  up  to  do  his  stuff 
for  the  Eighth  and  Last  Art 


78 


Irn 


+s '■» 


•  ■ 


First  in  the  field 

Baby  Ruth  is  the  best  "forward  pass"  in  the 
game;  it  scores  every  time — and  all  the  time! 
And  it  has  the  largest,  most  enthusiastic  fol- 
lowing of  any  candy  in  America. 

Forty  million  people  eat  Baby  Ruth  with 
delight.  Over  five  million  bars  are  sold  every 
day.  Over  $250,000  worth  of  nickels  pass  over 
the  candy  counters  daily  for  this  favorite  con- 
fection. 

Fits  every  taste — fit  for  any  taste — Curtiss 
Baby  Ruth. 

CURTISS  CANDY  COMPANY 

New  York  CHICAGO  San  Francisco 

Boston  Los  Angeles 

Baby  Ruth)  5e 


America*  Favorite  g* 


W hen  it's  hunters' 
day  at  the  horse  show — and  the  best 
jumpers  in  the  land  are  soar- 
ing  over  the  hedges 
— have  a  Camel! 


No  other  cigarette  in  the  world  is  like  Camels.  Camels  contain  the 
choicest  Turkish  and  Domestic  tobaccos.  The  Camel  blend  is  the 
triumph  of  expert  blenders.  Even  the  Camel  cigarette  paper  is 
the  finest — made  especially  in  France.  Into  this  one  brand  of  ciga- 
rettes is  concentrated  the  experience  and  skill  of  the  largest  tobacco 
organization  in  the  world. 


WHEN  it's  the  most  excit- 
ing day  at  the  horse  show. 
When  the  famous  hunters 
take  water  jump,  wall  and 
rail  in  faultless  perform- 
ance— hare  a  Camel! 

For,  all  the  world  over, 
no  other  cigarette  cheers 
and  satisfies  like  a  Camel. 
The  golden  enjoyment  of 
Camels  makes  every  happy 
holiday  happier,  adds  the 
sense  of  well-being  to  every 
friendly  occasion.  Camels 
are  made  of  the  choicest 
Turkish  and  Domestic  to- 
baccos grown — they  are  the 
cigarettes  that  never  tire 
the  taste,  never  leave  a  ciga- 
retty  after-taste.  Millions 
who  could  well  afford  to 
pay  more  will  smoke  only 
Camels. 

So  as  you  join  the  gay 
throngs  at  the  horse  show. 
After  each  thrilling  event — 
know  then  the  enjoyment 
of  the  finest  in  cigarettes. 


Have  a  Camel! 

Ww          V         »JX>r 

_^L 

Our  highest  wish,  if  you 
do   not   yet   know    Camel 
quality,    is    that    you    try 
them.     We  invite  you   to 
compare  Camels  with  any 

M*mk 

mt 

other    cigarette    made    at 
any  price. 
I*-    R.  J.   Reynolds   Tobacco 

psw 

Winston-Salem,  N.   C. 

X. 


Friendly 

Advice  on 


Mir  Is'  Problems 


from 


Carolyn  Van  Wyck 


MY  DEAR   CAROLYN  VAN  WYCK: 
What  do  you  think  of  a  girl  having  a 
"steady"  date  instead  of  a  catch-as- 
catch-can   sheik?     I'm   in   my   first  year  in 
college,  just  eighteen,  and  ever  since  my  high 
school  days  began  I've  been  going  with  the 
same  boy.     He  lives  in  my  town,  and  we've 
known  each  other  since  we  were  kids.    Now  my 
parents  tell  me  to  go  slow  about  tying  myself 
up  to  him  exclusively.     They  declare  I  am 
shutting  myself  off  from  other  matrimonial 
chances.    Do  you  think  that's  true?    I  like  this 
boy  a  lot,  and  I've   rather  become 
accustomed  to  having  him  about,  but 
I'm  not  sure  that  I  love  him  and  not  at 
all  certain  whether  or  not  I  want  to 
marry  him. 

Janet  B. 


and  strong,  she  can  travel,  she  can  accomplish, 
she  can  flirt  as  far  as  she  dares. 

The  boy  friend,  then,  must  offer  her  some- 
thing more  substantial  than  his  mere  male 
presence.  He  must,  in  fact,  offer  her  some- 
thing worth  the  sacrifice  of  her  freedom.  If  she 
is  a  lucky  girl,  he  offers  her  true  love,  and  that 
being  the  case,  if  she  is  a  wise  girl  she  accepts 
the  love  and  the  boy  behind  it. 

But  then,  suppose  he  wants  a  long  engage- 
ment, a  protracted  courtship,  wants,  in  Janet 
B.'s  phrase,  to  become  a  steady? 


The  "Steady"  vs.  "The 
Boy  Friend'1 


The  problem  of  the  boy  friend. 

To  have  a  one  and  only,  or  as  many 
as  pettable.    That  is  the  question. 

The  thing  to  decide  is  what  you 
want  of  him.  To  what  end  should  he- 
be  "steady"?  Are  you  looking  for  a 
happy  marriage,  presumably  till  death 
does  you  part,  or  a  merry  flirtation  to 
pass  the  summer? 

It  used  to  be  the  idea  that  a 
"steady" — almost  any  "steady" — 
was  the  cure-all  of  feminine  discon- 
tent. A  beau  regularly  in  the  parlor 
was  considered  worth  ten  in  the  ball- 
room. 

But  I'm  not  so  sure. 

That  belief  may  have  worked  in  the 
days  when  marriages  came  young  and 
singly.  But  that  day  is  not  the 
present. 

Our  grandmothers  met  few  men. 
Their  father,  their  brothers,  their  beau 
comprised  their  masculine  world.  Briefly, 
grandma  took  the  man  she  could  get.  So,  to  a 
considerable  extent,  did  our  mothers.  Today's 
girl  has  the  world  of  men  to  choose  from.  If 
she  doesn't  marry,  it  won't  ruin  her  life. 

She  doesn't  have  to  have  a  husband  in  order 
to  have  food.     She  can  support  herself.     Free 


IT'S  a  familiar  problem  these  days. 
Which  shall  it  be — old-fashioned 
courting  or  the  modern  practice  of 
selecting  the  right  man  from  a  choice 
of  many?  And  so  I  have  given  it  first 
consideration  this  month. 

The  booklets  on  reducing  are  in 
great  demand.  But  additional  ones 
are  being  printed,  so  you  may  have 
one  by  sending  ten  cents.  The  help- 
ful little  pamphlet  on  the  care  of  the 
skin  is  free. 

Write  me  your  problems.  If  you 
wish  a  personal  reply,  enclose  a 
stamped  and  addressed  envelope. 

Carolyn  Van  Wyck 


Re  careful  here,  girls.  The  prospect  glitters, 
but  it  isn't  necessarily  golden. 

A  long  engagement  is,  to  some  extent,  a  mar- 
riage relationship,  with  all  of  marriage's  dis- 
advantages and  few  of  its  joys.  Going  with 
one  boy,  exclusively,  narrows  a  girl's  social 
contacts.    Conversation  between  the  pair  too 


soon  ceases  to  be  an  obligation.  The  mental 
stimulus  evaporates.  So,  after  a  long  time, 
does  charm.  Romance,  that  fragile  flower,  be- 
comes a  little  wilted.  Soon,  if  you  are  honest, 
you  may  have  to  ask  yourself  whether  it  is 
habit  or  love  that  is  holding  you.  You  get  to 
know  each  other  too  well  superficially.  It  kills 
the  real  knowledge  of  each  other  that  true 
marriage  ought  to  bring. 

Other  boys,  seeing  your  constant  date,  be- 
come afraid  to  call  on  you.     And  if,  at  that 
moment,  your  "steady"  meets  another  girl  and 
falls  captive  to  her  newer  charms,  you 
are  left  in  a  position  that,  because  of  its 
social  isolation,  is  difficult  of  retreat. 

Know  your  man  you  mean  to  marry, 
by  all  means.  Know  his  parents,  if 
possible,  and  his  background.  Get  to 
know  his  mind  in  that  sweet  question- 
ing that  lovers  use  of  "Don't  you  love 
this?"  and  "Don't  you  hate  that?" 
and  why  and  why  not.  Know  as 
accurately  as  you  can  what  his  future 
prospects  are. 

But  do  it  with  a  certain  speed. 
Don't  take  months  of  his  exclusive 
society  to  find  out. 

Meanwhile,  go  out  with  others.  It 
is  much  better  to  get  the  craving  for 
variety  out  of  your  blood  before  mar- 
riage. 

Weigh  your  best  boy  friend  by  I  he 
standards  of  the  others.  Then  when 
you  go  back  to  him,  if  you  discover 
you  are  at  once  content  and  enthusi- 
astic, gay  and  full  of  eagerness  and 
that  it  doesn't  matter  whether  you 
spend  the  evening  riding  around  in  a 
trolley  car  or  a  limousine,  as  long  as 
you're  with  him,  that's  your  man.  Go 
get  him. 
Get  engaged  slowly,  but  once  you  are  en- 
gaged, get  married  quick. 

Doi.lv  B.  J. 

Your  ambition  to  have  a  young  and  healthy 
body  is  a  very  worthy  one.  You  can  have  it. 
too.    Anyone  can  who  will  work  for  it.    First  of 


81 


Photoplay  Magazine — Advertising  Section 


The  Most  Popular 
Cream  inthe  World 
for  Evening  use 

Social  activities  are  always  an 
incentive  to  "look  your  best." 
Many  women  know  that  there 
is  nothing  to  equal  the  delicate, 
refined,  soft  appearance  Gou- 
raud's  Oriental  Cream  renders 
to  the  skin. The  arms, shoulders 
and  complexion  are  blended 
into  an  entrancing,  pearly 
beauty  that  will  not  streak  or 
show  the  slightest  effects  of 
moisture  or  perspiration. 

GOURAUDS 

CREANT 

"Beauty's  Master   Touch" 

is  so  subtile  and  refined  in  its  effect, 
the  use  of  a  toilet  preparation  cannot 
be  detected.  It  is  very  simple  to  use, 
no  rubbing  in,  or  messy  treatments. 
Just  a  moment's  time  each  morning 
assures  you  of  possessing  your  "even- 
ing affair"  beauty  throughout  the 
day. 

Isn't  it  just  as  important  to  always 
appear  at  your  best,  as  it  is  to  look 
well  for  a  particular  occasion?  Com- 
mence its  use  today,  and  learn  how 
effectively  the  astringent  and  anti- 
septic action  discourages  blemishes, 
wrinkles,  freckles,  tan,  flabbiness 
and  muddy  complexions. 
Made  in  white,  flesh  and 
rachel,  also  compacts. 

Send  10c.  for  Trial  Size 

Ferd.  T.  Hopkins  &  Son. 

430  Lafayette  St. 

New  York 


all,  keep  to  a  simple  diet.  Eat  lots  of  vege- 
tables; a  certain  amount  of  meat;  and  drink 
eight  or  ten  glasses  of  water  daily.  Keep  your 
body  clean  by  at  least  one  daily  bath.  Get  as 
much  rest  as  you  possibly  can — eight  hours  at 
the  very  least.  Keep  out  in  the  open  as  much 
as  possible.  Exercises  at  the  gym  would 
probably  be  advisable.  However,  do  not  over- 
tire  yourself  or  use  up  too  much  energy.  You 
are  now  working  nine  hours  a  day.  That  being 
true,  I  advise  you  to  take  some  simple  exercises 
for  at  least  an  hour  a  day.  The  best  color 
stockings  to  buy  are  beige — or  any  of  the  skin 
colors — and  light  gray.  These  colors  can  be 
worn  with  any  type  of  clothes. 

Margie  B. 

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  yellows;  all  pinks  unless 
too  highly  colored.  A  dark  rachel  powder  and 
rouge  and  lipstick  in  a  dark  red  would  be  most 
becoming  to  you.  With  your  height  you  should 
weigh  much  more  than  ninety-four  pounds. 

Cherie  J'Adore. 

You  seem  to  have  more  accomplishments 
than  the  average  movie-struck  girl.  Have  you 
got  a  ghost  of  a  chance  to  get  into  the  movies? 
Cherie,  I  am  afraid  you  haven't.  You  seem  to 
be  a  resourceful,  capable  girl.  You've  got 
knowledge  and  poise — all  these  things  do  help. 
But  Hollywood  is  so  impossibly  overcrowded 
with  girls  trying  to  get  a  chance  that  I  cannot 
sincerely  advise  any  girl  to  go  there. 

Betty. 

You  certainly  did  get  yourself  into  a  jam 
with  your  friend:  When  you  wrote  him  ex- 
plaining it,  did  you  really  explain  the  whole 
thing?  If  you  haven't,  do  so.  I  think  it  would 
be  advisable  for  your  brother  to  write  him  also 
telling  of  his  part  in  it,  and  it  was  his  being  late 
that  caused  all  the  trouble.  Of  course,  if  the 
boy  doesn't  answer  you  then.  I  wouldn't  get  in 
touch  further,  because  he  probably  is  disturbed 
over  this  incident.  And  if  he  really  feels  deeply 
about  it,  it  is  only  going  to  mean  trouble  for 
you  if  you  force  him  to  reply  to  you  on  this 
matter.  But  do,  in  justice  to  yourself,  give  him 
the  full  details  and  wait  and  see  what  his  re- 
action will  be. 

Dimples. 

Your  case  sounds  very  much  like  a  school- 
girl affair  to  me.  I  don't  believe,  from  your 
description  of  your  boy  friend,  that  he  was  in 
love  with  you.  When  two  people  are  in  love 
with  one  another  they  have  no  impulse  to  flirt 
with  other  people.  And  from  your  letter  that 
is  what  this  boy  always  did.  Now  he  has  left 
you  alone  and  is  going  out  with  other  girls. 
Treatment  like  that  isn't  love.  You  had  better 
forget  him,  Dimples,  because  I  don't  believe  he 
is  worth  worrying  about.  To  some  extent,  boys 
want  to  pet  because  they  aren't  imaginative 
and  can't  think  of  anything  else  to  do  and, 
after  all,  girls  are  attractive.  But  if  you  don't 
like  to  pet  and  you  find  the  boys  of  your  own 
age  want  to  pet,  the  only  thing  to  do  is  to  go 
with  an  older  boy  or  the  kind  that  aren't  look- 
ing for  "hot  dates."  Wait  a  little  while  before 
worrying  about  this  problem.  It  doesn't  seem 
to  me  that  the  modern  woman  should  want  to 
settle  down  in  marriage  before  she  is  nineteen 
or  twenty. 

Margie. 

No,  a  girl  five  feet,  seven  inches  tall  isn't  too 
tall  to  wear  high  heels.  They  should  make  you 
look  very  graceful  since  you're  not  over- 
weight. Apparently  your  trouble  with  freckle 
creams  is  that  your  skin  is  extremely  thin  and 
the  freckles  probably  return  every  time  you  are 
out  in  the  sunlight.  You  can  use  Stillman's 
Freckle  Cream  and  Othine,  or,  if  you  want  to 
pay  a  little  more,  the  creams  of  Helena  Ruben- 
stein  are  very  highly  endorsed. 

Frann. 
I  don't  know  what  has  happened  to  you  in 

-v  advertisement  In  PHOTOPLAT  magazine  is  euaranteed. 


your  reducing.  Did  you  take  any  internal 
medicine?  If  you  did  and  you  are  continuing 
to  lose  weight  it  would  be  advisable  for  you  to 
go  to  a  good  medical  doctor  at  once  and  tell 
him  about  it.  On  the  other  hand,  if  you  did  not 
take  any  medicine,  this  may  be  a  natural  loss 
of  weight,  since  you  are  so  young  a  girl,  and  at 
igo  you  must  have  been  terribly  overweight. 

You  can  wear  black  of  high  lustre;  a  clear 
and  oyster  white;  dark  brown  and  bronze 
brown;  peacock,  navy  and  delft  blue;  pale  and 
dark  green;  pearl  and  dove  grays;  soft  violet 
and  wistaria;  no  reds;  softest  yellow  and  most 
delicate  shades  of  pink. 

P.  S.  R. 

If  your  short  stories  are  accepted  by  any 
magazine  they  are  published.  So  the  only 
thing  to  do  is  to  write  them  and  get  them 
accepted. 

If  you  are  a  wise  person,  you  will  try  very 
hard  not  to  be  in  love  with  a  man  who  tells  you 
how  seriously  he  is  in  love  with  another  woman. 
I  know  it  is  very  difficult  to  direct  love,  and  it 
frequently  goes  where  we  don't  want  it  to.  I 
do  think  you  would  be  very  wise  to  do  just 
what  you  say  in  your  letter — keep  yourself 
occupied  with  your  stories  after  office  hours 
and  prevent  your  thoughts  from  going  in  his 
direction.  Why  don't  you  get  work  in  another 
office?  Do  your  work  at  home  and  put  this 
man  out  of  your  mind  entirely. 

Babbette. 

According  to  your  measurements,  you  don't 
seem  to  be  overweight.  At  fifteen  you  might 
shoot  up  in  height  at  almost  any  time.  Your 
diet  sounds  extremely  sane  and  the  exercises 
you  do,  too.  Yes,  it  is  true  that  Lois  Moran 
did  have  to  reduce,  but  she  was  a  much 
chubbier  girl  than  you.  Her  height  I  believe  is 
five  feet,  three  inches. 

Miss  C.  Kolixski. 

To  cure  knock  knees,  I  would  advise  you  to 
go  as  soon  as  possible  to  your  local  Y.  W.  C.  A. 
and  take  a  course  in  corrective  gymnastics. 
Both  "Xeet"  and  "De  Miracle"  are  excellent 
for  superfluous  hair.  Listerine  is  very  good  for 
dandruff. 

The  best  way  to  tell  whether  anyone  loves 
you  or  not  is  to  remember  that  actions  speak 
louder  than  words.  It  is  quite  simple  to  say, 
"I  love  you,"  but  it  is  more  difficult  to  act  that 
way.  A  girl  who  wants  to  know  if  she  is  loved 
should  watch  the  man  she  is  interested  in  when 
he  is  off  guard.  If  she  sees  that  she  is  the 
object  of  his  care  and  tenderness  and  courtesy, 
she  may  safely  feel  that  she  is  loved.  But  if  she 
sees,  on  the  other  hand,  that  he  acts  selfishly  on 
all  occasions,  she  had  better  watch  her 
step — and  heart  also. 

A.  I.E. 

At  fifteen  you  are  not  too  old  to  start  study- 
ing dancing.  It  is  really  a  very  good  time  to 
begin.  If  you  want  to  go  on  the  stage  I  would 
advise  you  to  go  to  as  practical  a  teacher  as  you 
can  find.  If  you  are  really  sincere  in  this 
ambition,  it  would  be  much  more  advisable  for 
you  to  come  to  New  York  and  study  under 
such  reputable  stage  instructors  as  Ned  Way- 
burn.  You  are  then  fitted  for  the  work  that 
you  want  to  do.  You  can  get  stage  poise  and 
the  right  kind  of  contracts. 

Mrs.  U.  B.  B. 

You  are  my  first  scold  this  month.  You 
just  will  lose  weight  if  you  diet  and  exercise. 
If  you  consume  less  food  and  use  your  muscles 
more  you  simply  must  lose  pounds.  You've 
got  to  keep  at  it  faithfully  if  you  want  to  lose 
thirty  pounds.  If  you  want  me  to  send  you 
printed  instructions  for  dieting  and  reducing 
I  will  he  glad  to  do  so  on  receipt  of  a  stamped, 
self-addressed  envelope.  The  answer  to  G.  D., 
Iowa,  lists  colors  most  suitable  to  you.  No, 
I  won't  tell  you  that  you  have  to  be  content 
with  your  size  but  I  will  tell  you  instead  that 
you  have  sufficient  cause  to  worry  about  it  and 
to  work  to  get  rid  of  it.  Won't  you  please  do  so? 


Photoplay  Magazine — Advertising  Section 


Youthful 
Beauty 
Instantly 

lies  in  the  youthful  shades  of 
Pompeian  powder  and  rouge 

By  MADAME    JEANNETTE    de   CORDET 

Famous  cosmetician,  retained  by  The  Pompeian  Laboratories 

as  a  consultant  to  give  authentic  advice  regarding  the  care 

of  the  skin  and  the  proper  use  of  beauty  preparations. 

f]\fO  more  dull-looking  complexions! 
"*  v,  I  can  tell  you  how  to  have  that 
indescribable  charm  of  fresh  young 
girlhood. 

So  perfectly  do  the  shades  of  these  twi  n 
toiletries  —  Pompeian  Beauty  Powder 
and  Pompeian  Bloom — accord  with  the 
tints  and  tones  of  the  natural  skin,  that 
their  combined  use  gives  fresh  youthful 
beauty  —  instantly.  They  add  the  deft 
touch  that  reveals  the  full  blown  glory 
of  your  complexion. 

This  powder  is  soft  and  velvety  to  the 
touch  —  delicately  perfumed  —  spreads 
evenly,  spreads  with  an  enchanting 
smoothness. 

Pompeian  Bloom  looks  exactly  like 
your  own  coloring.  It  does  not  crumble 
or  break,  but  keeps  compact  and  usable 
— and  comes  off  on  the  puff  easily. 

All  shades  of  Pompeian  Beauty  Pow- 
der and  Bloom  for  sale  at  drug  and 
toilet  counters.  Price  60c  per  box.  In 
Canada  slightly  higher. 

Shade  Chart  for  POMPEIAN  BEAUTY 

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Pompeian  Beauty  Powder  comes  inFlesb—a. 

definite  pink  for  fresh,  youthful  skins;  Natu- 
relle —  a  delicate  cteamy  pink  with  a  rosy  sug- 
gestion of  youth;  Rachel — the  warm  creamy 
tan  for  the  brunette  type;  and  White— the  pure 
white  used  by  many  women  in  the  evening. 

POMPEIAN  BLOOM,  a  perfect  rouge  in  Medi- 
um— asoft  warm  rose  thatgives  natural  color  to 
the  average  woman;  Oriental — a  more  bril- 
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the  new  golden-rose  for  vivid  types;  Dark — a 
rich,  deep  damask  rose;  Light — a  delicate 
but  decisive  pink  suitable  for  very  fair  women. 

Send  for 

this  neiv  1927 

Pompeian  Art  Panel 

(T-^HE  picture  shown  here  (top  part  only 
\L)  illustrated)  represents  the  lovely  new  1927 
Pompeian  Art  Panel  entitled  "The  Bride," 
which  we  offer  our  friends  for  only  10c.  Painted 
by  the  famous  artist,  Rolf  Armstrong,  and  faith- 
fully reproduced  in  ten  color  printings.  Actual 
size  27  x  7  inches.    Its  art  store  value  would 


Tear  off,  Sign  and  Mail 


easily  be  75c.  With  the  Art  Panel  (and  at  no 
extra  charge)  I  will  send  you  generous 
samples  of  Pompeian  Beauty  Powder  and 
Pompeian  Bloom  (a  rouge).  Specify  on  the 
coupon  the  shades  you  wish. 

My  booklet  of  beauty  hints  and  secrets 
will  also  be  sent  to  you  with  the  samples 
and  the  Art  Panel.  Clip  the  coupon,  enclose 
a  dime  and  send  today. 


Specialistcen  Bcaute 


Madame  Jeannette  de  Cordet 
Pompeian  Co.,  2900  Payne  A  v.,  Cleveland,  O. 
I  enclose  10c  for  the  1927  Pompeian  Art  Panel 
and  samples  of  powder  and  rouge. 

Name 


City 

Shade  of 
powder  wanred? 
Shade  of 
rouge  wanted? 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


84 


Photoplay  Magazine — Advertising  Section 


HOURS 

WE  SPENT  TOGETHER 

SOMEWHERE,  LONG  AGO 

(Letters  from  Lovers:  ID 

(7  can't  explain  it  even  now— but  you 
J  seemed  to  draw  into  the  room  with 
us  an  imisiblc  company  of  elusive  mem- 
ories—  memories  of  exquisite  hours  — 
and  they  seemed  to  be  hours  we  spent 
together... somewhere...  long  ago.  And 
the  magic  of  them  touched  you  with  a 
mysterious  fascination.' ' 

FROM  HER  DIARY 

"It  was  different  somehow — last  even- 
ing— and  heaufiful.  But  why?  I  can't 
believe  it  was  —  the  temple  incense " 

C^fHEY  knew  — those  beautiful  women 
vi-J  of  long  ago — that  the  subtle  fragrance 
of  temple  incense  summoned  a  mood  of 
romance  to  the  room  in  which  it  burned. 
Through  the  centuries  the  same  romantic 
mystery  of  it  has  come  down  to  the  women 
of  today  in  Vantine's  Temple  Incense.  In 
six  delicate  fragrances,  it  may  be  had  at  all 
drug  and  department  stores. 

Make  trie  test  for  yourself.  Send 
ten  cents  for  six  sample  odors. 

A.   A.   VANTINE    &.   CO.,   INC. 

7  1     FIFTH     AVENUE.    NEW    YORK 


Renee,  the  adored,  piquant,  pert  and  purposeful 


The  Girl  on  the  Cover 

By  Cal  York 


LITTLE  MELISANDE  of  "The  Big 
Parade." 

Any  story  of  Renee  Adoree  must  begin 
from  that  point.  To  think  of  her  is  to  remember 
Melisande.  Her  Parisian  boulevard  smartness 
and  beauty,  her  tragic  romance,  her  true 
artistry,  Renee  herself  are  all  submerged 
beneath  her  performance  of  that  unforgettable 
role. 

The  time  will  probably  come  when  Renee 
will  wish  she  had  never  played  it,  since  so 
definitely  will  her  career  be  dated,  backward 
and  forward,  from  it. 

Renee  began  life  as  a  circus  child  in  Europe. 
The  life  of  a  circus  child  anywhere  is  bad 
enough,  but  in  Europe  it  is  worse.  The  circus 
does  not  make  much  money  on  the  Continent. 
There  is  little  comfort,  little  cheer,  and  too 
much  work  all  the  time.  In  that  atmos- 
phere Renee  grew  up. 

She  had  been  all  over  Russia,  Germany, 
France,  Belgium  and  Sweden  before  she  grad- 
uated to  the  stage  as  a  dancer. 

Then  came  the  war.  She  was  dancing  in 
Brussels  at  the  time  of  the  German  invasion 
but  escaped  under  cover  of  the  darkness  for 
London.  There  the  air  raids  frightened  her,  so 
she  fled  to  Australia  and  later  to  New  York, 
where  she  danced  in  many  shows,  but  attracted 
small  notice. 

The  same  thing  happened  to  her  in  the 
movies.    She  played  for  Fox,  for  Universal,  for 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Goldwyn.  The  few,  seeing  her,  recognized  her 
ability,  but  they  were  not  the  few  who  did  the 
casting.  She  and  John  Gilbert,  playing 
opposite  her  in  "The  Count  of  Monte  Cristo," 
gave  performances  almost  equal  to  those  they 
have  now  done  in  "The  Big  Parade" — only  no 
one  who  mattered  saw  "Monte  Cristo." 

Then  Renee  met  Tom  Moore  and  married 
him,  as  Alice  Joyce  had  done  before  her.  And 
a  little  later  she  divorced  Tom,  just  as  Alice 
had. 

After  all.  Renee  is  Spanish  and  French  and 
Tom  is  pure  Irish. 

Louis  B.  Mayer,  scouting  for  talent,  put 
Renee  under  contract.  Critics  acclaimed  her 
work  in  "The  Eternal  Struggle,"  "Cape  Cod 
Folks,"  and  other  dramas.  But  the  public 
stood  off,  and  Mayer  waited  until  he  joined  in 
the  Metro-Goldwyn  merger. 

It  is  quite  safe  now  to  tell  that  "The  Big 
Parade"  was  largely  accident.  It  started  with 
the  not-then-very-distinguished  King  Yidor  as 
director,  the  not-then-very-distinguished  actor, 
John  Gilbert,  in  the  lead,  and  the-then-par- 
tially-obscured  little  Renee  opposite  him.  It 
was  meant  to  be  just  a  good  six-reeler. 

Yidor  threw  his  soul  into  it.  So  did  Jack 
Gilbert.  So  did  Renee.  So  did  Metro-Gold- 
wyn-Mayer,  when  it  saw  the  original  rushes. 

You  know  the  result.  Vidor  is  famous  and 
Gilbert  is  famous.  And  Renee  is  Mel: sonde, 
forever  and  always. 


Photoplay  Magazine — Advertising  Section 


Ihe  sophisticated  Papjsienne 

chooses  this  smart  polish 


85 


(7)Afemme  elegante . . . 
o*w  they  call  her  in  Paris. 
The  woman  who  cleverly 
emphasizes  each  smart  de- 
tail of  her  grooming. 

Never  does  she  use  this 
special  emphasis  to  more 
flattering  advantage  than  at 
her  finger  tips — drawing  ad- 
miring eyes  to  note  their  ex- 
quisite perfection.  Gleam- 
ing, tinted  nails.  Cuticle 
shaped  in  perfect  ovals — re- 
vealing lovely  Half  Moons. 

It  is  the  enchanting  pink  radiance 
of  Cutex  Liquid  Polish  that  gives  her 
nails  their  charming  accent.  She  sim- 
ply brushes  it  over  her  nails — and 
there  it  stays  till  her  next  manicure. 
It  spreads  thin  and  smooth.  Does  not 
crack  or  peel  off".  And  it  is  so  smart! 

'  I  ''HOSE  dainty  ovals  of  smooth 
A  cuticle  she  achieved  by  the  sim- 
plest, daintiest  method  ever  con- 
ceived. No  pushing  or  jabbing  to  in- 
jure the  tender  skin.  No  cutting  or 
nipping  with  scissors  or  other  metal 
instruments. 

Just  a  gentle  working  around  each 
nail   base  with   a  dainty   antiseptic 


liquid    that    removes    every    bit    of     cuticle  soft  and  pliant. 


The  correct  accent  to  smart  nails  is  obtained  by  Cutex  Liquid  Polish 


old  dead  skin  and  easily  shapes  the 
new. 

It  is  Cutex — an  indispensable  part 
of  the  manicure. 

For  never,  until  every  single  hang- 
nail or  roughness  is  removed,  would 
she  ever  dream  of  giving  her  nails 
their  final  touch  of  grooming— the 
lovely  polish! 

The  complete  manicure 

Thoroughly  wash  your  hands  and  file  the  nails. 
With  orange  stick  and  cotton  dipped  in  Cutex 
free  the  dead  dry  skin  from  the  nails  and  shape 
your  cuticle.  Pass  the  wet  stick  under  the  nail 
tips  to  clean  and  bleach  them.  Then  rub  Cutex 
Cuticle  Cream  into  each  nail  base  to  keep  the 


Smooth  a  tiny  bit  of  Nail  White 
under  the  tips.  Buff  your  nails 
with  the  delicate  Cutex  Powder 
Polish.  Give  your  hands  a  final 
rinsing.  Now  brush  Cutex  Liquid 
Polish  evenly  over  each  nail.  You 
will  find  it  in  two  lovely  shades — 
natural  or  the  more  exotic  new 
Deep  Rose.  It  gives  a  smart,  last- 
ing finish  to  your  nails. 

All  separate  preparations  are 
35c— sets  35c  to  $5.00 — wherever 
toilet  goods  are  sold.  Or  send  10c 
with  coupon  for  Introductory  Set 
containing  Cutex  Cuticle  Remover 
and  Liquid  Polish  with  every- 
thing else  for  the  manicure.  If  you 

live  in  Canada,  address  Northam  Warren,  Dept. 

Q-iij  85  St.  Alexander  St.,  Montreal. 

Northam   Warren— New   York,  Paris,  London 


MARY  GUY,  interpretive  French  dancer,  says: 

"Cutex  is  responsible  /or  the  enchanting  finish 

to  my  finger  tips." 


Send  10c  for  Introductory  Set 


Northam  Warren,  Dept.  Q-'1. 

114  W.  17th  St.,  New  York  City,  N.  Y. 

I  enclose  IOC  in  stamps  or  coin  for  set  contain- 
ing Cutex  Cuticle  Remover,  Liquid  and  Powder 
Polishes,  Cuticle  Cream  and  booklet. 


JMail  Coupon 
today  I 


When  you  write  to  a.lveitisers  please  merit;™  PITnTOri.AY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Prettier  Lips 

at  the  Qame 

"Dear  7{an: 

"All  the  world  should  go  to  one 
of  tnese  fascinating  games.  Oh,  la 
la —  it  is  so  inspiring  . . .  Blue  and 
crimson  everywhere. 

Most  especially  you  will  see  how 
lovely  are  the  lips  that  cry  "another 
goal  —wonderful!"  For  these  lips 
ate  made  young  and  smooth  and 
enchantingly  natural  in  coloring — 
with  Pompeian  Lip  Stick— it  has 
Nature's  own  tint!" 


Specialise  en  Beaule 


Brickbats  and  Bouquets 


[  CONTINUED  FROM  PAGE  12  ] 


there  emerged  a  creature  of  glittering  smartness 
with  the  atmosphere  of  New  York  and  New- 
port and  the  Lido  and  Cannes  clinging  about 
her.  Clothes  by  Lanvin  and  Vionnet;  jewels — 
oh,  quite  correct.  Out  of  the  ranks  of  a 
hundred  Barbaras — the  Grand  Duchess  of  the 
screen. 

Florence  Vidor  has  not  lost  her  charm  or 
sweetness,  but  she  has  added  intelligence  and 
rather  a  dash  of  worldly  sophistication.  The 
blend  produced  is  most  palatable.  She  can 
still  be  visualized  working  in  the  garden.  But 
now  her  smock  would  be  by  Worth  and  on  her 
ears  would  be  immense  black  pearls.  And  the 
garden — ah,  the  garden  would  grow  but  orchids 
and  gardenias. 

Mary  Whalev. 

Lest  We  Forget 

Pomeroy,  Iowa. 

Before  me  lies  a  paper  with  the  headlines — 
"Valentino,  Screen  Lover,  Dies."  It  brought 
to  my  mind  another  instance,  years  ago,  when 
the  line  read — "Wallace  Reid'ls  Dead."  Both 
went  in  the  flower  of  manhood,  in  the  height  of 
the  glory  of  their  careers.  Both  were  among 
the  most  popular  screen  idols,  but  still — 

I  remember  something  I  once  heard  to  the 
effect  that  one  must  die  to  be  appreciated.  The 
newspapers  mentioned  Valentino's  praise- 
worthy acts,  and  his  splendid  acting  in  "The 
Four  Horsemen,"  "Blood  and  Sand,"  and 
"  Monsieur  Beaucaire."  His  poor  pictures  and 
personal  errors  are  forgotten,  while  before  we 
saw  those  clearer  than  his  good  points.  Wallace 
Reid  was  also  lauded  more  after  his  death.  I 
ask — why  not  show  more  consideration  while  a 
person  still  lives  to  appreciate  it?  Remember 
that,  being  under  a  spotlight,  everything  an 
actor  does  is  magnified  about  ten  times  more  in 
the  public  eye  than  it  would  be  if  an  ordinary 
person  did  it.  Therefore,  take  everything 
written  about  him — praise  or  censure — with  a 
grain  of  salt. 

Laura  Volberdtng. 

Marcella's  Marvels 

Chicago,  111. 

Can  I  dissuade  you,  gentle  readers,  from 
comparing  the  relative  potency  in  the  love 
making  of  Gilbert  and  Colman;  from  the 
discussion  of  whether  Gish,  who  lives  for 
her  art,  has  anything  worth  living  for; 
from  the  argument  that  Chaplin's  so-called 
genius  is  just  so-called;  from  hurling  brick- 
bats at  F.linor  Glyn  and  her  always  amusing 
attempts  at  charging  the  whole  world  to 
sex,  just  long  enough  to  present  two 
fine  actors,  who,  far  from  being  things  of 
beauty,  prove  themselves  undeniable  joys  for- 
ever. These  two  are,  namely,  Chester  Conklin 
and  Ford  Sterling. 

Who  can  forget  Chester  Conklin's  patheti- 
cally comic  barber  in  "A  Social  Celebrity."  and 
his  bit  as  the  doorman  in  "Fascinating 
Youth,"  in  which  he  makes  the  graduates  of 
the  Paramount  Movie  School  look  like  so  many 
string  beans? 

I  knowflappers  promiscuously  call  museums, 
automobiles  and  gowns  adorable,  but  Ford 
Sterling  and  Chester  Conklin  ARE  adorable. 

As  water  is  to  the  thirsty,  Mencken  to  the 
intelligentsia, and  Norma  Shearer  to  the  college 
boy,  so  are  Chester  Conklin  and  Ford  Sterling 
to  my  jaded  and  emotion-wearied  movie 
appetite. 

Marcella  Blenda  Einarson. 

The  Sea  Beast's  Purity 

Bat  Cave,  N.  C. 
Someone  has   said,   "Art   reflects   and   in- 
terprets life — it  creates  beauty,  it  appeals  to 

Every  advertisement    in  PrTOTOPLAY  MAGAZINE  Is  guaranteed. 


the  emotions  of  all  mankind."  After  dwelling 
on  this  thought  I  have  tried  to  think  of  one 
photoplay  released  this  past  year  which  touches 
this  definition  of  art.  Instantly  there  flashes 
across  my  mind  memories  of  "The  Sea  Beast" 
— that  gripping  drama  of  adventure  and 
romance. 

During  this  era  of  sex  drama,  "The  Sea 
Beast"  came  as  a  cup  of  cold  water  to  those 
athirst  for  something  worth  while,  something 
to  lift  them  out  of  themselves.  That  is  what  a 
good  play  should  do. 

John  Barrvmore,  as  always,  enacts  his  role 
with  understanding.  Through  him  we  are 
seeing  real  art  brought  to  the  screen. 

That  beauty  and  charm  which  appeals  to  the 
audience  was  in  the  person  of  wistful  Dolores 
Costello.  I  think  everyone  will  cherish  the 
memory  of  her  loveliness. 

Let  us  hope  the  screen  is  going  back  to 
romance,  realism  and  thrilling  action,  com- 
bined with  actors  and  actresses  who  know  the 
fine  art  of  acting. 

More  photoplays  like  "The  Sea  Beast"  and 
the  most  bitter  critics  will  admit  there  is 
Art  in  the  photodrama. 

H.  Stageman. 

A  Bouquet  for  Adolphe  Menjou 

Guilford,  Conn. 

Where  is  our  "bad  man"  in  the  old  melo- 
drama who  leered  at  us  in  one  of  those  terrify- 
ing "close-ups" — who  invariably  held  the 
mortgage  on  the  Old  Homestead  and  had  none 
but  evil  intentions  toward  the  Sweet  Young 
Thing? 

Happily,  we  have  lost  him  forever.  And  in 
his  stead  is  a  fascinating,  human  Lucifer  in  the 
person  of  one  Adolphe  Menjou.  I  enjoyed  his 
role  in  "The  Woman  of  Paris"  because  he 
portrayed  a  human  man,  a  "fallen  angel"  with 
all  the  weakness  and  vanity  and  humor  of  a 
real  man. 

Last  winter  I  had  the  pleasure  of  meeting 
him  personally.  He  is  kindly  and  considerate 
and  has  a  charming  sense  of  humor.  His  eyes 
twinkle  merrily.  He  is  always,  as  on  screen, 
the  perfect  gentleman.  But,  above  all,  I  was 
impressed  by  his  intelligent  conversation, 
which  was  not  merely  confined  to  "shop  talk," 
but  of  worth  while  things  accomplished  by 
worth  while  people. 

And  those  who  have  woven  pleasant  illusions 
around  him  need  never  be  disappointed.  For 
through  his  hard  earned  success  he  is  one  of  the 
very  few  who  have  kept  a  level  head  and  a 
store  of  good,  sound,  common  sense.  ,  Vive 
Monsieur  Menjou! 

Miss  Florence  Ellard. 

A  Star's  Secretary  Speaks 

Los  Angeles,  Calif. 

It  seems  fans  are  aways  howling  about  col- 
lecting stars'  photographs.  "Miss  So-and-So 
didn't  send  me  a  photo,  so  now  I'm  not  going 
to  any  of  her  pictures  any  more."  Or  words  to 
that  effect.    How  silly! 

I  have  helped  two  stars  with  their  fan  mail, 
and  if  some  of  you  folks  could  see  most  of  the 
letters  they  receive  (and.  perhaps,  yours  is  one 
of  them)  you  would  not  blame  some  of  them 
for  not  attending  to  your  wants.  Please,  fans, 
write  them  decent,  intelligent  letters.  You 
cannot  imagine  what  effect  a  nicely  written, 
well  constructed  letter,  on  good  stationery'  (not 
necessarily  elaborate  or  expensive)  has  on  the 
star  or  her  secretary.  If  the  latter  receives  it, 
it  means  she  turns  it  over  to  the  star  for  per- 
sonal perusal.  And  you  fans  who  complain 
about  not  receiving  photos,  have  you  ever 
stopped  to  consider  that  although  your  name 

[  CONTINUED  ON  PAGE   IO.j  | 


Photoplay  Magazine — Advertising  Section 


8? 


You  can't  fight  dandruff 
with  a  whisk-broom 

|TRY  THIS  EASY  TREATMENT^ 

Dandruff  is  more  than  an  untidy  condition 
of  your  coat  collar.  It  is  a  serious  condition 
of  the  scalp,  often  caused  by  tiny  germs  that 
literally  p He  up  dandruff  around  your  hair  roots. 

You  must  removethe  dandruff,  because  it  chokes 
the  hair  roots.  And  you  must  kill  the  bacteria. 
Wildroot  does  both  jobs  at  one  time. 

When  you  first  apply  Wildroot,  the  accumu- 
lated dandruff  loosens  up,  and  is  temporarily 
more  apparent,  but  soon  disappears  under  reg- 
ular treatment.  This  shows  howquickly  Wildroot 
works.  Any  barber  who  has  used  Wildroot  will 
tell  you  how  he  has  actually  seen  Wildroot  de- 
stroy dandruff. 

Get  some  Wildroot  at  your  druggist's  or  barber 
shop  today.   And  stop  brushing  dandruff! 


important  note 

It  is  incorrect  to  suppose 
that  W  ildroot  grows  hair. 
Only  a  healthy  scalp  can 
groiv  hair.  Wildroot  re- 
moves the  verv  unhealthy 
condition  of  dandruff, 
and  thus/» events  the  loss 
of  hair  that  is  sure  to 
follow  dandruff. 
WILDROOT  CO., INC 
BUFFALO,  N.Y. 


JOj 


JOr 

WILDROOT«S* 

HAIR.  TONIC  JJ  ^ 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Up  to  His  Old  Tricks 


The  Blue  Danube 
Blues  of  the  morning 
after.  Erich  returns 
to  the  silk  night  shirts 
of  gay  old  Vienna  in 
''The  Wedding 
March,11  written, 
acted  and  directed  by 
Von  himself 


Here  we  have  Von  and 
Maywirie'tirhe   in 

non'Volstead  Vienna 


-s^s*.  "^  im 


Fay  Wray  is  the  new  Von  Stroheim  heroine  in 
"The  Wedding  March."    She  looks  just  like  Mary 
Philbin  in  "Merry-Go-Round,"  doesn't  she? 

Von  must  have  been  bitten  as  a 
child  by  a  mad  Hapsburg.  He  has 
the  gold  braid  complex.  Do  you 
remember  a  scene  almost  like  this 
one  in  "Foolish  Wives"? 


Flushed > — %adiant,  ^Alluring 

—Here  the  sweet  charm  of  natural  loveliness  that  surpasses  every 
other  type  of  beauty.  The  simple  rule  in  skin  care,  noted 
below,  is  bringing  it  to  thousands  —  follow  it  in  this  way: 


GOOD  complexions  are  too 
priceless  for  experiment. 
Proved  rules  and  proved  soaps 
are  best  and  safest. 


Just  remember  that  before 
Palmolive  came  -women  were 
told,  "use  no  soap  on  your 
faces."  Soaps  then  were  judged 
too  harsh. 

Palmolive  is  a  beauty  soap, 
made  by  experts  in  beaury,  for 
i  purpose  only:  to  safeguard 
your  comple 

In  your  own  interest,  don't 
take  chances.  See  that  you  get 
real  Palmolive  for  use  on  your 
face. 


ONLY  the  girl  or  woman,  who  can  reveal 
natural  skin  loveliness,  can  justly  claim 
true  beauty. 

For  that  reason,  natural  ways  in  skin  care 
hold  supreme  sway  everywhere  today.  Proved 
ways  in  skin  care  are  alone  followed  by  the 
woman  who  seriously  wishes  to  care  properly 
for  her  skin. 

Leading  skin  specialists  of  the  world  urge 
the  following  simple  rule.  It's  been  proved 
effective  times  beyond  number.  Famous  beauty 
experts  employ  it.  More  naturally  clear  com- 
plexions are  credited  to  it  probably  than  to 
any  other  method  known. 

The  rule  and  how  to  follow  it 
for  best  results 

Wash  your  face  gently  with  soothing 

Palmolive  Soap,  massaging  the  lather  softly 

into  the  skin.    Rinse  thoroughly,  first   with 

warm  water,  then  with  cold.   If  your 

skin  is  inclined  to  be  dry,  apply  a  touch 

of  good  cold  cteam  —  that  is  all.  Do 

this  regularly,  and  particularly 

in  the  evening.    Use  powder 

and    rouge  if  you  wish.    But 


never  leave  them  on  over  night.  They  clog 
the  pores,  often  enlarge  them.  Blackheads 
and  disfigurements  often  follow.  They  must 
be  washed  away. 

Avoid  this  mistake 

Do  not  use  ordinary  soaps  in  the  treat- 
ment given  above.  Do  not  think  any  green 
soap,  or  one  represented  as  of  olive  and 
palm  oils,  is  the  same  as  Palmolive. 

And  it  costs  but  10c  the  cake!  So  little 
that  millions  let  it  do  for  their  bodies  what 
it  does  for  their  faces.  Obtain  a  cake  today 
Then  note  what  an  amazing  difference  one 
week  makes. 

Soap  from  trees! 

The  only  oils  in  Palmolive  Soap  are  the 
soothing  beauty  oils  from  the  olive  tree,  the 
African  palm,  and  the  coconut  palm — and  no 
other  fats  whatsoever.  That  is  why  Palmolive 
Soap  is  the  natural  color  that  it  is — for  palm 
and  olive  oils,  nothing  else,  give  Palmolive 
its  natural  green  color. 

The  only  secret  to  Palmolive  is  its  exclu- 
sive blend — and  that  is  one  of  the  world's 
priceless  beauty  secrets. 


Palmolive  Soap  is  untouched   by  .. 

human  hands  until  you  break  the       pr;ce 
wrapper — /'/  is  never  sold  unwrapped 


10c 


THE       PALMOLIVE       COMPANY       (Del.    Corp.),       CHICAGO,       ILLINOIS 


April  SK, 
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NEW      YORK 


K      F      U 


M      E     S  OF 


YOUTH 


A  Boyd  in  a 
Gilded 


A  proposal  before 
the  camera.      A 
honeymoon   on 
"location."  That 
was  the  romance 
of  Bill  Boyd  and 
Elinor    Faire 


By 

Dorothy 
Spensley 


THE  conversation  had 
reached  faces.  And  if 
you  have  any  Holly- 
wood breeding,  you 
will  immediately  shut  up  and 
let  the  other  fellow  talk. 
That  is,  if  he  mentions  faces 
first. 

Bill  had.  And  it  sounded 
promising,  so  John  and  I 
abandoned  ourselves  to  the 
salad  and  Bill's  words  were 
punctuated  with  the  sound  of 
lettuce  being  munched. 

Now  Bill,  in  case  you  don't 
know,  is  William  Boyd,  and 
John  is  John  Miljan.  And 
now  the  stage  is  set. 

"I  sat  in  De  Mille's  office 
before  he  made  'The  Ten 
Commandments,'  "  said  Bill, 
laying  down  his  fork  so  that 
he  would  not  be  tempted  to 
eat  a  morsel  and  spoil  his 
articulation,  "and listened  to 
him  argue  for  forty  minutes 
over  the  long  distance  'phone 
with  Jesse  Lasky  in  New 
York.  De  Mille  wanted  me 
to  play  the  part  that  Richard 
Dix  played  in  the  picture,  but 
Lasky  said  my  face  was  too 
weak." 

And  that  is  where  faces 
entered  the  conversation. 

"  Remember   the  scene  in 
'The  Volga  Boatman'  where 
Varconi  strikes  my  face  with 
the   riding   crop?     Well,   we 
were  all  sitting  in  the  projec- 
tion room  after  the  picture  had  been  cut  for  the  first  time. 
This  scene  ran  across  the  screen.     De  Mille  turned  to  me  and 
there  was  a  quality  of  triumph  in  his  voice.     He  said:  'See 
that  face?    That's  the  face  that  Lasky  said  was  too  weak.'  " 

That  is  Hollywood  for  you.     That  topsy-turvy  business  of 
personalities  and  soids  we  call  the  motion  picture  industry. 


For  seven  years  Bill  Boyd  was  an  extra  in  Cecil 

B.  De  Mille's  pictures.    The  director  starved  him 

until  he  was  ready  to  star  him 


Here  is  Bill  Boyd,  for  in- 
stance, who  has  all  of  a  sud- 
den leaped  into  public  favor. 
Where  has  he  been  all  these 
years?  you  will  say.  Why 
haven't  we  seen  more  of  him? 
He  is  young.  He  is  clean. 
He  is  wholesome.  He  is  dif- 
ferent from  these  Latin  lov- 
ers. He  is  the  American 
youth.  He  is  of  good  old 
Yankee  stock. 

And  if  I  told  you  that  you 
had  seen  Bill  in  every  picture 
that  De  Mille  had  made  for 
the  last  seven  years  you 
would  laugh  at  me.  You 
would  say  I  was  funning.  It 
couldn't  be.  You  would  re- 
member that  face.  The  lean 
blondness  of  it.  The  blue 
eyes  with  the  glint  of  humor. 
The  bittersweet  smile — half 
tender,  half  ironic. 

He  started  with  De  Mille  as 
an  extra  in  "Why  Change 
Your  Wife?  "  and  he  has  been 
everything,  from  butler  to 
chauffeur  to  carpenter  to  by- 
stander to  the-voice-outside 
to  star. 

"One  time  they  just  used 
my  feet.     Hauled  me  down- 
stairs in  a  close-up  and  ruined 
a  pair  of  fifteen  dollar  shoes. 
Half  of  the  salary  I  was  get- 
ting then,  too.    I  was  in  the 
De  Mille  stock  company, 
making  thirty  dollars  a  week. 
"  That's  one  thing  De  Mille 
does.    Starves  you  until  he  is  ready  to  make  an  actor  of  you.    I 
guess  he  wants  to  see  if  you  really  have  the  guts  to  stick,"  and 
that  bittersweet  smile  flashed. 

"There's  been  only  one  picture  that  De  Mille  made  that  I 
didn't  work  in.  That  was 'The  Ten  Commandments.'  Andinthat 
De  Mille  offered  me  ten  dollars  a  day  to  work  in  the  mob.    But  I 

91 


92 


Photoplay  Magazine — Advertising  Section 


h 

Many  lovely  shins  are 
marred  throuoh  this 
one  mistake 

rOOK  about  you  at  the  skins  that  are 
J  dry,  rough,  red  and  prematurely 
wrinkled,  and  in  most  cases  you  can  at- 
tribute the  unpleasant  condition  to  lack 
of  knowledge  on  one  important  subject. 
The  vital  necessity  for  preserving  the 
natural  oil  of  the  skin  is  a  fact  that  many 
women  do  not  know.  They  have  learned 
the  importance  of  keeping  the  pores 
thoroughly  cleansed,  open  and  active, 
yet  by  using  cleansing  agents  that  are 
too  harsh  they  are  unknowingly  de- 
stroying this  precious  oil  and  preparing 
the  way  for  disastrous  results.  Robbed 
of  its  protective  oil,  the  skin  becomes 
dry,  cracked,  rough  and  leather-like — a 
prey  to  many  of  the  more  serious  forms 
of  skin  disorder. 

Resinol  Soap  should  be  used  by  every 
woman  who  values  her  complexion  be- 
cause it  meets  all  the  requirements  of 
skin  cleansing.  Its  soft,  luxuriant  lather 
most  thoroughly  cleanses  the  tiny  pores 
— you  can  really  feel  it  clean — yet  its 
action  is  so  gentle,  the  delicate  oil  is 
preserved  and  the  skin  remains  soft  and 
supple.  It  has  a  distinctive  fragrance — 
it  is  healing,  soothing,  and  at  the  same 
time  stimulating — all  of  which  is  pos- 
sible only  because  of  the  Resinol  prop- 
erties it  contains. 

Resinol  Ointment  is  a  ready  aid  to 
Resinol  Soap  because  in  addition  to 
being  widely  used  for  rashes,  chafing 
and  more  serious  skin  disorders,  thou- 
sands of  women  find  it  indispensable 
for  clearing  away  occasional  blem- 
ishes. Resinol  products  are  sold  by 
all  druggists. 

Would  you  like  to  try  Resinol  Soap  and 

Ointment  FREE? 

Then  mail  this  coupon  today 

Dept.  H-10.  Resinol,  Baltimore.  Md. 

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Resinol  Soap  and  Ointment. 

Name 

Street 

City State 


told  him  I  couldn't.  I  was  getting  thirty-five 
dollars  a  day  and  couldn't  cut  my  salary  even 
to  work  in  his  picture. 

But  he  stayed  with  him,  as  somehow  all  of 
De  Mille's  people  do.  It  seems  to  be  sort  of 
a  clan — that  De  Mille  band  of  picture-makers. 
They  go  to  De  Mille  to  remain,  a  small,  loyal 
band  of  workers.  His  writers,  his  scenarists, 
his  publicity  people,  his  actors  and  actresses. 
Bill  stayed,  doggedly  persistent,  perhaps,  but 
nevertheless  he  stayed,  and  De  Mille  made  an 
actor  of  him. 

"DUT  here  I  err.  Bill  insists  he  is  not  an 
-'-'actor.  John  insists  he,  also,  is  not  an  actor. 
And  over  the  salad  pained  glances  are  ex- 
changed. Surel}'  to  tell  a  person  he  is  an  actor 
is  no  insult.  But  Bill  disagrees.  They  both 
disagree  with  me.    They  are  not  actors. 

"Anyone  can  be  an  actor";  Bill  assumes  the 
cudgel  for  both  of  them  and  the  humorous  blue 
eyes  are  grey  in  seriousness.  "Give  a  man  a 
dagger  and  tell  him  the  scene  says  he  is  to  kill  a 
man.  He  will  enact  it,  mechanically.  He  is  an 
actor.  Dress  the  same  man  up  like  a  hot  water 
bottle — like  anything — and  he  is  a  character 
actor. 

"But  give  a  man  with  brains  a  knifeandsay, 
in  this  scene  you  are  to  kill  this  man.  and  your 
man  with  brains  will  immediately  visualize  the 
scene.  He  hates  this  man  he  is  to  kill.  He  has 
been  wronged.  There  is  nobody  on  earth  that 
he  hates  more.  He  wants  to  make  him  suffer. 
He  wants  to  see  him  die.     He  must  be  killed. 

"  You  see?  He  lives  the  scene.  He  does  not 
merely  act  it.  It  is  part  of  his  life.  It  is  his 
crime.     But  it  is  not  acting." 

Hack  on  the  set — on  the  Chinese  set  for 
"The  Yankee  Clipper"  in  which  Bill  and  John 
arc  working — Rupert  Julian  made  the  same 
fatal  error.     Julian  is  the  director,  you  know. 

"Bill  is  a  very  great  actor,"  said  Julian,  tilt- 
ing back  in  his  chair  and  beaming.  But  he 
rectified  the  error  by  continuing,  "He  isagreat 
actor  because  he  doesn't  act." 

And  that  saved  the  situation. 

But  Julian  wasn't  through.  Directors  never 
are.  "Bill  is  a  regular  fellow.  One  of  the 
finest  I  have  met  in  my  fourteen  years  of 
directing."    (I  hope  the  figures  are  right.) 

"Yes.  a  real  fellow,"  Julian  mused.  And 
then,  ""Sou  should  have  seen  him  the  day 
F.linor  climbed  the  rigging  on  the  ship.  Wor- 
ried to  death,  but  Elinor  would  have  no 
double.    She  reached  the  top  and  called  down: 


"  'Thrill  Boyd!'  Not  'Bill,'  mind  you,  but 
'Thrill.' 

"And  he  answered,  'Yes,  Sex  Appeal!' 

"It  was  their  honeymoon.  They  were  mar- 
ried last  December  after  they  met  during  the 
filming  of  'The  Volga  Boatman.'  This  cruise 
for  'The  Yankee  Clipper'  was  really  their 
honeymoon.  They  were  great.  Didn't  mind 
the  hardships  and  the  corned  beef  and  cabbage 
at  all." 

Bill  told  me  about  the  romance.  How  he 
met  Elinor  Faire  when  De  Mille  introduced 
them  as  the  leading  characters  in  "The  Volga 
Boatman."  How  the  romance  grew.  How  he 
discovered  he  loved  Elinor  in  that  scene 
where  he  is  ordered  by  the  Reds  to  kill  the 
Princess  Vera.  Later,  how  he  used  a  conven- 
ient title  in  the  picture  for  his  proposal  .  .  . 
the  one  where  he  speaks  as  he  is  about  to  die 
by  the  firing  squad.  Their  romance  is  a  real 
romance  of  Hollywood. 

"I  am  worried  about  Elinor,"  as  he  moved 
toward  the  camera  to  watch  her  in  a  scene. 
"Colds  are  nasty  things  .  .  .  they  strike  the 
lungs  too  quickly."  He  stood  watching 
Elinor,  unconcealed  pride  in  his  eyes,  as  she 
went  through  her  scene  with  the  slow-moving 
grace  of  a  plumed  fan.  She  was  in  pink — the 
radiant  pink  of  a  period  gown.  All  ruffles  and 
tulle  and  hoopskirts. 

"They  are  ver-ry  happy — those  Boyds, " 
(ioldie,  late  of  Italy,  had  said  on  the  way  to 
the  studio.  "I  bring  them  from  the  dock  the 
other  day  when  they  return  from  location  and 
they  laugh  and  geegle  just  like  keeds.  Ver-ry 
happy,"  and  he  smiled,  half  wistfully,  as  if 
privileged  to  share  a  bit  of  their  joy. 

HTHEN  Bill  told  me  about  himself.  How  he 
*■  was  born  in  Cambridge,  Ohio,  and  educated 
in  Tulsa,  Oklahoma.  How  he  left  high  school 
and  set  out  for  California.  San  Diego  was  his 
destination.  One  hundred  miles  from  San 
Diego  his  funds  gave  out.  He  was  left  in 
Orange,  California,  with  thirty  cents.  He  went 
to  work  in  an  orange  packing  house.  From  the 
packing  house  he  became  a  grocer)'  clerk,  an 
automobile  salesman,  an  oil  driller.  Finally  a 
motion  picture  extra.    Then  De  Mille. 

Bill  grinned:  "They'll  have  me  in  'King  of 
Kings,'  too.  I  don't  know  what  I'll  do.  But 
just  you  see.  Been  in  every  De  Mille  picture, 
except  'The  Ten  Commandments.'  It's  sort 
of  a  habit. 

"But  it's  a  habit  that  I  like." 


Too  young  to  marry!  Ena  Gregory  wants  to  marry  her  director, 
Al  Rogell.  But  Ena's  mamma  says  that  she's  too  young  to  marry. 
Ena  is  only  twenty,  and  she  must  wait  a  year.  Al  says  that  it's  all 
right  with  him.  Anyway,  there  is  no  harm  getting  a  little  practice 
for  the  wedding  photographs 


T.nry   advertisement    In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


93 


UNKNOWN  BEAUTY 

Many  lands  can  beast  [heir  beauties 
of   the  sta_ 

a  lovely  lad 
lown    bloss. 
And.mthislan 
TRE-JUR,alitt 

unequalled — ded 


Tre-Jur  presents  "The  Little  One" — 
a  compact  that  sets  a  fresh  record 
for  Value.  It's  the  handiest 
"single"  yet  devised — a  two-inch 
silver-toned  case,  graceful,  slender 
and  lovely. 

An  ample  supply  of  powder — and 
suck  powder  .  .  .  exquisitely  soft 
and  friendly  to  the  finest  skin. 
You'll  love  its  secret  fragrance, 
for  lovelier  scent  was  never  known. 

Not  only  is  "The  Little  One"  the 
handiest  compact  in  Christendom 
...  it  is  also  the  greatest  value  of 
them  all.  To  see  it,  you'd  never 
guess    the    price    was    50c    (with 


way 
riends  / 


refills  at  but  35c).  It's  Tre-Jur's 
finest  contribution  to  true  econ- 
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"The  Little  One"  plays  hostess  to 
Tre-Jur's  Stars  in  compacts.  There's 
the  Thincst  ($1 . )  more  slender  than 
any  compact  known .  The  Purse  Si^e 
Twin  ($1.) — a  double  compact  for 
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$1.25)  ■  Each  a  messenger  of  Quality 
— each  a  pledge  of  Money's  Most. 

If  not  sold  nearby,  any  Tre-Jur  item  will  be 
forwarded  by  mail,  upon  receipt  of  price. 
A  generous  sample  of  Tre-Jur  Face  Powder 
sent  for  10c — stamps  or  coin.  House  op 
Tre-Jur,  Inc.,  19  W.  18th  St.,  N.  Y.  C. 


TR.E-JUR. 


When  you  vnito  to  a.Kxitiseis  rduaso  mention  I'HuTOPLAY  MAGAZINE. 


Hill-Billy 


rama 


Karl  Brown  took 
a  Camera  to  the  Carolina 
Mountains  and  brought 
back  a  Folk  Story 


Wherever  films  are 
made,  contracts  are 
written.  Forrest 
James,  mountain  boy, 
signs  up  with  Mr. 
Brown  and  Captain 
Paul  Wing  for  the  role 
of  hero.  It  was  more 
fun  than  doin'  chores 
for  pa 


Helen  Mundy,  a  North  Carolina 
beauty,  plays  the  leading  role  in 
"Stark  Love."  Paramount  officials 
pronounced  the  film  a  remarkable 
achievement.    It  will  be  released  soon 


Using  portable  lights, 
Mr.  Brown  filmed  this 
scene  in  a  native  cabin 
with  mountaineers  as 
his  only  actors.  The 
picture  is  called 
"Stark  Love" 


94 


Photoplay  Magazine — Advertising  Section 


An  entirely  new 
\ind  of   l\pst\c\ 


HELENA  RUBINSTEIN 
-internationally  famous 
beauty-scientist — noted  for  her 
Valaze  creations  and  youth' 
bestowing  treatments  and  prep- 
arations. 

Three  Steps  to  Beauty 

A  trio  which  cleanses,  clears  and  tones  the  skin — 
the  basic  home  treatment  for  every  complexion. 

7.  Cleanse  and  Mold. 

Valaze  Pasteurized  Face  Cream— the  basis 
of  beauty — coaxes  out  all  hidden  particles  of 
dust  and  soil — molds  away  the  "tired  JooJf" 
about  eyes  and  forehead.  Leaves  the  skin 
immaculately  clean,  soothed  and  protected. 
This  wonder  cream  is  unsurpassed  for  all 
normal  skins;  at  the  same  time  it  is  the  only 
cleansing  cream  which  positively  benefits  an 
oily,  pimpled  or  acne  blemished  skin.  An  ex- 
cellent  make-up  base,  i.oo,  2.00,  3.50 
To  quickly  remove  dust  and  malje-up  use 
Valaze  Cleansing  and  Massage  Cream  1.25 

2.  Clear  and  Whiten. 

Valaze  Beautipying  Skinfood — the  s\in 
clearing  masterpiece.  Purifies,  bleaches  freckles, 
tan  and  sallowness,  promotes  skin  health  by 
stimulating  and  regulating  the  activity  of  the 
cells.  Splendid  for  daily  use  to  keep  or  restore 
the  clearness,  softness  and  elasticity  of  the 
skin.  1.00,  2.50,  4.00 

3.  Tone  and  Brace. 

Valaze  Skin  Toning  Lotion.  Closes  pores, 
keeps  tissues  firm,  erases  and  prevents  fine 
lines;  a  cooling,  soothing,  liquid  day  cleanser 
to  which  the  skin  responds  rapidly.  1.25, 
2.50,  5.00 

Ideal  Finishing  Touches 

Valaze  Beauty  Foundation  Cream — flatters, 
protects,  keeps  make-up.  doubly  adherent.  1.00 
Valaze  Powders— Complexion  for  normalor  oily 
-\ins — Novena  for  dry  s\ms.  Both  fine,  clingy, 
fragrant.  Tints  for  every  skin.  1.00,  1.50,  3.00. 
5.50 

Valaze  Red  Raspberry  Rouge — the  only 
authentic  raspberry  rouge.  Brilliant — blends 
with  every  type.  Compact  1.00.  Rouge-en- 
Creme.  1.00,  2.00,  5.00 

Valaze  Red  Geranium  Rouge — new,  youthful 
— the  most  flattering  shade  for  blondes.  A 
becoming  evening  shade  for  every  woman. 
Compact  1.00,  Rouge-en-Creme  1.00,  2.00,5.00 
Valaze  Crushed  Rose  Leaves — for  the  woman 
who  prefers  a  subtle,  natural  tone.  Compact  1.00 
Persian  Eye  Black  (Mascara) — gives  effect  of 
luxuriant  growth,  stays  on,  does  not  make 
lashes  brittle.  1.00,  1.50. 
Valaze  Eyflash  Grower  and  Darkener — pro- 
motes the  growth  of  thick,  silky  lashes  and 
darkens  them.     1.00,  1.50 


Cupldsdxnv^ 


THE  SELF-SHAPING  LIPSTICK 
Created   by    HELENA   RUBINSTEIN 

A  lipstick^  that  forms  a  perfect  cupidsbow  as  you  apply  it ! 
—  that  ends  fussing  and  shaping  and  reshaping  and  smudging! 
—a  lipsticli  in  the  new  shades  that  are  now  talking  Paris  by  storm. 

PERFECTLY    CURVED    LIPS    WITH    PROFESSIONAL    DEFTNESS 


"Feminine  lips  should  resemble  as  closely 
as  possible  a  cupids-bow."  To  this, 
painters,  poets  and  author- 
ities on  beauty  the  world 
over,  agree. 

The  new  Cupidsbow, 
the  self-shaping  lipstick,  cre- 
ated by  Helena  Rubinstein, 
assures  you  this  greatly 
desired  and  much  admired 
effect  instantly!  The  veriest 
amateur  at  make-up  gets 
the  professional  touch  at  once. 

Cupidsbow  stays  on  ....  scientifically 
safeguards  even  the  most  delicate  skin 
....  is  simple  to  use  and  molds  itself 
to  the  individuality  of  the  lips  in  ex- 
quisite curves. 

Valaze  Beautifying  Preparat 
by  trained  and   competent 


Made  in  two  typically  Parisian  tones 
— Red  Raspberry  (medium)  rich  and 
becoming  to  every  type,  Red 
Geranium  (light)  vivacious, 
flattering  to  blondes  and  aa 
evening  shade  for  all. 

This  intriguing  new  lip- 
stick can  be  had  in  con- 
tainers of  stunning  Chinese 
Red  with  a  band  of  gun- 
metal  black  —  extremely 
fashionable  in  Paris  and 
New  York  and  so  smart  to 
take  from  your  bag  in  this  day  of  exotic 
hues.  For  those  who  prefer  them — 
silvered  and  golden  casings,  both  also 
banded  with  black,  are  equally  as 
handsome, 
ions  dispensed  at  the  better  stores 
advisers — or  order  direct   from 


52  and  126 
Rue  du  Fg.,  St.  Honore 

LONDON 
24  Grafton  St.,  W.  i 


flelma  /{um/ifteui 

46  West  57th  Street,  New  York 

Chicago:  30  N.  Michigan  Blvd.  Boston:  234  Boylston  St. 

Detroit:  1540  Washington  Blvd.  Newark,  N.  J.:  951  Broad  St. 

Philadelphia:  1719  Chestnut  St. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Questions  &  Answers 


CONTINUED  FROM  PAGE 


tor  uv^riaib) 

— this  lovely  tinted  lustre! 

Surely,never  before  have  nails  been 
so  important!  The  ordinary  mani- 
cure is  no  longer  enough.  The  nails 
must  now  have  this  special  finish, 
this  new  gleaming  loveliness. 

Such  is  Fashion's  edict!  And 
eagerly  the  woman  of  chic  is  hasten- 
ing to  obey.  Glazo,  a  wonderful 
liquid  nail  polish,  has  created  a 
vogue  that  has  spread  to  every  cor- 
ner of  the  modish  world. 

No  more  need  of  the  old-time 
bothersome  buffing  that  gives  such 
a  short-lived  polish! 

A  quick  brush  of  Glazo  Liquid 
Polish  across  the  nails,  and  at  once 
they  assume  the  mostalluringlustre, 
the  most  bewitching,  just-right  tint! 

This  instant  Glazo  finish  lasts 
for  several  days.  It  will  not  crack, 
peel,  or  turn  an  ugly  brown.  Make 
sure  you  get  Glazo  for  this  perfect, 
modish  Gloss. 

Comes  with  separate  remover 

Glazo  gives  you  one  moreadvantage 
—an  advantage  that  you  can  get 
only  with  the  absurdly  priced  im- 
ported polishes.  It  comes  complete 
with  separate  remover.  This  re- 
mover not  only  insures  best  results, 
but  saves  the  polish  itself. 

The  next  time  you  go  out.  ask  your 

dealer  for  Glazo.    50c  everywhere. 

The  Glazo  Company,  411  Blair  Av. 

Cincinnati,  Ohio 

107  Duke  Street,  Toronto,  Ontario 

GLAZO 

Nails  stay  polished 
longer  —  no  buffing 

necessary 
TryGLAZO  Cuticle 

Massage  Cream 

It  shapes  the  cuticle 

and  keeps  it  even 

and  healthy 


B.  T.,  Kansas  City,  Miss. — Dainty  Lois 
Moran  hails  from  Pittsburgh.  Pa.  When  did 
she  make  her  first  appearance?  Just  a  minute 
'til  I  consult  the  stars — in  1909.  Lois  is  now- 
appearing  with  Lon  Chaney  in  "The  Road  to 
Mandalay." 

Billie,  Minneapolis,  Mixx. — Another 
added  to  the  list  of  Richard  Dix's  admirers. 
Richard  was  born  in  St.  Paul,  Minn.,  July  18. 
1895.  He  has  dark  brown  hair  and  eyes.  So 
far,  Richard  has  resisted  taking  the  fatal 
step — how  long  he  will  continue  remains  to  be 
seen. 

G.  J.  B.,  Beloit,  Wis.— Thanks  for  your 
compliments.  Shirley  and  May  are  not  work- 
ing at  this  writing.  As  soon  as  they  are 
engaged  again  I'll  let  you  know. 

M.  E.,  Detroit,  Mich. — I'm  just  the  person 
to  settle  all  arguments.  And  remember  my 
decision  is  law.  House  Peters  played  in  "The 
Storm  Breaker."    Now  who  wins? 

L.    K.    T.,    Greensburg,    Pa.— Whoa! 

Take  it  easy.  There's  no  use  in  getting  ex- 
cited over  jack  Mulhall.  Hands  off:  He's 
married.  You  might  know  that  these  hand- 
some Beau  Brummels  are  not  running  around 
loose  very  long.  Of  course,  there  are  excep- 
tions to  every  rule — take  my  case  for  instance 
Jack  is  thirty-four,  his  hair  is  dark  brown  and 
his  eyes,  blue.  I'm  going  to  tell  his  wife  how- 
attentive  you  are  and  how  you  haven't  missed 
one  of  his  pictures  in  nine  years.  She  won't  be 
angry. 

"Berthalda,"  Bluefield.  W.  Va.— Don- 
ald Keith  is  a  bean-eater,  born  in  Boston, 
Mass.,  Sept.  5,  1905.  His  first  picture  was 
"Secrets,"  with  Norma  Talmadge. 

O.  N.,  YAKIMA,  Wash. — Fred  Thomson  was 
born  April  28,  1S90.  He  is  married  to  Frances 
Marion,  one  of  Hollywood's  cleverest  scenario 
writers.  Address  him  at  the  F.  B.  O.  Studios, 
Hollywood,  Calif 


Peggy  Anne,  Oswego,  N.  Y. — You're  a 
nice  patient  girl.  Most  of  my  questioners 
want  their  queries  answered  immediately.  And 
if  a  poor  old  fellow  can't  get  to  them  at  once, 
they  threaten  him  with  all  sorts  of  dire  things. 
Gloria  and  Pauline  are  not  sisters.  But  they 
do  look  alike,  don't  they?  Gloria  was  born  in 
Chicago.  March  27,  1S9S.  Pauline  Starke  was 
born  in  Joplin,  Mo.,  Jan.  10,  1901. 

F.  F.  G.,  Lexox,  Mass.— Yes,  I  think  John 
Barn-more  is  wonderful,  but  I  wouldn't  dare 
say  that  he  is  the  most  wonderful  actor  on  the 
screen.  The  Dix  fans  and  the  Gilbert  admirers 
would  make  it  hot  for  me.  John  is  five  feet, 
ten  inches  tall  and  has  brown  hair  and  blue 
eyes.  He  is  married  to  Blanche  Oelrichs,  who 
writes  under  the  pen-name  of  Michael  Strange. 
They  have  a  little  daughter.  No.  it  isn't  for- 
bidden to  show  pictures  when  the  star  is  dead. 
But  audiences,  as  a  rule,  are  unpleasantly 
affected  by  such  pictures  and  the  producers 
usually  shelve  them.  Wallace  Reid's  comedies 
seem  to  be  the  exception,  however,  as  there  is 
a  constant  demand  for  more  of  them.  Sure, 
write  to  John  for  his  picture  and  send  a 
quarter  with  your  letter.  And  write  me, 
again,  too.  You  aren't  required  to  send  the 
quarter  when  you  write  to  me. 

I  M.,  Houston,  Texas. — So  you  got  the 
photographs  of  the  stars  without  sending  the 
quarter!  Well,  my  dear,  that  is  your  good 
luck.  Some  of  the  stars  will  do  it;  others 
won't.  So  to  be  on  the  safe  side,  we  advise 
you  to  send  the  quarter.  The  cost  of  sending 
out  the  photographs  is  far  in  excess  of  the 
quarter  and  si  some  stars  try  to  keep  down 
the  expense  by  asking  the  writer  to  send  the 
cost  of  the  postage.  There  you  are!  The 
quarter  may  not  be  necessary  in  every'  case. 
but  it  is  a  small  courtesy. 

M.  M.M.,Prescott,  Ariz. — Fred  Thomson 

entered  pictures  in  January,  1920.    Born  April 
28.  1890. 

[  continued  on  page  106  ] 


Come  now!  This  is  carrying  Art  too  far.  Surely,  even  in  clean 
California,  there  are  simpler  ways  of  acquiring  a  dirty  face.  How- 
ever, here  is  Rockcliffe  Fellowes  giving  Francis  X.  Bushman,  Jr.,  a 
mud  spray  so  that  young  Bushman  may  have  a  dirty  face  in  a 
scene  for  "The  Understanding  Heart" 

.imiit  in  PHOTOPLAY  magazine  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


97 


Qy^riotket  Gatiqee  Uocauty! 


MISS  JEAN  KKNIN 


_1 


"uhez  coloz  id  either  natuzat  oz    Oangee"  id  what 

people  aze  dayinq  who  have  leazned  how 

hard  it  id  to  tell  to  which  douzce  a 

Ibatinal  cJSeauti/  owed  hez 

/(Datura/  beauty! 


'ANS&Z 


Tangee's  astonishing  property  of  changing 
color  to  blend  with  each  type  of  complexion 
distinguishes  it  from  other  make-up — and 
likewise  distinguishes  the  woman  who  uses  it  from 
those  who  envy  her  beauty.  Lipstick,  $i;  Crime 
Rouge,  $1;  Rouge  Compact,  yjc;  Face  Powder  in 
Peachblow,  Rose,  Cream,  Rachel  and  White,  $i. 


Note:  The  most  recent  development  in  face  creams  has  i 
accredited  to  Tangee  DAY  and  Tan  gee  NIGHT.  These 
creams  effectively  improve  the  texture  of  the  skin  in  a  mini- 
mum of  time  and  give  the  true  basis  for  lovely  color.  $i each. 


Dept.  89 

The  George  W.  Luft  Co. 

417  Fifth  Ave.,  New  York 

Please  send  me  the  trial  "Tangee  Beauty  Set,' 


ncluding 


Lipstick,  Creme  Rouge,  Day  Cream,  Night  Cream,  and  Face 
Powder.  I  enclose  jo  cents  to  cover  cost  of  mailing. 


Mitt-  to  adv.  UK.  is  ],l,n-.-  meutit.il  PHOTOPLAY  MAGAZINE 


On  Account  of  Monte  Cristo 


[  CONTINUED  FROM  PAGE  6S  ] 


"These  folks  has  bought  this  heah  medal," 
explained  Mr.  Wall  as  interpreter,  "  as  a  tokum 
of  their  esteem — " 

"You  said  that  once  befo',"  broke  out 
Florian  Slappey  from  the  rear  of  the  room. 
Ethiope  flushed  and  hastened  on. 

" — An'  the  Sassiety  craves  to  donate  it  to 
the  two  leadin'  stars  of  Midnight  which  plays 
in  this  Monte  Cristo  film.  An'  so  M'sieu  is 
gwine  give  it  to  you-all,  Welford  an'  Opus — " 
He  paused,  indicating  that  this  was  the  mo- 
ment for  the  donation  of  the  gift. 

As  the  Frenchman  took  the  medal  and 
stepped  forward,  the  two  male  stars  of  Mid- 
night rose  from  their  chairs.  Their  eyes  were 
gleaming  with  unalloyed  delight  and  each  took 
a  step  forward. 

The  Marseillian  spoke  a  few  words  more. 
Then  with  a  grandiloquent  bow  and  a  compre- 
hensive flourish,  he  extended  the  box  and  its 
contents  toward  the  pair  of  advancing  actors. 

Welford  made  a  quick  leap  forward.  But 
Opus,  while  not  so  quick,  was  heftily  effective. 

With  a  single  motion  of  his  powerful  right 
arm,  he  shoved  Welford  Potts  to  one  side.  At 
the  same  instant  his  other  hand  went  out  and 
he  took  the  medal  from  the  grasp  of  the  French- 
man. Immediately  he  removed  the  glittery 
thing  from  its  bed  of  nurple  plush  and  affixed  it 
pridefully  to  his  breast. 

From  its  new,  capacious  resting  place,  the 
golden  bauble  shimmered  magnificently.  The 
spectators  burst  into  a  thunder  of  applause. 
Opus  bowed  happily  and  commenced  speaking: 

"Ethiope,"  he  ordered,  "will  you  kin  Iv 
espress  to  this  white  gemmun  my  gratitude  to' 
the  honor  he  has  deferred  upon  me.  Tell  him 
that  wherever  I  goes  Ise  gwine  remember 
Marseilles  an'  boost  it  as  a  swell  town.  Tell 
him — " 

Welford  came  reeling  forward,  harrd  out- 
stretched. There  was  a  piteous  ring  in  his 
voice. 

"Gimme  that  medal,  Opus." 

"Hush  yo'  mouf,  Small  Boy!  Where  at  you 
git  that  gimme  stuff?" 

"It's  just  as  much  mine  as  it  is  your'n." 


"I  aint  said  it  aint,  has  I?  Co'se  it's  your'n. 
But  I  wears  it." 

"I  craves  to  wear  it  also." 

"Welford,  you  don't  know  nothin'  an'  you 
talks,  about  it  constant.  There's  one  medal 
an'  there  is  two  of  us.  Aint  but  one  can  wear 
it,  an'  Ise  him." 

"Ethiope,"  wailed  Mr.  Potts,  "ask  them 
white  folks  caint  I  also  wear  it?" 

Orifice  R.  Latimer,  president  of  Midnight, 
strode  forward.  "  Don't  ask  him  nothin'  of  the 
sort,  F.thiope.  'Taint  decent  fo'  swell  folks 
like  him  to  know  these  two  fellers  is  fightin' 
over  his  wonderful  gif '.  Just  tell  him  that  bofe 
these  fellers  thank  him  frum  the  bottom  of 
their  hearts  an'  that  they  never  owned  nothin' 
in  their  lives  which  they  was  prouder  of." 

Mr.  Wall  coin  eyed  the  message  and  the 
meeting  terminated  after  a  few  more  words  had 
splashed  around  the  room.  The  Frenchman 
was  ushered  to  the  door  in  state  by  President 
Latimer  and  Director  J.  Caesar  Clump.  They 
then  turned  to  survey  the  scene  on  the  rostrum. 

Opus  Randall  was  strutting  proudly  up  and 
down  the  tiny  stage  admiring  himself.  The 
decoration  scintillated  from  the  lapel  of  his 
coat.  It  was  a  superb  thing — a  bauble  to  de- 
light the  heart  of  any  colored  person  in  the 
world.  Opus  turned  so  that  the  slanting  rays 
of  the  afternoon  sun  struck  the  pointed,  golden 
star  as  he  polished  it  delicately  with  a  silk 
handkerchief. 

"Hoi  ziggity  dam!"  he  ejaculated.  "Think 
of  me  walkin'  down  Eighteenth  street  with  this 
thing  on!  What  folks  is  gwine  say!  They 
asks  me  where  I  got  it.  an'  I  'splains  that  it  was 
give  to  me  in  France  fo'  bein'  the  best  actor — " 

"Taint  your'n!"  howled  the  irate  Welford. 
"It's  our'n!" 

"Showly  it  is."  agreed  Mr.  Randall  genially. 
"  But  I  wears  it." 

"  Not  all  the  time." 

"  Foolishment  what  you  talks  with  yo'  mouf. 
Co'se  I  wears  it  all  the  time.  Skinny  li'l  runt 
like  you  would  git  lost  behime  this  much  joolry. 
I  lets  you  look  at  it,  an'  1  allows  you  to  claim 
half.    But  what  wearin'  is  done  I  does." 


Mr.  Potts  was  rendered  inarticulate  by  his 
wrath.  He  choked  and  spluttered  and  moaned. 
But  Florian  Slappey — friend  to  Welford  and 
instinctive  enemy  of  Opus's — flung  around  in- 
dignantly on  President  Latimer. 

"Orifice,"  he  raved,  "you  aint  gwine  stan' 
fo'  that,  is  you?" 

President  Latimer  frowned.  "  'Taint  none  of 
my  business,  Florian — no  more  than  'tis  of 
your'n.  I  got  a  rule  not  to  mix  up  in  no 
fightin'  an'  quarrellin'  which  my  actors  does." 

"But  Orifice — " 

"But  me  no  buts!  Tha's  my  rule  an'  I 
sticks  to  it.  Co'se  1  will  say  that  it  seems  Wel- 
ford should  wear  it  sometimes — " 

"Seems  like  aint  is!"  growled  Opus.  "An' 
as  fo'  you.  Mistuh  Slappey — if  you  craves 
trouble  then  just  trot  right  in.  This  is  some- 
thin'  'tween  me  an'  Mistuh  Potts  an'  if  any 
li'l  two-by-fo'.  knock-kneed,  skinny,  no-'count 
imitation  of  a  mosquiter  craves  action  out  of 
Opus — " 

Florian  Slappey  clenched  his  fists  and  started 
forward,  the  battle  light  blazing  in  his  eyes. 
But  he  was  restrained  by  a  tearful  and  tense 
Welford. 

"  Leave  him  be,  Florian.  Leave  that  big 
hunk  of  tripe  alone.  I  'predates  what  you  is 
tryin'  to  do,  but  this  aint  yo'  battle.  It's  mine 
an'  Ise  gwine  fight  it." 

"Oh!  you  is?"  boomed  Opus.  "An'  when 
does  you  commcn<  e?" 

\\  1 1  lord  stepped  close.  His  eyes  were  flash- 
ing fire. 

"Does  I  wear  our  medal  half  of  the  time?" 

"  N  "ii  don't  wear  no  medal  none  of  the  time." 

"What  right  has  you  got  keepin'  it?" 

"I  got  the  right  that  Lawyer  Chew  calls 
possession.  He  says  tha's  nine  points  of  the 
law.  Well,  I  got  the  possession,  an'  him  what 
has  got  that  has  the  right  to  wear  the  medal." 
Mr  Randall  sneered  openly.  "Any  time  you 
is  man  enough  to  git  this  medal  off  me.  Welford 
Potts.  I  gives  you  my  word  I  aint  gwine  grab 
it  back  n'r  neither  kick  because  you  is  wearin'  it 
an'  I  aim."  He  flexed  his  biceps.  "All  you 
got  to  do  is  git  it!"  [  continued  on  page  126  ] 


Breaking  Into 

the  Movies 

PHOTOPLAY  sent  Ruth  Waterbury  to  Hollywood  to 
discover  what  an  unknown  girl  must  go  through  to  get 

into  pictures  today. 

Alone  and  unaided,  Miss  Waterbury  lived  in  Hollywood 

under  an  assumed  name,  posed  as  an  extra  girl,  took  her 

chances  at  the  casting  offices  and — 

But  watch  for  her  story  beginning   in   the   December 

number  of  Photoplay,  on  the  newsstands  November  15th. 


You  will  not  want  to  miss  an  installment  of  this 
remarkable  story,  reported  without  fear  or  favor. 


98 


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Pnmpeia    $-1.50 


llnramye    Sl/SO 


l-..Im. 


These  five  most  favored  odeursar 
able  in  Essence,  Eau  de  Tode 
Vegetale,  Poudre  de  Riz.Twin  Compacte, 
Poudre  de  Talc.  Poudre  a  Sachet.  Savon. 
Sels  pour  Bains  (Bath  Salts),  Poudre  de 
Toilette  t  Bath  Powder),  Crayon  pout  les 
Uvres  (Lip  Stick). 

At  the  better  drug  stores  and  toilet 
counters  —  to  get  acquainted,  send  the 
coupon. 


A> 


FONDEE  EN  177 


L.  T.  PIVER,  Inc.  I  L.  T.  PIVER,  Ltd. 
118  E.  16th  Street  46St.  AlexanderSt. 

New  York,  N.  Y.  |  Montreal,  Canada 
I  am  sending  25c  for  a  "Get  Acquainted" 
Package  ot  Fetiche  Perfume,  Sachet,  and 
Face  Powder,  in  Basanee  (Sun  Tan  i  the  new 
day-shade,  and  copy  of  "Three  Centuries  of 
Beauty  Secrets."  (A3) 

Name 

Street. 

City State 


THE  STAR  OF  1926-7 


RENEE 
ADOREE 


YOU  liked  her  in 
THE  BIG  PARADE 
YOU  loved  her  in 
LA  BOHEME 
YOU'LL  adore  her  in 


B*  L*  A*  R*  N  *  E*Y 


Directed  by 

Marcel  de  Sano 

adapted  by 

Albert  Lewik 

from  the  story 

"IN  PRAISE  OF 

JAMES  CARABINE" 

by 

Donn  Byrne 


IN  this  ringside  romance 
THIS  lovable  star  makes  a 
PICTURE  you'll  never  forget! 
SHE  plays  an  Irish  Lass  who 
IS  forced  to  fight  for  Love  .... 
EVEN  her  most  ardent  admirers  find  her 
MORE  appealingly  human,  more 
ADORABLE  than  ever  before! 
YOU  will  thrill  at  Donn  Byrne's  story— you 
WILL  revel  in  every  reel — you  will 
LOVE  the  winsome  star  who  wins 
HER  battle  with  Fate! 


"More  stars  than  there  are  in  Heaven" 


Allons/ 

°)he  big  parade 
ofquestions 

I  hope  you  win 
the  big  prize 

A  prize  worth  winning  is 
worth  striving  for  —  is 
it  not  so?  For  you  I  have 
chosen  most  desirable  me- 
mentos of  motion  picture 
stars  and  I  have  made  my 
questions  most  difficult! 
For  the  lady  who  sends  me 
the  best  answers  to  my  ques- 
tionnaire I  have  chosen  as  a 
reward  a  vanity  case  similar 
to  one  I  myself  carry.  And 
the  cleverest  gentleman  shall 
receive  a  cigarette  case  very 
much  like  John  Gilbert's  own. 
And  I  have  fifty  of  my  favor- 
ite photographs  ready  to 
autograph  for  the  fifty  "next 
best"  contestants! 
Allons!  Here  comes  the  Big 
Parade  of  Questions  and  here 
are  my  best  wishes  for  your 
success. 

Renee's 
six  questions 

I  In  what  pictures  have 
■*■  Alice  Terry  and  Ramon 
Novarro  been  co-starred? 

2  Who  is  the  original  "Nell 
Brinkley  Girl"  and  what  is 
her  latest  Metro-Goldwyn- 
Mayer  picture? 

3  What  is  the  title  of  thefirst 
Metro  -Goldwyn  -  Mayer 
"western"  and  who  is  the 
featured  player? 
A  Where  does  Rodolphe 
'  first  meet  Mimi  in  "La 
Boheme"? 

C  Whom  do  you  regard  as 
*-'  the  greatest  Metro-Gold- 
wyn-Mayer  director?  Why? 
Answer  this  in  less  than  50 
words. 

6  What  are  the  three  famous 
Ibanez  stories  transferred 
to  the  screen  by  Metro-Gold- 
wyn-Mayer  during  the  past 
year  and  who  directed  them? 
Write  your  answers  on  one 
side  of  a  single  sheet  of  paper 
and  mail  to  3rd  Floor,  1540 
Broadway,  New  York.  All 
answers  must  reach  us  by 
November  15th.  Winners' 
names  will  be  published  in  a 
latterissue  of  this  magazine. 
In  the  event  of  ties,  each 
tying  contestant  will  be 
awarded  a  prize  identical  in 
character  with  that  tied  for. 


o  Ice 
Today 


Red's  in  Pictures  Now 


Frederick 

James 

Smith 


RED  GRANGE  has  been  made  into  a 
screen  personality  by  a  single  picture. 
"Red"  went  to  Hollywood  just  another 
newspaper  headliner.  "One  Minute 
lo  Play"  makes  him  a  star  to  be  reckoned  with. 
The  story  of  the  Galloping  Ghost  of  the 
Illinois  backfield  is  known  to  every  boy  of 
America.  He  earned  his  way  through  college, 
as  well  as  through  high  school,  by  driving  an 
ice  wagon  at  $18  a  week.  Through  his  un- 
canny ability  to  melt  through  the  enemy's 
line,  he  became  a  football  idol. 

Motion  pictures  are  a  thing  apart  from  the 
football  field.  The  odds  were  against  Grange. 
That  he  succeeded  on  the  screen  proves  that 
his  gridiron  popularity  was  not  wholly  a  thing 
of  football  science.    The  same  personality  that 


"Red"  Grange  has  been  one  of  the  few  headline  stars 

whose  film  appearance  has  not  proved  disappointing. 

"Red"  has  the  smile  that  wins  'em.     And  don't  forget 

he  has  a  college  education 


made  him  stand  out  of  all  the  scrapping  young  collegians  of 
this  country  lifts  him  to  a  hit  in  his  first  film  role. 

Grange  is  surprised  himself  at  "One  Minute  to  Play." 
He  is  a  shy,  reticent  sort  of  chap,  for  all  his  printer's  ink 
glamour. 

"I  liked  Hollywood,"  he  says,  "and  I  like  pictures. 
Better  than  playing  football,  anyway.  I  want  to  tell  folks 
out  in  Hollywood  that  I  never  said  the  things  the  news- 
papers printed  about  the  town.  You  know,  about  the 
girls  out  there  not  being  as  nice  or  as  peppy  as  the  girls 
back  home.  I  couldn't  have  said  it,  because  I  didn't  meet 
anyone  in  Hollywood  except  three  stars — Doug  Fairbanks, 
Marion  Davies  and  Harold  Lloyd — and  I  liked  them  im- 
mensely. They're  regular.  I  don't  know  anything  about 
the  Hollywood  girls. 

"I'm  glad  about  'One  Minute  to  Play,'  because  I  want 
to  do  more  things  in  pictures.  I'm  surprised,  though.  Say, 
I  don't  know  one  thing  about  acting.  I  just  followed  what 
Sam  Wood,  the  director,  told  me.  Funny,  isn't  it?  I 
thought  there  was  a  lot  more  to  acting  than  that." 

But    Hollywood   did  one   very  unfootballish  thing  for 

"Red"  plays  his  love  scenes  with  the  ease  of  a 
matinee  idol.  The  heroine  of  "One  Minute  to  Play" 
is  Mary  McAllister.     Remember  her  as  a  child  star? 

101 


102 


Photoplay  Magazine — Advertising  Section 


Use 


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Name 


Grange.  He  gained  ten  pounds,  and  he  had  to 
go  back  to  carrying  ice  in  his  home  town, 
Wheaton,  111.,  to  get  back  to  one  hundred  and 
eighty  pounds. 

To  save  you  from  worrying  the  Answer  Man, 
I  am  going  to  append  these  facts  about 
"Red,"  whose  real  cognomen  is  Harold: 

Despite  his  half  Southern,  half  Middle 
Western  drawl,   he   was  born   in   Forksville, 


will  not  have  the  familiar  football  atmosphere 
to  fall  back  upon. 

Just  before  the  football  season  started, 
Grange  made  a  trip  to  New  York.  He  arrived 
at  the  Pennsylvania  station  on  a  stormy  night 
and  tried  to  get  a  taxi.  Finding  that  impos- 
sible, "Red"  walked  through  the  rain  all  the 
way  to  the  Hotel  Astor.  trying  every  now  and 
then  to  stop  a  taxi.    But  the  New  York  chauf- 


Are  You  Among  the  Winners? 

In  the  January  issue  of  Photoplay,  on  the  newsstands  on  or  about 
December  10,  you  will  find  the  complete  announcements  of  the  winners 
of  the  Cut  Picture  Puzzle  Contest.  Order  your  copy  in  advance,  if  you 
want  to  make  certain  of  learning  the  results  of  this  fascinating  contest. 


north  of  Williamsport,  in  Pennsylvania,  in 
igoi.  His  folks  moved  to  Wheaton,  111.,  when 
he  was  five.  His  ancestry  is  wholly  English. 
He  is  five  feet,  ten  inches  in  height.  His  eyes  are 
brown.  His  hair  isn't  exactly  red.  but  it's  reddish. 
"Red"  is  going  back  to  Hollywood  in  Janu- 
ary, after  the  professional  football  season  is 
over.  He  will  make  another  picture,  not  a 
i  ollege  story,  under  the  direction  of  Sam  Wood. 
This  will  be  a  real  personality  test,  because  be 


feurs  were  oblivious  to  Grange,  who  had  at  last 
found  something  he  couldn't  stop. 

Grange  made  a  shy  personal  appearance  with 
his  film,  spoke  modestly  at  a  newspaper 
luncheon,  and  then  took  the  Century  back  to 
Aurora.  111.,  to  train  with  his  football  squad. 

After  the  new  year  Hollywood  will  have  to 
strengthen  its  defense  if  it  wants  to  keep 
"Red"  from  crossing  its  goal  line. 

He's  going  to  straight  arm  hokum! 


The  Shadow  Stage 


|  CONTINUED  FROM  PACE  55  ] 


THE  ICE  FLOOD— Universal 

IT'S  the  same  old  story  of  the  timber  lands. 
The  hero  tames  the  camp  bully,  learns  who 
has  been  doing  all  the  dirty  work,  and  then 
saves  the  heroine  from  the  ice  jam.  It's  ter- 
rible.    And  so  are  the  titles. 

MARRIAGE  LICENSE?— Fox 

HTIIE  tear  ducts  will  be  let  loose  in  this  weepy 
■A-  affair.  The  strong  point  in  this  picture  is 
Alma  Rubens'  performance  as  the  girl  who 
marries  an  English  peer.  His  family  is  horri- 
fied at  the  marriage,  and  after  unjust  accusa- 


tions they  secure  a  divorce  for  him.  Years 
later  she  sacrifices  her  happiness  for  her  son — 
who  learns  his  father's  identity — sniff,  sniff 
It's  nothing  to  get  excited  about. 

THE  TEXAS  STREAK— Universal 

rPHE  only  Western  this  month,  and  fairly 
-*-  interesting.  Hoot  Gibson  doubles  for  a 
movie  star  while  on  location.  He  loses  hi3 
return  railroad  ticket  to  Hollywood,  so  he 
decides  to  strike  for  the  best  job  in  the  little 
town.  He  succeeds,  foils  the  villains  and  grabs 
unto  himself  a  wife. 


Do  they  look  like  brothers?  Well,  they  are.  Lon  Chaney  and  his 
brother,  George,  a  newspaper  man,  snapped  between  scenes  of 
"Tell   It  to  the  Marines,"   in  which   Lon    plays  a  tough  marine 


PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


io3 


A  metal  price  tag  is  affixed  by 

us— your  assurance  of  maximum 

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Note   the   serial  number.     It's 

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GENUINE  DIAMOND  RINGS 


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The  "Bluebird"  mark,  which  appears  in  each  ring, 
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104 


Photoplay  Magazine — Advertising  Section 


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[  CONTINUED  FROM  PAGE  S6  1 


may  seem  perfectly  simple  to  you,  if  not  written 
plainly,  it  sometimes  becomes  nothing  short  of 
aconundrum  to  the  person  who  attempts  read- 
ing it? 

It  is  a  good  thing  I  am  not  a  star  myself,  for 
looking  over  some  of  the  letters  they  receive,  it 
seems  it  would  take  a  dollar,  instead  of  a 
quarter,  to  make  me  want  to  send  a  photo.  If 
you  admire  them  so,  the  least  you  could  do  is 
write  them  decent  letters.  Think  it  over.  If 
you  play  fair  with  them  they  are  always  willing 
to  play  fair  with  you. 

Helen  Margaret  Brinkerhofp. 

A  Poem  for  Dolores 

Kinston,  N.  C. 

Dolores  Costello  .  .  . 

She  is  a  silver  night  of  moon  and  stars. 

A  night  of  velvety  softness,  yet  strangely, 
i  nchantingly  aloof; 

A  night  of  mingled  clouds  and  brightness; 

A  night  of  cool,  brilliant  light  upon  shining 
depthless  waters; 

A  radiant,  gorgeous  night  of  deathless,  softly 
luminous  beauty; 

An  exquisite  night; 

Dolores  Costello  .  .  . 

Sara  D.  Chadwick. 


Pure  Hollywood 

So.  Pasadena,  Calif. 

Why  such  a  fuss  over  the  morality  of  Holly- 
wood? I  am  often  in  the  town,  and  positively 
the  entire  place  is  asleep  at  ten  o'clock. 

The  bad-boy  bandits  and  doped  highwaymen 
are  not  employed  in  pictures.  With  a  nation's 
searchlight  on  the  c  haracterof  the  actors,  small 
wonder  that  scandal  or  malicious  propaganda 
finds  impetus. 

I  believe,  on  the  whole,  that  it  has — the 
movie  community — a  higher  moral  tone  than 
the  average,  because  everyone  in  it  is  vitally 
interested  in  their  life's  work. 

And  movie  people  are  just  as  humanly  inter- 
ested in  "conditions"  as  the  rest  of  the  world 
and  have  less  to  do  with  creating  them  than  the 
would-be  scoffer. 

Fb  \m  i:s  Woodburn. 

Figure  This  Out 

Petersburg.  111. 
"Stop,  Look  and  Listen."  all  of  you  "Best 
People,"  "Dancing  Mothers,"  "Bachelor 
Brides"  and  "Gold  Hunters,"  who  send  a 
"Far  Cry"  full  of  "Blue  Blazes"  from  "Fifth 
Avenue"  and  "Hogan's  Alky"  with  a  "Tor- 
rent" of  criticism  against  the  movies.  "Just 
Suppose"  we  didn't  have  "The  Big  Parade"  of 
pictures  to  soothe  "Broken  Hearts"  and  give 
us  "A  Palace  of  Pleasure."  "For  Heaven's 
Sake"  "Don't"  give  them  "My  Old  Dutch." 
I  think  the  movies  are  "The  Cat's  Pajamas" 
and  Photoplay  is  "The  Only  Thing." 

Genevieve  Blake. 

Love ! 

Washington,  D.  C. 

When  you  hear  a  wonderful  old  classic  trans- 
formed into  a  blazing,  bellowing  jazz  tune,  you 
smile,  but  doesn't  it  make  you  feel  that  some- 
how it  isn't  quite  right,  a  sort  of  sacrilege? 

Years  ago  I  saw  a  picture,  "The  Christian," 
and  the  role  of  John  Slarm  was  portrayed  by  a 
wonderful  man.  and  in  the  man's  eyes  there  was 
a  certain  glimmer  outside  of  acting,  a  vigorous 
setting  of  jaw,  almost  a  gritting  of  teeth,  and 
he  seemed  to  say  that  he  must  make  them  like 
him,  he  had  worked,  oh,  so  hard,  they  must 
like  him!  And  did  they  like  him?  Yes,  you 
bet  they  did!     He  was  Richard  Dix. 


A  few  days  ago  I  saw  "Say  It  Again,"  and 
instead  of  laughing  I  cried,  and,  oh,  how  I 
hated  those  people  who  snickered  and  guffawed. 
But  they  didn't  know,  they  didn't  care,  they 
came  to  be  amused  and  they  went  away 
giggling.  Why,  oh  why,  won't  they  realize 
that  he  is  a  wonderful  actor,  and  not  a 
comedian? 

What  an  outrage,  such  impudence,  I  say, 
making  a  comedian  of  Richard  Dix!!! 

Rosalie  Lee. 

Lookit  This! 

Lansing,  Mich. 

Here  are  my  images  of  my  favorite  stars: 

John  Barrymore — the  good  keen  blade. 

Madge  Bellamy — a  path  of  silver  across  a 
secluded  lake. 

William  Collier,  Jr. — raindrops  shining  in  the 
sun. 

Ronald  Colman — that  breathless  hush  be- 
fore a  storm. 

Marion  Davies — corn  colored  taffeta. 

Reginald  Denny — ice  cold,  sparkling  ginger 
ale. 

Richard  Dix — a  Diana  roadster,  tearing 
down  a  long,  straight  road. 

Harrison  Ford — "dusk  and  the  stars  are 
gleaming." 

John  Gilbert — flares  on  a  railroad  at  night, 
standing  out  against  the  shadows. 

Corinnc  Griffith — pineapple  parfait. 

Raymond  Griffith — warm  ginger  bread. 

Mae  Murra\ — snow  "diamonds"  on  frosty 
winter  nights. 

Anna  Q.  Xilsson — a  chest  of  new  silver. 

Norma  Shearer — a  snow  capped  peak  in  the 
distance. 

Norma  Talmadge — rose  petals  falling  on  a 
mahogany  tabic   top. 

R.  Veda  Ch  \se. 
What  About  "The  Big  Parade"? 

New  York  City. 

With  "Variety"  the  Germans  have  again 
brought  to  our  attention  the  inferiority  of  our 
pictures. 

To  compare  "The  Last  Laugh"  or  "Variety" 
from  the  standpoint  of  direction  and  photog- 
raphy with  any  American  picture  is  as  incon- 
gruous as  to  consider  Elinor  Glyn  beside 
Dostioevsky. 

Movies  are  an  art  medium  and  require 
artists,  yet  inartistic  souls  bend  them  to  the 
needs  of  their  pockets. 

In  our  films  the  hand  of  the  artist  is  never 
evidenced — we  see  only  commercialism. 

The  inartistic  people  in  power  are  continu- 
ally advancing  the  very  feeble  defense  that  the 
people  cannot  appreciate  great  pictures.  This 
is  an  excellent  index  to  the  minds  that  produce 
our  pictures.  A  great  picture  is  a  powerful 
picture  and,  like  fine  music,  affects  everyone. 
Only  the  more  sensitive  souls  see  how  the 
effect  was  produced,  but  all  feel  the  effect. 

The  materialists  may  satisfy  themselves  on 
this  point  by  a  survey  of  the  box  office  receipts 
of  the  best  pictures. 

Hastings  White. 

Desiring  Pretty  Ugliness 

Eastbourne.  Sussex,  England. 

Some  of  the  stars  have  pluck,  anyway,  if  they 
haven't  got  discretion.  This  craze  for  stark 
hideousness  seems  to  be  spreading,  but  woe 
betide  the  silly  ones  who  dispense  with  their 
good  looks  in  the  name  of  art  when  they 
haven't  anything  else  to  fall  back  upon! 

Lon  Chaney  is  their  model,  but  he  has  a 
special  genius  of  acting  quite  apart  from  face  or 
I  CONTINUED  ON  PAGE  1 1  ^  1 


Every  advertisement  in  riicrrorLAV  magazine  is  Guaranteed. 


Photoplay  Magazine — Advertising  Section 


io5 


Your  Chin  Line  Reveals  Your  Age 


THOUSANDS  of  women  are 
saying,   "I  look  ten  years 
younger— it  is  almost  miracu- 
lous," after  a  few  simple  home  treat- 
ments under  the  guidance  of  Dorothy 
Gray. 

This  remarkable  person— famous 
on  two  continents  for  her  discoveries 
in  facial  rejuvenation— now  extends 
her  services  beyond  the  confines  of 
her  New  York  Salon  on  Fifth  Avenue. 
If  you  have  a  double  chin,  as  shown 
in  picture  No.  i,  you  can  banish  it.  If 
you  merely  have  indications  of  its 
coming,  you  can  prevent  this  handi- 
cap to  beauty  in  a  short  time— at 
home— inexpensively. 

Dorothy  Gray's  Double  Chin  Treat- 
ment comes  in  a  single  box—  5  precious 
preparations — accompanied  by  the 
Dorothy  Gray  Patter  and  the  Dorothy 
Gray  Chin  Strap.  Each  preparation  is 
for  a  definite  purpose.  Each  has  an  ex- 
clusive formula.  Complete  directions 
accompany  the  treatment. 

If  you  wish  tocorrect  flabby  muscles, 
crepy  throat  and  drooping  chin  line, 
as  shown  in  picture  No.  3,  Miss  Gray 
offers  another  special  treatment  box 
containing  6  preparations,  including 
her  famous  Circulation  Ointment  and 
the  proper  non-drying  astringents  and 
nourishing  and  tissue  building  skin 
foods.  With  this  treatment  is  in- 
cluded the  Dorothy  Gray  Patter  and 
special  directions. 

If  you  have  lines  and  wrinkles,  as 


How  a  droobing,  double  chin  can  be  re 

stored  to  youthful  grace.  How  the  telltale  juvenation.  Every  one  who  tries 

,    J         ■'     1  r     *  U         „     A  her  treatments  and  preparations 

signs  where  age  shows  first  can  be  erased  '        .  .  ?    r 

°&  6  J  acclaims  her  genius. 

shown  in  picture  No.  z,  Miss  Gray  Diagnose  yourself.  What  of  your 


offers  a  treatment  box  containing  5 
special  preparations  with  careful  in- 
structions. 

These  three  treatments,  as  outlined, 
enable  you  to  duplicate  in  your  own 
home  the  treatments  given  at  Miss 
Gray's  famous  Salon. 

These  are  the  three  basic  treatments 
for  youth  prolongation.  Of  course, 
Dorothy  Gray  has  perfected  other 
treatments— so  whatever  your  facial 
or  complexion  problems,  she  can  help 
you. 

Now  her  complete  treatments  as 
well  as  her  individual  preparations 
are  sold  in  the  leading 
department  and  drug 
stores  —  or  you  may  or- 
der direct.  Formerly 
only  a  fortunate  few 
could  partake  of  her 
services  in  her  New  York 
Salon. 

Now,  wherever  you  live,  you  can 
duplicate  her  treatments  in  your  own 
home— thanks  to  her  plainly  printed 
instructions. 

You  can  erase  years  from  your  face, 
or— if  you're  so  very  young— you  can 
prevent  the  first  telltale  signs  of  age. 

Dorothy  Gray's  clientele  has  mul- 
tiplied ten  times  over  the  last  two 
years— a  reward  for  her  twelve  years 
of  service  in  specializing  in  facial  re- 

„,,,,,  ,„  tdrertisen  Dteaae  raclll'on  PHOTOPLAY  MAGAZINE 


chin  line?  Does  it  reveal  an  unpleas- 
ant sign  of  premature  age?  What  of 
lines  and  wrinkles?  Have  you  flabby 
muscles  and  a  crepy  throat?  There  is  a 
special  Dorothy  Gray  treatment  for 
remedying  each  condition. 

These  treatment  boxescanbebought 
at  all  leading  department  and  drug 
stores  or  you  may  order  direct,  via  the 
convenient  coupon  below.  Oryou  may 
visit  any  of  her  Salons  and  buy  them 
at:  New  York  (753  Fifth  Avenue); 
Atlantic  City  (1637  Boardwalk);  San 
Francisco  (The  W  h  i  te  House) ;  orW.ish- 
ington,D.C.(ioo9ConnecticutAve.). 

Dorothy    Cray's    Double    Chin 
Treatment    includes    her  Cleansing 
Cream,  Tissue  Cream,  Russian  As- 
tringent Cream,  Orange  Flower  Skin 
Tonic   and    Russian  As- 


tringent, together  with 
Reducing  Chin  Strap  , 
Patter. 


DOROTHY  GRAY,  7;)  Filth  Av 
□  Please  send  me  more  informant 


oue,  New  York.  NY. 
n  regarding  your  treat- 


5  for  wh  ich  send  me 
r  fur  reducing  a  double 
iclose$s  85  for  which  send  me 


seSn  60  for  which  send  r 
rment  foe  relaxed  muse 
and  droop  under  the  chn 


io6 


Photoplay  Magazine — Advertising  Section 


BOB, 

BEHAVE 

f 

• 

Your  bob  must  behave 
when  it's  held  in  place  by 

Bobbie  Pins. 
Out  of  sight,  out  of  mind. 
Merely  separate  the  ends 
of  the  pin  and  insert  the 
hair  as  you  want  it  to  stay. 
Can't  slip  —  Bobbie  Pins 
stay  put!  Won't  tear  hair 
because  the  ends  meet. 

Four  Shades: 
Black,    Bronze, 
Gold  and  Silver. 

Sold  everywhere — For 
your  protection  the  copy- 
righted name  is  on  the 
card;  the  basic  principle 
patented.  Avoid  imitations. 

MARCUS-LESOINE  INC. 
130  Turk  Street,  San  Francisco 

BOBBIE 
PINS 

Jx^zp  your  bob 
at  its  bzst 


Questions  and  Answers 


[  CONTINUED  FROM  PAGE  96  ] 


Vivian,  New  Orleans,  La. — By  request,  I 
shall  quote:  "Mr.  Menjou  is  the  finest  actor  on 
the  screen  today  and  is  the  only  one  who  can 
make  my  heart  skip  a  beat.  If  you  don't  feel 
the  same  about  him,  why,  you  had  better 
just  keep  quiet  when  I'm  around."  There  you 
are!  Is  everything  peaceful  between  us  now? 
Mr.  Menjou  was  born  in  Pittsburgh,  Pa.,  on 
February  18,  1891.  He  has  dark  brown  hair 
and  blue  eyes  and  he  weighs  155  pounds.  Let 
me  see,  now!  Oh,  yes,  he  is  five  feet,  ten  and 
one-half  inches  high.  Address  him  at  the 
Paramount  Studios,  Long  Island  City,  N.  Y. 

Teddy,  Brockton,  Mass. — Welcome  to  our 
family.  Address  Aileen  Pringle,  John  Gilbert 
and  Norma  Shearer  at  the  Metro-Goldwyn- 
Mayer  Studios,  Culver  Citv,  Calif.  Richard 
Talmadge  at  the  F.  B.  O.  Studios.  All  in 
Hollywood,  Calif.  Do  you  mean  Richard 
Barthelmess?  Richard  and  Mary  Hay  are  not 
divorced;  just  separated.  There's  a  difference, 
you  know. 

Roa  .  HONOLULU,  T.  H. — Bebe  Daniels  is 
one  of  the  most  popular  girls  in  Hollywood. 
And  I  like  her  myself,  so  I  guess  she  ought  to  feel 
Battered.  Bebe  is  five  feet,  three  and  one-half 
inches  tall  and  weighs  112  pounds.  She  lias 
black  hair  and  dark  brown  eyes. 

Fuller's  Girl.  N.  Warren,  Pa. — That's  a 
new  one,  naming  your  gym  team  the  "Strong- 
hearts.''  And  all  that  praise  just  for  a  dog! 
Ramon  Novarro  was  born  in  Durango, 
Mexico,  on  February  6th,  iSoq.  He  was 
educated  at  Our  Lady  of  Guadalupe  College. 
Entered  pictures  in  191 7.  Ramon  is  five  feet, 
ten  inches  tall  and  weighs  160  pounds.  Brown 
hair  and  brown  eyes.  Not  married.  As  for 
telling  you  the  author  of  the  captions  under  the 
rotogravure  pictures,  the  author  begs  to  remain 
anonymous. 

Peggy. — Well,  I  don't  know  whether  you'd 
say  Richard  Barthelmess  and  Mary  Hay  arc- 
separated  for  good  or  not,  but  they  certainly 
are  separated.    Marion  Davies  is  not  married. 


Gwendolyn,  Floral  Park,  N.  Y. — No, 
Betty  Bronson  didn't  go  to  your  school.  She 
attended  the  East  Orange  High  School.  Lila 
Lee's  mail  should  be  addressed  to  the  Para- 
mount Studios,  Astoria,  L.  I. 

B.  E.  G.,  Detroit,  Mich. — I  am  glad  to 
"hear  that  you  don't  give  up  the  old  loves  for 
the  new.  So  you  still  remain  loyal  to  Our 
Mary?  That's  right.  Eleanor  Boardman  re- 
cently was  married  to  King  Vidor,  the  director. 
Norma  Shearer  is  one  of  the  most  popular  girls 
on  the  coast.  Norma  has  a  number  of  beaux 
and  I  think  it  will  be  some  time  before  she  nar- 
rows her  choice  to  THE  ONE.  Eleanor  Board- 
man  hails  from  Philadelphia  and  Norma  is  an 
importation  from  Canada.  And  your  male 
choice  falls  to  the  lot  of  Ben  Lyon — you  know 
how  to  pick  'em.  Ben  was  born  in  Allanta, 
Ga.  Ben  is  very  cagy  in  handing  out  informa- 
tion about  his  loves.  But  as  soon  as  I  find  out 
I'll  let  you  know.  I  hope  you  are  feeling  better 
when  you  read  this.    The  best  of  health  to  you! 

D.  S.  K.,  Montreal,  Canada. — You're  on 
the  right  track.  Walter  I'idgeon  was  bor,i  in 
Canada,  lie  was  recruited  from  the  legitimate 
stage,  having  played  with  Elsie  Janis  in  "  Puz- 
zles of  1925."  I  met  him  just  before  he  left 
for  the  coast.  I  shall  never  forget  him.  It  was 
at  a  tea  that  Constance  Bennett  gave,  and 
Walter  was  doing  even-thing  possible  to  make 
the  guests  feel  at  home.  And  I'm  telling  you  he 
was  the  most  popular  fellow  present.  Then  to 
cap  the  climax  Walter  sang  "  The  Rosary,"  and 
I  am  sure  if  all  the  fair  ladies  ever  heard  him 
sing,  his  fan  mail  would  jump  into  thousands 
by  the  day.  Since  going  to  the  coast  he  has 
appeared  in  "Mannequin"  and  "The  Out- 
sider." He  has  just  signed  a  contract  with 
Joseph  Schenck  to  play  opposite  Connie  Tal- 
madge. And  I  don't  think  it  will  be  long  before 
he  is  one  of  the  most  popular  boys  on  the 
screen,  Theodore  Roberts  first  saw  daylight  in 
San  Francisco,  Cal.  That  was  on  Oct.  6,  1861. 
You  may  write  him  at  the  Lasky  Studio. 
[  CONTINUED  ON  PAGE  1 56  ] 


Erich  did  this  for  the  wife  and  kiddie.     Between  scenes  of  "The 

Wedding  March,"  which  Von  Stroheim  is  now  in  process  of  filming. 

Mrs.  Von  Stroheim  and  Von,  Jr.,  show  a  distinct  interest  in  the 

proceedings 

Everj  advertisement   in  PHOTOFLAY  MACAZINE  is  tuaramecd. 


Photoplay  Magazine — Advertising  Section  107 

CHOOSE  YOUR   PIANO  AS   THE  ARTISTS    DO 

rri 

WHEN  friends  drop  in— the  Baldwin  Welte-Mignon* 
Reproducing  Piano,  with  its  wide  variety  of  artists' 
recordings,  at  once  becomes  the  Life  of  the  Party. 

Songs,  dances,  hits  from  the  latest  Broadway  Revue 
are  played  for  your  guests  with  the  irresistible  rhythm  of 
the  Master  Pianists. 

At  any  time,  on  any  day,  the  Baldwin  Welte-Mignon* 
Reproducing  Piano  stands  ready  to  make  your  home  the 
rendezvous  and  your  parties  a  success. 

The  Baldwin  Dealer  in  your  city  will  be  very  glad, 
indeed,  to  give  you  a  demonstration. 

Grands  and  Uprights  in  Modern  and  Period  Designs 

THE  BALDWIN   PIANO   CO, 

CINCINNATI,    OHIO 


^y  1 


B 


(fflelte'CDignoa 


Reproducing  Piano 

«,,!,■  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


ILEEN  PRINGLE  wrote  on  the  back  of  this  pic- 
ture: "Don't  you  think  I  look  a  little  too  hard-boiled 
for  'my  public'?"  No,  no,  Aileen,  because  your  pub- 
lic knows  you  are  not  really  hard-boiled.  It's  easy  to 
see  that  you  are  merely  posing  in  a  chic,  new  Paris 
fashion.  And,  being  an  artist,  you  live  your  part  even 
in  a  fashion  picture.  Hard-boiled,  Aileen?  You  could 
no  more  be  hard-boiled  than  you  could  be  upstage. 


108 


JKamon  novarro  as  the  adventurous  young  hero 
Ben  Hur,  in  the  Metro-Goldwyn-Mayer  spectacle  of  that 
name. 

Writing  of  Ben  Hur  Perfume,  this  great  romantic  actor 
says:  "Perfume  is  not  for  men,  but  we  must  admit  its  se- 
ductive sway  when  combined  with  the  beauty  of  women. 
Women  have  praise  for  Ben  Hur  Perfume,  as  it  seems  to 
distill  the  romance  which  its  name  so  long  has  typified." 


/& 


OsrHtryy 


^T^rtxiAic, 


Carmel  Myers,  as  Iras,  [fie  beautiful  Egyptian  enchantre 
m  the  Me'ro-Goldwyn-Maycr  wonder  spectacle,  Ben  Hur 


May  McAvoy  in  the  appealing  role  nf  Esther,  and  Ramon 
Novarro  as  the  spirited  young  hero  of  Ben  Hur 


"Ben  Hur  Perfume  seems  to  distill 
Romance",  says  Screen  Idol 


"DAMON  NOVARRO,  young,  gifted, 
-L^-  handsome  as  a  prince,  idolized  by 
his  public,  has  a  fastidious  appreciation 
of  all  that  goes  to  make  a  woman  charming. 

"We  must  admit  the  seductive  sway  of 
perfume  when  combined  with  the  beauty 
of  woman,"  he  says.  "Ben  Hur  Perfume 
.  .  .  seems  to  distill  the  romance  which 
its  name  so  long  has  typified." 

The  two  beautiful  women  stars  who 
play  opposite  Ramon  Novarro  in  the 
great  Metro-Goldwyn-Mayer  screen  tri- 
umph, Ben  Hur,  are  equally  enthusiastic 
about  the  delicate  yet  individual 
quality  of  Ben  Hur  Perfume. 

"I  have  found  nothing  in  per- 
fumes more  delightful  than  Ben 
Hur,"  declares  May  McAvoy, 
the  lovely  Esther  of  the  play. 

It  is  "so  exquisite,  so  differ- 
ent, so  distinctive,"  says  Car- 
mel Myers,  who  impersonates 
the  beautiful  Egyptian  princess 
Iras. 

Ben  Hur  Perfume  gives  a 
touch  of  lingering  mystery — 
of  subtle  charm   to  the  smart 


woman's  toilet.    It  adds  the  final  note 
to  the  perfection  of  her  grooming. 

Gift  packages  of  Ben  Hur.  handsome  within 
and  without,  reflect  the  latest  designs  and  color- 
ings, $1.00  to  $10.00.  They  make  beautiful  gifts 
tor  Christmas  and  other  occasions,  too.  The  ex- 
tract also  comes  in  hulk,  in  miniature  bottles  and 
in  purse  bottles,  flat  little  vials  just  the  sine  and 
shape  to  tuck  conveniently  into  your  purse. 

You  may  buy  these  delightful  Ben  Hur  acces- 


sories for  the  toilette  at  leading  druggists  and  at 
the  toilet  goods  counters  of  department  stores. 

The  smart  young  girl,  the  chic  older  woman, 
both  will  welcome  these  lovely  gift  boxes  for 
Christmas  this  year. 

If  you'd  like  to  try  Ben  Hur  Perfume  and 
enjoy  its  seductive  fragrance,  write  us  for  a  free 
miniature  vial  of  the  extract  and  a  tiny  box  of  the 
face  powder.  They  will  bring  you  a  breath  of 
sweetness  you  will  never  again  want  to  be  with- 
out. The  Andrew  Jergens  Company.  Spring 
Grove  Avenue,  Cincinnati,  Ohio. 


Ben  Hur  Powder. 
a  clinging,  satm- 
soft  face  powder  in 
white,  Jiesh  and 
hrunette  shades 


Ben  Hur  Perfume— 
"exquisite,  dijfferent 
distinctive"— in  a  dam 

t\  satm-lmed,  confetti 
cot-erect  bov 


en  Hur  Jewel  Case  (Le  Burnt,  con- 
lammg  a  lovel\  siher-fimsned  ianu\ 
case,  of  Renaissance  design,  and  a 
bottle   of    delicious  Ben   Hur   extract 


What  the  Stars  and  Directors  Are  Doing  NOW 


WEST  COAST 

{Unless  or Iv  rwise  specified  studios  arc  at  Hollywood) 
ASSOCIATED  STUDIOS,  3800  Mission  Road. 


MACK  SENNETT  STUDIOS,  1712  Glendale  Blvd. 

Alice  Day.  Ben  Turpin.  Ruth  Hiatt.  Raymond 
McKee  Mary  Ann  Jackson.  Madeline  Htirlnrk. 
Billy  B.'van.  Thcllna  Hill.  Vernon  Dent.  Danny 
O'Shca,  Barney  Helium,  .lerry  Zler,  and  Alma 
Bennett— all  working  on  two-reelers. 

MARSHALL  NEILAN  STUDIOS,   1S45  Glcndale 


Marshall  Xeilan  directing  "Everybody's  Acting' 
with  Betty  Bronson. 


Win.   Beaumont    directing   "Tile  Canadian"    with 

Thomas  Meighan.  Moiia  Palmer.  Dale  Fuller  and 

Billy  Butts. 

Luther  Reed  completing  "New  York"  with   Lois 

Wilson,  liieardo  Cortes,  Mary  Alden  and  Lya  de 

Puttl. 


CHARLES  CHAPLIN  STUDIOS,  1416  La  Brea  Ave. 
Inactive. 


D.  W.  Griffith  directing  "The  White  Slave"  with 


CECIL  B.  DE  MILLE  STUDIOS,  Culver  City,  Cal. 


Olaf  Xils  Chrisander  directing  "When  the  Gods 
Laugh"  with  Jetta  Goudal  and  Henry  B.  Walthall. 

Cecil  B.  De  Mille  directing  "The  King  ot  Kings" 
with  Jacqueline  Logan.  Dorothy  ( •illuming.  Ru- 
dolph   Schildkraut.    Joseph    Schildkraut.    Vic— 


Cliff   Smith   directing    "The   Desert    Toll" 


villi 


Francis  McDonald,  Kathleen  Key  and  Anna  May 

Wong. 

Production    will   soon   start   on    '^Spring   Fever." 

Cast  not  yet  named. 

Production  will  soon  start  on  "The  Cossack"  with 

John  Gilbert. 


TEC-ART  STUDIOS,  332   West   44th  St.,   N.  Y.  C. 
George  Walsh   will   start  work   on    "Striving   lor 


F.  B.  O.  STUDIOS,  780  Gower  Street. 

Bob  De  Lacey  directing  "Red  Hot  Hoofs"  with 
Tom  Tyler.  Dorothy  Dunbar,  Frankie  Darro  and 
Barney  Furey. 


Tod   Browning  directing   "  Alonzo,   the  Armless" 
with  Lon  Chancy. 

Production  will  soon  start  on  "Anna  Karenina" 
with  Lillian  Gish. 

METROPOLITAN    STUDIOS,    1040    Las    Palmai 


ABROAD 

BERLIN 

Eniil  Jannings  working  on  "  Emil,  the  Sailor." 

AFRICA 

Re\  Ingram  will  soon  start  work  on  "The  Garden 
of  Allah"   with  Alice    Terry  and  Ramon   Xovarrn 


David  Kirkland  directing  "A  Regular  scout  "  with 
Fred  Thomson.  T  Roy  l'.arnes,  Mary  ( "arr,  Olive 
Hashruuek,  Margaret  Sedd.m  and  Wm.  McKim. 


TEC-ART  STUDIOS.  5300  Melrose  Ave. 


FIRST  NATIONAL  STUDIOS.  Burbank,  Calif. 
Product 


Production  will  soon  start  on  "Here  Y'  Are. 
Brother."  Lewis  Stone  and  Lloyd  Hughes  will 
have  the  leads. 


WILLIAM  FOX  STUDIOS,  1400  N.  Western  Ave. 
Al  Green  directing  "  Is  Zat  So"  with  Virginia  Valli. 


"Seventh  Heave 


HAL  ROACH  STUDIOS,  Culver  City.  Calif. 

"Our  Gang"  working  on  comedies.  Incidentally. 
"Aroma."  "Farina's"  little  sister,  is  a  new  addition 
to  "Our  Gang." 


LASKY  STUDIOS,  5341  Melrose  Ave. 


UNIVERSAL  STUDIOS,  Universal  City,  Calif. 


WARNER    BROTHERS    STUDIO.    5841     MelTO 


Walter  Moroseo  directing  "While  London  sleeps- 
will.  Rin-Tin-Tin.  Helene  Costello  and  Walter 
Miller. 

Chas  Reisner  directing  "The  Missing  Link"  with 
Syd  Chaplin. 

Michael  Curtis  directing  "The  Third  Degree"  with 
Dolores  Costello. 


EAST  COAST 


Howard   Higgins  directing   "Not   Herbert'"    with 

Pen  Lyon. 

Lothnr     Mendes     directing     "The     Song     of     the 

Dragon"  with  I>orothy  MackalH. 

Production  will  soon  start  on  "The  Putter  and 

Egg  Man"  with  Ren  Lynn. 


CHANGE  IN  TITLES 

FIRST  NATIONAL 

"The  Knickerbocker  Kid"  with  Johnny  Hines  ha 
been  changed  to  "Stepping  Along." 


ting  "  It"  with  Clar 


BUSINESS  OFFICES 

Associated  Exhibitors.  Inc.,  35  West  45th  St..  New 
York  City. 

Associated  First  National  Pictures,  383  Madison  Ave  , 
N'ew  York  City.  Richard  Barthcltness  Prod.,  In- 
spiration Pictures,  565  Fifth  Ave,  New  York  City. 

Educational   Film   Corporation,   370  Seventh   Ave  . 

New  Y'ork  City. 
Famous    Players-Lasky    Corporation    (Paramount!, 

485  Filth  Ave.,  New  York  City. 
Film  Booking  Offices,   1560  Broadway.  New  Y'ork 

City. 
Fox   Film   Company.    10th  Ave.  &   55th  St..   New 

York  City. 
Metrn-Goldwyn.  1540  Broadway,  New  York  City. 
Palmer  Photoplay  Corporation.  Palmer  Bldg..  Holly- 
wood. Calif 
Pathe  Exchange.  35  West  45th  St..  New  York  City. 
Principal  Pictures  Corporation,  1540  Broadway,  New 

York  City. 
Producers  Distributing  Corporation.  469  Fifth  Ave. 

New  York  City. 
Rothacker    Film    Mfg.    Company,    1339    Divcrsey 

Parkway.  Chicago.  111. 

United  Artists  Corporation.  729  Seventh  Ave.,  New 

Y'ork  City. 
Universal  Film  Mfg.  Company,  Heckschcr  Building. 

5th  Ave  and  57th  St..  New  Y'ork  City. 

Warner  Brothers.  IKOO  Broadway.  New  York  City 


111 


I  12 


Photoplay  Magazine — Advertising  Section 


(t%jhlhpc$ 


The     «,%~  y^X 

SMART^Ik 
Touch  \^lf 

FASHIONED  for-and  worn 
b> — men  and  women  of  per- 
fect taste,  Helbros  Watches  ac- 
tually set  the  style  in  time  pieces. 
Correct  in  style — correct  in  time. 
Exquisite  in  quality.  Displa3red 
at  the  better  stores  always. 

Helbros  Watch  Co..  Inc..  New  York 

22  Wert  48th  Street 


Brickbats  and  Bouquets 


1  COXTIXUED  FROM  PAGE    1 34  J 


body.  He  can  make  a  soul  shine  through  a 
warped  body.  His  Quasimodo  was  as  pathetic 
and  touching  as  it  was  hideous. 

John  Barrymore  in  "The  Sea  Beast"  makes 
himself  ugly,  but  he  never  loses  his  magnetism. 

The  women  stars  are  less  lucky.  1  he  only 
two  who  could  come  through  such  a  test  are 
Norma  Talmadge  and  Pola  Negri.  Gloria 
Swanson  can't.  In  "The  Coast  of  Fully." 
where  she  rn,ade  herself  look  needlessly  old  and 
hideous,  her  acting  was  nothing  but  a  series  of 
face  contortions.  My  face  muscles  ached. 
Mary  Philbin  was  quite  swamped  by  her  ugli- 
ness in  "Stella  Maris."  She  was  a  ghastly 
monstrosity  without  a  spark  of  lovableness  in 
her. 

Let's  have  artistic  ugliness,  but  not  just — 
ugliness! 

Miss  P.  Fergi  mix. 

Boatmen  versus  Roses 

Salt  Lake  City.  Utah. 

The  "Volga  Boatman"!  A  beautiful  picture. 
Mr.  De  Mille  idolized  the  Bolshevists,  with 
their  demoralization  of  social  life,  but  the 
horrible  realities  of  the  Russian  Revolution  arc- 
forgotten  for  a  time,  while  we  sit  entranced 
with  this  stirring  romance. 

The  acting  of  \\  illiam  Boyd  and  Julia  Faye 
was  a  delight.  Never  lias  Miss  Faye  been  so 
happily  cast.  Eosloff  was  perfect,  as  always! 
The  most  haunting  memory  of  the  play  is  the 
"Boatman's  Song";  the  action  was  wonder 
fully  timed  to  the  lilt  of  it  and  carrying  the 
whole  audience  along  on  the  wave  of  that 
strange,  sad  melody.  I  have  seen  but  one 
other  picture  with  this  mesmeric  influence  of 
music — that  was  "The  Merry-Go-Round."  To 
this  day  I  never  hear  a  strain  of  that  air  with- 
out a  touch  of  heartbreak. 

The  worst  picture  I  have  seen  is  "  Rose  of  the 
World."       Warner's     program     pictures    get 


poorer  and  more  silly.  I  don't  care  for  Patsy 
Ruth  Miller  anyway,  and  to  see  her  going 
through  that  "he  loves  me,  he  loves  me  not" 
stuff,  with  the  daisy,  made  me  wonder  if,  after 
all,  she  had  gone  into  burlesque  comedy.  The 
first  part  of  this  picture  might  have  been 
written  by  a  ten-year-old,  the  latter  by  some 
one  mentally  ill.  I  felt  very  sorry  for  splendid 
Alex  Francis,  that  wonderful  old  man  whom  we 
all  hold  so  dear;  he  surely  must  have  hated  his 
part. 

The  whole  picture  was  absurd. 

Mauel  V.  Sanborn. 

Posies  and  Roeks 

Los  Angeles,  Calif. 

My  first  bouquet  goes  to  Eleanor  Boardman. 
When  will  M-G-M  give  her  her  big  oppor- 
tunity? When  will  they  realize  that  she  is  a 
better  actress  than  Norma  Shearer,  and  just  as 
distinctly  individual  a  personality?  She  needs 
good  roles  and  good  photography  such  as  Miss 
Shearer  has  been  receiving.  Comparisons  are 
odious,  and  I  like  Norma,  but  it's  time  Eleanor 
was  rewarded  for  her  consistently  excellent 
acting. 

The  second  bouquet  is  Conrad  Nagel's.  Such 
versatility  of  expression  as  is  his,  with  each 
expression  funnier  than  the  one  before! 
Reginald  Denny  will  have  to  watch  out! 
Conrad  passed  him  down  the  line.  "Excuse 
Me"  made  me  Conrad's  champion.  "Dance 
Madness"  completely  converted  me. 

One  brickbat  each — to  I-'amous  Players- 
Lasky  for  their  dull  production,  "Volcano,"  to 
Renee  Adorec  for  accepting  such  negligible 
roles  as  those  in  "I. a  Boheme"  and  "The 
Exquisite  Sinner,"  and  to  Lillian  dish  for  her 
acting  in  general. 

The  third  bouquet?  For  Photoplay,  of 
course. 

Laurel  Brlnkerhoff. 


Jack  Conway,  the  director,  wins  one  of  the  F.  F.  F.'s — meaning 
First  Families  of  the  Films.  He  met  Virginia  Bushman,  daughter 
of  Francis  X.,  when  she  was  playing  in  "Brown  of  Harvard."  Con- 
way asked  for  permission  to  direct  her  for  the  rest  of  his  life.  And 
Virginia  said,  "Yes" 

isrnient  in  PHOTOPLAY  MAGAZINE  i<  euaranteed. 


Photoplay  Magazine — Advertising  Section 


Il3 


Thank  You 


Bismarck,  N.  Dak. 

A  bouquet  for  Photoplay.  Congratulations 
on  the  most  complete  guide  to  motion  pictures 
published.  Your  magazine  contains  every- 
thing that  a  fan  could  ask  for. 

Another  bouquet  for  Milton  Sills.  In  "The 
Sea  Hawk"  he  thrilled  you,  but  in  "Puppets" 
he  plays  upon  your  emotions.  He  is  truly  the 
greatest  of  stars  in  a  great  star  part.  Milton 
Sills  in  the  most  dramatic  role  of  his  career 
seems  to  "put  across"  better  than  any  other 
star  could  that  which  fills  the  hearts  of  the 
audience  with  pity  and  sympathy.  Place  him 
upon  the  throne  of  moviedom  and  crown  him 
king. 

Now  comes  my  brickbat.    Duck  your  head, 

Barthelmess,  for  it  is  aimed  at  you.    Where,  I 

ask  you,  is  our  Dick — our  Dick  of  "Tol'able 

David  "fame?    Is  he  gone  forever?    I  hope  not. 

Ronald  MacIntyke. 

Praising  Mr.  Hughes 

Middleton,  New  York. 

Lloyd  Hughes  brings  us  one  great  pleasure  of 
young  Americans — college  life! 

Lloyd  Hughes  is  one  of  the  ten  handsomest 
men  of  the  screen. 

Lloyd  Hughes  is  not  a  so-called  "Sheik." 

Lloyd  Hughes  is  handsomer  than  Richard 
Dix. 

No  one  could  play  next  to  Colleen  Moore 
better  than  Lloyd  Hughes  does. 

Lloyd  Hughes  would  become  famous  if  he 
were  allowed  to  act  better  parts  on  the  screen. 

Lloyd  Hughes  is  just  as  much  a  typical 
American  as  Richard  Dix. 

Jack  Perrine. 

A  Rich  Lady 

New  York  City. 

Whether  a  queen  or  a  lost  lady,  the  soft 
womanly  personality  of  Irene  Rich  blends 
sensitively  with  the  portrayals  she  essays. 
Her  presence  imparts  a  radiance  to  the  com- 
position of  a  scene.  She  moves  with  a  grace 
and  patrician  charm  that  befits  the  distinction 
of  her  surroundings. 

There  is  an  elusive  exquisiteness  in  her  ex- 
pression. Her  nuances  reflect  an  emotional 
depth,  a  warmth  of  inspired  understanding  for 
her  roles.  With  her  deft  sentience  for  character 
interpretation,  she  affects  a  keen  variation  of 
moods;  happiness  or  sorrow  is  expressed  in  the 
bright  appeal  of  her  eyes,  in  the  quiver  of  her 
lips,  in  the  delicate  movement  of  her  hands. 

The  personal  attractiveness  of  Irene  Rich 
lies  in  the  glad  charm  of  her.  There  is  none  of 
the  extravagance  of  genius  in  her  gestures. 
Her  portrayals  reflect  the  vividness  of  girlhood 
in  a  being  of  cultured  dignity  and  kindly 
sophistication. 

Theodore  A.  Baxt. 

A  Whole  Set  of  Ideas 

Springfield.  Mass. 

I  wish  that  if  Corinne  Griffith  has  a  pain  in 
her  neck  that  she  would  put  some  Sloane's  lini- 
ment on  it.  If  she  is  just  bored  I  really  don't 
know  what  to  advise  her  as  I  never  have  been 
as  bored  as  she  seems  to  be. 

Ben  Lyon  is  charming  and  my  favorite  actor, 
although  I  have  to  admit  he  can't  act  much. 
If  he  would  forget  his  personal  appearance  and 
think  more  of  his  acting  he  would  be  excellent. 

Betty  Bronson  is  "cute,"  but  is  entirely  too 
sophisticated.  After  seeing  "Peter  Pan"  I  was 
sure  of  her  success,  but  after  seeing  later 
pictures  I  am  not  positive. 

Elaine  Hammerstein  is  the  worst  actress  on 
the  screen.  I  know  that  is  putting  it  rather 
strongly,  but  I  don't  feel  that  she  can  act  at  all. 

I  cannot  see  too  much  of  Reginald  Denny. 
One  actually  feels  refreshed  after  seeing  him. 

Why  can't  we  have  more  of  Alan  Forest? 
He  would  make  good  if  given  a  lively  part. 
Edith  Hildelbrandt. 


The  habit  of  removing  film  halce  daily  from 
the  teeth  by  Pepsodent  is  widely  urged  by 
dental  authorities  because  of  its  unique  thera- 
peutic and  prophylactic  powers. 


The  Film  Danger 

To  which  authoritative  dental  opinion 
ascribes  many  tooth  and  gum  disorders 

To  cultivate  tooth  clearness  and  firm  healthy  gums.    This  way  of 
combating  film  on  teeth  is  advised  by  many  authorities 


THAT  many  of  the  commoner 
tootli  and  gum  troubles,  and 
most  cases  of  so-called  "off-color'' 
teeth,  are  due  to  a  film  that  forms 
on  teeth  which  ordinary  brushing 
does  not  successfully  combat,  is 
the   consensus   of   dental    opinion. 

Run  your  tongue  across  your 
teeth,  and  you  will  feel  this  film — 
a  slippery  sort  of  coating.  Film 
absorbs  discolorations  and  thus 
makes  teeth  look  dull  and  dingy. 
It  breeds  germs  and  bacteria  and 
invites  tartar,  decay  and  pyorrhea. 
It  is  a  menace  to  tooth  and  gum 
health  that  must 
be  constantly 
combated. 

Thus  dental  au- 
thorities now  seri- 
ously urge  that  film 
be  removed  at  least 
twice  every  day  — 
in  the  morning  and 
at  bedtime.  One 
can't     expect     glis- 


To  do 


obta 


Pepsodent — a  special, 
film-removing  dentifrice  most  dentists 
favor.  It  curdles  the  film,  then  removes 
it  and  polishes  the  teeth  to  high  lustre 
in  gentle  safety  to  enamel.  It  combats 
the  acids  of  decay.  It  acts.  too.  to  firm 
and  harden  the  gums;  thus  meeting,  in 
many  ways,  the  requirements  of  modern 
dental  findings. 

Old-time  dentifrices  did  not  adequately 
fight  film.  That  is  why  this  modern  pro- 
tective way,  as  a  twice  a  day  habit  in 
your  home,  and  at  least  twice  a  year 
rails  on  your  dentist,  are  being  so  widely 
advised  today. 

Accept  Pepsodent  test 

Send  the  coupon  for  a  10-day  tube.  Brush 
teeth  this  way  for  10  days.  Note  how 
thoroughly  film  is 
removed.  The  teeth 
gradually  lighten 
as  film  coats  go. 
Then  for  10  nights 
massage  the  gums 
with  Pepsodent,  the 
quality     dentifrice 


tips 


lg  your  fir 
the    gv 


FREE — Mail  coupon  for  10-day  tube  to  The  Pepsodent  Company, 
Dept.825,  HO-!  S.  Wabash  Ave.,  Chicago,  111.,  U.  S.  A. 

Name 


.  advertisers  please  mention  rltOTOPLAY  MAGAZINE. 


H4 


Photoplay  Magazine — Advertising  Section 


FREE! 

5-Day  Trial 

to  Prove  It 

JUST  to  prove  how  quick  and  easy  you  can 
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The  Musical  Saw's  only  ri- 
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I  have  taught  thousands  to 
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Scores  of  others  have  won 
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three  pupils  shown  here. 
Let  me  prove  that  you,  too, 
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Phonograph 
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However,  if  you  have  already  heard  the  Saw. 
and  do  not  want  che  record,  ask  only  for  my 
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mail  me  this  ad  with  your  name  and  address 
printed  along  the  margin. 

MUSSEHL  &  WESTPHAL 

246  West  Water  St.  Fort  Atkinson,  Wis. 


Studio  News  and  Gossip — East  and  West 


[  CONTINUED  FROM  PAGE  4g  ] 


I  GOT  a  good  laugh  when  I  heard  this  one. 
Hope  you  will  too. 

A  party  of  screen  celebrities,  including  Col- 
leen Moore,  Corinne  Griffith,  Wally  Beery, 
Lloyd  Hughes,  Doris  Kenyon,  Frank  Lloyd, 
John  McCormick  and  Dick  Rowland,  head  of 
First  National,  had  spent  the  week-end  at 
Rainbow  Lodge  trout  fishing. 

On  their  way  home  they  stopped  at  the  his- 
toric Mission  Inn  at  Riverside  for  an  early 
dinner  and  Beery  got  the  idea  it  would  be  a  lot 
of  sport  to  drop  in  and  make  a  personal  ap- 
pearance at  one  of  the  picture  theaters. 

THE  first  theater  they  visited  was  running  a 
Colleen  Moore  picture.  Rowland  intro- 
duced himself  and  his  party  and  offered  their 
services  for  a  personal  appearance. 

The  manager  declined.  His  schedule  was  so 
close  that  he  couldn't  spare  the  time.  It  would 
force  him  to  cut  out  one  of  his  shows,  he  said. 

Astounded  and  more  than  a  little  peeved,  the 
party  called  at  the  rival  theater  and  again 
made  their  offer. 

"Sorry,"  said  the  manager,  "but  it's  against 
the  policy  of  the  house  to  have  personal  ap- 
pearances. The  people  in  this  town  don't 
seem  to  care  for  'em." 

So  Riverside  never  saw  Colleen  Moore,  Co- 
rinne Griffith,  Doris  Kenyon.  Wally  Beery  and 
Lloyd  Hughes  in  person.  The  stars  were  will- 
ing, but  the  theater  managers  wouldn't  have 
them  at  any  price. 

""THIS  bartering  of  souls.  Buying  and  selling 
■*■  of  flesh.  It  started  centuries  ago.  It  is 
still  going  on. 

Now  Warner  Brothers  have  sold  Lubitsch. 
Divided  his  flesh  and  blood  and  undenied 
talent  between  Metro-Goldwyn-Mayer  and 
Laskys.  He  will  make  one  more  picture  for  the 
former  company  and  two  pictures  for  the  lal  ter, 
thus  fulfilling  his  Warner  Brothers'  contract 


which  called  for  three  pictures  for  that  com- 
pany. 

Their  reason  for  selling  Lubitsch  is  that  in 
the  future  they  plan  to  concentrate  their 
efforts,  so  they  say,  exclusively  on  motion  pic- 
ture productions  which  will,  lend  themselves 
to  the  synchronization  method  of  the  Vita- 
phone.  This,  because  of  the  success  of  the 
Vitaphone  at  the  recent  New  York  opening  of 
"Don  Juan." 

TAMES  CRUZE  has  completed  "Old  Iron- 
J sides"  and  will  start  to  work  on  a  Raymond 
Griffith  comedy.  Cruze  always  has  admired 
Griffilh's  work  and  wanted  to  have  a  little  fling 
at  a  light  comedy  before  starting  on  another 
spectacular  production.  "Old  Ironsides"  was 
probably  the  most  arduous  undertaking  ever 
attempted  by  a  director — "Ben  Hur"  ex- 
cepted. 

The  Cruze  special  will  be  presented  on 
Broadway  this  winter  as  will  be  D.  W.  Grif- 
fith's picture,  "The  Sorrows  of  Satan."  D. 
W.'s  picture  is  said  to  be  a  knock-out.  And 
Famous  Players-Lasky,  intent  on  burning  up 
New  York's  Main  Street,  will  also  schedule  the 
German  spectacle,  "Metropolis,"  for  a  Winter 
run. 

THERE  was  a  bunch  of  pea-green  Holly- 
wood sailors  off  Point  Conception  near 
Santa  Barbara  while  Skipper  Rupert  Julian 
was  directing  William  Boyd  and  Elinor  Faire 
in  their  latest  sea-going  picture.  Pea-green 
and  sick,  for  the  sea  was  very  rough.  But 
that's  what  they  wanted.  "None  of  your 
placid  Catalina  Island  swells  for  us.  We  want 
our  weather  rough — and  plenty  of  it,"  said 
Julian  when  someone  suggested  using  the  loca- 
tion that  Cruze  used  for  "Old  Ironsides." 

John  Miljan  is  in  the  cast  of  "The  Yankee 
Clipper" — "it's  not  a  barber  picture!"  John 

[  CONTINUED  ON  PACE  Il6  I 


They  are  all  doing  it.  Hollywood  never  has  had  such  a  season  of 
weddings  and  engagements.  We  always  thought  that  Mary  Astor 
would  remain  aloof  from  romance.  But  she  has  announced  her 
engagement  to  Irving  Ascher,  a  member  of  First  National's  produc- 
tion department.  And,  take  it  from  Mary,  she  has  never  been  so 
happy 

Every  advertisement   in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section  i  i  5 

Ann,  eat  your 
breakfast 

HERE'S  cream  taken  from  a  bottle,  and  breakfast 
food  got  out  of  a  box.  I  haven't  tasted  them  yet, 
but  I'm  not  afraid  to  ask  you  to  eat.  And  in  the 
bathroom  is  new  tooth-paste  to  use  on  your  teeth. 
Here's  medicine  to  take  before  you  start  off  to 
school.  .  .  .  Don't  forget  to  wash  your  hands — 
that's  a  fresh  bar  of  soap — and  maybe  dust  your 
face  with  powder.  No,  it  won't  hurt  the  skin.  This 
list  of  things  I've  seen  advertised — stop  and  give 
it  to  your  father.  He'll  bring  them  home  tonight. 
Some  of  them  old,  some  of  them  new  .  .  .  but  what 
a  civilized  thing !  To  buy  on  faith  and  use  on  faith 
and  never  be  betrayed ! 

Read  the  advertisements.  Their  honesty  is  as 
clear  as  a  mirror.  You  can  believe  in  them  as 
surely  as  you  believe  in  yourself.  You  can  follow 
their  directions  with  utmost  faith.  You  can  use 
their  products  with  confidence  you'll  want  to  use 
them  again.  Theirs  are  facts  proved  and  accepted. 
Use  their  news. 


When  guided  by  advertisements 
you  can   buy  with  faith 


on  THOTOt'LAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Let  me  help  you 
get  fit  and  stay  fit 


A  YEAR  ago  I  was  all  shot!  You 
know  what  the  papers  said  — 
"Babe  Ruth  is  through." 
But  I  wasn't  through,  fellows.  It  was  just 
a  matter  of  physical  condition. 
When  the  season  opened  this  year  1  was 
right  back  on  my  toes.  The  boys  opened 
their  eyes  at  the  way  1  walloped  the  old 
pill.  They  said  1  got  around  the  bases  faster 
than  ever.  They  said  Babes  made  a 
real  come  back." 

Everybody  wondered  how  1  did  itl  My 
mail  was  jammed  with  letters  asking  me 
the  secret. 

Get  Fit  and  Stay  Fit 

There's  no  secret  about  it  I  1  did  it  with  a 
system  1  worked  out  myself.  I'd  tried  lots 
of  others,  but  it  took  my  own  ideas  to  get 
me  back  in  shape  and  keep  me  there. 
And  I'll  tell  you  this  — it  will  pull  you  out 
of  the  physical  junk  pile  P.  D.  Q.  and  get 
you  back  in  the  game  with  a  flashing  eye,  a 
springier  step  and  a  body  full  of  pep  and  go. 
If  you're  fat  and  flabby  from  sitting  at  a 
desk,  my  system  will  work  wonders  for 
you— take  down  that  bulging  waist— harden 
up  those  soft,  pudgy  muscles  — put  you  in 
beautiful  trim,  inside  and  out. 
If  you're  skinny  and  weak,  my  system  will 
put  on  good,  healthy  flesh  and  muscle  — 
broaden  those  narrow  shoulders,  build  up 
that  thin  chest. 

Makes  you  more  successful 

It  just  can't  help  being  effective.  Already, 
doctors  —  lawyers  —  business  men — will 
tell  you  that. 

Don't  let  yourself  go  to  pot.  Don't  sit  around 
and  wish  you  were  what  you  used  to  be.  Get 
busy  with  my  system  and  make  yourself  fit. 

Send  $1  with  coupon 
tor  my  complete  course 

The  "Babe"  Ruth  course  only  costs $1  2in 
all.  $  1  with  the  coupon  will  bring  it  to  you— 
with  its  simple,  easily  understood  instruc- 
tions and  an  autographed  "Babe"  Ruth  bat 
with  which  to  work.  Then  pay  the  remaining 
$1  1  when  the  course  is  delivered  to  you. 
Send  for  it  now.  Use  it  this  winter— faith- 
fully. See  how  it  gives  you  the  vigor  and 
vim  you  need  to  go  out  and  win. 
Shoot  the  coupon  along  to  me  with  $1  re- 
gistered mail  or  mail  order.  My  course  will 
come  right  back  to  you. 


Name 
Street- 
Citu  - 


Did  you  ever  do  this?     Sure!     Who  hasn't?     There  is  one  of  these 

self-made  snapshots  in  every  photograph  album.    Richard  Dix  and 

Esther  Ralston  play  the  old  camera  trick  in  a  scene  from  Richard's 

new  picture,  "The  Quarterback" 


Studio  News  and  Gossip — East  and  West 


CONTINUED  FROM  PAGE   I  14  | 


informed  me.  And  so  is  Walter  Long  and 
Clarence  Burton.  Quite  a  formidable  list  of 
villains  for  big  blond  Bill  to  vanquish,  it 
seems  to  me. 

WHILE  Will  Rogers  was  playing  in  London 
(and,  incidentally,  appearing  in  films  op- 
posite Dorothy  Gish)  he  was  a  guest  of  the 
American  Club. 

A  dinner  was  given  in  Rogers'  honor.  The 
humorist  made  a  speech  in  which  he  told  a 
story,  possibly  suggested  by  the  presence  of 
Lord  Dewer.  the  whiskey  magnate. 

"We  get  whiskey  over  in  the  States  in  spite 
of  prohibition,"  drawled  Rogers.  "However, 
we  always  test  it.  We  stick  an  iron  rod  into 
the  bottle.  If  the  rod  comes  out  rusty,  we 
drink  the  stuff.  If  it  comes  out  bent,  we  throw 
it  away." 

JUST  a  small  idea  of  how  much  an  impression 
of  fleeting  loveliness  costs  in  motion  pictures. 

There's  a  scene  in  "The  Wedding  March" 
that  takes  place  in  the  courtyard  of  an  inn. 
The  background  is  drowsy  with  the  blossoms  of 
many  apple  trees.  Lights  filtering  through  the 
curling  pink  blooms  form  dancing  arabesques 
on  the  cobblestones.  It  is  one  of  those  ro- 
mantic episodes  in  which  the  Viennese  noble- 
man, portrayed  by  Von  Stroheim,  woos  little 
Fay  Wray  in  the  springtime  of  the  year. 

Here's  an  idea  of  how  much  romance  and 
beauty  cost  on  the  screen. 

The  blossoms,  made  by  hand  in  Los  Angeles, 
cost  85,500.  There  were  nearly  half  a  million 
of  them.  It  took  eighty-seven  laborers  four- 
teen days  to  fasten  them  to  the  trees.  And 
each  of  the  eighty-seven  laborers  received  five 
dollars  a  day.    , 

The  scenes  were  shot  at  night,  which  neces- 
sitated the  use  of  a  large  number  of  generators 
to  furnish  electricity.  The  generators  were 
used  seventeen  days  at  a  cost  of  S2.000  per  day. 

Nearly  $50,000  just  to  get  the  springtime  and 
young  love  effect.    And  it  doesn't  include  the 


cost  of  the  set — S-t5,ooo — nor  the  money  paid 
the  extra. — S11.000 — nor  the  salaries  of  the 
cast  and  the  director. 

TT  was  very  fortunate  that  I  happened  to  pay 
J-a  formal  call  on  the  new  First  National 
Studios  at  Burbank  the  other  day,  for  a  really 
elegant  party  was  in  progress.  I  say  elegant 
when  I  refer  to  speeches  and  introductions  and 
a  delicious  luncheon.  And  what  could  be  more 
elegant  than  these? 

It  happened  that  the  officials  of  First  Na- 
tional wanted  to  show  their  new  two  million 
dollar  plant  to  their  friends  and  also  to  take  a 
peek  at  it  themselves,  now  that  it  is  completed, 
so  Robert  Lieber,  the  president,  and  Richard 
A.  Rowland,  the  vice-president,  and  John 
McCormick,  the  general  manager  of  West 
Coast  production,  assembled  a  few  of  their 
friends  and  followed  M.  C.  Levee,  general 
executive  manager,  who  proved  to  be  a  jocular 
guide,  around  the  seventy-five  acres. 

THEY  can  well  be  proud  of  the  plant.  It 
covers  approximately  seventy-five  acres.has 
thirty  buildings,  including  four  of  the  largest 
enclosed  stages  in  the  world.  There  is  a  school- 
room for  children  working  in  pictures,  a  swim- 
ming pool,  tennis  courts,  greenhouses,  a  res- 
taurant, and  other  excellent  advantages  to 
make  it  a  practically  ideal  studio. 

Passing  one  of  the  sets  we  discovered  Colleen 
Moore  working  in  "Twinkletoes" — and  a 
blond  wig.  She  paused  long  enough  to  let  us 
see  that  her  eyes  could  twinkle  as  well  as  her 
pedal  extremities.  And  then  we  went  on  to 
meet  Lloyd  Hughes.  Man-  Astor.  Philo  Mc- 
Cullough.  Einar  Hansen  and  a  few  other  First 
National  players. 

It  was  a  very  nice  party.  And  I'm  glad  I 
happened  in  on  it. 

AXXA  Q.  NTLSSON  is  in  Sweden  visiting 
her  relatives  in  the  old  home  town,  and 
Hollvwood  doesn't  seem  the  same  with  Anna 


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Q.  gone.  But  she's  entitled  to  the  vacation, 
for  this  is  her  first  trip  to  Sweden  since  she 
came  over  to  seek  her  fortune  many,  many 
years  ago.  And  with  all  her  success,  she's  the 
same  Anna  Q.  who  won  her  first  start  up  the 
ladder  as  an  artists'  model  in  New  York.  I 
know,  for  she  used  to  pose  for  Frank  Godwin, 
"who  knew  her  when,"  and  he  told  me  so. 

WALTER  McGRAIL  may  be  one 
of  Hollywood's  busiest  villains, 
screenically  speaking,  but  he  still  has 
time  to  pick  up  a  few  jokes  now  and 
then.  While  he  was  villain-ing  in 
"The  Pelican"  he  stopped  his  dirty 
work  long  enough  to  tell  this  one  to 
Frank  Borzage.  And  I  overheard,  so 
you  will  get  in  on  it: 

One  Goof  had  just  returned  from 
California  and  he  met  another  Goof. 
The  first  Goof  fell  to  discussing  the 
misleading  names  of  California  towns 
and  their  equally  misleading  pronun- 
ciation. 

"They've  got  a  town  just  below  the 
border  that  is  spelled  'T-i-a-j-u-a-n- 
a.'  Now  how  do  you  suppose  they 
pronounce  that?"  queried  the  first 
Goof. 

"I  dunno,"  burbled  the  second 
Goof. 

"Well,  it  sounds  like  'Tee-a- 
wauna'." 

"You  don't  say!" 

"Yen.  And  they've  got  another 
place  spelled  'Y-o-s-e-m-i-t-e.'  Can 
you  guess  what  that  is?" 

"I  should  say  not." 

"San  Luis  Obispo!"  triumphed  the 
first  Goof. 

ANTS  have  destroyed  cities! 
A  swarm  of  bees  once  routed  an  army! 

And  only  the  other  night  a  horde  of  moths 
put  a  picture  company  out  of  action. 

Allan  Hale  was  directing  Vera  Reynolds  in 
"Risky  Business"  at  the  De  Mille  studios. 
The  set  was  in  the  open,  with  powerful  lights 
burning. 

The  first  scene  was  scarcely  shot  when  the 
first  moths  came,  the  vanguard  of  a  horde  that 
within  five  minutes  blackened  the  air,  settled 
upon  everything  by  the  thousands  and  routed 
actors  and  staff.  Turning  off  the  lights  brought 
temporary  relief,  but  the  minute  the  lights 
were  on  again  the  moths  returned. 

So  work  was  called  off  and  everyone  had  a 
good  night's  sleep. 

NOAH  BEERY  has  been  honored  by  his 
fellow  members  of  The  Maskers,  a  club 
which  is  to  Hollywood  actors  what  The  Lambs 
is  to  those  of  New  York.  He  was  presented 
with  a  gold  membership  card  in  appreciation 
for  having  turned  his  beautiful  San  Fernando 
ranch  and  home  over  to  the  club  for  the 
annual  Maskers  outing. 

NOAH  BEERY,  Mrs.  Beery  and 
their  young  son,  Pidge,  now  live 
on  a  ranch  in  the  San  Fernando  val- 
ley, not  so  far  from  Anna  Q.  Nils- 
son's  beautiful  little  ranch,  and  of 
course  they  keep  a  few  chickens. 

Every  evening  it  is  Pidge  Beery's 
chore  to  gather  and  bring  in  the  eggs. 

One  evening  his  mother  heard  a 
terrible  yowling  in  the  vicinity  of  the 
hen  house.  . 

It  was  Pidge. 

"What's  the  matter,  son?"  called 
Mrs.  Beery. 

"Oh,  Mom,  I've  dropped  the  eggs 
and  busted  'em,"  wailed  Pidge. 

"Did  you  break  them  all,  Pidge?" 

"No,  Mom,  only  the  shells." 


©it©  of 


of  Refinement 

Good  taste  and  good  health 
both  demand  sound  teeth,  a 
clean  mouth  and  sweet  breath. 

The  use  of  Wrigley's  chewing 
gum  takes  care  of  this  important 
item  of  personal  hygiene  in  a 
delightful,  refreshing   way. 

Wrigley's  does  its  work  by  remov- 
ing particles  of  food  from  between 
the  teeth,  by  stimulating  the  flow  of 
digestive  juices,  and  by  the  antiseptic 
action  of  the  flavoring  extracts  for 
which  Wrigley's  is  famous  —  "The 
Flavor  Lasts!" 

It  removes  odors  of  dining  or 
smoking  from  the  breath. 

These  facts,  so  freely  attested  by 
doctors  and  dentists  alike,  are  making 
the  use  of  Wrigley's  a  thrice  daily 
routine  of  people  of  refinement. 


after  every  meal! 


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pAST  on  the  heels  of  Valentino's  death 
■*-  comes  the  report  of  the  passing  of  Joe 
Moore,  brother  of  the  famous  film  trio,  Tom, 
Matt  and  Owen.  Joe  was  swimming  off  the 
shore  from  Santa  Monica  Canyon,  near  where 
Matt  Moore  has  his  beach  home,  when  heart 
failure  overtook  him  and  he  was  drowned. 

Although  not  connected  with  the  acting  end 
of  the  motion  picture  business,  Joe  had  many 
friends  in  the  colony  who  will  mourn  his  pass- 
ing. 

"D  ONALD  COLMAN  and  Bill  Powell  arrived 
-1-Mn  Hollywood  at  the  same  time.  Ronnie 
from  Nevada,  where  he  had  been  working 
in  "The  Winning  of  Barbara  Worth,"  and  Bill 
from  New  York  and  "Tin  Gods."  Forthwith 
Dick  Barthelmess  invited  them  to  try  his  new 
yacht,  with  the  result  that  Ronnie,  Bill,  Dick 
and  Charles  Lane,  who  is  Ronnie's  particular 
crony  (he  just  finished  playing  a  father  role  in 
"Barbara  Worth"),  sailed  away  on  the  briny 
deep. 


visiting  with  her  on  the  set  that  there  were 
3954  buttons  on  the  costume — that  she  had 
counted  them  herself  and  knew.  And  Colleen 
would.    She's  just  like  that. 

The  set  was  a  picturesque  old  Limehouse 
theater  in  which  Colleen  had  to  do  a  song  and 
dance  number  before  a  large  audience  of  ex- 
tras. And,  can  you  imagine? — this  petite  star 
had  a  very'  genuine  attack  of  stage  fright — pain 
in  the  pit  of  the  stomach  and  all. 

But  Colleen  is  game,  and  judging  from  what 
I  saw  of  her  performance  she  could  make  a  nice 
living  on  the  stage  any  time. 

COLLEEN  decided  to  have  a  very  novel  fan 
party  at  the  studio.  Selecting  twenty  fan 
letters  with  local  postmarks — letters  which 
seemed  to  be  from  children — she  invited  them 
to  the  studio  to  see  her  work  and  to  have  tea 
with  her. 

On  the  appointed  day  they  all  showed  up. 
Nineteen  were  between  the  ages  of  eleven  and 
sixteen.     The  other  was  seventy-two. 


Identification  of  Players  on  Pages  60  and  61 

1.  Irene  Rich in  "The  Honeymoon  Express." 

1.  Colleen  Moore in  "Twinkjetoes." 

3.  Ricardo  Cortez in  "The  Eagle  of  the  Sea." 

4.  Harrison  Ford in  "The  7^[ervous  Wrec\." 

5.  May  McAvoy in  "The  Fire  Brigade." 

6.  Louise  Fazenda in  "Ladies  at  Play." 

7.  Richard  Barthelmess  .  .  in  "The  White  Black,  Sheep." 


MARY  HAY  has  gone  West  to  visit  her 
daughter  and  has  announced  her  intention 
of  occupying  Richard  Barthelmess'  home  in 
Beverly  Hills.  But  there  will  be  no  reconcilia- 
tion, as  Richard  immediately  left  for  New  York 
when  he  heard  of  Mary's  impending  arrival. 

There  were  rumors,  too,  of  a  romance  be- 
tween Mary  and  John  Gilbert.  But  Mr.  Gil- 
bert is  intensely  interested  in  Beatrice  Lillie,  as 
everyone  in  Hollywood  knows. 

Dick  has  plenty  of  friends  in  Hollywood  and 
it  is  going  to  complicate  matters  of  hostesses 
when  Mary  arrives  on  the  scene,  even  if  Dick 
is  not  in  town.  Dick  has  been  very  much  the 
bachelor  for  the  past  season  and  the  new  turn 
of  events  gives  an  unexpected  twist  to  Holly- 
wood's already  complicated  social  life. 

PATSY  RUTH  MILLER  emphat- 
ically denies  that  she  is  engaged 
to  Dick  Barthelmess.  And  so  does 
Dick.  Why  shouldn't  they,  when 
Dick  still  has  a  wife? 

Apropos  of  this  latest  rumor  con- 
necting the  much  engaged  Patsy 
Ruth  with  wedding  bells  for  the 
'steenth,  George  Jessel  is  responsible 
for  what  strikes  me  as  the  prize  line 
of  the  month  delivered  at  a  dinner 
just  before  he  returned  to  New  York. 

"I  am  sorry  that  when  I  came  out  I 
couldn't  wait  and  take  advantage  of 
the  summer  excursion  rates  of  $146, 
which  provided  for  a  round  trip  ticket 
to  California  with  a  stop-over  at  the 
Grand  Canyon  and  an  engagement 
to  Patsy  Ruth  Miller." 

f-«OLLEEN  MOORE  wears  the  cutest  little 
^— '  coster  costume  in  her  new  picture,  "Twin- 
kletoes."  It's  covered  with  buttons,  of 
course,  and  she  confided  to  me  while  I  was 


All  seemed  to  have  a  great  time  and  enjoyed 
tea  immensely.  But  Colleen  noticed  that  none 
of  them  were  eating  the  delicious  cake  served. 
Inquiry  developed  that  her  little  guests  were 
saving  their  cake  for  souvenirs.  So  Colleen 
ordered  more  cake — "eating  cake"  this  time. 

T'M  mighty  happy  to  tell  you  confidentially 
-Mhat  Bill  Hart,  always  a  favorite  of  mine,  is 
going  to  make  more  pictures,  at  least  three. 
Bill  has  been  idle  since  "Tumble  Weed."  but 
he  is  soon  to  start  work  on  a  series  of  three 
pictures  for  Feature  Productions,  the  company 
which  made  the  Valentino  pictures  and  is  now 
making  the  John  Barrymore  pictures.  They 
will  be  for  United  Artists  release.  Hart  is  to 
have  a  salary  and  a  cut  on  the  profits. 

ELINOR  FAIRE  was  telling  me 
of  the  sleepiest  person  in  the 
world.  It  was  her  colored  maid 
whom  she  has  just  discharged. 
Elinor  decided  to  let  her  sleep  on 
somebody  else's  time. 

The  girl  would  fall  asleep  on  the 
set.  Fall  asleep  as  she  stood  holding 
a  broom.  Exasperated,  Elinor  took 
her  to  task: 

"I've  never  seen  such  a  sleepy 
person.    I  don't  see  how  you  do  it." 

The  girl  looked  at  Elinor,  yawned, 
and  said :  "Why,  missy,  I  can  go  to 
sleep  walkin'  along  the  street  with 
mah  husband." 

GLORIA  SWANSON  Ras  been  talking  hope- 
fully of  a  vacation  for  over  a  year.  "Before 
I  start  my  first  picture  for  United  Artists,"  she 
announced  triumphantly,  "I  am  going  to  take 
a  long  rest." 

Well,  the  "long  rest"  was  just  exactly  seven 
days,  spent  in  Virginia.  Gloria  and  Henry 
de  la  Falaise  set  out  with  two  sets  of  golf 


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Iig 


slicks,  bent  on  conquering  the  game  in  a  week. 
Neither  of  them  ever  played  golf  before  and  I 
would  be  willing  to  bet  they  are  not  playing 
now. 

'"PHE  nicest  thing  about  Gloria  is  her  un- 
■L  affected  love  for  her  children.  And  the 
children  reward  her  with  a  spontaneous  and 
informal  affection  that  is  a  pleasure  to  see. 
The  little  girl,  Gloria  II,  is  now  enjoying  the 
delicious  adventure  of  losing  her  front  teeth. 
Joseph,  the  boy,  is  a  husky  child. 

Gloria  dresses  the  children  in  plain  clothes, 
designed  for  rough  wear.  I  wonder  if  passersby 
in  Central  Park  ever  suspect  that  the  two 
healthily  disheveled  youngsters  are  Gloria 
Swanson's. 

ALBERT  PARKER  is  picking  a  good  cast 
for  Gloria's  first  independent  picture, 
"Crossroads."  Andrea  de  Segurola,  the  Span- 
ish basso  of  the  Metropolitan  Opera,  makes  his 
screen  debut  in  this  film.  Yes,  he  is  going  to 
wear  the  monocle.  And  another  newcomer  is 
John  Boles,  a  musical  comedy  hero. 

Mr.  Boles  was  born  in  a  small  town  in  Texas. 
When  the  local  newspaper  heard  that  he  had 
been  signed  as  Gloria  Swanson's  leading  man, 
the  editor  made  over  an  edition  and  announced 
the  news  in  an  eight-column  headline  across  the 
front  page. 

AL  PARKER  has  a  collection  of 
the  best  jokes  on  Broadway. 
Here  is  one  of  his  new  ones: 

A  Leaping  Lizzie  was  tearing  down 
the  street.  A  traffic  cop  raised  his 
hand  and  ordered  a  quick  stop.  The 
Lizzie  sped  by.  The  cop  started  in 
pursuit  and  ordered  the  driver  to  the 
side  of  the  road. 

"Look  here!"  bawled  the  cop,  "I 
am  going  to  arrest  you  on  three 
counts.  First,  for  ignoring  my  signal. 
Second,  for  driving  on  the  wrong  side 
of  the  road.    Third,  for  speeding." 

Then  came  a  voice  from  the  back 
seat:  "Don't  be  mean  to  my  hus- 
band.   He's  only  been  drinking!" 

A  TOST  every  Sunday  finds  a  Hock  of  Holly- 
■l ''■'■wood  people  at  the  beach  clubs  or  private 
homes  along  the  surf  edge,  but  I  think  that 
Bebe  Daniels'  new  tawny  plaster  house  draws 
the  biggest  crowd.  It's  conveniently  placed 
about  three  leaps  from  the  blue  plaster  house  of 
the  Talmadges,  so  progressive  parties  are  the 
vogue. 

For  instance,  Norman  Kerry  will  drop  in  to 
call  on  Bebe  and  after  a  chat  and  a  swim  the 
entire  party  will  wend  its  way  to  call  on  "Bus- 
ter" Keaton,  who  has  taken  the  Talmadge 
place  while  Joe  Schenck  and  Norma  are  in 
New  York.  And,  of  course,  Charlie  Paddock, 
Bebe's  fiance,  is  seen  there  regularly,  to  say 
nothing  of  Jack  Pickford  and  Blanche  Sweet 
and  many  others. 

Bebe's  front  yard — sand  pile,  it  should  be 
called — is  fenced  with  white  lattice  work,  while 
a  steady  procession  of  curious  tourists  peer  in 
— like  so  many  children  at  the  zoo — to  see  the 
screen  celebrities. 

TT  used  to  be  "all  roads  lead  to  Rome"  but 
-'■today  it  seems  "all  highways  lead  to  Holly- 
wood." And  at  most  any  tea  you  will  meet  a 
celebrity  of  one  sort  or  another,  or  the  wife  of  a 
celebrity,  or  the  sister  or  brother,  or  divorced 
wife  or  most  anything  like  that. 

It  remained  for  Mrs.  Clarence  Brown  to  give 
the  tea  that  introduced  me  to  a  charming  young 
gentleman  whose  fame  not  only  rests  on  the 
fact  that  he  is  a  nephew  of  Tennyson,  the 
famous  poet,  but  that  he  is  a  twin  brother  of 
Lord  D'Enycourt  of  London.  Also  that  he 
was  at  one  time  an  officer  in  the  King  of  Eng- 
land's crack  Coldstream  Guards.  Whichshould 
be  just  about  enough  for  one  handsome  blond 
young  man  to  have  accomplished.  But  appar- 
ently it  isn't.     For  in  addition  to  being  well- 


Diana's  Ankles 

Were  Nothing  Like  Those  of  the 
Greyhound  She  Held  in  Leash 


Leading  stores  everywhere  tell 
-0,i) ,v *  'Hash  n  ,im/ especially 
the"Pointex '  'si)  lei  listed  h  ton 

Silk,  with  Lisle  Top 

Style  155.  Medium  weigh:  SI. 65 
Style  255,  Service  unght  I  t,  .. 
Style  355.  "Sheresllk-I  Sl  % 

Stvlc  21,5,  .Vrinc    weight 

with  new  j  inch  lisle  top     52.25 

Pure  Thread  Silk 
Style  450.  "Sheresilk",  the    „ -„ 

lineiCWeln.lMlkenMr.inJs     i2->" 

Siylc3S0,  Service  weight    $2 .75 


<^T\AME  NATURE  didn't  exactly  CHEAT 
JLs  Diana  on  ankles.  The  fact  is  she  was  far 
too  generous.  Diana  measured  almost  .is  much 
at  the  ankle  line  as  the  modern  stocking  does 
at  the  calf.  And  so,  if  Diana's  fabled  charms 
were  weighed  in  the  balance  today  and  judged 
by  1926  standards  of  beauty,  they  would  be 
found  more  wanting  than  wanted— UNLESS— 
unless  she  wore  "Onyx  Pointex"! 

"Pointex"by  virtue  of  the  converging  lines 
at  the  back  of  the  heel,  allows  ALL  ankles  to 
look  their  best.  "Pointex"  slenderizes. 
'Pointex'1  accentuates  ankle  grace.  "Pointex" 
gives  ankles  the  trim,  smart  lines  that  fash- 
ion decrees  and  the  short  skirt  demands. 
"Pointex"  ADORNS  the  ankle,  instead  of 
merely  CLOTHING  it. 

It  is  well  to  remember,  for  your  ankles' 
sake,  that  the  "Pointex"  heel  is  made  ONLY 
by  "Onyx". 

7« 


Pointex 


'Onyx"  Hosiery  Inc. 


Manufacturers 


When  yon  write"  to  lUlvertisi 


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Hair  Dressers. 


known  on  the  British  stage,  he  was  Lady 
Diana  Manners'  leading  man  in  her  last  Lon- 
don-made picture. 

His  name  is  Walter  Tennyson  and  if  you  will 
watch  very  closely  when  you  see  "Corporal 
Kate"  you  will  see  him  in  one  of  the  roles 
opposite  Vera  Reynolds. 

LET  us  have  a  preamble  for  the 
laymen  before  we  tell  the  latest 
Neilan  wisecrack.  A  glass  shot,  in 
the  language  of  the  studios,  is  photo- 
graphed through  a  large  pane  of  glass 
on  which  is  painted  a  ceiling,  a  forest, 
a  background,  or  whatever  is  desired. 
For  instance,  Ferdinand  Earle  painted 
the  exquisite  glass  shots  in  "Ben 
Hut" — those  of  the  Valley  of  the 
Lepers  and  the  Star  of  Bethlehem — 
and  through  the  transparent  lower 
section  of  the  pane  the  living  figures 
were  photographed. 

Now  go  on  with  the  story: 
The  Carey  Wilsons  have  a  new 
home  in  Beverly  Hills.  A  very  lavish 
villa.  Perfect  to  the  most  minute 
detail.  When  "Mickey"  stepped  in- 
side the  door  he  looked  about  and 
then  said,  as  only  "Mickey"  Neilan 
can: 

"Gee!     What  a  marvelous  glass 
shot!" 

/TLDA  GRAY  made  her  first  Los  Angeles 
'^appearance  as  a  motion  picture  star  with  a 
premiere  that  was  her  very  own  and  in  a  gown 
that  was  strikingly  different  from  the  raffia 
robe  that  brought  her  fame.  It  was  a  very  long 
dress  of  lustreless  black  silk  and  over  it  she 
wore  a  gleaming  streaming  silver  cloth  shawl 
that  partly  obscured  many  coils  of  pearls  and 
diamonds. 

It  was  an  exuberant  audience  that  greeted 
the  shimmy  sheba.  Exuberant  and  cele- 
brated, for  it  was  composed  of  an  equal  portion 
of  61m  fan  and  film  favorite.  When  Jack  Gil- 
bert's name  was  announced  by  Toastmaster 
Wallace  Beery,  as  being  among  those  present, 
the  sigh  that  surged  from  flapper  lips  might 
have  been  heard  as  far  as  Porto  Rico  where 
Gilda's  "Aloma  of  the  South  Seas"  was  made. 

Others  introduced  by  Wally  were  Raymond 
Hatton.  Lawrence  Gray,  Julanne  Johnston, 
Jacqueline  Logan,  James  Hall,  Beatrice  Lillie, 
Percy  Marmont,  George  Bancroft,  and  Arlette 
Marchal. 

ONE  of  the  first  persons  I  met  on  the  Asso- 
ciated lot  was  Dale  Fuller,  who  was  dressed 
in  a  new  red  and  white  dress  and  a  contented 
smile.  When  I  questioned  the  occasion  for  the 
dress  and  the  smile.  Dale  told  me  she  was  going 
to  New  York  to  play  in  Thomas  Meighan's 
new  picture,  and  it  was  the  first  time  she  had 
been  east  of  the  Rockies  since  she  came  to 
California  almost  ten  years  ago. 

I  should  think  Dale  would  have  enough 
money  to  take  a  vacation  on  her  own  bankroll. 
Dale  has  worked  in  every  Yon  Stroheim  pic- 
ture since  "Foolish  Wives"  and  when  you 
work  in  Von's  pictures  it  doesn't  mean  for  just 
a  day  or  just  a  week  or  just  a  year,  but  always. 

RAYMOND  HITCHCOCK  is  working  for 
William  Fox  these  days.  He  has  a  promi- 
nent role  in  "The  Monkey  Talks."  Olive 
Borden  and  Jacques  Lerner  are  also  among 
those  present. 

NOW  we  know  why  Yilma  Banky  can  look 
squarely  into  the  Kleig  lights  without  bat- 
ting an  eyelash  and  why  Ronald  Colman  can't. 
We  also  know  that  Yilma  was  a  good  girl  in 
her  vouth. 

I  "was  on  the  set  during  the  filming  of  "The 
Winning  of  Barbara  Worth"  when  the  discus- 
sion arose.  Yilma  and  Ronald  had  just  had  a 
scene  beneath  a  battery  of  lights  and  Ronnie's 


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Photoplay  Magazine — Advertising  Section 


eyes  were  very  tired.  Vilma's  had  stood  the 
strain  better. 

"I  know  why  I  can  look  into  the  lights," 
said  Vilma  as  if  she  were  about  to  reveal  the 
secret  of  the  universe  of  how  Mae  Murray  keeps 
her  stunning  figure.  "When  I  was  a  little  girl 
in  Hungary  my  mother  used  to  let  me  look  at 
the  lamp  if  I  was  a  good  girl.  She  would  hold 
me  in  her  arms  and  I  would  look  and  look  into 
the  flame. 

"Now,"  continued  Vilma  with  a  shrug  as  if 
it  really  were  all  very  simple.  "I  can  look  into 
these  lights  without  hurting  my  eyes." 

Thus  good  behavior  in  youth  is  rewarded 
two-fold  in  maturity.  But  how  about  Ronald? 
Mother  Colman  must  have  had  a  different 
reward  for  virtue. 

HE  was  a  newspaper  man  and  he 
was  looking  over  the  new  First 
National  studios.  He  came  to  a 
clossd-in  set.  Of  course  he  was  used 
to  having  the  run  of  all  studios  and 
was  considerably  astonished  when  a 
burly  lad  blocked  his  entrance  to  the 
set. 

"You  can't  come  in  here,"  said  the 
burly. 

"What  do  you  mean  I  can't  come 
in?" 

"I  mean  YOU  CAN'T  COME  IN," 
shouted  the  burly. 

"Can't  I  come  in?" 

"NO!    You  can't  come  in." 

"Who  are  you?"  asked  the  news- 
paperman. 

"The  assistant  director,"  said  the 
burly. 

"Don't  try  to  kid  me,"  said  the 
newspaperman.  "No  assistant  di- 
rector ever  said  'NO'  in  his  life. 
They  haven't  got  that  word  in  their 
vocabulary." 

IF  you  would  listen  to  a  tale  of  wifely  devotion 
and  trust,  I  wish  you  would  hear  this  one  of 
Dorothy  Dwan  Semon.  Larry's  birthday 
came  while  Dorothy  was  locationing  with  the 
Tom  Mix  troupe  at  the  Royal  Gorge,  so  Doro- 


Who  is  this  handsome  fireman? 
Ask  Ma.  She  knows.  It's  none 
other  than — yes,  you've  guessed 
it — Maurice  Costello  in  a  picture 
called  "The  False  Alarm  ." 
Maurice  is  now  the  proud  papa 
of  two  of  the  belles  of  Hollywood 
— Dolores  and  Helene  Costello 


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122 


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Banish 

drudgery  from 

this  task 


Scrubbing  and  scouring  the 
toilet  bowl  is  a  most  disagree- 
able task.  Yet  it  is  dangerous 
to  neglect  it.  Let  Sani-Flush  do 
this  work  for  you.  It  cleans 
quickly  and  surely.  Banishes  foul 
odors.  Removes  sediment  from 
the  hidden  unhealthful  trap. 

Simply  sprinkle  Sani-Flush  in 
the  bowl.  Follow  directions  on 
the  can.   Flush.  The  job  is  done  ! 

Sani-Flush  removes  marks, 
stains  and  incrustations.  No 
hand  work,  no  dipping  water. 
Harmless  to  plumbing  connec- 
tions.    Always  keep  it  handy. 

Buy  Sani-Flush  in  new  con- 
venient punch-top  can  at  your 
grocery,  drug  or  hardware  store, 
or  send  25c  for  a  full-size  can. 
30c  in  Far  West.   35c  in  Canada. 


Cleans  Closet  Bowls  Without  Scouring 

The   Hygienic  Products  Co. 

Canton,  Ohio 


Kill  The. Hair  Root 


My  method  ig  the  only  wav  to  prevent  the  hair  from  crow- 
ing again.  Easy,  painless,  liarmleaB.  Noecnrs.  Booklet  Iree. 
Write  today.  enclosing."?  red  stamps.  We  teach  beauty 
culture.    2o  years  in  business. 


thy  wired  some  of  her  girl  friends  to  get  up  a 
birthday  party  and  surprise  Larry. 

They  did — and  surprised  a  party  of  men 
friends  who  had  called  to  help  Larry  forget  his 
lonesomeness.  But  it  was  rather  a  nice  party 
at  that,  with  birthday  cake  which  Alice  Day 
served. 

WON'T  some  producer  please 
give  ZaSu  Pitts  a  dress-up 
role?  Something  that  will  give  her  a 
chance  to  show  her  really  good  figure. 
For  ZaSu  has  a  knack  of  wearing 
clothes  that  amounts  to  a  vogue.  She 
looks  stunning  in  those  loose  smart 
sports  clothes  with  a  carelessly 
knotted  scarf. 

On  the  screen  they  always  give  her 
somebody's  1910  vintage  clothes. 
Even  Von  Strohehn  in  "The  Wed- 
ding March"  gives  her  cast-off  cloth- 
ing— and  affection,  too,  for  that 
matter.  But,  as  usual,  ZaSu  triumphs 
over  mere  trumperies. 

WHICH  reminds  me  of  the  price- 
less remark  ZaSu  is  alleged  to 
have  given  to  Peggy  Hamilton,  Hol- 
lywood's fashion  expert,  when  Peggy 
asked  ZaSu  to  pose  in  some  of  the 
new  frocks  for  the  fashion  page  she 
conducts  in  a  leading  local  paper. 
ZaSu  gave  Peggy  the  familiar  wide- 
eyed  stare  and  then  said : 

"Sure.  Let  me  know  when  you 
are  running  a  page  on  what  the  well- 
dressed  washwoman  will  wear." 

"f^OULD  it  be  tonsilitis  in  this  warm 
'—'weather?"  I  said  to  Jobyna  Ralston  when 
I  met  her  at  Montmartre  with  her  neck  tightly 
swathed  in  bandages. 

"It  could  be,  but  it  isn't,"  replied  Joby, 
smiling  with  difficulty.      "I  fell   ..." 

And  thereby  hangs  the  tale  of  how  Harold 
Lloyd's  leading  lady  stumbled  over  a  stake  at 
the  edge  of  Caylord  Lloyd's  swimming  pool 


and  how  the  stake  inflicted  a  severe  wound  in 
Joby's  neck  and  how  the  fall  broke  the  Ralston 
thumb  so  she  could  not  use  her  thumb  spoon 
for  a  week. 

But,  of  course,  there  was  Fiance  Dick  Arlen 
to  console  her. 

A  BOUT  the  nicest  thing  that  has  come  to 
•''•my  ears  recently  is  the  story  of  Louise 
Fazenda's  gift  to  her  mother.  While  her 
mother  was  in  the  East  on  a  protracted  visit, 
Louise  summoned  the  architect,  the  carpenter, 
the  plasterer,  the  bricklayer,  the  cabinetmaker, 
the  painter,  the  paperer,  the  plumber,  the 
glazier,  the  interior  decorator,  the  rug  man  and 
what-not,  and  gave  orders  to  build  a  three- 
room  addition  to  the  new  Fazenda  home,  for 
the  exclusive  use  of  mother. 

She  tilled  the  rooms  to  overflowing  with 
favorite  flowers  and  ushered  her  mother  into 
her  private  bower. 

/"pHEY  were  filming  "Barbara 
-*-  Worth"  in  Nevada.  In  the  cool 
of  the  evening  Ronald  Colman  and 
Charlie  Lane  started  for  a  ride — just 
to  get  some  fresh  air,  if  they  could. 

Colman  and  Lane  finally  hit  the 
little  town  of  Gurlach  not  far  from 
their  location  and  some  choice  or- 
anges on  a  fruit  stand  caught  the 
Colman  eye. 

"I'll  have  a  dozen,"  said  Ronald. 
"How  much?" 

"Three     dollars,"   said   the   man. 

He  was  dumfounded  when  Col- 
man took  the  oranges  and  handed 
him  four  crisp  one  dollar  bills. 

"Why  the  extra  dollar?"  asked  the 
merchant. 

"I  just  stepped  on  a  grape,"  said 
Colman. 

A  WISECRACKER  says  he  understands 
■'•■Jack  Gilbert  is  playing  both  roles  in  "  Flesh 
and  the  Devil,"  which  Clarence  Brown  is 
directing. 


John  Gilbert  invented  this  himself.     It  is  a  make-up  box  on  a 

tripod  that  folds  up  like  a  camera  and  may  be  taken  on  location 

instead  of  the  heavy  stands  usually  carried.     Gilbert's  friends  are 

begging  him  to  make  more  like  it 


Every  advertisement  in  PIT0TOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Speaking  of  Jack  reminds  me  that  I  heard  he 
had  completely  refurnished  his  hilltop  home 
four  times,  each  time  in  a  different  period  .  .  . 
Spanish,  Moorish,  and  a  few  others.  And  they 
say  wimmen  are  hard  to  please! 

It's  a  beautiful  place,  Jack's  home.  And  he 
is  a  charming  host. 

WE  get  'em  all.  Sooner  or  later  they  suc- 
cumb to  the  lure  of  Hollywood. 
Now  who  would  have  thought  that  Count 
Ilya  Tolstoy,  son  of  the  famous  Count  Leo 
Tolstoy,  could  be  persuaded  to  assist  in  bring- 
ing his  father's  celebrated  "Resurrection"  to 
the  screen?  That  is  just  what  Edwin  Carewe 
has  succeeded  in  doing,  and  the  Count  and 
Countess  Tolstoy  are  now  in  Hollywood  con- 
sulting with  Carewe  on  the  story. 

LITTLE  Mary  Kornman,  queen  of  "Our 
Gang,"  and  freckled-face  Mickey  Daniels 
have  deserted  Roach's  kiddie  crowd  for  the 
Orpheum,  where  they  are  headliners  in  a  sketch 
called  "A  Day  Off."  Daddy  Jean  Kornman, 
in  case  you  don't  know,  is  the  photographic 
artist  who  makes  those  lovely  light  and  shadow 
likenesses  of  Harold  Lloyd,  Mildred  Davis 
Lloyd,  Baby  Mildred  Gloria  Lloyd  and  Jobyna 
Ralston.  He  has  been  with  Harold  for  almost 
six  years. 

Anyway,  as  I  set  out  to  remark,  Kornman 
told  me  the  kids  created  a  neat-sized  sensation 
in  San  Francisco,  where  they  made  their  open- 
ing performance.  They  will  next  come  to  Los 
Angeles,  and  then  tour  the  country  with  their 
act. 


WITH  the  Motion  Picture  Directors'  Asso- 
ciation in  charge,  the  film  world  paid  its 
last  tribute  to  Eddie  Lyons,  veteran  comedian 
of  the  team  of  Lyons  and  Moran,  who  died 
from  tumor  on  the  brain  after  an  illness  of  two 
years.  -His  old  partner,  Lee  Moran,  was  with 
Lyons  when  he  breathed  his  last.  Besides  his 
widow,  Lyons  is  survived  by  an  eighteen-year- 
old  daughter. 

LITTLE  Loris  Niblo,  daughter  of 
Enid  Bennett  and  Fred  Niblo, 
was  asking  her  father  a  flock  of  ques- 
tions. You  know  the  kind.  You 
need  an  encyclopedia  to  answer 
them.  And  finally  Loris  propounded 
one  which  topped  them  all. 

Fred  was  forced  to  hedge  a  bit. 

"What  do  you  think,  Loris?"  was 
his  evasive  answer. 

"Well,  you  see,  dad,"  said  Loris, 
"I'm  not  very  good  at  thinking. 
That's  why  I  asked  you." 

T  HAVE  always  maintained  that  a  name  is  a 
*■  name.  This  thing  of  name  changing  in  Holly- 
wood has  gone  a  bit  too  far. 

Now  in  the  case  of  that  lovely  Frances 
McCann,  I  am  quite  willing  and  grateful  to 
Paramount  for  making  her  Iris  Stuart.  It  has 
an  Arlenesque  quality.  And  she  has  the  beauty 
and  charm  of  an  Iris.  As  for  the  Stuart,  I  am 
sure  Mary,  Queen  of  Scots,  would  be  proud  to 
have  such  a  namesake.  Besides,  I  really  feel 
Paramount  is  entitled  to  help  itself  to  half  of 
the  name  of  an  Arlen  heroine.  They  should  be 
compensated  some  way  for  all  the  money  they 
paid  him  for  his  stories.  Although  far  be  it 
from  me  to  say  anything  about  it  in  public. 

But  this  thing  of  changing  defenseless  babes' 
narries  is  tragic.  Take,  for  instance,  the  baby 
sister  of  Mary  Kornman.  She's  with  "Our 
Gang"  now,  her  tiny  booties  following  in  the 
sandal  steps  of  Mary,  former  Queen  of  the 
Roach  rascals,  who  has  gone  into  vaudeville. 
The  baby  is  eleven  months  and  fat  and  gur- 
gling. Originally  she  was  called  Mildred  Jean. 
Mildred  after  Mildred  Davis  Lloyd.  But  no 
sooner  did  she  park  her  perambulator  at  the 
Roach  studio,  than  they  called  her  "Vermi- 
celli." "Vermie"  for  short.  Now,  wouldn't 
that  give  a  baby  the  colic? 


I23 


O^ow  -This  fine  hard-milled  soap  keeps 
your  skin  smooth -fragrant  -youthful 


Look  closely  at  an  exquisite  com- 
plexion. Notice  its  clean,  fine 
texture.  Pores  are  practically  in- 
visible. 

Cleanliness  is  the  surest  way  to 
enviable  skin.  But  cleanliness  is 
not  mere  application  of  soap  and 
water.  Care  in  selecting  the  soap 
you  use  is  most  important. 

Choose  Cashmere  Bouquet  as  the 
soap  for  your  face  and  hands.  It 
is  "hard-milled,"  which  means 
the  cake  is  hard  and  firm — not  the 
least  bit  squdgy.  With  Cash- 
mere Bouquet  only  enough  soap 
penetrates  the  pores  to  cleanse 
them.  Thus  no  soap  stays  in  the 
pores.  It  all  dissolves,  bringing 
dust  and  dirt  out  with  it,  leaving 


A  Book  of  Beauty 
Secrets 


the  pores  as  nature  meant  them 
to  be. 

Expert  dermatologists  say  water  and 
the  right  soap  should  be  used  every 
day  to  keep  skin  smooth  and  youthful. 

Cashmere  Bouquet  is  the  right 
soap. 

Careful  special  processes  make 
Cashmere  Bouquet  safe  for  your 
daily  use.  This  "hard-milled" 
cake  is  pressed  into  almost  mar- 
ble firmness.  Secret  essences  are 
added  to  give  that  indescribable- 
fragrance. 

Try  This  Treatment — Watch  Results 

Wet  the  face  with  warm  watet.  Work  up  a  thick 
ouquet  lather.    Massage  this  into  the 


in    with    the    fingert 

ps    until    the    skin    feels 

freshed  and  alive.  Ri 

rise  in  warm  water.  Then 

a  dash  of  cold.     Pat 

the  face  dry  with   a 

soft     towel.     If  the 

skm    is    inclined    to 
he  dry,  rub  in  a  little 
Colgate's     Charmis 
Cold  Cream. 

124 


Photoplay  Magazine — Advertising  Section 


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four  tablespoonfuls  of  water  and  gargle  thoroughly. 


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two  hours  if  necessary. 

This  is  an   effective  gargle  proved  safe 
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Accept  only  "Bayer" 
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Handy  "Bayer"  boxes  of  12  tablets— Also  bottles  of  24  and  100— Druggists. 
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Millions  of  people  lcoow  that,  but  Multitudes  of 
persons  with  defective  hearing  and  Head  Noises 
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££\V.  Church  because  they  use  Leonard  Invisible  Anti- 
^J!r)  septic  Ear  Drums,  which  are  Tiny   Megaphones 
the  Ear  cntirelv  out  of  siqht.  No  v,  ires,  no 
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Another  new  member  of  the  gang  is  the 
two-year-old  sister  of  "Farina."  "Aroma"  by 
name.  I  understand  she  was  christened  that 
way,  so  nothing  can  be  done  about  it. 

TLTE  ought  to  be  good  in  it  by  now.  I'm  talk- 
-*-  -Mng  about  Bob  Frazier  and  the  leading  male- 
role  in  Clyde  Fitch's  play,  "The  City,"  in 
which  he  will  appear  with  May  Allison,  Walter 
McGrail,  Janet  Gaynor  and  others  for  Fox. 
This  is  the  fourth  time  for  Bob.  He  played  it 
first  as  a  senior  in  Boston  high  school.  Again 
in  college  when  it  was  presented  by  a  dramatic 
club,  and  the  third  time  while  a  member  of  the 
famous  Cosgrove  Stock  Company  of  Boston, 
after  finishing  college. 

CAW  F.ddie  Sutherland  the  other  day.  He 
'-'was  trying  to  work — directing  "I'm  in  the 
Navy  Now" — but  just  couldn't  seem  to  keep 
his  mind  on  it.  The  reason?  His  beautiful 
young  bride,  Louise  Brooks,  from  whom  he 
was  separated  by  his  work  two  days  after 
their  wedding,  was  making  a  flying  trip  from 
New  York  to  Hollywood  just  to  say  "Hello." 
Eddie  hoped  to  keep  her  with  him  two  or  three 
days  and  then  she  had  to  return  east  to  start  a 
picture.  It  isn't  all  easy  sledding  in  the  picture 
business,  for  it  certainly  forces  some  tough 
separations  on  husbands  and  wives. 

T  DOX'T  see  how  Lilyan  Tashman  and  Ed- 
-*-  mund  Lowe  tore  themselvesawayfromHolly- 
wood  to  go  abroad.  There  were  dinners  and 
luncheons  and  teas  and  swims  for  them.  And 
there  was  Ivy  Schilling  telling  Lil  to  be  sure 
and  go  to  the  small  shop  on  Rue  de  la  Pai.x. 
And  Lilyan  making  a  mental  note  to  visit  the 
little  place  in  the  shadow  of  l'Opera  where  she 
got  those  stunning  things  on  her  last  trip. 

Anyway,  Lilyan  and  Eddie  left,  probably 
tired  but  undoubtedly  happy,  on  what  they 
called  their  honeymoon.  They  had  been  mar- 
ried a  year  but  had  taken  no  wedding  trip. 
Eddie  will  make  "  One  Increasing  Purpose  "  for 
Fox  in  England  and  Lil  will  be  merely  Mrs. 
Lowe,  wife,  and  not  Lilyan  Tashman,  actress, 
on  their  travels. 

T  ET  me  quote  Harrison  Fisher  upon  the 
-'-'beauty  of  Julanne  Johnston.  It  is  the  Jul- 
anne  of  "The  Thief  of  Bagdad"  whose  exquis- 
ite charm  was  again  revealed  in  that  little 
sketch  of  color  photography  called  "The 
Vision."  Said  Fisher,  the  nationally  known 
artist,  after  finishing  a  drawing  of  Julanne: 

"She  has  more  than  mere  regularity  of  fea- 
tures. There  is  a  very  definite  relation  of 
character  to  beauty  in  her  face,  and  a  face  is  an 
inspiration  to  an  artist  in  direct  proportion  to 
the  amount  of  character  it  can  express  without 
losing  beauty. 

"  Miss  Johnston's  finely  chiseled  nostrils.  Ihe 
poise  of  her  head,  and  the  relation  of  her  eyis 
to  her  brows,  mark  her  as  possessing  intelli- 
gence— not  always  found  in  connection  with 
beauty." 

Fine  words.  And  all  of  Julanne's  friends  will 
agree  with  Fisher. 

MANY  openings  this  month,  and  "Ben  Hur" 
took  us  to  the  downtown  section  of  Los 
Angeles  where  a  legitimate  theater  was  con- 
verted into  a  motion  picture  house  and  some- 
body forgot  all  about  arc  lights. 

No  matter  arc  lights  and  lack  of  prologue, 
no  matter  beautiful  dresses,  unsullied  by  spot- 
lights, everyone  forgot  the  pomp  of  a  premiere 
as  they  sat,  rapt  and  tense,  watching  the  grad- 
ual unfolding  of  the  great  picture.  Gasps  of 
admiration  .  .  .  breathless  silences  broken 
by  sporadic  applause  that  grew  suddenly  deaf- 
ening  .    .    .   murmurs  of  appreciation. 

It  was  more  emotional  than  fashionably  daz- 
zling, that  premiere.    It  was  splendid. 

T  WISH  you  could  have  seen  the  opening  of 
■'■  "Don  Juan"  in  Los  Angeles. 

I  wish  you  could  have  seen  the  flares,  paint- 
ing the  skies  with  green  and  red  glory,  and  the 
rockets  sending  forth  tiny  puffs  of  clouds,  and 


Every  advertisement  In  r-HOTOFLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advektising  Section 


the  sweeping  array  of  giant  arc  lights,  flaming 
the  heavens,  and  the  police  cordon,  so  impres- 
sive, and  the  great  gaping,  adoring,  admiring 
crowd. 

I  wish  you  could  have  felt  the  slow  rhythmic 
whirr  of  imported  cars  as  they  swept  up  to  the 
entrance.  I  wish  you  could  have  seen  the  furs 
and  the  jewels  and  the  sheen  of  the  silks  and 
satins  and  scarves  and  I  wish  you  could  have 
seen  the  beauty  of  the  women. 

Truly  it  was  the  ultra  in  Graumanism.  It 
was  so  sumptuous  that  it  was  pagan.  So  gor- 
geous that  it  almost  hurt. 

It  was  a  John  Barrymore  premiere  in  a 
Grauman  show  house.  What  more  can  be 
said?    And  how  proud  those  Warners. 

EVERYONE  was  there.  And  when  I  say 
everyone  I  mean  the  Harold  Lloyds,  the 
Charles  Rays,  the  Fred  Niblos,  the  Cecil 
De  Milles,  the  Clarence  Browns,  the  Harry 
Rapfs.  I  mean  Dolores  Costello,  May  Allison, 
Irene  Rich,  Eugene  O'Brien,  Anita  Stewart, 
Patsy  Ruth  Miller,  Jobyna  Ralston,  Virginia 
Valli,  Lincoln  Stedman,  Evelyn  Brent,  Jack 
Gilbert,  Priscilla  Dean,  Ronald  Colman,  Ruth 
Roland,  Helene  Costello,  Aileen  Pringle,  Claire 
Windsor,  Richard  Barthelmess,  William  Pow- 
ell. 

Mae  Murray  in  pink  chiffon  frock  and  hat 
with  Prince  Divani;  Patsy  Ruth  Miller  in  a 
satin  gown  all  crystal  beaded — accompanied  by 
her  father  and  brother,  Winston,  and  Douglas 
Fairbanks,  Jr.;  Carmel  Myers  in  a  hand- 
painted  gown  of  white  with  white  satin  coat, 
handpainted,  too;  Dolores  del  Rio,  enchanting 
in  rare  old  laces  that  formed  a  long-skirted 
gown  with  tight  bodice. 

May  Allison,  in  white  chiffon,  full-skirted 
and  long  with  silver  lace  trimming,  which  set 
off  to  advantage  her  ivory  and  blonde  beauty. 

And  John  Barrymore  was  there,  assuredly, 
with  brother  Lionel.  Such  a  distinguished 
debonair  dear  who  made  such  a  diabolically 
clever  curtain  speech   .    .    .   that  John! 

THE  Fred  Niblos  were  there,  of  course,  as 
Fred  directed  the  picture,  and  Enid  Ben- 
nett Niblo,  in  a  pink  chiffon  gown  and  hand- 
some coral  shawl,  made  a  charming  picture  of 
pride  and  beauty.  And  there  was  Carmel 
Myers,  Irene  Mayer,  Kathleen  Key — Kitty 
wore  yellow,  frock  and  scarf,  Eleanor  Board- 
man  and  King  Vidor,  Bobbie  Agnew  and  May 
McAvoy — May's  dress  was  of  old  rose  satin. 
Dorothy  Dunbar,  Claire  Windsor  and  Bert 
Lytell,  Ramon  Novarro,  Colleen  Moore  and 
John  McCormick,  Mr.  and  Mrs.  Earle  Wil- 
liams, Johnnie  Walker,  Mr.  and  Mrs.  Antonio 
Moreno,  Norma  Shearer,  Pauline  Starke,  Mr. 
and  Mrs.  Charles  Ray,  Edmund  Burns,  Mr. 
and  Mrs.  Robert  Z.  Leonard  (Gertrude  Olm- 
sted) and  many,  many  others. 

HPHIS  thing  of  beard-growing  in  Hollywood 
■!•  has  reached  almost  tragic  proportions. 
With  De  Mille  filming  "The  King  of  Kings" 
and  Cruze  just  finishing  "Old  Ironsides"  and 
"The  Rough  Riders"  being  commenced,  to  say 
nothing  of  "The  Yankee  Clipper"  and  numer- 
ous other  pictures  requiring  hirsute  adornment, 
it  has  become  the  fashion  for  the  young  motion 
picture  actor  to  ask  his  light  of  love  if  she  ob- 
jects to  a  "  beavered  "  escort. 

Now  take  the  case  of  Paul  McAllister,  the 
Broadway  actor,  who,  since  his  advent  to  pic- 
tures, has  been  forced  to  go  bearded  from 
"Beau  Geste"  to  "The  Winning  of  Barbara 
Worth"  to  "The  King  of  Kings"  without  once 
letting  his  old  friend  and  former  compatriot  of 
the  stage,  Charles  Lane,  see  how  he  looked 
facially  nude. 

But  I  wasn't  to  write  of  Paul  McAllister 
when  I  commenced  this  skit.  It  was  of  Orlo 
Sheldon  who,  beard  and  all,  married  Josephine 
Hill  just  the  other  day.  He  wanted  to  shave  so 
that  his  bride  could  see  his  manly  chin,  but  the 
director  said  "No."  And  that  settled  it. 
Josephine,  being  motion  picture  bred — she  is 
an  actress — took  Orlo  for  beard  or  for  worse 
and  was  quite  willing  to  wait  weeks  before  she 
saw  what  her  new  husband  really  looked  like. 


Anita  ur< 


ewart  says- 


"  .  .  I  want  you 
to  know  how  much  I  like  it" '— the 

Golden  State  Limited 

Another  world-famous  celebrity's  tribute  to  this 
remarkable  transcontinental  flyer,  daily  between 
Los  Angeles  and  Chicago  and  to  the  east. 

Effective  November  14 

—an  even  finer  and  faster  Qolden  State  Limited. 
5  hours  cut  from  present  fastest  running  time  be- 
tween Los  Angeles  and  Chicago.  A  business  day 
saved;  only  two  business  days  enroute.  New 
equipment;  luxurious  accommodations  and 
service.   $10  extra  fare. 

Also  a  new  and  faster  Apache  and  the  Californian 
daily  over  this  route.  Pullmans  to  St.  Louis,  Min- 
neapolis, Kansas  City,  Memphis,  Phoenix. 

Southern  Pacific 

F.  S.  McGinnis,  Passenger  Traffic  Manager,  Southern  Pacific  Company,  San  Francisco,  California 

L.  M.  Allen,  Vice-President  and  Passenger  Traffic  Manager,  Rock  Island  Lines,  Chicago,  Illinois 

Hollywood  Ticket  Office:  Los  Angeles  Ticket  Office: 

6768  Hollywood  Blvd.  212  West  Seventh 

Rock   Island  and  Southern  Pacific  Travel  Bureaus  in  all  Principal  Cities 


pie 


I'lIIITUI'I.AY   MAfi  \ZI\K. 


126 


Photoplay  Magazine — Advertising  Section 


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Yes,  you  can  keep  your  hair  in  place  without 
that  greasy,  sticky  look  that  is  so  objection- 
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One  trial  will  convince  you.  That  is  why  we 
are  offering,  free,  a  generous  sample  of  this 
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Don't  take  chances  with  your  hair — you  can 
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rely  on  than  any  other.  This  dressing  is 
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Stacomb  will  suit  any  type  of  hair,  because 
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But  in  either  form  Stacomb,  you  will  find, 
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use,  and  really  keeps  your  hair  in  place — 
smooth,  smart,  but  never  sticky  or  greasy. 
And  never  dry  and  brittle,  as  daily  wetting 
with  water  makes  it. 

Stacomb  is  actually  beneficial,  because  it 
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KeepMusterole 
on  t&eiatRriwms/ielf 

Years  ago  the  old-fashioned 
mustard  plaster  was  the  favor- 
ite remedy  for  rheumatism, 
lumbago,  colds  on  the  chest 
and  sore  throat. 

It  did  the  work,  but  was  sticky  and 
messy  and  burned  and  blistered. 

Musterole  has  taken  the  place  of  the 
mustard  plaster. 

Rub  on  this  soothing  ointment  at  the 
first  cough  or  sniffle,  at  rheumatism's 
first  warning  tingle. 

Made  from  pure  oil  of  mustard,  with 
the  blister  and  sting  taken  out,  Mus- 
terole penetrates  the  skin  and  goes  to 
the  seat  of  trouble. 
To  Mothers:  Musterole  is  also  made 
in  milder  form  for  babies  and  small  chil- 
dren. Ask  for  Children's  Musterole. 
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Jars  &  Tubes 


BETTER   THAN    A    MUSTARD    PLASTER 


On  Account  of  Monte  Cristo 


CONTINUED  FROM  PAGE 


He  turned  and  swayed  from  the  room  and 
into  the  lobby  of  the  little  hotel.  A  small 
group  of  admirers  followed  him,  eager  to  finger 
this  glorious  trophy,  anxious  to  inspect  every 
minute  detail. 

But  Welford  Potts  remained  on  the  little 
stage,  and  close  beside  him  was  his  intimate 
friend,  Florian. 

Florian  draped  a  sympathetic  arm  over  the 
shoulder  of  his  friend. 

"You  has  sho'  been  done  dirt,  Welford." 

"Aint  it  the  truth?" 

"  Big  fat  ol'  Opus  wearin'  that  medal. 
Uppity  buzzard  what  he  is!  Can  you  'magine 
him  waddlin'  down  Eighteenth  street  with  that 
thing  on  his  buzzum?    Can  you  'magine — " 

"Stop!  Fo'  Gawssake  quit  makin'  me  mo' 
miserabler  than  what  I  a'ready  is.  Ise  gwine 
die  if  I  don't  git  to  wear  that  thing  half  the 
time.     Seems  like  President  Latimer — " 

"He's  right,  Welford.  'Taint  his  business 
to  mix  up  in  no  squabbles.  This  is  a  matter 
'tween  you  an'.  Opus.    Opus  hisse'f  says  if  you 


"Forcep  never  wrote  this  story,  Welford. 
Another  feller  wrote  it." 

"Hmph!  I  aint  never  knowed  nothin'  like 
that  to  bother  no  scenario  writer  befo'.  I 
reckon  they  aint  nobody  writes  better  than 
Forcep  Swain.  Leastways,  tha's  what  he 
says." 

"Reckon  he  never  thought  of  it.  Forcep  aint 
lovin'  Opus  Randall  much  mo'  than  we  does." 

"No.  Maybe  not.  But  he  sho' handed  him 
somethin'  heah.  Opus  playin'  the  leadin'  role 
in  a  big  pitcher.  An'  me — what  does  I  do? 
I  ask  you,  Florian,  what  does  I  do?" 

"I  dunno,  Welford.  I  aint  seen  the  sce- 
nario." 

"Well,  I  tells  you.  I  gits  busted  in  the  eye 
an'  run  over  by  an  automobile  an' — " 

"Shuh!  There  wa'n't  no  automobiles  in 
them  days." 

"There  is  in  Forcep's  continuity.  Ev'y- 
thing  this  feller  FdmondDantesdoes,  he  does  in 
an  automobile  or  motorcycle  or  an  airplane  or 
somethin'.     They  say  it's  gwine  be   terrible 


What  was  the  Best  Picture  of  1925 

In  the  December  issue  of  Photoplay,  you  will 
find  the  announcement  of  the  Photoplay  Gold 
Medal  award  for  the  greatest  picture  produced  dur- 
ing 1925.  The  votes  of  the  readers  are  all  in — and 
you'll  know  the  results  in  Photoplay's  next  issue. 


is  man  enough  to  git  that  thing  often  him,  you 
is  welcome.    An'  I  says  I  is  willin'  to  he'p." 

"You  mean  that:   really  an'  truly?" 

"Heah's  my  han'  on  it." 

"Brother  Slappey!" 

"Brother  Potts!" 

They  clasped  hands  and  stared  fondly  into 
one  another's  eyes.  Then,  by  unspoken  though 
mutual  consent,  they  emerged  from  the  hotel 
and  turned  down  the  Boulevard  de  la  Made- 
leine. 

They  moved  slowly  along  this  exquisite, 
broad  thoroughfare  with  its  center  parking  and 
its  rows  of  quaint  and  tiny  shops  and  came  at 
length  to  the  busier  reaches  of  the  Rue  Xoailles. 
Here  they  passed  office  buildings,  huge  depart- 
ment stores  and  smaller  shops.  They  turned 
into  the  Rue  de  Rome  and  found  a  sidewalk 
cafe  where  they  ordered  sandwiches  oijambon 
and  drinks  of  amber.  There  they  fell  into  deep 
and  thoughtful  discussion  concerning  the  ways 
of  life  in  general  and  Opus  Randall  in  par- 
ticular. 

They  despised  the  portly  Opus  with  a  vast 
and  consuming  dislike.  He  was  overbearing 
and  obtrusive.  "'Taint  like  I  had  that  medal 
an'  lost  it,"  wailed  Welford.  "Ev'y  time  I  sees 
it  on  that  feller's  breast  Ise  gwine  start  suf- 
ferin'  all  over  again."  He  turned  harried  eyes 
down  the  crowded  street.  "Seems  like  always 
I  gits  the  short  end  of  this  co-starrin'  business. 
Heah  we  is  shootin'  one  of  the  funniest  pitchers 
we  has  ever  made,  an'  who  gits  the  title  role? 
Opus!  How  come  Forcep  Swain  coul'n't  let  me 
play  Monte  Cristo?" 

"  Brother  Swain  said  it  ought  to  be  played  by 
a  big  man." 

"Well  then,  why  couldn't  he  write  two 
Monte  Cristoes?  What  good  is  an  author  if  he 
caint  give  two  stars  parts  which  is  equal?" 

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funny — an'  Ise  the  feller  what  makes  it  funny. 
Ise  playin'  Opus's  enemy  which  he  craves  to 
kill,  but  he  has  a  hahd  time  doin'  it.  All  what 
that  big  ape  don't  do  to  me  is  hit  me  on  the 
head  with  an  axe.  An'  he  just  stan's  around 
an'  says  the  world  is  his'n." 

Welford  stopped.  It  became  evident  that 
Florian  was  paying  him  no  heed.  He  spoke 
petulantly. 

"You  aint  even  listenin',  Brother  Slappey." 

"Huh?" 

"You  wasn't  listenin'." 

"No.     I  was  thinkin'." 

"'Bout  what?" 

"Somethin'." 

"What  sort  of  somethin'." 

"You  an'  Opus."  He  put  out  an  admonitory 
hand.    "Leave  me  reflect  a  moment,  Welford.'' 

Silence  fell  between  them,  a  silence  broken 
only  by  the  crash  and  cry  of  auto  traffic  and 
the  clangor  of  street  cars.  Finally  a  smile 
decorated  the  lips  of  Mr.  Slappey  and  he 
turned  brightly  to  his  downcast  friend. 

"You  aint  got  all  the  dirty  work  to  do  in  this 
Monte  Cristo  61m,"  he  announced. 

"  Foolishment  what  you  talks.    Who  says — " 

"I  does.  Now  listen:  Don't  they  take  this 
guy  Danles  an'  pitch  him  in  jail  on  that 
island  we  was  lookin'  at  the  other  day?  Don't 
they?  " 

"Yeh." 

"An'  he's  s'posed  to  stay  there  twenty 
years,  aint  he?" 

"Uh-huh." 

"An'  then  he  escapes?" 

"Showly.     But — " 

Florian  rapped  triumphantly  with  his  list. 
"Now  I  asks  you  one  mo'  question,  Mistuh 
Potts.  How  does  Monsieur  Monte  Cristo  get 
away  from  the  Chateau  d'lf?  " 


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"How?"  Welford  wrinkled  his  forehead. 
Then  his  eyes  crinkled  at  the  corners.  "You 
mean — ?" 

"I  mean  that  in  the  story  they  takes  him  fo' 
a  dead  man  an'  ties  him  up  in  a  sack  an'  th'ows 
him  into  the  ocean.  Right  plumb  splash  in  the 
middle  ot  the  Mediterranean.  Kcrflump!  Jus' 
like  that." 

"They  don't  really  th'ow  him  in,  Florian. 
They  th'ows  another  sack  which  has  got  a 
dummy  in  it." 

Mr.  Slappey  rose  and  bowed. 

"Tha's  what  you  think.  Mistuh  Potts.  An' 
tha's  what  Director  Julius  Caesar  Clump 
thinks.  An'  that  also  is  what  Mistuh  Opus 
Randall  thinks!  But  I  begs  you  to  remember 
who  is  workin'  as  property  man  fo'  the  .Mid- 
night company.    I  ask  you:   Who  is?" 

"Who?"  inquired  Welford  dutifully. 

Florian  gestured  largely — "Mistuh  Slap- 
pey!" he  announced.  "Mistuh  Florian  Slap- 
pey, who  is  very  much  at  yo'  service!" 

And  once  again  the  two  slender,  dapper  little 
colored  men  smiled,  extended  arms  and  clasped 
hands. 

"Hot  dawg!"  enthused  Welford. 

"Shuh!"  grinned  Florian,  "you  should  of 
said  'Wet  dawg!'  " 

THE  next  morning  the  company  gathered  at 
the  congested  and  picturesque  Quai  des 
Beiges  at  the  foot  of  the  Rue  Cannebiere. 
Those  actively  engaged  in  the  Monte  Cristo 
production  were  weirdly  but  interestingly  clad. 
White  wigs  were  present  in  abundance,  accom- 
panied by  silk  knee  breeches  and  glittery 
buckles.  Opus  Randall  was  very  much  in  evi- 
dence in  the  costume  which  M.  Dantes  was 
supposed  to  have  worn  during  his  period  of 
mateship  on  the  good  ship  Pharaon,  but  the 
most  fervid  exhortations  of  president  and  di- 
rector could  not  induce  him  to  remove  from  his 
sailor  clothes  the  medal  which  he  had  acquired 
the  previous  night. 

The  costumes  were  burlesqued,  of  course, 
and  the  negroes  who  wore  them  were  happily 
conscious  of  the  rapt  attention  they  attracted 
even  after  three  weeks  of  hectic  labor  on  com- 
edy pictures  throughout  the  length  and  breadth 
of  Marseilles. 

Today  they  proceeded  in  a  body  along  the 
Qual  du  Port  to  the  spot  where  a  three  masted 
schooner  was  moored.  This  ship  had  been 
hired,  at  a  modest  rental,  for  the  filming  of  the 
scenes  aboard  the  Pharaon  .  .  .  brief  comic- 
action  not  at  all  as  conceived  by  the  estimable 
M.  Dumas.  The  work  was  simple  and  interest- 
ing. At  three  in  the  afternoon  the  company 
was  dismissed  with  orders  to  be  ready  promptly 
at  seven-thirty  in  the  morning  for  the  first  of 
the  shots  at  the  Chateau  d'lf. 

The  necessity  for  punctuality  was  impressed 
upon  all.  The  Marseilles  society,  which  had 
presented  Opus  and  Welford  with  the  trouble- 
making  medal,  had  acted  as  agents  in  securing 
permission  for  Midnight  to  use  the  famous 
Chateau  as  a  background  for  comic  pictures 
and  their  time  was  limited.  But  during  that 
time  they  were  assured  of  active  and  enthu- 
siastic cooperation  on  the  part  of  the  little  gar- 
rison of  the  forbidding  island. 

That  night  Florian  Slappey  drew  Director 
Clump  into  conference. 

"Caesar,"  he  asked,  "don't  you  think  Opus 
has  done  Welford  dirt?" 

"Uh-huh.     I  showly  does." 

"An'  you  think  Welford  is  entitled  to  git 
even?" 

"Yeh  .  .  .  pervided  it  don't  interfere  with 
the  pitcher." 

Florian  rubbed  his  hands  together.  "Then 
if  I  promises  you  nothin'  wont  hurt  the  pitcher, 
is  you  willin'  to  be  a  li'l  mo'  blind  an'  deef  than 
usual?" 

The  director  looked  narrowly  at  his  friend. 
"Meanin'  which?" 

"Nothin'.    I  got  an  idea,  tha's  all." 

"What  kind  of  an  idea?" 

"A  good  one.  I  promise  it  aint  gwine  hurt 
yo'  pitcher.    What  says  you?" 

Caesar  smiled  and  nodded.  "A'right, 
Brother  Slappey.    But,  mind  you — " 


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"I  minds,  Caesar."  . 

Florian's  next  confab  was  with  Exotic  Hines, 
head  cameraman. 

"Tomorrow  an'  the  next  day  us  shoots  at 
Chateau  d'lf,"  he  announced.  "I  has  talked 
to  Caesar  Clump  an'  he  says  fo'  you  to  foller 
my  orders." 

"Huh?"  Exotic  was  doubtful.  "How  come?" 

Florian  spoke  earnestly  and  in  a  low  voice. 
As  he  talked.  Exotic  commenced  to  grin.  And 
when  he  finished,  the  chief  cameraman  laughed 
aloud:  "Golla  Moses!"  he  exclaimed,  "I 
re;kon  yes.  I  aint  gwine  heah  nothin',  see 
nothin'  or  tell  nothin'." 

Mr.  Slappey  then  joined  his  friend  Welford. 
They  spoke  long  and  earnestly  and  with  ex- 
pansive enthusiasm.  And  into  their  conference 
a  large  figure  obtruded.  Mr.  Opus  Randall's 
voice  boomed  tauntingly. 

"What  you  two  shrimps  talkin'  about?"  he 
inquired. 

"Nothin',"  snapped  Florian.  "We  was  dis- 
cussin'  you. " 

"Smart  with  yo'  words,  aint  you,  Florian? 
Reckon  you  aint  got  proper  respeck  fo'  the  best 
actor  in  Midnight." 

"Who  says  you  is  the  best  actor?" 

Opus  designated  the  gleaming  medal  on  his 
breast.    "This  heah  does." 

Welford  arose  and  spluttered.  He  quivered 
before  the  ponderous  Opus  and  shook  his  thin 
little  fist  under  the  fat,  round  face. 

"You  got  the  medal,"  he  screamed,  "but 
[se  gwine  git  even.  Ishowlyis.  Some  day  Ise 
gwine  fix  you  good  an'  plenty.     You  watch." 

"Ise  watchin',"  came  the  urbane  answer. 
"But  lookin'  in  yo'  direction,  I  don't  see 
nothin'." 

•"THE  company,  nobly  clad,  gathered  the  fol- 
•*■  lowing.morning  at  the  Quaides  Beiges  w  here 
three  sizeable  motor  craft  were  waiting  to  con- 
duct them  to  the  Chateau  d'lf.  The  day  was 
perfect:  a  warm  bronze  sun  gleaming  from  a 
bowl  of  sapphire.  The  waters  of  the  Vieux 
Port  sparkled;  Ions,',  slim  yachts  shone  whitely; 
more  modest  craft  danced  exultantly  around 
the  snug  little  basin. 

There  was  much  laughter  and  jollification 
among  the  members  of  the  Midnight  troupe. 
The  day  had  taken  unto  itself  a  picnic  spirit: 
a  trip  over  the  placid  waters  to  the  grim  and 
dignified  castle  which  they  had  admired  since 
arriving  in  Marseilles.  Only  J.  Caesar  Clump, 
Orifice  Latimer,  Forcep  Swain  and  Exotic 
Hines  had  visited  the  historic  spot.  Now  the 
others  were  going  and  they  were  anticipating 
two  days  of  considerable  pleasure. 

The  little  fleet  started  slowly  through  the 
inner  basin.  It  passed  through  the  narrows 
separating  the  old  and  impressive  Fort  St. 
Jean  on  the  right  and  the  ancient  Chateau  du 
Pharo  on  the  left.  It  came  now-  into  the  open 
sea,  the  gently  undulating  waters  faintly  re- 
mindful of  certain  ghastly  days  on  the  ocean 
while  en  route  to  Naples  from  America. 

To  the  left  stretched  the  rocky  and  solidly 
impressive  coastline,  a  white  streak  along  the 
top  marking  the  Comiche  drive.  A  ship  was 
steaming  slowly  toward  the  African  coast, 
twenty-eight  hours  distant;  far  out  to  the  right 
a  thin  streamer  of  smoke  betrayed  the  presence 
of  another  steamer.  But  the  eyes  of  the  com- 
pany weie  directed  ahead  toward  the  grim, 
bare  islet  of  If. 

They  stared  enraptured  at  the  impressive 
Sixteenth  Century  architecture  of  the  Chateau 
d'lf.  Forcep  Swain,  Midnight's  author,  was 
full  of  information.  He  talked  long  and  pas- 
sionately of  the  place  they  were  about  to  visit; 
told,  with  some  small  degree  of  accuracy,  the 
story  of  the  Man  in  the  Iron  Mask,  who  had 
been  imprisoned  there;  and  of  Philippe  Egalite 
and  Mirabeau  and  of  the  unfortunate  Polish 
Prince  Casimir.  Florian  Slappey  was  genu- 
inely impressed. 

"Great  sufferin'  tripe!"  he  exclaimed, 
"  think  of  bein'  sent  there  to  jail.  It  show  is 
worse  than  the  Big  Rock  in  Bumminham." 

Opus  turned  sneeringly.  "Why  shoul'n't  it 
be?"  he  questioned  witheringly.  "It's  older, 
aint  it?" 


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Florian  did  not  deign  to  answer.  As  a  mat- 
ter of  fact  he  had  been  peculiarly  indifferent  to 
Mr.  Randall's  jibes  this  morning — as  though 
matters  of  great  moment  were  weighing  him 
down. 

He  stared  at  the  Chateau  with  greater  than 
tourist  interest.  Once  he  turned  and  waved  a 
greeting  to  his  friend.  Welford  Potts,  who  was 
in  another  boat.  Welford  returned  the  greet- 
ing and  both  men  smiled. 

They  landed  on  the  rocky  island  amid  much 
excitement  and  laughter.  The  little  garrison 
was  there  to  bid  them  welcome,  and  for  the  first 
half  hour  they  were  guided  through  dark 
dungeons  and  a  bewildering  maze  of  passages, 
where  a  great  deal  of  explanation  was  done  in 
French  which  none  save  Ethiope  Wall  could 
understand. 

Then,  from  above,  came  the  summons  of 
Director  Clump's  megaphoned  voice.  He  col- 
lected his  troupe  in  the  sunshine,  gave  a  few 
terse  orders  and  started  rehearsing  a  scene. 
Using  Opus,  Sicily  Clump  and  Enoch  Tapp — 
who  was  playing  the  role  of  the  Governor — he 
bade  the  others  keep  within  earshot. 

Florian  and  Welford  detached  themselves 
from  th;  group.  They  wandered  around  the 
rock,  talking  softly.  And  finally  they  came  to 
a  ledge  where  there  was  a  sheer  and  terrifying 
drop  to  the  sparkling  waters.  Florian  gazed 
down  in  ecstatic  speculation. 

"Heah's  the  place  they  decided  on,  Wel- 
ford." 

Mr.  Potts  applauded.  "What  a  splash  that 
thing  is  gwine  make!" 

"Aint  it  the  truth?" 

Welford  looked  around  cautiously.  "Has 
you  boughten  that  life  preserver,  Florian?" 

"Uh-huh.  I  got  ev'ything.  Also  Caesar 
Clump  and  Exotic  Hines  an'  Enoch  Tapp  an' 
Spokane  G.  Washington  is  gwine  keep  their 
ears  stopped  up  an'  their  mouths  shut.  I 
reckon.  Brother  Potts,  that  you  is  gwine  git 
even  enough  with  Mistuh  Opus  Randall  to 
keep  his  fat  face  shut  fo'  ten  yeahs. " 

All  through  that  day  the  company  worked 
swiftly  and  well.  Record  footage  was  taken. 
The  trip  back  to  Marseilles  was  negotiated  by  a 
tired  and  happy  company  which  indulged 
largely  in  native  song:  "Alabamy  Bound," 
"My  Alabamy  Mammy"  and  "The  Sheik  of 
Alabam'."  They  separated  for  the  night  after 
receiving  orders  for  another  early  start  next 
morning. 

Florian  and  Welford  rambled  through  broad, 
tree-lined  streets,  heads  close  together.  lips 
occupied  with  conversation.  They  stood  for  a 
long  time  in  front  of  the  hotel  when  they  re- 
turned and  were  seen  by  two  pairs  of  official 
eyes. 

"Them  two  is  up  to  somethin',"  postulated 
President  Orifice  R.  Latimer. 

"  Reckon  so.  Chief,"  agreed  Director  Clump. 
"An'  I  don't  blame  'em." 

"Xor  neither  me.  Opus  has  done  Welford 
dirt."  He  sighed  vastly.  "  Sometimes  I  almos' 
wish  Brother  Randall  wasn't  such  a  comic 
actor.     He  makes  trouble  all  the  tune." 

Morning  ushered  in  a  day  of  superlative 
tranquillity.  The  Mediterranean  was  like 
glass,  even  the  ground  swell  was  not  discern- 
ible. The  company  made  the  journey  to  the 
Chateau  dTf  in  languorous  ease,  basking  in  the 
delicious  warmth  of  a  perfect  winter  day.  But 
once  they  had  landed  and  ascended  the  narrow, 
winding  stairway,  J.  Caesar  Clump  took  the 
reins  with  forceful  insistence. 

"We  is  changin'  aroun'  the  original  story, 
folks,"  he  announced  to  the  assembled  troup- 
ers. "Way  we  has  it,  the  Abbe'  is  sore  at 
Edmund  Dantes  an'  so  he  busts  him  in  the 
head  an'  then  ties  him  in  a  sack.  We  shoots 
that  scene  in  the  corner  yonder  where  we  has 
got  things  fixed  up  like  a  cell  an'  the  light  is 
good.  Next  the  jailer  an'  the  Governor  bring 
Opus  up  in  his  sack  an'  dump  him  down  on  the 
rock.  Then  we  has  one  cam'ra  fixed  heah,  an' 
Exotic  makes  a  setup  down  by  the  water 
yonder  so's  he  can  git  the  splash  when  the  sack 
hits  the  ocean.  After  that  we  ca'y  the  sack 
which  Opus  is  really  in  out  in  a  boat  an'  ease 
it  overboard  so's  Brother  Randall  can  do  the 


FREE: 

A  wonderful  little  book  that 
gives  new  beauty  secrets.  Free, 
with  every  jar  of  Ingram's  Milk. 
weed  Cream. 


Tour 
Simple  Ways 

to  improve  your  skin 
-NOW! 

fir  FRED  INGRAM  Jr.,  Pb.c. 
B.  Sc,  (Pharm.) 

I .  From  1 0  to  30  you  need  from  7H  to 
8  hours  sleep — at  least  four  nights  out 
of  seven.  At  30  to  50,  I'.1  ■<  to  7  hours 
will  do  with  a  daily  short  rest  after 
lunch  or  just  before  dinner.  If  you 
would  have  beauty  after  30— get  your 
rest.  No  cream  or  cosmetic  can 
compete  with  loss  of  sleep. 

And  you  simply  must  ea  t  each  day 
cither  lettuce,  celery,  cabbage,  carrots, 
spinach,  oranges,  white  cherries, grape- 
fruit, lemons  or  tomatoes.  Your  doc- 
tor will  tell  you  just  what  combina- 
tions are  good  for  you  personally. 
Sleep  and  these  foods  are  a  sure 
foundation  for  beauty. 

II.  For  the  arms,  neck,  shoulders  and 
hands — at  least  once  a  day,  lukewarm 
water  and  any  good  soap  (Ingram's 
Milkweed  Cream  Soapisfine).  Thcnuse 
Ingram's  Milkweed  Cream  on  hands, 
arms,  neck  and  shoulders.  Kub  it  in 
gently.  Don't  rub  it  off.  Use  only  at 
night  before  retiring— wear  old  gloves 
on  hands.  You  will  be  astonished. 
Your  friends  will  comment  on  the  re- 
markable change  in  the  appearance  of 
your  skin  with  this  simple,  common 
sense  treatment.  Under  no  conditions 
use  any  other  cream  while  you  are 
making  this  test. 

III.  For  the  face,  give  our  cream  two 
weeks'  exclusive  use.  Write  the  date 
on  the  label  so  that  you  may  watch  re- 
sults carefully.  Use  no  other  cream  of 
any  kind.  Wash  your  face  at  night 
with  lukewarm  water  and  Ingram's 
Milkweed  Cream  Soap.  Rub  cream  in 
gently;  don't  rub  it  off.  Use  morning 
and  night,  using  water  only  at  night  to 
cleanse  face.  Blotches,  blemishes, 
blackheads,  redness,  tan,  wind-  and 
sunburn  will  go  if  you  follow  the  diet 
suggested  and  use  Ingram's  Milkweed 
Cream  exclusively. 

Women  today  will  tell  you  this 
simple  treatment  gets  results.  We 
have  thousands  of  letters  over  a  period 
of  40  years  that  back  up  our  state- 
ments. And  today  thousands  are  en- 
joying the  beauty  insurance  which 
this  simple  method  brings. 

IV.  If  you  have  a  good  beauty  shop 
operator,  stay  with  her,  but  insist  that 
she  use  your  own  jar  of  Ingram's 
Milkweed  Cream.  Infections  are  dan- 
gerous. Not  one  woman  in  a  hundred 
has  a  scientific  beauty  operator. 

We  are  always  glad  to  answer  ques- 
tions— to  help  those  who  have  been  un- 
successful in  their  search  for  skin  love- 
liness. Particularly  those  who  want  to 
protect  their  beauty  over  a  long  period 
of  years. 

If  you  are  in  doubt,  take  no  chances. 
Do  your  own  facials,  arm,  neck,  hand 
and  shoulder  treatments  at  home.  We 
will  teach  you  how  in  our  little  book 
that  comes  with  each  jar  of  Ingram's 
Milkweed  Cream. 


FOR  BRIDES  ONLY! 

And  every  girl  who  will 
be — a  direct  message 

This  tells  a  new,  simple  method  to  keep  your  skin 
lovely, satiny  white.  To  make  unsightly  blemishes 
vanish,  actually.   And  often  in  two  short  weeks! 

*  *        *        * 

PERHAPS  your  skin   is   lovely,   soft  and 
white — now.  But  now  before  it  is  too  late, 
ask  yourself  these  questions: 

Three  years  from  now  — five — ten  years — 
will  it  be  as  pretty  then?  Will  you  be  as  at- 
tractive, as  charming? 
Will  the  duties  of  housework  take  their  deadly  toll? 
Will  you  slowly,  unknowingly  lose  your  appeal— the 
beauty  and  allure  of  lovely  skin? 

Howwill  all  this  affectyour  happiness— in  married '  lije? 

*  *         *         * 

These  questions,  so  disturbing  now,  can  be  answered 
today,  scientifically— /««//)'.'  This  wonderful  cream  is 
all  you  need.  Thousands  of  beautiful  women  have  used 
it,  for  ten  years  or  more.  An  "ah  purpose"  beauty  aid 
that  corrects — beautifies — protects. 

Read  the  common-sense  column  at  the  left— it  tells 
you  how.  Then  obtain  a  jar  of  Ingram's  Miikweed 
Cream  at  your  favorite  store.  Get  it  in  the  fifty  cent  or 
dollar  size.   The  dollar  size  is  more  economical. 

Begin  its  daily  use  today.  It  will  mean  so  much  to  you. 
AaAremember:  You  need  only  one  cream  .  .  .  Ingram's. 

Frederick  F.  Ingram  Co. 

Established  1885 
Windsor.  Out.  633  Tenth  St.. 

Canada  Detroit.  Mich. 

jnqmtrM  ^milkweed  Lrmrru 


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i3° 


Photoplay  Magazine — Advertising  Section 


Are  you  Old? 

— or  old  fashioned  1 


TF  you  are  really  old, 
*■   with  wrinkles,  you  i 


if  your  face  is  lined 
afford  to  ignore 
the  whisperings  of  your  friends  and  "his" 
wondering  look  when  those  first  gray  hairs 
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Delicacy  decrees 

this  fragrant  aid  to  beauty 

No.  471 1  Eau  de  Cologne:  exquisite  in 
odor,  with  an  exotic  charm  that  adds  unmis- 
takably to  woman's  powers  of  enchantment. 
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stunt  of  cutting  his  way  out.  Then  we  shifts 
the  cam'ras  to  that  far  side  yonder,  take  Opus 
within  about  a  hund'ed  feet  an'  leave  him 
swim  into  the  pitcher.  We  preten's  like  the 
side  of  the  castle  over  yonder  is  the  mainland. 
Now,  folks,  I  wants  action  an'  speed!  This  is 
our  las'  day  at  the  Chateau  an'  anybody  which 
bungles  this  an'  forces  retakes  gits  fined.  Is 
that  all  clear?" 

HTTIEY  nodded  it  was — and  snapped  into 
-*-  action.    Florian,  as  property  man,  arranged 


"All  ready  up  yonder?" 

Florian  poked  his  head  over  the  wall.  "All 
set,  Caesar." 

A  muffled  voice  came  from  the  sack  beside 
him.  "Iaintready.  An' if  you  try  any  funni- 
ment,  Florian,  Ise  gwine — " 

Caesar's  voice  came  again:  "Cam'ra,  up 
yonder.  Start  crankin'  the  minute  they  grab 
that  sack.  Time  you  git  ready  to  heave,  yell 
out!     Action!" 

Florian  nodded.    The  assistant  cameraman 

commenced   cranking   his  machine.     Florian 

the  set  where  the  Abbe'  Faria  and  Monte  Cristo     grabbed  the  sack  containing  the  dummy  and 


taged  an  elaborate  slapstick  battle.  Ev 
the  hard-boiled  members  of  the  company 
laughed  at  the  antics  of  the  combatants. 
Finally,  under  Clump's  orders,  the  Abbe' 
swatted  Opus  three  times  with  a  rubber 
hatchet  and  knocked  him  out.  Immediately 
the  guards,  headed  by  Enoch  Tapp  and 
Spokane  Washington,  entered  the  cell  with  a 
large  sack. 


dragged  it  beside  him,  out  of  camera  range. 
Then  the  two  large  jailers  seized  the  bag  which 
contained  Opus  Randall. 

Instantly  a  large  howl  of  terrified  protest 
rent  the  stilly  air.  Florian  broke  at  once  into  a 
joyous  whistling.  He  watched  with  huge 
interest  the  frantic  and  futile  struggles  of  the 
imprisoned  Opus. 


Under  orders  from  Mr.  Slappey  they  han-  AyfR. RANDALL  was  exerting  all  his  power 
died  this  sack  carefully,  concealing  from  the  -'■''■'■but  was  sadly  handicapped.  |His  wildest 
others  that  it  contained  a  corl 


ife  preserver. 
They  unceremoniously  shoved  the  body  of  Mr. 
Dantes  into  this  bag  and  proceeded  to  sew  it 
up.  Then  the  two  large  gentleman  hoisted  it 
on  their  shoulders  and  bore  it  up  the  narrow 
steps  to  the  battlements  where  one  camera  was 
already  in  position. 

Director  Clump  surveyed  the  scene.  He 
spoke  to  Florian  Slappey. 

"Is  that  other  sack  the  one  with  the  dummy 
in  it,  Florian?" 

"Yassuh.  Right  heah."  Mr.  Slappey 
lucked  a  duplicate  bag. 

Clump  turned  away.  "Ise  gwine  down  yon- 
der by  the  water  where  Exotic  Hines  is.  When 
I  shouts  the  word,  you-all  dump  the  dummy 
over  an'  bofe  cam'ras  films  it.  On  yo'  toes  now 
— ev'ybody." 

All  save  one  cameraman,  Spokane,  Enoch 
and  Florian  followed  the  efficient  little  director. 
Mr.  Slappey  was  grinning  hugely  and  the  faces 
of  the  others  were  not  entirely  bereft  of  smiles. 

Florian  moved  to  the  head  of  the  stone  steps 
and  watched  the  others  descending.  Then, 
making  certain  that  they  were  out  of  earshot, 
he  returned  to  the  vicinity  of  the  two  sacks. 

"It'd  be  kind  of  queer."  he  remarked  casu- 
ally, "if  somebody  happened  to  make  a  mis- 
take and  th'owed  Opus  ovcThoanl.  woul'n't  it?" 

"Showly  would,"  agreed  Spokane  Washing- 
ton. 

"You  reckon  you  could  tell  one  sack  fum 
t'other?" 

"I  coul'n't."  announced  Mr.  Washington. 

"Nor  neither  me."  said  Mr.  Tapp. 

"Sort  of  a  toss-up,  eh?"  observed  Mr. 
Slappey  lightly. 

"Toss-over,  you  mean." 

"Humorist,  what  you  is!  Now,  as  soon  as 
Caesar  calls — " 

The  conversation  pierced  the  walls  of  the 
gunnysack.  Mr.  Randall,  thoroughly  im- 
prisoned, did  not  relish  the  words  which  came 
to  him.     He  executed  a  violent  movement. 

"You-all  fellers  out  yonder, "  he  called,  "Ise 
in  this  one !  " 

Florian  cocked  his  head  on  one  side.  "Thought 
I  heard  somebody — but  I  reckon  I  must  be 
mistaken." 

"It  was  me,"  howled  Edmond  Danies.  "In 
this  bag." 

"I  di'n't  heah  nothin',"  volunteered  Enoch. 

"Ise  hahd  of  hearin'  myself,"  said  Spokane. 

It  was  dawning  upon  Mr.  Opus  Randall  that 
the  life  of  a  star  comedian  was  not  all  beer  and 
skittles.  The  jailers  had  done  an  excellent  job 
of  imprisoning  him.  He  could  not  escape — but 
that  was  due  to  no  lack  of  effort  on  his  part. 
1  he   sack   jumped   around   like   a   live   thing. 

"Opusisfixin'togit  hisse'f  kilt," said  Florian, 
"That  las'  wiggle  of  his'n  took  him  right  near 
the  edge  of  the  cliff.  'Twoul'n't  be  our  fault 
was  he  to  happen  to  an  accident." 

"Let  me  out  of  heah!    Ise  suffocatin'." 

"Fine  day  fo'  a  swim,  aint  it,  fellers?"  ob- 
served Mr.  Slappey. 

From  down  below  came  the  stentorian  voice 
of  Director  J.  Caesar  Clump. 

Every  advertisement  in  PIIOTOPLAY  MAGAZINE  is  guaranteed. 


struggles  availed  him  nothing.  He  screamed, 
he  vowed  vengeance  in  one  breath  and  swore 
promise  of  reward  with  the  next.  But  evi- 
dently neither  Mr.  Washington  nor  Mr.  Tapp 
heard  him.  They  hoisted  the  bag  on  their 
shoulders,  bore  it  to  the  spot  where  the  wall 
dropped  sheer  to  the  sun-drenched  waters  of 
the  Mediterranean  and,  holding  it  between 
them,  swung  it  as  two  children  might  swing  a 
hammock. 

Opus's  protest — fierce  but  muffled — did  not 
bother  them.  Florian  leaned  over  the  cliff  and 
called  to  his  chief. 

"All  set,  Caesar.    Start  grindin'." 

"Shoot!"  responded  Mr.  Clump  loudly. 
Then  they  heard  his  orders  to  Exotic  Hines — 
"Cam'ra!" 

With  a  mighty  heave — a  superb  exhibition  of 
coordinated  strength — the  sack  containing  the 
figure  of  Mr.  Opus  Randall  was  pitched  far  out 
into  the  atmosphere.  A  horrid  shriek  split  the 
daylight     Then  Mr   Randall  started  down. 

He  fell  straight  and  he  fell  fast.  He  hit  the 
sea  with  a  heart-warming  splash  .  .  .  and 
disappeared  from  sight.  At  the  same  instant 
Florian  emitted  a  wail  of  simulated  terror. 

"Caesar!"  he  screamed,  "somethin'  has 
happened!" 

"What?"  bawled  the  director. 

"That  sack  di'n't  contain  no  dummy." 

"Nemmin'  that.    It  splashed  good." 

"It  ought  to  have,"  yelled  Florian.  "Opus 
Randall  is  in  it!" 

Consternation  gripped  the  actors  grouped 
along  the  water's  edge.  There  were  shouts  and 
calls  and  hurryings  to  and  fro.  Everybody 
seemed  to  be  doing  something  and  accomplish- 
ing nothing.  Caesar  had  time  for  a  mere  word 
with  his  president. 

"  Florian  has  gone  too  far,"  he  snapped. 

"Three  of  us  thinks  that,"  retorted  Latimer. 
"You  an'  me  an'  Opus  Randall." 

The  sack  containing  the  damp  and  doleful 
Opus  bobbed  unaccountably  to  the  surface  and 
agitated  itself  considerably.  And  at  the  same 
moment  a  shout  broke  from  the  lips  of  the  on- 
lookers. 

From  behind  a  rocky  promontory  shot  a  slim 
craft  propelled  by  two  oars  in  the  hands  of  a 
small,  slender,  earnest  young  actor. 

Welford  Potts  seemed  determined  upon 
rescue.  He  bent  to  his  task,  and  rowed  as  he 
had  never  rowed  before.  The  little  craft 
danced  over  the  placid  waters,  sending  the 
Mediterranean  purling  from  the  bow  in  two 
silver  streams. 

Mr.  Potts  was  an  oarsman  of  no  mean  abil- 
ity. It  seemed  as  though  he  intended  to  collide 
forcibly  with  the  restricted  Mr.  Randall.  Then 
he  backed  water  with  one  oar  and  propelled 
with  the  other.  The  row-boat  swung  violently 
and  came  to  a  stop  close  by  the  twisting, 
screaming  sack. 

Welford  reached  down  and  grabbed.  Then 
he  braced  himself  and  pulled.  Holding  tight 
to  the  sack  with  one  hand,  he  produced  a  pen 
knife  with  the  other  and  cut  the  cloth.  From 
the  coarse  brown  lingerie  Opus  emerged. 


"Welford,"  he  gasped  gratefully,  "you  has 
saved  my  life." 

"You  is  dawg-gone  tootin'  I  has,"  grated  the 
conscientious  Mr.  Potts.  "Git  you  in  this 
boat." 

AIDED  by  Welford,   the  comedian   clam- 
bered to  safety  where  he  tumbled  to  the 
floor  of  the  boat  and  lay  wet  and  gasping. 

Within  ten  minutes  the  ponderous  actor  had 
completely  recovered  from  his  ducking.  The 
shoreline  rang  with  cheers  for  the  hero  who  had 
saved  from  a  watery  grave  Midnight's  fore- 
most stout  comedian.  Then  came  Clump's 
voice,  all  efficient  business. 

"Is  you  feelin'  all  right  now,  Opus?" 

"Yassuh,  Brother  Clump.    Elegant." 

"  Good.  Le's  us  not  waste  no  time.  You  is 
now  Mistuh  Dailies  again.  Let  Welford  keep 
you  out  yonder  until  Exotic  makes  a  set-up 
aroun'  that  point.  Then  you  swims  t'ords 
shore  an'  acts  like  I  tol'  you.     Understan?" 

"  My  comprehension  is  fine,  Mistuh  Clump." 

The  troupe  disappeared  around  the  rocky 
point,  Exotic  leading  the  way  with  tripod  and 
camera.  Mr.  Potts,  disdaining  to  accept  too 
much  gratitude,  sculled  gently  in  the  same  di- 
rection. By  the  time  they  came  within  sight  of 
the  others  the  camera  was  ready  and  Clump 
very  much  on  th  e  job  with  his  megaphone. 

Florian  Slappey  and  the  two  jailers  had 
joined  the  group.  Mr.  Slappey  was  explain- 
ing how  it  happened,  and  while  nobody  be- 
lieved his  protestations  of  innocence  all  pre- 
tended to,  now  that  Opus  had  been  saved. 

A  hundred  feet  off  shore  Clump  announced 
that  everything  was  set.  The  Count  of  Monte 
Cristo  doffed  his  shoes  and  eased  himself  into 
the  water.  Then  Welford  rowed  out  of  camera 
range  and  started  swiftly  toward  the  island  of 
If.  He  landed  simultaneously  with  the  first 
clickings  of  the  camera. 

Opus  swam  strongly,  straight  into  the  lens. 
He  registered  comedy  and  did  a  few  aquatic 
tricks  under  Clump's  "directorial  orders.  It  was 
an  interesting  and  not  unfunny  scene. 

Opus  reached  the  shore.  Meanwhile,  Wel- 
ford had  joined  the  others  and  was  modestly 
accepting  congratulations  on  his  heroism. 

Mr.  Randall  emerged  from  the  water  and 
commenced  the  difficult  task  of  scaling  a  large 
rock.  Director  Clump  shouted  instructions 
and  received  assurance  from  Exotic  Hines  that 
the  camera  was  recording  every  detail. 

But  just  as  Edmoni  Dantcs  attained  the  top 
of  the  rock  something  startling  happened.  Mr. 
Welford  Potts,  diminutive  but  triumphant, 
stepped  for.vari  and  took  something  from  his 
pocket.  His  manner,  quiet  and  positive,  com- 
manded attention. 

But  the  picture  was  lagging  and  Director 
Clump's  voice  cut  sharply  through  the  air. 

"Go  ahead,  Opus,"  he  commanded.  "Say 
yo'  speech!" 

The  Gargantuan  actor  struck  an  attitude. 

"The  whole  dawg-gone  world,"  declaimed 
Edmoni  Dantcs,   "is  mine!" 

For  an  instant  the  tableau  held.  Then  the 
smooth  voice  of  Welford  Potts  came  clearly  to 
the  ears  of  all. 

"Uh-huh,"  said  Mr.  Potts  agreeably,  "it 
showly  is,  Opus.     But  the  medal  aint!" 

There  was  a  gasp  of  astonishment  from  the 
troupers  and  a  sudden  yell  of  rage  from  Opus 
Randall.  All  eyes  were  focused  upon  the  late 
hero. 

Welford  was  an  enormously  impressive  sight 
as  he  pisei  before  his  friends.  He  had  pinned 
something  on  his  bosom. 

It  was  a  large,  gleamy,  glittery  medal, 
formed  in  the  shape  of  a  star.  It  had  been 
given  by  enthusiastic  Marseillians  to  the  two 
best  actors  in  the    Midnight  organization. 

Mr.  Opus  Randall  gave  vent  to  a  howl  of 
mingled  anguish  and  fury. 

"Where  at  did  you  git  my  medal,  Welford?" 

"Off  you."  came  the  placid  response.  "You 
said  yo'self  that  if  I  was  man  enough  to  git  it, 
you  woul'n't  raise  no  objections."  Mr.  Potts 
smiled  with  pardonable  pride  and  gestured  to- 
ward the  open  sea.  "And  so  I  borrowed  it  off 
your  coat  right  after  you  got  rescued." 


Photoplay  Magazine — Advertising  Section 


l3l 


HINDS 

ZHTomy  &yilmond 

CRfiiAM 


CREAM" 

%a   Han 
<">d  Qmptexm 


"Why  powder  here — of  all  places?" 
—  he  growled 

Guests  they  were,  in   the   Sniithers*  box.  cling,  for  hours.  Use  it — even  if  powder  and 

And  there — right  out  in  the  white  glare  of  puff  are  left  at  home  the  consequences  are 

the  theatre,  with  all  the  world  watching —  neverserious.  For  your  powder  will  stay  on. 

she   powdered    her  nose!    Our    artist    has  Hinds  Cream  also  protects  the  skin; 

pictured  his  feelings.  keeps  the  face  and   hands   fragrantly  fresh 

Now  if,  at  home,  she  had  used  Hinds'  and   soft,   if  used   regularly   morning   and 

Honey  and  Almond   Cream  as  a  powder  night.  And  it  takes  but  ten  seconds  to  apply, 

base,   she  wouldn't  have   needed  repairs.  Suppose  we  send  you  a  sample  bottle  to 

Because — Hinds  Cream  makes  the  powder  try.  Just  write  to  the  address  below. 

Made  by   A.  S.    HINDS    CO.,  a  division  of  LEHN   &   FINK    PRODUCTS    COMPANY 

Sole  distributors,  Lehn  &  Fink,  Inc.,  Bloomfield,  N.  J.,  Department  65 
h  Canada  .-Made  by  A.  S.  Hinds  Co.  (Canada),  Um\tei;distributtd  by  Lehn&  Fink  (Canada)  .Limited,  Toronto 

cm  write  to  advertisers  please  mention  rnoTOPI.AY  MAGAZINE. 


132 


Photoplay  Magazine — Advertising  Section 


$>(j0 


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Perfect  Behavior  in  Hollywood 


i  CONTINUED  FROM  PAGE  5 1  ] 


Donald  Ogden  Stewart  begins  to  wonder 
what  he  will  write  for  the  fifth  chapter  of 
"Perfect  Behavior  in  Hollywood."  Finally  he 
decides : 

CHAPTER  V 

"Treatments" 

T  AST  month  we  began  the  subject  of  "Treat- 
■'-'ments"  but  only  succeeded  in  getting  as  far 
as  the  preliminary  "Conference"  or  "Story 
Conference,"  as  it  is  often  called.  This  month 
we  are  to  consider  that  the  Conference  is  over 
and  the  Writer  is  ready  for  the  next  step.  For 
many  Writers,  this  "next  step"  consists  in 
walking  thoughtfully  to  the  window  of  some 
tall  building  and  jumping  out,  but  for  the  sake 
of  continuing  these  articles  we  will  imagine  that 
the  Writer  really  wishes  to  go  on  with  his 
career  in  moving  pictures. 

To  have  something  else  to  write  about  we 
will  therefore  withhold  our  final  recommenda- 
tions until  the  end  of  the  series. 

"Treatments"  are,  as  we  explained  last 
month,  preliminary  drafts  for  the  "Con- 
tinuity" and  are  in  no  way  to  be  confused  with 
other  "Treatments,"  such  as.  for  example, 
treatments  for  falling  hair  or  al  oholism.  To 
be  sure,  the  making  of  moving  picture  "treat- 
ments" does,  in  many  cases,  eventually  lead  to 
both  falling  hair  and  alcoholism,  but  those  are 
matters  which  should  be  discussed  in  the  pages 
of  some  other  more  medical  magazine  than  this 
and  by  some  one  more  scientifically  removed 
from  a  tendency  to  both.     I  shall  attempt  to 


confine  myself  in  these  articles  to  matters  about 
which  I  personally  know  very  little. 

In  order,  therefore,  to  begin  your  "Treat- 
ment," it  will  be  necessary  for  you  to  read  and 
digest  the  story  which  they  want  you  to  make 
a  treatment  of.  It  is  presumed  that  you  can 
"read"  (inasmuch  as  you  are  in  the  "Writing" 
and  not  the  "Producing"  end  of  motion 
pictures),  and,  as  far  as  "digesting"  the  story 
goes,  that  is  more  or  less  up  to  the  equipment 
with  which  nature  has  endowed  you.  A  good 
strong  stomach,  however,  will  help  you  more  in 
I  lollywood  than  in  any  place  in  the  world  that 
I  can  think  of  just  at  this  moment. 

After  you  have  "digested"  the  story,  you 
can  begin  the  "Treatment."  Let  us  suppose 
that  the  story  is  one  which  the  company  pur- 
chased under  the  tit le  of  "The  Life  of  Christ." 
As  has  been  explained  in  preceding  chapters, 
this  original  story  has  already  been  changed  by 
various  "adapters"  in  various  executive  con- 
ferences to  conform  to  the  necessary  conditions 
inside  the  company  itself  as  regards  stars, 
directors,  etc.,  so  that  by  the  time  the  story 
reaches  you  it  is  probably,  in  addition  to  being 
the  life  of  Christ,  also  the  love  story  of  a  young 
American  girl  and  a  Roman  soldier,  with  a 
thrilling  climax  i  entering  about  the  almost 
human  intelligence  of  a  German  police  dog. 
Your  duty  to  the  company  is  to  arrange  this 
story  in  rough  sequences.  Your  duty  to 
humanity  is  to  shoot  the  head  of  the  company. 

You  can  take  your  choice.  My  personal 
recommendation  is  a  Colt  .44. — and  don't  aim 
for  the  heart. 


Mary  Herself 


CONTINUED  FROM  PACE   11 


an  end  and  Mary  became  desperate.  Here  she 
was,  a  movie  actress,  and  she  had  never  put  on 
make-up.  So  she  went  to  Irving  Thalberg, 
then  general  manager  for  Universal,  and 
begged  for  a  chance  in  a  picture.  There  was  a 
small  role  in  one  of  Frank  Mayo's  films  and 
Mar)'  urged  him  to  give  her  an  opportunity  to 
play  it. 

Thalberg  spoke  to  the  director,  but  the  di- 
rector took  one  look  at  Mar>'  and  laughed. 
Thalberg,  fortunately,  was  insistent  and  the 
director  agreed  to  let  Mary  try  one  scene. 

Just  to  test  the  girl,  the  director  started  her 
on  the  hardest  scene  in  the  picture.  And  Mary 
played  it  for  dear  life.  It  was  the  first  time  in 
her  life  she  ever  had  acted,  but  she  played  this 
test  scene  so  well  that  the  director  not  only 
accepted  her  for  the  part  but  enlarged  the  role 
to  give  her  more  to  do. 

And  then  Yon  Stroheim  started  "Merry- 
Go-Round"  and  Man-  got  the  chance  of  her 
life. 

Although  the  rambunctious  Austrian  didn't 
complete  the  picture,  he  taught  Mary  the 
essentials  of  acting  in  a  few  weeks. 

Yon  Stroheim  wrote  "The  Wedding  March" 
with  Mary  Philbin  in  mind.  He  went  to  Uni- 
versal and  urged  the  company  to  loan  young 
Miss  Philbin  for  the  leading  role.  But,  if  you 
know  your  feuds  of  Hollywood,  you  will  realize 
that  Universal  and  \'on  Stroheim  are  bad 
friends. 

Universal  refused  to  part  with  its  star, 
although  Von  Stroheim  offered  S6.000  a  week 
for  her  services.  And  that's  a  lot  of  money, 
even  in  film  circles. 

All  this  bidding  for  her  services  has  been 
flattering  to  Mary  and  just  a  little  heart- 
breaking. And  it  is  small  consolation  that 
"Von"  selected  Fay  Wray  for  the  role  and 


made  her  up  to  look  as  much  like  Mary  Philbin 
as  possible. 

Universal  is  rightfully  jealous  of  Miss  Phil- 
bin. Its  youngest  and  slimmest  star  is  the 
torch-bearer  of  Art  in  the  big  sprawling  city 
that  is  given  over  mostly  to  comics  and  west- 
erns. 

Mary  gets  its  best  director  and  its  big- 
gest specials.    And  its  most  pretentious  stories. 

"Whenever  they  find  a  story  that  might  suit 
Nazimova  or  Pauline  Frederick,  they  give  it  to 
me."  Miss  Philbin  explains. 

This  doesn't  annoy  her  and  it  doesn't 
frighten  her. 

"When  I  came  East,"  said  Mary,  "I  hoped 
to  find  a  young-girl  story.  Or  even  a  child's 
part.  I'd  like  to  play  a  child's  part  before  I  get 
to  be  thirty-five.  But,"  and  Mary  gave  an 
Irish  smile,  "they  gave  me  a  Russian  story. 
I  am  to  be  a  Russian  Jewess — very  dramatic." 
Shepaused.  "Icandoit.  Idon't  look  the  part, 
but  that's  unimportant,  after  all.  I  can  look 
like  a  child. 

"That's  why  they  won't  give  me  a  child's  role. 
It  would  be  too  easy." 

I  asked  Mary  the  conventional  question — if 
she   ever   meant   to  get   married. 

And  she  laughed  a  cool,  impersonal  child- 
like laugh. 

"  I  haven't  been  in  love  since  I  was  five  years 
old,"  she  answered.  "Of  course,"  she  laughed. 
"I  have  considered  all  the  eligible  men.  I 
don't  know  many  of  them  and  I  don't  think  I 
care  for  any  of  them. 

"The  studio  is  my  whole  life,"  and  she  was 
quite  serious  now.  "I  love  to  act  and  1  am  so 
grateful  for  all  the  chances  I  have  had.  I  love 
my  work  so  much  that  it  wouldn't  be  fair  to 
think  of  anything  else." 

And.  believe  it  or  not,  she  means  it! 


Every  advertisement   in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


133 


Tust  a  nice  little  house  pet. 
Harold  Lloyd's  Great  Dane, 
Prince  Eric,  weighs  one  hundred 
and  eighty  pounds,  and  is  one  of 
the  largest  of  his  breed.  Harold 
couldn't  work  for  several  days 
recently.  Three  or  four  of  his 
brood  of  Danes  died  and  Harold 
couldn't  be  funny  with  his  pets 
gone.  Prince  Eric  is  trying  to 
console  him 


A  Monument  to  Youth 
and  Romance 


[  CONTINUED  FROM  PAGE  45  ] 

By  all  means  a  cheerful,  inviting  memorial — 
a  place  that  people  would  naturally  use  and 
enjoy. 

A  trysting  place  for  lovers. 

And  so,  as  naturally  as  a  sunrise,  there  came 
up  in  the  designer's  mind  a  vision  of  a  graceful 
half-circle  of  columns,  standing  serene  and 
dignified  against  a  dark  background,  and  curv- 
ing toward  you  like  welcoming  arms  held  out. 
And  within  that  half-circle,  that  architects  call 
an  exedra,  would  stand  a  great  figure  of  the 
Sheik,  the  role  of  all  Valentino's  roles  that 
typified    romance. 

A  bronze  figure  on  an  Arabian  horse — 
larger  than  life-size — the  scale  sculptors  call 
"heroic." 

This,  I  believe,  would  be  the  only  equestrian 
figure  of  an  actor  in  the  world,  but  would 
welcome  a  correction  on  this  point  if  I  am 
wrong. 

pOLLOWIXG  the  curve  of  the  exedra,  a 
■*-  broad  bench — a  secluded  spot  indeed,  in  the 
shadow  of  the  Sheik.  Benches,  too,  invite 
moonlight  and  starlight  meetings  under  the  two 
pergolas  that  run  across  the  ends  of  the  terrace. 
The  pergola  is  a  naturalized  incident  of  Cali- 
fornia architecture,  and  these  two  are  designed 
to  bring  the  tall  marble  exedra  into  a  more  in- 
timate relationship  with  immediate  surround- 
ings, as  well  as  with  the  whole  California 
picture. 


<^/l  sudden  shower.  Shelter  beneath 
a  friendly  tree.  Bedrnggledelotl.es. 
Disheveled  hair.  A  rain-splashed  f.  ce. 

Disaster  to  all  the  artifices  of  I  cut- 
ty. And  then — a  smile.  A  glimpse 
of  gleaming  teeth.  Natural  beauty 
triumphing  over  circumstance. 

Unsuspecting,  she  had  met  —  and 
passed— The  Smile  Test. 

Could  You  pass  it 
now? 


^Jhrouglh 
the  eyes  ofaCMan 


1 


MEN  JUDGE  BEAUTY  SO  DIFFER 
ENTLY  FROM  WOMEN 


] 


How  lovelier  than  dreams  of  beauty 
feminine  loveliness  has  become!  Truly, 
it  seems  every  woman  can  be  beautiful. 
Most  women  are! 

And  yet,  my  masculine  mind  insists 
upon  differentiating  between  the  arti- 
ficial and  the  real.  It  seeks  some  touch 
of  natural  beauty  to  rest  upon. 

Thus,  instinctively,  I  watch  a  woman 
smile. 


No  beauty  magic  can  give  the 
charm  of  gleaming  teeth.  Yet,  this 
natural  loveliness  can  be  yours  at 
the  cost  of  iust  four  minutes  a  day. 
Two  minutes  in  the  morning. 
Two  at  night. 

Thorough  brushing  with  the  right 
brush  and  in  the  right  way — away  from 
the  gums —  is  the  only  road  to  beauti- 
ful, unstained  teeth. 

Your  dentist  will  tell  you  that  Dr. 
West's  Tooth  Brush  is  correctly  de- 
signed for  proper  brusirng.  Small 
enough  to  slip  easily  between  cheek  and 
teeth  with  sturdy  bristles  firmly  erect, 
it  polishes  as  it  cleans. 

Get  a  new  Dr.  West's  today.  Use  it 
daily — faithfully — for  those  vital  four 
minutes.  Your  reward  will  be  white, 
gleaming  teeth  of  a  brilliance  you  prob- 
ably never  have  suspected  was  possible. 

For  your  protection,  Dr.  West's 
Tooth  Brush  comes  in  a  sealed  glassine 
container  inside  the  usual  carton. 


1  HIS  CABINET  on  your  dealer's  counter  will  remind  you  to 
buy  the  tooth  brush  you  have  been  forgetting.  Its  exposed 
brushes  will  enable  others  to  examine  Dr.  West's  without  han- 
dling the  sealed  brush  you  will  ultimately  buy. 


©1926.  W.  E.  M.  Co. 


There's  a  Dr.  West's  Tooth  Brush  /or  every  member  of 

the  family.  Adult's.  50c:  Youth's.  35c:  Child's,  25c; 

Special  Cum  Massage,  75c. 


liinnlM.AY  MAGAZINE. 


134 


Photoplay  Magazine — Advertising  Section 


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StillmaiTs  FreckleCreambleaches 
them  out  whileyou  sleep.  Leaves  the 
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"The  Palmer 
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years  of  labor." 

Jim  Tully,  whose  work  recently  appeared 
in  five  different  magazines  in  the  same  month, 
one  of  them  Liberty,  says:  "I  recall  writing 
my  first  short  story  ...  it  was  a  tale  of  the 
ring  called  'Battle  Galore.'  and  Clayton  Hamil- 
ton gave  me  advice  on  how  to  'build  it  up.' 
...  I  am  certain  that  the  Palmer  Course 
would  have  saved  me  years  of  labor." 

■Think  what  it  would  mean  to  you  to  have 
at  your  elbow  as  you  write,  a  man  who  can 
impart  to  you  that  elusive  something  that 
makes  characters  live  and  stories  grip— what 
most  writers  spend  years  to  acquire.  That, 
and  more,  the  Palmer  Institute  can  give  you. 
Though  you  study  in  your  home,  in  spare 
time,  you  find  Palmer  Courses  uniquely 
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about  the  course  I  have  rlv 

D  Short  Story  Wr 


And  that  is  all — a  simple  thing,  but  dignified,  right  bear  the  ancient  tragic  and  comic  masks 
It  is  raised  ten  feet  or  so  above  the  street  level,  that  symbolize  the  actor,  composed  here  with  a 
as  any  important  monument  should  be,  on  a     decorative  entwinement  of  motion  picture  film 


grass  embankment,  with  broad  stairs  inviting 
the  passer-by  up  to  a  terrace  of  Spanish  tile. 

In  style  this  simple  half-circle  of  columns  is 
Roman,  suitable,  perfectly,  to  a  son  of  Italy, 
yet  it  has  far  less  of  the  pomp  and  grandeur  of 
Imperial  Rome  than  it  has  of  the  charm  and 
grace  of  the  architectural  features  of  the  beauti- 
ful old  villa  gardens  of  Renaissance  Italy. 
Perhaps  it  has  a  little  of  the  elegance  of  Ver- 
sailles— not  a  fault,  certainly — and  in  the  mind 
of  the  designer  it  successfully  achieves  an 
architectural  expression  of  romance. 

In  detail,  the  palmette  capital  on  the  col- 
umns is  suggested  in  place  of  the  conventional 
Corinthian  type — a  bit  of  symbolism  of  the 
desert,  in  memory  of  the  Sheik. 

There  are  eight  columns,  and  at  the  base  of 
each  it  is  planned  to  incorporate  in  the  design 
low-relief  panel,  six  of  these  to  show  Rudolph 
Valentino,  in  costume,  in  his  six  greatest  roles: 
"The  Four  Horsemen,"  "The  Sheik,"  "Blood 
and  Sand,"  "Monsieur  Beaucaire,"  "The 
Eagle,"  and  "The  Son  of  the  Sheik."  And  the 
panels  beneath  the  columns  at  extreme  left  and 


in  place  of  a  conventional  ribbon  treatment. 
Preliminary  sketches  for  these  panels,  as  well 
as  for  the  great  equestrian  figure  of  the  Sheik, 
are  being  prepared  by  Gerome  Brush,  son  of 
the  celebrated  painter,  George  De  Forest 
Brush. 

Monuments,  too  often,  are  cold,  imper- 
sonal, but  least  of  all  should  it  be  possible  to 
bring  this  charge  against  a  monument  erected 
to  youth  and  romance — The  Rudolph  Valen- 
tino Memorial  for  Hollywood. 

The  design  is  to  welcome  and  charm,  like 
youth  itself,  and  to  create  a  setting  for  living 
romance. 

And  to  make  it  belong,  still  more,  to  the 
living,  it  is  proposed  to  build  into  the  base  of 
the  great  figure  of  the  Sheik  a  bronze  chest  in 
which  is  to  lie  for  all  time  a  parchment  scroll  or 
book  bearing  the  names  of  every  individual  who 
has  contributed  an  amount,  no  matter  how 
large  or  small,  toward  the  building  in  Holly- 
wood, where  Rudolph  Valentino  won  his  far- 
reaching  triumphs,  of  a  graceful,  dignified,  in- 
spiring monument  to  youth  and  romance. 


The  Price  They  Paid  for  Stardom 


CONTINUED  FROM  PAGE   20  ] 


at  a  charity  benefit.  Thousands  of  dollars 
were  to  be  collected  on  the  strength  of  Har- 
old's presence  at  the  affair. 

Harold  knew  that  even-one. expected  him  to 
be  there,  that  he  would  be  criticized  if  he  didn't 
show  up.  He  had  a  high  fever  and  his  doctors 
told  him  not  to  go;  in  fact,  they  ordered  him  to 
stay  home. 

But  Harold  went,  his  illness  became  worse 
and  died. 


made.  But  the  photography  is  crude,  the 
stories  poor,  the  costumes  old-fashioned  and 
the  acting  jerky. 

However,  the  producer  told  Gloria  that  un- 
less she  bought  back  these  negatives  at  a  cost 
of  $125,000,  he  would  release  them,  in  opposi- 
tion to  her  first  picture  made  by  her  independ- 
ent company. 

Persons  ignorant  of  the  inside  workings  of 
the  film  business  might  naturally  hold  Gloria 
responsible  for  the  release  of  these  worthless 
films.     And  so  Gloria  is  being  held  up  for 


IT  was  John  Bunny  who  was  the  first  martyr 
to  his  own  popularity.     A  stage  comedian  of     Si 25,000  to  protect  her  artistic  and  business 

reputation. 

And  the  sad  part  of  this  story  is,  that  when 
Gloria  told  me  about  it ,  she  related  it  as  merely 
an   everyday  occurrence! 

It  seemed  to  her  simply  a  casual  inconven- 
ience and  not  a  gross  violation  of  all  decent 
business  ethics. 

Every  day  Gloria  pays  for  her  stardom  in 
contentment  and  in  cold  cash.  No  wonder  she 
fights  so  hard  to  keep  her  children  away  from 
all  public  contacts! 


some  reputation,  Bunny  went  into  the  movies 
when  they  were  those  funny  flickers.  1 1  wasn't 
long  before  Bunny  had  this  new  audience  al  his 
feet.  And  Bunny  loved  these  newly  found 
friends. 

The  illness  which  resulted  in  his  death  was 
slight  and  curable,  but  rather  than  refuse 
requests  from  hundreds  of  theater  managers 
who  wanted  him  for  personal  appearances. 
Bunny  went  on  a  long,  tiresome  tour  that 
aggravated  his  illness  and  caused  his  death. 

These  sharp  tragedies  are  well  known  to  the 
public.    But  the  untold  iragedies  are  almost  as     ""fTIE  strangest  sacrifice^  alHs  made  every 
cruel. 


There  is,  for  instance,  the  story  of  Gloria 
Swanson.  For  all  her  flair  for  publicity,  Gloria 
is  naturally  sensitive. 

Unkind  criticism,  cruel  comment,  make  her 
cringe  and  shrink 


-1-  day — every  hour — by  Mae  Murray.  Mae's 
sole  reasons  for  stardom  are  her  doll-like  face 
and  her  slender,  graceful  figure.  These  assets 
Mae  must  keep  at  any  cost. 

The  cost  is  high.    Mac  never  smiles  a  broad, 
face-wrinkling    smile.      She    never    lauidis 


For  years,   Gloria  has  been  the  target   for     hearty  laugh.     She  never  allows  herself   the 


L_. 


A'o  ga1enman   trt.7  call 


._! 


sensational  stories.  Most  of  the  things  that 
have  been  said  about  her  have  been  grossly 
untrue. 

No  one  knows  how  these  silly  and  sensa- 
tional stories  start.  Gloria's  exotic  personality 
seems  to  work  on  the  imagination  of  the 
public. 

Gloria's  greatest  light  is  for  peace  and 
privacy.  It  costs  her  a  great  deal  of  money  to 
enjov  a  protected  and  peaceful  home  life — the 
heritage  of  any  ordinary  mortal.  If  Gloria  so 
much  as  steps  from  her  own  door,  a  crowd 
gathers.  If  she  walks  down  the  street,  she  is 
mobbed.  Her  slightest  action  lands  her  in  the 
newspapers.  A  commonplace  show  of  temper 
or  an  ill-judged  word  and  she  is  harshly 
criticized. 

Only  recently  she  told  me  of  an  annoying 
incident.  A  certain  not-too-scrupulous  pro- 
ducer bought  up  some  of  her  own  pictures, 
made  back  in  the  Triangle  days.  The  films 
are  worthless  as  entertainment,  although  they 
were  fair  enough  pictures  when  they  were  first 


luxury'  of  a  real,  deep  emotion  that  might  bring 
wrinkles  to  her  expensive  face. 

Mae's  whole  life  is  spent  guarding  her 
beauty.  It's  the  dullest  job  a  woman  can  find; 
the  most  enslaving  career.  Keen  joys  and  keen 
sorrows  leave  their  mark  on  the  face  and  on  the 
character.  All  these  are  denied  to  Mae 
Murray. 

When  Mae  goes  to  a  party,  she  is  the  first  to 
leave.  She  must  have  her  beauty  sleep.  On 
Sundays,  when  the  more  carefree  players  are 
playing  tennis  or  swimming  at  the  beach,  dis- 
regarding sunburn  and  freckles,  Mae  is  home 
in  bed,  drinking  milk.  No  hot  dogs  and  pop 
for  Mae.  No  parties,  no  games,  no  carefree 
pleasure.  Not  for  Mae  I  he  luxury  of  a  broken 
heart.  Not  for  Mae  the  joy  of  a  home  with 
children.  For  all  its  splendor,  hers  is  an  arid 
life. 

Oddly  enough,  Lillian  Gish's  regime  is  like 
Mae  Murray's.  Lillian  has  less  real  fun  than 
any  girl  in  the  world.  Although  somewhere 
around  the  age  of  thirty,  Lillian  is  constantly 


Every  advert  i; 


PHOTOPLAY  MAGAZINE  1 


Lillian's  public  demands  a  nun 


chaperoned 
like  idol. 

And  Lillian  lives  up  to  this  ideal  with  amaz- 
ing consistency. 

Lillian  cannot  marry.  No  one  wants  to 
think  of  her  as  a  domestic  little  wife.  Lillian 
cannot  eat  in  public;  she  might  spoil  the  illu- 
sion. Lillian  cannot  wear  gay  clothes,  flirt, 
dance,  or  lose  her  temper. 

Lillian's  life  is  divided  between  the  studio 
and  her  home.  At  the  studio  she  works  hard 
and  there  is  seldom  any  joking  or  laughing  on 
her  set.  When  she  goes  home,  she  rides  in  a 
curtained  limousine  with  her  chaperon.  At 
home,  she  reads  stories  and  scripts  and  sits 
with  her  invalid  mother.  And  all  around  her 
the  lesser  players  of  Hollywood  dance,  flirt,  fall 
in  love,  have  children  and  enjoy  themselves. 

Of  course,  everyone  knows  that  Leatrice  Joy 
and  John  Gilbert  were  happy  until  the  question 
of  stardom  loomed  up.  When  they  were  poor 
and  unknown,  Leatrice  and  John  were  just  the 
ordinary,  scrappily  married  couple.  They 
loved,  fought  and  made  up.  For  John's  sake, 
Leatrice  made  some  sacrifices.  And  John 
deliberately  turned  down  jobs  that  would 
separate  him  from  Leatrice. 

And  then  Leatrice  heard  the  call  of  success. 
John,  too,  grew  ambitious.  Somehow  or  other, 
Leatrice  and  John  couldn't  stand  prosperity  as 
well  as  they  had  faced  adversity.  Whatever 
the  cause  of  the  immediate  quarrel  that 
brought  about  their  separation,  the  little  tem- 
pests over  the  question  of  career  brought  about 
the  first  serious  trouble  between  them. 

No  star  has  paid  a  more  bitter  price  for  fame 
than  Belle  Bennett.  Belle  was  considered  the 
luckiest  woman  in  pictures  when  she  was  given 
the  role  of  Stella  Dallas.  And  she  scored  one  of 
the  greatest  individual  triumphs  of  last  season. 
It  was  odd,  too,  because  Belle  had  shown  no 
signs  of  greatness  in  any  of  her  previous 
pictures. 

The  story  back  of  her  triumph  was  grim 
tragedy.  Just  before  work  was  started  on 
"Stella  Dallas,"  Belle's  sixteen-year-old  son 
died. 

In  the  intensity  of  her  grief.  Miss  Bennett 
acted  as  she  had  never  acted  before. 

Most  of  the  stars  are  aware  that  there  is  a 
curious  little  jinx  that  lies  in  wait  for  the 
famous  and  prosperous,  and  most  of  them  do 
their  best  to  safeguard  their  health  and  to  find 
some  sort  of  peace  in  their  homes.  But, 
strangely  enough,  destiny  sometimes  takes  a 
hand  in  the  game  and  checkmates  the  most 
carefully  laid  plans. 

Ben  Turpin,  for  instance.  Ben  doesn't  like 
his  funny  eyes  any  better  than  you  would  if  you 
had  them.  Ben  put  up  with  cross-eyes  for 
years  because  he  couldn't  afford  to  have  an 
operation  to  straighten  them.  When  lien 
earned  enough  for  the  operation,  he  discovered 
that  his  weird  eyes  were  his  only  claim  to  fame 
and  fortune. 

"CATL  had  a  hand  in  the  death  of  Ormer 
*-  Locklear.  Do  you  remember  the  gallant 
aviator?  Locklear  was  famous  for  his  stunt- 
flying. 

For  years  he  was  the  winner  in  a  constant 
game  with  death.  His  bravery  and  skill  won 
him  a  starring  contract  in  the  movies. 

Again  destiny  stepped  in.  In  one  of  his  first 
stunts  as  a  movie  star,  Locklear  met  with 
disaster  and  was  instantly  killed. 

If  Roscoe  Arbuckle  had  been  an  ordinary 
individual,  even  if  he  had  been  an  obscure 
player,  life  wouldn't  have  been  so  hard  for  him. 
Poor  Arbuckle  was  a  victim  of  his  own  foolish- 
ness and  of  the  world's  intolerance.  Expert 
lawyers  say  that  he  would  have  been  acquitted 
at  the  preliminary  hearing  in  San  Francisco  if 
he  had  been  a  broker,  a  motorman,  or  a  rich 
man's  son. 

But  the  movies  were  blamed  for  Arbuckle 
and  Arbuckle  was  blamed  for  the  movies.  And 
a  hard-hearted  section  of  the  public  bluntly 
told  Arbuckle  that  his  services  were  no  longer 
required  in  the  only  profession  he  knew  any- 
thing about. 

Sometimes   the   stars   are   unconsciouslv   to 


Photoplay  Magazine — Advertising  Section 

r 


Andrew  Carnegie 

The  tense,  steel  silhouette  stretching  i 
high  against  the  sky;  the  mighty  net- 
work bridge  that  binds  two  distant 
shores;  glistening,  ribbon-like  rails 
stretching  across  the  continent;  mon- 
ster steam-belching  steeds  whose 
racing  wheels  pound  out  their  rhyth- 
mic song  of  achievement;  all  acclaim 
the  reign  of  steel,  and  mark  the  vision  of  men  whose  fore- 
sight and  enterprise  gave  it  birth  and  development.  Among 
these,  the  humble  bobbin-boy  who  fought  his  way  up  to 
"iron-master,"  captain  of  industry  and  benefactor,  ever  will 
rank  commandingly  as  a  master  of  achievement. 

James  Crossley  Eno 

He,  too,  was  a  man  endowed  with  a 
great  vision.  His  doctrine  of  Health 
for  Success,  and  his  well-known 
preparation  ENO,  for  over  half  a 
century  have  been  powerful  influ- 
ences in  the  promotion  of  health 
and  happiness,  ambition  and  energy 
in  the  civilized  world. 


'The  fight  always  goes  to  the  fit. 


» 


-Sayings  by  JAMES  CROSSLEY  ENO 

So  many  people  feel  just  "middlin"' — not  bad,  but  not  really  "fit." 

They   may   never   realize   how   much   better  they   might    feel,   how 

much  further  in  life  they  might  go,  how  much 

easier  achievement  might  become.  The  stimulation, 

born  of  the  internal  cleanliness  that  ENO  in   a 

little  water  or  orange  juice  induces,  comes  as   a 

revelation  to  most  people. 

ENO  is  a  gentle,  harmless,  sparkling,  health 
drink  which  encourages  the  natural  processes  of 
elimination.  Neither  a  tonic  nor  an  intoxicant, 
ENO  is  an  energizing  ally  for  those  who  keep  it 
handy  while  at  their  work.  Taken  at  the  first 
signs  of  "slowing-up"  it  tends  to  restore  one's 
ardor  and  vivacity. 

Children,  too,  like  ENO;  it  tastes  good  and 
keeps  them  in  good  condition. 

The  World-famed  Effervescent  Salt 

cAt  all  'Druggists 
Handy  Size  75c  Household  Size  #1.25 

Prepared  only  by  J.  C.  ENO,  Ltd.,  London,  England 

Sales  cAgents: 

Harold  F.  Ritchie  &  Co..  Inc. 
New  York  •  Toronto  •  Sydney  •  Wellington 

Copyright  1926,  by  J.  C  ENO,  LTD. 


you  unto  to  advertisers  pleas. 


1  PHOTOPLAY  MAGAZINE. 


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blame  for  the  tragedies  that  overtake  them.  A 
brief  case  of  the  big-head  has  been  known  to 
blight  a  life. 

A  little  grasping  for  money  may  mean  an 
enormous  sacrifice  of  happiness. 

A  little,  excusable  vanity  may  bring  about 
a  disaster. 

OFTENER  the  tragedies  are  caused  by  a  ma- 
licious working  of  fate.  As  witness  the  fact 
that  even  the  animal  stars  are  not  immune. 
Peter  the  Great,  the  gallant  police  dog,  was 
shot  in  a  quarrel  between  his  master  and 
another  man.  Strongheart.  the  original  dog 
star,  lost  out  because  Jane  Murrin.  his  owner, 
couldn't  agree  with  Larry  Trimble,  his 
director. 

Kin  Tin  Tin  came  along  and  captured  his 
prestige. 

As  I  have  said,  the  wise  ones  in  the  business 
try  to  ward  off  the  jinx.  Mary  Pickford  would 
work  harder  and  worry  more  if  Douglas  Fair- 
banks would  let  her.  Doug  knows  that  in- 
dividual happiness  comes  first,  and  Doug 
insists  on  some  leisure  and  freedom  for  Man-. 
But  it's  a  poignant  grief  to  Mary  that  she  has 
no  children. 

Norma  Talmadge  has  enjoyed  years  of  suc- 
cess. Her  marriage  was  a  brilliant  one.  Norma 
and  Joseph  Schenck  are  business  partners  and 
friends.  Joe  Schenck  has  worked  hard  ever 
since  he  was  a  small  boy.  Norma's  young  girl 
hood  was  spent  in  the  studio.  Norma  and  Joe 
would  love  to  play,  if  they  had  the  lime. 
But  they  have  almost  forgotten  how  to  go 
about  it. 

l.on  Chaney  has  reached  the  age  where  men, 
in  other  walks  of  life,  are  going  in  for  golf,  Eor 
easy  working  hours  and  for  week-ends  that 
begin  on  Thursday  and  end  on  Tuesday. 
Chaney  is  still  a  slave,  not  to  his  desk,  but  to 
his  make-up  box. 

Lon's  business  means  the  torture  of  body- 
racking  make-ups  and  long  hours  of  painful 
work. 


Sometimes  the  tragedies  of  stardom  are 
hidden  under  placid  surfaces.  As  the  saying 
goes,  Vilma  Banky  landed  soft  when  she  was 
brought  from  Hungary  and  thrust  into  in- 
stant stardom.  Vilma  conquered  without  a 
visible  struggle.  Her  first  close-up  won  the 
public. 

Hollywood  didn't  know  Vilma  very  well  at 
first.  She  was  a  funny  little  thing  who  spoke 
no  English. 

It  surmised  that  she  was  happy  because  it 
knew  that  she  was  lucky. 

And  luck  and  happiness  are  the  same  thing 
— on   the  surface. 

XJ<  >\V  that  Hollywood  knows  the  real  Vilma 
•L^  Banky,  it  understands  that  Vilma  made 
a  sacrifice  when  she  came,  a  stranger,  to  a 
foreign,  half-hostile  land.  Vilma  left  her  home 
and  her  family.  During  her  first  months  of 
stardom,  the  little  Hungarian  nearly  died  of 
homesickness. 

Vilma  didn't  tell  anyone,  because  she  could 
speak  no  English.  Every  night,  when  she  left 
the  studio,  she  half  considered  taking  the  first 
boat  back  home. 

But  Vilma  stuck  and  won  out.  And  the 
numerous  Bankys  back  in  Hungary  are  enjoy- 
ing unheard  of  prosperity. 

The  star  jinx  has  been  so  persistent  that 
some  of  the  cautious,  younger  players  are 
fighting  shy  of  starring  contracts.  I  once 
heard  John  Gilbert  pray  that  he  might  never 
attain  Valentino's  frantic  popularity.  That 
was  before  poor  Rudie  died. 

Richard  Dix  has  begged  Famous  Players- 
Lasky  to  make  him  merely  a  leading  player 
in  special  productions.  The  responsibility  of 
starring  is  too  heavy.  Ronald  Colman  fights 
shy  of  electric  lights. 

As  Richard  Dix  so  succinctly  puts  it,  "This 
business  of  being  a  star  is  too  much  like  being 
ruler  of  a  Balkan  country. 

"Lots  of  glory,  but  toomanypersonaldangers 
and  revolutions." 


Camera  Angles 


CONTINUED  PROM  PAGE  43  , 


VILMA  BANKY 

Let  Vilma  explain  it  herself:  "It  ees  not  a 
full  face  an'  not  a  profile.  What  you  call  eet — a 
tree-quartier  face.  But  everry  director,  he 
shoot  me  a  differunt  angle,  so.  an'  so  an'  so. 
Meestaire  Fitzmaurice  like  them  all.  Me,  I 
like  the  tree-quartier.  Why?  Eet  is  simple. 
I  look  much  bettair  that  way." 

Now  isn't  that  clear? 

RONALD  COLMAN 

Mr.  Colman  believes  that  the  full  profile  has 
the  advantages  because  it  shows  the  least  of 
his  mustache,  and  everyone  knows  he  doesn't 
like  to  wear  one.  When  it  comes  to  still  pic- 
tures, he  never  likes  any  of  them.  "Do  I  prefer 
the  right  or  left  profile?"  asks  Mr.  Colman. 
"Well.  I'm  rather  firmly  attached  to  both  of 
them." 

ALMA  RUBENS 

Alma  Rubens  gives  a  totally  different 
appearance  in  full  face  and  when  shot  in  profile. 
For  spiritual  beauty  and  general  charm,  the 
cameraman  usually  uses  .Alma's  profile,  but  to 
express  tragedy  or  tense  emotion  Alma's  full 
face  is  best. 

MARGARET  LIVINGSTON 

Margaret  Livingston's  face  is  piquant,  with 
the  result  that  it  is  a  fairly  easy  matter  to 
choose  an  angle  as  sheer  beauty  does  not  have 
to  be  considered.  However.  Miss  Livingston 
looks  most  charming  when  shot  at  an  angle 
which  discloses  her  right  side  in  three-quarter 
view. 

DOUGLAS  FAIRBANKS 

Doug  Fairbanks  is  one  of  those  fortunate 
individuals  who  has  a  universal  face — sort  of  on 


the  order  of  the  universal  joint  of  an  automo- 
bile. It  can  operate  from  any  angle — and 
does.  Doug's  features  are  effective  from  any 
position.  It  matters  nary  an  iota  whether  his 
visage  is  pictured  upside  down  or  to-side  fore- 
most. The  camera  is  never  particular  from 
v.hat  angle  it  catches  him.  In  fact,  at  times — 
when  he  is  doing  one  of  his  stunts,  for  instance 
— it  is  lucky  to  catch  his  face  at  all.  For  this, 
naturally,  there  is  a  reason,  the  answer  being 
that  Doug  happens  to  possess  symmetrical 
features,  which  state  of  physiognomy  is  most 
unusual.  This  means  that  one  side  of  his  face 
is  exactly  like  the  other;  there  is  no  "good" 
side  or  "bad"  side.  This  applies  to  profile  as 
well  as  to  front  elevation.  And  having  said 
that,  "there  ain't  no  more"  concerning  the 
deadly  "camera  angle"  as  it  applies  to  Fair- 
banks. 

MARY  PICKFORD 

The  old-fashioned  photograph  galleries,  be- 
fore the  days  of  artificial  lighting  for  pictures, 
always  had  a  north  window.  The  subject  sat 
facing  the  east,  with  the  light  on  the  left  side  of 
the  face. 

It  is  probably  from  instinct  that  Mary  Pick- 
ford  usually  poses  for  "still"  pictures  with  the 
left  side  of  her  face  to  the  camera,  for  K.  A. 
Rahmn,  who  has  photographed  Mary  for  several 
years,  declares  that  she  has  a  perfect  "camera 
face"  from  any  angle. 

Miss  Pickford  certainly  has  no  favorite  cam- 
era angle  in  moving  picture  work,  for  Charles 
Rosher,  her  cameraman  for  the  past  eight 
years,  has  never  found  an  angle  yet  that  did 
not  do  her  justice. 

Perhaps  the  most  beautiful  "shots''  of  Miss 
Pickford  Rosher  ever  made  were  those  in  her 
latest   picture,   "Sparrows."   where   the   little 


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baby  dies  in  Mary's  arms,  and  she  sees  a  vision 
of  I  In  Christ  taking  the  baby  through  green 
fields.  In  this  sequence  Rosher  photographed 
Miss  I'ickford  showing  the  left  profile,  then 
with  full  face  toward  the  camera. 

RICHARD  BARTHELMESS 

Richard  Barthelmess  prefers  to  have  the 
right  side  of  his  face  photographed.  His  reason 
is  that  the  part  of  his  hair,  which  is  on  the 
right,  conforms  to  the  contours  and  gives  a 
belter  angle  to  his  face  and  head. 

JACQUELINE  LOGAN 
Let  Jackie  speak  out:  "I  don't  believe  in 
bad  camera  angles  any  more.  Until  the  other 
day  I  was  afraid  of  half  a  dozen  different  angles 
in  close-ups,  and  was  so  worried  in  every  close 
shot  that  my  work  undoubtedly  suffered.  Then 
came  my  screen  test  for  the  role  of  Mary  Mag- 
dalene in  'The  King  of  Kings.'  It  seemed  as 
though  Mr.  Cown,  who  directed  me,  planned 
every  bit  of  'business'  in  a  deliberate  attempt 
to  make  me  work  in  the  angles  I  always  dodged. 
When  I  left  the  studio  I  was  convinced  I 
didn't  have  a  chance  for  the  role.  Conse- 
quently, when  Mr.  De  Mille  told  me  I  had  been 
selected  I  decided  that  camera  angles  would 
never  worry  me  again." 

ROD  LA  RCCQUE 

Rod  is  "agin"  bird's-eye  views! 

During  the  filming  of  "Gigolo,"  William  K. 
Howard,  his  director,  decided  upon  an  angle 
which  called  for  the  camera's  shooting  prac- 
tically straight  down  at  Rod  from  a  vantage 
atop  a  lofty  parallel.  Howard's  aim  was  an 
unusual  "shot."  He  got  what  he  was  after,  all 
right.  Rod  looked  most  unusual — about  as 
tall  as  Jackie  Coogan,  and  his  height  is  part  of 
his  "stock  in  trade."  The  "take"  was  thrown 
out  and  not  used  in  the  final  picture,  but  Rod 
learned  this  much  from  the  incident:  Never 
again  will  he  let  a  director  or  cameraman  talk 
him  into  a  bird's-eye  angle. 

WILLIAM  BOYD 

Mr.  Boyd  tells  his  own  story:  "I  had  never 
paid  much  attention  to  different  effects  from 
varying  camera  angles  until  about  a  year  ago, 
when  I  was  called  on  for  a  crying  close-up.  We 
took  the  scene  over  and  over  without  satisfying 
the  director,  and  after  looking  at  the  'rushes' 
we  made  a  re-take.  In  every  case  I  looked  as 
though  I  was  either  choking  to  death  or  laugh- 
ing. Finally  we  decided  to  shoot  it  from  the 
opposite  side — the  right — and  the  result  was  so 
entirely  different  you'd  have  thought  I  had  a 
double. 

"Since  then  I  have  never  played  in  a  crying 
close-up,  but  when  I  do  it  will  take  a  tough 
director  to  make  me  show  the  left  side  of  my 
face." 

LEATRICE  JOY 

It  took  an  enthusiastic  bumblebee  to  con- 
vince Leatrice  that  the  left  side  of  her  face 
didn't  photograph  badly. 

In  the  midst  of  "For  Alimony  Only,"  her 
most  recent  De  Mille  picture,  a  tremendous 
bumblebee  visited  her  right  eyelid  and  de- 
posited a  stinger  about  the  size  of  one  of 
grandmother's  needles.  Of  course  her  eye 
swelled  a-plenty  and  she  told  her  director  she 
would  have  to  cease  work  until  the  swelling 
went  down.  He  suggested  that  she  continue 
and  play  with  the  left  side  of  her  face.  Leatrice 
squawked  loudly,  for  she  had  always  avoided 
angles  which  featured  prominently  her  left 
side.  He  talked  her  out  of  it,  however,  and  the 
"rushes"  the  next  day  convinced  her  that  all 
the  time  she  had  been  harboring  a  false  appre- 
hension. 

MARIE  PREVCST 

Marie  Prevost  experienced  the  unusual  diffi- 
culties of  most  motion  picture  actresses  in  over- 
coming bad  camera  angles  during  her  early 
career.  Even  in  the  instance  of  ravishing 
beauty  there  is  often  some  particular  angle  that 
does  not  do  the  player  justice. 

She  found  she  screened  better  from  a  front  or 


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Coughing 
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then  I  discovered 


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three-quarter  view.  Her  profile  was  not  so 
good,  according  to  directors.  Test  after  test 
was  made  of  her  from  every  conceivable  angle. 
But  the  directors  agreed  that  front  or  three- 
quarter  views  were  the  best  for  her. 

PHYLLIS  HAVER 

Phyllis  Haver  discovered  early  in  her  screen 
career  that  her  face  was  a  little  too  round  to 
show  her  at  best  from  a  direct  front  view. 
This  was  easily  remedied  by  using  a  slightly 
three-quarter  view,  which  succeeded  in  elim- 
inating suggestion  of  pronounced  roundness  of 
features. 

JACK  HOLT 

Jack  prefers  a  three-quarters  angle  to  any 
other.  There's  no  particular  reason,  except 
that  he  believes  that  he  photographs  more  con- 
vincingly at  this  angle'  and  better  lighting 
effects  are  obtained. 

FLORENCE  VIDOR 

For  each  emotion  Miss  Vidor  has  a  different 
favorite  angle.  She  prefers  full  face  view  when 
she  registers  happiness,  a  three-quarters  view 
for  loneliness,  and  a  profile  for  sorrow  or  dis- 
appointment. 

DOUGLAS  MacLEAN 

Douglas  MacLean's  best  camera  angle  is  a 
smiling  full  face  shot,  with  the  camera  as  high 
as  possible,  thus  shortening  the  comedian's 
high  forehead. 

TOM  MIX 

Tom  Mix  is  usually  shot  full  face.  It  is  un- 
doubtedly his  best  angle  from  the  statement  of 
his  cameraman,  Dan  Clark,  who  has  shot  over 
fifty  of  Tom's  pictures.  Of  course  it  is  often 
necessary  to  shoot  from  a  direct  profile,  but  in 
the  case  of  this  star,  a  three-quarter  view  is 
avoided  wherever  possible. 

GEORGE  O'BRIEN 

Because  of  the  length  of  his  face  and  prom- 
inent chin,  George  O'Brien  is  shot,  particularly 
in  close-up,  with  his  chin  well  forward  and 
slightly  raised. 

OLIVE  BORDEN 

Olive  Borden  has  to  avoid  a  direct  full  face. 
Her  best  angle  is  a  three-quarters  left  side  face. 

BEBE  DANIELS 

Bebe  Daniels  is  one  of  the  stars  who  prefers 
to  be  photographed  full  face.  Her  reason  for 
this  preference  is  because  of  the  eyes.  Eyes 
are  the  most  important  medium  of  expression, 
the  living  screen  upon  which  emotions  are 
reflected,  and  this  is  Bebe's  reason.  Therefore, 
give  her  a  full  face  shot  and  let  the  profiles  and 
three-quarter  views  go  their  merry  ways. 

CLARA  BOW 

Clara  certainly  has  a  favorite  angle — but  un- 
fortunately it  is  a  tricky  one  and  cannot  be 
used  too  often  in  the  filming  of  a  picture — the 
three-quarter  view  of  the  face,  caught  as  one 
looks  over  one's  shoulder,  is  the  most  provoca- 
tive and  spontaneous  of  her  many  camera 
angles. 

POLA  NEGRI 

When  the  lights  are  properly  handled,  it 
really  does  not  matter  to  her  from  what  angle 
her  face  is  photographed.  However,  if  she  has 
a  preference,  it  is  for  profile  or  three-quarters. 

BETTY  BRONSON 

Betty  prefers  the  three-quarter  view.  Per- 
haps this  is  because  in  the  earliest  stills  she  had 
taken  in  screen  work,  she  thought  the  three- 
quarter  portraits  the  most  attractive. 

WALLACE  BEERY 

"Rubbish,"  snorts  Wallace  Beery. 

"The  pretty  ones — meaning  male  and  female 
— may  be  particular  about  how  they  face  or 
don't  face  the  camera,  but  as  for  me,  I  haven't 
any  preference.  I've  never  had  a  chance  to 
assert  it,  at  least,   so  I   haven't  given  any 


thought  to  this  so-called  phase  of  the  profes- 
sion. 

"If  I  were  pretty,  maybe  I'd  be  as  particular 
about  this  sort  of  thing  as  some  of  those  who 
are,  appear  to  be — but  so  far  I  haven't  been 
bothered  with  people  hanging  around  telling 
me  how  good-looking  I  am. 

"It's  my  honest  opinion  that  an  actor  or 
'actorine'  who  has  to  keep  his  or  her  mind  on 
the  exact  location  of  the  camera  with  respect  to 
his  or  her  face  is  losing  a  flock  of  chances  to 
put  across  some  pretty  good  stuff  while  the 
grinding  goes  on. 

"If  I  were  a  director  I  guess  I'd  be  pretty 
tough  on  some  of  these  'artists'  who  throw  up 
their  hands  when  the  'wrong  side' — whatever 
thai  is — of  their  faces  is  wanted  for  certain 
shuts." 

MARY  ASTOR 

Man,'  can  be  photographed  from  any  angle. 
She  lias  a  camera-proof  face.  But  cameramen 
like  to  get  her  profile — clear-cut  as  a  cameo. 

LLOYD  HUGHES 

Lloyd's  favorite  pose  is  profile  view,  but  his 
face  can  be  photographed  any  way  for  the 
screen. 

DORIS  KEN  YON 

Doris'  face  records  best  in  a  full  face  shot. 
It  is  rather  long  and  slightly  thin,  so  a  front 
view  fills  the  hollows. 

COLLEEN  MOORE 

Colleen  also  has  a  camera-proof  face, 
although  Colleen  prefers  a  front  view,  and  is 
fortunate  in  being  able  to  be  photographed 
with  a  broad  smile. 

MILTON  SILLS 

Another  perfect  camera  face.  That  of  Mil- 
ton Sills. 

Photograph  it  from  any  angle  and  it's 
bound  to  please. 

NORMA  SHEARER 

Ben  Reynolds,  who  has  photographed  Norma 
Shearer  in  five  pictures,  has  tried  to  improve  on 
each  picture.  Three-quarter  view  is  one  of 
Miss  Shearer's  best  angles.  She  has  a  beauti- 
fully moulded  face  that  is  just  round  enough, 
but  not  perfectly  circular.  There  are  a  good 
many  stars  who  cannot  stand  a  three-quarter 
shot  because  their  cheeks  are  not  round 
enough. 

CLAIRE  WINDSOR 

Many  of  the  players  believe  that  they  photo- 
graph best  from  certain  angles,  while  the 
cameramen  have  other  ideas.  Claire  Windsor, 
for  instance,  has  a  preference  for  the  right  side 
of  her  face,  although  cameramen  agree  that 
either  profile  is  good. 

PAULINE  STARKE 

Pauline  Starke's  best  angle  is  absolutely  full 
face. 

ELEANOR  BOARDMAN 

Eleanor  Boardman  has  the  idea  that  she  is 
hard  to  photograph.  She  is  taller  than  many 
women  on  the  screen,  but  her  face  is  ideal  from 
the  cameraman's  angle. 

JOAN  CRAWFORD 
According  to  John  Arnold,  the  cameraman, 
when  Joan  Crawford  first  came  on  the  M-G-M 
lot  she  presented  difficulties.  Her  face  looked 
thinner  than  it  really  was.  Seemingly  there 
was  no  reason  for  this,  until  she  and  the  cam- 
eraman began  experimenting  with  make-up. 
She  had  been  using  a  light  pink  make-up, 
which  gave  her  face  a  pasty  look.  When  she 
changed  to  a  dark  make-up.  almost  red,  the 
difficulty  was  eradicated. 

WILLIAM  HAINES 
William   Haines  is  angle-proof.     His  eyes 
arc  exactly  alike,  his  face  is  round  and  one  side 
of  his  face  is  neither  better  nor  worse  than  the 
other. 

JOHN  GILBERT 
John  Gilbert's  best  angle  is  full  face. 


Every  advertisement    in  PHOTOPLAY  MAGAZINE  Is  cuarantsed. 


Photoplay  Magazine — Advertising  Section 


*39 


The  Businessman' 
Comedian 


[  CONTINUED  FROM  PAGE  72  ] 

gags  are  not  humor,  although  they  might  be 
called  comedy.   .   .   ." 

Now  here  we  come  upon  a  man  who  is  a 
salesman  of  humor.  A  comedian  who  knows 
his  comics.  A  comedian  who  says  all  comedy  is 
not  humor  and  that  humor  and  entertainment 
should  be  combined  to  make  film  comedy — if 
you  follow  me  closely. 

"...  Make  your  audience  feel  superior  to 
you,"  continued  Doug,  dropping  the  famous 
grin  for  a  moment  as  he  purled  forth  priceless 
words  of  picture  wisdom,  "but  don't  let  them 
get  derisive.  Make  them  feel  a  bit  superior  to 
the  characters  in  the  story,  but  don't  let  them 
feel  superior  to  the  picture.  Don't  let  them 
know  it  is  a  picture.  Make  it  a  bit  of  human 
drama — or  humor — that  is  going  on  before 
their  eyes." 

And  then  in  a  different  vein,  "...  I  don't 
try  to  make  my  pictures  comic.  I  try  to  make 
them  entertaining.-" 

A  S  he  said  these  things,  which  smacked  of 
•''•knowledge,  the  story  dawned  upon  me.  Not 
the  story  of  Douglas  MacLean  and  the  Glad- 
some Smile,  or  Douglas  MacLean,  the  Min- 
ister's -  Son  -  Who  -  Made  -  Good  -  Out  -  of  -  the  - 
Pulpit,  or  Douglas  Macl.ean  who  is  Trying  to 
Live  Down  His  Virtuous  Reputation,  but 
Douglas  MacLean,  Businessman-Comedian. 
A  man  who  makes  a  business  of  being  a 
comedian.  A  man  who  knows  about  produc- 
tion, distribution,  and  selling  of  pictures.  But 
does  not  know  too  much  for  his  own  good. 

Not  the  nosey  kind  of  person  with  meddle- 
some fingers  in  the  machinery  of  industry. 
But  a  sane,  clear-minded,  level-headed  young 
fellow  with  more  than  the  usual  amount  of  good 
looks,  education  and  intelligence,  who  sells  his 
assets  as  another  man  might  sell  a  house,  a  car, 
a  yard  of  ribbon  or  two  lean  pork  chops. 

A  fellow  who  makes  and  markets  his  reels  of 
entertainment  with  a  watchful  eye  on  the 
ticker.  That  is  Douglas  MacLean,  who  thinks 
the  film  business  is  still  an  orphanage  of 
infants,  precocious  and  otherwise,  and  is  glad 
of  it;  and  that  two-reels  of  film,  canned  and 
called  a  "comedy,"  are  not  always  as  labelled. 

"You  will  find  me  hard  to  interview,"  said 
MacLean  in  a  voice  that  is  pleasantly  husky 
like  Ronald  Colman's,  minus  the  English 
accent.  "Someone  told  me  once  they  thought 
I  was  too  regular,"  and  he  flashed  the  MacLean 
grin.  "You  see  I  don't  get  involved  in 
scandals — "  then  suddenly  as  if  he  might 
appear  too  mundane —  "that  is,  those  that  get 
in  the  papers. 

"I  could  tell  you  something  funny  that  really 
happened,  if  you  would  like.  Only  it's  not 
about  me.  It's  about  Lloyd  Ingraham,  the 
director.  We  were  fishing  for  tuna  and  Lloyd 
got  very  sick.  He  flopped  on  the  deck  and  laid 
there  undisturbed  until  a  school  of  small  fish 
fled  past  the  boat.  The  captain  reached  over 
and  touched  pea-green  Ingraham: 

"  'See  them  anchovies  out  there!' 

"  Lloyd  wavered  up  on  one  elbow,  squinted 
with  bilious  eyes  into  the  ocean  and  sank  to  the 
deck  with  a  groan  and — 

"  'Yes.    Delicious,  aren't  they?' 

Doug  grinned  the  MacLean  grin.  The  in- 
fectious grin  you  see  in  his  pictures.  The  infec- 
tious grin  which  determined  Thomas  H.  Ince 
that  Doug  should  be  a  light  comedian  instead 
of  leading  man  to  Enid  Bennett.  But  Doug 
had  known  it  long  before  Ince  found  out. 

"  I  like  to  make  people  laugh.  And  it's  much 
more  pleasant  to  hear  laughter  in  a  theater 
than  the  sound  of  nose-blowing  on  every  side." 

He  was  an  actor  before  he  entered  pictures 
ten  years  ago.  Played  with  Maude  Adams  in 
"Rosalind"  and  then  in  "  Peter  Pan"  with  her. 


& 

* 


If 

ibu  can't  beat  a 

LYON  6  HEALY 


for  tone  or 


DOUGLAS  MacLEAN,  star  of 
Famous  Players  "That's  My  Baby" 
and  other  notable  screen  successes, 
is  an  amateur  musician  like  yourself — but 
he  knows  real  music  when  he  hears  it.  He 
has  found,  too,  the  secret  which  has  made 
him  so  popular  in  his  own  wide  circle  of 
friends — knowing  howto  do  things!  What 
special  accomplishment  have  you! 

For  Popularity  or  Profit 

the  "Sax"  Player  Wins 

Your  friends  multiply  as  soon  as  you  learn 
to  play  the  saxophone.  You  begin  to  pick 
and  choose  your  invitations.  You  never 
have  a  dull  evening  with  nothing  to  do. 
But  if  you  want  to  stay  home,  what  is 
more  delightful  than  an  hour  or  two  with 
your  "sax"  working  up  your  own  moans 
and  "blues"  for  a  popular  foxtrot  to  sur- 
prise your  crowd?  Thousands  of  others, 
like  yourself,  who  at  first  played  only  for 
pleasure  now  make  good  spare-time  money 
or  big  full-time  money  playing  in  dance 
orchestras  and  bands. 


ease  of 
playing 

says  Douglas  MacLean 

"I've  heard  'em  all  and  I  can  tell  the  difference  with 
one  ear.  Some  of  the  finest  scenes  I  ever  played  in  were 
acted  to  the  melodious  notes  of  a  Lyon  &  Healy  Saxo- 
phone. You  can't  beat  it  for  tone  or  for  ease  of  playing. 
It's  some  sax!"  ^y 

<Z&ru*(?t~o  fr\**  \&&^ 


and  that's  because — with  sixty  years'  ex- 
perience— we  have  simplified  the  finger- 
ing, made  it  second  nature  for  you.  The 
keys  are  at  your  finger  tips.  Movie  stars 
like  Douglas  MacLean  and  Richard  Dix, 
famous  actors,  athletes — fellows  like  your- 
self without  any  special  musical  ability — 
these  men  select  the  Lyon  6?  Healy  be- 
cause it  is  so  easy  to  play.  Leading  pro- 
fessional saxophone  players  in  the  nation's 
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140 


Photoplay  Magazine — Advertising  Section 

Came  pictures  and  leads  with  Alice  Brady. 
Mary  Pickford,  Enid  Bennett,  then  co-starred 
with  Doris  May  in  those  clever  light  comedies 
which  led  off  with  "Twenty-three  and  a  Half 
Hours'  Leave." 

Doug  isa  minister's  son,  born  in  Philadelphia, 
educated  in  Washington,  D.  C,  and  Chicago. 
He  was  a  bond  salesman  and  an  auto  salesman 
and  a  reporter.  He  commenced  theat  rical  work 
with  the  idea  of  owning  a  stock  company  in 
which  he  would  play  parts.  Just  a  canny 
Scotch  businessman-artist.  Completing  his 
course  at  the  American  Academy  of  Dramatic 
Arts,  he  was  engaged  by  Maude  Adams,  but 
not  before  he  had  discovered  the  three  stages  of 
an  actor's  evolution. 


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Unless  kept  always  clean  and 
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Millions  of  women  throughout 
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never  touched  a  piano,  if  you  can  hum 
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This  wonderful  home  course  19  offered  at  a 
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any  Popular  Jazz  piece  that  you  can  hum.  Write 
us  today. 

ILLINOIS  SCHOOL  OF  MU5IC 
658  Hearst  Square  Chicago 


SendimmtBodk 


HTHE  first  is  "acting,"  which  is  usually 
-1-  amateurish.  The  second  is  "making  yourself 
play  the  part."  And  the  third  is  "Idling  your- 
self play  the  part."  Fine  rules,  these — if  you 
apply  them.  Doug  has,  perfectly.  I  think. 
And  so  does  his  wife,  Faith  Cole  MacLean, 
whom  he  wooed  and  won  when  they  were  both 
learning  their  dramatic  A  B  C's  at  the 
Academy.  Their  marriage  has  endured 
through  stage  and  film  days.  It  is  one  of  those 
hardy  marriages  that  refutes  the  statement 
that  there  are  no  happy  marriages  in  the 
theater  world. 

"Don't  make  it  sweet!"  begged  Doug,  about 
the  story. 

So  not  a  word  about  his  eyes,  which  are 
brown  one  moment  and  hazel  the  next.  The 
eyes  that  twinkle  out  of  the  tan  of  his  face  when 
he  grins  in  that  broad  famous  MacLean  way. 
Not  a  word  about  their  intense  earnestness, 
their  laughing  speculation,  their  amazing  ex- 
pressiveness. 

Nope,  not  a  word.  This  must  not  be 
"sweet." 


High  Lights  of  Valentino's 
Life 


[  CONTINUED  FROM  PAGE  65  ] 

"My  boys."  he  said,  "love  your  mother,  and 
above  all,  love  your  country." 

My  hand  shook  and  great  tears  suddenly  fell 
on  the  trembling  crucifix.  That  moment  was 
engraved  on  my  heart  with  a  solemnity  that  I 
had  never  before  known  and  have  never  since 
experienced.  It  was  the  first  great  grief.  And 
always  I  will  carry  the  words:  Madre  e  Italia. 

I  tried  to  be  a  very  good  and  dutiful  son  after 
my  father's  death.  AH  of  us,  Maria.  Alberto 
and  I,  loved  our  little  mother  to  distraction. 
We  vied  jealously  to  serve  her.  And  I  would 
try  to  kiss  and  embrace  her  exactly  as  I  used  to 
see  my  father  do.  My  manly  attitude  was  too 
stern,  however,  for  my  eleven  years  and  soon 
dropped  away.  It  was  decided  that  if  I  were 
ever  to  be  a  gentleman  I  must  be  sent  off  to 
school.  For  a  year  I  struggled  through  the 
course  at  Dante  Alighieri  college,  which  cor- 
responds to  a  grammar  school  here.  I  came  out 
of  it  on  my  thirteenth  birthday  and  entered  a 
militarv  academy. 

*     *     * 

Next  I  was  sent  off  to  Perugia,  famous  as  the 
queen  of  Italian  hill  cities.  There  I  attended 
the  Collegio  della  Sapienze,  a  military  school 
for  doctors'  sons.  I  don't  know  why  they  call 
it  a  "  college  of  savants."  We  were  not  savants, 
at  least  I  wasn't.  I  went  out  as  ignorant  as  1 
went  in.  The  only  thing  I  accomplished  was 
the  football  team.  While  making  that  I  failed 
all  else  and  was  compelled  to  go  another  year. 
By  this  time  I  was  a  gentleman  of  fifteen  and 
felt  I  knew  all  there  was  to  know. 

From  a  child  it  had  been  my  great  ambition 
to  become  a  cavalry  officer.  The  position  of  an 
Italian  cavalry  officer  is  a  very  fine  one.  Most 
of  the  officers  are  of  noble  family,  the  flower  of 
the  land.     They  wear  the  most  beautiful  uni- 


Don't  Be  Gray 

For  more  than  ten  years,  gray-haired  men  and 
women,  whose  hair  at  one  time  was  brunette,  blonde, 
red,  auburn,  brown  or  black,  have  used  Kolor-Bak 
with  entire  satisfaction  and  "are  no  longer  gray. 
Results  often  appear  in  a  week. 

Kolor-Bak  is  a  clean,  colorless  liquid.  Easy  to  apply. 
No  experimenting'  with  samples  of  your  hair  — one 
bottle  is  for  all  shades  and  colors.  Acts  also  as  a 
tonic  —  keeps  scalp  clean  and  free  from  dandruff. 

It3  tremendous  Buccess  and  superiority  is  proved 
by  the  sale  of  nearly  3,000.000  bottles. 

Sold — with  absolute  money-back  guarantee — at  all 
druggists  and  stores  handling  high-grade  toilet 
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KoIor-HJak 

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forms  in  the  world,  part  of  which  is  the  long, 
glorious  blue  cape  that  all  women  admire. 
Indeed,  they  are  the  cynosure  of  all  eyes.  But 
it  requires  money  to  maintain  such  a  position 
in  life,  for  the  government  pay  is  small.  My 
father  had  left  a  comfortable  little  fortune,  but 
it  had  been  somewhat  depleted  in  the  years  fol- 
lowing his  death,  and  there  was  not  sufficient 
to  enable  me  to  realize  my  great  ambition. 

When  my  mother  explained  this,  we  compro- 
mised upon  the  Royal  Naval  Academy.  I  did 
settle  down  to  real  study  for  once  and  got  my- 
self into  excellent  physical  trim.  When  the 
fateful  day  arrived  for  examinations  in  the 
academy  at  Venice,  candidate  Guglielmi, 
proud  and  confident,  was  found  to  be  one  inch 
shy  in  chest  expansion.  My  humiliation  was 
complete.  The  only  thing  that  saved  me  from 
throwing  myself  into  the  grand  canal  was  the 
failure  of  another  boy  by  a  half-inch. 

My  mother  was  really  delighted  that  I  had 
not  been  accepted.  Better  far  that  I  go  to  the 
Royal  Academy  of  Agriculture  and  study  to  be 
a  scientific  farmer.  Italy  needed  scientific 
farmers  far  more  than  she  needed  soldiers  or 
sailors.  And  hadn't  my  most  distinguished 
ancestors  tilled  the  soil  of  their  estates?  Per- 
haps I  might  become  a  great  landed  proprietor 
and  re-create  the  legendary  glories  of  the  fam- 
ily. That  mother  of  mine,  she  knew  how  to 
reach  my  heart  and  touch  the  strings  of  in- 
spiration. 

Once  again  I  started  forth  to  school,  this 
time  with  a  high  and  firm  resolve.  I  would 
succeed,  as  my  father  had  commanded  for 
Madre  e  Italia. 

Fate  was  cruel  in  my  amours.  I  was  always 
in  love.  Young  Italians  always  are.  In  Italy 
love  thrills  everything — it  is  in  the  sensuous 
perfumed  breezes,  the  colors  of  heaven  and  sea, 
in  the  ruby  glances  of  Chianti,  and  the  moon- 
light floating  downward  like  aTitian  lady's  hair. 

If  the  Italian  is  the  most  passionate  lover  in 
the  world  it  may  be  because  he  is  the  most  re- 
strained. Rigid  convention  denies  him  all 
contact  with  the  lovelier  girls,  who  never  are 
free  from  chaperons.  His  ardor  is  inflamed  by 
the  imagination,  prompted  by  languishing 
glances  and  stealthily  exchanged  notes.  An 
American  may  speak  love  with  his  lips,  the 
Italian  must  say  it  with  his  eyes.  The  most 
passionate  lover,  perhaps,  yet  the  most  formal. 

In  such  a  mood  it  was  little  wonder  that 
Paris  called.  Regardless  of  obligations  to  fam- 
ily I  rushed  off  to  that  courtesan  of  cities  and 
for  several  months  played  among  the  smiles 
and  jewels  of  her  boulevards.  I  was  a  little 
vain  of  my  social  success — until  my  money  was 
gone.  Then  vanity  was  handed  the  truth.  I 
pleaded  for  money  from  home,  dashed  away  to 
Monte  Carlo  to  retrieve  my  fortunes  and  a  few- 
weeks  later  enacted  that  perennial  tragedy, 
The  Return  of  the  Prodigal. 

The  decision  of  my  family  was  that  I  had 
better  be  shipped  to  America.  "If  he's  going 
to  turn  out  a  criminal,"  observed  my  uncle, 
"it  is  better  he  do  so  in  America  where  he  will 
not  disgrace  us." 

The  prospect  of  adventure  in  America 
pleased  me  so  much  that  I  didn't  bother  re- 
senting the  aspersions  on  my  character.  I 
agreed  that  Italy  didn't  offer  much  of  any  op- 
portunity for  criminals.  And  so  my  mother 
got  together  about  $4,000,  all  that  she  could 
spare,  and  gave  it  to  me. 

It  was  the  memorable  morning  of  December 
Oth,  1013,  as  they  would  say  in  history,  that  I 
set  sail  on  a  boat  of  the  Hamburg-American 
line,  arriving  at  New  York  on  December  23rd. 


Through  a  cold  December  fog  our  boat  stole 
down  the  bay,  and  I,  clinging  to  the  deck  rail, 
strained  my  eyes  for  the  city  of  my  adventure. 
Suddenly  a  shaft  of  light  struck  through  the 
mist — and  before  me,  as  in  a  radiant  spotlight, 
arose  great  luminous  silver  towers.  "The 
skyscrapers,"  someone  said.    I  asked  an  Italian 


SUCH  beauty  as  becomes  a  fine  example  of  the 
jeweler's  art.  But  more  than  sheer  loveliness,  for 
this  flexible  SUREFIT  Metal  Watch  Strap  possesses 
great  strength,  comfort  and  durability  as  well.  No 
wonder  <o  many  women  frankly  prefer  SUREFIT  to 
any  other  watch  bracelet.  It  clasps  the  wrist  with  such 
satisfying  snugness — and  is  so  dainty,  graceful  and 
charming.     Yet  SUREFIT  is  not  expensive. 

Not  every  metal  watch  strap  is  a  SUREFIT. 
You'll  know  the  genuine  article  by  the  name 
stamped  on  the  end  clasp.  If  your  jeweler  can  t 
supply  you,  write  us,  giving  his  name. 

BLISS  BROTHERS  COMPANY 

Attleboro,  Mass. 

(PalcnUd  Sept.  24.  1918  and  July  22.  1919) 


5    SUREFIT  MetalWatch  Straps    i 


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mention  PJIOTOTLAT  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


LW  SWEETS 

PEFIEEI I660BR0ADWAY  NEW  YORK 


IT'S  FREE! 

...mpULe   B.K.kk;t    of 


tearing   around    the   island   with   Mr.    Bliss' 
Shetland  pony. 

A  few  days  later  Mr.  Bliss  informed  me  that 
he  had  changed  his  mind  about  the  Italian 
gardens.  Mrs.  Bliss  had  decided  in  favor  of  a 
golf  course,  he  said.  Although  I  realized  that 
the  real  cause  for  this  courteous  dismissal  was 
my  irresponsible  attitude,  I  bowed  myself 
quietly  out  with  expressions  of  gratitude  for 
my  proprietor's  kindness. 

By  this  time  I  had  become  very  tired  of  the 
country,  sol  romped  back  to  town,  wherein  one 
night  I  spent  all  I  had  earned  in  a  month. 
Again  my  friend,  the  Commissioner,  came  to 
my  rescue,  this  time  with  a  letter  which  se- 
cured me  a  position  on  the  estate  of  a  million- 
aire in  New  Jersey. 

After  working  two  weeks  at  manual  labor, 
without  receiving  any  pay,  I  went  to  the  pro- 
prietor, who  informed  me  curtly  that  he  in- 
tended to  pay  me  fifteen  dollars  a  month  with 
board  and  room. 

"There  must  be  some  mistake,"  I  replied 
irately.  "I  came  here  to  act  as  superintendent 
and  all  you  give  me  to  do  is  pick  buggy  leaves." 

I  fell  I  wasn't  cut  out  for  manual  labor. 
Later  on  I  wished  I  just  had  a  chance  at  some! 

Taking  my  two  weeks'  pay  of  $7.50  I  left  the 
gentleman  flat,  declaring  he  was  the  tightest 
wad  I  ever  knew.  My  trunks  were  to  be  sent 
directly  after  me.  Instead  of  that  they  were 
held  in  storage  until  I  went  after  them  at  the 
station  and  had  to  pay  ten  dollars  to  get  them 
out.    Thus  I  lost  S250  on  that  job. 


to  translate  the  word.  When  he  told  me  the 
meaning  I  thought  it  very  beautiful,  as  poetic 
as  the  picture  before  me.  For  New  York  was 
like  one  of  those  ethereal  visions  in  the  paint- 
ings of  old  masters — a  white,  towering  city 
seated  on  clouds.  A  little  it  resembled  the  hill 
cities  of  Italy,  built  of  white  stone,  as  you  see 
them  on  misty  mornings,  the  houses  arising  one 
above  the  other  with  their  campaniles  and  old 
battlements. 

And  so  with  my  illusions  still  bright  and  my 
heart  very  gay  I  landed  in  Brooklyn  just  two 
days  before  Christmas,  December  23,  1913. 

The  day  before  Christmas — Christmas  Eve 
— Christmas.  For  me,  just  one  terrible  loneli- 
ness of  the  heart.  I  had  a  small  friendless  din- 
ner in  a  little  deserted  restaurant.  The  dinner 
didn't  matter,  for  I  could  not  cat  it.  I  walked 
the  streets  all  day,  alone. 

New  Year's  Eve  was  different.  The  streets 
were  crowded  with  people,  surging,  sweeping 
mobs  of  them.  And  as  I  was  carried  along,  I 
had  a  peculiar  sinking  feeling  as  I  imagine  a 
man  might  have  in  the  middle  of  the  ocean — 
waves  upon  waves  of  strange  faces  uttering 
strange  sounds,  no  more  to  me  than  the  waves 
of  the  sea.  So  I  went  home  to  bed  and  tried  to 
read  and  couldn't. 

I  made  my  first  friends  in  New  York.  One 
was  George  Kagni,  whose  father  was  the  agent 
of  the  Metropolitan  Life  Insurance  Company 
in  France;  the  other  two  were  Count  Alex  Salm 
and  his  brother  Count  Otto,  of  Austria.  Alex, 
who  later  taught  me  to  dance,  was  a  splendid 
fi  How.  lie  v. as  called  home  at  the  outbreak  of 
the  war  and  died  fighting,  an  officer  of  the 
sixth  Hussars.  If  il  hadn't  been  for  these  three 
noble  musketeers.  George  and  Otto  and  Alex.  I 
think  I  might  have  followed  my  resolution  to 
return  to  Italy. 

Every  night  from  then  on  I  would  go  with 
my  friends  to  some  cafe  where  they  would  in- 
troduce me  to  the  girls  they  knew,  and  I  would 
try  to  dance.  The  tango  and  the  one-step 
were  then  in  vogue,  but  I  knew  only  the  old- 
fashioned  waltz,  mazurka  and  lam  cr^.  Xcvi  r- 
theless,  I  was  determined  to  learn  and  I  knew 
that  the  or.ly  way  was  by  dancing  with  the  best 
dancers.  .Many  was  the  time  I  was  turned 
down.  And  1  deserved  to  be,  for  I  must  have 
ruined  a  million  dollars'  worth  of  satin  slippers. 
Finally,  when  it  was  generally  known  that  I 
specialized  in  dancing  on  other  people's  feet,  I 
became  one  of  the  outstanding  wall-flowers  of 
the  best  cafes.  In  desperation  one  Sunday 
morning  as  we  were  walking  through  the  zoo  in 
Bronx  park,  I  halted  squarely  in  front  of  the 
monkey  cage  and  declared  I'd  never  move  an- 
other step  until  Alex  taught  me  to  tango.  I 
had  by  that  timepickedupmost  of  the  steps,  but 
I  had  been  unable  to  get  the  cortcs,  which  is  the 
basic  step  of  the  dance.  And  so  Alex  patiently 
taught  me  while  the  monkeys  bounded  up  and 
down  against  the  bars,  squealing  with  glee. 
From  then  on  I  practiced  until  I  could  do  a 
tango  with  some  distinction — even  to  originat- 
ing some  steps  of  my  own. 

My  brother  had  sent  me  a  letter  of  introduc- 
tion to  the  Commissioner  of  Immigration, 
which  I  decided  to  use  in  an  effort  to  make  some 
business  connection.  The  Commissioner  proved 
to  be  a  splendid  fellow,  very  courteous.  'When 
I  showed  him  my  diploma  from  the  Italian 

Vcademy  of  Agriculture,  he  arranged  for  me  to  for  work;  and,  turned  down,  walked  live  miles 
meet  Mr.  Cornelius  Bliss,  Jr.,  who  had  just  back  to  my  room.  My  landlady  was  holding 
built  a  country  place  in  Jericho,  Long  Island,  my  trunk  because  I  had  not  paid  her.  I  asked 
and  wanted  the  grounds  laid  out  in  Italian  permission  to  change  my  shoes.  My  feet  were 
gardens.      Finding   that   I   had   knowledge  of     bleeding.     She  refused. 

landscaping,  Mr.  Bliss  offered  me  the  position  My  friends,   the  Salms,  provided   me  with 

of  superintendent  on  the  estate,  provided  me  what  clothes  they  could,  but  their  allowance 
with  the  necessary  equipment  and  assigned  me  had  been  stopped  by  the  war  and  they  could 
a  ni:e  little  apartment  over  the  garage,  which     afford  little. 

had  just  been  completed.  My  last  room— a  skylight  room  near  43rd 

Although  I  had  a  serious  manner  and  the  ap-     street  and  Rroadwa\ — cost  me  two  dollar:   ■ 


I  was  absolutely  broke.  And  jobless.  So  I 
began  to  get  a  little  sense.  I  regretted  my  con- 
duct on  Mr.  liliss'  estate.  In  contrast  to  the 
New  Jersey  Shylock,  Mr.  Bliss  shone  as  a 
beneficent  Samaritan.  Deep  in  remorse  I  went 
to  his  office  and  was  received  by  him. 

He  proved  to  be  a  real  benefactor.  He  gave 
me  a  letter  to  Mr.  Ward,  the  park  commis- 
sioner, through  whom  I  was  engaged  as  an 
apprentice  landscape  gardener  in  Central  Park 
until  such  time  as  I  was  able  to  pass  the  ex- 
amination and  take  a  regular  position  on  the 
park  staff.  In  order  that  I  might  have  enough 
to  live  on  during  this  apprenticeship.  Mr.  Bliss 
gave  me  an  allowance.  I  worked  hard  for  a 
month,  then  went  to  the  civil  service  bureau 
to  take  my  test  and  register  for  a  position. 

"Are  you  an  American  citizen?"  was  the 
first  question  asked. 

"No,  I  am  an  Italian,"  I  said,  sensing  an 
obstacle. 

"Sorry,  but  only  American  citizens  are 
qualified  for  a  city  job." 

"How  long  will  it  take  to  become  a  citizen?" 
I  asked  eagerly. 

"Five  years." 

Then  started  my  via  crucis. 

Hunger,  loneliness,  nights  without  a  roof 
over  my  head,  shame  and  remorse — these  com- 
prised the  cross  of  my  humiliation.  My  false 
pride  was  ground  mercilessly  to  bits.  Then 
utterly  pulverized. 

I  was  kicked  out  of  one  lodging  after  another. 
I  changed  rooms  four  or  five  times  in  the  course 
of  two  months.  Sometimes  my  clothing  was 
held  in  lieu  of  payment.  Sometimes  I  pawned 
things.  Once  on  a  scorching  hot  day  in  sum- 
mer I  walked  five  miles  to  the  City  Hall  looking 


pearance  of  maturity,  I  was  only  eighteen 
years  old  and  very  much  a  kid.  As  there  was 
very  little  to  do  on  the  estate  until  the  snow 
had  cleared  away,  I  used  to  spend  my  time 


week.  It  wasacubby-holein  which  brooms  and 
mop-  were  kept.  There  was  an  iron  sink.  I  wiped 
my  hands  on  newspapers.  It  was  too  luxurious 
for  me.     I   couldn't  afford  to  keep  it 


in  photoplay  MAGAZINE  is  guaranteed, 


Photoplay  Magazine — Advertising  Section 


I  went  to  the  Mills  hotel  and  not  a  room  for 
twelve  cents.  For  one  night  only.  The  next 
night  I  didn't  have  twelve  cents. 

I  slept  in  Central  Park. 

I  was  just  a  tramp. 

I  looked  for  work  every  day.  Usually  I  did 
not  get  it,  but  sometimes  I  made  fifty  cents  by 
shining  the  brass  on  cars,  by  sweeping  out,  by 
doing  anything  that  anyone  would  allow  me  to 
do.  I  was  above  no  work.  For  bread  I  would 
have  scrubbed  the  streets. 

( )n  the  great  days  when  I  was  blessed  with  a 
job  I  would  go  to  the  place  of  "The  Hungry 
and  Homeless" — the  H  &  H  Automat.  On 
other  days  I  partook  of  free  lunches.  I  reached 
furtively  for  the  food  and  quickly  walked  out. 
I  couldn't  bear  to  have  them  taunt  me,  saying, 
"Why  don't  you  spend  a  nickel  for  beer?"  I 
didn't  want  beer.  I  wanted  just  water,  and  I 
couldn't  get  that  except  by  going  to  public 
fountains.  . 

Yes,  I  thought  of  suicide.  Many,  many 
limes  I  thought  of  it.  But  each  time  with  that 
thought  would  come  another:  Mother  said 
only  a  coward  commits  suicide;  the  brave  man 
bears  his  cross,  whatever  it  may  be. 

I  went  to  a  fellow  who  was  playing  the  piano 
in  the  orchestra  at  Maxim's.  He  came  from  an 
excellent  family  in  Taranto,  Italy,  and  had 
made  history  similar  to  my  own. 

"Can  you  help  me  to  get  work?"  I  said. 

He  didn't  ask  questions,  but  replied  to  my 
question  as  tersely  as  I  had  put  it. 

"Go  to  the  headwaiter  at  Maxim's.  He 
used  to  be  at  Bustanoby's.  He  will  remember 
you." 

In  my  shabby  clothes  I  presented  myself  to 
the  headwaiter  who  had  seen  me  only  in  im- 
maculate evening  attire  and  had  received 
many  a  nice  tip  from  me.  He  looked  at  me 
with  a  curious  smile. 

"I  guess  you  have  seen  plenty  like  me,"  I 
said.    "  Can  you  help  me  to  get  a  job?  " 

He  thought  a  moment,  and  then  said: 


Rudie's  Best  Friend 


In  life  and  in  death,  S.  George 
Ullman  proved  a  staunch  and 
steadfast  friend  to  Rudolph  Valen- 
tino. It  was  Mr.  Ullman  who  sat, 
as  an  untiring  comrade,  at  Rudie's 
bedside.  It  was  Mr.  Ullman,  who, 
although  grief-stricken,  undertook 
the  painful  job  of  watching  over 
Rudie's  interests  after  his  death. 
And  the  motion  picture  business, 
unused  to  such  devotion,  pays  its 
sincere  respect  to  this  man  who 
knew  how  to  be  a  friend 


•43 

They've  Found  Now 

that  the  way  you  remove  cleansing  cream 

has  an  almost  unbelievable  influence  on 
the  color  and  firmness  of  your  skin 

Please  accept  7-day  supply  to  try 

The  new  and  totally  different 
tvay  experts  urge 


LARGELY  on  the  advice  of 
-4  beauty  and  skin  specialists, 
thousands  of  women  have  turned, 
with  some  remarkable  effects  on 
the  skin,  to  a  new  way  of  removing       \ 
cleansing  cream. 

With  its  use  darkish   skins  seem 
shades  lighter  than  before. 

Oily   skin   and   nose    conditions   are 
curbed  amazingly. 

Dry  skins — skins  that  tend  to  "flake" — 
are  largely  overcome. 

Scores  of  skin  imperfections  —  many 
traced  to  improper  ways  of  removing 
cleansing  cream — are  combated. 


Virtually  every  important  beauty  au- 
thority urges  this  method.  Virtually  every 
prominent  motion  picture  and  stage  star 
before  the  public  today  employs  it.  It 
marks  a  new  era  in  skin  care. 

<]'day  supply  given 
Just  mail  the  coupon  and  a  full  7-day 
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no  matter  how  long  you  have  used  cold 
cream,  you  have  never  yet  removed  it 
properly,  have  never  removed  its  germ- 
laden  matter  completely  from  your  skin. 

What  ft  is 

This  new  way  is  called  Kleenex  'Kerchiefs 
■ — -absorbent.  A  new  kind  of  material  — 
different  from  any  other  you  have  ever 
seen  —  developed  in  consultation  with 
leading  authorities  in  skin  care  solely 
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It  comes  in  exquisite,  aseptic  sheets  of 
handkerchief  size.  You  use  it,  then  disJ 
card  it. 

It  is  the  first  method  ever  known  that 
removes  all  cleansing  cream,  all  dirt  and 
germ-laden  matter  from  the  pores. 

7^p  more  soiled  towels 

Soft  as  down  and  white  as  snow,  it 
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nary cloth  towel. 

It  ends  the  "soiled  towel"  method 
that  is  dangerous  to  skin  beauty. 

KLEENEX 

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It  avoids  the  harshness  of  paper  make- 
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7\[o  oily  s\ins 
Because  it  removes  all  dangerous  mat- 
ter and  grease  from  the  pores,  it  com- 
bats greasy  skin  and  nose  conditions. 
A  greasy  skin  often  indicates  cold  cream 
left  in  the  skin  which  the  pores  con- 
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A  blemished  skin  usually  indicates  a 
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Thus  your  skin  not  only  is  endan- 
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darker  than  it  is. 

In  two  or  three  days  this  neiv  method 
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Send  the  coupon 
Just  detach  the  coupon.     Use  it,  by  all 
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Kleenex  'Kerchiefs  — 

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i44 


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CHICAGO 


"I  remember  you  are  a  good  dancer.  We 
need  some  one  here  to  dance  with  lady  guests. 
Oftentimes  they  come  with  gentlemen  who 
do  not  dance.  We  can't  pay  you  anything,  but 
we  will  give  you  your  meals  and  a  room  up- 
stairs with  a  Victrola  where  you  can  give  danc- 
ing lessons.  You  will  have  plenty  of  chances  to 
make  a  little  money  that  way." 

All  I  could  say  was,  "  Fine! " 

I  didn't  dare  venture  the  remark  that  my 
evening  clothes  were  in  a  pawn  shop. 

Fate  was  certainly  being  kind  to  me.  Just 
outside  the  door  I  met  another  old  acquaint- 
ance.   He  was  surprised  at  my  appearance. 

"What's  happened,  old  man?" 

I  told  him  my  story  over  a  lunch  which  he 
bought  me  at  Jack's.  I  must  have  told  it 
touchingly,  for  he  said,  "I'll  be  your  first  pupil 
for  dancing  lessons,  and  I'll  advance  thirty 
dollars  if  you'll  come  up  to  my  studio  while  I 
get  it." 

With  this  money  I  redeemed  my  dress  suit, 
my  dinner  coat  and  evening  overcoat.  I  had 
enough  left  to  take  a  little  room  on  56th  street 
near  Kighth  Avenue  at  $5  a  week. 


A  few  weeks  later  I  met  a  girl  whose  acquaint- 
ance I  had  made  outside  the  44th  Street 
Theater,  when  both  of  us  had  been  hoping  to 
get  a  job  in  a  show  that  the  Shuberts  were  put- 
ting on.  I  invited  her  to  lunch  with  me  at 
Maxim's. 

"Why  don't  you  get  a  partner  and  do  exhibi- 
tion dances?"  she  asked.  "Surely  you  are  not 
satisfied  with  doing  this  sort  of  thing.  You  are 
a  gentleman  and  you  dance  well  enough  to 
appear  on  the  stage.  If  you  like,  I  will  intro- 
duce you  to  Bonnie  Glass.  I  think  she  is  look- 
ing for  a  partner." 

That  night  I  dressed  up  in  my  best — I  wore  a 
silk  high  hat,  too — and  went  with  my  friend  to 
the  New  York  roof  where  Miss  Glass  was 
dancing  with  Clifton  Webb. 

After  one  of  the  exhibition  numbers,  Miss 
Glass  came  over  to  our  table  and  I  was  pre- 
sented. Excusing  myself.  I  left  for  a  few  min- 
utes in  order  to  give  my  friend  an  opportunity 


After  playing  our  engagement  at  the  Palate 
Theater,  Bonnie  and  I  made  a  tour  of  the 
larger  Eastern  cities.  Then  Bonnie  opened  the 
Chez  Fisher,  on  55th  street,  a  very  popular  and 
exclusive  place.  I  danced  with  her  there  until 
she  married  Ben  Ali  Haggin  and  retired.  Joan 
Sawyer  then  engaged  me  to  dance  \i  ith  her 
during  a  vaudeville  tour,  and  afterwards  at 
Woodmansten  Inn. 

I  had  never  liked  dancing  as  a  profession, 
and  I  was  always  hoping  for  an  opportunity  to 
fulfill  my  original  ambition,  that  of  becoming  a 
farmer.  Hearing  that  California  offered  great 
opportunities.  I  decided  to  join  a  musical 
comedy,  "The  Masked  Model,"  which  was 
going  to  the  coast.  My  salary  w  as  seventy-five 
dollars  and  traveling  expenses.  The  show 
failed  at  Ogden,  but  I  received  a  ticket  on  to 
San  Francisco,  where  I  took  a  little  apartment 
in  the  Windmere  at  Rush  and  Powell  streets. 

In  San  Francisco  I  met  Mrs.  Jack  Spreckels, 
who  invited  me  to  her  home  to  meet  Jack. 
Through  him  I  received  a  letter  of  introduction 
to  the  president  of  the  Italian-American  bank, 
an  old  gentleman  who  was  the  founder  of  the 
Asti  colony  of  vine-growers  in  California. 

He  discouraged  me  in  my  idea  of  obtaining 
work  in  the  agricultural  line.  "There  is  noth- 
ing to  be  made  as  superintendent  of  land,"  he 
said.  "My  advice  is  that  you  stick  to  your  pro- 
fession, save  your  money,  and  when  the  time 
comes  you  will  be  able  to  start  right  by  invest- 
ing in  land  of  your  own." 


Following  this  excellent  counsel  I  took  a  part 
in  the  musical  comedy,  "Nobody  Home,"  with 
Richard  Carle,  playing  a  three  weeks'  engage- 
ment in  San  Francisco.  My  part  was  the  one 
that  Quentin  Todd  played  in  the  original  pro- 
duction. 

But  I  realized  that  I  could  not  remain  in  the 
role  of  dancer;  I  thoroughly  disliked  the  work. 
It  was  during  this  period  of  dissatisfaction  that 
I  received  an  introduction  to  the  manager  of 
Sargent  &  Company,  fiscal  agents  for  the  Com- 
monwealth Corporation  of  New  York,  selling 
gilt  edge  securities  on  small  payments.    They 


to  explain  who  I  was  and  what  my  qualifica-     needed  salesmen,  so  I  immediately  enrolled 


tions  were. 

"My  heavens!"  cried  Bonnie  when  she  heard. 
"  And  here  I  thought  he  was  a  South  American 
millionaire!" 

Although  she  was  terribly  disappointed  to 
learn  that  I  was  a  poor  broken-down  dancer 
looking  for  a  job  instead  of  the  millionaire 
she'd  fancied,  she  was  very  nice  to  me  and 
asked  me  to  call  her  the  next  day  at  the  Van 
Cortlandt  Hotel.  Mr.  Webb  was  leaving  and 
she  needed  a  new  partner. 


When  we  had  tried  out  a  few  steps  the  next 
afternoon  she  engaged  me  at  a  salary  of  fifty 
dollars  a  week.  She  confessed  afterwards  that 
she  was  kind  of  "leary"  of  me  because  I  wasn't 
sure-footed. 

That  night  we  went  over  to  the  horse  show  at 
Madison  Square  Garden,  and  from  there  to 
Delmonico's,  where  we  gave  a  dance  for  a  hospi- 
tal charity  affair.  We  then  went  on  at  Rec- 
tor's. I  went  through  the  dance  the  first  night 
without  making  a  mistake,  and  was  astonished 
by  the  way  I  was  received. 

We  later  created  quite  a  sensation  on  the 
stage  of  the  Winter  Garden  by  reviving  the  old 
cake-walk,  which  had  been  relegated  to  the 
musk  and  lavender  for  twenty  years.  After 
appearing  at  the  Colonial  Theater,  the  Or- 
pheum  in  Brooklyn  and  various  Keith  houses, 
Bonnie  opened  her  Montmartre  in  the  base- 
ment of  the  old  Boulevard  Cafe  and  raised  my 
salary  to  one  hundred  a  week.  While  dancing 
there  we  also  did  turns  at  the  Palace,  the 
Colonial  and  other  vaudeville  houses  about 
New  York  Perhaps  our  greatest  success  was 
earned  during  our  out-of-town  tour.  The  most 
memorable  night  was  in  Washington,  D.  C, 
when  President  Wilson  attended  our  opening, 
and  we  received  sixteen  curtain  calls  for  the 
waltz  we  had  created.  It  was  a  lovely  waltz — 
a  sort  of  pantomime. 


After  two  weeks  in  their  special  school  of  sales- 
manship, I  started  forth  on  my  businesscareer. 
I  remember  that  I  made  my  first  sale  to  the 
head  waiter  of  the  Cliff  House.  The  next  day 
I  made  another  commission  of  fifty  dollars 
But  on  the  third  day,  the  draft  was  declared, 
the  Liberty  Loan  drive  started  and  you 
couldn't  get  a  nickel  from  anybody.  It  was 
then  that  I  made  an  attempt  to  enlist  in  the 
Royal  Flying  Corps.  That  failing,  I  decided 
to  go  to  Hollywood  and  try  motion  pictures. 

During  the  summer  I  spent  at  Long  Beach, 
while  trying  my  hand  at  aviation,  I  made  the 
friendship  of  Norman  Kerry,  who  was  then  a 
representative  for  his  father's  concern,  a  leather 
goods  house.  Norman  did  not  like  business, 
and  things  were  not  going  very  well.  I  asked 
him  why  he  did  not  try  motion  pictures,  for  he 
seemed  to  have  all  the  qualifications.  He 
acted  on  my  suggestion,  and  the  next  time  I 
met  him  he  was  leading  man  for  Mary  Pickford 
in  "The  Little  Princess."  They  were  shooting 
some  scenes  in  San  Francisco  during  the  time  I 
was  striving  to  be  a  bond  salesman.  It  was 
Norman's  turn  this  time  to  make  a  suggestion, 
and  it  was  the  same  that  I  had  made  him — 
"Why  don't  you  try  pictures?"  But  no,  I 
was  through  with  the  make-believe.  Before  me 
stretched  the  glittering  field  of  Big  Business. 
Well,  when  Big  Business  left  me  flat,  I  decided 
to  try  Norman's  suggestion,  hoping  it  might 
prove  as  good  for  me  as  mine  had  for  him. 

As  usual,  I  was  out  of  money.  I  never  could 
save.  So  again  I  had  a  transportation  problem 
to  solve.  How  would  I  get  to  Los  Angeles? 
The  question  was  answered  by  the  late  Frank 
Carter,  husband  of  Marilyn  Miller,  who  was 
playing  in  "The  Passing  Show,"  with  Al  Jol- 
son,  in  San  Francisco. 

"Join  us,"  he  said.  "We  aire  doing  one 
night  stands  to  Los  Angeles,  and  there  is  always 
an  extra  berth  on  our  train  " 

He  introduced  me  to  Al  Jolson,  who  was  very 


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friendly  and  said,  "By  all  means,  come  with 


At  Los  Angeles  I  was  met  by  Norman  Kerry, 
who  insisted  that  I  put  up  at  the  Alexandria 
hotel,  the  best  in  the  place. 

"  You  stay  here  a  week  or  two  and  make  a 
good  impression,"  he  advised  shrewdly. 

Once  again  I  was  in  a  new  world  facing  a 
new  battle.  For  Hollywood  is  a  little  world  in 
itself.  No  matter  what  reputation  you  may 
bring  with  you  as  an  actor  or  dancer  or  author 
you  must  start  over  again  and  prove  yourself. 
That  is  why  so  many  celebrities  of  the  theater 
and  of  literature  have  failed  in  the  studio 
world,  not  realizing  that  they  must  learn  new 
things  and  light  a  new  tight. 

However,  I  had  one  asset  which  I  did  not 
have  when  I  started  my  adventures  in  New 
York.  I  had  at  least  one  valuable  friend. 
Norman  Kerry  not  only  provided  me  with 
funds  which  I  needed  so  badly,  but  he  intro- 
duced me  to  everyone  of  importance  in  the 
studios. 

Although  I  had  been  widely  advertised  in 
New  York  as  a  dancer  and  had  received 
twenty-five  dollars  an  hour  for  teaching  danc- 
ing, I  was  utterly  unknown  in  Hollywood. 
I  was  just  a  beginner  like  thousands  of  others. 
*     *     * 

Emmet  Flynn  was  the  first  director  to  see 
anything  in  me.  He  was  very  kind.  My  first 
job  was  as  "extra"  in  a  picture  he  directed 
called  "Alimony,"  starring  Josephine  Whittel, 
then  the  wife  of  Robert  Warwick.  I  received 
live  dollars  a  day,  like  the  other  "extras." 

By  the  way,  it  was  while  working  in  that 
picture  that  I  met  another  "extra"  who  was  to 
win  success  simultaneously  with  me.  Her 
name  was  Alice  Taffe.  She  was  the  same  girl 
whose  talents  you  discovered  in  "The  Four 
Horsemen" — Miss  Alice  Terry. 

Hayden  Talbot  was  the  author  of  "Alimony. ' ' 
One  day  Norman  Kerry  introduced  me  to  him. 
He  hadn't  noticed  me  among  the  "extras,"  but 
upon  meeting  me  he  said,  "You  are  a  great 
type  for  a  story  I  have  in  mind,  and  if  I  ever  do 
get  it  produced  you  will  get  the  part." 

I  thanked  him,  but  thought  nothing  more 
about  it. 

After  getting  work  with  Mr.  Flynn  I  was 
very  hopeful.  It  was  the  first  break  after  a 
long  attempt.  But  so  often  the  real  despair 
comes  after  you  make  a  start.  Hope  bounds  up 
quickly.  You  feel  so  sure  that  everything  has 
started  that  it  is  difficult  to  understand  your 
inability  to  get  work  afterward. 

After  working  in  "Alimony,"  I  thought 
surely  I  could  get  work  as  an  "extra"  at  least. 
But  I  tramped  from  studio  to  studio  without 
finding  a  thing.  The  casting  directors  were 
just  as  indifferent  as  they  had  been  at  the  out- 
set. The  fact  that  I  had  done  a  few  days' 
work  and  had  been  considered  favorably  by 
Mr.  Flynn,  Mr.  Talbot  and  Mr.  Kerry,  meant 
nothing  to  them.  Even  if  it  had,  they  might 
nothave  hadanything  to  offer.  At  that  time  my 
type  was  looked  upon  as  belonging  to  the 
"heavy"  class.  I  was  so  unmistakably  foreign 
that  I  did  not  fit  into  the  ordinary  "extra" 
class  for  American  scenes.  Thus  I  had  a 
greater  handicap  than  most  beginners. 

All  this  time  I  was  forced  to  impose  on  the 
generosity  of  Norman.  Realizing  it  was  silly 
to  stay  any  longer  at  the  Alexandria  hotel, 
which  was  very  expensive,  I  decided  to  take  a 
small  apartment  at  Grand  avenue  and  Fifth 
street. 

About  that  time  Baron  Long  opened  the 
Watts  Tavern,  a  road  house  near  Los  Angeles. 
He  offered  me  thirty-five  dollars  a  week  to 
dance  there.  As  my  apartment  cost  only  eight 
dollars  a  week,  I  figured  that  I  could  pay  my 
rent  and  board  and  wear  a  clean  collar  now  and 
.  then.  So  I  took  it.  I  also  thought  that  I  might 
attract  the  attention  of  some  director,  for  the 
film  people  were  the  chief  patrons  of  the  place. 
My  partner  was  Marjorie  Tain,  who  is  now 
working  in  Christie  comedies,  I  believe. 

Nothing  came   of   the   engagement   except 


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'45 


Not  for  just  a  day — a  week — 
nor  a  year — but  ALWAYS 

SUCH  was  the  promise  he  had  made  and  that  she 
cherished.  How  worried  she  was  when  her  mir- 
ror told  her  that  ghastly  story  of  grey  hairs. 

She  thought  that  she,  like  others  she  had  seen,  was 
doomed  to  have  that  dreadful,  dead,  dyed-looking  hair! 

Now  she  looks  back  to  that  dreadful  hour  when  the 
first  grey  hairs  were  discovered  and  smiles — and  well 
she  may — for  Rap-I-Dol  has  tinted  those  grey  hairs  as 
though  they  never  had  been — no  one  is  the  wiser  and 
that  naturally  glossy  shade,  nature's  rival,  is  her  s — 
not  for  just  a  day,  a  week,  nor  a  year — but  always! 

That  is  why  Rap-I-Dol  for  over  fifteen  years  has 
been  used  and  recommended  by  the  leading  beauty 
experts  in  the  United  States  and  Europe.  That  is 
why  women — who  know — are  using  Rap-I-Dol. 

The  natural  gloss  of  Rap-I-Dol,  its  beautiful  shades, 
its  permanency  are  unequaled.  It  is  the  hair  color- 
ing that  almost  overnight  took  away  woman's  fear  of 
having  her  hair  tinted. 

Rap-I-Dol  colors  after  nature's  own  fashion — per- 
meating the  inner  layers,  not  just  coating  the  outside. 
Hair  that  has  been  tinted  with  Rap-I-Dol  may  be  sub- 
jected to  any  treatment — permanently  waved,  sham- 
pooed, and  may  be  subjected  to  sunlight  and  elec- 
tricity without  being  detected. 

RAP-I-DOL 

%3heiMesterJ-iaip  Qoloring 

Ask  your  Beauty  Shop  about 
Rap-I-Dol.  Send  in  the  coupon 
for  the  Charm  Digest. 

AH  correspondence  will  be 
strictly  con/idential. 


ishes  erey  hair 
15  minutes. 


fl 


RAP-I-DOL  CO.,  Dept.  G,  518  Broad  St.,  Newark,  N.J. 

Kindly  send  me  your  Digest  which  I  understand  is 
sent  gratis — together  with  further  information  regard- 
ing Rap-I-Dol,  the  Parisienne  Hair  Coloring. 


Name. 
Street_ 


_City_ 


ft 


Wlirn  you  write  to  advei 


pleas 


rilllTori  AY  MAG  \ZIXE. 


146 


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that  I  met  some  very  fine  people  from  Pasadena 
who  suggested  that  I  try  for  an  engagement 
dancing  at  the  Hotel  Maryland,  one  of  the 
most  exclusive  hotels  in  Pasadena.  By  that 
time  the  Watts  Tavern  had  begun  to  attract 
an  undesirable  crowd,  and  I  was  disgusted  with 
the  place.  The  Maryland  engaged  me  to  dance 
with  Katherine  Phelps.  Our  first  exhibition 
was  on  Thanksgiving  day,  when  we  were  re- 
ceived very  nicely.  A  few  days  later  the  pro- 
prietor, Mr.  Leonard,  returned  from  the  East 
and  offered  me  a  permanent  engagement.  But 
the  terms  were  such  that  I  couldn't  accept,  and 
I  walked  out. 

That  very  day,  as  I  was  walking  down  to  the 
Alexandria,  I  met  Emmet  Flynn. 

He  grabbed  me  by  the  arm.  "My  God,  I've 
been  trying  to  get  hold  of  you  for  a  week,"  he 
said. 

"Do  you  remember  that  story  Hayden  Tal- 
bot said  he  was  going  to  write?" 

I  said,  "Yes." 

"Well,  he  has  done  it,  and  he  is  going  to  pro- 
duce it.  Go  over  and  see  Mr.  Maxwell,  the 
supervisor  of  production." 

The  part  proved  to  be  that  of  a  "heavy" — 
an  Italian  count,  and  I  suited  the  type  in  ap- 
pearance. 

"Will  vou  play  it  for  fifty  a  week?"  Mr. 
Maxwell  asked. 

"Certainly,"  I  said,  greatly  elated  in  the 
thought  that  here  at  last  was  my  big  chance. 

The  part  was  really  the  outstanding  one  of 
the  picture,  and  I  thought  surely  I  would 
attract  enough  attention  to  win  me  some  offers. 
Hut  iu>t  my  lurk — there  was  a  fight  over  the 
negative  after  its  completion.  The  camera 
men  hadn't  received  their  salaries,  and  as  a 
result  they  had  tied  up  the  picture.  It  was 
released  years  later  and  advertised:  Rudolph 
Valentino  in  "The  Married  Virgin!" 

So  I  starred  in  my  first  part.  Of  course, 
there  was  no  intention  of  conferring  such 
honors  upon  me  when  the  picture  was  made. 

It  only  came  about  because  of  the  promi- 
nence I  attained  during  the  interim. 

After  completing  that  picture  there  was 
another  lapse  of  several  weeks  during  which  I 
could  get  nothing.  Such  are  the  vicissitudes 
of  a  movie  career.  Vou  ma)-  play  a  leading 
role — several  leading  roles — and  then  suddenly 
find  yourself  back  where  you  started. 

Again  Emmet  Flynn  came  to  my  rescue.  He 
hesitated  to  offer  me  an  "extra"  part  after  I 
had  played  a  lead;  however,  he  finally  ven- 
tured the  question: 

"Will  you  play  an  Italian  bowery  tough  in 
my  picture?" 

"I  will  play  anything,"  I  said,  delighted  to 
get  the  seven-fifty  a  day. 

Incidentally,  Emmet  kept  me  on  the  payroll 
for  the  entire  production,  even  though  I 
didn't  work  every  day.  Such  are  the  things  a 
fellow  doesn't  forget. 

From  bowery  tough  I  suddenly  became  a 
prince  charming  of  the  middle  ages! 

This  sudden  transition  came  about  through 
Mae  Murray  and  her  husband.  Bob  Leonard. 
They  had  known  me  in  New  York.  One  day  as 
I  passed  through  their  "set."  I  called  "hello" 
to  Bob.  When  I  reached  home  I  received  a 
telephone  call  offering  me  the  role  of  leading 
man  in  "The  Big  Little  Person"  with  Mae. 

For  the  next  picture.  "The  Delicious  Little 
Devil,"  starring  Mae,  I  again  had  the  leading 
role.  I  was  cast  as  an  Irishman,  the  son  of  a 
contractor,  and  faith,  me  name  was  Jimmy 
Calhoun.     What  an  Irishman  I  made! 

The  following  picture  offered  nothing  for  me. 
The  hero  was  a  young  American  woodsman. 
It  seems  I  could  play  Irishmen  but  not  Ameri- 
cans. Ralph  Graves  had  just  won  a  beauty 
and  brains  contest  somewhere,  so  he  got  the 
part. 

While  he  couldn't  see  me  in  this  part.  Bob 
Leonard  liked  me  and  had  approved  of  my  work 
in  the  other  two  pictures.  He  is  a  wonderful 
fellow,  and  I  was  crazy  to  stay  with  him. 
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*47 


give  me  a  recommendation.     And  this  he  did. 

Thus  I  met  Paul  Powell,  who  was  to  direct 
Carmel  Myers  in  "A  Society  Sensation."  He 
was  very  nice.  "Go  and  have  a  talk  with  the 
manager,"  he  said,  "and  tell  him  1  said  you 
were  the  man  for  the  part." 

I  landed  the  part  and  a  salary  of  $125  a 
week.  Paul  Powell  liked  me.  He  was  the  first 
one  to  say,  "Stick  to  it  and  you  will  make  a 
name  for  yourself  some  day."  It  was  wonderful 
encouragement  that  I  never  forgot. 

Perhaps  I  was  too  elated,  for  I  went  out  and 
bought  a  S750  Mercer,  for  which  I  agreed  to 
pay  a  hundred  down  and  fifty  a  month.  It  cost 
me  about  twice  that  much  to  keep  it  in  repair, 
so  finally,  when  it  was  taken  away  from  me  be- 
cause I  hadn't  kept  up  my  payments,  I  bade  it 
a  fond  farewell. 

Paul  liked  me  so  much  in  "A  Society  Sen- 
sation" that  he  engaged  me  for  his  next  pro- 
duction, "All  Night."  He  also  was  instru- 
mental in  getting  me  a  raise  to  $150  a  week. 

I  had  finished  this  picture  and  was  looking 
around  for  another  chance  when  the  epidemic 
of  Spanish  "flu"  broke  out.  All  the  studios 
were  shut  down,  and  there  wasn't  a  ghost  of  a 
chance  of  getting  anything.  So  I  went  to  San 
Francisco  to  visit  some  friends.  Upon  my 
return  I  came  down  with  the  disease.  I  had  to 
go  to  bed,  but  I  didn't  call  a  doctor  or  take 
medicine.  I  don't  believe  much  in  medicine. 
When  I  finally  recovered,  I  found  that  I  had 
lost  thirty  pounds. 

At  that  time  I  was  living  in  Morgan  Place, 
in  Hollywood,  directly  opposite  Wally  Reid's 
home.  Wally  and  I  used  to  have  hot  battles. 
He  declared  that  the  cut-out  of  my  car  woke 
him  up  every  Sunday  morning,  and  I  claimed 
that  his  darned  saxophone  kept  me  from  going 
to  sleep.  Our  argument  developed  into  a 
neighborhood  joke. 

When  I  had  regained  my  strength  after  a 
careful  diet  of  boiled  fruits  and  broth,  I  started 
making  the  rounds  of  the  studios.  Not  a  chance 
did  I  have  for  coming  back  as  a  leading  man. 
In  desperation  I  offered  to  take  anything  that 
would  pay  me  enough  to  live. 

Finally,  Earle Williams  offered  me  a  "bit" 
doing  an  Apache  dance  in  "The  Rogue's  Ro- 
mance." Earle  and  his  wife  had  always  been 
very  nice  to  me  and  we  became  great  friends. 

James  Young,  who  directed  Williams,  was 
also  fine  to  me — in  fact,  wonderful.  He  let  me 
stage  the  dance  just  as  I  wanted  and  pick  the 
close-ups  I  considered  best.  When  he  was 
through  with  me,  he  said,  "Valentino,  you 
ought  to  be  a  great  actor  some  day — you  have  a 
lot  of  ability." 

I  told  him  I  hoped  some  other  people  would 
see  it.  They  didn't  for  a  long  time,  but,  some- 
how, those  few  words  would  bob  up  in  my 
mind  every  time  I  was  turned  down,  and  I 
would  say,  "I  must  have  the  stuff,  for  Mr. 
Young  is  an  artist  who  knows  ability  when  he 
sees  it." 

My  next  engagement  was  with  Ince,  in  sup- 
port of  Dorothy  Dalton.  When  the  picture 
had  been  finally  edited  for  the  market,  I  found 
myself  in  just  exactly  one  scene.  But  I  had 
earned  seventy-five  dollars  a  week,  and  that 
was  most  welcome  at  the  time. 

Consider  the  thrill  that  went  over  me,  then, 
when  I  received  a  call  from  D.  W.  Griffith. 

Not  since  the  day  back  in  Italy  when  I  ran 
away  to  see  the  king  had  I  been  so  excited. 

Previously,  I  had  met  Mr.  Griffith.  After 
completing  "All  Night"  at  Universal,  Paul 
Powell  had  given  me  a  letter  of  introduction. 
Mr.  Griffith  received  me  and  chatted  with  me 
for  several  minutes.  All  the  time  he  was  look- 
ing right  straight  over  my  head.  When  he  said, 
"We  haven't  anything  for  you  now,  but  leave 
your  pictures,"  I  wondered  how  he  could  know 
whether  he  had  anything  or  not  since  he 
hadn't  even  given  me  a  glance.  But  I  found 
out  afterwards  that  such  is  his  regular  manner. 
He  must  have  a  third  eye  concealed  about  him 
somewhere. 


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I 


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At  any  rate,  he  remembered  me  when  he 
was  casting  for  "Out  of  Luck,"  with  Dorothy 
Gish,  and  I  was  engaged  to  play  the  "heavy." 
I  think  Mr.  Griffith  liked  me.  Although  he 
made  no  comment  to  me  directly,  I  heard  later 
that  he  predicted  a  big  career  for  me. 

In  fact,  he  considered  me  for  the  Spanish 
part  in  "Scarlet  Days, "with  little  Clarine 
Seymour.  After  our  discussion,  however,  he 
held  a  conference  and  it  was  decided  that 
Richard  Barthelmess  should  play  the  part. 

Mr.  Griffith  kept  me  in  mind,  and  when  he 
presented  "The  Greatest  Thing  in  Life,"  at 
the  Auditorium,  in  Los  Angeles,  I  was  engaged 
to  dance  with  Carol  Dempster  in  a  prologue. 
I  worked  for  two  or  three  months,  receiving 
a  hundred  dollars  a  week  and,  when  "Scarlet 
Days"  was  shown  at  the  Grauman  theater, 
I  was  engaged  to  do  a  dance  as  a  prologue  to 
that  film. 

It  was  at  a  party  at  Pauline  Frederick's  that 
I  met  Jean  Acker. 

I  thought  her  very  attractive.  But  I  did  not 
see  her  again  for  some  time. 

While  completing  work  in  "Once  to  Every 
Woman,"  starring  Dorothy  Phillips,  I  again 
met  Miss  Acker. 

I  fell  in  love  with  her. 

I  think  you  might  call  it  love  at  first  sight. 

One  day  I  invited  her  to  go  horseback  riding 
with  me.  A  charming  California  day,  with  the 
leaves  of  the  pepper  trees,  which  lined  the  road, 
hanging  like  gold  lace  in  the  sunlight. 

It  was  like  an  Italian  day.  Romance  was 
shining  everywhere,  and  the  world  looked 
beautiful. 

That  day  I  proposed  to  Miss  Acker. 

It  seemed  spontaneous  and  beautiful  then. 
But  as  I  look  back,  now,  it  seems  more  like  a 
scene  for  a  picture  with  me  acting  the  leading 
part. 

We  drew  up  our  horses  under  the  trees,  where 
the  sun  worked  a  leafy  arabesque  upon  the 
ground.  I  remember  how  lovely  she  looked  as 
I  helped  her  to  dismount. 

And  then — I  asked  her  to  be  my  wife.  She 
made  me  very  happy  by  accepting. 

I  had  been  unutterably  lonely.  Above  all 
else  I  had  longed  for  a  friend,  a  great  and  real 
friend.  I  had  longed  for  the  sympathy  and 
understanding  which  a  woman  alone  can  give. 

When  we  returned  to  the  Hollywood  hotel, 
where  she  was  stopping,  we  met  May  Allison 
and  Mr.  and  Mrs.  Maxwell  Karger.  We  told 
them  we  were  going  to  be  married  the  very 
next  day. 

The  Kargers  were  giving  a  farewell  party 
that  evening  to  Richard  Rowland,  president 
of  Metro,  who  was  returning  to  New  York. 
Mr.  Karger  suggested  that  we  procure  our 
license  and  turn  the  party  into  a  wedding. 

That  was  the  way  we  rushed  through  our 
romance. 

After  the  ceremony,  we  had  supper  and 
danced  until  two  o'clock. 

Then  my  bride  left  me. 


I  had  saved  a  thousand  dollars,  my  first 
attempt  at  saving,  while  working  in  "Once  to 
Every  Woman."  This  soon  disappeared  after 
I  had  paid  various  expenses  attending  the 
wedding. 

Luckily  I  was  engaged  for  a  Katherine  Mac- 
Donald  picture,  "Passion's  Playground."  It 
was  remarkable  for  the  fact  that  Norman 
Kerry  and  I  played  brothers  in  the  picture. 
.  .  .  We  had  been  brothers  off  screen  right 
along — brother  adventurers  in  life. 

When  I  completed  "Passion's  Playground." 
I  had  another  interview  with  Miss  Acker  in  the 
hope  that  we  could  reach  a  sympathetic  under- 
standing. I  went  out  to  the  location  where  she 
was  working  with  Fatty  Arbuckle  in  "The 
Round-LTp."  When  I  arrived,  I  learned  that 
she  had  skipped  to  Los  Angeles.  I  followed  to 
Los  Angeles.  There  she  told  me  that  she  would 
never  return  to  me. 

I  left  at  once  for  New  York  after  that.   Soon 


after  I  arrived  in  New  York  I  read  an  announce- 
ment in  the  trade  papers  that  Metro  had 
bought  the  screen  rights  to  "The  Four  Horse- 
men of  the  Apocalypse."  Some  one  told  me 
that  there  was  a  splendid  part  for  me  in  the 
story,  that  of  a  South  American  who  danced 
the  tango. 

I  read  the  book  and  then  went  to  see  Mr. 
Karger,  who  had  been  my  best  man  at  the 
wedding  and  who  was  in  charge  of  Metro 
productions.  He  promised  to  keep  me  in 
mind  when  the  time  came  to  engage  the  cast. 

After  I  had  done  "The  Great  Moment"  and 
while  playing  a  "heavy"  in  support  of  Eugene 
O'Brien  in  "The  Fog,"  I  decided  to  make  a  call 
on  Mr.  Karger's  brother-in-law,  who  was  cast- 
ing director  for  Metro. 

"Where  have  you  been?"  he  asked,  when  I 
entered  his  office.  "I  have  been  trying  to  get 
hold  of  you.  How  would  you  like  to  play  the 
lead  in  'The  Four  Horsemen'?" 

I  was  stunned!  I  couldn't  believe  my  ears, 
for  I  had  scarcely  dared  to  hope  for  such  an 
opportunity. 

"I  would  love  it,"  I  managed  to  say. 

"What  are  you  getting — $450?"  he  asked. 

"No,"  I  said,  too  excited  to  reason.  "Just 
$400." 

"Miss  Mathis  wants  to  see  you,"  he  replied. 

"Who  is  she?"  I  asked. 

"  She  has  written  the  scenario,"  he  explained, 
"and  is  supervising  the  production.  All  the 
casting  is  up  to  her." 

Later  I  learned  that  Miss  Mathis  had  come 
to  New  York  with  the  purpose  of  engaging  me 
for  the  role  of  Julio.  She  had  seen  me  only 
once  and  in  a  part  so  small  that  I  have  even 
neglected  to  mention  the  picture.  It  was  as  the 
"heavy"  in  the  third  episode  of  Clara  Kimball 
Young's  "Eyes  of  Youth." 

I  told  Director  Archinbaud,  who  was  direct- 
ing "The  Fog,"  of  my  great  luck,  and  he  must 
kindly  rushed  production  in  order  that  I  might 
leave  at  once  for  California.  On  Saturday 
night  I  finished  my  work  and  left  the  next  day 
for  Hollywood,  arriving  on  the  16th. 

I  worked  for  8.550  a  week  during  "The  Four 
Horsemen."  When  it  was  completed  I  asked 
for  a  fifty  dollar  raise  on  the  strength  of  the 
work  I  did  in  the  part  of  Julio.  I  was  told  that 
Metro  couldn't  afford  it  and  didn't  feel  I  was 
worth  it.  so  I  kept  on  at  the  same  salary,  play- 
ing with  Alice  Lake  in  "L'ncharted  Seas." 
Then  Armand  with  Madame  Nazimova  in 
"Camille,"  still  at  the  same  salary. 


"The  Four  Horsemen"  was  released,  and  I 
was  astonished  by  the  fine  reception  the  critics 
and  public  gave  me.  but  no  impression  was 
made  upon  the  powers  of  Hollywood,  appar- 
ently. No  one  seemed  to  believe  in  me  except 
June  Mathis.  She  had  written  the  scenario  for 
"The  Conquering  Power,"  which  Rex  Ingram 
was  to  do,  and  she  wanted  me  to  play  the  lead- 
ing role.  Rex  and  I  had  a  talk  and  I  asked  for 
a  hundred  dollar  raise.  We  argued  and  argued, 
and  finally  he  gave  me  a  raise  of  fifty,  making 
my  salary  S400. 

I  left  Metro  after  completing  work  in  that 
picture.  My  part,  as  originally  written  by 
Miss  Mathis,  had  been  greatly  reduced,  and 
the  attitude  toward  me  was  such  that  I  found 
it  impossible  to  continue. 

In  the  meantime,  Famous  Players-Lasky  en- 
gaged me  for  "The  Sheik,"  at  S500  a  week. 
That  was  followed  by  "Moran  of  the  Lady 
Letty, "  at  $700.  In  order  to  play  in  "Beyond 
the  Rocks,"  at  a  salary  of  a  thousand,  I  gave 
the  company  an  option  on  my  services.  The 
understanding  was  that  "Blood  and  Sand," 
my  next  picture,  was  to  be  made  in  Europe 
with  Fitzmaurice  directing.  But  the  contract 
I  signed  on  January  22nd  was  not  according  to 
that  agreement.  Instead  of  making  the  picture 
in  Spain,  with  the  director  designated,  it  was 
made  in  Hollywood  with  another  director. 
Thus  started  the  trouble  that  culminated  with 
"The  Young  Rajah." 

I  realized  that  I  could  not  make  such  pic- 
tures as  "The  Young  Rajah"  and  keep  faith 
with  the  public.    It  was  a  purely  ethical  matter 


.  rilOTOrLAY  MAQAZIXE 


Photoplay  Magazine — Advertising  Section 


149 


which  caused  me  to  become  involved  in  litiga- 
tion. 

"The  Four  Horsemen"  was  the  turning 
point  in  my  luck,  for  it  not  only  brought  me 
screen  success  but  also  a  great  deal  of  happi- 
ness. While  engaged  upon  it  I  met  Natacha 
Rambova. 

She  was  then  designing  the  "sets"  and  the 
costumes  for  Madame  Nazimova.  who,  at  that 
time,  was  planning  to  produce  Pierre  Louys' 
"Aphrodite." 

Miss  Rambova  interested  me  the  first  time 
I  noticed  her  about  the  studio.  She  never 
looked  to  right  or  left.  She  seemed  frozen, 
like  a  piece  of  ice.  However,  it  was  not  a 
matter  of  love  at  first  sight.  I  merely  thought 
her  an  unusual  type  of  girl,  with  a  distinction 
that  marked  her  from  all  the  rest  of  the  studio 
people. 

I  didn't  meet  her  until  I  was  working  in  "  Un- 
charted Seas."  It  was  then  that  Madame 
Nazimova  called  me  over  to  speak  about  the 
part  of  Armand  in  "  Camille."  Natacha  was  on 
the  "set,"  and  I  was  introduced.  We  chatted 
together  for  a  few  moments,  but  still  she  pre- 
served that  distant,  cold  manner  that  I  had 
noted  about  her  at  first. 

Just  as  we  were  finishing  "Uncharted  Seas," 
there  was  a  masked  ball  at  the  Ambassador 
hotel.  I  intended  to  go  in  the  costume  that 
I  wore  during  the  Argentine  dance  scene  of 
"The  Four  Horsemen."  I  invited  Natacha  to 
go  with  me.  The  ball  started  at  nine  o'clock 
and  ended  at  eleven,  a  typical  Hollywood  affair. 
Of  course,  we  arrived  just  as  "Home,  Sweet 
Home"  was  in  order.  A  friend  of  ours,  a  Rus- 
sian doctor,  was  giving  a  party  on  that  even- 
ing, and  he  suggested  that  we  come  to  his 
house.  So  a  party  of  us  accepted,  and  it  was 
there  that  Natacha  and  I  first  danced  together. 
At  last  the  ice  was  broken!  And  I  was 
strangely  happy  over  the  fact.  I  didn't  feel 
I  had  made  any  great  hit,  but  she  was  no  longer 
so  glacial. 

Then  in  "  Camille"  she  offered  to  fix  my  hair 
for  the  first  part,  when  I  looked  like  a  country 
boy.  And  she  used  to  help  me  in  other  ways 
as  I  was  playing  Armand.  Little  by  little  we 
became  friends. 

During  the  course  of  the  picture,  we  spent  a 
great  many  evenings  together,  riding,  walking 
or  reading. 

We  became  tremendously  attached  to  one 
another.  It  wasn't  any  dashing,  romantic 
adventure.  Just  a  sound,  wonderful  friendship 
that  grew  out  of  our  loneliness.  We  found  we 
were  interested  in  the  same  things,  in  litera- 
ture, in  music  and  in  art.  She  had  been  almost 
a  recluse,  and  so  had  I. 

I  don't  advocate  the  romantic  life  I  lead 
on  the  screen.  My  own  has  been  too  adven- 
turous to  be  altogether  comfortable,  and  I  sup- 
pose it  always  will  be.  Yet  I  know  that  every 
one  of  my  experiences,  tragic  or  comic,  was 
given  me  for  a  reason.  You  have  to  know  life 
to  be  an  artist.  You  have  to  experience  emo- 
tions actually  in  order  to  give  them  realistic 
expression,  particularly  on  the  screen.  Al- 
though I  felt  little  in  common  with  the  Sheik, 
there  was  much  in  the  character  and  experience 
of  Julio  and  of  El  Gallardo  that  I  understood 
intimately  and  sympathetically. 
*     *     * 

Here  ends  Rudolph  Valentino's  life  story,  as 
he  wrote  it  for  Photoplay.  Valentino  finally 
adjusted  his  contract  difficulties  with  Famous 
Players-Lasky  and  returned  to  the  screen  in 
"Monsieur  Beaucaire." 

He  made  " The  Sainted  Devil "  and  "Cobra' ' 
for  this  firm  and  next  was  launched  as  a 
United  Artists  star. 

Then  began  Rudy's  real  come-back.  "The 
Eagle"  attracted  wide  attention,  but  it  was 
Valentino's  last  picture,  "The  Son  of  the 
Sheik,"  which  seemed  destined  to  restore  the 
famous  star  to  his  full  popularity. 

Just  as  "The  Son  of  the  Sheik"  was  released, 
Valentino  was  fatally  stricken  in  New  York. 
Death  came  on  August  23,  1926. 


AMOUS 

..how  theyre  kept 
free  from  corns  . . 


Queenie  Smith's  Famous DancingFeet 

"1  have  never  had  a  corn  nor 
an  accident.  But  if  ever  either 
comes  —  I  want  protection. 
That's  why  I  always  carry  Blue= 
jay  and  an  accident  policy." 

So  writes  winsome  Queenie 
Smith,  the  star  of  the  musical 
comedy,  "Tip'Toes." 


Good  old  Blue=jay!  For  26  years  it  has  been 
vanquishing  corns  .  .  .  The  count  of  con- 
quered toe-calluses  runs  into  the  hundreds 
of  millions. 

A  cool  and  velvety  cushion  fits  over  the 
corn  and  ends  the  pain  at  once.  Usually  one 
plaster  routs  the  corn.  But  even  an  "old  of- 
fender" will  seldom  require  more  than  a  sec- 
ond Blue=jay  plaster  ...  At  all  drug  stores. 

Bluejay 

THE    SAFE     AND     GENTLE 
WAY     TO     END    A     CORN 
S 1926 


V'^ 


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[  CONTINUED  FROM  PAGE  58  j 


more  I  could  about  her.  She  was  here  to  go  in 
pictures  and  surely  our  paths  would  cross. 

Finally  we  met  at  the  Paramount  studios 
and  I  found  Frances  just  as  charming  as  I  had 
imagined  she  would  be. 

She  is  terribly  ambitious,  and  has  always 
wanted  a  chance  at  pictures,  when  she  was 
secretary,  when  she  was  posing  for  New  York 
photographers.  And  now  the  dream  has  come 
true. 

In  the  early  days,  when  they  didn't  have  so 
many  beauty  contests,  many  of  the  girls  whose 
names  are  up  in  electric  lights  today  were 
recruited  from  the  same  ranks  as  have  given  us 
Frances  McCann. 

A  LICE  JOYCE  wasamodel.  SowasAnnaQ. 

■*"-Nilsson,  Miriam  Cooper,  Mabel  Normand. 
May  McAvoy,  Helene  Chadwick  and  many 
others  of  our  great. 

That's  one  of  the  many  reasons  I  feel  Iris 
Stuart,  who  was  born  Frances  McCann,  has 
prepared  herself  in  a  good  school  for  her 
chosen  career. 

Iris  is  rather  tall  and  willowy  (she  would 
have  to  be  to  wear  clothes  so  wonderfully ) .  has 
dark  brown  hair,  and  such  eyes.  They're 
brown,  too. 

I'll  tell  you  how  she  got  the  name  "girl  with 
a  million  faces."  By  looking  so  different  in  so 
many  different  portraits.  I  looked  over  a  lot 
of  her  New  York  pictures — things  made  for 
various  advertising  campaigns — and  they 
looked  like  pictures  of  a  score  of  different 
women. 

"I  tried  and  tried  to  get  into  movies,"  Iris, 
born  Frances,  explained  to  me.  "I  knew  I 
photographed  well  because  for  fiv^  years  I  have 
been  one  of  the  highest  salaried  models  in  com- 
mercial advertising.  Yet  I  couldn't  even  get  a 
screen  test,  because  everyone  said  I  was  too 
tall.  I'm  only  five  feet  seven,  but  every  agent 
and  producer  said  that  was  about  five  inches 
too  much. 

"To  be  a  model,"  she  said,  "is  pleasant 
enough,  but  it  isn't  any  good  for  a  girl  who  is 
ambitious.  We  girls  who  are  in  demand  get 
about  Sio  a  pose,  and  some  days  I  have  posed 
for  six  or  seven  ads.     I've  made  as  much  as 


S250  a  week  for  months  at  a  time,  but  it  is 
stupid  work,  nevertheless,  and  the  money  for 
women  lies  in  pictures. 

"My  face  is  quite  different  on  both  sides. 
One  way  I  look  rather  like  Elsie  Ferguson.  In 
another  angle  I  look  totally  different.  Adver- 
tisers used  to  say,  'I'd  like  a  girl  who  looks  like 
Miss  McCann,  but  I  can't  use  her  again.  Her 
face  has  been  .used  so  much.  It's  too  familiar.' 
Then  the  photographer  would  shoot  me  from 
another  angle  and  the  advertiser  would  accept 
it  as  the  picture  of  another  girl. 

"Here  I  was,"  she  said,  "knowing  I  could 
look  as  I  pleased  in  any  picture.  I  knew  I 
could  wear  clothes  becomingly.  I  knew  I 
could  express  more  than  a  little  with  my 
hands. 

"And  because  of  a  couple  of  inches  I 
couldn't  get  anywhere." 

Her  great  brown  eyes  were  very  solemn  as 
she  stated  all  this.  It  meant  much  to  her.  To 
tell  her  of  the  fight  and  struggle  of  other 
beauties  for  screen  recognition  meant  nothing  in 
her  slim  life.  For  five  years  she  had  been  too 
tall. 

"The  excitements  of  the  model's  life  is  all 
bosh.  We  have  to  get  our  sleep  and  rest  and 
live  simply,  for  a  wild  and  woozy  evening 
photographs  terribly  the  next  morning.  I  was 
bored  to  death. 

"Then  about  six  months  ago  I  met  Joe 
Schenck.  'Tall  girls  are  coming  in,'  he  said. 
'Come  to  Hollywood  and  I'll  give  you  your 
chance.' 

"I  simply  flew  out  there.  Mr.  Schenck 
gave  me  my  screen  test  and  showed  it  to  Para- 
mount. 

"In  less  than  a  month  they  signed  me  for 
featured  roles  and  eventual  stardom,  if  I 
prove  worthy  of  it." 

Iris  Stuart  lives  in  a  charming  little  Holly- 
wood bungalow  surrounded  by  big  pepper 
trees  and  loves  it,  but  she  does  miss  New  York 
and  the  theaters  just  a  little. 

As  Texas  Guinan  would  say,  "Let's  give  this 
little  girl  a  hand."  She  already  has  two — the 
most  beautiful  I  have  ever  seen — which  have 
landed  her  in  pictures,  but  another  might  help 
her  along. 


Why  I  Like  Hollywood  Better  Than  the  Bronx 


CONTINUED  FROM  PAGE  41 


wave  a  languid  hand,  but  generally  they  think, 
well,  no,  after  all,  Eddie  isn't  quite  in  the  pic- 
tures yet  and  one  never  knows,  does  one?  Not 
always  in  Hollywood. 

Great  place — Hollywood;  one  lives  so  much 
longer  on  one  picture  than  one  used  to  live  on 
twenty  years  Bronxing — longer  and  better. 
The  upkeep  and  overhead  may  be  a  little  more, 
but  so  is  the  intake. 

Then  there  is  the  pulchritudeness  of  the 
place;  it  goes  to  the  head  like  Pre-War  stuff, 
although  I've  met  face  to  face  none  such  gargle 
in  the  glad  subtitles  of  the  far  west.  Where  do 
they  all  come  from,  I  wonder  as  I  gaze  about 
the  Montmartre  Cafe  and  watch  them  fear- 
fully and  awfully  munch  a  half  an  almond, 
their  menu  on  that  day's  diet  schedule.  If 
Titian,  Rubens,  Gainsborough  or  Reynolds 
could  only  have  lived  today  instead  of  me! 
I  can't  paint  them  and  those  poor  chaps  had 
poor  material  to  work  on.  Something  should 
be  done  about  it. 

Hollywood  is  a  place  where  you  can  correct 
your  own  mistakes.  In  New  York  if  you  make 
one,  it  follows  you  around  like  Hamlet's  ghost 
from  one  darned  theater  to  another.  But  out 
there  you  can  see  yourself  make  it  in  the  pro- 


jection room  and  if  you  yell  loud  enough  and 
cry  hard  enough  that  you  should  have  looked 
at  the  girl  there  and  that  the  scene  is  as  rotten 
as  a  campaign  fund  they'll  let  you  try  it  over 
and  look  at  the  girl  the  next  morning  whether 
you  want  to  or  not,  thus  saving  paying  cus- 
tomers from  demanding  their  money  back  at 
the  box  office  and  writing  letters  to  themanage- 
ment  about  the  poor  egg  who  turned  his  perfect 
back  on  a  lady.  In  the  Bronx  one  such  gap  of 
etiquette  and  your  new  suit  would  look  like  a 
sennett. 

r"PHE  birds  in  Hollywood  have  it  all  over  the 
■*-  beasts  in  the  Bronx  zoo.  They  are  as 
free  as  air  and  sing  on  full  stomachs.  One 
specie  of  rare  bird  in  Beverly  Hills  has  four 
upholstered  nests  with  separate  families  in  each 
one,  while  he  migrates  to  the  South  Sea  Islands 
to  study  beach-combers  and  other  forms  of 
tropic  life. 

My  daughters  owe  Jesse  Lasky  a  debt  of 
gratitude  which  I  can  never  repay.  I  didn't 
know  what  to  do  about  them  and  their  mother, 
but  Mr.  Lasky  said  just  bring  them  to  Holly- 
wood— it  will  be  a  liberal  education  for  them  and 
there  is  every  accommodation  there  for  large 


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families  on  account  of  nearly  everyone  having 
several  children.  So  I  moved  them  out  bag 
and  baggage  and  before  we  knew  what  had 
happened  to  us  we  were  living  under  the  trees 
and  paying  the  rent  of  a  Beverly  Hills  hotel 
bungalow.  Comfortable — say — go  on.  We 
were  so  comfortable,  I  was  late  to  work  three 
mornings — and  my  gags  were  so  funny  nobody 
laughed.  One  week's  salary  went  for  stamps 
and  telegrams  to  the  children's  New  York 
friends,  but  I  didn't  begrudge  it  to  them,  es- 
pecially after  reading  some  of  them,  telling 
about  the  wild  Indians  and  dashing  cowboys 
that  kidnapped  them  at  Ocean  Park.  Besides 
it  kept  them  from  asking  me  embarrassing 
questions. 

I  bought  them  the  Book  of  Knowledge  long 
ago,  but  still  they  stump  me.  They  guess  at 
things  I  don't  know. 

Things  were  better  for  us  though  around  the 
hotel  after  I  had  produced  my  Victrola 
record,  "Oh,  Boy,  What  a  Girl."  The  bus  boys 
had  never  seen  me  in  pictures  because  I  was 
just  making  my  first  and  they  won't  serve  a  pat 
of  butter  to  anyone  they  haven't  seen  on  the 
screen. 

If  you  aren't  famous  in  your  own  right, 
whisper  to  them  that  you're  Charlie  Chaplin  in 
disguise.  A  Hollywood  telephone  girl  wanted 
to  know  if  I  played  the  part  of  the  cat  in  "  Puss 
in  Boots,"  but  I  told  her  I  didn't  dare  tell,  as 
someone  might  steal  the  idea.  After  all  there 
isn't  much  difference  between  that  title  and 
"  Kid  Boots,"  the  musical  comedy  that  Para- 
mount and  I  have  changed  until  you  won't 
know  it.  The  difference  between  the  changes 
we've  made  and  those  that  most  others  make  is 
that  ours  is  an  improvement  on  the  show.  If 
you  want  to  get  up  an  argument,  go  and  see  it. 
That's  all  we  ask  of  you — just  go  and  see  it  for 
yourselves. 

THERE'S  one  thing  not  in  the  Bronx  that  I 
could  do  without  in  Hollywood — location 
men.  It  was  some  location  man  that  wrote  that 
lovely  ditty  about  climbing  the  highest  moun- 
tain. You  can't  get  them  too  high  for  those 
boys. 

And  cliffs!  There  are  thousands  of  cliffs  not 
far  from  Hollywood;  these  birds  had  them 
placed  there  for  picture  purposes.  I  know  how 
many  there  are  because  I've  fallen  off  every 
one.  Then,  too,  there  are  the  Santa  Monica 
palisades;  don't  believe  those  real  estate 
hounds  when  they  tell  you  how  picturesque 
they  are;  they're  not;  they're  steep  and  they're 
hard  as  cast  iron.  A  Bronx  alley  is  Paradise, 
even  if  it  is  the  haunt  of  a  clubby  group  of  hi- 
jackers and  gunmen. 

Mr.  Lasky  gave  orders  to  push  me  off  every 
high  place  in  Southern  California,  but  I'm  the 
kind  of  guy  that  gets  used  to  anything. 

Tuttle  has  already  got  an  idea  which  will  call 
for  the  villain  throwing  me  out  of  a  twenty-four 
story  building.  He  doesn't  know  it,  but  I'm 
safe.  The  limit  height  in  California  is  thirteen 
stories. 

It's  pictures  that  make  a  man  blue — black 
and  blue. 

In  the  theater  if  you  don't  get  a  laugh  with  a 
quiet  piece  of  business,  you  think  of  something 
else  quiet;  but  in  pictures  if  you  don't  get  a 
laugh  by  hanging  over  a  canyon  ten  thousand 
feet  down,  you  look  one  up  to  hang  over  that  is 
twenty  thousand  feet.  Not  a  dull  moment  in 
pictures. 

Hollywood  is  a  great  place,  so  is  Beverly 
Hills;  even  the  trees  are  named  after  picture 
people. 

I  have  always  been  a  fan,  but  I'm  going  to 
know  pretty  soon  whether  I've  got  any  my- 
self or  not. 

As  soon  as  I  know  my  picture  has  paid  for 
itself,  I'm  going  to  celebrate — not  too  long,  you 
understand;  that's  what  keeps  a  lot  of  talented 
men  down;  they  have  a  little  success  and  turn 
it  into  a  continuous  celebration. 

If  I  make  some  of  the  money  that  kicks 
around  loose  in  Hollywood,  I  may  do  a  will- 
rogers  mausoleum  in  Beverly  Hills.  I  may — 
and  again  I  may  not. 

One  never  knows  in  pictures. 

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"  BEAU  GESTE  "  —  Paramount.  —  From 
the  novel  by  Percival  Wren.  Screen  play  by 
Paul  Schofield.  Directed  by  Herbert  Brenon. 
Photography  by  J.  Roy  Hunt.  The  cast: 
Michael  "Beau"  Geste,  Ronald  Colman;  Digby 
Geste,  Neil  Hamilton;  John  Geste,  Ralph 
Forbes;  Lady  Brandon,  Alice  Joyce;  Isobel, 
Mary  Brian;  Sergeant  Lejaune,  Noah  Beery; 
Major  dc  Beaujolais,  Norman  Trevor;  Boldini, 
William  Powell;  Maris,  George  Rigas;  Schwartz, 
Bernard  Siegel;  Hank,  Victor  .  McLaglan; 
Buddy,  Donald  Stuart;  St.  Andre,  Paul 
McAllister. 

"BARDELYS  THE  MAGNIFICENT"— 
Metro-Goldwyn-Mayer. — From  the  novel 
by  Rafael  Sabatini.  Adapted  by  Dorothy 
Farnum.  Directed  by  King  Vidor.  The  cast: 
Bardclys,  John  Gilbert;  Roxalanne  Delovedan, 
Eleanor  Boardman;  Chatelleraull,  Roy  D  Any; 
Vicomte  Delovedan,  Lionel  Belmore;  Vicomlcsse 
Delovedan,  Emily  Fitzroy;  Saint  Eustachc, 
George  K.  Arthur;  King  Louis  XIII,  Arthur 
Lubin;  Lcsperon,  Theodor  Yon  Eltz;  Rodcnard, 
Karl  Dane;  Cardinal  Richelieu,  Edward  Con- 
nelly; Caslelreux,  Fred  Malatesta;  La  Fosse, 
John  T.  Murray;  Innkeeper,  Joseph  Marba; 
Sergeant  of  Dragoons,  Daniel  G.  Tomlinson; 
Anatol,  Emile  Chautard;  Cozclatt,  Max 
Barwyn. 

"TIN  GODS"— Paramount.— From  the 
play  by  William  Anthony  McGuire.  Adapted 
by  Paul  Dickey  and  Howard  E.  Rogers. 
Screen  play  by  James  Shelley  Hamilton. 
Directed  by  Allan  Dwan.  The  cast:  Roger 
Drake,  Thomas  Meighan;  Carita,  Renee 
Adoree;  Janet  Stone,  Aileen  Pringle;  Tony 
Santdli,  William  Powell;  Dr.  McCoy,  Hale 
Hamilton;  Dougherty,  John  Harrington;  First 
Foreman,  Joe  King;  Second  Foreman,  Robert  E. 
O'Connor;  Billy,  Delbert  Emory  Whitten,  Jr. 

"NERVOUS  WRECK,  THE  "  —  Pro- 
ducers Distributing  Corp. — From  the  stage 
play  by  Owen  Davis.  Adapted  by  F.  McGrew 
Willis.  Directed  by  Scott  Sidney.  The  cast: 
Henry  Williams,  Harrison  Ford;  Sally  Morgan, 
Phyllis  Haver;  Mart,  Chester  Conklin;  Jerome 
Underwood,  Mack  Swain;  Jud  Morgan,  Hobart 
Bosworth;  Bob  Wells,  Paul  Nicholson;  Harriet 
Underwood,  Vera  Steadman;  Reggie  DcVcrc, 
Charles  Gerrard;  Andy  McNab,  Clarence 
Burton. 

"STRONG  MAN,  THE"  — First 
National. — Directed  by  Frank  Capra.  The 
cast:  Paul  Bergot,  Harry  Langdon;  Mary 
Brown,  Priscilla  Bonner;  "Gold  Tooth,"  Ger- 
trude Astor;  Parson  Brown,  William  V.  Mong; 
Roy  McDrvilt,  Robert  McKim;  Zandow  the 
Great,  Arthur  Thalasso. 

"SUBWAY  SADIE"— First  National.— 
From  the  story  by  Mildred  Cram.  Directed  by 
Al  Santwell.  The  cast:  Sadie  Hermann, 
Dorothy  Mackaill;  Herb  McCarthy,  Jack  Mul- 
hall;  Driver,  Charles  Murray;  Ethel,  Peggy 
Shaw;  Fred  Perry,  Gaston  Glass;  Brown, 
Bernard  Randall. 

"BATTLING  BUTLER"— Metro-Gold- 
wyn-Mayer.— From  the  play  by  Stanley 
Brightman  and  Austin  Melford.  Adapted  by 
Paul  G.  Smith,  Albert  Boasberg  and  Charles 
Smith.  Directed  by  Buster  Keaton.  Photog- 
raphy by  Dev  Jennings  and  Bert  Haines.  The 
cast:  Alfred  Butler,  Buster  Keaton;  The  Girl, 
Sally  O'Neil;  His  Valet,  Snitz  Edwards;  Alfred 
"Battling  Butler,"  Francis  McDonald;  His 
Wife,  Mary  O'Brien;  His  Trainer,  Tom  Wilson; 
His  Manager,  Eddie  Borden;  The  Girl's 
Father,  Walter  James;  The  Girl's  Brother, 
Buddy  Fine. 


"HER  BIG  NIGHT"— Universal— Story 
by  Peggy  Gaddis.  Scenario  by  Melville 
Brown.  Directed  by  Melville  Brown.  Photog- 
raphy by  Arthur  Todd.  The  cast:  Frances 
Norcross,  Laura  La  Plante;  Johnny  Young, 
Einar  Hansen;  Gladys  Smith,  ZaSu  Pitts;  J.  Q. 
Adams,  Tully  Marshall;  Tom  Barrett,  Lee 
Moran;  Myers,  Mack  Swain;  Daphne  Dix, 
Laura  La  Plante;  Allan  Dix,  John  Roche; 
Harold  Crosby,  William  Austin;  Mr.  Harmon, 
Natt  Carr;  Mrs.  Harmon,  Cissy  Fitzgerald. 

"BLUE  EAGLE,  THE"  — Wm.  Fox- 
Story  by  Gerald  Beaumont.  Directed  by  John 
Ford.  The  cast:  George  D'Arcy,  George 
O'Brien;  Rose  Cooper,  Janet  Gaynor;  Father 
Joe,  Robert  Edeson;  Big  Tim  Ryan,  William 
Russell;  Nick  Galvani,  David  Butler;  Limpy, 
Phillip  Ford;  Slats  Mulligan,  Ralph  Sipperly; 
Mary  Rohan,  Margaret  Livingston;  Bascom, 
Harry  Tembrook;  Captain  McCarthy,  Lew 
Short;  Baby  Tom,  Jerry,  the  Giant. 

"HOLD  THAT  LION "—  Paramount.  — 
From  the  story  by  Rosalie  Mulhall.  Scenario 
by  Joseph  Franklin  Poland.  Directed  by 
William  Beaudine.  Photography  by  Jack 
Mackenzie.  The  cast:  Daniel  Hastings, 
Douglas  MacLean;  Dick  Warren,  Walter 
Hiers;  Marjoric  Brand,  Constance  Howard; 
//.  Horace.  Smythc,  Cyril  Chadwick;  Andrew 
MacTavish,  Wade  Boteler;  Professor  Brand, 
George  C.  Pearce. 

"AMATEUR  GENTLEMAN,  THE"  — 
First  National. — From  the  story  by  Jeffery 
Farnol.  Scenario  by  Lillie  Hayward.  Directed 
by  Sidney  Olcott.  The  cast:  Barnabas  Barty, 
Richard  Barthelmess;  Lady  Clconc  Meredith, 
Dorothy  Dunbar;  Ronald  Barrymainc,  Gardner 
James;  Sir  Mortimer  Carnaby,  Nigel  Barrie; 
Peterby,  Brandon  Hurst;  Viscount  Devenham, 
John  Miljan;  John  Barty,  Edwards  Davis; 
Duchess  of  Cambcrhurst,  Billie  Bennett;  Jasper 
Gaunt,  Herbert  Grimwood;  Prince  Regent,  Gino 
Corrado;  Captain  Chumlcy,  Sidney  de  Gray; 
Captain  Slingsby,  John  Peters. 

"IT  MUST  BE  LOVE"— First  National. 
— Story  by  Brooke  Hanlon.  Adaptation  by 
Julian  Josephson.  Directed  by  Alfred  E. 
Green.  The  cast :  Fernie  Schmidt,  Colleen 
Moore;  "Pop"  Schmidt,  Jean  Hersholt;  Jack 
Dugan,  Malcolm  McGregor;  Peter  Halitovsky, 
Arthur  Stone;  "Mom"  Schmidt,  Bodil  Rosing; 
Min,  Dorothy  Seastrom;  Al,  Cleve  Moore; 
Lois,  Mary  Brian;  Joe,  Ray  Haller. 

"MICHAEL  STROGOFF"  —  Universal. 
— Adapted  and  produced  by  V.  Tourjansky. 
From  the  novel  by  Jules  Verne.  The  cast: 
Michael  Strogoff,  Ivan  Mosjoukine;  Nadia 
Fcdor,  Nathalie  Kovanko;  Ivan  Ogarejf, 
Chakatouny;  Marfa  Strogojf,  Jeanne  Brindeau; 
Zaugara,  Tuia  de  Izarduy;  Emir  Feofar,  M. 
Debas;  T~ai,  E.  Gaidaroff;  General  Kissoff, 
N.  Nougoucheff. 

"SHOW-OFF,  THE"— Paramount— From 
the  play  by  George  Kelly.  Scenario  by  Pierre 
Collings.  Directed  by  Mai  St.  Clair.  Photog- 
raphy by  Lee  Garmes.  The  cast:  Aubrey 
Piper,  Ford  Sterling;  Amy  Fisher,  Lois  Wilson; 
Clara,  Louise  Brooks;  Joe  Fisher,  Gregory 
Kelly;  Pop  Fisher,  C.  W.  Goodrich;  Mom 
Fisher,  Claire  McDowell;  Railroad  Executive, 
Joseph  Smiley. 

"DIPLOMACY"  —  Paramount.  —  From 
the  play  by  Victorien  Sardou.  Scenario  by 
Benjamin  Glazer.  Directed  by  Marshall 
Neilan.  Photography  by  David  Kesson  and 
Don  Keyes.  The  cast:  Dora,  Blanche  Sweet; 
Julian  Weymouth,  Neil  Hamilton;  Countess 
Zicka,  Arlette  Marchal;  Robert  Lowry,    Matt 


Every  advertisement   in  PHOTOTLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Moore;  Baron  Ballin,  Gustav  von  Seyflferlitz; 
Sir  Henry  Weymouth,  Earle  Williams;  Count 
Orloff,  Arthur  Edmund  Carew;  Marquise  dc 
Zares,  Julia  Swayne  Gordon;  Reggie  Cowan, 
David  Mir;  Baron's  Secretary,  Charles"Buddy" 
Post;  John  Stramir,  Mario  Carillo;  Chinese 
Diplomat,  Sojin;  Servants,  Edgar  Norton  and 
Linda  Landi. 

"GAY  DECEIVER,  THE"  — Meteo- 
Goldwyn-Mayer. — From  the  play  by  Maurice 
Hennequin  and  Felix  Duquesnel.  Adapted  by 
Benjamin  Glazer.  Directed  by  John  M.  Stahl. 
Photography  by  Antonio  Gaudio  and  Maxi- 
milian Fabian.  The  cast:  Tolo,  Lew  Cody; 
Robert,  Malcolm  McGregor;  Louise,  Marceline 
Day;  Countess  de  Sano,  Carmel  Myers;  Count 
dcSano,  Roy  D'Arcy;  Claire,  Dorothy  Phillips; 
Lawyer,  Edward  Connelly;  Lawyer's  Nephew, 
Antonio  D'Algy. 

"KICK-OFF,  THE"— Excellent  Pic- 
tures Corp. — From  the  story  by  Wesley 
Ruggles.  Directed  by  Wesley  Ruggles.  The 
cast:  Tom  Stephens,  George  Walsh;  Marilyn 
Spencer,  Leila  Hyams;  Ruth  Clark,  Bee  Amann; 
Frank  Preston,  Earle  Larimore;  "Coach"  Con- 
wily,  W.  L.  Thorne;  Zckc  Mojfatt,  Joe  Burke; 
Mrs.  Stephens,  Jane  Jennings. 

"TEXAS  STREAK,  THE  "—Universal. 
— Story  and  scenario  by  Lynn  Reynolds. 
Directed  by  Lynn  Reynolds.  Photography  by 
Edward  Neumann.  The  cast:  Chad  Penning- 
ton, Hoot  Gibson;  Amy  Hollis,  Blanche 
M  chaff  oy;  Jefferson  Powell,  Alan  Roscoe;  Col. 
Hollis,  James  Marcus;  "Jiggs"  Cassidy,  Jack 
Curtis;  "Swede"  Sonbcrg,  George  Summerville; 
"Pal"  Casey,  Les  Bates;  Jimmy  Hollis,  Jack 
Murphy;  Charles  Logan,  William  H.  Turner. 

"ICE  FLOOD,  THE"  — Universal.— 
Story  by  Johnstone  McCulley.  Adapted  by 
James  0.  Spearing.  Directed  by  George  B. 
Seitz.  Photography  by  Lawrence  Grostad. 
The  cast:  Jack  DcQuincy,  Kenneth  Harlan; 
Marie  O'Neill,  Viola  Dana;  Dum-Dum  Pete, 
Frank  Ilagncy;  "Cougar  Kid,"  Fred  Kohler; 
James  O'Neill,  DeWitt  Jennings;  Cook,  Kitty 
Barlow;  Thomas  DcQuincy,  James  Gordon. 

"RISKY  BUSINESS"— Producers  Dis- 
tributing Corp. — From  the  story  by  Charles 
Brackett.  Adapted  by  Beulah  Marie  Dix. 
Directed  by  Alan  Hale,  photography  by 
James  Diamond.  The  cast:  Cecily  Slougliton. 
Vera  Reynolds;  Mrs.  Stoughton,  Ethel  Clayton; 
Ted  Pynchcon,  Kenneth  Thomson;  Coulls- 
Browne,  Ward  Crane;  Lawrence  Whcaton,  Louis 
Natheaux;  Agnes  Wheaton,  ZaSu  Pitts;  Schubal 
Pcabody,  George  Irving;  Rosalie,  Louise  Cabo. 

"MARRIAGE  LICENSE?"  —  William 
Fox. — From  the  stage  play  by  F.  Tennyson 
Jesse  and  H.  M.  Harwood.  Scenario  by 
Bradley  King.  Directed  by  Frank  Borzage. 
The  cast:  Wanda  Hcriot,  Alma  Rubens; 
Marcus  Hcriot,  Walter  McGrail;  General,  Sir 
John  Hcriot,  Charles  Lane;  Lady  Hcriot,  Emily 
Fitzroy;  Bcadon,  Edgar  Norton;  Charles 
Cheriton,  Langhorne  Burton;  Robin,  Richard 
Walling;  Heriot's  Footman,  Lon  Poff;  Abcr- 
crombie,  George  Cowl;  Paul  Lauzon,  Walter 
Pidgeon;  Tall  Maid,  Billie  Latimer;  Short 
Maid,  Patsy  O'Byrne;  Attorney,  Thomas 
Ricketts;  Judge,  Wilfred  North;  Detective, 
Olaf  Hyttan;  Guy  Cheriton,  Arthur  Rankin; 
Doctor,  Eric  Mayne. 


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[  CONTINUED  FROM  PACE  15  ] 

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


SAVAGE.  THE— First  National.— An  insult  to  the 
human  Inb  lllgence  to  think  such  a  story  is  plain  Ible. 

Ben  Lyon  and  May  McAvoy  are  in  the  cast.     (Oct.) 

SAY  IT  AGAIN — Paramount. — A  grand  and  glori- 
ous tee-hee  at  all  the  mythical  kingdom  yarns, 
Good  stuff.     {August.) 

SCARLET  LETTER,  THE— Metro-Gold wyn- 
Mayer. — Hawthorne's  classic  and  sombre  study  of 
the  New  England  conscience  has  been  just  as  som- 
berly translated  to  the  screen.  For  the  older  folks. 
{October.) 

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

SEA    WOLF,    THE— Producers    Dist.    Corp.— A 

thriller — taken  from  the  famous  Jack  London  story. 
It's  rough  and  ready,  as  are  most  sea  stories,  but 
darned  good.     (September.) 

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 
optics.     (June.) 

SENOR  DARE-DEVIL— First  National.— Intro- 
ducing Ken  Maynard  as  a  First  National  star.  Better 
than  most  Westerns.     (September.) 

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.) 

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.) 

SHAMROCK  HANDICAP,  THE  —  Fox.'— Trot 

yourself  down  to  the  first  theater  showing  this  if  you 
want  an  evening's  fun — and  that's  not  blarney. 
(July.) 

SHIPWRECKED  —  Prod.  Dist.  Corp.— If  you 
haven't  been  sleeping  lately  try  this  on  your  in- 
somnia.    Terrible.     (August.) 

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

SILENCE— Prod.  Dist.  Corp. — The  finest  melo- 
drama that  the  screen  has  shown  for  years.  Only  for 
adults.     (August.) 

SILKEN  SHACKLES— Warner  Bros.— A  splendid 
cast  gone  to  the  four  winds  because  of  a  poorly  de- 
veloped plot.     (July.) 

SOCIAL  CELEBRITY,  A—  Paramount.— Adolphe 
Menjou  as  an  ambitious  young  shaver,  borrows  some 
clothes  and  becomes  the  toast  of  New  York.  Another 
fascinating  Menjou  picture.     (July.) 

SOCIAL  HIGHWAYMAN,  THE— Warner  Bros. 
— This  purports  to  be  a  comedy  but  it's  a  tragedy  and 
vice  versa.     Don't  be  annoyed.     (August.) 

SON  OF  THE  SHEIK,  THE— United  Artists.— 
Rudolph  Valentino's  last  effort  before  the  silver 
screen.  He  was  the  old  Rudy  again  and  his  work 
ranked  at  the  top  of  the  best  performances  of  the 
month.  Lonn  will  this  picture  remain  in  the  memory 
of  those  fortunate  enough  to  see  it.     (October.) 

SO  THIS  IS  PARIS— Warner  Bros.— Another 
variation  of  the  domestic  infidelity  theme  presented 
by  the  sophisticated  Ernst  Lubitsch.  The  weakest  of 
the  famous  director's  efforts  to  date.     (September.) 

SPARROWS— United  Artists.—  Watching  the  an- 
tics of  Mary  Pickford  and  a  bunch  of  other  kids  is  a 
safe  bet  for  an  enjoyable  evening.     (.4  ugust.) 

SPEEDING  VENUS,  THE— Producers  Dist. 
Corp. — Not  so  good.  Priscilla  Dean  is  the  feminine 
interest.     (September.) 

SPORTING  LOVER,  THE  — First  National.— 
This  might  have  been  worse,  but  it  doesn't  seem 
possible.     Just  another  movie.     (September.) 

SUNNY  SIDE  UP— Producers  Dist.  Corp.— A 
concoction  of  a  Cinderella  yarn  and  a  Pollyanna-ish 
character.     You  guessed  it — awful.      (September.) 

SWEET  DADDIES— First  National.— The  Jew- 
ishers  and  Irishers  are  at  it  again— and  what  a  sweet 
comedy  this  is.     Jt's  worth  while.     (September.) 


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


THREE  WEEKS  IN  PARIS— Warner  Bros.- 
Matt  Moore  is  again  the  sap  with  the  result  that  ye 
sit  through  a  sappy  picture.     (August.) 


-Tom    Mix    in    ar 


TONY    RUNS    WILD— Fox.- 
average  Western.     (July.) 

TORRENT  .THE— Metro-Goldwyn.— Introducing 

the  charming  new  Swedish  importation,  (.n  t.i  <  ,.nli.> 
—and  -he'-  the  kind  of  a  girl  the  men  won't  forget. 
A  vivid  delight  for  grownups.     (May.) 

TRAMP,  TRAMP,  TRAMP— First    National.— 

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

TRIP  TO  CHINATOWN,  A— Fox.— Two  reels  of 
this  would  have  been  sufficient.  Not  worth  while. 
(August,) 

TWISTED  TRIGGERS— Associated  Exhibitors. 
— There  is  no  reason  why  you  should  waste  a  per- 
fectly good  hour  on  this  silly  nonsense.     (October.) 

TWO-GUN  MAN,  THE— F.  B.  0.— Go  this 

verv  grand  hero.  Fred  Thomson,  and  his  famous 
horse.  Silver  King.    They  are  a  delight.     (September.) 

UNDER  WESTERN  SKIES— Universal.— A  story 
as  old  as  the  hills  where  it  is  laid.  Yep,  the  good  old 
Western  stuff.     Fair.     tSeplember.) 

UNKNOWN  SOLDIER,  THE— Prod.  Dist.  Corp. 
— A  sad  attempt  at  being  another  "  Big  Parade."  It's 
funny — unintentionally.     (.August.) 

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

UP  IN  MABEL'S  ROOM— Prod.  Dist.  Corp.— 
Laughter  for  all.  The  players — Marie  Prevost  and 
Harrison  Ford.     (August.) 

VARIETY— UFA-Famous  Players.— This  absorb- 
ing storv  of  vaudeville  life  has  more  popular  qualities 
than  anv  German  production  imported  to  America 
since  "Passion."  Emil  Jannings'  work  is  superb. 
(September.) 

VOLGA  BOATMAN,  THE  —  Producers  Dist. 
Corp.—  Not  Cecil  De  Milleat  his  best,  but  thestrength 
of  thethemeandthe  beautiful  composition  and  photog- 
raphy lift  it  above  the  ranks.      (June.) 

WALTZ  DREAM,  THE— UFA-Metro-Goldwyn- 
Mayer. — A  gay  comedy  of  old  Vienna.  If  you  have 
any  prejudice  against  foreign  films,  make  an  exception 
of  this  one.     (October.) 

WET  PAINT — Paramount. — Raymond  Griffith  in 
a  gnat  film  for  those  to  whom  fun  is  fun.     (July.) 

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

WHOLE  TOWN'S  TALKING.  THE— Universal. 

— Feel  like  laughing  tonight?  See  this  interesting 
version  of  the  John  Emerson  and  Anita  Loos  stage 
play.      (October.) 

WILDERNESS  WOMAN,  THE— First  National. 

— Mild  entertainment.  Chester  Conklin  gives  an  ex- 
cellent  performance  as  a  rough  miner  with  a  million. 
(July.) 

WILD  HORSE  STAMPEDE.  THE— Universal.  — 

Pass  this  up.      It's  stupid.     (October.) 

WILD  OATS  LANE- 

interesting  crook  drama 
Agnew.     (June.) 

WILD  TO  GO— F.  B.  O— Tom  Tyler  and 
Frankie  Darro  prove  to  be  a  splendid  combination  in 
Westerns.     It's  worth  seeing.    (July.) 

WISE  GUY,  THE— First  National.— Just  for 
grownups.  All  about  crooks  who  preach  religion  to 
cover  tin  ir  shady  connections.    Fair.     (August.) 

YELLOW  FINGERS— Fox— There  is  a  little 
beauty  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  I  (June.) 

YOU  NEVER  KNOW  WOMEN— Famous  Play- 
ers.— Florence  Vidor's  first  starring  vehicle  will  go 
over  big  with  any  audience.     (October.) 


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CONTINUED  FROM    PACE 


in  the  long  corridor  with  the  Duncan  sister?. 
you  can  play  bridge  in  perfect  quiet  in  the  little 
drawing  room  with  Joe  Schenck  and  Sam 
Goldwyn  and  Harold  Lloyd,  or  you  can  stroll 
innocently  and  romantically  in  the  perfect 
gardens  with  Ronald  Colman  or  Dick  Barthel- 
mess  or  Jack  Gilbert  (if  you  happen  to  be  a 
girl),  or  with  Norma  Shearer  or  Marion  Davies 
or  May  Allison,  if  you  happen  to  be  of  the 
opposite  persuasion. 

But  whatever  you  may  do,  you  always  feel 
that  it  is  just  what  your  hostess  wanted  you 
to  do. 

I  do  not  believe  there  is  a  house  or  a  hostess 
anywhere  in  America  that  can  rival  Mrs. 
Moreno  and  her  hilltop  home.   . 

PUT  I  should  say  that  Mrs.  Earle  Williams, 
■'-'although  she  was  a  New  York  millionairess 
when  Earle  wooed  and  won  her,  belongs  dis- 
tinctly to  Hollywood. 

Florinc  Williams  fits  into  Hollywood.  She 
expresses  Hollywood's  idea  of  a  perfect  hostess. 
Her  house  isn't  very  big  and  it  is  chuck-full  of 
gorgeous  and  exotic  and  expensive  things  from 
all  over  the  world.  When  the  guests  are  in  it, 
too,  it  is  actually  jammed.  Hut  it  gives  in- 
stantly  that  note  of  success  and  hilarity  that 
you  find  in  very  expensive  and  popular  cafes. 
There  is  always  noise,  excitement,  going  on. 
Everybody  is  milling  around,  laughing  and 
talking,  and  the  women  are  giving  little  squeals 
of  delight  and  the  men  are  looking  contented 
and  pleased. 

Florine  keeps  everything  going.  Florinc 
knows  everyone  who  is  worth  knowing,  and  she 
invites  them  all.  She  says  the  most  daring  and 
startling  and  witty  things,  so  that  hei  guests 
are  always  going  about  repeating  them.  She  is 
small,  and  very  dark,  and  her  clothes  are 
bizarre  and  chic  in  the  extreme,  and  she  is 
never  still  for  an  instant.  You  are  always  con- 
scious of  her,  no  matter  how  many  people  are 
there  nor  how  distinguished  her  guests.  She 
never  seems  to  care  in  the  least  whether  anyone 
has  a  good  time — she  treats  everybody  exactly 
alike 

Her  dinner  and  supper  parties  arc  famous  for 
their  marvelous  food. 

Florine  Williams  loves  to  give  parties.  That 
is  why  she  does  it.  She  gives  an  endless  round 
of  dinners  and  luncheons  and  teas  and  suppers. 
I  think  her  luncheons  are  particularly  success- 
ful, for  she  understands  the  great  art  of  gossip 
as  su(  h  great  conversationalists  as  Addison  and 


Swift  understood  it.  But  she  is  always  enter- 
taining, always  having  something. 

Her  great  friendship  with  the  Talmadges  has 
been  one  of  her  biggest  assets.  She  and  Con- 
stance Talmadge  are  inseparable  chums. 

But  the  real  reason  for  her  popularity  is  that 
she  lias  that  indefinable  Hair  for  entertaining. 
Her  parties  are  always  fun.  And  so  many 
parties  aren't. 

The  fight  for  the  crown  is  a  subtle  one. 
There  is  no  open  warfare.  Perhaps  there  is  not 
even  conscious  warfare.  But  all  through  the 
past  year  these  two  have  vied  with  each  other 
in  the  gorgeous  entertainments  they  have  given 
— in  the  lions  the}'  have  captured. 

When  Constance  Talmadge  returned  with 
her  new  husband.  Captain  Alastair  William 
Mcintosh,  Mrs.  Williams  had  a  brief  triumph. 
Everyone  was  crazy  to  see  Connie's  new 
husband,  and  Mrs.  Williams  gave  a  number  of 
most  brilliant  affairs  for  them. 

Then  Mrs.  Moreno  inaugurated  her  "Sun- 
days,'' swimming  parties  in  the  afternoon, 
supper  and  dancing  in  the  evening.  Perfectly 
planned  and  divinely  executed  and  everyone 
waited  and  hoped  for  invitations. 

Of  course,  there  are  other  social  successes, 
other  great  hostesses  in  Hollywood.  I  suppose 
for  single  dinners,  for  distinguished  guests 
assembled,  no  one  has  rivaled  Marion  Davies. 
But  Marion  does  these  things  spasmodically. 
It's  a  sideline  with  her.  She  hasher  work.  No 
actress  can  give  the  time  or  thought  to  such 
matters  to  make  herself  really  a  social  leader. 

I  THINK  Mrs.  Tom  Mix  gives  some  of  the 
most  distinguished  dinner  parties  of  anyone  in 
Hollywood.  But  she  chooses  always  to  enter- 
tain on  a  smaller  and  more  intimate  stale. 
And  besides,  she  is  always  so  busy  being  Mr^. 
Tom  Mix.  she  is  SO  interested  in  travel,  and 
art,  and  study,  that  she  has  never  taken  up 
society  seriously.  Florence  Yidor.  too.  has 
always  gone  in  for  small  and  intimate  affairs, 
and  there  are  long  periods  when  she  docs  no 
entertaining  and  goes  almost  nowhere. 

Bebe  Daniels  goes  in  for  original  affairs,  and 
does  the  nicest  things — like  her  famous  horse- 
back breakfasts,  and  her  bridge  dinners.  And 
Mrs.  Sam  Goldwyn  has  a  small  and  select 
circle,  including  the  Charlie  Chaplins  and  the 
Cecil  De  Milles,  who  love  going  to  her  house. 

But  in  the  last  analysis,  and  considering 
society  in  its  broader  sense,  it  is  between  Mrs. 
Moreno  and  Mrs.  Williams  that  the  crown  lies. 


Questions  and  Answers 


[  CONTINUED  FROM  PAGE  Io6  ] 


Betty.  Graxby,  Conn. — I  haven't  had  my 
photograph  taken  since  I  graduated  from  the 
University  of  Hard  Knocks  in  the  year  1852. 
Betty  Bronson  was  born  on  November  17, 
1906.  Sir  James  Barrie  saw  her  in  a  test  film 
sent  to  England  for  his  approval  and  chose  her 
for  the  r.'le  of  Peter  Pan.  A  great  many  other 
actresses  had  similar  tests  taken,  but  Betty 
won  the  lucky  role  from  the  others.  Richard 
Barthelmess  was  born  on  May  9,  1897. 

Green  and  Gray  Eyes.  Landon,  B.  C. — 
"Dear  Old  thing,"  am  I?  Ha!  I  never  felt  so 
young  in  my  life.  Nita  Naldi  was  born  on 
April  1,  1SQ9.  Pola  gives  the  year  of  her  birth 
as  1897.  Her  real  name  is  Appolonia  Chalupez 
and  she  was  formerly  the  Countess  Dombski. 
Address  her  at  the  Lasky  Studios,  Hollywood. 
Calif.  Now  making  a  picture  called  "Hotel 
Imperial." 


M.  W.,  Ocala,  Fla—  George  O'Hara  was 
born  in  Salt  Lake  City.  Utah.  Alberta  Vaughn, 
in  Ashland,  Ky.  Bebe  Daniels,  in  Dallas, 
Texas.  Is  Texarkana  your  native  town?  It 
was  Corinne  Griffith's  birthplace.  Don't 
worry;  I'll  never  desert  you. 

M.  S.  and  Girt.  Friends.  Decatur,  Texas. 
— Marie  Prevost  was  born  in  1S0S;  Ramon 
Navarro,  on  February  6.  1800;  (iloria  Swan- 
son,  on  March  27,  1S08;  and  Rudy  Yalentino, 
on  May  6.  1S95.  Drop  in  any  time;  the  door  is 
always  open. 

Irene  A..  Jersey  City.  N.  J. — The  correct 
date  of  Ramon's  birth  is  February  6,  iSoo. 
Don't  let  anyone  tell  you  different.  I'd  like  to 
see  Novarro  play  Romeo,  too.  As  for  Hamlet,  I 
am  not  so  sure;  but  it  is  an  interesting 
idea. 


Every  advertisement   In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


*S7 


Blondie,  Houston,  Texas. — Am  I  bright? 
Listen,  I'm  so  bright  everyone  calls  me 
"Sonny"  in  spite  of  my  age.  Pola  was  born 
in  Yanowa,  Poland.  She  is  not  married  now. 
She  is  divorced  from  Count  Dombski.  Greta 
Nissen  is  the  lady  who  was  so  beautiful  in 
"The  Wanderer."  Greta  measures  five  feet, 
four  inches.    You're  welcome! 

C.  G.  D.,  Talladega,  Ala. — Do  you  mean 
to  tell  me  you  read  the  fan  magazines  faith- 
fully and  still  you  claim  you  haven't  heard 
anything  of  Francis  X.  Bushman  in  years? 
How  could  you!  Francis  recently  had  one  of 
the  most  coveted  Riles  of  the  year  in  the  famous 
"Ben  Hur."  After  that  he  played  opposite 
Mae  Murray  in  "The  Masked  Bride."  And 
now  he  is  playing  the  leading  male  role  in  "The 
Star  Maker,"  opposite  Billie  Dove.  That 
doesn't  sound  like  retirement,  does  it? 

Miss  Jackie,  Hughson,  Calif. — Your  fa- 
vorite's real  name  is  Enos  Edward  Canutt.  Im- 
pressive, isn't  it?  Black  hair  and  dark  brown 
eyes.  Born  November  29,  i8q6.  Jack  Hoxie 
is  about  thirty  years  old,  and  Franklyn  Farnum 
was  born  June  5,  18S3.  My  hair  is  very  blonde 
— so  light  you  can  hardly  see  it.  And  my  eyes 
are  blue — on  Tuesdays  and  Thursdays. 

H.  B.  H,  Batavia,  N.  Y.— Write  to  Photo- 
play Publishing  Company,  750  N.  Michigan 
Avenue,  Chicago,  111.,  for  the  back  numbers  of 
the  magazines.  So  you  want  more  about 
George  O'Brien  and  Robert  Frazer  in  the  mag- 
azine? I'll  use  my  influence  and  speak  to  the 
authorities  about  it.  And  also  more  about 
Arthur  Edmund  Carewe,  Charles  Mack.  Ri- 
cardo  Cortez,  Florence  Gilbert,  Mary  Pick- 
ford,  Bebe  Daniels,  Alyce  Mills  and  Larry 
Kent.    My,  what  a  lot  of  favorites! 

Mrs.  H.  C. — Well,  tastes  differ.  Ask  your 
theater  manager  to  give  you  more  pictures 
starring  your  favorites.  Remember  that  the 
only  way  you  can  get  what  you  want  is  by 
speaking  out  and  asking  for  it.  Ramon  No- 
varro  was  born  February  6,  1899. 

E.  D.  G.,  Hollywood,  Calif.— If  the  tall, 
distinguished  looking  gentleman  with  the  sil- 
very hair  you  saw  eating  at  the  Algonquin  in 
New  York  was  consuming  pie  with  a  knife,  that 
was,  indeed,  yours  truly.  The  men  who  run 
the  sight-seeing  busses  have  promised  to  point 
me  out,  after  this.  Carol  Dempster  is  not  mar- 
ried. She  is  so  busy  working  that  she  doesn't 
seem  to  have  time  to  get  many  photographs 
taken.  You  are  not  apt  to  see  much  of  Carol  in 
the  public  restaurants  frequented  by  celebri- 
ties.    Carol  is  shy. 

Lillie,  Two  Harbors,  Minn. — So  Marion 
and  Bill  Haines  are  the  best  looking  actress 
and  actor  on  the  screen.  We'll  let  that  pass 
without  argument.  Marion  was  born  January 
1,  1900.  She  is  five  feet,  five  and  one  half  inches 
high  and  weighs  123  pounds.  Not  married. 
Bill  was  born  the  same  day  and  same  year  as 
Marion.  Odd,  isn't  it?  They  are  not  twins. 
He  is  six  feet  tall  and  weighs  172  pounds. 
Rumored  engaged  to  Mary  Brian,  but  you 
never  can  tell. 

Bricid,  Spokane,  Wash. — You  have  a 
funny  name  for  a  Dutch  Uncle.  However, 
have  it  your  own  way.  Norma  Shearer's  new 
picture  is  "The  Waning  Sex."  Some  of  her 
recent  pictures  have  been  "The  Tower  of 
Lies,"  "His  Secretary"  and  "The  Devil's 
Circus."  John  Barrymore's  wife  is  Blanche 
Oelrichs  Thomas  Barrymore,  who  writes  under 
the  name  of  Michael  Strange.  We  all  have  our 
hopes  about  Corinne. 

Glad  and  Joy,  Duluth,  Minn. — It's  too 
good  to  be  true.  I  can't  believe  it.  Twins  and 
beautiful  blondes!  Why  should  I  go  on  the 
screen?  I  get  as  much  glory  as  any  star.  And 
money  means  nothing  to  me.  Sally  O'Neil  was 
born  in  Bayonne,  N.  J.,  October  23,  1908. 
Write  again  and  cheer  up  an  old  man. 


CHEX 


The  Wonder  Soap  of  The  Age! 

CHEX  Nourisiies  Your  Skin  Like  a  Cream 
CHEX  Banishes  Body  Odors  For  36  Hours 
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A  special  ingredient  in  CHEX  nourishes  your  skin.  All  over  the 
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CHEX  brings  you  still  another  gift!    Used  in  the  bath,  it  banishes  bod; 
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It    acts    INSTANTLY!—  and    lasts    longer    than    most    other   deodorants 
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close Sciid  postpaid,  size  of  Chex  marked 

50c  box  Chex  □  25c  bar  Chex  □ 

10c  Large  Trial  Size  Q 


Scientific   Facts 

About  Diet 


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Photoplay  Magazine — Advertising  Section 


Children  of  Mrs.  E.  L.  Warren,  Skowhegan,  Maine. 


Mellin's  Food-A  Milk  Modifier 

One  of  the  most  pronounced  indications  of  a  baby's  satisfac- 
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"LOVFLY  STRAINS  OF  NF.WEST,  MOST  SEDUCTIVE  JA/ 


102 

New  York  and  Boston  Debutantes  ~ 

like  this  soap  better  than  any  other" 
♦  •  ■  find  it  marvelous  for  the  skin" 


Love  ly  tingling  strains  of  newest,most 
seductive  jazz — if  they  might  never  end! 

Thrill  of  the  ballroom  floor,  so  glim- 
mering, so  enticing — if  one  might  dance 
on  and  on  forever!  To  be  grown-up  at 
last — a  debutante — the  recipient  of  bou- 
quets, bonbons,  sophisticated  compli 
ments,  delicious  invitations  all  day  long . . . 

A  breathless — a  dazzling  existence. 

Never  again  will  it  seem  so  important 
to  look  well,  to  be  at  one's  best,  to  enter 
on  each  new  engagement  alert,  starry- 
eyed,  with  a  skin  smooth  as  a  shell,  radi- 
ant and  fresh  as  morning. 

How  do  they  do  it?  How  do  these  en- 
gaging young  creatures  take  care  of  their 
skin,  to  keep  it  always  soft  and  clear  in 
spite  ot  late  hours,  a  feverish  social  regime  ? 


We  asked  224  New  York  and  Boston 
debutantes  what  soap  they  use  for  the 
care  of  their  skin — and  why. 

Nearly  half  answered,  "Woodbury's 
Facial  Soap!" 

"It's  life-giving"  they  said.  "It  makes 
my  skin  clear  and  soft"  .  .  ."  I  like  it  better 
than  any  other  ..."  "It's  a  marvelous 
soap  for  the  skin. "  = 

A.  skin  specialist  worked  out 
the  formula  by  which  Wood- 
bury's is  made.  The  formula 
not  only  calls  for  the  purest  in- 
gredients; it  also  demands 
greater  refinement  in  the  manu- 
facturing process  than  is  com- 
mercially possible  with  ordi- 
nary toilet  soap. 


A  25c  cake  of  Woodbury's  Facial  Soap  lasts 

a  month  or  six  weeks.    Around  each  cake  is 

wrapped  the  booklet  of  famous  skin  treatments. 

Get  a  cake  of  Woodbury's  today! 

r      r      r 

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for  ten  days 

NOW THE  LARGE-SIZE  TRIAL  SEt! 


EW    JESGFN'S  CO. 
Grove  Ave. 
Ohio 
For  the  enclosed   10c  plea 


If  you  live  in  Canada,  ad- 
dress The  Andn  \v  Jergens  Co„ 
Limited.  511  SticrDrooKe  s,i-, 
Perth.  Ont. 


City. 


ECEMBEP.  25     CENTS 

fakers  g 
olluwoocL 

Do  Uheu^Marru  for^Monea  \ 


Aid 


een 


rtn 


"J 


xMany  agtrlwillbethelove- 
lierfor  a  Djer-Kiss  Gift  Box 
such  as  rhe  one  shown  below, 
very  attractive,  at  55. 


Jjt  Yours  "Be  the  Cjift  of 'Beauty! 

What  gift  can  you  choose  so  precious  as 
the  gift  of  beauty?  The  gift  that  discour- 
ages fatigue — as  does  a  drop  of  the  lovely 
Parfum  Djer-Kiss;  the  gift  that  banishes 
weariness — as  does  the  use  olEau  de  Toilette 
Djer-Kiss?  The  gift  that  makes  a  woman 
enchantingly  lovely — as  do  Djer-Kiss  Face 
Powder  and  Rouge! 


The  possession  of  this 
Dier-Kiss  Gift  Set  brings  a 
sweetness  like  favorite  flow- 
erseverinblossom!  JustSlO. 


You  pay  tribute  to  a  woman's  daintiness 
when  you  send  her  a  Djer-Kiss  Gift  Box — 
you  also  reveal  your  own  knowledge  of  le 
dernier  cri  in  the  correct  use  of  Toiletries  all 
having  the  same  odeur.  Djer-Kiss  offers  you 
six  beautiful  Gift  Sets:  from  $2.75  to  $12.50. 
Even  the  most  modestly  priced  reflects  very 
creditably  on  its  donor's  good  taste! 

Alfred  H.  Smith  Co.,  Sole  Importers 
418   West  25th   Stteet,  New   York  City 


Photoplay  Magazine — Advertising  Section 


Look  at 
the  Menu- 

American  cooking-soft 
and  creamy-  whs  the  gums 
of  the  exercise  they  need 

VV7HEN  next  you  sit  down  to  a  meal, 
notice  carefully  the  dishes  planned  to 
whet  your  appetite  and  to  appease  your 
hunger.  Lusciousviands,  succulent  dainties, 
creamy  desserts  —  all  so  very  tempting  to 
the  palate. 

And,  as  your  dentist  would  add,  all  so 
very  harmful  to  the  gums.  For  our  diet  of 
soft,  refined  foods,  the  dentists  have  dis- 
covered, is  the  cause  of  most  of  the  gum 
troubles  so  rampant  today. 

To  prepare  these  dainty  eatables  that 
modern  taste  demands,  our  wives,  our 
cooks  and  caterers  have  removed  the 
coarse  and  fibrous  elements.  And  that's 
what  starts  trouble  for  our  gums! 

Why  soft  food  is  an  enemy 
to  the  health  of  our  gums 

For,  through  the  act  of  mastication,  these 
husks,  these  peelings,  all  this  roughage 
that  we  so  complacently  discard,  were 
meant  to  stimulate  and  stir  our  gums  to 
health  — to  keep  a  plentiful  supply  of  rich, 
red  blood  in  constant  circulation  within 
their  walls. 

But  modern  gums  lead  a  stagnant  life. 
From  the  food  we  eat  they  get  no  work, 
no  exercise.  Hence  they  soften,  they 
weaken,  and  they  slowly  lose  their  tone. 
"Pink  tooth  brush"  is  a  call  for  help  from 
over-coddled  and  understimulated  gums. 

Hasty  eating,  too,  contributes  to  the 
trouble,  for  it  cheats  our  teeth  and  gums 
of  what  little  work  is  left  for  them  by  this 
modern  diet  of  ours. 


^j-     _.     Qoday,  our  cooks  and  chefs  prepare  a  profusion  of  tasty  dishes  to  delight  ^   -y, 

\\f      our  palates.   But  wherever  we  go,  wherever  we  dine,  our  food  is  soft,  ]// 

\^     creamy,  over-refined — lacking  in  the  roughage  and  fibre  that  was  meant  yJ 

to  provide  the  exercise  and  stimulation  which  keep  our  gums  in  health. 


But  we  could  hardly  revert  to  a  diet  of  raw 
roots  and  unpeeled  fruits.  Civilization  has 
settled  that  almost  beyond  our  control. 

How  to  bring  your  gums 
back  to  normal  health 

So  the  dentists  tutn  to  massage— massage 
with  the  brush  and  massage  with  the 
fingers  —  as  the  most  practical  means  to 
make  up  the  lack.  Both  methods  are  good. 

And  both  are  improved  when  they  are 
performed  with  Ipana  Tooth  Paste.  For 
Ipana,  with  its  content  of  ziratol,  has  a 
most  beneficent  effect  upon  soft  and 
weakened  gum  tissue.  A  preparation  with 
true  hemostatic  and  antiseptic  powers, 
ziratol  is  widely  used  by  dentists.  Its 
presence  gives  Ipana  the  power  to  hasten 
and  to  improve  the  good  effects  of  any 
gum  massage. 

So  brush  your  gums!  Brush 
them  lightly  with  Ipana  as 
you  brush  your  teeth!  If  at 
first  your  gums  seem  tender 
to  the  brush,  give  them  a 
finger  massage  with  Ipana 
after  the  regular  cleaning  of 
the  teeth.  Many  dentists  pre- 
scribe this  to  their  patients  as 


IPANA  Tooth  Paste 


a  regular  regime  for  keeping  the  gums  in 
health  as  well  as  for  restoting  them  to 
their  normal   tonicity. 

Of  course  the  ten-day  tube  will  be  gladly 
sent  if  you  mail  the  coupon.  Your  very 
first  brushing  will  convince  you  that  Ipana 
will  keep  your  teeth  as  clean  and  brilliant 
as  you  could  wish.  And,  too,  you  will  find 
Ipana's  flavor  a  delicious  surprise. 

Give  Ipana  at  least 
a  month's  trial 

But  ten  days  can  only  start  the  good 
work  on  your  gums.  So  the  better  plan 
is  to  get  a  full-size  tube  at  once  from  your 
most  convenient  drug  store,  and  give  your 
gums  the  full  thirty  days  of  Ipana.  Then 
you  can  decide  if  you  wish  to  make  Ipana 
your  tooth  paste  for  life. 


Doctors  and  dentists  today  trace 
many  bodily  ailments  to  gum 
troubles.  You  should  see  your  den- 
tist regularly  anddoalight  massage 
of  the  gums  with  Ipana,  as  this 
page  tells  you.  Then  you  will  see 
how  quickly  your  gums  respond 
to  good  care. 


— made  by  the  makers  of  Sal  Hepatica 


BRISTOL-MYERS  CO. 
*     Dept.  1126,   7}  West  St.,  New  York,  N.  Y. 

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


Bristol-Myers  Co.,  1926 


n  rnriTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


HERE  never  was  a 
time  when  the  name  <x. 


meant  so  much  to  lovers 
of  motion  pictures— 
and  there  never  was  a 
time  when  it  meant 
anything  but— "the  best 
show  in  town" 


Paramount  Guide 
to  the  Best  Motion  Pictures 

Check  the  ones  you  have  seen,  make  a  date  for  the  others  and 
don't  miss  any!  Tour  Theatre  Manager  will  tell  you  when. 


FINE  MANNERS 


TIN  GODS 


Starring  THOMAS  MEIGHAN.  With  Aileen 
Pringle  and  Renee  Adoree.  Directed  by 
Allan  Dwan. 


THE  CAMPUS  FLIRT 


HOLD  THAT  LION 


Jack  Holt,  Raymond  Hatton,  Arlette  Mar- 
chal,  Edmund  Burns.  Directed  by  John 
Waters. 


Starring;  EDDIE  CANTOR.  With  Clara 
Bow  Billie  Dove  and  Lawrence  Gray.  Di- 
rected by  Frank  Tuttle. 


THE  GREAT  GATSBY 


Warner  Baxter,  Lois  Wilson,  Neil  Hamilton, 
William  Powell,  Georgia  Hale.  Directed  by 
Herbert  Brenon. 


YOU'D  BE  SURPRISED 


SO'S  YOUR  OLD  MAN 


Starring  W.  C.  FIELDS.    With  Alice  Joyce 
and  Charles  Rogers.    Directed  by  Gregory 


THE  CANADIAN 


THE  QUARTERBACK 


THE  ACE  OF  CADS 


Starring  ADOLPHE  MENJOU.  With  Alice 
Joyce  and  Norman  Trevor.  Directed  by 
Luther  Reed. 


EVERYBODY'S  ACTING 


BETTY  BRONSON,  Ford  Sterling,  Louise 
Dresser,  Lawrence  Gray,  Henry  Walthall, 
Raymond  Hitchcock.  Directed  by  Marshall 
Neilan. 


FAMOUS  PLAYERS -LASKY  CORP.,  ADOLPH   ZUKOR.PRES,  NEW  YORK    I 

Every  advertisement  In  PHOTOPLAY  magazine 


Old  Ironsides 

zA  fames 

(fjruze 

'Production 

From  the 

Story  by 

J^aurence 

Stallings 

Immortalizing  the  romance  and  drama  of  the  glorious 
fighting  career  of  "Old  Ironsides."  With  Wallace  Beery, 
Esther  Ralston,  George  Bancroft  and  Charles  Farreil. 

Sorrows  of  Satan 

'Produced  by 
T>.  W. 

Griffith 

with 
*Adolphe 
<3t£enjou 
as  £atan 

RICARDO  CORTEZ,  Carol  Dempster  and  Lya  de 
Putti  in  a  drama  of  love,  temptation  and  regeneration. 
From  the  novel  by  Marie  Corelli. 

Beau   Geste 

Romance  ana 

^Adventure  in  the 

forench  foreign 

cQegion.    J\£ew  Tori 

(critics  say  '■'■The 

Tear's  Qreatest 

zJlCelodrama" 

Produced     by     Herbert 
Brenon,  from  the  novel 
by     Percival     C.     Wren. 
With  Ronald  Colman  and  all-star  cast. 

ABOVE  are  three  of  many  big  Paramount  produc- 
tions of  the  coming  season.    The  two  below  and 
those  in  the  chart  you  can  see  now  or  very  soon. 

The  Eagle  of  the  Sea 

Wherein  a  Pirate 
Woos  a  £ady 

Ricardo  Cortez  as 
the  chivalrous, dar- 
ing pirate  who  woos 
a  beautiful  girl, 
Florence  Vidor.and 
braves  fire,  mutiny 
and  the  com- 
,  bined  British 

-^  and    Spanish 

^f*     Navies  to  win 
her! 

A  FRANK  LLOYD  PRODUCTION  from  the  novel 
"Captain  Sazarac"  by  Charles  Tenney  Jackson. 

We' re  in  the 

Navy  Now 

Wallace  'Seerv  and 
1{gvmond  Jfatton 

All  hands  on  deck  for  this 
one!  Beery  and  Hatton, 
the  daffy  doughboys  of 
"Behind  the  Front,  "are 
in  the  navy  now!  With 
Chester  Conklin  and  Tom 
Kennedy.    An   Edward   Sutherland   Production 


■'f*ur: 


,     1  4wiWSivfttyflm*4Ji)-l 


N^^^^&fi, 


The  World's  Leading  Motion  Picture  Publication 


PHOTOPLAY  MAGAZINE 


JAMES  R.  QUIRK,  Editor 


IVAN  ST,  JOHNS 


Vol.  XXXI 


No.  1 


James  R.  Quirk 
Ivan  St.  Johns 


Contents 

December,  1926 

Cover  Design:  Aileen  Pringle 

From  a  painting  by  Carl  Van  Buskirk 

Brief  Reviews  of  Current  Pictures 
In  Tabloid  Form  for  Ready  Reference 

As  We  Go  to  Press 

Last  Minute  News  from  East  and  West 

Brickbats  and  Bouquets 

Frank  Letters  from  Readers 

Rotogravure:  New  Pictures 

Mr.  and  Mrs.  Lowell  Sherman  (Pauline  Garon),  Vera 
Reynolds.  Corinne  Griffith,  George  O'Brien,  Adolphe 
Menjou,  Belle  Bennett,  Carol  Dempster 

Speaking  of  Pictures  (Editorials) 

Fakers  of  Hollywood 

An  Expose  of  "Gyp"  Artists  Who  Victimize  Film  Favorite! 

He  Might  Be  the  Richest  Man  in  the  World 

Frederick  James  Smith 
D.  W.  Griffith,  Creator  of  Film  Devices  He  Failed  to  Patent 

The  Truth  About  Breaking  Into  the  Movies 

Ruth  Waterbury 
The  First  of  a  Series  of  Articles  by  an  "Extra"  Girl  in  Hollywood 

The  Lark  of  the  Month 

Director  Alan  Hale  Hereafter  Will  Let  Actresses  Buy  Their  Own 
Illustrated  by  Frank  Godwin 

(Contents  continued  on  next  page) 


Published  monthly  by  the  Photoplay  Publishing  Co. 

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

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

The  International  News  Company,  Ltd.,  Distributing  Agents.  5  Bream's  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  Postofhce  at  Chicago,  111.,  under  the  Act  of  March  3,  1879. 


Dresses 


10 
12 
19 

27 
28 

30 

32 
35 


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  52 

The  Temptress  . . 
The  Better  '( lie 
The  Quarterback 


.  ...M.-G.-M. 

Warner  Bros. 
Paramount 


Page  S3 

The  Winning  of  Barbara  Worth 

United  Artists 

Sorrows  of  Satan Paramount 

Kid  Boots Paramount 

Page  54 

The  Ace  of  Cads Paramount 

The  Campus  Flirt  .   Paramount 

The  Lily  Fox 

Gigolo  Producers  Dist.  Corp. 

Paradise First  National 

Kosher  Kitty  Kelly F.  B.  O. 

Page  55 

The  Waning  Sex M.-G.-M. 

Take  It  From  Me Universal 

You'd  Be  Surprised Paramount 

Across  the  Pacific Warner  Bros. 

Prince  of  Tempters First  National 

The  Great  K.  and  A.  Train  Robbery- 
Fox 
Page  102 

Forever  After First  National 

Breed  of  the  Sea F.  B.  O. 

A  Man  of  Quality      Excellent  Pictures 
The  Unknown  Cavalier.  First  National 

The  Country  Beyond Fox 

Blarney M.-G.-M. 

For  Alimony  Only 

Producers  Dist.  Corp. 
My  Official  Wife  Warner  Bros. 

The  Fourth  Commandment     Universal 

The  Mystery  Club Universal 

Broken  Hearts  of  Hollywood 

Warner  Bros. 
Whispering  Wires Fox 


Copyright.  1926.  by  the  Photoplay  Publishing  Comp 


Contents — Continued 

Nize  Babies  (Photographs) 
Children  of  Screenland 

Do  They  Marry  for  Money?  Agnes  Smith 

Big  Contracts  and  Love  Play  Parts  in  Hollywood  Finances 

"The  Big  Parade"  Wins  Photoplay  Medal  for  1925 
Fans  Cast  Votes  for  Great  War  Film 

The  Little  Women  (Photographs) 

Best  Friends,  Severest  Critics,  Just  Wives 

Studio  News  and  Gossip — East  and  West  Cal  York 

What  the  Screen  Folk  Are  Doing 

Arabian  Nights  (Fiction  Story)  Octavus  Roy  Cohen 

Further  Adventures  of  the  Midnight  Pictures  Corporation,  Inc., 
on  Tour  of  Europe  Illustrated  by  J.  J.  Gould 

Photoplay's  Honor  Roll  for  1926 

Winners  of  Most  Credits  for  "Best  Performances" 

The  Shadow  Stage 

The  Department  of  Practical  Screen  Criticism 

Donald  Ogden  Stewart's  Guide  to  Perfect  Behavior  in 
Hollywood 

"Hollywood  Can't  Exist — But  It  Does" 

Adela  Rogers  St.  Johns 

A  Chat  with  John  Barrymore 

Rotogravure:  John  Barrymore,  What?  Patsy  Ruth  Miller 

Darn  Those  Engagements,  Says  Patsy    Dorothy  Spensley 
And  She's  Never  Been  Really  Engaged 

The  Big  Boy  from  Berlin  Is  Here 

Frederick  James  Smith 
Emil  Jannings'  First  Interview  in  the  U.  S. 

Gifts  That  You  Like  Best  Will  Please  Others  Most 

Photoplay's  Shopping  Service  Will  Help  Solve  Your  Christmas 
Problems 

The  Synthetic  Star  (Fiction  Story)  Faith  Service 

A  Tingling  Romance  of  a  New  England  Girl,  a  Movie  Press  Agent 
and  an  Actress  Illustrated  by  Edward  Ryan 

Here's  an  Actor  Cal  York 

Jean  Hersholt,  Whose  Claim  to  Fame  Is  Merit 

A  Primer  for  Press  Agents  (Photographs) 
Sure  Fire  Hits  Before  the  Public  Got  Wise 

Good-bye,  "Kid"  (Photographs) 

Jackie  of  Dutch  Bob  Is  Dead.    Long  Live  John  Leslie  Coogan 

Yes,  Sir! — That's  Their  Baby  (Photographs) 
First  Picture  of  Charles  Chaplin,  Jr. 

Friendly  Advice  on  Girls'  Problems      Carolyn  Van  Wyck 
The  Department  of  Personal  Service 

The  Blond  Boy  from  Bond  Street  Jean  Millet 

A  Word  Portrait  of  Ralph  Forbes,  One  of  the  Three  "Geste"  Boys 

A  Villainous  Farmer  Ivan  St.  Johns 

Noah  Beery — the  Big  Cattle  and  Fruit  Man 

How  to  Make  Your  Own  Screen  Test  (Photograph) 
Rate  Yourself  and  Then — Stay  Away  from  Hollywood 

The  Girl  on  the  Cover:  Aileen  Pringle 


fGvs- 


=wa® 


Questions  and  Answers 


Cal  York 
The  Answer  Man 


Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 

Addresses  and  working  programs  of  the  leading  picture 
studios  will  be  found  on  page  96 


36 
38 
40 

42 
44 
48 

51 
52 

56 
58 

59 
63 

64 
65 

68 

71 

72 

74 

76 

78 

81 

82 

86 

88 

99 

142 


$5,000 

in 

Prises 

Announced  in 
the  next  Issue 


The  complete 
awards  of  the 

CUT 
PICTURE 
PUZZLE 
CONTEST 

will  be  made 
known  in  the 
January  issue 
of  Photoplay 


Are  you 

among  the 

lucky 

winners  ? 


Order  your  copy  of 
the  January  Photo- 
play from  your 
newsdealer  today ! 


2<2pti- 


.**£)}> 


Photoplay  Magazine — Advertising  Section 


$7n  the  BIG  PARADE" 

of  Life 

those  women  who  play  leading  parts  know 
the  great  importance  of  physical  vigor  and 
comfort.  They  know  that  poise,  charm  and 
vivacity  are  seldom  possible  without  active, 
youthful  feet.  And  so  today 

THE 

/JRCHPRESERVQJ 

SHOE 

is  being  worn  not  only  by  such  great  stars  of 
the  screen  as  Renee  Adoree,  but  by  leading 
women  in  all  walks  of  life.  This  is  the  famous 
shoe  that  helps  women  to  be  active,  capable, 
successful.  The  concealed,  built-in  arch 
bridge  prevents  straining  of  the  foot  struc- 
ture; the  flat  inner  sole  (crosswise)  prevents 
pinching  of  nerves  and  blood-vessels.  The 
joy  of  wearing  the  Arch  Preserver  Shoe  is 
realized  fully  when  you  see  what  lovely 
styles  you  may  have  with  Foot  Happiness. 

THE  SELBY  SHOE  COMPANY    f 

482  Seventh  St.,  Portsmouth,  Ohio  ' 


LT* 


F 


1;hoe<' 


C^ 


There  are  few  such  slars  in  the 
movie  firmament  as  Miss  Renee 
Adoree,  the  fascinating  heroine  "1 
Metro's  "The  Big  Parade."  Here 
you  see  her  wearing  the  "A  doree" 
Model  of  the  Arch  Preserver  Shoe 
namedin  her  honor. 


TheSelbv  Shoe  Co.. 

482  Seventh  St.,  Portsmouth,  O. 

Please  send  booklet  T-82  "Foot  Youth." 


*f) 


When  you  wrlto  to  a*lvi 


I  please  mention  PHOTOPLAY  MAGAZINE. 


Brief  Reviews  of  Current  Pictures 


ALOMA  OF  THE  SOUTH  SEAS— Paramount  — 
The  startling  beamy  of  the  South  Seas  coupl  id  with 

the  personality  of  Gilda  Gray  and  her  famous  wiggle 
make  this  a  glorious  experience.     (July.) 

AMATEUR  GENTLEMAN,  THE— First  Na- 
tional.— It's  not  Dick  Barthelmess  at  his  best — but 
who  gives  a  boot  about  story  or  anything  else  as  long 
as  we  have  Dick.     (Nov,) 

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,) 

BARDELYS  THE  MAGNIFICENT  —  Metro- 
Goldwyn-Mayer. — Your  season  won't  be  complete 
unless  you  see  this  picture.  It's  safe  enough  for  the 
children.  John  Gilbert  and  Eleanor  Boardman  head 
the  cast.    (Nov.) 

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.) 

BATTLING  BUTLER— Mctro-Goldwyn-Mayer. 
—  Here's  an  amusing  number  presented  by  Buster 
Keaton.     Check  this  a  must.     (Xo;\) 

BEAU  GESTE  —  Paramount.  Perciv.il  Wren's 
best  selK-r  has  been  followed  with  fidelity.  The 
screen's  best  mystery  story.    (Nov.) 

BETTER  MAN,  THE— F.  B.  O.— Richard  Tal- 
madge  with  his  usual  bag  of  tricks.  That's  all. 
(September.) 

BEVERLY  OF  GRAUSTARK— Metro-Goldwyn- 

Mayer. — A  light,  frothy,  romantic  piece  of  nonsense 
this,  spiced  with  the  presence  of  Marion  Davies  and 
Antonio  Moreno.    See  it.     (July.) 

BIGGER  THAN  BARNUM'S— F.  B.  O.— Here's 

the  old  circus  formula  again.  Not  good  enough  and 
not  bad  enough  to  create  a  stir.    (September.) 


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.) 


-A    fair    picture*. 


BLUE     EAGLE,     THE— Fox.- 
(Nov.) 

BORN  TO  THE  WEST— Paramount.— Lives  up 
to  its  name  in  exciting  fashion  without  a  thrill  left  out. 
A  good  Zane  Grey  Western.     (September.) 

BRIDE    OF    THE    STORM— Warner    Bros.— A 

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

BROADWAY    GALLANT,    THE— F.    B.   O.— A 

Richard  Talmadge  program  picture  in  which  his  fans 
will  find  him  at  his  best.     (July.) 

BROWN  DERBY,  THE— First  National.— Good 
light  entertainment  for  those  who  prefer  the  sudden 
loud  laugh  to  the  slow  smile.     (August.) 

BROWN  OF  HARVARD  —  Metro-Goldwvn- 
Mayer.— College  life,  flip  and  lively,  against  the  real 
background  of  Harvard  College.  Fine  entertainment. 
(July.) 

BUCKING  THE  TRUTH— Universal.— A  story 
of  the  great  West  with  quite  some  riding  and  excite- 
ment.    Pete  Morrison  is  the  star.     (August.) 

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

iversal. — Just   West- 


CLINGING  VINE,  THE— Producers  Dist.  Corp. 
-A  goofy  plot,  trite  and  tedious.    (September.) 


COLLEGE  BOOB,  THE— F.  B.  O.— Lefty  Flynn, 
in  a  populai  college  football  affair.  It  will  please  the 
youngsters,     (October.) 

COWBOY  COP,  THE— F.  B.  O— Don't  miss  the 
delightful  combination  ■>'  Tom  Tyler  and  Frankie 
Darro.      They're  good.      [I 

CROWN  OF  LIES.  THE— Paramount.— Another 

in -M.'  Pol  i  Negri  vehicle.     If  you  have  nothing 

else  to  do— ser  this  and  suffer  with  Pola.     (June.) 

DANGEROUS  DUB,  THE— Associated  Exhibi- 
tors.— Buddy  Roosevelt  does  some  hard,  fast  riding — 
with  little  else  to  recommend.  O.  K.  for  the  kiddies. 
(September.) 

DEAD  LINE,  THE— F.  B.  O—  Stay  home.  This 
is  terrible.     (September.) 

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

DEVIL  HORSE,  THE— Pathe.— A  picture  that  is 
worth  your  money.  A  Family  picture — one  that  we 
recommend.     (August.) 


ELLA  CINDERS  —  First  National.  —  Colleen 
Moore  breaks  into  the  movies  in  this  enjoyable  I  il  - 
derella  story.    Take  the  children.     (August.) 

EVE'S  LEAVES  —  Producers  Dist.  Corp.  —Ter- 
rible! Everyone  in  the  cast  makes  a  desperate  attempt 
to  rescue  this  bad  comedy  anrl  hectic  melodrama.  A 
set  of  un-funny.  wise-cracking  sub-titles  make  mat- 
ters worse.     (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. 


DEVIL'S  ISLAND— Chadwick—  At  least  we  can 
recommend  the  performance  of  Pauline  Frederick. 
The  rest  of  the  picture  is  the  bunk.     (Oetober.) 

DIPLOMACY— Paramount.— Sardou's  play  had 
its  face  lifted  by  Marshall  Neilan — unsuccessfully. 
(Nov.) 

DON  JUAN— Warner  Bros.— A  picture  that  has 
great  acting,  thrilling  melodrama  and  real  beaut\. 
With  the  Yitaphone,  a  real  film  event.     (October.) 

DUCHESS  OF  BUFFALO.  THE— First  National. 
— Connie  Talmadge  in  a  brisk,  racy  and  lightly  amus- 
ing farce.      (October.) 

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.) 


EXQUISITE  SINNER,  THE— Metro-Goldwyn.— 
A  nice  little  comedy  if  taken  in  the  spirit  it  is  offered 
to  you.    (July.) 

FAMILY  UPSTAIRS,     THE— Fox.— Take    the 

whole  family  to  see  this  enjoyable  picture.     (October.) 

FIGHTING  BOOB.  THE— F.  B.  O.— A  boring 

Western.  Now  don't  blame  us  if  it  doesn't  please. 
(June.) 

FIGHTING    BUCKAROO,    THE— Fox.— Buck 

Jones  still  does  all  the  necessaries  to  keep  one  amused. 
It's  good  stuff.     (June.) 

FIG  LEAVES— Fox.— A  slender  little  story  built 
around  a  gorgeous  fashion  show  filmed  in  colors. 
Olive  Borden  runs  away  with  the  picture.     (Sept.) 

FINE  MANNERS— Paramount.— Gloria  Swanson 
is  delightful  in  on.-  of  those  roles  she  dors  so  perfectly 
— that  of  a  shabbv  working  girl  who  loves  devote. IK. 
(October.) 

FLAME  OF  THE  ARGENTINE.  THE— F.  B.  O. 
—A  change  of  scencrv  is  about  the  only  new  thing  in 
Evelyn  Brent's  latest.     (September.) 

FLAME  OF  THE  YUKON,  THE— Prod.  Dist. 
Corp. — A  magnetic  story  of  the  adventures  of  thefi  Id- 
seekers  in  the  far  North.  Only  for  the  big  folks. 
(August.) 

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.) 

FOOTLOOSE  WIDOWS— Warner  Bros— How  to 
win  a  millionaire  husband — according  to  the  movies. 
This  belongs  in  the  "quite  interesting"  list.    (Sept.) 

FOR  HEAVEN'S  SAKE— Paramount.— For  your 
own  sake  go  see  this  Harold  Llovd  production.    Sure. 

take  the  kiddies!     (June.) 

FRONTIER  TRAIL.  THE— Pathe— A  re  I- 
bloi  "led  Western  with  Harry  Carey.  If  you  like  swift 
melodrama  you  are  sure  to  like  this  one.    (August.) 

GALLOPING  COWBOY,  THE— Associated  Ex- 
hibitors.— If  you're  in  the  mood  for  a  good  Western  — 
see  this.      (July.) 

GAY  DECEIVER,  THE— Metro-Goldwyn-Mayer. 
— Plenty  of  glitter  of  the  Paris  variety  in  this  enter- 
taining piece.     (Nov.) 

GENTLE   CYCLONE,   THE— Fox.— Not   up   to 

the  standard  of  the  usual  Buck  Jones  feature.  (.4  m- 
gust.) 

GLENISTER  OF  THE  MOUNTED— F.  B.  O  — 

Lefty  Flynn  in  an  Arthur  Guy  Empey  story  of  the 
Mounted  Police.  The  same  as  the  other  6.46.!. 
(August.) 

GOOD  AND  NAUGHTY— Paramount.— A  flip- 
pant farce  comedy  with  Pola  Negri.  Ford  Sterling  and 
Tom  Moore.    Sterling  steals  the  picture.    (August.) 

GREAT  DECEPTION,  THE— First  National.— 
i  -  idly  lacking  in  entertainment  value.     The 

i  vice  again.     (October.) 

HANDS  ACROSS  THE  BORDER— F.  B.  O  — 

Fred  Thomson  and  Silver  King  make  this  an  interest- 
ing picture.     (August.) 

HELL   BENT  FER  HEAVEN— Warner    Bros  — 
Another  disappointment,  especially  after  the 
of  the  stage  play.     Gardner  James  gives  an  inspire  1 
performance.    (July.) 

I  CONTINUED  ON  PAGE  14  ) 


Photoplay  Magazine — Advertising  Section 


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OLIVE  BORDEN 


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JANET  GAYNOR_ 


GEORGE  O'BRIEN 


MADGE  BELLAMY 


Among  them  are  these  supreme  productions: 

WHAT  PRICE  GLORY 

THE  MUSIC  MASTER 

7th  HEAVEN 

all  made  from  renowned  stage  successes 

3  BAD  MEN 

staged  b?  John  Ford,  u  ho  directed 
"The  Iron  Horse" 

ONE  INCREASING  PURPOSE 

try  the  author  o/  "  If  Winter  Comes " 


YOUTH  IN  FOX  PICTURES 

X/OT  content  with  having  secured  great  successes 
J  V_,  of  the  stage  and  the  most  popular  novels 
and  short  stories  of  the  world's  leading  writers,  the 
makers  of  Fox  Pictures  have  gathered  the  greatest 
array  of  talent  ever  assembled  by  one  company  to 
portray  the  roles  in  these  notable  photoplays. 

Established  favorites  of  the  screen,  of  course! 
But  more!  Youth — golden,  glorious  youth — moves 
through  every  photoplay  that  bears  the  name  of  Fox. 
Youth— incarnation  of  the  spirit  of  the  screen— in 
Fox  Pictures  has  come  into  its  own. 

Janet  Gaynor,  Madge  Bellamy,  Olive  Borden, 
Dolores  Del  Rio,  Kathryn  Perry,  Margaret  Livingston 
— beautiful,  young  Fox  stars,  whose  names  are  known 
to  you  all;  Sally  Phipps  and  Nancy  Nash,  whom  you 
soon  will  be  admiring. 

And  among  the  men:  Edmund  Lowe,  George 
O'Brien,  Charles  Farrell,  Leslie  Fenton,  Richard 
Walling,  Allan  Forrest,  Earle  Foxe,  and  Barry  Norton, 
a  squadron  of  brilliant  young  players,  all  bearing  the 
banner  of  youth  through  Fox  Pictures. 

Stars  of  today  and  stars  of  tomorrow,  guided  by 

the  greatest  directors  and  presented  in  the  leading 

successes  in  fiction  and  drama — of  such 

material  have  Fox  Pictures 

been  fashioned. 


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CHARLES  FARRELL 


DOLORES  DELRIO 


Watch  /or  Youth  in  these  Fox  Pictures: 

THE  RETURN  OF  PETER  GRIMM 
MOTHER  MACHREE 

THE  CITY 
SUMMER  BACHELORS 
THE  MONKEY  TALKS 


WILLIAM    FOX    PICTURES 


rlloTliri.AY  MAGAZINE. 


Last  Minute  Js[ews  from  East  and  'West 


to  lress 


UNIVERSAL    has    purchased    Edna 
Ferber's  colorful  story  of  the  Missis- 
sippi, "Show  Boat,"   for  Mary  Phil- 
bin's  use. 

"D  AMON  NOVARRO  is  recovering  from 
■*-^-an  attack  of  "flu"  which  held  up  work 
on  "The  Great  Galeoto." 

T")OUGLAS  FAIRBANKS  and  Mary  Pick- 
•J-^ford  have  purchased  an  estate  at  Santa 
Monica  with  ocean  frontage.  They  are  go- 
ing to  build  a  $100,000  Venetian  beach 
home,  furnishing  it  with  antiques  purchased 
on  their  recent  visit  to  Italy. 

OAMUEL  HOPKINS  ADAMS  has  been 
'"-'signed  to  write  original  stories  for  Fa- 
mous Players. 

"POLLOWING  the  opening  of  the  film, 
■*■  "Kid  Boots,"  in  New 
York,  Eddie  Cantor  an- 
nounced that  he  will  devote 
alljhis  time  in  the  future  to 
pictures. 

'PHE  community  in  and 
■*■  about  Gloucester, 
Mass.,  is  making  a  picture 
around  its  fishing  industry, 
modeled  after  the  way  New 
Bedford  made  "Down  to 
the  Sea  in  Ships"  around 
the  old  time  whalers.  John 
L.  E.  Pell,  who  wrote  "Down 
to  the  Sea,"  is  the  author  of 
the  Gloucester  story,  as  yet 
unnamed.  F.  B.  O.  will  re- 
lease the  film. 

RICHARD   BARTHEL- 
MESS  is  abroad  on  a 
short  vacation. 

(CHARLIE  CHAPLIN  is 
^now  cutting  288,000  feet 
of  "The  Circus"  to  7,000 
feet.  The  comedy  will  not 
be  released  until  after  New 
Year's.  The  Napoleon- 
Josephine  film,  co-starring 
Chaplin  and  Raquel  Meller, 
is  scheduled  to  be  started 
in  March. 

TX/OOF!  Woof!  Marie 
v  v  Prevost's  Cairn  ter- 
riers won  five  blue  ribbons 
at  the  Sesqui- Centennial 
Dog  Show  in  Philadelphia. 

TXTTLLIAM  RUSSELL 
v  v  and  Helen  Ferguson 
may  go  to  Europe  to  make  a 
film  about  the  history  of  the 
American  Red  Cross. 

10      2 


L 


UNITED  ARTISTS  has  signed   Gilbert 
Roland. 

AURA  LA  PLANTE  and  William  Seiter 
will  be  married  any  day  now. 

"TDEACHES"  Heenan  Browning  is  said  to 
-*-    be  "swamped  with  offers  to  go  into  the 
movies."     Is  that  so? 

"DEUNITED  at  last!  Eddie  Sutherland 
-LX-has  arrived  in  New  York,  where  he  will 
make  his  next  picture,  "Love's  Greatest 
Mistake."  Louise  Brooks  was  at  the  sta- 
tion to  welcome  her  husband  home. 

/"1LORIA  SWANSON  has  definitely  de- 
^-^cided  on  a  title  for  her  first  independent 
picture.  Originally  called  "Eyes  of  Youth" 
it   will   hereafter   be  known   as   "Sunya." 


In  a  background  of  autumn  flowers  and  bright  leaves, 

Doris  Kenyon  and  Milton  Sills  were  married  at  Miss 

Kenyon's   home  in   the  Adirondacks.      They   are  still 

being  flooded  with  congratulations 


JOHN  GILBERT  will  play  a  Budapest 
J  sideshow  barker  in  his  next  film,  "Day  of 
Souls."  Renee  Adoree,  his  co-star  in  "The 
Big  Parade,"  will  play  opposite. 

/"LRETA  GARBO  will  be  Lon  Chaney's 
^leading  woman  in  "The  Ordeal,"  in 
which  Lon  plays  an  armless  gent,  his  latest 
make-up  stunt. 

C EX  appeal  notes:  Elinor  Glyn  will  make 
WJher  debut  as  an  actress  in  "It."  The 
title  of  Mae  Murray's  new  picture  is 
"Diamond  Handcuffs." 

TX7ALLACE  BEERY  and  Raymond  Hat- 
v  v  ton,  who  weren't  going  to  make  any 
more  co-starring  pictures  together,  have 
changed  their  minds.  Their  next  one  will  be 
"Casey  at  the  Bat."  It's  an  adaptation  of 
the  famous  Mudville  tragedy. 


"DEBE  DANIELS  has 
-'—'signed  a  new  contract 
with  Famous  Players- 
Lasky. 

("LRETA  NISSEN  has 
^-*gone  to  Hollywood  to 
play  opposite  Adolphe  Men- 
jou  in  a  comedy  tentatively 
titled  "Blondes  vs.  Bru- 
nettes." 

"\X7ILLIAM  BOYD'S 
v  v  new  picture  is  "Jim, 
the  Conqueror."     Bill  is  a 
full-fledged  star  now. 

I^ING  VIDOR  and  his 
^^■bride,  Eleanor  Board- 
man,  spent  their  honey- 
moon in  New  York. 

JAMES  CRUZE  has  fin- 
ished "Old  Ironsides" 
and  started  "The  Waiter 
from  the  Ritz,"  starring 
Raymond  Griffith. 

TX7TLLY  FRITSCH,  the 
v  *  German  leading  man 
of  "The  Waltz  Dream,"  has 
been  signed  by  Joseph  M. 
Schenck. 

"/"JETTING  Gertie's 
^-*  Garter"  is  to  be  filmed 
with  Marie  Prevost  as 
Gertie. 

PHARLIE  CHASE'S 
^name  is  now  Charlie 
Chase.  It  was  Charles  Par- 
rott,  but  the  Los  Angeles' 
courts  have  legalized  Chase 
in  private  as  well  as  public 
life. 


Photoplay  Magazine — Advertising  Section 


I  I 


with 

May  McAvoy 

Charles  Ray 

Scenario  by 

Alfred  A.  Cohn 

From  the  story  by 

K.ATE  CORBALEY 
A  Mttro-Golduyn- Mayer 


Directed  by 
William  Nich 


s 


THE  FIRE  BRIGADE 


COMING  to  amaze  the  world  .  . 

THE  epic  photoplay 

OF  the  heroes  of  peace 

THE  fearless  fire-fighters 

NEVER  such  a  titanic  drama 

THE  true  story  of  today's  battle 

AGAINST  the  Red  Death 

ENDORSED  and  sponsored  by 

AMERICA'S  firemen 

IT  is  truly  called 

THE  Big  Parade  of  Peace  Times 


"More  stars  than  there  are  in  Heaven" 


motion   pictures 

or    merely  look 

at  them? 

Win  one  of  these 


Prizes 

Do  you  remember  what 
you  see?  I  wonder! 
Take  my  test — Try  my 
five  questions  —  You'll 
be  surprised  how  much 
you  miss  in  the  movies ! 

For  the  best  answers  to 
my  questions  I  have 
chosen  rewards  that 
you'll  be  proud  to  win  and 
to  own. 

The  lucky  lady  will  receive 
the  signet  ring  I  wear  in 
"Bardelys  the  Magnificent." 
The  fortunate  gentleman 
will  win  the  handsome  rapier 
John  Gilbert  uses  in  thesame 
picture  and  the  fifty  "next 
best"contestants  will  receive 
my  favorite  photograph 
autographed  personally   by 

Yours  hopefully, 


Eleanor's 
Five  Questions 

1    What  four  nationalities  are  rep- 
resented    in    the   cast   of    Rex 
Ingram's  "The  Magician"? 

*)  Name  the  four  pictures  in  which 
~  King  Vidor  has  directed  John 
Gilbert  forMetro-Goldwyn-Mayer? 

3  What  do  you  regard  as  Lon 
Chaney's  greatest  screen  char- 
acterization? Answer  this  in  less 
than  fifty  words. 

1  Name    four    Metro   Goldwyn- 
Mayer    stars   whose   surnames 
begin  with  the  letter  G? 

-  By  what  means  was  the  stroke 

—  of  the  Roman  galley  slaves  reg- 
ulated in  "Ben  Hur"? 

Write  your  answers  on  one  side  of 
a  single  sheet  of  paper  and  mail  to 
3rd  Floor,  1540  Broadway,  New 
York.  Ail  answers  must  reach  us 
by  December  15th.  Winners' 
names  will  be  published  in  a  later 
issue  of  this  magazine. 

In  the  event  of  ties,  each  tying 
contestant  will  be  awarded  a  prize 
identical  in  character  with  that 
tied  for. 


['IIOTOIM.AY   MAGAZINE. 


The  Real  Critics,  the  Fans,  Give  Their  Views 


Brickbats  and  Bouquets 

letters  from 

PHOTOPLAY  READERS 


Three  prizes  are  given  every  month 
for  the  best  letter  s~ $25,  $10  and  $5 


The  Monthly  Barometer 

The  death  of  Rudolph  Valentino  still  was  the 
uppermost  consideration  in  the  minds  of  the 
fans  who  wrote  to  Brickbats  and  Bouquets  dur- 
ing the  month  of  September.  The  tributes,  in 
prose  and  poetry,  numbered  in  the  thousands. 

■'The  Big  Parade"  continued  to  be  the  most 
widely  praised  picture,  with  "Stella  Dallas," 
"Men  of  Steel."  "The  Volga  Boatman"  and 
"The  Merry  Widow"  also  causing  furors. 

Plenty  of  brickbats  were  aimed  at  local 
censors  who  made  changes  in  "Variety"  and 
"The  Merry  Widow."  And  "Aloma  of  the 
South  Seas"  inspired  more  letters  than  any 
other  program  picture  of  recent  release. 

l.on  Chaney  received  a  great  rush  of  letters. 
There  were  more  bouquets  tossed  at  Chaney 
than  at  any  other  star,  with  Richard  Dix  and 
Ronald  Colman  next  on  the  list.  Little  Bebe 
Daniels  also  found  an  unprecedented  number 
of  friends,  while  Colleen  Moore,  Norma  Tal- 
madge  and  Gloria  Swanson  give  evidence  of 
having  the  most  loyal  followings  of  any  of  the 
feminine  stars.  Greta  Garbo  continues  as  the 
most  popular  of  the  recent  discoveries. 

Thomas  Meighan's  work  in  "Tin  Gods"  was 
the  most  widely  praised  performance  of  the 
month.  Pola  Negri  received  the  most  brickbats. 

Adela  Rogers  St.  Johns'  interview  with  Pau- 
line Frederick  seemed  to  please  the  greatest 
number  of  fans. 

Letters  were  received  from  all  over  the 
world,  with  England,  Australia  and  Sweden 
leading  in  point  of  numbers  outside  the  U.  S. 
The  Editor. 

$25.00  Letter 

Seat  lie,  Wash. 

I  should  like  to  offer  not  a  bouquet,  but  the 
Following  florist  shop  to  Richard  Barthelmess 
and   ■Shore  Leave. 

When  you're  in  a  sanitarium  on  the  Sound 
lighting  a  losing  battle  with  the  old  tubercle 
bacillus,  and  desperately  lonely;  when  the 
waves  smash  on  the  shore  below,  and  the  wind 
rushes  through  the  open  window  and  tries  to 
tear  the  blankets  off  your  bed;  when  life  seems 
cruel  and  you're  afraid  and  your  philosophy 
deserts  you; 

And  the  Head  Nurse  bustles  in  and  says 
there's  going  to  be  a  movie  show  downstairs; 
and  you  put  on  your  bathrobe  and  shuffle  to 
the  hall;  and  your  heart  pounds  so  loudly  you 

12 


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. 


wonder  if  everyone  can  hear  it;   and  your 
cheeks  burn  with  fever; 

And  the  picture  flickers  on  the  screen  and  it's 
"Shore  Leave";  and  you  forget  how  rotten  you 
feel  and  how  badly  the  pleurisy  is  hurting;  and 
you  giggle  and  shout  and  think,  "This  is  great! 
A  REAL  picture  about  real  people.  Why 
aren't  they  more  of  'em?" 

And  all  too  soon  it's  over.  And  you  go  back 
to  bed  with  more  faith  than  you've  ever  found 
in  a  church,  and  decide  there  must  be  a  kind 
God  watching  over  you,  because  only  He 
could  have  thought  of  making  such  sublimely 
beautiful  and  ridiculous  creatures  as  human 
beings.  And  words  of  an  old  prayer  come 
back,  "The  Divine  arms  are  all  about  me." 

And.somehow.you  feel  at  peace — all  because 
of  a  picture  about  a  Tough  Gob;  and  you  fall 
into  a  deep  sleep  with  a  grin  on  your  lips— 

( ih,  boy!  Ain't  it  a  grand  and  glorious  feel- 
ing! 

i With  apologies  to  Mr.  Briggs.) 

Phyllis  Xaebo, 
9847  Arrowsmith  Avenue. 

$10.00  Letter 

London,  England. 
America,   I   salute   you!     You   can    make 
movies  with  never  a  rival  to  come  within  miles 


of  your  standard  of  direction  and  photography. 
And  yet  you  can't — or  won't — make  stories  to 
fit.  I  know  that  the  stories  are  designed  to 
keep  the  box-office  gay,  and  I  am  aware  that 
the  box-office  has  to  be  considered  as  a  symbol 
for  all  that  is  beloved  of  the  vulgarian. 

Why,  oh,  why? 

This  soul-searching  cry  is  not  only  a  criti- 
cism; carried  with  it,  is  the  skeleton  of  a  solu- 
tion. Listen,  now,  and  I  will  rattle  the  bones 
thereof. 

Let  us  take  the  world  thus: 

Apathetic  minded 60  per  cent  • 

Intelligent 30  per  cent 

Vulgarian 9  per  cent 

Clever J^  per  cent 

Brilliant Yt  per  cent 

The  Intelligents  and  Apathetics  have  it,  I 
think.    Let  the  other  weird  creatures  go  hang. 

The  Intelligent  among  the  nations  want  good 
stories — and  would  go  to  the  movies  if  they 
thought  that  there  was  any  chance  of  their 
desires  being  gratified. 

The  Apathetic  go  to  the  movies  anyway. 
They  object  to  anything  beautiful,  idealistic, 
subtle  or  clever — being  unequal  to  the  strain 
thus  imposed  on  their  perceptions.  They  want 
their  colours  slapped  on  with  a  generously 
loaded  brush,  and  they  want  their  sentiment 
poured  over  the  result  in  homely  fashion — as 
treacle  is  added  to  stale  bread  to  suit  a  pro- 
letarian palate. 

Whatever  is  given  to  this  species  makes  no 
difference — the  box-office  will  enjoy  itself  so 
long  as  the  projector  is  working. 

Now  I  will  make  you  a  wager,  America. 

I  am  willing  to  bet  you  a  pot  of  good  English 
beer  against  a  Hot  Dog  that  good  pictures 
would  put  a  comfortable  percentage  on  the  in- 
dustry's dividend.  They  would  also  create 
entertainment  for  a  very  large  section  of  the 
public  which  has  been  left  out  of  the  scenario 
selector's  calculations  hitherto. 

Finally,  England  admires  you  sincerely,  with 
the  genuine  admiration  of  an  old  and  tried 
champion  for  a  young  and  brilliant  fighter. 
Give  us  good  pictures,  and  let  us  see  your  finer 
idealistic  side  as  well  as  your  extraordinary 
business  ability. 

You've  got  the  material— let  it  rip.  We 
don't  want  to  see  your  weaker  side. 

G.  B.  Sussa, 
58  Lonsdale  Road. 

[  CONTINUED  ON  PACE  102  ] 


Photoplay  Magazine    Advertising  Section 


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Brief  Reviews    of  Current   Pictures 


[  CONTINUED  FROM  PAGE  8  ] 


SCHOOL   OF  CARTOONING 


HELL'S  400 — Fox. — It's  funny — unintentionally. 
Grownups  may  see  this  if  they  promise  not  to  laugh 
too  loud.     (July.) 

HER  BIG  NIGHT— Universal.— Some  inside  dope 
on  the  movies.    Quite  interesting.    {Nov.) 

HER  HONOR  THE  GOVERNOR— F.   B.  O.— 

Pauline  Frederick  and  Carroll  Nye  waste  masterly 
performances  on  celluloid  claptrap.  Their  work  is 
worth  seeing,  but  the  film  itself  is  a  disappointment. 
(October.) 

HER  SECOND  CHANCE— First  National.— Not 
worth  seeing.     (July.) 

HIDDEN  WAY,  THE— Associated  Exhibitors.— 
Another  weepy  affair  that  isn't  worth  the  famous  two- 
bits.     (October.) 

HIGHBINDERS,  THE— Associated  Exhibitors. 
— William  Tilden  stepping  out  as  an  actor,  but  he 
had  better  stick  to  tennis  if  he  wishes  to  become  a 
success  in  life.    Terrible.     (June.) 

HOLD  THAT  LION— Paramount.— The  usual 
Douglas  MacLean  farce  fare.     (Nov.) 

HONEYMOON  EXPRESS,  THE— Warner  Bros. 

— Some  more  carryings-on  of  the  younger  generation. 
It's  not  so  bad.     (October.) 

ICE  FLOOD,  THE— Universal.— Don't  waste  any 
precious  moments  on  this.     (Nov.) 

IMPOSTOR,  THE— F.  B.  O.—  A  carbon  copy  of 
the  former  Evelyn  Brent  productions.    Fair.     (July.) 

INTO  HER  KINGDOM— First  National— Don't 
waste  your  money  on  this  atrocity  filled  with  flowery 
subtitles,  stupid  symbolism,  bad  photography  and 
commonplace  direction.     (October.) 

ISLE  OF  RETRIBUTION,  THE— F.     B.    O  — 

Lillian  Rich  and  Robert  Frazer  are  in  the  cast— if 
thai    means  anything.     Entertainment  value?     Fair. 

(July.) 

IT  MUST  BE  LOVE— First  National.— A  light 
lnt  of  nonsense.  A  good  cast — Colleen  Moore,  .ban 
Hersholt  .md  Malcolm  MacGregor.    (Oct.) 

IT'S  THE  OLD  ARMY  GAME— Paramount.— 
W  I  Fields  is  disappointing  as  starring  material. 
llis  comedy — fair.     (September.) 

JADE  CUP,  THE— F.  B.  O.— Do  you  know  your 
movies?  Then  ■  >u  know  what  to  expect  from  Evelyn 
Brent.      It  will  pass.      (September.) 

KICKOFF,  THE— Excellent  Pictures.— A  splen- 
did football  picture  featuring  George  Walsh  and 
Lelia  Hyams.    (Nov.) 

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.) 

LAST  FRONTIER,  THE— Prod.  Dist.  Corp.— 
Here  is  another  and  feeble  version  of  "The  Covered 
Wagon"  plot,  with  the  long  trek  over  the  plains,  tie* 
buffalo  stampede,  the  rascally  redskins,  the  battle  and 
the  brave  young  hero.     (October.) 

LEW  TYLER'S  WIVES— Preferred  Pictures.— If 
you're  serious  minded,  this  faithful  screen  version  of 
Wallace  Irwin's  uncompromising  story  of  a  weak  man 
whom  three  loved  will  interest  you.  It's  too  adult  for 
the  children.     (September.) 

LOVE  THIEF,  THE— Universal.— The  marriage 

is  dressed  up  in  royal  garments  with 
and  Greta  Nissen  in  the  royal  robes. 
Passable.     (August.) 

LOVEY  MARY— Metro-Goldwyn-Mayer.  —  The 
famous  "Cabbage  Patch"  does  not  provide  good 
screen  material.  It's  harmless  and  we'll  guarantee  it 
won't  overtax  the  mentality  of  The  Tired  Business 
Fan.      (August.) 

LUCKY  LADY,  THE— Paramount.— Could  you 
think  of  a  better  wav  to  spend  an  hour  than  gazing  at 
the  fair  Greta  Nissen  and  William  Collier.  Jr.,  forming 
the  love  interest  in  this  wholly  effective  melodrama? 
(September.) 

MAN  FOUR  SQUARE,  A— Fox.— A  Buck  Jones 
Western — which  means  it's  a  good  one.     (July.) 

MAN  IN  THE  SADDLE,  THE— Universal.— 
Hoot  Gibson  always  proves  himself  a  hero  all  the 
time.  You  can  always  depend  on  Hoot  if  you're  in  the 
mood  for  a  Western.     (September.) 

MANTRAP— Paramount. — Clara  Bow's  excellent 
performance  makes  the  film  version  of  Sinclair  Lewis' 
latest  novel  good  entertainment.     (September.) 

MARRIAGE  CLAUSE,  THE— Universal.— One 
of  the  most  appealing  stories  of  life  across  the  foot- 
lights. Billie  Dove  gives  a  splendid  performance. 
(August.) 

MARRIAGE  LICENSE?  — Fox— Th»  tear  ducts 
will  be  let  loose  in  this  weepy  affair.  Alma  Rubens' 
performance  is  worth  seeing.     (Ncv.) 


MEET  THE  PRINCE— Producers  Dist.  Corp.— 
Not  much  of  a  picture,  this.  Don't  waste  your  time. 
(September.) 

MEN  OF  STEEL— First  National.— Don't  miss 
this  interesting  picture  that  has  the  sweeping  back- 
ground of  a  huge  steel  mill  in  operation.  It  is  a  whole 
picture  of  good  performances.     (September.) 

MICHAEL  STROGOFF— Universal.— A  spec- 
tacular Russian  importation  that  cannot  be  compared 
with  the  recent  successful  foreign  pictures.  Passable. 
{Nov.) 

MIDNIGHT  KISS,  THE— Fox.— A  nice  little 
movie  with  a  nice  little  plot  well  enacted  by  a  nice 
little  cast.     (October.) 

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

MISMATES— First  National.— The  cast  is  the 
onlv  interesting  thing:  Doris  Kenyon,  Warner  Bax- 
ter and  May  Allison.    The  story  is  the  bunk.     (Oct.) 

MISS  NOBODY— First  National.— Another  ex- 
ample of  a  good  story  gone  wrong.  If  you  can  think 
of  anything  else  to  do.  pass  this  up.     (A  ugusl.) 

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.) 

MONEY    TALKS  —  Metro-Goldwyn-Mayer.  — 

Slapstick  at   its  best— a  la   Svd   Chaplin  style.      It's 
fluffy,  but  lots  of  fun.     (July.  I 

MORAN  OF  THE  MOUNTED— Rayart.— The 
title  tells  the  story.  Reed  Howes  makes  it  quite 
interesting.      (October.) 


MY  OLD  DUTCH— Universal.— This  could  have 
been  B  knockout,  hut  at  present  it  is  missing  on  all 

SiXrS.         (JllHC.) 

NERVOUS  WRECK,  THE— Producers  Dist. 
Corp. — The  easiest  tray  to  spend  an  evening.  Thor- 
oughly amusing.     (Nov.) 

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  BABY— Universal. — A  lot  of  fun  for  every- 
body.     (October.) 

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.) 

OLD  SOAK,  THE— Universal.— Another  success- 
ful stage  play  gone  wrong — in  fact  ruined.     (July.) 

ONE  MINUTE  TO  PLAY— F.  B.  O.— Red  Grange 
is  a  real  screen  personality  in  this  football  picture — 
the  very  spirit  of  vouth  and  good  sport.  It's  a  gem. 
(October.) 

OTHER  WOMEN'S  HUSBANDS  —  Warner 
Bros. — A  thoroughly  amusing  and  clever  domestic 
comedy  well  directed  and  well  acted.     (July.) 

OUTSIDE  THE  LAW— Universal. — A  reissue  of  a 
crook  drama  released  many  years  ago.  Splendid  plot 
and  cast.    Good  entertainment.     (July.) 

PADLOCKED — Paramount. — Superior  entertain- 
ment. Honest,  mature  drama,  in  its  presentation  of 
a  young  girl's  life  nearly  ruined  by  the  severity  of 
hypocritical  morality.     (August.) 

PALS  FIRST— First  National.— Don't  be  annoyed. 
(October.) 

PARIS — Metro-Goldwyn-Mayer.  —  Leave  before 
the  last  reel  and  vou  will  find  this  an  absorbing  tale  of 
love.  Charles  Ray,  Joan  Crawford  and  Douglas  Gil- 
more  are  in  the  cast.     (August.) 

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.) 

PHANTOM     BULLET,     THE —  Universal.  — A 

Western  that  has  a  sure  fire  appeal  for  grownups  and 
children.     (July.) 

POKER  FACES — Universal. — Edward  Horton, 
the  director,  and  cast  try  desperately  hard  to  be  aw- 
fullv  funnv  with  a  disastrous  result.     (September.) 


Every  advertisement  in  PHOTOPLAY  MAGAZINE 


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

PUPPETS— First  National.— You  won't  go  wrong 
on  this.  An  interesting  vehicle  because  (and  we're 
glad  to  say  it)  of  the  fine  performance  of  Milton  Sills. 
(September.) 

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 
Beaumont  story  picturized  into  splendid  entertain- 
ment. William  Collier,  Jr.,  and  Georgia  Hale  give  a 
splendid  performance.     (July.) 

RANSON'S  FOLLY— First  National.— Richard 
Barthelmess  in  just  another  movie — that's  all. 
(August,) 

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.) 

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

RISKY    BUSINESS— Producers    Dist.    Corp.— 

Trite  can  be  marked  against  this  one.     (Nov.) 

ROAD  TO  MANDALAY,  THE— Metro-Goldwyn- 
Mayer. — It's  not  the  story  but  Lon  Chaney's  fine  per- 
formance that  puts  the  ginger  in  this  cookie.   (Sept.) 

ROLLING  HOME— Universal.— Reginald  Denny 
always  manages  to  make  an  otherwise  dull  evening 
amusing.     Lots  of  fun  for  the  whole  family.     (July.) 

ROMANCE  OF  A  MILLION  DOLLARS,  A— 

Bachman.— You'll  like  this — if  you  aren't  too  fussy. 
(October.) 

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.) 

RUNAWAY  EXPRESS,  THE— Universal- 
Nothing  like  the  good  old-fashioned  railroad  melo- 
drama.    This  is  worth-while.     (October.) 

RUSTLER'S  RANCH— Universal.— The  usual 
Art  Acord  stuff  that  the  children  like.    (August.) 


Photoplay  Magazine 
44 


-Advertising  Section 


15 


RUSTLING  FOR  CUPID— Fox- 
double  for  Cupid  giving  us  a  new  sla: 
question.    Good  entertainment.     (Jun 


-Cow   thieves 
t  on  the  love 


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.) 

SAVAGE,  THE— First  National.— An  insult  to  the 
human  intelligence  to  think  such  a  story  is  plausible. 
Ben  Lyon  and  May  McAvoy  are  in  the  cast.     (Oct.) 

SAY  IT  AGAIN— Paramount.— A  grand  and  glori- 
ous tee-hee  at  all  the  mythical  kingdom  yarns. 
Good  stuff.     (August.) 

SCARLET  LETTER,  THE— Metro-Goldwyn- 
Mayer. — Hawthorne's  classic  and  sombre  study  of 
the  New  England  conscience  has  been  just  as  som- 
berlv  translated  to  the  screen.  For  the  older  folks. 
(October.) 

SEA  WOLF,  THE— Producers  Dist.  Corp.— A 
thriller — taken  from  the  famous  Jack  London  story. 
It's  rough  and  ready,  as  are  most  sea  stories,  but 
darned  good.     (September.) 

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 
optics.      (June.) 

SENOR  DARE-DEVIL— First  National.— Intro- 
ducing Ken  Maynard  as  a  First  National  star.  Better 
than  most  Westerns.     (September.) 

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

SHAMROCK  HANDICAP,  THE  —  Fox.  — Trot 

yourself  down  to  the  first  theater  showing  this  if  you 
want  an  evening's  fun — and  that's  not  blarnev. 
(July.) 

SHIPWRECKED  —  Prod.  Dist.  Corp.— If  you 
haven't  been  sleeping  lately  try  this  on  your  in- 
somnia.    Terrible.     (August.) 

SHOW-OFF,  THE— Paramount.— An  amusing 
study  of  a  smart  aleck,  played  broadly  but  expertly 
by  Ford  Sterling.     (Nov.) 

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


SILENCE— Prod, 
drama  that  the  scree 
adults.     (August.) 


Dist.  Corp. — The  finest  melo- 
1  has  shown  for  years.    Only  for 


SILKEN  SHACKLES— Warner  Bros.— A  splendid 
cast  gone  to  the  four  winds  because  of  a  poorly  de- 
veloped plot.     (July.) 

I  CONTINUED  ON  PAGE  1 45  ] 


M.  GABRIEL  GABRIO 


Les  Miserables 

Victor  Hugo's  immortal  epic  in  moving-pictures 


The  question 
before  the  house  is 
settled.  The  public 
has  decided  it. 

You  will  see 

Victor  Hugo's  immor- 
tal "Les  Miserables*' 
in  pictures  just  as  you 
have  asked  for  it. 

It  will  be  pre- 
sented in  two  pictures 
of  medium  length,  each  a  complete  story  in  itself, 
rather  than  one  picture  of  excessive  length. 

The  thousands  of  letters  in  response 

to  my  questions,  and  the  tremendous  interest  of  pic- 
ture patrons  in  England  were  the  deciding  factors. 

The  letters  said  that  the  writers  could  not 

sit  through  any  picture  of  five  hours  duration.  Yet, 
they  didn't  want  to  lose  any  of  Hugo's  supreme  story. 
And  I  have  always  paid  strict  attention  to  letters. 

"Les  Miserables" 'will  be  presented  at 

two  successive  showings,  the  first  story  under  the 
title,  "The  Soul  of  Humanity" —  the  second  story 
under  the  titIe,"The  Barricades." 

At  the  British  premier  showing  in 

Portsmouth,  England,  the  first  week's  attendance 
when"The  Soul  of  Humanity"  was  shown, 
amounted  to  a  crush.  On  the  second  week  when 
"The  Barricades"  was  shown,  it  was  even  greater. 

I  sincerely  believe  that  this  Universal 

Film  de  France  picture  has  been  produced  exactly 
as  the  great  author  himself  would  have  liked  to  see  it. 

Qarle  jTaemmle 

President 

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your  name  and  address 

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greatest  Drama  of 
the  Foreign  Legion! 


Death-fights  that  will  hold  you 
hreathless! 


"You  have  bought  me !  •  ♦ .  Now  you 
must  take  me !  ♦  ♦  .  It  is  the 
Desert  law!" 


He  had  bought  her  Freedom  — 
But  she  offered  him  Herself. 
Merchant  of  Women,  he  had 
paid  for  three  .  .  .  Paid  in  dis- 
grace and  exile  —  in  blood  and 
blows — and  now  in  Gold ! 
Which  should  he  take  ?  —  The 
one  he  loved  most  —  The  one 
who  loved  him  most  —  Or  the 
one  he  could  not  forget? 


The  whirling  charge  of  the 

Desert  tribesmen.  —  A  scene 

you'll  never  forget 


Never  a  romance  so  thrill-packed 
as  this  story  of  a  reckless  young 
lieutenant  of  the  Foreign  Legion 
who  out -sheiks  the  Sheiks  on 
the  sun-drenched  Morocco 
sands. 

Most  brilliant  of  all  Sills  roles. 
One  solid  hour  of  high  adven- 
ture. Watch  for  the  date  at  your 
leading  theatre! 


liiat  Ilotional 


Every  advert isement    in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine-  -Advertising  Section 


l7 


Limehouse  Nights — 
Limehouse  Love! 


And  now  Colleen  dances  her  way  to 
the  very  heights  of  Romance ! 


She's  had  great  parts — wonderful 
successes  .  .  . 

But  never  have  you  seen  this 
world-loved  Star  in  such  a  radi- 
ant, flashing,  heart-stirring  role  as 
"Twinkletoes" — her  latest! 
Imagine  her  as  a  little  toe-dancer 
—  all  tinsel  and  ruffles  and  gay 
smiles  —  in  the  dingiest  dance- 
hall  in  Limehouse  — the  world's 
worst  underworld. 
An  angel  of  light  in  the  sinister 
shadows  .  .  .  hardly  a  man,  white 


Twindlctoes 
"rehearses" 
with  a  lady  of  the 
"Quayside  Kids" 
chorus 


or  yellow,  but  would  have  died 
to  save  Twinkletoes  from  harm. 
But  only  one  she  loved — and  he 
failed  her  .  .  . 

And  the  shadows  sobbed  after 
Twinkletoes  — "Poor  Limehouse 
kid!  Poor  Limehouse  kid!  Going 
theway  that  the  restof  themdid!" 

You'll  vote  Twinkletoes  the  most 
lovable  character  you've  met  on  the 
screen  this  fall!  .  .  .  You  MUST 
see  her! 


Twinkletoes 
was  big  sister 
to  every  kid 
in    Limehouse 


Cl 


Picture* 


write  to  advertisers  pi 


PHOTOPLAY  M  IG&ZIKE. 


i8 


Photoplay  Magazine — Advertising  Section 


In  Canada  too  ,  , 


a 


t      M  cGILL       a  ti  d      TORONTO 


universities 


this  soap  is  three  times 
as  popular  as  any  other 


College  girls,  with  their  youth  and  charm,  their  fresh  lovely  f 


Copyrieht,  IQjtt,  hy  The  Andrea  Jrrfen  i  Co. 


Everywhere  —  college  girls  say  they 
find  it  "the  only  soap  for  their  skin!" 

At  leading  women's  colleges  in  Amer- 
ica—Smith,  Bryn  Mawr,  Sweet  Briar, 
Barnard,  Wellesley,— from  half  to  three- 
fourths  of  the  girl  students  we  questioned 
prefer  Woodbury's  Facial  Soap  for  their 
skin. 

At  the  five  great  universities  of  Chicago, 
Minnesota,  Michigan,  Wisconsin,  Cali- 
fornia—Woodbury's  is  from  3  to  5  times 
as  popular  as  any  other  toilet  soap"!  Over 
3,000  girls  in  these  universities  wrote 
praising  its  beneficial  effect. 

And    in    Canada,   too— at   her   leading 
universities,  Toronto  and  McGill,  more 
than  half  the  girl  students  replying  to  our 
inquiries  find  Woodbury's  "wonderful," 
"  the  ideal  soap." 
"  There  are  five  girls  in  our  family,  we 
all  use  Woodbury's,"  wrote  one  Cana- 
dian girl  .  .  .  "A  splendid  cleansing 
soap,  and  an  excellent  aid  in  keeping 
the  skin  clear  of  ugly  blemishes"  .  .  . 
"  Keeps  my  skin  in  such  a  wonderfully 
healthy  condition"  .  .  .  "  I  use  it  because 
my  skin  is  very  delicate,  and  most  soaps 
irritate  it." — 

These  are  characteristic  comments. 

A  skin  specialist  worked  out  the  formula  by 
which  Woodbury's  Facial  Soap  is  made.  This 
formula  not  only  calls  for  the  purest  and  finest  in- 
gredients;  it  also  demands  greater  refinement  in  the 
manufacturing  process  than  is  commercially  possible 
with  ordinary  toilet  soaps. 

A  25-cent  cake  of  Woodbury's  lasts  a  month  or 
six  weeks.  Around  each  cake  is  wrapped  a  booklet 
of  famous  skin  treatments  for  overcoming  common 
skin  defects. 

Within  a  week  or  ten  days  after  beginning  to  use 
Woodbury's,  you  will  notice  an  improvement  in 
your  complexion.  Get  a  cake  today— begin  tonight 
the  treatment  your  skin  needs! 

Your  WOODBURY  TREATMENT/or  10  days 

Now — the  new  lar^e-size  trial  set 

■a ■ ;.. 

The  Andkbw  Jergens  Co.. 

2223  Alfred  Street,  Cincinnati,  Ohio 

For  the  enclosed  10c  please  send  me  the  new  large-size  trial 
cake  of  Woodbury's  Facial  Soap,  the  Cold  Cream.  Facial 
Cream  and  Powder,  and  the  treatment  booklet.  "A  Skin 
Vmi  Love  to  Touch."  In  Canuda  address  The  Jndrew 
jergens  Co.,  Limited,  2223 Sherbrooke  Street,  Perth,  Ont. 

Name 

Street 

City Slate 


Erarj  adTertlMmnl  in  PHOTOPLAY  maiiazim. 


Spurr 


Pictures 


ON  the  screen,  the  hero  marries  the  heroine. 
But  in  real  life,  the  villain  often  has  the 
luck.  As  witness  this  picture  of  Mr.  and  Mrs. 
Lowell  Sherman.  Sherman  met  Pauline  Garon 
when  he  was  playing  bad  man  to  her  good  girl. 


"X  7"ERA  REYNOLDS  has  gone  to  Europe  for  what  is  jokingly  known  as  a  vacation. 

V  But  how,  we  ask  you,  can  a  Cecil  De  Mille  star  get  any  real  rest  on  the  Rue  de  la 

Paix?   No,  sir,  it  can't  be  done. 


TUST  a  suggestion  for  Corinne  Griffith:  Why  not  play  "The  Private  Life  of  Helen  of 

J  Troy"?   For  here,  surely,  is  "the  face  that  launched  a  thousand  ships.     Corinne  is  the 

choicest  Work  of  Art  in  the  whole  Movie  Museum. 


■>§■■■■■■■■■■■■■■■■■■■■■■■ 


MHMH 


*9     %v 


AS  the  radio  announcers  would  say,  this  is  a  request  number — Mr.  George  O'Brien. 
Ladies,  evidently,  prefer  brunettes.    With  William  Fox's  ambitious  plans  for  big 
pictures,  the  popular  Mr.  O'Brien  doubtless  faces  a  successful  year. 


HTHE  good  little  bad  man — Adolphe  Menjou.    He  brings  to  the  screen  a  suave  urbanity 

■*-  that  it  had  never  known  before  his  welcome  rise  to  prominence.    In  a  manner  of 

speaking,  Mr.  Menjou  acts  with  a  slight  French  accent. 


Spurr 


""THE  lady  who  is  tragic  even  when  she  smiles — Belle  Bennett.   In  "The  Lily"  and 

-*-  "Mother  Machree"  she  should  have  pictures  that  are  worthy  of  her  rare  talent.    How 

did  we  get  along  without  her  for  so  many  years? 


LIKE  Kipling's  cat,  Carol  Dempster  is  a  star  who  "walks  by  her  lone."  In  her  remote- 
ness lies  much  of  her  charm.    In  her  unconventional  beauty  lies  much  of  her  appeal. 
She  is  the  heroine  of  D.  W.  Griffith's  "Sorrows  of  Satan." 


The  charming  Detroit  -women  one  sees 
shopping  or  riding  about  in  luxurious 
motors  have  an  air  of  Fifth  A  venue 
and  the  Champs  Elysees. 


In  LJeT'RpiT  shops,  too,  she  was  told  *  *  * 

Keep  fine  garments  at  their  loveliest,  this  safe  way 


A  sales-woman's  striking  test — Recently 
ayoung  woman  lingered  in  one  of  Detroit's 
largest  stores,  admiring  some  vivid  new 
silks.  "Will  they  wash?"  she  asked.  The 
saleswoman,  smiling  mysteriously, 
brought  out  some  samples,  small  patches  of 
brilliant  or  dark  color,  sewed  to  a  lighter  col- 
or— scarlet  stitched  to  cream,  brown  to  tan. 

She  said:  "I  washed  these  samples  my- 
self, sewed  together  just  as  you  see  them 
—  in  Ivory  Soap  and  lukewarm  water.  I 
even  rubbed  the  cake  of  Ivory  right  on 
the  material,  although  we  always  advise 


against  rubbing  any  kind  ot  soap  on  silk. 
Here  are  the  samples  and  here  are  the 
bolts  of  silk.  You  can  see  that  the  colors 
have  not  faded  in  the  least,  nor  have  the 
dark  colors  run  into  the  light  colors." 

This  incident  is  just  one  more  indica- 
tion why  salespeople  in  America's  finest 
shops  think  there  is  nothing  else  quite 
like  Ivory  for  laundering  fine  fabrics — 
silks,  wool,  rayon.  Experience — their  own 
and  that  of  their  customers — has  proved 
to  them  that  it  is  absolutely  safe  for  any 
color  and  fabric  that  water  will  not  harm. 


Among  the  salespeople  in  nine  of 
Detroit's  finest  shops, just  as  in  New  York, 
Chicago  and  other  great  American  shop- 
ping and  social  centers,  the  universal 
feeling  was:  "Use  Ivory  for  delicate  fab- 
rics and  garments,  and  they  will  be  safe." 

"Never  a  complaint  from  an  Ivory  user" 
Here  are  a  few  of  the  reasons  given  by 
salespeople  in  different  stores: 

"For  fine  woolens,  use  Ivory  or  Ivorv 
Flakes.  It  is  the  best  thing  you  can  pos- 
sibly use.  I  always  recommend  it,  for 
I  have  vet  to  hear  a  complaint  from  a 
customer  who  used  Ivory." 

"To  launder  the  sheer  hosiery  everyone 
is  wearing  today,  Ivory  Soap  or  Flakes  is 
best.  Then  your  stockings  will  not  streak 
or  fade  as  they  do  with  stronger  soaps." 

Of  an  exquisite  nightgown  ot  crepe- 
acked  satin  and  real  lace,  the  sales- 
woman said:  "Of  course,  you  will  want  to 
aunder  it  carefully.  Use  lukewarm  water 
and  Ivorv  Soap  or  Flakes  anil  it  will  be 
lovely.  Ivory  is  mild  and  just  right  for 
fine  things." 

For  has  not  Ivory  safeguarded  lovely 
complexions  nearly  fifty  years?  It  is  not 
surprising  that  it  should  be  sate  for  deli- 
cate colors  ami  fabrics. 

Ivory  Flakes  is  Irory  Soap 
When  you  want  Ivory's  suds  in  a  hurry, 
use  Ivorv  Makes.  The  soft  little  feathers 
of  Ivory  mount  into  rich  suds  at  the  touch 
of  hot  water.  Procter   h   gamble 


/_ 


this  booklet . 


IVORY  SOAP 

994>,oo%    Pure -It  Floats 


How  ro  launder  colored  silks.  How  r<» 
keep  white  silks  from  yellowing.  How 
to  launder  chiffons — to  keep  sweaters 
from  losing  their  shape — to  keep  blankets 
soft  aiuT  fluffy.  A  little  book,  Tht 
Care  nf  Lovely  Garments,  gives  tested 
suggestions  on  these  and  many  other 
subjects.  May  we  send  vou  a  copv, 
free?  Simply '  address  Section  45-LF, 
Dept.  of  Home  F.conomics,  Procter  & 
Gamble,  Cincinnati.  Ohio. 


)  1926,  The  P.  A  G.  Co 


*Y  !■■    ■ 


Volume  XXXI 


The  1\[ational  (juide  to  ^Motion  Pictures 


Number  One 


PHOTOPLAY 


December,  1926 


Speaking  of  Pictures 


By  James  R.  Quirk 


DOUG   FAIRBANKS   arrived   at    his   studio   the 
other  morning,  in  his  usual  good  health.    An  hour 
later,    with    Joseph    Schenck,    head    of    United 
Artists,  I  encountered  him  staggering  across  a  lot,  a 
dazed  look  in  his  eyes. 

"My  God,  Doug,  what's  the  matter?"  exclaimed  Joe. 
"Has  anything  happened  to  Mary?  Speak,  man, 
speak!" 

Doug  said  nothing,  but  handed  him  a  letter. 
It  was  from  an  exhibitor,  enclosing  a  check,  explain- 
ing that  he  had  made  so  much  money  on  a  week's 
engagement  of  "The  Black  Pirate"  that  his  conscience 
troubled  him  because  he  had  bought  the  picture  too 
cheap. 

T\  THEN  we  got  out  of  earshot,  Schenck  warned  me 
vv  not  to  go  up  against  Doug  in  a  business  deal. 
He's  poison  to  California  real  estate  men  even,  and 
they  are  tough  birds. 

Joe  told  me  of  an  exhibitor  who,  four  years  ago, 
brought  his  entire  family  to  Los  Angeles  to  spend  the 
winter.  He  paid  all  his  expenses  from  the  profits  he 
made  on  showing  one  of  Doug's  pictures  for  two  weeks 
in  his  theaters. 

"That  poor  exhibitor  made  the  mistake  of  telling 
Doug,"  said  Schenck.  "The  man  has  never  been  back 
to  spend  another  vacation.  After  that  Doug  charged 
him  such  prices  that  he  couldn't  take  his  family  on  a 
trolley  ride  on  profits. 

"That  Doug  is  a  smart  fellow.  When  he  begins  to 
look  childlike  and  prattle  about  business,  Mary  yells 
for  everyone  to  run  for  cover  and  Chaplin  dashes  down 
town  to  see  that  the  half  million  he  keeps  in  the  form  of 
cash  in  a  safety  deposit  vault  is  safe." 

pRODUCTIONbouquets  this  month  go  to  Fred  Niblo, 
*-  for  "The  Temptress,"  and  to  Samuel  Goldwyn,  for 
"The  Winning  of  Barbara  Worth."  Put  them  both 
down  in  your  engagement  book. 

When  I  say  that  the  former  is  Niblo's  finest  accom- 
plishment I  am  not  forgetting  "  Ben-Hur."  For  anyone 
who  could  spend  four  million  dollars  producing  the 
world's  greatest  natural  motion  picture  story  and  fail  to 
get  a  thrilling  chariot  race  out  of  it,  should  be  expelled 
from  the  Directors'  Club  without  a  dissenting  vote. 

TF  it  were  only  for  one  thing  in  the  whole  picture,  Niblo 
■^deserves  credit  for  it.  He  didn't  change  the  Argentine 
engineer  hero  to  a  blond  American.    That  will  do  more 


to  generate  good  will  toward  the  United  States  than  all 
the  Pan  American  congresses  ever  held.  For  this  he 
should  be  given  the  Croix  de  Cinema  by  our  South 
American  sister  republic. 

It  was  a  direct  violation  of  the  accepted  standards  of 
bad  taste  on  which  so  many  foreign  pictures  are 
patterned. 

r^  RETA  GARBO,  the  slim  princess  of  the  Scandi- 
^-*navian  colony  of  Hollywood,  put  over  a  new  kind  of 
vampire  under  his  subtle  direction,  even  if  she  had  to 
use  artificial  eyelashes  to  do  it,  and  Tony  Moreno  made 
the  most  of  the  best  acting  part  he  has  ever  had.  It  was 
gratifying  to  see  Tony  eat  up  a  good  role  when  they 
finally  gave  him  a  chance. 

Tony,  like  many  other  good  actors,  has  been  slipped 
a  sour  lot  of  parts  for  years,  and  if  "The  Temptress" 
serves  no  other  purpose  than  to  make  Metro-Goldwyn 
wake  up  to  what  a  splendid  actor  he  is  and  what  a 
lovable  screen  personality  he  has,  it  would  have  pleased 


A  S  for  Garbo,  the  luscious  Swedish  blonde  has  had 
■*  *-more  good  breaks  in  one  year  than  any  of  our 
talented  American  girls  ever  got.  First,  "The  Torrent," 
and  then  this. 

They  tell  me  she  is  complaining  because  they  do  not 
cast  her  in  sympathetic  roles.  For  the  love  of  Thomas 
Alva  Edison,  gal,  in  "The  Temptress"  you  got  the  best 
break  since  Blanche  Sweet  got  "Anna  Christie." 

When  you  learn  to  speak  English,  inquire  how  many 
beautiful  and  clever  girls  have  been  absolutely  ruined 
by  playing  good  women  without  ever  a  chance  to  show 
how  bad  they  could  be.  Some  actresses  would  give  a 
year's  salary  if  they  could  once  be  permitted  to  play  a 
hell-raising,  double-crossing,  censor-teaser  for  six  reels. 

"""THERE  are  exceptions,  of  course.  Lillian  Gish  con- 
■*•  tinues  to  demonstrate  that  virtue  can  be  its  own 
reward  to  the  tune  of  six  thousand  bucks  every  week. 
Even  as  Hester  Prynne  in  "The  Scarlet  Letter,"  she 
proves  conclusively  that  babies  are  brought  by  storks. 
I'd  pay  triple  admission  to  see  her  play  Madame 
Bovary. 

In  the  last  twelve  years  she  has  been  saved  just  in  the 
nick  of  time  from  the  brutal  attacks  of  4,000  German 
soldiers,  2,000  border  ruffians,  and  999  conscienceless 
men  about  town.  Some  day  I  hope  the  American  hero 
breaks  a  leg  and  fails  to       [  continued  on  page  94  ] 

27 


akers  of" 
Hollywood 


Ivan 
St  Johns 


IN  Hollywood  there  are  the  actors. 
And  then  there  are  the  "bad  actors." 
The  actors  are  out  there  because 
it's  a  town  that  pays  high  wages  for 
success.  The  "bad  actors"  are  out 
there  because  wherever  you  find  pros- 
perous, generous  and  successful  people, 
there  also  will  you  find  parasites,  hangers- 
on  and  camp-followers  ready  to  pick  up 
any  loose  dollars  that  happen  to  come 
their  way. 

Generally  speaking,  Hollywood  has 
no  crime  problem,  thanks  to  an  efficient 
police  force,  to  strict  studio  regulations 
and  to  the  reputation  of  the  Will  Hays 
organization.  It  has  no  deeply  en- 
trenched underworld.  But  it  has  a  shift- 
ing army  of  tourists — rich  and  poor, 
sensation-seekers,  fakers  and  impostors. 
Most  of  them  are  harmless  "nuts,"  but 
they  sometimes  cause  the  film  stars  a 
great  deal  of  embarrassment.  Others  are 
actually  dangerous;  and  these,  of 
course,  are  the  concern  of  the  police. 

James  E.  Davis,  Los  Angeles'  Chief  of 
Police,  calls  them  "pseudo-actors  and 
vagabond  magnates."  They  are,  for  the 
most  part,  persons  suffering  from  too 
much  imagination  and  too  little  inclina- 
tion to  work  for  an  honest  living. 

Says  Chief  Davis:  "The  rumor  has 
spread  throughout  the  world  that  Holly- 
wood is  a  place  where  fortunes  are  made 
overnight.  In  nearly  every  city  or  town 
there  are  people  who  believe  that  any 
young  and  fairly  good-looking  waitress 
or  any  agile  girl  who  is 
tired  of  selling  goods  in 
the    Women's    Apparel  ■ 

Department  may  make 
several  million  dollars  in 
a  few  years,  if  only  she 
saves  up  enough  money 
to  go  to  Hollywood. 

"At  the  same  time 
there  are  an  equal  num- 
ber of  young  men  in 
almost  every  part  of  the 
habitable  globe  who  be- 
lieve that  they  are  '  nat- 
ural-born actors.'  The 
assumption  that  they 
can  act  is  based  upon  the 
fact  that  they  have 
always  been  averse  to 
work,  but  believe  they 
would  not  object  to  get- 

28 


"They    have   no    brothers" 

Charles  Ray,  Richard  Barthelmess  and  Ben  Lyon 
all  have  been  victims  of  "brothers"  who  are  fond 
of  signing  bad  checks.  Charlie  and  Dick  have  no 
real  brothers.  Ben's  brother  is  a  staid  business 
man.  If  any  "relative"  of  a  movie  star  comes  your 
way,  don't  sell  him  anything  on  credit  and  don't 
lend  him  money! 


An  expose  of  the  art' 

ful  lads  and  lassies 

who  gyp  the  stars 


ting  big  money  for  having  themselves 
screened. 

"It  naturally  follows  that  Hollywood, 
each  year,  is  invaded  by  a  rather  large 
number  of  romantic,  vain,  foolish  and 
even  unprincipled  persons  who  have  a 
vague  idea  that  they  are  on  the  road  to 
wealth  and  fame." 

The  fakers  of  Hollywood  are  divided 
into  three  classes,  the  "nuts,"  the  hang- 
ers-on, and  the  crooks. 

The  "  nuts  "  are  mostly  harmless  tour- 
ists, attracted  to  Hollywood  by  the  glit- 
ter of  the  "greatest  show  on  earth." 
Some  of  them  are  idle  rich  people  who 
want  to  get  in  on  the  so-called  wild 
parties,  who  long  to  be  seen  in  the  com- 
pany of  the  great. 

Most  of  them  never  get  within  shout- 
ing distance  of  the  stars.  But  when 
they  get  back  home,  they  make  up  wild 
stories  about  the  gay  old  times  they  had 
in  Hollywood.  They  have  to  have  some- 
thing to  show  for  their  money.  And  so 
most  of  the  lurid  "inside"  stories  you 
hear  about  the  movie  stars  have  their 
origin  in  the  minds  of  the  sensation 
seekers. 

The  poor  tourists  often  spend  more 
money  than  they  possess,  just  to  rent 
bungalows  in  the  select  sections  of  Hol- 
lywood and  Beverly  Hills,  so  that  they 
can  boast  of  being  "neighbors"  to  the 
stars.  And  they  eat  in  expensive  res- 
taurants where  they  can  hope  to  have  a 
glimpse  of  their  favorites. 

From  this  class  of 
tourists,  Hollywood 
reaps  a  large  number  of 
"bad  check"  cases.  The 
unfortunates  who  over- 
draw their  bank  accounts 
aren't  swindlers;  they 
are  merely  loverambi- 
tious  visitors  living  be- 
yond their  means. 

The  hangers-on  are  a 
more  pesky  bunch.  They 
are  determined  to  get 
into  the  movies  at  any- 
cost.  Most  of  them 
have  no  ability;  further- 
more, they  don't  know 
what  it's  all  about.  But 
they  have  heard  that 
there  is  money  in  it  and 
it  looks  like  a  soft  snap. 


re 


There's    Gold   in   them   thar'   Hills/" 


And  an  army  of  camp  followers,  hangers-on  and  parasites,  lured  by  the  magic  name  of  Hollywood,  flock  West  to  pick 
up  the  "easy"  coin  that  is  supposed  to  pave  the  streets  of  the  richest  little  community  in  the  country 


Brutally  speaking,  these  hangers-on  are  nothing  but  high 
class  tramps  waiting  at  the  door  of  a  rich  industry  for  a  "  hand- 
out." And  when  one  of  these  men,  broke  and  up  against  it, 
runs  afoul  of  the  police,  he  gives  his  occupation  as  "  motion  pic- 
ture actor." 

When  one  of  the  girls  steps  from  the  gilded  to  the  primrose 
path,  she  sobs  to  the  police  matron  that  she  is  a  "movie  star." 


relative  of  a  star.    All  three  methods  are  sure-fire — for  a  few 
days.     After  that  brief  glory,  you  can  tell  it  to  the  judge. 

The  unfortunate  part  of  the  whole  situation  is  that  the  movie 
stars  do  not  like  to  press  charges  against  these  impostors. 
Stage  and  screen  people  are  notoriously  kind-hearted  and — 
believe  it  or  not — they  hate  to  damage  the  "reputations "  of  the 
fakers  who  so  wantonly  trade  on  the  stars'  own  reputations. 


Hence  those  foolish  sto- 
ries that  are  always  crop- 
ping up  about  the  criminal 
doings  of  "movie  stars" 
whose  faces  you  never  see 
on  the  screen.  The  police 
don't  believe  them,  of 
course.  But  the  news- 
papers bite,  because  it 
makes  "good  copy." 

The  crooks  and  fakers  are 
the  most  interesting  and 
colorful  class  of  Hollywood 
vagabond  magnates.  They 
are  artists  gone  wrong;  po- 
tential scenario  writers  with  ■HHi 
a  screw  loose;  psychological 
cases  who  project  their 
fantastic  dreams  of  wish  fulfillments  into  the  reality  of  life. 

All  of  their  stories  have  a  striking  similarity,  in  spite  of  the 
trimmings  and  elaborations  of  the  various  individuals.  There 
are  three  standard  ways  of  trying  to  trim  the  golden  fleece  of 
Hollywood.  The  first  way  is  to  pick  out  a  gaudy  European 
title  and  try  to  work  your  way  into  a  studio.  The  second  way  is 
to  pose  as  a  star.    The  third  way  is  to  pose  as  a  near  and  dear 


"Charge  account"  victims 

Claire  Windsor  and  Estelle  Taylor  have  been 
the  victims  of  luxury-loving  ladies  who  have 
impersonated  the  actresses  and  purchased 
clothes  in  department  stores.  It's  a  regular 
trick  of  petty  crooks.  And  a  Polish  "relative" 
of  Gilda  Gray  wanted  Gilda  to  get  her  a  nice 
job  in  the  movies.   It's  another  standard  trick. 


It's  funny,  but  it's  true;  and 
quite  characteristic  of  the 
generosity  of  the  film  world. 
These  little  stories  of 
Hollywood's  classic  fakers 
weren't  told  to  me  by  the 
stars  themselves,  you  may 
be  sure  of  that.  But  they 
are  typical  stories  of  occur- 
rences that  are  accepted 
almost  as  part  of  the  rou- 
tine by  the  stars  and  the 
studio  workers. 

Shortly  after  the  expose 

of  the  fake  "Spanish  Prin- 

MMBw  cess,"    a    Teutonic-looking 

chap  was  introduced  at  the 

M  etro-Goldwyn-Mayer 

Studios  as  "Baron   Krupp,"  scion  of  the  German  munition 

millionaire's  family,  by  the  manager  of  one  of  Los  Angeles' 

largest  hotels. 

You  might  think  that  the  "  title  racket "  would  lose  its  punch 

after  all  these  years,  but  it  is  still,  apparently,  as  good  as  the  day 

it  was  first  invented. 

"Baron    Krupp"    was    shown  [  continued  on  page  116] 


He  Might  Be  the  Richest 


"I  am  not  a  bad  business  man,"  says  D.  W.  Griffith.    "Honestly,  I'm  not. 

I  was  never  in  difficulties  until  I  turned  my  business  over  to  others. 

When  I  both  directed  and  managed,  I  got  along  all  right" 


SUPPOSE  the  pioneer  motion  picture  devices  had 
been  patented  as  everything  has  been  patented  in 
the  more  modern  field  of  radio.  David  Wark 
Griffith  would  be  one  of  the  richest  men  in  the 
world,  and  the  empire  of  films  would  be  turned  topsy- 
turvy. 

"Suppose  I  had  patented  the  fade-out,"  Griffith  told 
me  sadly  the  other  day.  "I  would  be  drawing  at  least  a 
million  a  year  in  royalties.    The  dissolve-out  is  absolutely 

30 


Mary  Pickford  is 
one  of  D.  W.  Grif- 
fith's most  famous 
discoveries.  She 
flashed  across  the 
screen  when  Grif- 
fith was  laying  the 
foundations  of  pic- 
tures  at  the  old 
Biograph  studio 


IfD.W.  Griffith  had 
thought  of  himself 
first  he  would  be 
a  millionaire  today 


Frederics 

James 

Smith 


necessary  to  the  smooth  telling  of  a 
story.  Try  counting  the  number  of 
times  it  is  used  in  a  single  picture. 

"To  eliminate  it  would  make  neces- 
sary the  abrupt  beginning  and  ending  of 
scenes.  It  would  jar  and  distort  the 
whole  observation  of  a  film  drama. 

"  Yes,  I  might  have  patented  it.  You 
can  patent  anything  derived  from  a 
mechanical  device.  I  just  didn't  realize 
its  significance  then.  We  were  all  pio- 
neers— and  I  wanted  to  help  the  busi- 
ness. 

"I  might  have  patented  the  shooting 
of  scenes  through  gauze.  Sometimes  it 
is  called  soft  focus.  They  used  to  call  it 
'mist  photography'  in  the  old  times. 
That  is  another  mechanical  device. 


Man  in  the  World 

Suppose  D.  W.  Griffith  had  protected  his  pioneer 
screen  devices  with  patents. 

Today  the  whole  film  business  would  be  paying 
tribute.  The  fadcout  and  the  soft  focus  would  be 
bringing  him  a  million  dollars  apiece  each  year. 

Suppose  he  had  put  his  famous  film  finds  under  long 
term  contracts.     But  he  didn't. 

So  today  Griffith  lives  quietly  in  a  Broadway  hotel. 
He  hasn't  earned  a  cent  for  two  years  because  he  is 
paying  old  debts. 

"The  revenue  from  the  gauze  appliance  would  have  been  good  for  another  million 
easily  each  year.  Only  the  other  day  I  patented  a  new  application  of  this  device,  so  I 
know  that  I  could  have  protected  the  original. 

"It  wouldn't  have  been  possible  to  patent  the  flash-back  or  the  close-up,"  Griffith 
went  on.  "Those  are  ideas  of  technique.  But,  with  the  other  two  devices  under  pat- 
ent, I  wouldn't  have  needed  them.    1  would  have  my  millions,  anyway." 

The  man  who  laid  the  foundation  of  motion  pictures  looked  about  his  hotel  room. 
He  has  a  little  suite  of  living  room  and  bedroom  in  a  Times  Square  hotel.  Its  windows 
look  across  the  west  side  tenements  to  the  Hudson  and  to  Fort  Lee,  the  pioneer  Jersey 
Hollywood  of  the  films.  The  living  room  is  piled  high  with  books  and  manuscripts. 
The  remainder  of  the  Griffith  records  repose  in  the  hotel  basement. 

"I'm  not  a  bad  business  man,"  Griffith  continued.  "Honestly,  I'm  not.  I  was 
never  in  difficulties  until  I  turned  my  business  over  to  others.  In  California  in  the  old 
days,  when  I  both  directed  and  managed,  I  got  along  all  right.  It  was  only  when  I 
came  to  Mamaroneck  and  turned  over  my  business  handling  to  others  that  I  became 
involved. 

"Of  course,  the  collapse  of  everything  at  Mamaroneck  nearly  broke  my  heart.  We 
missed  success  so  narrowly.  Bad  management  and  bad  releasing  contracts  caused  the 
destruction.    But,  when  we  failed,  I  made  up  my  mind  that  the  stockholders  would  be 

paid  back.  That's  why  I  took  the 
contract  at  Famous  Players — to  earn 
enough  to  pay  back  every  cent. 

"Right  at  this  moment  I  have 
earned  enough  to  pay  back  4}/£  of 
every  12  cents  I  owe  each  stockholder. 
I  will  have  the  whole  thing  paid  in 
another  year. 

"I'm  not  earning  a  cent  for  myself. 
Actually,  I'm  working  for  nothing. 
Last  year,  in  fact,  I  went  behind  fifteen 
thousand  dollars.  But  I  will  be  out  of 
servitude  in  another  twelve  months." 
Another  source  of  a  possible  fortune 
came  up.  Suppose  Griffith  had  signed 
his  various  film  discoveries  to  long 
term  contracts,  following  the  custom 
of  today.  Griffith  found  Mary  Pick- 
ford,  the  Gishes,  Constance  Talmadge, 
Blanche  Sweet,  Richard  Barthelmess 
and  others.  Suppose  he  had  tied  them 
up  to  lengthy  contracts. 

"It  couldn't  be  done,"  Griffith  told 
me.  "Did  you  ever  try  to  work  with 
an  actor  who  is  unhappy?  Did  you 
ever  try  to  direct  an  actor  who  thought 
himself  underpaid,  who  felt  that  he 
ought  to  be  a  star?  I  have.  It's  a  hor- 
rible experience.     I  wouldn't  have  a 

[  CONTINUED  ON  PAGE  106  1 


D.  W.  Griffith  believes  that  Lillian 
Gish  is  the  great  actress  of  the 
screen.  Even  in  view  of  her  more 
recent  films  and  their  adverse  crit- 
icism, he  asks:  "Who  is  greater?" 


Blanche  Sweet 


Constance  Talmadge 


Richard  Barthelmess 

31 


...... 


C~7hsu  Truth  About 


By 

Ruth 
Waterbury 


The  Studio  Club,  run  by 
the  Y.  W.  C.  A.,  is  made 
possible  by  the  generosity 
of  the  wealthy  members 
of  the  film  colony.  It  is 
not  a  gospel  home  or 
rescue  mission 


n^RUE,  many  stars  made  the  grade  via  the  extra  route  in 
-*■  years  gone  by.  But  what  chance  has  a  girl  without  experi- 
ence or  influence  today?  The  prevailing  odds  are  ten  thousand 
to  one.  Read  on,  little  movie  aspirant,  and  you  can  never  say 
Photoplay  did  not  save  you  dollars  and  heart  breaks. 

James  R.  Quirk 

IT  all  started  as  a  bet. 
I  had  been  captioning  pictures  all  day,  writing  of  Celia 
Cinema's  simplicity  and  Harriet  Henna's  glass  galoshes  and 
as  I  sank  wearily  into  a  chair  in  the  private  office  belonging 
to  the  distinguished  editor  of  this  thriving  publication,  I  mur- 
mured: "Nowadays,  anybody  can  get  into  the  movies." 

"  I  bet  you  five  hundred  dollars,"  said  the  editor,  with  subtle 
flattery,  "you  couldn't." 

I  looked  at  him.  So  much  depended  on  a  snappy  come-back. 
I  thought  intensely.  "I  bet  you  five  hundred  dollars  I  could,"  I 
returned,  brilliantly. 

"Be  careful,"  warned  the  boss.    "I'll  take  you  up  on  that." 

So,  naturally,  there  wasn't  a  thing  I  could  do  but  rush  to 
the  Grand  Central  Station  and  purchase  a  yard  of  green  rail- 
road tickets. 

Four  days  later,  when  he  was  seeing  me  oft"  on  the  Century, 
while  the  most  efficient  secretary  in  all  Manhattan  stood  near, 
holding  the  stakes,  he  said:  "Let's  get  this  straight.  You  agree 
to  go  to  Hollywood,  where  you  have  never  been  before,  to  live 
under  an  assumed  name,  so  that  your  getting  into  the  studio 
can  not  be  the  result  of  the  influence  of  Photoplay,  or  what  you 
know  about  some  star  and  a  couple  of  other  fellows. 

"You  agree  to  live  as  extra  girls  live,  spending  not  more  than 
seventy-five  dollars  a  week,  to  go  to  the  casting  offices,  to  all  of 
the  studios,  and  to  get  inside  some  studio  in  some  capacity  by 
any  means  that  your  conscience  will  permit. 

"On  my  part  I  agree  to  pay  all  expenses  and  to  bail  you  out  of 
jail,  if  necessary,  and  to  give  you  at  least  six  weeks  in  which  to 
work  the  miracle.  If  you  do  get  in  and  get  so  much  as  a  single 
day's  work,  the  cash  is  yours.    Agreed?" 

Agreed?  Well,  rather.  It  seemed  an  easy  task,  and,  besides, 
a  trip  to  California  doesn't  appear  the  greatest  hardship  in  the 
world. 


I  felt  very  confident  that  Sunday  afternoon  in  late  summer  as 
the  train  rushed  north  and  west  through  New  York  state. 

I  thought  I  knew  all  about  Hollywood.  For  four  years  I  had 
been  writing  of  it.  Editors  had  been  good  to  me  and  I  had 
danced  the  tango  with  Rudy,  of  blessed  memory;  lunched  with 
Ronald  Colman,  talked  a  whole  exciting  day  through  with 
Adolphe  Menjou,  and  dreamed  of  romance  while  watching  the 
flashing  fire  of  John  Gilbert's  eyes. 

Thus  my  confidence  as  I  started  my  journey,  the  bland,  com- 
fortable confidence  of  pure  ignorance. 

There  was,  for  instance,  the  feeling  that  I  had  a  perfectly 
good  Grade  B  face.  It  is  a  face  my  mother  has  always  loved 
and  several  others  have  said  kind  things  about  it.  As  for  my 
being  a  newspaper  woman,  it  really  doesn't  show. 

Besides,  I  had  a  lot  of  new  clothes,  which  brings  a  peace  that 
passes  all  male  understandings.  The  clothes  I  had  selected 
carefully,  according  to  Paris  and  the  right  side  of  Fifth  Avenue, 
and  some  SI, 500  was  invested  in  them. 

I  had  four  evening  dresses,  one  a  period  affair  of  silver  green 
taffeta,  straight  from  Paris;  one  a  simple  dance  frock  of  green 
chiffon,  a  formal  white  velvet,  and  a  dinner  dress  of  flame  colored 
crepe. 

I  had  several  street  dresses,  of  black  satin,  of  flat  crepe,  of 
georgette,  and  little  close  hats  to  go  with  them,  straight  off  57th 
street. 

Add  to  these  a  tailored  suit  of  tweed,  four  summer  frocks, 
two  of  them  imports;  an  evening  wrap  of  black  and  silver,  a 
dress  coat  of  gold  brocade,  fur  trimmed  and  lined  in  scarlet; 
nine  pairs  of  assorted  pumps,  size  2  B;  seven  hats,  none  of 
which  had  cost  less  than  forty  dollars;  and  a  complete  line  of 
lingerie,  stockings,  bathing  suits  and  negligees,  and  you  will 
understand  why  I  felt  prepared,  sartorially,  for  all  opportuni- 
ties. 

I  had  heard  of  posters  in  the  Los  Angeles  depots  warning  girls 
away  from  the  terrors  of  Hollywood,  and  of  social  workers  who 
gathered  about  you  and  tried  to  shoo  you  back  to  the  little 
home  town  and  the  light  grandma  had  left  burning  in  the  win- 
dow. I  looked  about,  intending  to  dodge  them,  but  it  wasn't 
necessary,  since  they  weren't  there.  So  I  checked  my  bags  and 
asked  directions  from  a  ticket  agent. 


Beginning    the    experiences    of  a   girl    reporter 


i  n 


t  h 


extra 


game 


Breaking  into  the  Movies 


What  chance  has  a  girl,  without  ex- 
perience or  influence,  of  obtaining  work 
in  the  studios  ?  The  Editor  of  Photo' 
play  wagered  Ruth  Waterbury  that  it 
couldn't  be  done.  Under  an  assumed 
name,  she  went  to  Hollywood.  In  her 
first  article,  she  gives  you  her  impres' 
sions  of  the  film  city  as  it  looks  to  a  lonely 
and  friendless  aspirant  to  screen  fame 


"You  must  be  from  the  East,"  he  drawled.  I  ad- 
mitted it.  "You'll  never  want  to  go  back,"  he  said. 
That  is  the  California  credo. 

"But  what  do  you  want  to  go  to  Hollywood  for? 
That's  no  place  for  nice  people.  I've  been  here  twenty 
years"  (he  showed  his  pride),  "and  I  ain't  been  over 
there  yet." 

Hollywood  and  Los  Angeles  may  be  one  according  to 
the  city  boundaries,  but  they  certainly  are  not  in  the 
hearts  of  their  inhabitants. 

"But  I'm  going  to  get  into  the  movies,"  I  told  him. 

"That's  what  they  all  say,"  he  sighed. 

The  trolley  car  he  had  told  me  to  take  wound  slowly 
•'hrough  the  Chinese  and  Mexican  slums  into  the 
rowded  business  section  of  the  city.  I  had  to  change 
:here  and  take  what  is  called  a  subway,  though  it  runs 
inderground  for  only  five  or  six  blocks  and  then  rattles 
through  flat  country  and  drab  houses  on  its  way  to  the 
;ity  of  romance  and  gold. 

A  little  more  than  an  hour  later  I  stood  at  the  corner 
of  Hollywood  Boulevard  and  Vine  Street.  "Holly- 
wood, I  have  come,"  I  said  to  it,  but  I  spoke  with  more 
confidence  than  I  really  felt. 

I  was,  as  a  matter  of  fact,  a  little  dazed. 


PHOTOPLAY'S  own  "extra  girl" — Ruth  Waterbury — who 
went  out,  on  her  own,  to  learn  the  truth  about  the 
hardships,  opportunities  and  dangers — if  any — of  the 
beginner  in  the  studios 

Hollywood  is  very  noisy  and  very  busy.  The  traffic 
screams  by.  Everywhere  there  is  life  and  activity.  Yet 
it  is  only  a  little  country  town,  a  little  Western  country 
town. 

There,  on  one  of  its  business  corners,  I  gazed  at  it.  Be- 
hind me  the  dust  of  a  vacant  lot  powdered  the  pavement 
yellow.  A  hamburger  stand, 
next  to  a  bootblack's,  was  do- 
ing a  thriving  business.  Be- 
side me  a  woman  realtor 
shouted  you  could  make  a 
million  dollars  by  going  to 
Burbank  and  building  near 
the  new  First  National  Stu- 
dios. Free  busses  every  half 
hour.  Remember  what  the 
studios  did  for  Hollywood, 
she  commanded. 


Why  girls  go  to  Holly- 
wood. At  the  Studio 
Club  you  may  have  a 
private  room  like  this, 
and  two  wholesome 
meals,  for  $2.75  a  day. 
This  room  was  fur- 
nished by  Mary  Pick- 
ford.  Not  so  bad  for  the 
working  girls! 


33 


Our    heroine   finds 
gold    dust    and    gold 


Across  the  way,  a  fat  man  in  movie 
make-up  grimaced  for  no  visible  reason 
into  a  drug  store  window.  High  around 
the  city  I  could  see  the  hills,  so  strangely 
brown  and  bare  to  Eastern  eyes,  scarred 
with  deep  canyons  and  the  electric  signs 
the  realtors  have  raised. 

Over  all  the  hills,  on  their  crests,  down 
their  sides,  stucco  bungalows  of  violent 
colors  clung. 

Down  the  streets,  in  every  direction, 
more   bungalows   ran   in   crazy   rainbows. 

There  are  few  buildings  in  Hollywood 
higher  than  two  stories  and  fewer  resi- 
dences of  more  than  one.  Blue  stucco. 
white,  pink,  orange,  yellow,  scarlet,  slap 
up  against  each  other,  their  windows  hid- 
den beneath  unbelievable  awnings,  upheld 
by  spears.    The  bungalows  front  the  streets. 

Each  has  a  tiny  patch  of  garden  space  be- 
fore it,  and  elaborate  sprinkling  arrange- 
ments water  them  constantly,  but  the 
lawns  are  sparse  and  the  brown  lines  of  the 
irrigation  ditches  destroy  all  beauty. 

The  longer  I  stayed  in  Hollywood,  the 
more  I  was  to  find  that  its  greater  popula- 
tion resents  the  movies,  the  movie  pros- 
perity and  the  movie  people  that  have  put 
the  city  on  the  world's  map.  Yet  the  city 
is  entirely  theatric,  a  city  of  trick  exteriors 
and  mad  unreality. 

I  stood  there  wondering  which  way  to 
turn.  Peddlers  came  along  with  baskets  of 
scarlet  roses,  a  dozen  for  a  quarter.  The 
traffic  bells  rang  continuously  above  my 
head  and  in  the  heavy  stream  of  motor 
cars,  Rolls  Royces  stood  beside  Fords, 
Italian  Lancias  beside  Chevrolets.  A  great, 
low-bodied,  high  powered  roadster  drew  up 
and  stopped  before  me. 

"Better  ride,  girlie,"  whispered  a  soft 
male  voice.  "No  need  for  a  nice  little  girl 
waiting  on  a  street  corner  in  Hollywood." 

I  decided  it  was  high  time  for  me  to  seek 
the  shelter  of  the  Y.  W.  C.  A. 

That  organization  conducts  the  Hollv- 
wood  Studio  Club,  where  many  girls  high  in 
the  industry  today  at  one  time  lived.   A 


Hollywood   full    of 
bric\s— mostly  bric\s 


telephone  book  gave  me  the  address.  I 
walked  down  Vine  Street  and  suddenly 
my  heart  skipped  a  beat. 

"The  West  Coast  Studios  of  Famous 
Players-Lasky "  the  sign  read  on  a  ram- 
shackle building  before  me.  I  hurried 
toward  it.  Then  I  saw  the  second  sign, 
"This  tract  being  subdivided  by  the 
Blank  Realty  Company."  The  old  Lasky 
studio,  one  of  the  first  in  Hollywood,  is  be- 
ing torn  down,  one  of  the  many  signs  of 
the  passing  of  the  Hollywood  that  once 
existed. 

Yet  around  the  corner  I  sighted  an 
active  studio,  Christie's,  and  across  the 
street,  several  small  independents.  My 
excitement  was  rising.  I  defy  anyone  to 
keep  calm  in  that  atmosphere.  I  was  in 
Hollywood,  Hollywood  where  all  things 
were  possible.  I  was  going  to  be  an  extra 
girl  and  who  could  tell,  stranger  things 
had  happened.  I,  even  I,  might  make  a 
hit.  Maybe — oh,  possibly,  I  was  headed 
for  fame. 

Yes,  I  had  already  seen  the  mirage.  I 
was  already  sniffing  the  gold  dust. 

1215  Lodi  Place  was  the  address  I 
sought. 

Distances  are  very  great  in  Hollywood. 
I  walked  a  long  while  and  then  I  saw  it,  a 
beautiful  pile  of  salmon-colored  stucco 
emerging  from  beneath  a  guard  of  pepper 
trees. 

I  wondered  what  I  was  getting  into. 
Would  I  have  to  give  my  life's  history  to 
get  in,  and  be  subject  to  chaperonage  and 
lectures  and  a  charity-tinged  kindness? 
The  girl  clerk  behind  the  desk  raised 
her  eyes  in  inquiry, 
such  beautiful  eyes 
This  is  Miss  Marjorie       that    I    was    startled 
Williams  —  amused,       out   of   all   power  of 
tolerant  and  wise  —      speech.    No  girl  clerk 
guardian   and       is   expected    to    look 
mother  to  the  lovely       like  that.     "  Can  I  do 
young  fledglings       something  for  you?" 
under  her  sympa-       she  asked  softly. 
thetic    wing   at    the         [  cont'd  on  page  92  ] 
Studio  Club 


Home  was  never  like  this !  The  attractive  main  drawing  room  of  the  Studio  Club,  where  the  girls 
may  entertain  their  boy  friends  or  stage  impromptu  shows 


The  Lark  of  the  Month 


LIKE  all  women,  Priscilla  Dean  prefers  to   select  her  own 
clothes.     And  how  well  Alan  Hale  knows  that — now! 

Usually  Priscilla,  exercising  the  prerogatives  of  a  hand  and 
heartfree  young  lady,  does  her  own  frock  buying.  But  this  particu- 
lar dress  did  not  please  Alan  Hale,  who  was  directing  her  in  "For- 
bidden Waters." 

"I'm  going  to  get  you  a  dress  that  will  look  like  something,  Pris- 
cilla." 

The  next  day  Hale  came  to  the  studio  with  Priscilla's  new  gown. 
It  had  a  bustle  and  was  cut  "V"-shape  in  front  and  back.    Pris- 
cilla took  it  silently.     Shortly  she  re-appeared. 
"That  looks  great!"  congratulated  Hale. 


Priscilla  was  still  silent,  but  those  brown  eyes  of  hers  gleamed. 

The  next  morning  Walter  McGrail  came  over  to  Priscilla.  She 
was  still  wearing  the  Hale-bought  dress. 

"That's  a  pretty  dress,  Priscilla.  But  are  you  sure — er  .  .  . 
that  is,  are  you  sure  you  have  it  on  correctly?  My  wife  has  a  dress 
something  like  it,  but  she  wears  hers  so  the  ruffles  are  in  the  back." 

Priscilla  smiled  and  then  she  laughed. 

"I've  been  waiting  for  someone  to  find  it  out.  I've  been  wearing 
this  thing  backwards  ever  since  Alan  Hale  gave  it  to  me.  Go  over 
and  tell  him!" 

And  Hale,  much  chagrined,  had  to  re-take  a  whole  day's  work 
after  Priscilla  had  put  the  dress  on  properly. 

35 


"Be  sure,"  says  Earle  Williams  to  Joan  Constance, 

"to  slow  down  at  crossings  and  signal  for  curves." 

Joan  is  two  and   a   half  years  old.     She  does  not 

believe  in  bobbed  hair 


^m 


James  Kirkwood,  Jimmy,  Jr.,  and  Lila  Lee.    Jimmy 

is  the  life  of  every  kid's  party  in  Hollywood.     Just  a 

Man  About  Town 


H      ^^ 


Movie  babies  get  used  to 
strange  beards  on  familiar 
faces.  Daddy's  whiskers  don't 
frighten  young  Mary  Hay 
Barthelmess.  She  has 
Felix  to  protect  her 


Proving  that  no  man  is 
a  star  to  his  daughter. 
Mr.  and  Mrs.  Dustin 
Farnum  may  be  great 
shakes  in  the  studio, 
but  they're  just  a 
couple  of  slaves  to 
Estelle 


Babi 


es 


Just  a  few  of  the  reasons 
why  the  stars  believe  that 
there  s  no  place  li\e  home 


Sally  Ann  Rawlinson  inherited  her 
father's  winning  smile.  Sally  Ann  is 
hoping  for  a  little  brother  or  sister  to 
play  with.  And  very  often  those  rash 
wishes  come  true 


Faith   Evelyn  Brook  was   born   in 
England  and  Clive,  Jr.,  in  America. 
"Cheerio,"  says  Faith.    "So's  your 
old  man,"  answers  Clive,  Jr. 


Of  course,  you  recognize  Reginald  Denny. 
But  which  is  the  wife  and  which  is  the 
daughter?  The  Clara  Bow-ish  flapper  is 
Mrs.  Denny  and  the  slightly  smaller  child 
is  ten-year-old  Barbara 

37 


I 


With  the  pick  of  the  Butter  and 
Egg  Market,  Louise  Brooks 
staged  a  small-town  elopement 
with   young    Eddie    Sutherland 


Yes,  the  stage  girls  do  better,  when  it  comes  to 
insuring  themselves  a  well-bonded  old  age.  Con- 
sider, if  you  please,  Edna  May  Lcwisohn,  Eleanor 
Robson  Belmont,  the  late  Edith  Kingdon  Gould, 
Catherine   Clements   Gould,   Ethel  Kellv   Gould, 


II 


Agnes 
Smith 


THE  answer  is:   Why  should  they? 
And   another   answer  is:    Any 
millionaire  would  think  twice  be- 
fore he  offered  to  support  a  girl, 
earning  $2,000  a  week,   in   the  style  to 


Constance  Bennett  married  Phil  Plant. 

It  was  a  love  match.    By  accident,  Phil 

was  rich 

38 


which  she  is  accustomed. 
But  neither  answer  settles 
the  problem.  The  fact  still 
remains  that  some  of  our 
shrewdest  young  stars  let 
their  hearts  rule  their  heads 
when  it  comes  to  picking  their 
husbands.  Their  tendency  to 
make  romantic  but  unprofit- 
able marriages  is  enough  to 
make  a  Follies  girl  blush. 


Corinne  Griffith, 
born  for  Fifth 
Avenue,  married,  not 
brilliantly,  but  for 
love.  Like  other 
movie  beauties,  her 
heart  ruled  her  head 


Why  are  the  Women  less  successful 
as  Fortune'V^inners  than  the  Men  1 


Mrs.  Samuel  Insull,  Mrs.  Ben-ali  Haggin,  Lillian  Russell  Moore 
and  Maybelle  Oilman  Corey,  all  of  whom  stepped  from  the 
shifting  sands  of  the  stage  to  the  Plymouth  Rock  of  the  Social 
Register. 

Fie  and  shame  on  the  improvident  beauties  of  the  movies 
who  fall  in  love  with  the  first  handsome  fellow  who  comes  along 
and  lose  their  hearts  to  him  without  first  looking  up  his  financial 
standing! 

Alas  for  the  girls  who  are  so  romantic  that  they  write  their 
own  checks  for  square-cut  diamonds  and  Rolls-Royces! 

Alas  for  the  girls  who  marry  as  recklessly  as  Yale  football 
stare! 

The  men  of  the  profession  do  better  for  themselves.  Antonio 
Moreno  married  the  enormously  rich  and  attractive  Daisy 
Canfield  Danziger.  Hugh  Dillman,  of  the  stage,  married  Mrs. 
Josephine  Dodge,  and  his  only  worry  now  is  a  fire  on  his  yacht. 
Carlyle  Blackwell  won  Leah  Barnato,  whose  father  made  a 
fortune  in  South  African  diamonds.  Earle  Williams  married 
Florine  Walz,  who  inherited  money. 

Against  this  array  is  the  solitary,  exceptional  case  of  Con- 
stance Bennett.  And  Constance  has  left  the  screen,  Broadway 
and  the  night  clubs.  Constance  married  Fhil  Plant;  it  was  a 
love  match.  Accidentally,  almost,  Phil  happened  to  have  a 
fortune. 

While  the  movie  girls  are  figuring  out  whether  to  invest  their 
savings  in  real  estate  or  oil,  the  Broadway  chorus  girls  are 
cinching  the  future  by  eloping  with  the  Kings,  Princes  and 
Dukes  of  the  cloak-and-suit  trade. 

There  are,  unfortunately,  no  stage-doors  to  the  movie  stu- 
dios.   There  is  no  glamour  of  the  footlights.    You  cannot  send  a 


Consider  the 
men!  Antonio 
Moreno,  former 
Vitagraph  star, 
won  the  rich  and 
charming  Daisy 
Canfield  Danziger 


And  Carlyle  Blackwell  went  to  London 
when  his  film  popularity  waned  and 
is  now  the  husband  of  Leah  Barnato, 
English  heiress 


And  Earle  Wil- 
liams, also  of  Vi- 
tagraph fame, 
married  Florine 
Walz,  who  inher- 
ited a  fortune. 
Luck  played  on 
the  side  of 
romance 


movie  star  a  couple  of  hun- 
dred orchids  and  then  expect 
her  to  smile  at  you  from  the 
screen  as  you  sit  in  the  front 
row.  The  director  would  cut 
out  the  smile  and,  anyway, 
you  would  have  to  wait  five 
months  or  so  before  the  pic- 
ture would  be  released. 

The  movie  studio,  with  its 
deplorable  factory  atmos- 
phere, is  no  happy  hunting 
ground  for  the  poor  little  rich 
boy  on  a  lark.  It  carries  an 
unpleasant  suggestion  of 
papa's  vulgar  automobile  fac- 
tory or  the  hated  iron  works 
in  the  home  town. 

Any  millionaire  who^night 
want  to  "rush"  a  movie  star 
would  have  none  of  the  fun  of 
playing  Prince  to  Cinderella. 
A  chorus  girl,  earning  sixty 
dollars  a  week,  smiles  beatif- 
ically  at  the  hint  of  an  er- 
mine coat.    But  the  rich  gentleman,  wooing  a  movie 
star,  would  be  struck  with  the  uncomfortable  sus- 
picion that  her  bank  account  might  be  larger  than  his. 
And  there  is  nothing  romantically  noble  about  offer- 
ing a  yacht  to  a  lady  who  can  afford  to  buy  one  herself. 
There  are  lots  of  girls  in  the  movies  who  have  rich 
husbands,  but  most  of  the  romances  began  when  both 
partners  had  little  more  than  high  hopes  and  a  good 

Start.  [  CONTINUED  ON  PACE  QO  1 

39 


"The  Big  Parade"  Wins 


"f    I    1HE  Big  Parade" 
wins! 

The  readers  of 
Photoplay  Maga- 
zine have  awarded  the  gold 
medal  for  the  best  motion 
picture  of  1925  to  the  now 
famous  epic  of  the  Great  War. 

In  making  this  annual 
award — the  highest  honor  in 
the  world  of  the  silent  drama 
— the  readers  of  Photoplay 
have  steadily  shown  fine  dis- 
crimination. For  six  years 
the  gold  medal  award  has 
provided  the  highest  encour- 
agement to  motion  picture 
producers. 

Glancing  backward,  we  find 
the  gold  medal  awarded  in 
successive  years  to  "Humor- 
esque,"  "Tol'able  David," 
"Robin  Hood,"  "The  Cov- 
ered Wagon"  and  "Abraham 
Lincoln."  Here  is  a  notable 
array  of  pictures,  actual 
milestones  in  the  progress  of 
the  film.  Photoplay  takes 
especial  pride  in  the  judg- 
ment of  its  readers,  proven 
for  six  years. 

In  originally  announcing 
the  gold  medal  award,  Pho- 
toplay asked  that  its  readers 
consider  each  year's  products 
from  every  angle.  Going  fur- 
ther than  story,  direction, 
photography  and  technical 
details,  Photoplay  asked  its 
readers  to  consider  the  ideals 
behind  each  production.  The 
gold  medal  must  be  more 
than  a  mere  surface  award. 
The  faith,  the  hope  and  the 
dreams  going  into  each  film 
must  be  considered. 


John  Gilbert's  splendid  playing  of 
the  doughboy  hero  in  "The  Big 
Parade"  went  far  toward  lifting 
him  to  his  present  high  popularity 


King  Vidor  established  himself  as  the 
leader  among  the  younger  American 
directors  by  his  direction  of  "The  Big 
Parade,"  distinguished  by  brilliance 
and  unusual  daring 


Previous  Wmners 
of  Photoplay  Medal 

1920 

"Humoresojje" 

1921 

"Tol'able  David" 

1922 

"Robin  Hood" 

1923 

'The  Covered  Wagon" 

1924 

"Abraham  Lincoln" 


Tom  O'Brien,  Jack  Gilbert  and  Carl  Dane  in  the  now  famous  shell-hole 
scene  of  "The  Big  Parade."     This  is  one  of  the  big  moments  of  the  film 


Photoplay  Medal  for  1 925 


\ 


Renee    Adoree 
scored  a  brilliant 
personal  success 
as  the  peasant  girl, 
Melisande,  of  "The 
Big  Parade."      This 
was  a  striking  per- 
formance 


How  well  the  readers  of  Photoplay 
have  responded  is  proven  by  the  annual 
awards,  topped  now  by  the  selection  of 
"The  Big  Parade"  as  the  best  motion 
picture  of  1925.  "The  Big  Parade"  is  a 
big  picture  from  every  angle.  It  is  in- 
herently American,  of  course,  telling, 
without  adulteration  or  glamour,  of  the 
boys  who  fought  overseas.  "The  Big 
Parade"  is  the  first  screen  effort  to  pre- 
sent war  without  the  usual  saccharine 
romantic  bunk. 

The  credit  for  "The  Big  Parade"  can 
be  distributed  between  Marcus  Loew, 
head  of  the  Metro-Goldwyn-Mayer  Cor- 
poration; King  Vidor,  the  brilliant 
young  director  who  made  it,  and  Irving 


Marcus  Loew,  head  of  Metro-Goldwyn- 
Mayer  Productions,  deserves  great 
credit  for  his  faith  in  staking  a  huge 
fortune  in  making  and  exploiting  "The 
Big  Parade" 


Thalberg,  the  guiding  force 
of  the  Metro-Goldwyn- 
Mayer  studios.  There  is 
glory  enough  for  all  three. 

The  screen  credit  for 
writing  "The  Big  Parade" 
goes  to  Laurence  Stallings. 
S  tailings  was  a  co-author  of 
"What  Price  Glory."  The 
Metro-Goldwyn-Mayer 
Corporation  wanted  a  war 
story  and  Stallings  was 
commissioned  to  write  it. 
The  playwright  went  to  Cal- 
ifornia with  the  first  draft 
of  the  motion  picture,  later 
destined  to  be  greatly 
changed  in  production. 

However,  to  Stallings 
goes  the  credit  for  giving 
Vidor  and  Thalberg  the  en- 
thusiasm to  make  a  picture 
definitely  out  of  the  beaten 
track.  "I  owe  to  Stallings 
the  courage  to  go  ahead  and 
make  'The  Big  Parade,'  " 
Vidor  has  said.  The  picture 
went  into  production.  How- 
ever, there  was  little  thought 
then  that  it  would  develop 
into  a  big  special  destined  to 
sweep  America. 

The  story  grew  in  pro- 
duction. Much  of  the  origi- 
nal draft  was  discarded. 
Some  of  the  episodes  of  the 
original  draft  remain,  as  the 
early  soldier  shower  bath 
scenes.  The  thrilling  march 
through  Belleau  Wood  was 
not  in  the  original  draft, 
however,  nor  was  the  ciga- 
rette sharing  episode.  The 
gum-chewing  love  scene  was 
suggested  by  Jack  Gilbert, 

[  CONTINUED  ON  PAGE  144  ] 


The  gum-chewing  romantic  interlude  of  "The  Big  Parade"  had  lyric 
qualities  and  was  one  of  the  outstanding  moments  of  the  big  picture 

u 


y  he  Little 


omen 


Tony  Moreno's  acting  has  gained  in  subtlety  lately.     And 
here  is  the  charming  reason,  Mrs.  Tony,  formerly  Mrs. 
Daisy  Danziger,  very  wealthy  member  of  the  most  exclu- 
sive California  social  set 


L. 


Her  name  is  Rene  Denny,  wife  of  Reggie.  She's 
English,  vivacious,  small  and  very  pretty  and 
she  devotes  her  time  to  the  pursuit  of  out- 
door sports  and  ten-year-old  Barbara  Denny 

42 


This  is  what  makes 
Douglas  MacLean  a 
homebody.  Men, 
think  of  having  a 
girl  like  this  waiting 
on  the  steps  each 
night  to  soothe  away 
your  Kleig  eyes  ! 
Wouldn't  life  be 
simple? 


Florine  Walz  prom- 
ised Earle  Williams 
to  follow  where  he 
led  So  he  led  her  to 
the  altar  and  thence 
to  Hollywood  in  the 
days  when  it  was 
mostly  a  place  where 
Japs  raised  carna- 
tions 


ar  behind  Hubby  s  spot' 
light,  they  wait  and  listen. 
Just  wives,  that's  all.  Best 
friends.  Severest  critics. 
But  what  would  their  stellar 
husbands  do  without  them? 


Now  you  see  how  Conrad  Nagel  gets  that  way.     How  can 

Conrad  show  base  emotions  when  back  home  there's  the 

nicest  wife  in  all  filmdom,  Ruth  Helms  Nagel,  and  small 

Ruth,  aged  seven? 


Here  is  Charlie  Mur- 
ray's missus.  She's 
been  Charlie's  for 
twenty  years,  and 
twelve  of  them  in 
Hollywood,  too! 
And  if  there's  any 
severer  test  of  true 
love  than  that  we 
don't  want  to  hear  it 


Though  Charlie  was 
down  for  a  while, 
sympathetic  Clara 
Ray  saw  to  it  that  he 
was  never  out.  She 
kept  the  electric  fan 
cooling  until  their 
fortune  staged  a 
come-back 


Monte  Blue  calls  her  "Jimmy"  and  buys  her 

coats  like  this.    All  the  other  wives  on  these 

pages  are  firsts,  but  "Jimmy"  is  a  second 

flight.     Now  there's  a  baby  Blue 


STUDIO  NEWS  6?  GOSSIP 


Don't  scream !  This  sort  of  thing  was  absolutely  correct  in  the  eighteenth 
century.  However,  for  the  benefit  of  the  censors,  let  us  explain:  This  is 
merely  a  conference  between  Mai  St.  Clair,  the  director,  Florence  Vidor, 
the  star,  and  Monta  Bell,  the  author,  of  "The  Popular  Sin."  At  the 
studio,  of  course 


Bill  Haines  came  East  to  take  some 
scenes  for  "Slide,  Kelly,  Slide,"  at 
the  World  Series.  The  gentleman 
gazing  toward  outfield  is  Mr.  G.  H. 
(Babe)  Ruth 


I  HATE  to  say  "I  told  you  so."  But,  somehow,  I  had  a  suspi- 
cion all  along  that  Constance  Talmadge's  marriage  to  Cap- 
tain Alastair  Mackintosh  wouldn't  weather  the  years.  My 
suspicions  were  correct,  because  Constance  herself  has  an- 
nounced that  she  and  the  Captain  are  "quits,"  and  that  she 
will  return  to  California  and  get  herself  a  nice  "  scandalless " 
divorce. 

When  Constance  returned  from  her  honeymoon  in  London, 
she  patched  up  her  differences  with  "Buster"  Collier,  and  Con- 
nie and  "Buster"  were  seen  everywhere  together.  The  Captain 
said  that  he  didn't  mind.  And  Constance  said  that  it  was 
merely  a  case  of  a  couple  of  old  friends  getting  together  for  a 
reunion.  Nevertheless,  such  little  incidents  are  usually  signs 
that  all  is  not  well  aboard  the  ship  of  matrimony. 

ALL  Connie's  friends  and  relatives  are  almost  aggressive  in 
their  assertions  that  Captain  Mackintosh  is  a  "perfectly 
charming  man."  Upon  parting  with  the  Captain,  Connie 
wished  him  all  kinds  of  luck  and  said  that  the  separation  had 
been  caused  merely  by  incompatibility. 

Furthermore,  Connie  said  that,  above  all  things,  she  was 
interested  in  her  work. 

I  can't  find  it  in  my  heart  to  blame  Constance  for  her  shifting 
affections.  She  is  a  generous  and  charming  person.  And  I  ad- 
mire her  for  giving  her  ornamental  Captain  such  a  pretty,  soft- 
focus  "fade-out." 

"LTAVE  you  heard  the  one  about  the  perennial  ingenue 
■*■  ■'■whose  friends  gave  her  a  birthday  party,  with  a  cake 
and  candles  and  everything?  Anyway,  the  heat  from  the 
candles  was  so  great  that  six  guests  were  overcome. 

WALLACE  BEERY  is  out  gunning  for  Darius,  Holly- 
wood's famous  Oriental  fortune-teller.  It  seems  that, 
after  taking  a  long  look  in  the  crystal  globe,  Darius  told  Beery 
that  Dempsey  would  lick  Tunney.  So  Wally  put  all  his  spare 
money  on  Jack. 

Now  if  Beery  finds  Darius,  he  is  going  to  make  lump  sugar  of 
his  crystal  globe. 

u 


IT  takes  a  great  student  of  human  nature  to  give  a  satisfactory 
definition  of  love.  People  have  been  trying  for  it  for  ages  and 
ages.  Now  one  has  been  given  that  has  received  the  plaudits  of 
many  experts. 

Need  you  ask  by  whom? 

Elinor  Glyn  is  naturally  the  seeress  who  has  achieved  the 
seemingly  impossible. 

At  a  dinner  party  given  recently  by  Lady  Ravensdale,  at 
which  were  present  Mr.  and  Mrs.  Charlie  Chaplin,  Marion 
Davies,  Anita  Stewart,  John  Colton,  author  of  "Rain,"  and 
many  other  celebrities,  Charlie  and  Elinor  Glyn  fell  into  a  dis- 
cussion about  love. 

"Well,  then,  Madame,  what  is  love?"  demanded  Charlie 
Chaplin. 

After  a  brief  pause.  Madame  Glyn  replied:  "The  physical 
emotions  of  the  soul." 

And  received  a  hearty  round  of  applause  from  everybody, 
including  Charlie. 

A  FTER  three  months  spent  in  the  wilds  of  Nevada  mak- 
•*"*-ing  the  great  epic  of  the  reclamation  of  the  desert,  "The 
Winning  of  Barbara  Worth,"  Vilma  Banky  returned  to 
Hollywood  a  few  days  ago. 

"How  did  you  enjoy  your  long  stay  up  there?"  somebody 
asked  the  lovely  Hungarian. 

Miss  Banky  turned  blue  eyes  heavenward. 

"So  much  west !"  she  said  plaintively. 

MARION  DAVIES  and  her  trusty  sewing  machine  are 
camped  at  the  Hotel  Ambassador  in  New  York.  Marion 
makes  most  of  her  own  clothes,  but  she  never  brags  about  it  be- 
cause it  sounds  too  much  like  a  press  agent's  fable.  On  the  day 
of  her  arrival,  Marion  dashed  up  a  little  evening  gown  for 
Norma  Talmadge.  I  am  not  fooling;  I  saw  her  do  it.  It  is  a 
white  satin  affair,  trimmed  in  fringe  and  rhinestones.  And 
maybe  Norma  didn't  keep  her  appointments  for  the  fittings! 
And  maybe  she  didn't  stand  still  while  the  satin  was  pinned  in 
place!  As  for  Marion,  she  says  she  wants  screen  credit  if 
Norma  wears  the  dress  in  a  picture 


EAST  AND  WEST      «yc/y«* 


Those  transcontinental  newlyweds 
— Eddie  Sutherland  and  Louise 
Brooks.  Louise  traveled  across  the 
country  just  to  spend  three  days 
with  her  husband 


A  Scotch  joy-ride — not  a  joy-ride  with  Scotch.  There's  a  difference. 
This  is  one  of  the  few  informal  pictures  for  which  Lillian  Gish  has  posed. 
She  is  seen  here  with  Josephine  Lovett  (in  private  life  Mrs.  Robertson) 
who  wrote  the  story  of  "Annie  Laurie,"  and  John  Robertson,  who  is 
directing  the  picture 


LOTS  of  the  true  stories  about  the  stars  are  better  than  any- 
thing a  press  agent  can  invent.  While  Marion  was  confess- 
ing to  her  terrible  craving  for  sewing,  Norma  broke  down  and 
admitted  that  she  was  a  good  cook. 

Norma  and  Joseph  Schenck  are  thinking  of  building  a  new 
home  at  Santa  Monica  Beach.  It  will  not  be  a  large  or  preten- 
tious place  because  Norma  is  anxious  to  cut  down  on  the  useless 
complications  of  living.  Instead  of  an  elaborate  menage, 
Norma  wants  a  small,  comfortable  home  with  one  maid-of-all- 
work.  She  wants  to  be  free  to  go  into  the  kitchen  when  she 
likes  to  fix  Joe's  favorite  dishes  for  him. 

FRED  THOMSON,  the  Western  star  whose  pictures  have 
been  cleaning  up  so  recently,  may  be  signed  by  United  Artists 
when  his  present  F.  B.  0.  contract  has  expired.  Joe  Schenck 
once  told  Thomson  that  it  could  be  arranged  any  time  he  was 
free  and  wanted  to  join  United  Artists,  and  Fred  has  been  in 
conference  with  Schenck  recently.  Maybe  they  have  come  to  a 
business  agreement.  Maybe  not.  Time  will  tell.  Anyway, 
Fred,  who  is  Frances  Marion's  husband,  is  a  much-sought-after 
young  actor  these  days. 

"PNGLISH,  as  spoken  by  Greta  Nissen:  "I  went  to  the 
-'—'animal  gardens  and  saw  a  blue  monkey  in  a  prison — or 
is  it  a  press?" 

Translated,  that  means  that  Greta  went  to  a  zoo  and  saw  a 
blue  monkey  in  a  cage. 

How  I  would  love  to  hear  an  English  conversation  be- 
tween Greta  Nissen  and  Vilma  Banky ! 

THE  last  word  on  the  Cody-Normand  wedding  is  that  Lew 
says  he  has  been  asking  Mabel  to  marry  him  for  years  and 
years.  And  Mabel  had  consistently  refused.  When  she  finally 
breathed  "Yes,"  he  didn't  give  her  a  chance  to  take  another 
breath,  but  rushed  her  to  the  parson's. 

THE  Black  Bottom  has  become  the  rage  in  Hollywood.    The 
Charleston  is  displaced,  passe,  old-fashioned.     All  its  one- 
time exponents  have  flown  over  to  the  Black  Bottom. 


Mary  Hay  Barthelmess  is  a  well-known  exponent  of  the  new 
dance  and  I  saw  her  teaching  Bessie  Love  and  Blanche  Sweet 
its  most  intricate  steps  at  a  party  the  other  evening.  Elsie 
Janis  also  showed  some  of  the  girls  how  it  should  be  done  up  at 
Frances  Marion's  midnight  barbecue  in  her  honor. 

But  Mrs.  Tom  Mix  capped  the  climax  by  having  a  famous 
exponent  and  instructor  at  a  cat  party  she  gave  the  other  night. 
Ruth  Roland  was  practicing  assiduously,  and  the  rest  of  the 
chorus  following  the  dusky  dancing  teacher — feminine — in- 
cluded Kathleen  Clifford,  Carmelita  Geraghty,  Eileen  Percv, 
and  a  lot  of  others. 

THE  pure,  sweet  influence  of  the  screen  is  felt  everywhere.  If 
you  don't  believe  it,  list  to  the  declaration  made  by  Erich 
von  Stroheim  as  he  frolicked  in  surf  and  slave  bracelet  with  his 
little  son: 

"If  anyone  had  told  me  a  couple  of  years  ago  that  I  would 
ever  enjoy  this  sort  of  thing,  I  would  have  told  him  he  was 
crazy." 

This  from  the  screen's  arch-villain,  despoiler  of  womanhood, 
wrecker  of  lives.     What  is  happening  to  our  cinema  sinners? 

"\X7HILE  her  husband  was  away  on  a  short  yachting  trip 
v  v  "between  pictures,"  Mrs.  Tom  Mix  went  to  spend 
Sunday  with  some  friends  in  the  country.  As  she  was  leav- 
ing to  go  home  she  opened  her  big  silk  bag  to  find  a  tele- 
phone number  in  her  little  book  for  her  hostess,  and  re- 
vealed, to  the  amazement  of  all  beholders,  the  contents  of 
the  bag.  Her  sewing  and  a  large  revolver,  resting  amicably 
side  by  side. 

"Tom  always  makes  me  promise  to  take  a  gun  if  I  go  out 
alone  at  night,"  she  explained,  "and  I  brought  my  sewing 
because  I  thought  I'd  have  time  to  do  something  on  it." 

A  typical  modern  woman,  that. 

HERE'S  something  new  in  the  way  of  epics.  We've  had 
epics  of  railroads,  old  West,  steel  mills,  fast-sailing  clippers, 
covered  wagons,  gold-diggers  (of  both  sexes),  Indians  and  cow 
country. 

45 


This  100-foot  tower  is  merely  a  big  tripod  for  the 
cameras  which  will  get  long-shots  of  the  battle  scenes 
in  "Wings."  It  was  built  near  San  Antonio,  Texas, 
where  five  square  miles  were  set  aside  for  a  reproduction 
of  the  battle  of  St.  Mihiel 


Now  we're  going  to  have  the  epic  of  the  auto  camp.  The 
lowly  roving  flivver,  which  nests  at  night  with  a  flock  of  dusty 
lizzies  in  the  shadow  of  a  hot-dog  emporium,  is  to  be  immortal- 
ized. 

It  will  be  called  "Rubber  Tires,"  not  by  an  Akron  firm, 
but  by  Alan  Hale,  with  Bessie  Love  adding  heart  throbs  to  the 
lyric  of  lizzie. 

THERE  is  absolutely  no  truth  in  the  story  that  Pola  Negri  is 
in  love  with  Mae  Murray's  husband's  brother.  The  younger 
of  the  Mdivani  boys  means  nothing  in  Pola's  life.  So  there! 
Perhaps  you  didn't  hear  the  story  in  the  first  place,  but  it  had 
Hollywood  agitated  for  a  few  days.  Pola's  friends  declare  the 
rumor  was  started  by  Pola's  enemies.  And  it  only  goes  to  show 
that  this  is  a  cruel  world. 

Pola  is  selling  her  home  in  Hollywood.  It  was  a  nice  house, 
but  it  had  too  many  memories. 

SPEAKING  of  Mae  Murray,  Mae  and  her  gardener,  one 
Alfred  Wilding,  had  a  little  disagreement.  Mae  owed  the 
gardener  a  small  bill  and  Wilding  wanted  a  settlement.  But  the 
story  goes  that  Mae  was  angry  because  the  gardener  planted 
lemon  trees  in  her  new  Santa  Monica  garden.  Never  mind, 
Mae,  diluted  lemon  juice  makes  a  good  hair  rinse,  so  all  the 
girls  tell  me. 

A6 


Marc  McDermott  poses  for  an  effigy  of  himself.  The 
figure  will  be  placed  in  a  coffin  in  a  scene  for  "The 
Mysterious  Island,"  and  will  be  used  to  scare  the 
leading  actor,  Lionel  Barrymore,  into  a  regular  frenzy 
of  acting 


WILLIAM  RUSSELL  and  Helen  Ferguson  were  in  the 
East  for  the  Dempsey-Tunncy  fight.  Bill  is  an  old  friend 
of  Gene's,  and  so  the  Russells  joined  in  the  Tunney  celebration. 
Bill  Russell  is  a  real  athlete,  and  an  expert  on  athletics. 

As  for  Helen,  she  tells  a  funny  one  about  her  new  house  in 
Hollywood.  Bill,  like  other  big,  strong  fellows,  is  death  on 
furniture.  He  is  great  in  a  gymnasium,  but  a  hurricane  in  a 
parlor.  So  when  Helen  had  her  new  home  built,  she  hired  eight 
men  to  jump  up  and  down  on  the  floors,  to  see  if  they  would  be 
safe  enough  for  Bill's  gentle  tread. 

"CWERYONE  get  set  for  a  long,  cold  winter!  The  squir- 
J—/rels  are  growing  extra  ear-muffs  and  Lya  de  Putti 
bought  three  fur  coats — ermine,  mink  and  broadtail — all 
in  one  afternoon.  Any  old-fashioned  farmer  will  tell  you 
that  this  is  a  sure  sign  of  heavy  snow. 

THE  curse  has  been  removed  from  Hollywood's  haunted 
house.    Ralph  Forbes  and  Ruth  Chatterton  dispelled  it. 

The  haunted  house  huddles  in  a  deserted  curve  at  the  end  of  a 
hillside  road.  Its  frame  skeleton,  pocked  with  colored-glass 
windows,  has  held  Mary  Miles  Minter,  William  Desmond 
Taylor,  Max  Linder;  even  Leatrice  Joy  and  Jack  Gilbert  for  a 
while.  Suspicious  folk  lay  their  misfortunes  to  residence  in  its 
ivy-covered  walls. 

The  house  stood  idle  until  Ruth  Chatterton  and  her  husband, 
Ralph  Forbes,  whom  you  have  seen  as  John  in  "Beau  Geste," 
came  to  Hollywood  to  appear  in  "The  Green  Hat."  They  took 
the  house  without  knowing  its  secret,  and  their  ignorance  was 
bliss,  for  nothing  but  good  fortune  befell  them.  The  play 
received  excellent  notices  and  Ralph  was  signed  to  a  long-term 
Metro-Goldwyn-Mayer  contract.  The  spook  must  have  re- 
lented. 

XJERE'S  one  on  Douglas  Fairbanks  and  Charlie  Chaplin 
-^■*-and  the  title  should  be  "It's  Great  to  Be  Famous." 

The  two  noted  ones  were  waiting  for  a  motor  at  the 
Pickford-Fairbanks  Studio,  when  up  whizzed  Doug,  Jr.,  in 
his  swanky  little  roadster: 

"Let  me  give  you  a  lift,"  and  away  the  three  dashed,  with 
Doug's  son  at  the  wheel.  Approaching  Vine  and  Hollywood 
Boulevard  they  stopped  for  a  traffic  signal  and  two  precious 
flappers  sauntered  past.  Breathed  one,  pinching  the  other's 
arm  in  emphasis: 

"O-o-o-o-o-o !  Look!!  There's  Douglas  Fairbanks, 
Junior!" 

Which  is  the  greater?  To  be  famous  or  have  a  famous  son? 


Here  he  is — little  Samuel  Goldwyn,  Jr.  His  mother,  the 
former  Frances  Howard,  and  his  aunt  (Constance 
Howard)  think  he's  the  finest  baby  in  the  world.  And 
his  father,  the  famous  producer,  for  once  is  speechless 
with  admiration 


DOROTHY  GISH  arrived  from  England  recently  and  left 
immediately  for  California  to  see  her  mother,  who  is  seri- 
ously ill.  Dorothy  announces  that  she  will  make  no  more  films 
in  England  until  her  mother  gets  well.  In  the  meantime,  pro- 
duction on  "Madame  Pompadour"  will  be  held  up  until 
Dorothy  returns. 

THEY  are  always  breaking  up  great  combinations  in  motion 
pictures.  Richard  Dix  and  his  director,  Gregory  LaCava, 
were  a  great  team.  You  will  notice  I  said  WERE.  They're  not 
together  now.  So  were  Mai  St.  Clair  and  Adolphe  Menjou,  but 
when  they  split  Menjou  was  lucky  because  he  drew  Luther  Reid 
as  his  director  and  Luther  has  made  good  with  a  bang. 

Guess  they  have  to  break  up  these  combinations,  but  it  does 
seem  too  bad.  You  see  they  become  too  valuable  to  keep 
together  as  director  and  star  after  their  pictures  have  been  real 
hits. 

It's  rather  sad  to  me  to  see  the  parting  of  the  ways  between 
George  Fitzmaurice,  director,  and  the  two  stars  he  has  made 
famous,  Ronald  Colman  and  Vilma  Banky.  This  is  the  combi- 
nation that  made  "The  Dark  Angel" — one  of  the  greatest 
artistic  and  box  office  triumphs  of  the  screen. 

I  couldn't  help  but  shed  a  tear  or  two  as  I  sat  on  the  set 
watching  Fitz  directing  Yilma  and  Ronald  in  their  last  picture 
as  a  trio.  It  is  to  be  called  "A  Night  of  Love."  With  its  comple- 
tion Fitz  goes  to  First  National  at  a  huge  salary — one  of  the 
two  or  three  largest  directorial  salaries  ever  paid — and  Colman 
and  Banky  remain  with  Sam  Goldwyn. 

'TPAMMANY  YOUNG,  world's  champion  "gate  crasher," 
■*■  slipped  over  a  fast  one  on  First  National's  efficiency 
system.  Tammany  is  working  in  "Not  Herbert,"  which  is 
being  produced  by  Al  Rockett. 

Missing  Tammany  from  the  set,  Rockett  asked  where  he 
was.  He  was  told  that  Tammany  had  gone  to  the  barber 
shop. 

"What's  the  idea  of  leaving  the  set  and  going  out  to  have 
your  hair  cut  on  the  company's  time?"  asked  Rockett,  when 
Tammany  returned. 

"Well,"  answered  Tammany,  "the  hair  grew  on  the  com- 
pany's time,  didn't  it?" 

LILLIAN  GISH  is  most  happy  working  under  the  direction 
of  John  Robertson.  With  her  mother  critically  ill,  Lillian 
has  been  lucky  to  have  a  sympathetic  director  at  the  studio. 
She  wants  to  keep  Mr.  Robertson  for  another  picture,  although 
it  was  planned  to  have  Mr.  Robertson  direct  Ramon  Novarro  in 


Milton  Sills  is  married  now  to  Doris  Kenyon.  Milton 
dashed  East  for  the  ceremony  upon  the  completion  of 
his  picture.  His  tennis  opponent  is  John  Goodrich, 
who  wrote  the  scenario  of  "Men  of  Steel"  from  Sills' 
story 


"Old  Heidelberg."  The  Robertsons  are  immensely  fond  of 
Lillian  and,  for  years,  Lillian  has  wanted  him  for  her  director. 
So  the  combination  may  remain  together  for  another  picture, 
after  the  completion  of  "Annie  Laurie." 

LILLIAN  wants  to  play  Tolstoi's  "Anna  Karenina."  In  the 
phrase  of  the  censors,  it  is  the  story  of  an  illicit  love  affair. 
And  it  would  be  pretty  hard  to  turn  the  affair  of  Anna  and 
Wronsky  into  a  sentimental  friendship.  Unless  the  idyllic  love 
story  of  Kitty  and  Lcviue  is  eliminated  from  the  film,  it  will  be 
pretty  hard  to  throw  much  sympathy  to  Anna. 

I  wonder  why  Lillian  doesn't  think  of  "Jane  Eyre."  The 
Bronte  story  was  done  years  ago,  but  it  wasn't  much  of  a  suc- 
cess, perhaps  because  it  failed  to  make  the  most  of  the  story. 
But  I  still  think  there  is  a  kick,  even  for  ultra-modern  audiences, 
in  the  old  tale  of  the  prim  governess,  the  fascinating  Mr. 
Rochester  and  the  mad  wife. 

MR.  ROBERTSON  is  reversing  the  order  of  film  things  in 
"Annie  Laurie."  His  villain,  Creighton  Hale,  is  pale  and 
blond  with  blue  eyes,  while  Norman  Kerry,  the  hero,  has  dark 
eyes  and  hair.  This  is  a  departure  from  the  conventional  blond 
hero  and  dark  villain,  and,  incidentally,  it  is  a  historical  fact 
that  the  greatest  badmen  of  the  early  West  were  not  black- 
mustached  desperadoes  with  dark  [  continued  on  page  84  ] 

vt 


an 


Illustrated    by 

J.J.Gould 


J  CAESAR  CLUMP,  director-in- 
chief  for  the  Midnight  Pictures 
Corporation,  Inc.,  of  Birming- 
•  ham,  Alabama,  reclined  in  a 
hammock  and  gazed  languidly  down 
upon  the  city  of  Algiers.  He  was  en- 
gaged in  the  task  of  whipping  his 
brain  into  a  subjective  state,  in  order 
that  he  might  more  efficiently  con- 
sider a  new  story  idea  suggested  that 
morning  by  Forcep  Swain,  Mid- 
night's elegant  author. 

Physical  conditions  were  ideal. 
He  was  surrounded  by  the  vivid  veg- 
etation of  the  hotel  gardens.  Over- 
head the  sun  streamed  warmly  from 
an  unflecked  sky.  Through  the  iron 
grill  of  the  garden  gates  he  could  see 
the  narrow,  winding  streets  of  Mus- 
tapha  Superieur,  fashionable  suburb 
of  Algiers:  and  far  below  the  harbor 
stretched — all  sapphire  and  bur- 
nished gold,  studded  with  small  and 
picturesque  ships:  fishing  boats  with 
queer,  triangular  sails;  decrepit 
tramp  steamers  from  Gibraltar,  Mar- 
seilles, Venice,  Naples,  Genoa  and 
North  African  ports;  one  tremen- 
dous liner  stopping  over  in  Algiers  for 
a  day  in  the  course  of  a  world  cruise. 

He  extracted  from  his  pocket  a 
package  of  American  cigarettes,  lib- 
erally besprinkled  with  Algerian  rev- 
enue stamps.     He  selected  one, 

lighted  it,  and  luxuriously  inhaled  the  rich  Virginia  tobacco. 
He  raised  his  putteed  legs  from  the  ground,  settled  them  com- 
fortably in  the  hammock,  removed  a  checkered  cap  and  closed 
his  eyes  in  order  to  give  his  thought  processes  the  benefit  of  full 
physical  comfort. 

And  then  his  superb  serenity  w-as  shattered  by  a  crashing  in 
the  shrubbery  and  a  hoarse  voice  bellowing  his  name.  Director 
Clump  sat  up  and  stared  with  ill-concealed  hostility  toward  the 
sound. 

"Mistuh  Clump!"  came  the  harsh,  masculine  call:  "Hey, 
Caesar!     Where  is  you  at?" 

The  director  sighed  and  shook  his  head.  Always  when  he 
slipped  away  for  an  hour  of  undisturbed  thought',  there  was 
something  to  destroy  his  tranquillity.  And  usually  it  was  this 
same  person. 


He  waited  resignedly  until  the  enormous  figure  of  Opus  Ran- 
dall, Midnight's  most  popular  comedian,  burst  through  a  hedge 
of  flowers  and  confronted  him. 

Mr.  Randall  was  hot,  tired  and  indignant.  His  massive  chest 
was  heaving  with  exertion,  his  pudgy  face  was  beaded  with  per- 
spiration and  his  fat  legs  trembled. 

One  glance  at  the  face  of  the  leading  actor,  and  Director 
Clump  knew  that  peace  had  departed  for  the  afternoon.  There 
were  times  when  Opus  was  trying  beyond  the  point  of  endur- 
ance— and  this  was  one  of  the  times.  Caesar  Clump  assumed  a 
resigned  look,  waved  a  languid  hand  and  voiced  a  question. 

"Well,  Opus — wha's  eatin'  you  now?" 

Mr.  Randall  came  close  and  hovered  over  the  recumbent  fig- 
ure, upon  which  he  gazed  with  ill-concealed  hostility.  His 
voice  quivered  with  fury. 


Opus    Randall    finds    the    Sands    of   the 


48 


h  N  \  i         <N ' 


"  Wha's  the  matter?  Huh!  That  you  could  lay  down  there 
an'  ask  me  such ! "  He  doubled  one  big  fist  and  spanked  it  into 
the  palm  of  the  other  hand.  "  I  reckon  you  know  as  well  as  me 
wha's  the  matter." 

"Well,  if  you  know  an'  I  know— then  us  bofe  knows,  an  there 
ain't  no  need  talkin'  about  it."  . 

"  Gittin'  sarcastical,  is  you?  Just  like  you  been  doin  ever 
since  us  fust  come  to  Africa.  You  think  you  can  talk  to  me  like 
that— an'  ride  me  all  the  time  when  us  is  workin'— an'^  gimme 
dirty  work  to  do.  I'se  good  an'  sick  an'  tired  of  it,  an'  I  ain  t 
gwine  stan'  it  another  minute." 

"  What  does  you  aim  to  do?  "  inquired  the  director.  His  tone 
was  smooth,  but  anger  was  commencing  to  smoulder  within  the 
narrow  bosom. 


"Goodness,  no!"  said  Sicily,  "I  ain't  been  out  of 
this  hotel  all  evenin' " 

A  solemn  and  terrible  hush  fell  upon  the  trio  of  slim 
young  men  who  had  lately  been  locked  in  deadly  combat. 
With  one  accord  they  turned  and  inspected  the  cringing 
Opus  Randall 

"Plenty!" 

"What,  f'r  instant?" 

Opus  spluttered.  He  choked.  He  knew  very  well  there  was 
nothing  he  could  do— but  he  hated  to  be  reminded  of  that  fact. 
Director  Clump  saw  his  opportunity  and  was  quick  to  press  the 
advantage.  .   , 

"  Now  listen  at  me,  Fat  Boy:  Ever  since  us  left  Bumminnam 
you  has  been  makin'  trouble.    Nothin'  ever  suits  you.    Always 


Desert    are    too    Hot    for    Comfort 


49 


f^r     -  \    ■    \ 


Mrs.  Sicily  Clump,  feminine  star  of  Midnight  Productions, 
surveyed  herself  in  the  mirror.  The  reflection  showed  an 
Arab  lady  of  unusual  shapeliness,  encased  in  a  long,  flow- 
ing robe  of  white.  The  lower  half  of  her  face  was  con- 
cealed by  a  white  veil 


you  is  fightin'  with  Florian  Slappey  or  Welford  Potts  or  Aleck 
Champagne — or  somebody.  An'  now  you  comes  bustin'  in  on 
my  solichude  yellin'  'cause  I  has  been  givin'  you  some  funny 
scenes —  " 

"Funny?  Great  Sufferin'  Tripe!  Who  says  they  is  funny? 
You  reckon  it's  funny  fo'  me  that  you  should  chuck  me  over- 
board fo'  some  fishermen  to  pull  up  in  a  net  .  .  .  an'  then  a 
dawg-gone  octopus  gits  in  that  net  with  me  an'  I  is  almost 
drowned  an'  besides  also  scared  to  death?  I  guess  you  think  I 
just  laughed  myse'f  sick,  don't  you?  An'  was  it  funny  I  should 
fall  down  them  stone  steps  in  the  native  quarter  this  mawnin'? 
Why  di'n't  you  tell  me  there  was  a  rope  across  that  street?" 

Mr.  Clump  explained  patiently.  "I  wanted  the  fall  to  look 
nachel." 

"Ooooow!  Sotha'sit?  An' you  takes  a  chance  of  bustin' me 
all  up!  A  lot  you  care  does  I  crack  my  neck.  Why  don't  you 
give  Welford  Potts  some  of  them  terrible  things  to  do?  Why  is 
it  always  me,  me,  me  when  it  comes  to  gittin'  beat  up?" 

Mr.  Clump  rose  and  his  voice  crackled.  "Stop!  You  quit 
kickin'  an'  listen  at  me!  I  craves  to  make  somethin'  plain  to 
yo'  fat  head — once  an'  fo'  all  time.  You  signed  up  with  this 
comp'ny  to  play  slapstick  comedy.  You  is  a  comedian  an'  tha's 
all  what  you  is.  But  ev'ything  you  gits  toP  to  do,  you  raises  a 
howl.  What  do  you  think  you  is,  anyhow — a  tragedian? 
Wantin'  to  play  Hamlick  or  somethin'  like  that?  Now  I'se 
finished,  th'oo  and  done  with  you.  I  has  exhausted  my  temper 
an'  next  time  you  do  any  of  this  yellin'  aroun'  you  gits  fined  an' 
laid  off  without  sal'ry.  Git  that  clear.  I  has  tried  to  keep  fum 
havin'  trouble  with  you.    I  has  let  you  buzz  aroun'  like  a  crazy 

50 


hawssfly  .  .  .  but  I'se  finished.  You  ain't  nothin'  but  a  straw 
an'   I  is   a   camel's  back.     I   has   done  broke!     Now — git!" 

Opus  stared  intently  at  his  chief.  It  was  the  first  time  he  had 
ever  seen  the  immaculate  little  man  aroused  to  a  high  pitch  of 
ill  humor  and  instinct  warned  him  that  Mr.  Clump  had  been  ex- 
asperated to  the  absolute  limit  of  his  endurance. 

Opus  was  no  fool.  He  swung  around  with  what  dignity  he 
could  muster  and  crashed  away  through  the  flowers  and  palms. 
He  assumed  a  grand  manner,  but  he  knew  that  his  bluff  had 
been  called — and  he  boiled  with  rage. 

MR.  RANDALL  wished  to  convey  the  impression  that  he  ac- 
cepted the  dictum  of  his  director.  He  wished  Mr.  Clump  to 
lower  his  guard  in  order  that  the  force  of  Opus's  retaliating 
blow  might  be  unimpaired.  Mr.  Randall  vowed  vengeance!  And, 
what  was  more,  he  knew  precisely  how  he  intended  wreaking  it. 

He  moved  through  the  luxurious  gardens  in  search  of  a  par- 
ticular person.  He  found  her  in  a  tiny  palm  grove,  sipping  tea 
and  eating  little  cakes.  She  was  a  slender  and  attractive  crea- 
ture of  undoubted  strength  of  character.     Opus  bowed  low-. 

"Good  evenin',  Mis'  Clump." 

"Evenin',  Opus.     How  is  you  this  evenin'?" 

"Tol'able,  thank  you."  He  seated  himself  opposite,  and 
yawned.  "Algiers  suttinly  bores  me.  Nothin'  to  do  an'  heaps 
of  time  to  do  it  in." 

Mrs.  Sicily  Clump  smiled.  "Reckon  you  must  be  the  only 
bored  pussbn  in  the  Midnight  troupe,  Opus." 

"  How  come?     Ain't  Caesar  bored?" 

"My  husban'?"  She  gestured  in  negation.  "Nossuh.  he 
showly  ain't.  He  says  this  is  the  finest  town  fo'  pitchers  we  has 
found  since  we  come  abroad.  All  day  he  wuks  an'  at  night  he 
goes  out  an'  gathers  material." 

"Oh!  he  docs?"  Opus  eyed  her  speculatively  and  tried  to 
make  his  question  casual.     "Is  he  goin'  out  tonight?" 

"  Showly."  [  CONTINUED  OX  PAGE  I  20  ] 


Photoplay's  Honor  Roll 


For  1926 


Twelve  Players  who  win  Two  or  more 
Credits  for  "Best  Performances" 


Ramon  NovaTO 


H! 


May  Allison 


John  Barrymore 


ERE  are  the  twelve 
players  who,  accord- 
ing to  Photoplay's 
rating    of    "best    perform- 
ances," scored  the  outstand- 
ing acting  hits  of  the  year. 
John   Glibert  gets  top  place  with  three 
''best  performances"  to  his  credit:  "The 
Parade,"  "La  Boheme,"  and  "Bar- 
defys  the  Magnificent."  Others  with  two 
"best  performances"  are:    Rudolph  Val- 
entino in  "The  Eagle"  and  "Son  of  the 
Sheik" ;  Clara  Bow  in  "  Dancing  Mothers" 
and   "Mantrap";     John   Barrymore   in 
"The    Sea    Beast"    and    "Don    Juan"; 
Adolphe  Menjou  in  "The  Grand  Duchess 
and   the   Waiter"   and    "A    Social    Ce- 
lebrity"; Lois  Moran  in  "Stella  Dallas" 
and  "Padlocked";  May  Allison  in 
"The  Greater  Glory"  and  "Men  of 
Steel";    and     Gloria    Swanson    in 
"  Stagestruck"  and  "  Fine  Manners." 
Four  players  who  made  single  hits 
are  included  in  the  Honor  Roll  be- 
cause of  the  high  excellence  of  their 
work.     They  are  Emil  Jannings  in 
''Variety";  Ramon  Novarroin  "Ben- 
Hur";  Belle  Bennett  in  "Stella  Dal- 
las"; and  H.  B.  Warner  in  "Silence." 
These  performances  were  chosen 
from  the  record  in  Shadow  Stage  from 
December,  1925,  to  November,  1926, 
inclusive. 

It's  been  a  year  of  a  new  and  high 
standard  of  screen  acting. 


Rudolph  Valentino 


Emil  Jannings 


Clara  Bow 


Adolphe  Menjou 


Belle  Bennett 


Lois  Moran 


Gloria  Swanson 


51 


THE    NATIONAL    GUIDE 


THE  BETTER  'OLE— Warner  Bros. 

BROTHER  CHARLIE  used  to  make  pictures  like  this  be- 
fore he  got  all  tangled  up  in  Art.  However,  we  come,  not  to 
bury  Charlie,  but  to  praise  Syd.  In  this  film,  Syd  picks  up 
the  characters  of  the  popular  Bairnsfather  cartoons,  weaves 
new  adventures  around  Bill  and  A  If  and  makes  a  picture 
which  is  to  comedy  what  "The  Big  Parade"  is  to  drama. 

There  is  one  gag  that  places  Syd  right  up  with  the  Im- 
mortals. Bill  and  Alf,  playing  front  and  hind  legs  of  a  horse, 
respectively,  are  left  in  a  French  town  that  is  captured  by 
the  Germans.  The  gorgeous  adventures  of  that  horse  will  al- 
ways be  stored  in  our  mind  as  one  of  our  Beautiful  Memories 
of  the  Eighth  Art.  Chuck  Reisner,  the  director,  must  be 
credited  with  an  assist.  Take  the  children  or  they  will  run 
away  and  go  by  themselves. 


THE  QUARTERBACK— Paramount 

IT'S  a  real  football  classic  and  why  shouldn't  it  be  with 
this  lineup?  Richard  Dix  as  the  star  was  furnished  with  a 
snappy  story  by  W.  O.  McGeehan  and  William  Slavens 
McNutt,  the  famous  sport  writers.  Fred  Newmeyer,  who 
directed  "The  Freshman,"  fashioned  this  into  one  of  the 
smartest  and  funniest  versions  of  the  collegiate  life.  "  Hurry 
Up"  Yost  was  responsible  for  the  football  scenes. 

The  football  sequence — with  one  minute  to  play  and  the 
ball  in  Richard's  hands — was  so  exciting  that  a  hard-boiled 
New  York  audience,  who  had  paid  seventy-five  cents  to  see 
the  picture,  screamed  and  shouted  with  glee  as  the  hero 
ran  down  the  gridiron  to  make  the  final  touchdown. 

It's  a  WOW — if  there  ever  was  one.  Give  the  kiddies 
a  treat. 

52 


TO     MOTION     PICTURES 

The 

Shadow 
Stage 

A  Review  of  the  7V[eu>  Pictures 


THE  TEMPTRESS— M-G-M 

WHILE  this  Vicente  Blasco  Ibanez  story  is  crammed 
full  of  melodramatic  action — much  of  it  preposterous — 
Greta  Garbo  makes  the  proceedings  not  only  believable  but 
compelling.  Miss  Garbo  scored  in  "The  Torrent,"  also  a 
messy  Ibanez  tale,  but  it  takes  "The  Temptress"  to  prove 
definitely  her  abilities. 

The  background  switches  from  Paris  to  the  Argentine. 
Elena,  the  wife  of  a  weak  South  American,  has  the  unhappy 
faculty  of  making  all  men  her  slaves.  They  all  fall:  bank- 
ers, bandits  and  heroic  bridge  builders.  Suicide,  ruin  and 
disaster  follow  in  her  wake.  And  so  she  ends,  a  derelict  of 
the  Paris  streets.  Such  a  role  strains  at  the  probabilities,  but 
Miss  Garbo  makes  Elena  highly  effective.  She  is  beautiful, 
she  flashes  and  scintillates  with  a  singular  appeal. 

From  the  moment  Robledo,  fresh  from  the  Argentine, 
meets  Elena  at  a  mask  ball  in  Paris,  passions  simmer  and 
smoulder.  Tragedy  stalks  after  Elena — but  she  follows 
Robledo  to  the  Argentine.  Robledo  repulses  her,  despite  his 
love,  but  tragedy  still  follows.  The  great  dam  is  swept  away 
by  the  tropical  torrents  and  the  villain's  TNT. 

There  is  a  whip  duel,  between  Robledo  and  the  scoundrelly 
bandit,  Manos  Duros,  which  is  something  new  in  film  fights. 
Director  Fred  Niblo  hits  a  directorial  high  spot  in  Robledo's 
return  to  the  Argentine,  galloping  across  the  pampas. 
Antonio  Moreno  is  effective  as  Robledo,  but  Roy  D'Arcy 
does  entirely  too  much  mugging  as  the  sneering  bandit.  As 
Elena's  wealthy  patron,  Marc  MacDermott  provides  a  neat 
bit.  However,  "The  Temptress"  is  all  Greta  Garbo. 
Nothing  else  matters. 


SAVES      YOUR      PICTURE      TIME      AND      MONEY 


The  Six  Best  Pictures  of  the  Month 

THE  TEMPTRESS 

THE  WINNING  OF  BARBARA  WORTH 

THE  BETTER  OLE     THE  QUARTERBACK 


SORROWS  OF  SATAN 


KID   BOOTS 


The  Best  Performances  of  the  Month 

Antonio  Moreno  in  "The  Temptress" 

Vilma  Banky  in  "The  Winning  of  Barbara  Worth" 

Greta  Garbo  in  "The  Temptress" 

Syd  Chaplin  in  "The  Better  'Ole" 

Ricardo  Cortez  in  "Sorrows  of  Satan" 

Adolphe  Menjou  in  "The  Ace  of  Cads" 

Richard  Dix  in  "The  Quarterback" 

Eddie  Cantor  in  "Kid  Boots" 

Rod  La  Rocque  in  "Gigolo" 

Casts  of  all  pictures  reviewed  will  be  found  on  page  142 


THE  WINNING  OF  BARBARA  WORTH— United  Artists 

HERE  is  a  natural  drama  so  powerful  that  it  completely 
overshadows  every  living  thing.  The  desert,  cruel, 
beautiful,  unrelenting,  eternally  struggling  against  the  ter- 
rific forces  of  inventive  genius  and  nature.  It  is  the  story 
of  the  reclamation  of  the  Imperial  Valley,  of  the  harnessing 
of  the  Colorado  River  into  a  gigantic  irrigation  project. 
Even  a  Duse  would  be  submerged  in  this  conflict  of  the 
elements.  Sam  Goldwyn,  with  the  assistance  of  Henry 
King,  the  director,  and  Frances  Marion,  the  scenarist,  set 
out  to  film  that  great  love  story  of  the  West,  Harold  Bell 
Wright's  "The  Winning  of  Barbara  Worth,"  but  the  simple 
love  tale  is  swept  away  by  the  vastness  of  the  theme.  There 
is  still  love  in  it,  a  strong  undercurrent  of  the  poignant  feel- 
ing incidental  to  the  drama.  Vilma  Banky  is  first  seen  as  the 
pioneer  mother,  who  loses  her  life  in  a  sand  storm.  Her  per- 
formance is  fine  and  true.  Later,  Vilma  is  the  daughter 
of  that  brave  mother.  She  is  exquisitely  beautiful,  a  perfect 
tribute  to  perfect  photography. 

The  role  of  Willard  Holmes  offers  Colman  very  little 
chance  for  emotional  work,  although  he  characterizes  the 
Eastern  engineer  with  typical  virility.  Gary  Cooper,  a 
newcomer,  as  Abe  Lee,  is  worth  watching,  and  the  Western 
characters  played  by  Paul  McAllister,  Charles  Lane,  Clyde 
Cook  and  E.  J.  Ratcliffe  are  perfect  to  the  alkali.  But  the 
tremendous  theme — the  desert,  the  sand  storms,  the  cloud- 
bursts, the  raging  flood  that  sweeps  the  town  of  Kingston 
— I  doubt  whether  Sam  Goldwyn  realized  its  magnitude  un- 
til it  unreeled  before  the  eyes  of  a  brilliant  Hollywood  first 
night  audience  at  its  world  premiere  at  the  Forum  Theater. 


SORROWS  OF  SAT  AN -Paramount 

SINCE  the  medieval  religious  drama,  Satan  has  been  pre- 
sented as  a  tempter  walking  the  earth  with  mortals.  The 
fallen  Lucifer  runs  through  drama  and  literature.  Marie 
Corelli's  "Sorrows  of  Satan,"  a  shocker  thirty  years  ago,  is 
an  echo  of  the  legend.  The  poor  Geoffrey  Tempest,  loving 
Mavis  Claire,  sells  his  soul  to  Satan.  In  the  end  he  returns  to 
Mavis,  whose  faith  in  God  drives  the  devil  back  to  the  lower 
regions.  D.  W.  Griffith's  production  seems  a  little  old- 
fashioned.  It  drags  through  Satan's  orgies,  because  Lya  de 
Putti  gives  very  inferior  assistance  to  the  devil.  Griffith  is 
at  his  best  in  the  early  love  scenes. 

Ricardo  Cortez  contributes  the  performance  of  the  pic- 
ture, a  fine  bit  of  work,  and  both  Carol  Dempster  and 
Adolphe  Menjou  are  excellent. 


KID  BOOTS— Paramount 

EDDIE  CANTOR,  that  brash  but  wistful,  fresh  but 
meek,  Jewish  boy,  brings  a  brand  new  face  to  the  screen. 
And  such  a  face!  But  such  smartness  back  of  that  face! 
For  Cantor  emerges  from  his  first  film  ordeal  with  a  new 
reputation  as  a  pantomimist.  In  fact,  Eddie  is  such  a  good 
actor  that  there  are  times  in  the  picture  when  you  wish  he 
had  a  chance  for  more  straight  acting  and  for  fewer  gags. 

Nevertheless,  as  slapstick,  this  film  is  very  funny.  Its 
thrilling  climax — a  variation  of  the  old-fashioned  chase — is 
one  of  the  best  things  of  its  kind  we  have  seen.  And  the 
picture — a  farce  of  golf  and  divorce — is  smartly  and  snappilv 
presented.  Surely,  too,  Clara  Bow  is  the  best  little  leading 
woman  Cantor  could  have  had.  She  adds  a  lustre  of  her 
own  to  the  film.     Keep  it  up,  Eddie! 

53 


THE  ACE  OF 

CADS— 

Paramount 


THE  CAMPUS 
FLIRT— 

Paramount 


SAVE  for  an  extraordinary  month,  this  Michael  Arlen  story 
would  be  among  the  six  best.  The  cashiered  Chappcl 
Maturin,  officer  of  the  King's  Guards,  wanders  the  continent  a 
lonely  adventurer,  all  for  love  of  the  woman  he  would  have 
married  had  he  not  been  framed  by  a  brother  officer.  Adolphe 
Menjou  is  admirable  as  the  suave  Maturin.  Arlen' s  swank  is 
fast  getting  out  of  date,  but  this  is  made  interesting  by  Menjou, 
Alice  Joyce's  assistance  and  Luther  Reed's  sane  direction. 


WE  are  in  for  an  avalanche  of  celluloid  college  capers,  but 
what  of  it?  The  films  could  do  a  lot  worse.  This  tale  of  a 
wealthy  girl  snob,  who  is  cured  in  a  fresh  water  university,  is 
amusing.  Bebe  Daniels  is  the  regenerate  snob  who  saves  dear 
old  Colton  by  her  prowess  on  the  cinder  track.  Bear  in  mind 
that  Bebe  wins  her  letter  by  performances  in  a  snappy  running 
suit.  Even  so,  Joan  Standing  and  El  Brendel  make  small  roles 
stand  out. 


THE  LILY- 
FOX 


GIGOLO— 
Producers 
Dist.  Corp. 


AFTER  her  memorable  performance  in  "Stella  Dallas," 
Belle  Bennett  is  doomed  to  suffer  and  weep  throughout 
every  picture.  This  story,  adapted  from  the  David  Belasco 
stage  play,  is  woven  around  a  woman  who  sacrificed  love  be- 
cause her  greedy  father  would  not  allow  her  to  marry  and  leave 
him.  When  her  sister  falls  in  love  she  denounces  her  father  for 
placing  the  love  of  her  sister  in  jeopardy.  Directed  by  Victor 
Schertzinger.    Just  for  the  older  folks. 


THE  screen  translation  of  Edna  Ferber's  story  of  the  paid 
dancing  partners  in  the  Paris  cafes  is  nothing  to  write  home 
about.  No  doubt  the  censor  shears  had  something  to  do  with 
it.  However,  it  does  one  thing  and  that  is  to  establish  Rod  La 
Rocque.  Rod  gives  a  very  fine  performance,  ranking  among 
the  best  of  the  month.  Louise  Dresser  is  splendid  in  the 
mother  role  and  Jobyna  Ralston  is  the  feminine  interest. 
Rod  is  worth  seeing. 


PARADISE— 
First  National 


! 
jl 

J': 

!; 

«  HL 

l 

53 

^ 

KOSHER 
KITTY 
KELLY— 
F.  B.  O. 


OUTSIDE  of  a  real  exciting  fight  there  is  little  entertainment 
value  in  this.  Milton  Sills,  whose  offerings  are  becoming 
quite  regular  here  of  late,  is  very  Peter  Pannish  in  the  role 
of  a  gay  wealthy  youth  who  is  cut  off  from  the  family  funds  be- 
cause of  his  wild  pranks.  He  marries  a  good  little  chorus  girl 
(Betty  Bronson).  After  the  villains  do  all  the  dirty  work  and 
our  big  brave  hero  proves  himself  a  man — then — the  end.  And 
you  won't  be  sorry  that  it's  over. 

5A 


TO  date,  this  is  the  funniest  of  the  carbon  copies  of  "Abie's 
Irish  Rose."  Again  we  have  the  Irish  and  Jews  fighting  it 
out  for  your  amusement.  As  old  as  this  tale  is,  there  is  some- 
thing about  it  that  puts  every  audience  in  a  good  humor.  This 
is  a  grand  ha-ha  from  beginning  to  end,  due  to  the  direction  of 
James  Home  and  the  amusing  and  wise-cracking  sub-titles. 
You  can  spend  a  pleasant  evening  when  this  comes  to  town,  for 
it's  good  entertainment. 


THE  WANING 
SEX—M-G-M 


TAKE  IT 
FROM  ME- 
Universal 


TS  woman's  place  in  the  home  or  in  business?  The  young  dis- 
ltrict  attorney  thinks  babies  are  the  thing.  The  pretty  lady 
lawver  thinks  different.  Since  Norma  Shearer  is  the  fair  Porha 
the  problem  became  darned  acute  to  us.  Particularly  as  Miss 
Shearer  demonstrates  gracefully  that  the  modern  woman  s 
place  is  in  the  one-piece  bathing  suit.  This  is  pleasant  enter- 
tainment, proving  again  Miss  Shearer's  cheery  aptitude  for 
character  comedy.    Conrad  Nagel  is  the  D.  A. 


A  REGINALD  DENNY  feature  is  always  light  comedy. 
Running  a  big  department  store  so  that  it  will  show  a  loss 
is  the  latest  job  acquired  by  this  comedian.  Taken  from  the 
musical  comedv,  this  is  filled  with  a  series  of  farcical  situations 
and  gags  that  will  please  any  audience.  Of  course  there  is  a 
pretty  little  stenographer  to  help  things  along,  and  a  beautiful 
fashion  show,  which  is  used  as  a  comedy  background.  You 
won't  go  wrong  on  this. 


YOU'D  BE 

SURPRISED 

—Paramount 


ACROSS  THE 
PACIFIC— 
Warner  Bros. 


THERE'S  nothing  like  a  good  old-fashioned  murder  for 
amusement ,  according  to  Raymond  Griffith,  the  newest  high- 
hat  coroner.  Ray  and  the  funny  sub-titles  by  Robert  Benchly 
and  Ralph  Spence  are  the  whole  picture  and  they're,  well— 
you'd  be  surprised.  The  picture  is  a  grand  and  glorious  kid  on 
some  of  the  would-be  mystery  yarns  going  the  rounds  today. 
You  may  see  this — you  "have  our  permission — and  we  11  bet 
you'll  be  surprised. 


WATCH  Myrna  Loy!  Give  the  little  girl  a  big  hand! 
She's  good.  The  theme  dates  back  to  General  Funston's 
memorable  campaign  during  the  Philippine  insurrection,  which 
followed  the  Spanish-American  War  and  resulted  in  the  capture 
of  the  rebel  Aguinaldo.  The  heroes  of  the  old  days  certainly 
were  brave  lads— at  least  it  makes  good  movie-stuff.  Monte 
Blue,  Jane  Winton  and  Walter  McGrail  complete  the  cast. 
Don't  go  out  of  your  way  to  see  this. 


PRINCE  OF 
TEMPTERS— 
First  National 


THE  GREAT 
K.&A.TRAIN 

robbery- 
Fox 


SO  much  camera  artiness  in  this  that  the  humanness  is  over- 
looked. A  voung  chap  about  to  take  the  vows  of  priesthood 
inherits  a  dukedom.  The  title  turns  him  loose  in  British  so- 
ciety, where  a  renegade  monk — the  prince  of  tempters— tries  to 
ruin  him  with  the  help  of  a  lady  vamp.  The  imported  German 
director,  Lother  Mendes,  is  fearfully  concerned  with  camera 
angles.  The  one  good  performance  is  Lois  Moran's,  while  Lya 
de  Putti  is  fearful  as  the  vamp. 


TOM  MIX  shoots,  rides,  lassos  and  loves  in  a  breezier  manner 
than  ever  before  in  this  ripping  railroad  Western.  Of  course 
Tonv  helps  Tom  do  all  these  things— a  Mix  picture  wouldn  t  be 
complete  without  Tonv.  The  scenery  alone  in  this  picture  is 
worth  seeing— it  was  filmed  at  the  Royal  Gorge,  one  of  the  most 
beautiful  spots  in  the  world.  All  the  children  like  Tom—yep, 
the  young  ones  and  the  old  ones.  There's  a  good  evening  s 
entertainment  here.  I  continued  on  page  102  ] 

55 


Donald  Ogden 
Stewart's  GUIDE  to 


Here  is  what  Mr.  Stewart  calls  a  synopsis  of 
preceding  chapters: 

LEW  CODY  and  Norman  Kerry  arc  twin  brothers  who 
are  on  their  way  out  to  Hollywood  to  seek  their  fortune. 
Neither  one  knows  that  the  other  is  his  brother.  Norman 
can  spell  better  than  Lew,  but  Lew  has  a  peculiar  rasp- 
berry mark  on  his  left  shoulder,  a  relic  of  his  early  days  in 
vaudeville.  On  their  way  out  to  Hollywood  they  stop"  off  at  the 
Grand  Canyon  and  are  greatly  impressed.  This  leads  to  a  dis- 
cussion of  Shakespeare's  plays.  They  are  very  nearly  on  the 
edge  of  blows  when  the  Conductor  calls  "All  aboard"  and  the 
quarrel  is  momentarily  patched  up.  In  the  confusion  Lew  gets 
the  wrong  suitcase  and  when  he  tries  to  shave  the  next  morning 
all  he  can  find  is  several  brassieres  and  a  depilatory  outfit.  He 
decides  to  grow  a  beard.  This  infuriates  the  other  passengers 
and  several  of  them  try  to  open  windows.  The  Conductor  be- 
comes confused  and  forgets  the  name  of  the  next  station.  "Los 
Angeles"  he  cries,  and  all  the  passengers  get  out.  The  train 
moves  on  and  they  discover  they  are  in  San  Bernardino.  It 
begins  to  rain. 

Meanwhile,  in  far  distant  London,  England,  a  young  man 
named  Charles  Chaplin  is  trying  to  learn  to  play  the  violin. 
The  temptation  to  play  something  else  is  great,  especially  as 
flute  players  are  all  the  rage  and  are  being  asked  every  night  to 

.56 


perfect 


The  humorist  explains 
the  gentle  art  of  writ" 
ing  rough— but  not 
uncouth— continuities 


Buckingham  Palace  to  play  for  the  Queen.  Chaplin  wavers. 
A  typical  London  fog  comes  up  and  Chaplin  takes  out  his  violin 
and  begins  to  play.  A  crowd  gathers  and  Chaplin's  violin  is 
taken  away  and  thrown  into  the  Thames.  Big  Ben  strikes 
twelve. 

Chaplin  is  in  despair  and  wanders  all  night  through  the 
streets  of  London.  He  thinks  of  suicide,  but  a  sentence  from 
one  of  Plato's  plays  which  he  can't  quite  remember  keeps  him 
from  it.  Towards  morning  the  fog  lifts  and  he  finds  himself  on 
a  park  bench.  A  young  girl  named  Mabel  Normand  comes  up 
and  sits  down.  Another  young  man  named  Mack  Sennett  joins 
them.  The  three  sit  there  in  silence  for  some  time.  A  wagon 
filled  with  custard  pies  drives  up.  The  driver  speaks.  "Pies?" 
he  asks.  "No,"  they  reply.  The  wagon  drives  off.  It  begins 
to  rain. 

Meanwhile,  in  far  distant  New  York  City  a  young  man 
named  Douglas  Fairbanks  wants  to  be  an  actor.  His  friends 
discourage  him  from  this  as  much  as  possible  and  try  to  get  him 
to  become  a  barber.    They  point  out  the  fact  that  49,628,475 


Beh 


avior 


Here  is  a  continuity  writer  in  the  act  of  concen- 
trating. Observe  the  keen,  active  mind  at  work, 
ingeniously  creating  big  scenes  for  his  boss.  No, 
dear  readers,  he  isn't  giving  a  thought  to  the  cuties 


in  Hollywood 


men  in  America  need  shaves  every  day,  let  alone  hair  cuts  and 
facial  massages.  Fairbanks  is  struck  with  the  logic  of  this  and 
consents  to  go  back  to  Barber  college  for  another  year.  He 
works  very  hard  and  becomes  the  best  shaver  in  his  class.  On 
the  night  before  the  big  game  with  the  Colgate  Barber  Team  the 
Captain  of  the  Williams  team  is  taken  sick  with  a  mysterious 
malady  and  the  Williams  supporters  are  in  despair. 

Fairbanks  sits  up  all  night  practising  singeing  and  shampoo- 
ing and  when  the  last  bit  of  soap  has  been  washed  out  of  the 
patient's  ear  the  Coach  looks  at  his  watch  and  grins.  "How 
was  it?"  asks  Fairbanks,  eagerly.  "Not  bad,"  replied  the 
Coach  (who  is  known  all  over  the  world  as  "Silent  Butch 
McCarthy  ").  "  If  you  do  that  well  this  afternoon  I  won't  have 
any  kick  coming."  "Will  you  have  something  on  your  hair?" 
Fairbanks  asks  the  patient.  "No,"  replies  the  patient,  so 
Fairbanks  puts  something  on  the  patient's  hair  and  goes  back 
to  his  dormitory  to  get  a  little  rest  before  the  game.  The  grand- 
Stands  begin  filling  up  soon  after  one  o'clock  and  by  two-thirty 
there  is  not  a  vacant  place  in  the  whole  amphitheater. 

The  arrival  of  Governor  Smith  is  a  signal  for  a  great  ovation, 
which  is  quickly  drowned  out  when  the  Williams  team  comes 
on  the  field.  Colgate  wins  the  toss  and  chooses  to  begin  with  a 
crude  oil  treatment  and  mustache  trim.  Williams  has  a  strong 
wind  at  her  back.  At  the  crack  of  the  gun  the  Colgate  man  gets 
sway  to  a  flying  start  and  although  the  Williams  boy  works 
desperately  his  opponent  is  never  headed  and  the  score  stands 
Colgate  11;  Williams  5  (third  place  not  counting). 


Williams,  however,  wins  the  next  event  (children's  hair  cut) 
and  it  is  nip  and  tuck  throughout  the  afternoon.  The  sun  is 
just  beginning  to  sink  behind  the  western  hills  when  the  last 
event  is  announced  and  a  hush  falls  on  the  crowd  when  Fair- 
banks takes  his  place — a  hush  which  is  quickly  changed  to  a 
shout  of  triumph  when  the  young  athlete,  with  all  his  muscles 
working  in  perfect  coordination,  begins  singeing  and  shampoo- 
ing in  a  manner  that  reminds  even  the  old  timers  of  the  famous 
Tom  Buckner.  To  make  a  long  story  short,  Fairbanks  romps 
across  the  line  an  easy  winner,  incidentally  breaking  a  world's 
record,  and  he  is  carried  off  the  field  on  the  happy  shoulders  of 
his  barber  schoolmates.  Next  day  he  receives  many  offers  to 
become  a  professional,  but  he  decides  to  wait  until  he  has  fin- 
ished his  education. 

His  old  longing  to  become  an  actor  then  attacks  him  with 
renewed  vigor  and  he  wavers,  torn  between  the  call  of  the  Stage 
and  the  easy  life  of  a  Barber.  Finally  he  decides  to  accept  the 
former;  he  resigns  from  college  and  goes  back  to  New  York  to 
go  on  the  Stage.  To  make  a  long  story  short  again,  three  years 
later  his  old  professor  at  Barber  college  is  sitting  in  a  theater  in 
Xew  York  when  a  man  comes  on  the  stage  whom  he  seems  to 
have  seen  before  and  as  he  looks  at  his  program  he  discovers 
that  it  is  his  old  pupil,  Douglas  Fairbanks.  He  watches  the 
young  man  act,  and  as  the  curtain  falls  he  goes  sadly  out  of  the 
theater  and  throws  himself  in  front  of  a  passing  automobile. 
As  he  is  dying  in  the  hospital  he  opens  his  eyes  for  a  minute 
and  tries  to  speak.     The  nurse  [  continued  on  page  141  | 


Ood  cant 
exist-but  it  DOES" 

Says  Jack   Barrymore,  who 
Johns     *s   Just    getting    acclimated 


THE  art  of  conversation  is  almost  dead. 
More  than  the  modesty  of  women  or  the  mastery  of 
men,  its  decadence  is  the  great  loss  of  this  century. 
For  what,  as  Alice  once  remarked  to  the  white  rabbit, 
is  the  use  of  life  without  conversation? 

John  Barrymore  is  the  only  man  in  Hollywood,  so  far  as  I 
know,  who  really  understands  it. 

I  would  rather  spend  a  couple  of  hours  listening  to  him  talk 
than  to  see  an  O'Neill  play,  hear  Jeritza  sing,  or  read  the  latest 
Edna  Ferber  novel — and  that  is  going  a  long  way.  But  then, 
I  have  always  loved  "  talk."  I  have  always  been  enamoured  of 
what  in  the  olden  days  was  termed  a  bit  of  "witty  and  elegant 
conversation." 

It  is  a  long  time  since  Addison  held  the  great  men  of  his  day 
utterly  bewitched  about  his  coffee  table,  since  Byron  enchanted 
fashionable  and  famous  ladies,   since   Francois   Villon 
talked   himself  onto   a   throne   and   off   of  a  gallows. 


But  I  don't  think  it  is  too  much  to  compare  Jack  Barrymore 
with  them,  and  with  his  own  father,  still  remembered  as  the 
wittiest  man  who  ever  dazzled  Xew  York. 

Certainly  John  Barrymore  is  the  best  we  have  to  offer  today, 
in  the  way  of  brilliance  and  charm  and  conversational  light  and 
shade. 

Can't  explain  him  exactly.  And  a  reproduced  conversation 
is  in  some  ways  like  a  reproduced  painting — it  loses  so  much  of 
its  color.  But  he  has  a  way  of  stimulating  your  imagination. 
He  never  wisecracks — and  oh,  I  am  so  sick  of  wisecracks — and 
yet  he  is  amusing.  He  can  talk  about  anything  and  make  it 
entertaining.  He  has  sufficient  culture  to  give  a  richness,  suffi- 
cient deviltry  to  give  a  spice. 

And  of  course  one  must  never  forget  the  eyebrows.  They 
give  the  ultimate  charm.  One  of  them  is  very  serious.  It  comes 
down  swiftly,  blackly,  like  an  exclamation 
point  over  the  gleaming  left  eye.  And  the 
other  is  indecently  flippant.  It  quirks 
upward  in  derision,  in  amusement,  in 
doubt.  An  ironic  eyebrow,  the  right  one. 
Nor  does  it.  I  suppose,  detract  from  a 
man's  conversation  that  he  has  a  profile 
as  famous  as  glorious  Apollo's,  a  voice 
that  charmed  London  in  "Hamlet,"  which 
is  infinitely  more  difficult  than  charming  a 
bird  off  a  tree  and  a  lithe,  lean  grace  of 
movement.  Although  it  is  only  fair  to 
say  that  men  like  Jack  Barrymore's  con- 
versation even  better  than  women.  They 
probably  understand  more  of  it. 
We  talked,  first,  of  barbers. 
Which  was  but  natural,  since  it  was 
concerning  a  barber  that  we  first  met, 
fifteen  years  ago,  and  became  friends. 

Jack  was  acting  in  stock  in  Los  Angeles. 
It  was  his  own  personal  opinion,  ex- 
pressed frequently,  that  he  was  the  worst 
actor  on  the  American  stage. 

"If  my  name  wasn't  Barrymore,"  he 
used  to  say,  "nobody  would  give  me  a 
job.    Thank  heaven  it  is  Barrymore." 

As  a  matter  of  fact,  he  was  very  good. 
He    hadn't    discovered    his    tremendous 
powers,  by  any  means,  but  he  was  clean 
cut,  brilliant,  vivid. 
About  the  barber. 

He  put  a  hot  towel  on  Jack's  face. 
That,  I  understand,  is  common  to 
barbers.  And  a  hot  towel  should  be  hot. 
But  not  too  hot.     This  one  was.     Jack 

[  CONTINUED  ON  PAGE  IOO  ] 


John  Barrymore  loves  plain,  everyday, 
slapstick  comedy.  So,  in  making  "The 
Beloved  Rogue,"  Mack  Swain  and  Slim 
Summerville  become  Francois  Villon's 
pals.  Here  are  "The  Three  Musketeers" 


58 


"<WHHMMHHIBH 


THE  complete  conversion  of  John  Barry  more  to  the  movies  has  been  one  of  the  screen's 
triumphs  of  the  year.     On  the  opposite  page,  Adela  Rogers  St.  Johns  gives  you  one 
of  the  best  interviews  ever  written  with  this  great  artist. 


One.  What  two  directors  appear  in  this 
scene  as  actors?  Both  gentlemen  started  out 
as  players  of  small  parts  and  graduated  into 
the  megaphone  class.  What  picture  is  this 
scene  taken  from? 


Six.     What  current  success  was  filmed 

years  ago  by  the  old  World  Company? 

And  what  actress  —  now  on  the  stage 

— played  its  tragic  heroine? 


Four.  What  picture  brought 
these  two  favorites  together? 
What  director  filmed  it?  What 
company  produced  it?  In  what 
year  was  it  released? 


Two.  What  star  played  the 
heroine  of  this  classic  that  is  now 
being  filmed  again?  What  actress 
is  seen  here  as  the  little  dark  gal? 


Answers  on  Page  118 


r 


Three.  What  director  is  this?  What  notori- 
ous person  of  history  does  he  represent?  In 
what  picture  did  he  tramp  across  the  screen 
in  this  guise?  What  author  wrote  the  story? 


Seven.     In  what  great  success  did  this 

gentleman  play  a  minor  part?  What  was  the 

name  of  his  character  in  the  story? 

Five.     What  popular  star  made  his  first 

hit  in  this  picture  starring  Constance 

Binney?  What  director  discovered  him? 

What  was  the  name  of  the  picture? 


Rayhuff-Richter 


PATSY  RUTH  MILLER  is  furious,  simply  furious.     She's  been  more  "engaged"  than 
Mary  Landon  Baker  or  Constance  Talmadge.     Do  you  think  she  likes  it?     Does 
any  girl  like  it?    Read  what  she  has  to  say  about  her  "engagements." 


Darn  Those  Engagements 


says 


Patsy 

frAnd  I  never  have  been  really 
engaged,"  sighs  Miss  Miller 


Dorothy 
Spensley 


T 


"T'S  a  curse,"  said  Patsy  Ruth  Miller,  punc- 
tuating the  statement  by  shoving  a  spindle- 
heeled  slipper  into  a  drawer  already  bulging 
'with  other  spindle-heeled  slippers. 
"It's  nothing  less  than  a  curse.  On  the  man. 
On  me.  Now,  for  instance — "  slamming  the 
drawer  of  the  wardrobe  trunk  and  whirling  about 
on  her  heel  like  a  dancer  in  the  mazes  of  a  Rus- 
sian folk  dance,  "for  instance,  we  no  sooner  dis- 


"We  no  sooner  discover  that  we  are  perfect  partners  for 
tennis  than  our  engagement  is  announced.     It's  a  curse. 
On  the  man.    On  me."    That's  Patsy  Ruth  Miller's  sad, 
sad  story 


cover  that  we  are  perfect  partners  for  tennis  and  dancing  and  bridge, 
quite  platonic,  you  know,  than  some  paper  comes  out  with  an  an- 
nouncement of  our  engagement." 

Pat  smiled.  A  droll,  understanding  little  smile.  Rather  inscru- 
table, yet  frank.  A  Godwin  conception  of  a  modern  Mono.  Lisa. 
"But  the  man  always  has  a  sense  of  humor.  ...  I  shouldn't  like 
him  if  he  didn't.    ..." 

Visions  of  all  the  sad  young  men  in  deepest  crepe  casting  furtive 
eyes  at  the  Miller  home  as  they  marched  past,  two  abreast,  arose. 
Sounds  of  revelry  and  laughter  from  within.  Solemnity  has  no  place 
in  the  Miller  home. 

"...  and  I  have  a  sense  of  humor,  so  we  laugh  it  off.  But  some- 
thing is  lost.  Something  very  fine  and  intangible.  We  still  play 
tennis  and  bridge  and  we  still  dance,  but  it's  like  living  in  Mr.  Cobb's 
goldfish  bowl.  There  is  no  privacy.  Then,  say,  I  lunch  with  someone 
else  and  a  new  engagement  is  announced." 

Pat  emerged,  hair  tumbled,  from  the  chiffon- 
lined  interior  of  the  huge  wardrobe  trunk.  Two 
other  trunks  loomed  in  the  background.  Sundry 
bags,  satchels,  grips,  valises,  suitcases  and  hat 
boxes  stood  expectant.  Pat  was  going  traveling. 
With  Pat  was  going  the  family — mother,  father 
and  brother  Winston.       [  continued  on  page  130  1 


No  one  would  say  that  Pat 
lacks  sex  appeal.  As  wit- 
ness this  picture  of  her  in 
"The  White  Black  Sheep" 


68 


Emil  Jannings  has  ar- 
rived in  America  and  is 
now  in  Hollywood  about 
to  start  his  first  Ameri- 
can picture.  Mrs.  Jan- 
nings accompanied  her 
famous  husband 


THE  same  day  that 
Marie,  Queen  of 
Roumania,  arrived 
in  New  York  harbor 
with  a  blare  of  publicity,  a 
king  steamed  quietly  up  the 
bay.  In  contrast,  however, 
His  Majesty  arrived  un- 
ostentatiously on  the  Ham- 
burg-American liner  Albert 
Ballin. 

The  king  was  Emil  Jan- 
nings, the  familiar  Louis 
XV  and  Henry  VIII  of  the 
finis.  Jannings  was  com- 
ing to  America  after  many 
postponements.  He  is  to 
stay  a  year.  After  that? 
The  future  alone  can  say. 

U 


Big  Boy 
from  Berlin 
is  Here 


Emil  Jannings  at  last  decides 

to  take  his  chances  with 

prohibition 

By  Frederick  James  Smith 


Jannings  speaks  very  little  English,  although  he 
has  been  studying  hard.  At  a  meeting  with  the  New 
York  motion  picture  writers,  he  had  an  interpreter. 
But  when  the  Manhattan  journalists  started  to 
wisecrack — in  Broadwayese — he  exclaimed,  halt- 
ingly, but  imperatively: 

"  I — am — not — stupid — I — am — intelligent ! " 
Pressed  then  for  further  English  words,  he  ad- 
mitted he  could  say: 
"Cash  on  the  table!" 

Jannings,  too,  protested  to  the  writers  who  had 
been  referring  to  him  as  fat. 

"I  am  not  fat,"  he  re- 
monstrated. "  See,"  and  he 
pounded  his  chest.  "Xo 
fat — fine  physique." 

Jannings  is  one  of  the  few 
screen  players  who  looks  as 
commanding  in  real  life  as 
in  the  films.  He  is  six  feet 
one.  His  eye  is  a  roving 
one,  with  a  glitter  of  humor. 
He  dresses  in  unactory  fash- 
ion. Just  a  loose  fitting 
suit,  minus  vest,  and  an  old- 
fashioned  knit  tie. 

I  saw  Jannings  late  on 
the  day  of  his  arrival.  He 
had  met  the  reviewers  en 
masse  and  he  had  visited 
Adolph  Zukor.  He  was 
.  **>  visibly  tired  but  his  interest 

T^      m        •*  "  was  unabated. 

\  _    [  CONTINUED  ON  PAGE  106  1 


Before  embarking  for 
New  York,  Emil  Jannings 
and  his  wife,  known  on  the 
German  stage  as  Gussy  Holl, 
spent  a  vacation  in  Switzer- 
land, where  this  picture  was 
taken 


i  f  t  s  tut  Yo  u 
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65 


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<fpi  ;;*V 


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-^V  ■-> 


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Very  reasonably  priced  at  $4-95 


66 


:#• 


Above,  a  gni/  silk  handkerchief,  in 
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topaz  and  black,   $£.96      Golf  cigarette  case  of  brown   ooze  leather  at  $1,00 


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t>  I  tints,  tnth  "  petit  point"  center. 

$1  oo 


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In  blue,  rose,  green,  purple  or  brown, 

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Left,  above,  rhin>>stone  evening  bracelet,  leaf  design  set  in  sterling.    $3.95. 

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The  most  fastidious  infant  will  ap- 
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icl  bib  clasps.      The  set  com- 
plt  u  only  I .'. :  I 


67 


Illustrated   by 
Edward  Ryan 


here  was  the  perfume 
of  mystery  about  Alia 
Alvarez.  She  reincarnated 
for  J\[icholas  the  mystery 
ous  women  of  times  long 
past,  of  poets  long  dead 


68 


By  Faith  Service 


NICHOLAS  NAST  graduated  from  High  School  when 
he  was  seventeen.  He  won  first  prize  in  the  essay  con- 
test, his  theme  being  "The  Movies  of  Tomorrow." 
The  essay  was  reprinted  in  the  town  paper,  the  New 
England  Clarion,  and  was  instrumental  in  getting  him  a  job  on 
that  paper.  His  title  was  that  of  star  reporter.  He  wrote  up  all 
the  news  of  the  town,  factual  and  fictional.  He  reported  social 
functions  with  a  wealth  of  detail.  He  reported  political  activi- 
ties, births,  deaths,  engagements,  marriages,  christenings. 
When  the  Burnhams  had  a  new  baby  or  when  one  of  the  old 
residents  succumbed  to  longevity  Nicholas  put  a  sob,  a  heart- 
beat into  these  commonplaces  of  life  and  death. 

His  real  interest  was  in  his  movie  column.  He  called  it  "  The 
Critical  Cinema"  and  he  made  it  very  readable  and  snappy. 
He  reviewed  pictures.  He  wrote  little  thumb-nail  impressions 
of  the  reigning  reel  favorites.  He  got  the  publicity  departments 
in  New  York  and  in  Hollywood  to  cooperate  with  him  and  he  was 
thus  enabled  to  dish  up  the  biographies  of  the  stars  with  timely 
frills  and  furbelows.  Folks  said  that  it  was  more  fun  to  go  to 
the  movies  since  Nicky  Nast  started  his  column.  It  was  fun  to 
compare  your  impressions  with  those  of  Nicholas.  The  town  of 
Summerton,  Mass.,  began  to  look  upon  Nicholas  with  respect. 
They  recalled  that  he  had  always  been  "bright — sorter 
diff'runt — "     He  was  as  impervious  to  their  respect  as  he  had 


Nicholas  saw  her  now  as  a 
maiden  very  fair.  How  did 
Larry  dare?  An  interloper. 
He,  Nicholas,  had  been  in 
love  with  Penelope.  Why, 
he  had  always  been  in  love 
once  been  to  their  ridicule.  with  ner. 

As  a  small  boy  Nicholas 
had  been  more  interested  in 

the  movies  than  in  anything  else.  He  had  spent  all  his  spare 
time  and  money  in  the  theater.  His  parents  had  objected  strenu- 
ously and  scientifically.  Their  family  physician  had  advised 
them  that  a  child's  emotional  life  should  be  kept  in  abeyance 
for  as  long  a  time  as  possible.  The  good  doctor,  interested  in 
psychology,  said  further  that  the  movies  were  a  very  hot-house 
for  forcing  the  emotions.  The  movies  should  be  taboo  for 
children. 

Nicholas  explained  patiently  that  he  did  not  go  for  the  pur- 
pose of  pleasure  only.  He  said  that  some  boys  like  to  take 
watches  and  engines  and  things  apart  while  he.  Nicholas,  liked 
to  take  the  movies  apart.  He  didn't  say,"  I  am  developing  my 
critical  faculty,"  but  that  is  what  he  meant.  His  parents'  pro- 
tests had  been  in  vain.  They,  too,  thought  that  Nicholas  was 
"diff'runt."  He  hadn't  been  popular  with  the  boys  in  school. 
He  hadn't  gone  in  for  baseball  or  football.  He  had  gone  in  for 
movies. 

The  Prices'  little  girl  always  stuck  up  for  him,  though,  Penny 
Price — Penelope.  She  yelled,  "  Meanies,  Meanies,  Meanies!" 
at  the  boys  when  they  teased  him.  She  dared  them  to  slap  her 
face  if  thev  didn't  like  it.    She  was  brave  in  his  behalf  where  she 


Romance,     I  i  \e     Charity,     begins     at     Home 

69 


would  never  have  been  brave  in  her  own.  She  was,  really,  a 
timid  little  thing.  Of  course  she  didn't  matter.  Sometimes, 
when  he  was  tired  of  reading  or  when  he  couldn't  manage  an 
escape  to  the  movies,  Nicholas  played  with  her.  She  was  right 
next  door  and  everything.  He  usually  ended  up  by  teasing  her. 
He  told  her  that  her  face  was  dirty  or  that  her  petticoat  was 
coming  down  and  then,  of  course,  she  cried.  But  he  really 
thought  she  was  all  right — for  a  girl. 

When  Nicholas  was  twenty  he  had  rather  a  better  time  of  it. 
The  town  grew  and  several  new  families  moved  in.  One  family 
from  New  York.  There  was  a  youth  in  the  family  of  Nicholas' 
own  age — and  taste.  Larry  Winter.  Larry  had  been  every- 
where. College,  Greenwich  Village,  Niagara  Falls,  Atlantic 
City,  Hollywood.  He  had  Seen  Life.  He  and  Nicholas  struck 
up  one  of  those  violent  friendships.  They  were  gods  on  their 
own  Parnassus.  They  looked  down  from  illimitable  heights 
upon  the  village  of  Summerton.    One  of  these  days   .    .    . 

When  Nicky  and  Larry  were  twenty -one  Larry  fell  in  love 
with  Penelope  Price.  Larry  compared  Penelope  to  a  modest 
violet,  a  spray  of  lilac,  the  sonata  in  F  or  something  and  went 
about  tragically.  He  was  very  interesting.  So,  suddenly,  was 
Penelope. 

Nicholas  began  to  remember  Penny's  long  partisanship  of 
him.    The  way  she  had  stood  up  for  him  when  they  were  kids 

70 


Nicholas  tore  her  to  bits  and  examined  her  with  ruth- 
less eyes.    He  reassembled  the  bits  into  first  one  shape 
and  then  another.    Out  of  the  glittering  fragments  that 
were  Alia  Alvarez  he  strove  to  create  a  new  image 


together.  He  had  been  seeing  her  all  this  while  as  the  Prices' 
kid,  in  faded  pink-checked  gingham,  with  tight  little  braids  and 
a  spangle  of  freckles  across  her  nose.  He  saw  her  now  as  a 
maiden  very  fair,  with  gowns  of  moony  white  and  bands  of 
shimmering  hair,  a  crown  of  gold.  How  did  Larry  dare?  An 
interloper.  He,  Nicholas,  had  been  in  love  with  Penelope.  Why, 
he  had  always  been  in  love  with  her.    His  was  the  prior  right. 

Nicholas  and  Larry  had  it  out.  They  were  superior  souls  or 
the  situation  might  well  have  ended  their  friendship.  But  they 
solemnly  decided  that  they  would  strive  fairly  and  that  to  the 
victor  would  go  the  loyal  hand  of  the  vanquished.  Subsequent 
suffering  to  be  nobly  concealed.  The}'  strove  and  Nicholas 
won.  It  didn't,  really,  take  much  strife.  For  Penny  confessed 
shyly,  "I  have  always  loved  you,  Nicky  ..."  She  had  a 
spray  of  lilac  in  her  gown. 

True  to  their  pact  Larry  proffered  his  congratulatory  hand 
and  went  home  to  "die  within,"  as  he  put  it.  He  got  consider- 
able satisfaction  out  of  his  role  and       [  contin-ued  ox  page  133  ] 


Merit   Alone     Is    His    Claim    to    Fame 

Here's 

an 

ctor 

By  Cal  York 


The  Danish  government  sent  Jean  Hersholt 
to  the  San  Francisco  Exposition  in  1915  to 
stage  a  national  play.  Afterwards,  Hers- 
holt used  the  return  passage  money  to  try 
Hollywood  and  the  films 


MARY  PICKFORD  was  looking 
for  a  "dirty  heavy"  for  "Tess 
of  the  Storm  Country." 
John  Robertson,  who  was 
directing,  brought  Jean  Hersholt  up  for 
her  inspection.  Jean  was  then  playing 
parts  in  small  pictures — the  "Bush 
Leagues"  you  might  say. 

"But  he  isn't  the  type  at  all,"  pro- 
tested Mary. 

"He  doesn't  have  to  be,"  said  John 
Robertson.    "  He's  an  actor." 

Hersholt  got  the  part,  and  that  was  the 
way  he  broke  into  the  "big  time." 

That's  quite  a  few  years  ago,  but  John 
Robertson's  definition  still  stands,  and 
whenever  a  gang  of  Hollywood  folk  get  to 
discussing  acting  as  an  art— it  doesn't 
happen  often,  but  when  they  do — they 
usually  wind  up  by  mentioning  Jean 
Hersholt's  name  and  let  it  go  at  that. 

And  it  is  solely  and  entirely  as  an  actor 
that  Jean  Hersholt  is  now  being  starred 
by  Universal. 

He  isn't  handsome.  He  hasn't  "IT." 
He  is  almost  forty.  He's  never  swum  the 
English  Channel     [  continued  on  page  94  ] 


Jean  Hersholt  is  a  master  of  make- 
up. Once  he  was  make-up  inspec- 
tor at  old  Triangle.  At  the  left,  in 
the  star  part  of  the  "Old  Soak" 
and,  at  the  right,  as  "The  Wrong 
Mr.  Wright" 


P» 


jdkf 


Primer  for 

Why  join  the  marines?  Do  publicity 
instead.  No  education  necessary. 
Live  in  Hollywood.  Ride  on  fast 
trains.  Go  places.  Eat  in  swell 
hotels.    Slap  the  stars  on  the  back 


Since  the  earliest  days  the  fan 
mail  photo  has  been  sure-fire. 
Take  a  perfectly  nice  girl  like 
Bebe  Daniels,  stuff  her  arms  full 
of  prop  letters  and  lead  her  out 
to  be  shot 


Next,  the  star  and  her 
book.  It  was  a  lovely  day 
for  the  press  agents  when 
they  thought  about  hav- 
ing their  fair  employers  go 
highbrow.  They  worked 
it  on  beautiful-  Corinne 
Griffith  'way  back  in  the 
old  Vitagraph  days 


Theda  Bara  had  a  swell  press  agent.    According  to  that  guy  a  man  might  be 
down  but  he  was  never  too  far  out  to  resist  the  great  siren's  lure,  in  those 
early  Fox  days.    All  her  victims  ended  this  way.    She  picked  them  clean,  did 
Theda,  according  to  her  p.  a. 


The  he-man  figure  can  al- 
ways be  depended  upon  to 
get  in  somewhere  be- 
tween the  ads  and  the 
notice  of  the  Brick 
church's  strawberry  fes- 
tival. Francis  Bushman 
obliged  frequently 


The  stars  with  their  pets  is  always  good. 
But  to  make  it  three  times  as  good  the 
Talmadge  press  agent  had  the  three  girls 
photographed  with  three  pets.  And  what 
cunning  names  the  pets  had — Polly,  the 
parrot,  Peter,  the  terrier,  and  Dinky,  the 
pom.  The  girls,  of  course,  are  Constance, 
Norma  and  Natalie 


Press  Agents 

All  you  have  to  do  is  think 
up  things  like  these  below. 
And  who  couldnt?  They've 
been  thinking  of  these  stunts 
since  P.  T.  Barnum  was  a  baby 


No  star  is  complete  without  a  mamma,  and 

Gloria's  p.  a.,  in  her  less  glorious  days,  had 

mamma  and  herself  photographed 


Welcoming  the  stars  back  to  the 
home  town.  What  a  space 
grabber  that  was.  Remember 
the  old  Keystone  cops?  Here 
they  are  foregathered  to  wel- 
come Pauline  Starke,  Douglas 
Fairbanks  and  Mildred  Harris  to 
the  City  of  the  Angels 


It  was,  and  is,  the  posed  pictures 
of  home  life  that  were  so  thrill- 
ing, though.  Here,  for  instance, 
some  time  since,  are  the  Gish 
girls  garnishing  their  garden. 
The  fact  that  the  hose  Lillian  is 
holding  has  no  water  in  it  is  just 
one  of  those  things 


No  matter  how  critics  roasted 
an  actress,  she  could  rely  on  get- 
ting her  picture  published  by 
roasting  something  herself,  as 
Priscilla  Dean  with  a  leg  of  lamb 
illustrates.  Why  it  should  be  an 
asset  for  a  good  actress  to  be  a 
good  cook  no  press  agent  has 
ever  explained 


And  to  show  how  the  art 
of  publicity  has  advanced 
look    at    this    brand    new 
photograph  of  Lois  Wilson 
at  work  in  the  little  kitch- 
enette.      The    big    advance    is 
indicated  by  the  fact  that  Lois 
is  so  happy  preparing  a  big  din- 
ner of  nothing  at  all 


73 


Meet  John  Leslie  Coogan.    Oh,  yes, 

he  used  to  be  known  as  Jackie.  But 

not  since  he  had  his  hair  cut 


Good'bye 
"Kid" 


JACKIE'S  had  his  hair  cut.  "The  Kid"  of  the  Dutch  bob, 
the  rumpled  cap,  the  baggy  pants,  the  tattered  shoes,  is  no 
more. 

But  John  Leslie  Coogan,  of  the  real  man's  haircut  and  big 
brown  eyes,  is  here  to  stay. 

It  took  one  barber,  one  pale  mother,  one  agitated  father,  one 
perturbed  press  agent,  one  gurgling  brother  and  eleven  news 
photographers  to  witness  the  event. 

"Snip,  snip,"  went  the  scissors.  "Click,  click,"  went  the 
cameras,  and  Jackie's  million-dollar  crown  of  glory  fell  to  the 
tune  of  "Good-bye,  little  bangs,  good-bye." 

But  the  result!  Jack  Gilbert,  Ronald  Colman,  Richard  Dix 
and  Ramon  Novarro  had  better  watch  out.  There's  four  feet 
six  inches  of  potential  screen  sheikhood  growing  from  a  twelve 
year  old  boy  into  a  handsome  man. 

The  shearing  took  place  two  weeks  before  Jackie's — pardon! 
John  Leslie  Coogan's  twelfth  birthday.  A  week  later  John 
Leslie  Coogan  was  enrolled  as  a  cadet  in  the  Urban  Military 
Academy,  in  Los  Angeles,  where  he  will  train  until  someone 
comes  along  with  a  fine  idea  for  a  story,  centered  about  a 
twelve  year  old  lad  with  mannish  bob. 

He's  too  valuable,  that  million-dollar  boy,  to  be  idle,  even  if 
he  is  in  rigid  training,  and  the  school  has  promised  to  release 
Jackie  whenever  he  wants  to  make  a  picture,  provided  he 
returns  to  them  immediately  it  is  completed. 

So  the  Rolls-Royce  is  parked  in  the  garage  and  the  restless 
publicity  man  twiddles  his  fingers,  while  Jackie  shines  his  own 
shoes  and  makes  his  own  bed  with  all  the  other  uniformed 
cadets,  just  as  if  he  were  an  ordinary  kid,  and  not  the  most 
famous  small  bov  in  the  world. 


74 


Photoplay  Magazine — Advertising  Section 


75 


Mrs.  Reginald  Vanderbilt 
whose  dark  beauty  and 
creamy  skin  have  an  ex- 
quisite setting  in  this 
white  taffeta  Lanvin  robe 
de  style,  is  as  prominent 
in  exclusive  circles 
abroad  as  at  home.  She 
says:  "Pond's  Two 
Creams  are  wonderful" 


Mrs.  William  E.  Borah 
wife  of  the  United  States 
Senator  from  Idaho, and 
a  leader  in  Washington 
Society,  is  an  enthusias- 
tic user  of  Pond's.  She 
may  be  seen  receiving 
friends  in  her  charming 
Washington  apartment. 


Just  these  Two  delicate  Creams— fragrantly  cleansing  and  softly 
protecting — keep  every  normal  skin  in  the  pink  of  perfect  health. 


The  crowding  of 
the  Social  Calendar 

calls    for    clear    fresh   skins  * 


THE  Social  Calendar  scribbled  full! 
The  shining  hours  of  every  day  fitted 
together  like  gay  mosaics  in  a  brilliant 
pattern  of  pleasure. 

It   takes   its   toll  of  beauty — this   life 
without  rest  from  morning  to  midnight — 
smooth  round  cheeks  begin  to  droop,  little 
lines  of  weariness  appear,  unless 
the  right  care  is  given  the  skin. 

Certain  of  the  beautiful  women 
of  the  Social  World  have  learned 
it,  however — how  to  keep  daz- 
zlingly  fresh  and  unwearied  de- 
spite this  merry  round.  Wherever 
you  see  them  you  marvel  at  their 
clear  smooth  cheeks,  snow  white 
shoulders,  firm  round  throats. 
This  is  how  they  do  it:  — 
"'Before    dressing  for    the    evening 

'POND'S   TWO    CREAMS   are 

highly  praised  by  these  beautiful  and 
distinguished  women: — 

H.  M.  the  Queen  of  Spain 
H.  M.  the  Queen  of  Roumania 
The  Princesse  Marie  de  Bourbon 
Mrs.  Livingston  Fairbank 
Mrs.  Nicholas  Longworth 
Miss  Anne  Morgan 
Mrs.  Felix  D.  Dcubleday 


and  again  before  retiring,  they  pat  over  faces, 
shoulders,  throats  and  hands,  Pond's  Cold  Cream. 
They  let  it  stay  on  until  its  fine  oils  sink  down 
into  the  skin's  deep  cells  and  bring  to  the  sur- 
face all  dust  and  powder.  With  a  soft  cloth 
they  wipe  off  cream  and  pore-deep  dirt — and 
repeat,  finishing  with  a  dash  of  cold  water  or  a 
brisk  rub  with  ice.   If  their  skin  is  dry,  at  night 


they  apply  more  Pond's  Cold  Cream  and  leave 
until  morning  to  smooth  out  unlovely  lines. 

AFTER  every  cleansing  with  Pond's  Cold 
CVT.  Cream,  except  the  bedtime  one,  they  smooth 
on  a  little  Pond's  Vanishing  Cream.  This  gives 
theirshoulders,  throats  andcheeks  a  lovely  even 
finish,  a  soft  glowing  tone.  And  how  white  it 
keeps  their  hands.  Powder  and  rouge 
blend  beautifully  and  last  long  over 
this  Cream  as  a  foundation.  Pond's 
Vanishing  Cream  also  protects  the 
skin  perfectly  from  city  soot  and  dust, 
winter  winds  and  the  strain  of  long, 
late  hours. 

Try  this  method  used  by  the 
lovely  women  of  Society.  See  how 
fresh  and  soft  Pond's  Two  Creams 
will  keep  your  delicate  skin. 

FREE  OFFER:  If  you'd  like  to  try, 
free,  these  Two  famous  Creams  made 
by  Pond's,  mail  this  coupon. 


At  the  opera,  at  formal  J  unctions  everywhere, 

you  always  see  them  looking  their  loveliest — 

skin  as  fresh  and  delicate  as  roses,  satin  in 

texture,  youthful, firm. 


The  Pond's  Extract  Company,  Dept.  M, 
1 47  Hudson  Street,  New  York  City 
Please  send  me  free  tubes  of  Pond's  Two  Crear 

Name 

Street 

City State 


When  you  write  to  advertisers  pie 


PHOTOPLAY  MAGAZINE. 


Yes,  Sir!— that's  their  Baby 


Here  is  the  very  first  photo 
graph  ever  taken  of  Charles 
Spencer  Chaplin,  Jr.  It  was 
made  on  the  grounds  of  the 
comedian's  estate 


Photographers  stalked  the  Chaplin  home  for  five 
months  before  obtaining  this  picture  of  Charlie, 
Jr.  The  comedian  had  refused  all  requests  to  have 
his  son's  picture  taken.  And  there's  another  boy 
in  the  Chaplin  family— little  Earl— born  last 
Spring.  Chaplin  is  devoted  to  his  two  sturdy  sons 
and  Mrs.  Chaplin  apparently  has  definitely  re- 
nounced all  ambitions  for  a  screen  career 


76 


Charles  Chaplin's  marriage  to  Lita  Grey,  a  vivid 
young  Mexican  beauty,  surprised  all  the  film 
colony.  And  Chaplin  further  astonished  the 
colony  by  becoming  a  domesticated  husband. 
How  long  will  it  last  ? 


Photoplay  Magazine — Advertising  Section 

Getting  on  in  Health! 


77 


Free   yourself   from    constipation, 

from  stomach  and  skin  disorders — 

with  the  help  of  this  simple  food 

NOT  a  "cure-all,"  not  a  medicine — Fleisch- 
mann's  Yeast  is  simply  a  remarkable 
fresh  food. 

The  millions  of  tiny  active  yeast  plants  in 
every  cake  invigorate  the  whole  system.  They 
aid  digestion— clear  the  skin— banish  the  poi- 
sons of  constipation.  Where  cathartics  give 
only  temporary  relief,  yeast  strengthens  the 
intestinal  muscles  and  makes  them  healthy  and 
active,  daily  releasing  new  stores  of  energy. 

Eat  two  or  three  cakes  regularly  every  day, 
one  before  each  meal:  on  crackers,  in  fruit 
juices,  water  or  milk— or  just  plain,  in  small 
pieces.  For  constipation  dissolve  one  cake  in 
hot  water  (not  scalding)  before  meals  and  at 
bedtime.  Dangerous  habit-forming  cathartics 
will  gradually  become  unnecessary.  All  grocers 
have  Fleischmann's  Yeast.  Buy  several  cakes 
at  a  time— they  will  keep  fresh  in  a  cool  dry 
place  for  two  or  three  days. 

And  let  us  send  you  a  free  copy  of  our  latest 
booklet  on  Yeast  for  Health.  Health  Research 
Dept.  24,  The  Fleischmann  Company,  701 
Washington  Street,  New  York. 


"I  WAS  RUN  DOWN  and  being 
a  fancy  dancer  and  in  need  of  all 
the  strength  possible  I  started  a 
year  ago  to  eat  three  cakes  of 
Fleischmann's  Yeast  a  day.  Since 
then  I  have  had  a  splendid  appetite 
and  the  best  of  health.  I  heartily 
recommend  Fleischmann's  Yeast." 

ESTELLE  (MlSKOYA)  DoYEN, 

Chicago,  111. 

"FOR  SEVERAL  YEARS  I 
HAD  BEEN  TROUBLED 
WITH  INDIGESTION.  I  de- 
cided to  add  three  cakesof  Fleisch- 
mann's Yeast  a  day  to  my  diet  in 
an  attempt  to  rid  myself  of  this 
ailment.  In  a  month  the  results 
were  astonishing.  My  indigestion 
had  practically  disappeared  and 
the  former  sluggish  feeling  was 
gone."  Edward  C.  Moore,  Jr., 
Dallas,  Tex. 


THIS  FAMOUS  FOOD  tones  up  the 
entire   system  —  aids    digestion — clears 


"I  HAD  SEVERE  INTESTINAL  PAINS.  I 
have  been  a  chauffeur  for  twenty  years  and 
sitting  in  a  car  for  ten  or  twelve  hours  a  day 
without  getting  any  exercise  finally  told  on  my 
system.  I  tried  Fleischmann's  Yeast.  In  two 
months  the  pains  were  gone.  I  was  absolutely  a 
different  person.   I  feel  entirely  well." 

R.  S.  Burnwood,  Venice,  Calif. 


I'llcrrorl.AY  MAGAZINE. 


Friendly 

Advice  on 


Skirls 


Problems 


MY  Dear  Carolyn  Van  Wyck: 
I  suppose  you  receive  so  many  com- 
plaints like  mine  that  you  are  growing 
tired  of  reading  them.  I  am  a  girl  of  eighteen, 
living  at  home,  and  I  am  considered  fairly 
good-looking.  That  is  to  say,  while  I  am  not 
a  beauty,  I  am  not  downright  homely.  But 
here  is  my  problem :  I  haven't  any  real  interest 
in  life  and  I  haven't  any  niche  in  which  I  seem 
to  fit. 

Everyone  tells  me  that  I  am  too  shy  to  make 
friends  readily.  I  have  a  few  girl  friends,  with 
whom  I  went  to  school,  and  I  know  a  great 
many  boys,  but  only  in  a  casual  way.  Some- 
times they  come  to  see  me,  but  they  never  in- 
vite me  anywhere.  I  do  not  dance  and  some- 
how I  never  seem  to  have  anything  to  talk 
about.  Or  when  I  have  something  to  say,  I 
can't  get  up  nerve  to  come  out  with  it. 

Now  what  shall  I  do?  I'd  like  to  be  popular 
and  go  around  with  a  lively  set.  And  I'd  like  to 
feel  at  ease  when  I  am  with  the  boys.  They  say 
that  the  boys  like  girls  who  are  a  little  "wild." 
But  I  have  too  much  respect  for  myself  to 
drink,  smoke  and  pet. 

Am  I  doomed  to  stay  "on  the  shelf"  until  I 
turn  into  an  old  maid?  Am  I  to  blame  for  my 
loneliness? 

M.  J.  K. 

No,  M.  J.  K.,  you  are  not  entirely  to  blame. 
And  no  girl  who  feels  "out  of  it "  is  entirely  to 
blame.  When  I  read  the  hundreds  of  letters 
from  shy  and  unsocial  girls  that  come  to  me 
every  month,  I  sometimes  wonder  why  par- 
ents ignore  the  problem  in  their  own  homes. 
The  average  girl  with  vitality  and  a  social  dis- 
position is  able  to  make  her  own  friends  and  to 
create  her  own  social  circle.  The  shv.  retiring 
girl  must  have  some  one  to  cultivate  friend- 
ships for  her. 

How  to  make  friends!  That's  a  problem 
confronting  thousands  of  girls.  Fortunately,  it 
is  not  as  difficult  as  it  seems.  There  are  certain 
simple  qualities  that  friendship  demands; 
once  you  meet  these  demands,  the  problem  is 
solved. 

Friendship  demands,  above  all  things,  un- 
selfishness. The  self-centered,  the  introspec- 
tive, seldom  make  or  keep  friends.    Friendship 

78 


requires  sympathy  and  understanding.  You 
must  be  a  good  audience  and  a  good  listener. 
You  must  be  generous  of  your  time  and  your 
sympathy. 

Xow  for  some  practical  advice  to  the  girl 
who  can't  make  friends.  If  I  felt  lonely  and 
neglected,  I  would  sit  down  and  analyze  my- 
self. I  would  find  out  the  reasons  for  my  isola- 
tion. I  would  ask  myself  a  few  simple  ques- 
tions. 

Am  I  ungracious  when  I  meet  people?  Am  I 
chary  of  doing  favors?  Have  I  any  interests 
outside  of  myself  and  my  home?  Am  I  more 
concerned  with  impressing  others  than  I  am 
about  making  a  good  impression?  Do  I  enjoy 
making  unkind  and  unsympathetic  remarks? 
Am  I  jealous  of  the  good  fortune  of  others? 

What  social  qualifications  have  I?  Can  I 
dance?  Can  I  play  games?  Do  I  enjoy  out- 
door sports?  What,  in  short,  have  I  to  offer 
my  friends? 


The  Shy  Girl 
Is  This  Month's  Problem 

•'TWERE  is  one  on  the  fringe  of 
-*-  every  social  set.  She  is  the 
girl  who  is  too  diffident  or  self- 
conscious  to  make  friends.  So, 
this  month,  I  am  giving  some 
advice  and  suggestions  to  the 
girl  who  thinks  she  is  "out  of  it." 
With  the  coming  of  winter,  you 
will  want  to  look  your  prettiest. 
If  you  will  send  me  your  name 
and  address,  I  will  forward  to 
you  my  helpful  pamphlet  on  the 
care  of  the  skin.  And  if  you  will 
enclose  ten  cents,  you  may  have 
the  invaluable  little  book  on  sane 
reducing.    Carolyn  Van  Wyck 


from  Carolyn  Van  Wyck 


If  I  were  M.  J.  K.,  I  would  ask  myself  these 
questions  frankly.  And  set  about  immediately 
correcting  my  shortcomings.  I  would,  for  in- 
stance, learn  to  dance.  I  would  go  in  for  tennis 
and  golf.  I  would  learn  to  play  bridge.  If  I 
couldn't  learn  tennis,  golf  or  bridge,  I  would 
learn  hearts  and  croquet. 

I  have  mentioned  the  responsibility  of  the 
parents  of  lonely  girls.  Why  are  mothers  so 
neglectful  about  entertaining  for  their  daugh- 
ters? Young  people  adore  parties.  For  all  this 
talk  of  wild  motor  rides,  dances  in  roadhouses, 
and  petting  expeditions,  an  old-fashioned  home 
party  is  still  deeply  appreciated.  I  am  thor- 
oughly convinced  that  young  people  seek  their 
fun  in  roadhouses  because  their  mothers  are 
too  lazy  and  too  selfish  to  make  the  homes 
attractive. 

It  is  neither  difficult  nor  expensive  to  enter- 
tain at  home.  Give  several  small  parties  to 
congenial  groups  of  boys  and  girls,  rather  than 
one  large  one.  Young  people  aren't  exacting; 
all  they  want  is  good  dance  music,  perhaps  a 
few  games  and  some  simple  refreshments.  If 
you  use  discrimination  in  selecting  your  guests 
they  will  amuse  themselves. 

If  I  were  M.  J.  K...  I  would  give  a  party  for 
some  of  these  "casual"  school-friends.  Just  a 
small  one,  perhaps,  at  first.  I  would  make  a 
point  of  inviting  the  prettiest  and  most  attrac- 
tive girls  I  know.  I  wouldn't  be  afraid  of 
rivalry.  The  boys  will  come,  if  you  invite  the 
right  girls. 

And  once  you  make  a  reputation  as  a  good 
hostess,  by  one  successful  party,  you  will  see 
how  quickly  your  circle  of  friends  increases! 

Lillian  G. : 

Clean  the  skin  even-  night  with  a  good  cold 
cream.  After  removing  the  cream,  wash  your 
face  with  good,  pure  soap  and  hot  water. 
Rinse,  when  thoroughly  clean,  with  warm 
water,  followed  by  cold  water.  Do  you  take 
plenty  of  outdoor  exercise?  And  do  you  eat 
plenty  of  green  vegetables  and  salads?  Re- 
member, diet  is  most  important  if  you  want  a 
clear  skin.  And  drink  plenty  of  water  between 
meals. 

You  are  only  about  three  pounds  over- 
weight, so  you  have  nothing  to  worn'  about. 


The  Christmas  Favorite 


"If  you  want  to  make  your 
own  Christmas  a  merrier  one, 
buy  a  whole  box  of  24  deli- 
cious bars  of  Baby  Ruth. 

Trim  your  tree  with  it,  fill  up 
the  children's  stockings,  and 
keep  the  rest  on  the  table  for 
an  all-day  treat. 

Sparkling  eyes,  happy  faces 


and  thankful  hearts  will  re- 
ward your  though  tfulness. 

America's  Favorite  Candy 
will  make  every  home  merry 
on  Christmas  morn ! 

Buy  Baby  Ruth  by  the 
box  for  Christmas  Gifts." 


CURTISS  CANDY  COMPANY 

CHICAGO 


IS 


\yhen  the  Thanksgiving  feast  i 
spread — and  gay  friends  gather — 
'when  you're  joyously  thankful  for 
another  year  of  health  and  plenty 
— have  a  Camel! 


s9t> 


Camels  represent  the  utmost  in  cigarette  quality.  The  choicest  of 
Turkish  and  Domestic  tobaccos  are  blended  into  Camels  by  master 
blenders  and  the  finest  of  French  cigarette  paper  is  made  especially  for 
them.  No  other  cigarette  is  like  Camels.  They  are  the  overwhelming 
choice  of  experienced  smokers. 


WHEN  it's  Thanksgiving. 
And  your  chosen  friends 
are  enjoying  the  good 
things  of  earth — have  a 
Camel! 

For  no  other  cigarette 
ever  gave  so  much  added 
enjoyment  to  a  Thanksgiv- 
ing feast.  No  other  was 
ever  so  welcome  to  your 
friends.  Millions  of  experi- 
enced smokers  are  thankful 
each  day  for  Camels.  This 
distinctive  cigarette  brought 
the  world  a  new  measure  of 
smoking  satisfaction  and 
contentment,  for  Camels 
never  tire  the  taste  or  leave 
a  cigaretty  after-taste.  Be- 
fore Camel  it  was  impossible 
to  get  every  good  feature  in 
one  cigarette. 

So  this  festive  day,  with 
thanks  for  the  good  year 
that  is  gone — send  up  the 
fragrant  smoke  that  is  loved 
by  millions.  On  Thanksgiv- 
ing Day  have  the  best. 

Have  a  Camel! 


Our  highest  wish.  If 


J.    Reynolds   Tobacco 
Winston-Salem,  N.  C. 


Blond  Boy 

from 

Bond  Street 

A  Portrait  of  Ralph  Forbes 
By  Jean  Millet 


THESE  English  boys  have  something — Ronald  Colman, 
Clive  Brook,  Percy  Marmont  and  now  Ralph  Forbes. 
"When  I  was  very  young,"  Ralph  Forbes  began  our 
conversation,  "  I  was  operated  upon.  This  red  mark," 
he  pointed  to  an  infinitesimal  spot  between  his  fair  eyebrows, 
"is  where  they  opened  me  up.  They  sliced  me  horizontally 
and  vertically  and,  while  inside,  cut  corners  off  my  brain. 
My  family  have  been  making  rude  remarks  about  the  result 
ever  since." 

One  thing,  these  English  boys  have  a  sense  of  timing.  They 
give  their  lines  time  to  get  over.  Furthermore,  the  English 
accent  gives  them  a  trick  of  making  the  most  trivial  sound 
important,  and  the  most  important  sound  trivial. 

Then,  too,  it  is  very  pleasant  to  drink  tea  with  a  young  man 
in  Hollywood  who  does  not  take  himself  seriously.  And  fur- 
ther, the  nicest  time  to  interview  any  actor  is  just  after  he  has 
signed  his  first  important  contract.  He  likes  himself  quite 
well  at  such  a  time,  but  distant  stardom  has  not  yet  frozen 
him  into  permanent  self  worship.  And  over  and  above  all 
that,  Ralph  Forbes,  who  has  just  signed  his  first  important 
contract  with  Metro-Goldwyn-Mayer  for  five  years,  a  con- 
tract that  came  as  a  reward  of  his  perfect  work  as  the  youngest 
brother  in  "Beau  Geste,"  has  blue  eyes  and  yellow  hair  and  a 
profile  similar  to,  and  devastating  as,  the  Prince  of  Wales'. 

Mr.  Forbes  isn't  in  the  least  unused  to  having  ladies  like 
him. 

"I  got  to  acting,"  he  said,  "after  I  had  worked  my  way  out 
of  everything  else. 

"When  I  was  very  young,  about  nine,  it  was  decided  I  was 
to  go  into  the  navy." 

He  has  sun  glasses  he  fiddles  with  constantly.  He  gave  the 
line  time  by  pushing  the  glasses  up  on  his  forehead. 

"  I  had  very  little  to  do  with  it.  One  has  so  little  to  do  with 
anything  when  one  is  nine.  Later  my  mother  confessed  her 
decision  was  influenced  by  how  well  I,  an  ash-blond  child, 
looked  in  a  cap  with  a  visor."  He  shoved  the  left  lens  down 
over  his  left  eye  and  beamed  out. 

"I  wasn't  at  all  keen  on  the  idea.  I  fought  and  fought 
against  it,  so  eloquently,  in  fact,  that  it  was  decided  I  should 
become  a  barrister,  a  lawyer.  'Listen  to  him  plead  for  him- 
self,' the  family  said.  'Yes,  he  must  become  a  barrister,  and 
plead  for  others.' 

"I  was  eleven  then  and  I  didn't  like  that  destiny,  either. 
But  the  decision  was  made,  of  course,  before  they  began 
trifling  with  my  brain.  Quite  on  my  own,  I  decided  to  be- 
come a  priest." 

He  pushed  the  glasses  down  on  the  end  of  his  nose.  "Do 
not  smile,"  he  said;  "once  I  had  that  fatal  malady,  idealism. 
I  was  to  become  a  priest  and  [  continued  o.v  pace  131  ] 


The  youngest  of  the  Geste  boys — Ralph  Forbes. 
After  a  depressing  series  of  Broadway  stage  failures, 
Forbes  made  a  hit  in  his  first  American  movie.  Yes, 
yes,  old  dear,  we  know  he  does  look  like  the  Prince 
of  Wales 

81 


J^oah    Beery  —  the    big    cattle    and   fruit   man 


It  takes  persuasion  to  make  Noah  Beery  get 

dressed  up  for  a   photograph.     And  what 

better  proof  is  needed  that  he's  an  honest- 

to-gosh  farmer  at  heart? 


NOAH  BEERY  is  the  only  man  I  know  who  can  make 
me  take  seriously  that  much  kidded  line  about  "out 
in  the  great  open  spaces,  where  men  are  men." 
I'm  a  Westerner  myself,  but  as  long  as  thev  pro- 
duce gentlemen  like  Cal  Coolidge,  "Red"  Grange  and"  Gene 
Tunney  east  of  the  Rockies,  we  can't  claim  exclusive  rights 
to  the  he-man  variety. 

But  there  was  a  time  not  so  long  ago  when  a  great  race  of 
men  battled  their  way  west  against  the  greatest  odds  in  the 
world,  and  against  those  same  odds  fought  and  conquered 
this  great  land  Pioneers,  we  call  them.  The  men  who  came 
west  in  covered  wagons. 

Noah  Beery  is  that  kind  of  a  man. 

He  didn't  come  west  in  a  covered  wagon,  but  he  made  as 
hard  a  journey  before  he  got  to  the  golden  land  of  Hollywood. 
A  more  tragic,  desperate  journey. 
Let  me  tell  you  about  it. 

82 


Villainous 
Farmer 


By  Ivan  St.  Johns 


Thirteen  years  ago  there  were  a  couple  of  young  stage 
folks  in  New  York,  who  had  been  married  just  a  little 
while  and  who  were  so  much  in  love  that  they  wouldn't 
work  in  separate  shows.  Things  weren't  too  good  for  them, 
but  they  managed  and  they  were  very  happy. 

They  were  happier  after  little  Noah  Beery,  Jr.,  was  born. 
And  they  went  on  getting  a  living  out  of  the  desperate 
theatrical  business  in  New  York,  and  trying  all  the  time 
to  make  a  home  and  live  like  "other  people." 

When  he  was  two  years  old,  the  boy,  idol  of  their  hearts, 
was  suddenly  taken  ill.  Panic-stricken,  they  watched  him 
grow  weaker,  thinner,  whiter.  They  mortgaged  their 
future,  would  have  mortgaged  their  souls,  for  specialists, 
fur  a  room  in  the  finest  baby  hospital,  for  private  nurses. 
They  begged,  borrowed,  did  everything  but  steal. 

!  CONTINUED  ON  PACE  I04  ] 


It  was  to  save  the 
life  of  young  Pidge 
that  the  Beerys  went 
to  California  years 
ago.  Pidge  grew 
strong  and  healthy. 
Now  he's  his  father's 
pal  on  fishing  and 
hunting  trips 


Photoplay  Magazine — Advertising  Section 

WATCH  YOUR  THROAT ! 


The  warning  signal 


MORE  serious  illnesses  than  you  can 
count  on  the  fingers  of  both  hands 
start  with  the  warning  signal,  an  irritated 
throat. 

A  tickle  in  your  throat  is  nature's  way  of 
saying  "Look  out — Danger  ahead:  the  bac- 
teria are  getting  the  upper  hand!"  Natu- 
rally, too,  because  the  throat  is  the  open 
door  for  infection.  It  is  the  ideal  breeding 
place  for  disease  germs. 

And  in  spite  of  this,  so  many  of  us  neglect 
throat  protection!  A  good,  healthy 
body  will  be  able  to  throw  off  the 
attacks  of  many  bacteria,  but 
very  often  the  human  system  is 
not  in  the  proper  condition  to 
fight  them  back. 

LIST 


When  you  think  of  your  throat  in  this 
way,  it  seems  amazing  that  more  people  do 
not  take  the  proper  precaution  against  ill- 
nesses that  start  with  throat  infection.  Par- 
ticularly, when  the  safe  antiseptic,  Lister- 
ine,  is  as  near  at  hand  as  any  corner  drug 
store. 

Be  on  the  safe  side  these  winter  days. 
Use  Listerine  regularly  as  a  mouth  wash 
and  gargle. 

Also,  then,  you  will  be  on 
the  polite  side  with  regard 
to  that  insidious  condi- 
tion, halitosis(unpleasant 
breath).  —  Lambert  Phar- 
,ni*  \      rnacal  Co.,  St.  Louis,  U.S.A. 


INE 


— the  safe  antiseptic 


PHOTOPLAY  MAGAZINE. 


Studio  News  and  Gossip — East  and  West      [conthtoed  from  page  47] 


eyes,  as  usually  depicted  on  stage  and  screen, 
but  cool-shooting  blonds  with  pale  grey  or 
blue  eyes. 

The  only  other  time  that  I  recall  a  similar 
combination  was  in  "The  Covered  Wagon." 
when  Jim  Cruze  chose  as  hero  brunette  Jack 
Kerrigan  and  blond  Alan  Hale  for  villain. 

'TPHERE  were  sixty  extras  in  kilted 
■*■  plaids  on  the  stage  at  M-G-M 
where  Creighton  Hale  is  playing  the 
childhood  lover  of  Lillian  Gish  in 
"Annie  Laurie." 

"Just  five  cases  of  Scotch,"  com- 
mented Hale  as  he  looked  the  kilted 
extras  over. 

"Nay,  lad,  fifteen,"  objected  a 
Highland  piper  standing  near.  "Every 
Scotsman  who  wears  kilts  is  a  three- 
bottle  man." 

IN  the  second  presentation  of  the  Vitaphone 
stars,  Al  Jolson  romped  away  with  the 
honors  of  the  evening  at  the  Colony  Theater. 
The  funny  part  of  Jolson's  appearance  was 
that,  only  a  week  before,  he  had  been  earnestly 
trying  to  convince  a  jury  that  he  was  a  poor 
film  subject.  Several  years  ago,  Griffith  tried 
to  anchor  Jolson  with  a  contract,  but  Jolson 
slipped  away,  claiming  he  had  no  camera 
possibilities. 

But  the  Vitaphone  proves  that  Jolson  is, 
most  decidedly,  a  film  bet.  Even  with  indifferent 
photography,  the  black-face  comedian  is  very 
much  there. 

And  when  he  sings — Mammy! 

REINALD  WERRENRATH  made  a  little 
flop,  which  was  a  surprise  to  me.  But  the 
Vitaphone  producers  made  the  mistake  of  dress- 
ing up  Reinald  in  an  illustrated  song  costume 
and  then  having  little  birdies  twitter  in  the 
background. 

It  was  all  wrong,  Gunga  Din. 

GEORGE  JESSEL  made  such  a  hit  with  his 
Vitaphone  monologue  that  Warner  Broth- 
ers have  signed  him  up  for  another  picture.  He 
will  appear  in  a  film  version  of  "The  Jazz 
Singer,"  and  the  film  will  have  several  inter- 
polated songs. 

This  is  the  first  important  break -away  and 
it  may  mark  the  beginning  of  the  end  of  silence 
in  the  silent  drama. 

The  importance  of  the  Vitaphone  grows 
daily.  Here  is  one  branch  of  the  movies  that  is 
really  in  its  infancy.  Famous  Players-Lasky  is 
acquiring  the  Vitaphone  for  its  Public  Theaters 
and  I  predict  that  it  won't  be  long  now  before 
we  are  looking  at  entire  musical  comedies  on 
the  screen. 

A  T  the  Carthay  Circle  Theater  opening  of 
■*»•"  Bardelys  the  Magnificent,"  Jack,  with 
the  grace  that  is  Gilbert's,  sent  a  deft  dart  at 
King  Vidor,  the  director,  when  he  introduced 
him  as  "the  man  who  made  me  the  world's 
greatest  parachute  jumper." 

The  scene  where  Jack  does  a  cloud-jumping 
act  with  the  aid  of  the  old  family  bedspread 
from  the  building's  top  to  the  King's  coach  is  a 
bit  hard  to  swallow. 

However,  it  seems  the  custom  this  season  for 
our  amorous  actors,  turned  athletes,  to  go  in 
for  self-abasement.  John  Barrymore,  for  in- 
stance. At  the  premiere  of  "  Don  Juan  "  Jack 
arose  to  remark  that  if  he  had  been  billed  as 
"the  world's  greatest  acrobat"  there  would 
have  been  no  reason  for  argument.  But  being 
hailed  as  "the  greatest  living  actor"  gave  too 
much  food  for  intermission  discussion. 

FOR  an  appreciation  of  that  marvelous  com- 
edy, "The  Better  'Ole,"  you  must  look  in 
the  Shadow  Stage  Department.    Nevertheless, 

84  2 


Do  you  remember  little  Richard 
Headrick,  the  child  actor?  He  has 
turned  evangelist  and  he  is  now 
busy  saving  souls  in  the  middle 
west.  A  small  town  in  Indiana  re- 
ports forty-one  conversions  as  the 
result  of  Richard's  eloquence.  He's 
one  of  the  youngest  preachers  in 
the  world 


I  must  have  my  little  say.  Ever  since  the  days 
of  "The  Submarine  Pirate,"  I  have  contended 
that  Syd  is  just  as  funny  as  Charlie  Chaplin. 
Moreover,  I  am  one  of  those  persons  who  be- 
lieve that  Charlie  got  a  lot  of  his  stuff  from  Syd. 
Anyway,  Charlie  never  invented  a  gag  as 
funny  as  Syd's  episode  of  the  trick  horse.  This 
one  sequence  runs  about  three  reels  without  a 
break  in  the  laughs.  And  that  almost  estab- 
lishes a  record. 

THE  New  York  critics  were  kind  to  "The 
Better  'Ole,"  although  it  contained  no 
UFA  camera  angles.  Moreover,  although  the 
film  concerned  itself  exclusively  with  the  doings 
of  the  British  Army,  none  of  our  American 
reviewers  complained  about  the  absence  of  the 
A.  E.  F.  The  London  newspapers  bewailed  the 
lack  of  appreciation  for  the  British  in  "  The  Big 
Parade." 

But  over  here  we  are  broad-minded  and  we 
let  Syd  Chaplin  and  his  Britishers  win  the  war 
all  by  themselves  in  "The  Better  'Ole,"  with- 
out even  the  shadow  of  a  kick. 

•"THE  loss  of  a  championship  doesn't  worry 
*■  Jack  Dempsey  and  Estelle  Taylor.  Jack 
may  have  "forgotten  to  duck,"  but  Estelle  is 
still  very  much  in  the  ring. 

She  is  playing  a  prominent  role  in  Luther 


Reed's  production,  "New  York."  This  is  the 
picture  based  on  the  Ellin  Mackay-Irving  Berlin 
romance. 

And,  after  her  hit  in  "  Don  Juan,"  Estelle  has 
been  offered  any  number  of  big  roles  to  choose 
from. 

'"PHIS  reducing  thing.  It  has  come 
to  a  pretty  fix.  It's  driving  beau- 
tiful women  to  the  mop,  the  vacuum 
and  the  duster.  For  example,  Doro- 
thy Dwan  Semon  decided  to  clean 
the  living  room  herself  the  other 
morning,  just  to  keep  slim.  Head 
swathed  in  white  bandana,  sleeves 
rolled  high,  the  room  was  soon  a 
cloud  of  dust.  But  her  housekeeping 
venture  brought  more  than  dust  and 
slimness. 

When  Larry  got  home  that  night, 
he  gave  another  look  at  Mandy,  the 
broad,  buxom  brunette  who  rules  the 
cook-stove. 

"What  about  this  pretty  new  maid 
that  Don,  the  prop  boy,  saw  here  this 
morning  when  he  called  to  get  my 
smoked  goggles?" 

Then  Dorothy  realized  it  was  mis- 
taken identity  rather  than  presump- 
tion that  evoked  the  fervid  look  from 
Don  when  she  handed  him  Larry's 
goggles  eleven  hours  earlier. 

T  DON'T  see  how  any  chauffeur  could  be  so 
■*■  heartless  in  view  of  the  green-eyed,  tilian- 
haircd  loveliness  of  the  lady.  But  the  Filipino 
chauffeur  of  Jocelyn  Lee's  new  $5,000  car  was 
lacking  in  chivalry,  honesty  and  charity  when 
he  left  that  lady  wailing  at  the  portals  of  the 
Universal  Studio  while  he  and  the  car  eloped 
for  parts  unknown. 

■DUSTER  KEATON  is  tired  of  listening  to 
■'-'the  wild  ocean  waves  of  Santa  Monica  and 
will  soon  move  into  a  modest  little  Beverly 
Hills  cottage,  costing  in  the  neighborhood  of 
$200,000. 

It  rests  on  a  small  three-acre  plot,  is  Italian 
in  style  and  has  twenty  rooms. 

If  Buster,  the  arctic-featured  actor,  doesn't 
get  a  broad,  complacent,  satisfied  grin  out  of 
that  he's  a  better  man  than  I. 

/CORPULENT  Curd  and  Whey 
^Man:  "It  used  to  be  the  woman 
who  paid.  Now  it's  the  man  who 
pays — and  pays — and  pays." 

Beautiful  Platinum  Prospector: 
"You  haven't  known  me  long. 
You've   only   paid   and   paid." 

THE  most  beautiful  gown  of  the  Hollywood 
social  season  to  date — acknowledged  as  such 
by  all  beholders — was  worn  by  Blanche  Sweet 
at  a  recent  dinner  party  given  by  Mrs.  Antonio 
Moreno. 

Blanche  always  has  lovely  frocks,  but  in  this 
one  she  surpassed  herself. 

Of  the  most  glorious  shade  of  rose-pink  taf- 
feta, the  gown  was  made  with  a  tight  bodice 
and  a  very  full  soft  skirt,  reaching  clear  to  the 
ground. 

This  was  ornamented  with  wide  points  of 
wine  red  taffeta,  coming  up  from  the  bottom  of 
the  skirt,  and  slender  points  coming  down  from 
the  shoulders. 

Very  low  in  the  neck,  it  had  tiny,  puff  sleeves, 
and  with  it  was  worn  a  soft,  full  cape  of  the 
rose-pink  taffeta  with  a  tiny,  shirred  hood 
covering  the  hair. 

I  CONTINUED  ON  PAGE  108  ] 


Photoplay  Magazine — Advertising  Section 


I  con 


LArb 


> 


THE  TEA-SET  SHOWN  IS  $.45.00  FOR  THREE  PIECES  <  •  THE  SALAD  FORKS.  $7.50  FOR  SIX  •  •  IN  THE  FINEST  PLATE 


luminca),  Lovely,  4-Ljol-w le^ly  ~A> rta. p ecL •  •  n.ow 
yo-u.  can  have  complete  silver  > civic e *_.  o[-  v;.o-mm_a  rrL.tu 
iuJjxke,-,    ^rorrv    tca.vpo-ca>     to    tea  -  yet:* -^^_ 

S I  LV'm  StilVICfS  fOli  SMART  TABLES 


When  you  writa  to  ailvi-rtism  pli-asi-  mpntlon  PHOTOPLAY  MAGAZINE. 


Mary   Philbin   is  said  to   have   a 
camera-perfect   face.       Note   the 
divisions  of  Mary's  face  and  com- 
pare them  with  your  own 


How  to  Make 

Your  Own  Screen  Test 

Try  this  out  on  yourself.      Maybe  you  have  picture 
possibilities  and  don"^  know  it 


MAKE  your  own  screen  test.     All 
string  and  a  face. 

Try  it  in  your  mirror  before 
come  to  Hollywood. 

Ernest  Smythe,  official  painter  for  th 
Office,    now    a    motion    picture    art 
supervisor,  says  Mary  Philbin  has  a 
camera-perfect  face. 

See  if  your  features  measure  up  to 
his  standards. 

Mr.  Smythe  divides  the  face  into 
three  equal  parts  which  he  numbers 
from  1  to  8.  1  to  2  is  the  distance 
from  forehead  to  eyebrow;  2  to  4  is 
from  the  eyebrow  to  the  base  of  the 
nose;  and  4  to  8  is  from  the  base  of 
the  nose  to  the  bottom  of  the  chin. 

Consider  the  left  view.  From  the 
eyebrow  to  the  bottom  of  the  eye  (2 
to  3);  from  the  base  of  the  nose  to 
the  upper  lip  (4  to  5) ;  and  from  the 
upper  to  the  lower  lip  (5  to  7)  should 
be  of  equal  measurement.  Also  the 
upper  lip  (5  to  6)  and  the  lower  lip 
(6  to  7)  should  be  an  equal  depth. 

The  length  of  the  nose   (3  to  4) 

86 


you  need  is  a 
you  decide  to 
e  British  War 


TJERE'S  a  small  snicker  for  you. 
A  bunch  of  delegates  from  some- 
where or  other  did  not  recognize 
Charles  Ray,  quietly  sitting  in  the 
shade  of  a  palm  tree  at  Metro- 
Goldwyn-Mayer  studios,  but  quaked 
with  glee  when  they  saw  Bill  Haines 
cavorting  about  the  set. 

"There's  Charlie  Ray  now !"  stage- 
whispered  one  of  the  visitors,  pointing 
at  Bill.  And  Haines  obliged  with  a 
very  good  imitation  of  the  famous 
Ray  heel-twirl. 

"Looks  just  like  he  does  on  the 
screen.  I'd  recognize  Charlie  any- 
where," one  of  them  said. 

And  Bill  smiled  sheepishly,  a  la 
Ray. 

Such  is  fame. 


should  be  two-thirds  of  the  distance  from  1  to  3,  and 
twice  the  length  of  the  upper  lip  (4  to  6).  The  chin  (7 
to  8)  should  be  twice  the  depth  of  the  mouth  (4  to  6). 
Turn  to  the  right  face.  The  mouth  should  be 
slightly  longer  than  the  distance  between  7  and  8- on 
the  left  picture. 

The  space  between  the  eyes  should 
equal  the  length  of  an  eye.  The 
width  of  the  nose  should  equal  one- 
half  the  width  of  the  chin. 

The  length  of  the  face  should  be 
the  diagonal  of  the  square  of  the 
width,  as  shown  by  lines  "A"  in  the 
illustration. 

And  the  face  should  be  regularly 
oval  with  the  eyebrows  curved  in 
conformation. 

After  you  have  made  your  meas- 
urements and  compared  them  with 
those  of  Mary  Philbin,  you  may 
understand  why  directors  have  such 
great  difficulty  in  finding  screen 
types.  Or  will  you?  Perhaps  you, 
too,  may  be  one  of  the  elect. 

Anyway,  see  how  your  looks  stand 
up  before  the  lens. 


Photoplay  Magazine — Advertising  Section 

Throwing  the  Light 


8? 


of  Scientific  Frankness  on  Woman's  Oldest  Problem 

has  changed,  in  this  way,  the  hygienic  habits  of  the  world 


This  new  way,  by  supplanting  the  uncertainty 
of  old  hygienic  methods  with  certain  and 
positive  protection,  provides  charm,  immacu- 
lacy,  exquisiteness  under  all  circumstances 
. . .  and  adds  the  convenience  of  disposahility 


Easy- 
Disposal 

and  1  other 
important  factors 


By  ELLEN  J.  BUCKLAND 
Registered  Nurse 

BECAUSE  one  woman  told  another,  be- 
cause doctors  advised  and  authorities 
urged,  and  because  the  frankness  of  scientific 
fact  was  used  in  dealing  with  a  trying  sub- 
ject, the  hygienic  habits  of  the  world  have 
been  changed. 

Almost  80%  of  American  women  in  the 
better  walks  of  life  employ  this  new  way.  A 
way  that  banishes  the  doubtful  efficiency  of 
old-time  methods  with  a  protection  that  is 
absolute. 

If  you  are  one  of  the  20%  who  cling  to  old 
ways,  ask  your  doctor,  please,  about  Kotex. 
What  he  tells  you  will  make  a  great  differ- 
ence in  your  life. 

No  uncertainty,  no  doubts.  You  live  every 
day  unhandicapped.  You  wear  the  sheerest 
and  gayest  of  frocks  without  a  moment's 
thought.  The  most  exacting  social  demands 
hold  no  terror,  no  matter  how  ill-timed. 

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 


®No  laundry.  As 
easy  to  dispose 
of  as  a  piece  ot 
tissue— thus  end- 
ing the  trying 
problem     ot     dis- 


as  absorbent  as  cotton.  Kotex  also  deodor- 
izes by  a  new  disinfectant.  And  thus  solves 
another  trying  problem. 

Kotex  will  make  a  great  difference  in  your 
viewpoint,  in  your  peace  of  mind — and  in  your 
health.  Many  ills,  according  to  leading  medi- 
cal authorities,  are  traced  to  the  use  of  unsafe 
or  unsanitary  makeshift  methods. 

There  is  no  bother,  no  expense,  of  laundry. 
Simply  discard  Kotex  as  you  would  a  piece 
of  tissue — without  embarrassment. 

Thus  today,  on  eminent  medical  advice, 
millions  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 
011/3'  Pad  embodying  the  super-absorbent  Cel- 
lucotton.    It  is  the  only  napkin  made  by  this 
company.    Only  Kotex  itself  is  "like"  Kotex. 

On  sale  everywhere 
You  can  obtain  Kotex  at  better  drug  and  de- 
partment stores  everywhere.  Comes  in  sani- 
tary sealed  packages  of  12  in  two  sizes,  the 
Regular  and  Kotex-Super.  Cellucotton  Prod- 
ucts Co.,  166  W.  Jackson  Blvd.,  Chicago. 


that  of  cotton 
it  deodorizes,  thus 
assuring  double  pro- 
tection. 


'Supplied  also  in  personal  service 
cabinets  in  rest-roomj  b? 
West  Disinfecting  Co. 


"Ask  for  them  by  name" 


KOTG  X 


PROTECTS  — DEODORIZES 

When  you  write  to  atlvrrtisers  please 


Kotex  Regular: 
65c  per  dozen 
Kotex-Super: 

90c  per  dozen 


cut Uhi  PIIOTOI'I-VY  MAGAZINE. 


No  laundry — discard  c 

casilyasapieceoftisn. 


88 


Photoplay  Magazine — Advertising  Section 


^Prettier  Lips 

among  college  girls 


"Dear  CNfln : 

Just  arrived  in  New  York  on  the 
Century  accompanied  by  many  beautiful 
college  girls  home  for  the  Thanksgiving 
holiday. 

It  was  very  intriguing  to  see  the  ptetty 
dears  whisk  out  their  little  Lip  Sticks  to 
"look  pretty"  just  before  meeting  their 
family  and  friends.  And  I  noticed  that 
about  two  out  of  every  three  girls  used 
the  Pompeian  Lip  Stick.  You  know  what 
a  wonderfully  natural  color  it  gives! 


cl^hrtfAjtt- 


Tompeian  L>ip 
Stick  gives  natu- 
ral, rosy  tint — 
protects  lips  — 
pure  and  harm- 
less— has  desired 
chisel  point  for 
easy  application. 


ftoMpeian 


Aileen  Pringle — the  screen's  foremost  exception  to  the  Cinderella  legend 

The  Girl  on  the  Cover 

By  Cal  York 


WILL  some  scenario  writer  please  write 
a  true-to-life,  straight-from-the-shoul- 
der  story  of  a  modern  girl?  And  will 
some  director  please  cast  Aileen  Pringle  in  the 
leading  role? 

Miss  Pringle's  story  might  have  come  from 
the  pen  of  a  novelist.  It  has  all  the  elements  of 
a  charming  narrative.  It's  a  very  modern 
story  because  it  is  the  reverse  of  the  old  Cin- 
derella legend. 

For  Miss  Pringle  did  not  struggle  to  fame 
from  poverty  and  obscurity.  Miss  Pringle  was 
born  to  money  and  social  position  in  San 
Francisco. 

She  was  educated  at  Miss  Murison's  School 
in  California;  and  at  the  Convent  of  the  Sacred 
Heart  in  Paris,  and  at  Miss  McKenzie's  School 
in  London. 

And  then  she  met  and  married  Charles 
Pringle,  son  of  Sir  John  Pringle,  former  gover- 
nor of  Jamaica. 

In  spite  of  all  this  glamour,  the  movie  stars 
who  left  school  when  the  scholastic  demands  of 
the  sixth  grade  proved  too  much  for  them, 
treat  Miss  Pringle  as  an  equal.     For,  after  all, 

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when  Miss  Pringle  went  out  for  movie  success, 
she  stood  on  her  own  feet  and  never  used  her 
social  position  as  a  bait  for  getting  jobs.  Her 
very  first  roles  were  inconspicuous  ones  in 
inauspicious  pictures.  Her  early  story  in  pic- 
tures is  simply  that  of  any  other  green  be- 
ginner. 

That  shrewd  casting  director,  Elinor  Glyn, 
gave  Aileen  her  first  push  to  fame.  Aileen  was 
awarded  the  role  of  the  Tiger  Queen  in  "Three 
Weeks." 

Whether  you  liked  the  film  or  not,  it  estab- 
lished Miss  Pringle  as  a  screen  personality. 
In  fact,  it  established  her  as  an  exotic  type, 
almost  too  firmly  for  her  own  good. 

Off  the  screen.  Miss  Pringle  is  more  interest- 
ing than  any  character  she  ever  has  been  called 
upon  to  play.  You  feel  that  the  screen  has 
not,  as  yet.  captured  the  complete  color  of  her 
personality.  The  camera  catches  her  beauty, 
at  the  expense  of  failing  to  catch  her  intelli- 
gence. 

Miss  Pringle  still  has  unexpected  gifts  to 
give  to  the  screen;  she  is,  as  the  saying  goes, 
waiting  for  her  "big  picture." 


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4   1 


WE  WERE  IN  THE  MIDST 
OF  AN  HOUR  OF  ROMANCE 

(Letters  from  Lovers:  III) 

(]  found  myself  listening  for  the  silver 
)  splashing  of  a  fountain— the  sound 
of  a  far  faint  voice  from  a  minaret.  I 
found  myself  looking  for  a  lattice,  pat- 
terned in  the  purple  of  the  night— for  a 
sivaying  lamp  wrought  in  arabesques 
of  orange— for  we  were  in  the  midst  of 
an  hour  out  of  romance— with  you  at 
the  heart  of  its  beauty." 

IN  HER  DIARY 

"His  mood  u-as  so  dreamy  and  tender.  He 
had  never  been  like  that  before.  'And  yet — 
could  it  have  been — the  temple  incense!" 

J>=0  gain  a  richer  loveliness  from  the  very 
\£}  air  about  them,  the  exquisite  women 
of  other  centuries  used  the  mysterious  spell 
of  temple  incense.  That  spell  still  exists,  to 
exert  its  subtle  power  for  women  of  today, 
in  Vantine's  Temple  Incense.  Exquisite 
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ten  cents  for  six  sample  fragrances. 

A.  A.  VANTINE  &.  CO.,  INC. 
7  1    FIFTH    AVENUE,    NEW    YORK 


Do  They  Marry  for  Money? 


f  CONTINUED  FROM  PAGE  39  ] 


Norma  Talmadge,  for  instance,  is  one  of  the 
richest  women  in  Hollywood — or  anywhere 
else,  for  that  matter.  Joseph  Schenck  was  a 
fairly  rich  man  when  Norma  met  and  married 
him. 

But,  even  at  that  time,  Norma  was  making  a 
good  salary  and  the  returns  on  her  pictures 
were  getting  bigger  all  the  time.  Norma  and 
Joe  are  partners.  Joe  has  made  money  on 
sister  Constance's  successes  and  on  Brother 
Buster's  comedies. 

Norma,  guided  by  Joe,  has  made  some  profit- 
able investments. 

Norma  and  Joe  have  grown  rich  together — a 
fifty-fifty  affair.  Two  heads  were  better  than 
one. 

Mildred  Davis  Lloyd  is  also  enormously 
rich.  Harold's  salary  is  the  largest  of  any  star. 
But  Mildred  fell  in  love  with  Harold  long  before 
his  salary  went  into  Big  Money. 

And  Mildred  pouts  longingly  for  a  career  of 
her  own. 

Money  means  little  to  the  Lloyds. 

OTHER  actresses  have  married  high-salaried 
directors  and  actors.  Love  matches,  all  of 
them,  that  happened  to  turn  out  well.  And 
Frances  Howard  married  the  affluent  Samuel 
Goldwyn. 

But  with  very  few  exceptions,  the  richer 
producers — the  business  men  of  the  industry — 
still  have  the  same  wives  they  married  in  the 
days  of  their  poverty. 

But  what  about  the  beauties  who,  by  all  the 
laws  of  nature  and  precedent,  should  be  be- 
sieged by  millionaires? 

There  is  Corinne  Griffith.  Corinne  belongs 
on  Fifth  Avenue  or  Mayfair.  Not  only  is  she 
a  beauty,  but  she  is  well-mannered,  well-bred 
and  free  from  the  breath  of  scandal.  Corinne 
could  step  right  into  a  smart  drawing  room  and 
no  questions  asked. 

Corinne's  first  marriage  was  to  Webster 
Campbell,  a  so-so  director.  Corinne  was  a 
faithful   and   loving   wife    but    the   marriage 


Then  she  married  Walter  Morosco,  son  of  a 
theatrical  manager  who  has  lost  a  great  deal  of 
money. 

Corinne's  husband  also  works  as  a  director 
and  probably  gets  a  nice  salary. 

And  they  are  very  happy. 

But,  from  the  point  of  view  of  gathering  unto 
herself  the  worldly  goods,  any  snub-nosed, 
long-necked  debutante  can  do  better  for  her- 
self than  the  prettiest  girl  on  the  screen. 

The  worldly-wise  ones  of  the  movies  seem  to 
do  no  better  for  themselves.  Mae  Murray  is  no 
despiser  of  luxury. 

You  would  never  pick  out  Mae  as  being 
romantic  at  the  expense  of  the  practical  things 
of  life. 

And  yet  for  many  years,  Mae  has  been  self- 
supporting.  None  of  her  many  marriages  have 
been  brilliant  financial  successes.  Robert 
Leonard,  her  ex-husband,  gets  a  lot  of  money 
for  directing.  But  not  as  much  as  Mae  earns 
for  acting — or  whatever  she  calls  what  she  does 
on  the  screen. 

Mae's  newest  husband, Prince  David  Divani, 
has  gone  to  work.  He  shows  a  gallant  spirit  in 
making  a  name  and  salary  for  himself.  He 
probably  buys  his  own  ties  and  spats. 

But  I'll  wager  that  it  is  Mae  who  pays  the 
dressmaker's  bills. 

Mae  had  plenty  of  chances  to  learn  better; 
she  was  in  the  Follies.  But  the  girls  who  are 
most  hard-hearted  about  getting  big  contracts 
are  sometimes  the  most  impractical  when  a 
nice-looking  fellow  comes  along. 

Gloria  Swanson's  husband,  the  Marquis  de  la 
Falaise,  is  not  the  poverty-stricken  nobleman 
of  musical  comedy.  Henry's  family  has 
money;  Henry  has  an  office  where  he  conducts 
business  and  writes  short  stories.    But  Gloria 


is  the  cashier  of  the  family;  it  is  Gloria  who 
brings  in  the  big  bacon. 

It  isn't  Henry's  fault;  few  men  or  women 
earn  what  Gloria  does. 

Nevertheless,  although  she  likes  to  spend  it, 
Gloria  didn't  marry  money.  I  have  a  sneaking 
suspicion  that  Gloria  would  delight  in  ease,  in 
idleness  and  in  society.  But  I  also  have  more 
than  a  suspicion  that  she  would  prefer  Henry 
to  any  man  who  might  give  her  these  things. 

In  the  great  game  of  getting  a  meal  ticket, 
any  chorus  girl  with  half  her  beauty,  can  do 
better  than  Gloria.  Gloria  learned  many 
things  in  pictures,  but  she  never  picked  up  the 
gentle  art  of  gold-digging. 

Constance  Talmadge's  marriage  to  Captain 
Alastair  Mackintosh  was  heralded  as  a  brilliant 
one.  The  Captain  has  a  social  position  in 
London,  so  it  is  said,  and  ancestral  castles  in 
Scotland.  Constance  has  returned  to  go  back 
to  work.  The  marriage  has  gone  on  the  rocks. 
Maybe  there  was  Mackintosh  money  for  a 
rainy  day  but  Constance  took  no  chances. 
And  the  Captain  could  not  match  shillings 
with  Brother  Joe  Schenck. 

When  Anna  Q.  Nilsson  married  John  Gun- 
nerson,  the  newspapers  gracefully  described 
him  as  a  "wealthy  shoe  merchant."  Pretty 
soon,  the  "wealthy  shoe  merchant"  entered  a 
studio  to  "learn  the  business."  And  right  after 
that,  Anna  Q.  left  the  "wealthy  shoe  mer- 
chant" because,  somehow  or  other,  the  movies 
had  just  naturally  spoiled  his  taste  for  work. 

And  pretty  Anita  Stewart  married  Rudolph 
Cameron.  Rudolph  was  an  actor  and  his 
family  had  money.  But  although  Anita  was 
very  much  in  love,  she  finally  decided  that  one 
could  live  more  cheaply  than  two  and  parted 
from  Cameron. 

•"THERE  isn't  a  girl  on  Broadway  who  can 
*-  match  Esther  Ralston  for  sheer  beauty.  If 
Esther  were  on  the  stage,  where  her  beauty 
might  be  appreciated  by  men  who  pay  $20  a 
piece  for  their  seats,  her  loveliness  would  land 
her  some  lucrative  and  some  highly  respectable 
opportunities,  to  put  it  crudely. 

Esther  is  happily  married  to  her  manager, 
George  Webb.  Not  a  brilliant  match,  for  a 
girl  who  has  something  of  the  glamorous  qual- 
ity of  the  young  Lillian  Russell;  but  a  very- 
happy  one. 

Perhaps  it's  just  as  well. 

The  prosaic  creed  of  "Marry  one  of  your 
own  kind"  hits  even  the  stage  girls,  once  they 
go  into  the  movies.  Louise  Brooks,  one  of  the 
most  famous  chorus  girls  on  Broadway,  cer- 
tainly knew  all  the  market  quotations  of  the 
Butter  and  Egg  Business.  But  the  movies  got 
Louise. 

Once  Louise  began  earning  a  real  salary  of 
her  own,  she  married  for  love.  Eddie  Suther- 
land was  the  lucky  one. 

Eddie  gets  a  large  salary,  but  Louise  had  the 
pick  of  a  large  field.  And  everyone  had  pre- 
dicted that  the  snapping,  black-eyed  girl  would 
land  something  big  from  Wall  Street.  No  one 
ever  thought  that  she  would  pull  a  romantic 
and  impulsive  elopement  with  a  nice-looking 
young  man,  just  like  the  silliest  small-town 
girl. 

So  there  you  are!  And  what's  the  reason 
back  of  all  these  impractical  and  romantic 
marriages?  Why  don't  they  marry  money, 
after  the  established  fashion  of  the  stage 
beauties? 

Does  the  very  atmosphere  of  the  movie 
studios  kill  off  Cinderella  romances?  Is  Cali- 
fornia too  far  from  Long  Island  and  Park 
Avenue?  Would  millionaires  rather  pick  their 
wives  from  $20  revues  than  from  $10  movie 
theaters? 

Or  is  it  because  the  movie  stars,  independent 
and  self-supporting,  simply  can't  be  bothered 
with  rich  suitors? 


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Photoplay  Magazine — Advertising  Section 


WLakes 

Perfect 
Hands' 

says  beautiful 

Eleanor 
Boardman 


Beautiful  hands!  Hands  xvith  character! 
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c^rtistic  I 
c^kfake-up 

by  HELENA  RUBINSTEIN 

{Internationally  Renowned  Beauty  Scientist) 

\  PPLIED  with  artistry,  make-up  flat- 
■**■  ters  and  magnifies  your  beauty  a 
hundred-fold.  It  is  important,  however, 
to  select  the  precise  tones  for  your  color- 
ing under  day  or  night  light — to  use  cos- 
metics that  harmonize  with  the  intricate 
organism  of  the  skin — and  to  commence 
your  finishing  touches  with  a  protective 
cream. 

The  Basis  of  Beauty 
VALAZE  PASTEURIZED  FACE  CREAM  — 
ideal  cleansing,  molding  and  protective  cream 
— soothes,  refreshes,  molds  out  "tired  look." 
Unsurpassed  for  all  normal  skins,  also  the  only 
cream  that  benefits  an  oily,  pimpled  or  acne- 
blemished  skin.    Excellent  as  a  foundation  for 
make-up.     4  02.  1. 00,  l/2  lb.  2.00,  lb.  3.50. 
Following  are  my  recommendations 
for  the  four  predominant  colorings: 
Blondes 

VALAZE   POWDER   (blush   or   natural  for  day— 

mauve  for  evening) 
VALAZE  RED  GERANIUM   ROUGE 
VALAZE  RED  GERANIUM  LIPSTICK 

Brunettes 

VALAZE  POWDER  (mauresque  for  both  day  and 

evening) 
VALAZE  RED  RASPBERRY  ROUGE 
VALAZE  RED  RASPBERRY  LIPSTICK 

Medium 

(between  blonde  and  brunette) 
VALAZE  POWDER  (racliel  or  blush  for  day,  mauve 

for  evening) 
VALAZE  CRUSHED  ROSE  LEAVES  ROUGE 
VALAZE  RED  RASPBERRY  LIPSTICK  (medium) 
For     evening,      VALAZE      RED      GERANIUM 
ROUGE  and  LIPSTICK  are  exceedingly  becoming 

Auburn 

VALAZE  POWDER  (.white  or  cream  for  day— mauve 


for 


VALAZE  CRUSHED  ROSE  LEAVES  ROUGE 
VALAZE  RED  *  RASPBERRY  LIPSTICK  (For 
evening — use  the  intensely  flattering  VALAZE 
RED  GERANIUM  ROUGE  and  LIPSTICK) 
Order  VALAZE  NOVENA  POWDER  if  your  skin  is 
very  dry.  or  VALAZE  COMPLEXION  "POWDER  if 
it  is  normal  or  oily.  The  powders  are  1.00.  1.50.  or  3.00. 
Rouge-compacts  1.00.  Rouge-en-Creme  1.00,  2.00. 
Crushed  Rose  Leaves,  only  in  compacts  1.00.  Lipsticks 
1.00,  50c.  CUPIDSBOW— the  new  self-shaping  lip- 
stick— in  Red  Geranium  and  Red  Raspberry  shades 
1.50. 

Dispensed  at  the  belter  stores  by  trained  and  com- 
petent advisers,  or  order  direct  from  Depl.  P-1Z 

ffdma  l\utfui#ew 

46  West  57th  Street,  New  York 


Trade-mark  Reg. 


The  Truth  About  Breaking  Into  the  Movies 


[  CONTINUED  FROM  PAGE  34  ] 


"I  wanted  to  get  a  room,  to  see  if  I  could 
stay  here,"  I  stammered  and  tried  to  keep 
from  staring  at  her. 

"Are  you  in  the  movies?"  she  questioned. 
"We  aren't  supposed  to  take  in  any  girl  who 
isn't  and  Miss  Williams  isn't  here  just  now." 

"I'm  trying  to  get  in,"  I  told  her. 

She  meditated  a  moment.  "  We  can  put  you 
up  for  the  night  anyway,"  she  decided.  "The 
transient  rate  on  a  single  room  is  Si. 85  a  day. 
You  can  get  meals  if  you  wish.  We  serve 
breakfast  for  twenty-five  cents  and  dinner  for 
sixty-five.  Wait  just  a  moment  and  I'll  have 
one  of  the  girls  show  you  what  rooms  are  free 
and  you  can  choose  the  one  you  like  best." 

A  girl  with  hair  like  midnight  and  a  perfect 
profile  came  in  answer  to  the  bell.  We  walked 
through  a  charmingly  decorated  drawing  room, 
through  the  library  and  the  tiny  writing  rooms, 
out  to  a  patio. 

■EVERYWHERE  we  passed  girl  residents, 
■'-'and  each  of  them  seemed  to  my  dazzled  eyes 
prettier  than  any  girl  I  had  ever  seen  before.  My 
nice  guide  showed  me  six  rooms.  I  chose  one 
blindly.  It  was  impossible  for  me  to  see  chairs 
and  dressing  tables.  I  could  only  see  my  own 
face.  I  had  rated  that  face  a  good  Grade  B  in 
New  York.  In  Hollywood  it  wasn't  even  a  T 
minus. 

I  returned  to  Los  Angeles  and  got  my  bags, 
then  taxied  back  to  the  Club.  Taxis  are  for  the 
rich  only  in  the  West.  The  meter  showed 
$4.90. 

I  bathed  and  dressed.  I  did  the  best  I  could 
with  powder  and  rouge  and  lipstick.  I  put  on 
the  smartest  dress  I  own  and  went  down  to 
dinner  at  six-fifteen. 

The  youth  and  beauty  of  those  girls!  It  was 
there  again,  facing  me.  At  a  large  center  table 
were  four  older  women,  eating.  I  crept  over 
there.  Everyone  smiled  politely  and  paid  no 
attention  to  me.  The  youth  and  beauty  of 
those  girls!  The  fact  of  it  beat  against  my 
brain. 

It  was  evening.  The  moment  the  sun  goes 
down  in  Hollywood  the  dark  comes.  I  under- 
stood that  if  Miss  Williams,  the  head  of  the 
Club,  had  been  there,  she  would  have  welcomed 
me.  But  she  was  out.  I  had  been  four  days 
and  nights  on  a  train  with  no  one  to  talk  to.  I 
had  been  in  town  all  day  long.  I  wished  some- 
body would  come  and  question  me.  I  wished 
someone  would  come  and  lecture  me.  I  wished 
anyone  would  talk  to  me  about  anything  in  the 
world. 

Lights  went  on  in  the  various  rooms  about 
the  house.  Phonographs  played  and  young 
laughter  floated  down.  I  sat  down,  for  a  few 
moments,  in  the  drawing  room.  Slender- 
legged  girls  rushed  out  to  meet  handsome 
young  men,  parked  outside  in  low  cars.  I 
walked  slowly  to  my  room.    Nobody  noticed. 

The  five  hundred  dollars.  I  saw  it  glimmer- 
ing. For  the  first  time  I  knew  what  I  was  up 
against. 

For  the  first  time  I  knew  what  any  girl  is 
up  against  when  she  comes  to  Hollywood  iand 
tries  to  break  into  the  movies. 

There  is  an  emotional  quality  in  the  city. 
Imagination  becomes  the  only  reality.  There  I 
was,  a  newspaper  woman  who  had  written  of 
everything  from  crime  to  bonfires.    Yet  what 


woman  has  common  sense  enough  to  withstand 
the  deep  hurt  of  realizing  she  is  the  least 
attractive  person  in  a  group  of  her  own  sex? 

I  was  so  tired  and  lonely  and  homesick  and 
my  face — oh,  that  face  of  mine.  I  buried  it 
tight  down  into  the  pillow,  so  that  all  sound 
was  muffled. 

The  next  morning,  however,  I  snapped  out  of 
the  blues.  Gathering  my  courage  I  asked  ad- 
vice of  the  girls  at  the  Club.  To  which  studio 
should  I  go  first?  Which  casting  agents  were 
kindliest?   Where  were  the  most  opportunities? 

Brilliant-eyed  Betty  Egan,  who  is  the  danc- 
ing double  for  many  stars,  spoke.  "You'll 
have  to  go  to  Central  Casting  first,"  she  told 
me.  "You  can't  get  in  anywhere  unless  you 
are  registered  there.  The  old  days  are  gone. 
Will  Hays  organized  the  Central  as  a  casting 
agency  and  put  the  others  out  of  business,  as 
far  as  extras  are  concerned.  You  must  get  on 
their  lists.    Otherwise  you  simply  can't  break 


nril  ERE  are  separate  castingdays  for  men  and 
-*-  women  at  Central,  and  it  was  my  bad  luck  to 
arrive  on  men's  day.  The  girl  at  the  door  was 
courteous,  however,  and  told  me  to  see  Marion 
Mel,  that  slender,  keen-eyed  woman  every  girl 
trying  to  break  into  the  movies  today  must  go 
up  against. 

Miss  Mel  was  polite  and  as  kindly  as  effi- 
ciency permitted.  But  she  flatly  refused  to 
register  me. 

"We  have  more  women  on  our  books  now 
than  we  can  possibly  place."  Her  tone  was 
final.  "We  are  taking  no  new  registrations 
whatsoever." 

"But  I  understand  I  can't  get  into  the 
movies  unless  I'm  registered  here,"  I  argued. 

"You  can't,  unless  you  have  direct  influence 
with  some  studio  that  orders  us  to  register 
you." 

"I  haven't,"  I  confessed.  "I've  cornea  long 
way.  I  must  get  into  pictures.  What  can  I 
do?" 

"Listen,  my  dear,"  she  said.  "Think  over 
your  life  and  recall  the  thing  you  do  best. 
Then  go  back  home  and  do  it.  Hollywood 
doesn't  need  or  want  you.  Go  home.  If  you 
stay  here,  you  will  only  suffer  and  possibly 
starve." 

"Can't  you,  your  organization,  help  me?"  I 
begged. 

"I  can't,"  she  said,  "and  for  your  own  sake, 
I  won't." 

Plainly  there  was  no  use  arguing  farther.  I 
went  back  to  Hollywood  Boulevard.  Licked. 
I  couldn't  get  in.  I  kissed  my  five  hundred 
dollars  good-bye. 

Then  I  got  mad.  After  all,  I  wasn't  a  little 
girl  looking  for  work.  I  was  a  newspaper 
woman.  I  had  faced  interviews  I  couldn't  get 
— and  got  them.  I  had  faced  morgues,  suicide 
homes,  fire  lines  and  been  told  to  keep  out — 
and  had  got  in 

Now  I  was  told  I  couldn't  break  into  the 
movies. 

By  heaven,  I  was  going  to  break  in. 

I  rushed  for  the  nearest  telegraph  office. 
"Hays  office  says  I  can't  break  into  movies,"  I 
wired  my  editor.  "  Refuse  to  believe  it.  Don't 
expect  to  see  me  again  till  I  make  the  movie 
grade." 


Next  month  Ruth  Waterbury  will  describe  her  experiences  in 
the  casting  offices  of  the  studios,  tell  how  the  Chamber  of  Commerce 
of  Hollywood  regards  the  extra  girl  and  reveal  some  hitherto  un- 
published statistics.     In  the  January  issue  of  Photoplay,  on  the 
newsstands   December   10. 


Every   advert  1st 


PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


93 


-a  pair  of  Kum-a-parts  fir  his  cuffi 
■the  hand  decorated  chest/V  his  cigarettes 


See  this  handsome  Kurrva-part 
Gift  of  double  delight  at  Jewel' 
ers'  and  the  better  Men's  Shops 
— $5.00  complete. 

The  most  popular  cuff  button  in 
the  world  in  a  presentation  pack' 
age  worthy  of  the  jewelry  it 
holds.  Every  man  knows  and 
acclaims  the  Kum'a'part  with  its 
click'open,  snap'shut  action — the 
one  cuff  button  that  combines 
smart  style  with  guaranteed  life' 
time  service. 

The  Name  KUM-A-PART  is 
stamped  on  the  back  of  each 


button.  It's  easy  to  identify  the 
genuine;  it's  hazardous  to  accept 
a  substitute. 

If  your  dealer  cannot  show  you 
the  Kum-a'part  in  this  new  gift 
chest,  send  his  name  and  $5.00 
to  the  Baer  &  Wilde  Co.,  Attic 
boro,  Mass.,  and  you  will  be  sup' 
plied  quickly. 

Jewelers  and  smart  men's  shops  are 
showing  Kum'a'part  Kuff  Buttons 
in  a  number  of  other  handsome 
designs  suitably  hoxed  for  giving. 
Priced  up  to  $25  the  pair,  accord' 
ing  to  quality. 


THE    BAER    &    WILDE    CO.,    Attleboro,  Mass.,  U.  S.  A. 


kUMAPAgT 


<*EG.  U.  S.  PAT.  OFF. 


— a  gift  within  a  gift — a  pair 
of  Kum-a-part  Kuff  Buttons 
in  hand  decorated,  antique 
gold  chest  with  modeled 
beautifully  colored.  A 
,  decorative  container. 


Gift  comple 


illusti 


/*\ 


ill  ->  - 


See  the  new  Kum-a-part  Dress  Set  with  patented  easy-to-insert  stud  - 


lion  niilTOI'I.AY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Sore 
Throat 

both  Inside  and  Out 

A  few  drops  of  Absorbine,  Jr.  in 
water,  used  as  a  gargle,  destroy 
germs,  relieve  irritation  and  soothe 
the  inflamed  tissue. 

Outside,  used  full  strength,  it 
breaks  up  congestion  and  relaxes 
the  tension  of  the  muscles. 

Used  regularly  as  a  gargle  and 
mouthwash.it  is  not  only  cleansing 
and  refreshing,  but  a  preventive  of 
sore  throat  and  the  more  ,^^^^_ 
dangerous  infections 
which  often  follow. 

Send  for  free  trial  bottle 


*SLs/J 


W.  F.  YOUNG,  Inc. 
Springfield,  Mas9. 


83*<s 


Absorbine  jr 

THE  ANTISEPTIC    LINIMENT 


Speaking  of  Pictures 


[  COXTINTED  FROM  PAGE  2~,  ] 


get  there  before  the  German  soldier 
smashes  in  the  door. 

AND  while  I  have  my  hammer 
out,  I  want  to  register  an  em- 
phatic protest  to  the  similarity  of 
Roy  D'Arcy's  villainies.  That  same 
leer,  and  crooked  smile,  and  dental 
exhibition,  will  some  day  send  me 
out  of  the  theater  stark  mad.  Please, 
Mr.  Metro-Goldwyn,  make  him  stop 
teasing  me.  He's  such  a  good  actor, 
if  he  wouldn't  grin  his  malice  so 
much.  John  Barrymore  can  express 
hate,  viciousness,  anger,  or  anything 
else  without  advertising  that  he  uses 
Pepsodent  or  Ipana  tooth  paste. 

T  AYING  down  the  hammer,  I  will 
now  prove  my  boy  scout  training 
by  saying  a  kind  word  for  a  poor 
producer,  although  there  will  be 
gossip  among  the  press  agents  that  I 
devote  all  the  kind  words  this  month 
to  non-advertisers. 

With  all  due  respect  to  the  genius 
of  Harry  Reichenback,  who,  for  the 
sake  of  exploiting  a  picture,  would, 
over  night,  move  the  White  House 
out  into  the  center  of  Pennsylvania 


Avenue  and  talk  the  police  into  help- 
ing him  do  it,  I  hand  the  palm  for 
the  best  stunt  of  years  to  the  afore- 
said Sam  Goldwyn. 

He  inspired  the  recent  "Winning 
of  the  West"  convention  in  Los 
Angeles,  attended  by  ten  governors 
of  Western  states  and  hundreds  of 
engineers  and  others  directly  inter- 
ested in  reclamation  problems. 

HTHESE  men  got  together  to  settle 
thedeadlockonthequestionof  con- 
flicting state  rights  to  the  flow  of  the 
Colorado  River  and  other  disputed 
claims,  and  brought  national  atten- 
tion to  their  accomplishments  in 
transforming  deserts  into  gardens. 
It  was  a  genuine  service  to  the  West, 
and  they  are  duly  grateful  to  Sam 
and  gave  him  public  credit. 

It  didn't  matter  to  them  that  the 
opening  of  the  convention  synchro- 
nized perfectly  with  the  premiere  of 
his  "Winning  of  Barbara  Worth," 
and  that  the  delegates  attended  in  a 
body  to  view  his  really  worth-while 
production  based  on  Wright's  novel 
on  the  irrigation  development  of  the 
Imperial  Valley. 


Here's  an  Actor 


[  COMTINUED  FROM  PAGE  7 1  j 


run  seventy  yards  to  a  touchdown,  nor  been  a 
collar  ad  man.     But  he  can  act. 

I  don't  think  of  any  other  star  in  the  indus- 
try, past  or  present,  who  has  dared  to  rest 
his  laurels  upon  the  mere  basis  of  acting. 

Of  course,  there  is  Lon  Chaney.  But 
Chaney's  work  has  run  in  bizarre  channels,  and 
his  characterizations  have  often  been  to  a  very 
large  extent  a  matter  of  make-up.  Jean 
Hersholt  never  uses  anything  but  plain  No.  2 
grease  paint  and  sometimes  a  little  crepe  hair. 

Lots  of  people  have  arrived  in  Hollywood 
broke.  I  suppose  they  figure  they  might  as 
well  come  that  way  as  get  that  way.  However, 
nobody  that  I've  met  up  with  ever  hit  the 
town  in  any  more  straitened  circumstances  than 
this  young  Danish  actor. 

He  had  been  sent  to  San  Francisco  by  the 
Danish  government  to  put  on  the  Danish 
national  play  at  the  San  Francisco  Fair  of  1015. 
They-  paid  his  expenses  and  gave  him  money 
enough  to  get  back  to  Denmark. 

Anyway,  instead  of  going  back  to  Denmark, 
he  came  to  Hollywood  with  a  very  swell  ward- 
robe, his  wife,  a  six-months-old  baby,  and 
eleven  dollars.  They  walked  the  streets  from 
nine  to  four  and  finally  found  an  apartment 
for  five  dollars  a  week. 

The  remaining  six  dollars  vanished  before  a 
job  appeared,  and  after  stalling  the  landlady 
for  two  weeks  the  little  family  moved  into  a 
sort  of  woodshed  in  the  rear.  It  was  furnished 
with  one  bed,  at  least  they  called  it  a  bed,  and 
a  table  with  only  three  legs. 

y  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Jean  went  out  to  see  Tom  Ince,  at  Inceville, 
one  hot  summer  afternoon.  He  walked  two 
miles  through  the  dust  from  the  end  of  the  car 
line  to  the  studio,  and  tried  to  keep  his  clothes 
clean. 

"That's  a  pretty  doggy  suit  you've  got  on," 
said  Mr.  Ince. 

"Yes,"  said  Hersholt. 

"You  got  any  more  like  that?" 

"Oh,  yes,"  said  Hersholt. 

"Got  a  cutaway,  and  dinner  clothes,  and 
a  riding  outfit?" 

"Yes." 

"You  can  go  to  work  for  fifteen  dollars  a 
week  next  week,"  said  Mr.  Ince. 

So  you  see  Denmark  did  well  by  her  favorite 
son  after  all,  because  it  was  the  wardrobe  and 
not  Jean  that  Tom  Ince  hired.  Well,  Jean 
dashed  home  and  bought  another  leg  for  the 
table,  and  from  that  time  all  went  well. 

He  was  in  stock  at  Inceville,  at  Universal, 
and  at  Triangle.  At  Triangle,  he  was  given 
the  post  of  make-up  inspector.  No  principal 
could  go  on  the  set  until  Hersholt  had  okeyed 
the  make-up. 

He  has  finished  his  first  starring  picture, 
"The  Old  Soak,"  for  Universal,  and  is  making 
"The  Wrong  Mr.  Wright." 

And  I  am  not  a  prophet  and  never  pretended 
to  be,  but  I  have  a  hunch  that  the  public  is 
going  to  be  crazy  about  Jean  Hersholt,  and 
that  his  stardom  will  be  built  solidly  and  firmly 
upon  their  affection  and  regard. 

Because  he  is  an  actor. 


Photoplay  Magazine — Advertising  Section 


95 


Miss  Dorothy  Mackaill,  now  being  starred  in  the  First  National  Picture,"  Just  Another 
Blonde,"  admires  her  beige  cape  gloves  with  petit  point  embroidered  cuff. 

Both  Blondes  and  Brunettes  Prefer 
the  Glove-Robe  Gift 

The  Glove-Robe  consists  of  three  or  more  pairs  of  gloves  —  a 
pair  appropriate  for  each  costume  and  occasion.  Both  "blondes 
and  brunettes"  would  welcome  a  Glove-Robe  of — afternoon 
gloves  like  Miss  Mackaill's,  tailored  gloves  of  washable  doeskin, 
chamois,  cape  or  mocha,  and  lined  sport  gloves  of  cape  or  mocha 
trimmed  with  fur.  Gloves  always  make  a  welcome  gift  when 
selected  to  harmonize  with  your  friends'  costumes. 

Ask  your  dealer  to  show  you  gloves  for  gifts  or 
write  us  for  Glove-Robe  suggestions. 

The  Associated  Glove  Crafts 

395  Broadway 
New  York,  N.  Y. 


I'llOTIII'I -AY    MAC,  \Z1\T.. 


What  the  Stars  and  Directors  Are  Doing  7v(0W 


WEST  COAST 


(Unless  otfitnrisr  specified  studios  are  at  Hollyn rood) 

ASSOCIATED  STUDIOS.  3SO0  Mission  Road 

Inactive. 

CHADWICK  PICTURES,   1440  Gower  Street. 

Production  has  been  .started  on  "Sunshine  of  Para- 
dise Alley."     Cast  not  announced. 

Production  has  been  started  on  "Shamrock  and  the 
Rose."     Cast  not  announced. 

CHARLES  CHAPLIN  STUDIOS,  1416  LaBrea  Ave. 

Inactive. 

CECIL  B.  DE  MILLE  STUDIOS,  Culver  City.  Cal. 

Cecil  B.  De  Mllle  directing  "The  King  of  Kings." 

will)  -l;n  quel i Hi'  Logan.  Dorothy  CummlliK,  Ru- 
dolph Set  lildk  rail  t,  Joseph  Si 'hi  hi  kraut.  Victor  Var- 
coni,  H.  B.  Warner.  Charles  Ray,  Theodore  Kos- 
loff,  Bryant  Washburn,  Sally  Rand  and  So-jin. 


Frank  Tuttle  will  direct  "Skin-Deep."  with  Flor- 


i  start  on  "Let  it  Rain."  with 


MACK  SEXXETT  STUDIOS.  1712  Glendale  Blvd. 

Ben  Turpin.  Ruth  Hiatt.  Raymond  McKce.  Mary 
Ann  Jackson,  Madeline  Hurlock.  Billv  Bevan. 
Thelma  Hill.  Vernon  Dent,  Danny  O'Shea.  Bar- 
ney Helium.  Jerry  Zier  and  Alma  Bennett — all 
working  on  two-reelers. 

MARSHALL   NEILAN  STUDIOS.    1845   Glendale 
Blvd. 

Inactive. 


John  Robertson  directing  "Old  Heidelberg."  with 


TEC-ART  STUDIOS.  332  West  44th  Street.  X.  Y  C. 
"The  Broadway 


ABROAD 


'  Madame  Pompa- 


Olaf  Nils  Chrisander  directing  "Fighting  Love." 
with  Jet-ta  Goudal  and  Victor  Varconi. 


CHANGE  IN  TITLES 

FIRST  NATIONAL 


COLUMBIA  PICTURES,  143S  Go 


Production  ulll  soon  start  on    'War  llirds  "     Cast 

not  announced. 
METROPOLITAN   STUDIOS,    104t)    Laa   Palmas 

Ave, 

Prodnrtlon  will  soon  start  on  "The  Sand   Man," 
wtiii  Jack  Hoxle. 

UNITED  ARTISTS  STUDIOS,  7100  Santa  Monica 


"The  Charleston  Kid."  featuring  Dorothy  Mar- 
katll.  Jack  Mulliall,  Louise  Brooks  and  Hosier  <  oi- 
lier, has  been  changed  to  "Just  Another  Blonde." 

UNITED  ARTISTS 


F.  B.  O.  STUDIOS,  7S0  Gower  Street. 

"The  Salvation  Ja 


UNIVERSAL 


directing    and    playing    the    lead    In 


FIRST  NATIONAL  STUDIOS.   Hiirbank,  Calif. 


UNIVERSAL  STUDIOS.  Universal  City,  Calif. 


FAMOUS  PLAYERS 


Al  Santell  directing  "The  Patent  Leather  Kid" 
with  Richard  Hartlielnicss  and  Dorothy  Mnekaill, 
Production  will  soon  start   on  "Purple  and  Fine 


Tod  Sloman  directing  "Alias   the   Deacon."    with 
Jean  iiershoit. 


WILLIAM  FOX  STUDIOS.   1400  X    Western  Ave. 


WARNER    BROTHERS    STUDIO.    .">S41     Melrose 


BUSINESS  OFFICES 


Alfred  E.  Green  directing  "The  Auctioneer,"  with 
Marion  Nixon,  Ward  Crane,  Doris  Lloyd  and 
Gareth  Hughes. 


Associated  First  National  Pictures,  lisil  MadlsonAve  . 
New  York  City  Richard  Barthelmess  Prod  .  In- 
spiration Pictures.  565  Fifth  Ave..  Xew  York  City. 


HAL  ROACH  STUDIOS,   Culver  City,  Calif. 

"Our  Gang"  working  on  comedies. 

Charlie  Chase,  Bull  Montana.  Eugenia  Gilbert. 
Eugene  Tallett,  Edith  Carvin.  Amber  Xormand, 
Valentine  Zlmina.  Mabel  Xormand.  Ethel  <  'lavton. 
Agnes  Avres.  Theda  Bara  and  Helene  Chadwick — 


-ASKY    STUDIOS,  5341    Melrose  Av 


EAST  COAST 

COSMOPOLITAN  STUDIOS.  2nd  Ave.  and  12 
Street.  N.  Y.  C 


5th  Street  and  10th 


Metro-Goldwyn,    Io40   Broadway.   New  York   City 


Pathe  Exchange,  :!.".  West  lath  St..  New  Y'ork  City. 


'  Fashions    for  Gregory   La  Cava  directing  "Paradise  for  Two.' 

with  Richard  Dix. 


Brothers.  1G00  Broadway.  New  York  City. 


96 


May  McAvoy,  mho  plays  the 

lovely   and   appealing   role   of 

"Esther"  in  the  great  picture 

spectacle,  Ben  Hur 


Carmel  Myers,  m  the  part  0/ 
Iras,  the  seductive  and  beauti- 
ful Egyptian  princess 


Ramon  Novarro,  as  the  young  hero,  Ben  Hur. 
in  the  breath-taking  scene  of  the  chariot-race 


Three 
Great 
Stars 


appearing  in  Ben  Hur  tell  why 
they  admire  Ben  Hur  Perfume 


TO  Ramon  Novarro,  the  great  romantic  ac- 
tor, it  seems  to  distill  the  romance  its 
name  typifies  —this  delicious  new  perfume, 
Ben  Hur. 

"I  have  found  nothing  in  perfumes  more  de- 
lightful than  Ben  Hur,"  writes  May  McAvoy, 
who  plays  the  role  of  Esther  in  the  great  Metro- 
Goldwyn-Mayer  screen  spectacle  of  that  name. 

"Exquisite" — Carmel  Myers  says  of  its 
seductive  fragrance  —  "Delightfully  different 
— distinctive." 

If  you'd  like  to  try  Ben  Hur  Perfume,  write 
us  for  a  free  miniature  vial  of  the  extract  and 


a  tiny  box  of  the  face  powder.  They  will  bring 
you  a  breath  of  sweetness  you  will  never  again 
want  to  be  without. 

Gift  packages  of  Ben  Hur,  handsome  within  and 
without,  reflect  the  latest  designs  and  colorings,  $1.00 
to  $1000.  •They  make  beautiful  gifts  for  Christmas 
and  other  occasions,  too.  The  extract  also  comes  in 
hulk,  m  miniature  bottles  and  in  purse  bottles,  flat  little 
vials  just  the  si:c  and  shape  to  tuck  conveniently  into 
your  purse. 

You  may  buy  these  delightful  Ben  Hur  accessories 
for  the  toilette  at  leading  druggists  and  at  the  toilet 
goods  counters  of  department  stores. 

The  smart  young  girl,  the  chic  older  woman,  both 
will  welcome  these  lovely  gift  boxes  for  Christmas  this 
year. The  Andrew  Jergens  Company, Spring  Grove  Ave- 
nue. Cincinnati.  Ohio 


(The  chariot  race  —  the  great 

dramatic  climax  of  Ben  Hur,  and 

one  of  the  most  thrilling  scenes  ever 

staged  for  the  silver  screen 


ien  Hur  Combination 
Box,  Carre  —  an  exquisite 
gold  and  violet  case  contain- 
ing the  seductive  Ben  Hur 
Perfume,  Ben  Hur  Toilet 
Water,  and  a  silver-finish 
Double  Compact,  in  the 
net'1  Renaissance  design. 
A    beautiful  gift   package 


cs\  rich  looking  gift  package,  Le 
Cadeau,  satm-Iined  and  confetti- 
covered,  containing  a  bottle  of 
delicately  refreshing  Ben  Hur 
Toilet  Water  and  a  box  of  Ben 
Hur  Face  Powder  (m  three  shades, 
irhite.  flesh  and  brunette) 


his  dainty  one-ounce  bottle  of 
Ben  Hur  Perfume,  Le  Coucher 
du  Soleil,  brings  you  the  fra- 
grance so  highly  praised  by  three 
great  movie  stars,  Ramon  Tsfo- 
varro,  May  McAvoy,  and  Car- 
mel  Myers 


QUESTIONS    6s?   ANSWERS 


Read  This  Before 
Ashing  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. 


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. 


S.  R.,  Marble  Falls,  Tex.— Yes,  Malcolm 
MacGregor  is  married.  But  Rod  La  Rocque 
isn't,  if  that'll  make  you  feel  better.  Rod's 
name  is  his  own,  believe  it  or  not.  Malcolm 
was  born  Oct.  13,  1S96,  and  Rod  Nov.  29, 1898. 
Rod's  newest  picture  is  "Gigolo."  Clara  Bow 
is  engaged  to  her  director,  Victor  Fleming. 
Hope  she  doesn't  change  her  mind.  Clara  has 
brown  eyes  and  reddish  brown  hair. 

E.  M.  S.,  Philadelphia,  Pa. — William 
Haines — there's  that  boy  again — was  born  in 
Staunton,  Va.,  Jan.  1,  1900.  Will  all  you  girls 
please  take  notice  of  where  and  when  Bill  was 
born?  And  here  is  Richard  Dix  again.  Con- 
fidentially, no!  Get  what  I  mean?  Louise 
Brooks  is  married  to  Eddie  Sutherland.  She's 
nineteen  years  old.  Gloria  Swanson  has  an 
adopted  daughter,  six  years  old,  and  an 
adopted  son,  a  little  younger. 

Van,  Schenectady,  N.  Y. — Richard  and  T 
thank  you.  His  next  picture  is  "The  Quarter- 
back." And  after  that,  he'll  play  in  a  D.  W. 
Griffith  special,  "The  White  Slave."  _  I 
answer  my  own  questions.  The  red-haired 
secretary  is  a  blonde  now. 

A  Constance  Bennett  Admirer,  Lowell, 
Mass. — Little  Constance  is  in  Europe.  She 
went  abroad  to  attend  the  wedding  of  her 
sister.  She's  very  much  married  to  Phil  Plant 
and  is  leading  a  quiet,  domestic  life.  You 
know  her  husband  is  extremely  rich  and  he  and 
Constance  are  very  devoted.  I  am  afraid 
Constance  is  too  happy  to  return  to  the  movies. 

E.  S. — I  don't  know  Silver  King's  age.  He 
won't  let  me  count  his  teeth.  Fred  Thomson's 
next  picture  is  "The  American  Scout."  Ad- 
dress him  at  the  F.  B.  O.  Studios,  Hollywood, 
Calif.  The  two  bits  is  sufficient.  Fred  was 
born  April  29,  1890.  Yes,  it's  true;  he  was 
once  a  preacher. 

F.  S.,  Morgantown,  W.  Va. — Ben  Lyon 
was  born  Feb.  6,  1901.    That's  his  real  name. 
Corinnc  Griffith  has  light  brown  hair  and  blue 
eyes.   Gloria  Swanson,  Clara  Bow  and 
Corinne  are  all  Americans. 

Jule,  Chester,  Pa. — The  name  of 
the  man  who  played  in  "  New  Lives 
for  Old"  was  Jack  Joyce.  He  is  now 
appearing  in  vaudeville.  He  doesn't 
play  in  pictures  regularly. 

L.  H.,  Orlando,  Fla. — Natacha 
Rambovawas  the  professional  name  of 
Winifred  Hudnut.  So,  you  see,  they 
are  one  and  the  same  woman.  Does 
that  clear  up  the  misunderstanding?  I 
talked  with  Valentino  often.  He  had 
a  slight  and  charming  accent  and  a  fas- 
cinating Italian  smile.  You  may  still 
obtain  a  picture  of  him  by  writing  to 
United  Artists,  729  Seventh  Avenue, 
New  York  City.  Enclose  a  quarter 
with  your  request. 


Frances  D.  W.,  Philadelphia,  Pa. — Bebe 
Daniels'  mother  is  of  Spanish  descent.  Thai 's 
her  real  name.  Her  next  picture  is  "Stranded 
in  Paris."  James  Hall  is  her  leading  man.  If 
Cortez  is  going  to  play  opposite  her,  nobody 
has  told  me  about  it.    Like  Bebe,  don't  you? 

D.  W.,  Hagerstown,  Md. — Victor  Var- 
coni's  hair  is  "honest-to-goodness  wavy."  You 
didn't  think  he  had  it  curled,  did  you?  Fie, 
Fie!  Victor  was  born  in  Kisvarda,  Hungary. 
Now  look  that  up  on  your  map.  He's  married. 
Born  March  31,  1896.  Six  feet  tall  and  dark 
brown  eyes. 

Curly-locks,  Youngstown,  O. — Bashful! 
Your  two  favorites  are  married — and  to  each 
other.  Isn't  that  nice?  Elinor  Faire  is  five  feet, 
four  inches  tall  and  weighs  118  pounds.  She 
was  born  Dec.  21,  1904.  She  has  reddish 
brown  hair  and  brown  eyes.  Bill  Boyd  is 
twenty-six  years  old. 

Ida  La  Motte,  Elizabeth,  N.  J. — Mar- 
guerite's name  is  the  same  as  yours.  She  was 
born  in  Duluth,  Minn.,  June  22,  1904.  Con- 
way Tearle  was  born  in  1882.  His  first  wife 
was  Josephine  Park;  his  second,  Mrs.  Roberta 
Menges  Corwin-Hill;  his  third  and  present 
wife  is  Adele  Rowland. 

Ruth  A.,  Cleveland,  O. — Ramon  Novarro 
changed  his  name  from  Ramon  Samoniegos. 
His  real  name  was  too  hard  to  pronounce. 
Ramon  was  born  in  Durango,  Mexico.  Not 
married. 

Dorothy  J.,  Auburn,  N.  Y. — Florence 
Vidor's  daughter,  Suzanne,  is  six  years  old. 
They  do  say  that  Miss  Vidor  is  engaged  to 
marry  George  Fitzmaurice.  Colleen  Moore 
was  born  Aug.  19,  1902.  Lloyd  Hughes  was 
born  Oct.  21,  1897. 

"Just  Betty,"  Montclair,  N.  J. — Mustn't 
argue  with  sister!  However,  to  bring  peace  to 
the  family,  I'll  tell  you  that  Gloria  Swanson's 
leading  man  in  "The  Coast  of  Folly"  was 
Anthony  Jowitt. 


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. 


H.  R.  J.,  Woodhaven,  L.  I. — Mercy,  Vir- 
ginia Lee  Corbin  is  too  young  to  marry!  Vir- 
ginia was  born  Dec.  5,  1909.  She  is  just  five 
feet  tall.  Address  her  in  care  of  First  National 
Pictures,  383  Madison  Ave.,  New  York  City. 

A  Lawrence  Gray  Admirer,  Mt.  Pleas- 
ant, Mich. — Please  accept  my  apologies  for 
ray  neglect  of  Mr.  Gray.  Honestly,  I'll  never 
do  it  again.  The  gentleman  was  born  in  San 
Francisco,  Calif.,  July  27,  1898.  He  is  five  feet, 
ten  inches  tall  and  weighs  155  pounds.  Ad- 
dress him  at  the  Lasky  Studios,  Hollywood, 
Calif.  Gloria  Swanson  does  not  find  her  "  fan  " 
mail  troublesome;  Gloria  is  too  nice  to  say  any- 
thing like  that.  Walter  Morosco  is  a  director  for 
Warner  Brothers.  He  and  Corinne  have  no 
children. 

K.  L.,  Spring  Lake,  N.  Y. — Lon  Chaney  is 
an  American.  Don't  be  deceived  by  the 
make-up. 

E.  B.  B.,  Cleveland,  O. — A  photograph  of 
yours  truly  would  be  no  treat  to  anyone.  I 
look  like  Santa  Claus'  twin  brother.  Yes, 
ma'am,  Ramon  Novarro  is  very,  very  fascinat- 
ing. Francis  X.  Bushman  was  born  in  Nor- 
folk, Va. 

Louise  B.,  Albany,  N.  Y. — Not  a  bit  of 
trouble.  Harrison  Ford  is  divorced.  He  was 
born  in  1892.  Alice  Terry  is  married  to  Rex 
Ingram.  She  is  about  twenty-eight  years  old. 
Norma  Talmadge  was  born  May  2,  1897. 
Married  to  Joseph  Schenck.  Ben  Lyon  is  not 
married — as  yet.  He  was  born  Feb.  6,  1901. 
By  the  time  this  appears  in  print,  Doris  Ken- 
yon  will  be  Mrs.  Milton  Sills.  Doris  was  born 
Sept.  5,  1898.  Ronald  Colman  is  separated 
from  his  wife.    Ronald  was  born  Feb.  9,  1891. 

Mary,  Sweet  Springs,  Mo. — I'll  never  do 
it  again.  I  never  intentionally  ignore  anyone. 
But  sometimes  there  are  so  many  answers,  that 
all  of  them  don't  get  in  the  magazine.  And 
that  makes  delays  before  they  can  reach  print. 
Lewis  Stone  was  born  in  Worcester,  Mass., 
Nov.  15,  1879.  He  is  married  and  has 
two  daughters.  Mr.  Stone  played  on 
the  stage  for  a  number  of  years  before 
going  into  pictures.  He  was  a  captain 
in  the  army  during  the  World  War  and 
is  now  a  major  in  the  U.  S.  Reserve 
Corps.  Mary  Brian  was  born  in  Corsi- 
cana,  Texas,  in  1908.  She  is  five  feet 
tall  and  has  brown  hair  and  blue  eyes. 
The  late  Rudolph  Valentino  wasn't 
married  before  he  went  into  pictures. 
Ricardo  Cortez  is  the  husband  of 
Alma  Rubens. 


Grace  and  Helen,  New  York 
City. — That  handsome  young  man, 
Lloyd  Hughes,  is  a  featured  player. 
Which  means  that  he  is  more  than  a 
leading  man,  but  not  quite  a  star. 
However,  that's  a  fine  and  rather  am- 
biguous distinction. 

99 


IOO 


Photoplay  Magazine — Advertising  Section 


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the  woman  wlio  tided  tt  ftom 
those  who  envy  hex  beauty! 


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!  CONTINUED  FROM  FACE  58  ) 


remonstrated  with  him,  swiftly,  and  as  I  re- 
member it,  to  the  extent  of  several  teeth — the 
barber's. 

\\  here  I  came  into  the  matter  was  that  my 
father  was  a  famous  criminal  lawyer  and  he 
discovered  some  ancient  statute  which  made  it 
a  matter  of  self-defense  for  an  actor  to  defend 
himself  against  a  barber  armed  with  hot  towels. 

B.irrvmore  has  changed  his  opinion  about 
barbers  now. 

"(  hie  shaved  mc  this  morning,"  he  told  me, 
"who  had  actually  known  Hinky-Dink. 
Imagine  being  shaved  by  a  barber  in  the  Cali- 
fornia sunshine,  who  had  actually  been  part  of 
the  famous  Chicago  Hinky-Dink  gang.  You 
can't  ask  for  more  than  that.  Those  old  days 
are  gone,  but  they  were  full  of  drama  and 
color." 

I  said  I  was  delighted  that  he  was  going  to 
play  Francois  Villon.  There  is  no  man  in 
history  more  fascinating  and  I  have  always 
wanted  to  see  him  played  properly. 

"If  I  could  only  see  Joan  the  Maid  played 
properly  now,  I'd  he  histrionically  happy,"  I 
said. 

"If  some  of  these  producers  have  their  way 
I'll  probably  play  that  for  you  yet."  he  said, 
with  that  flashing  smile.  "They  wanted  me 
to  play  nothing  but  sweet-scented  jackasses, 
because  my  nose  is  straight.  In  'Don  Juan' 
there  are  moments  when  I  look  like  a  male  im- 
personation of  Lilyan  Tashman.  I  rebelled 
when  I  made  them  let  me  play  'The  Sea- 
Beast.'  I'm  going  to  keep  on  rebelling.  So 
you  like  the  idea  of  my  doing  Francois  Villon? 
You  like  him?" 

"I've  always  adored  him,"  I  said. 

"That's  because  you  have  no  sentimentality. 
Newspaper  women  never  have.  They  know 
too  much.  I  should  like  some  time  to  have  a 
love  affair  with  a  newspaper  woman. 

"Stevenson — R.  L. — didn't  like  Villon. 
Wrote  a  funny  little  essay  about  him  once. 
Ever  read  it?" 

I  said  I  had. 

"Well — why  didn't  he  like  him?  Too  much 
alike.  They  were  both  arrant  sentimentalists. 
Therefore  they  knew  all  there  was  to  know 
about  evil — like  all  sentimentalists.  Look  at 
the  way  Stevenson's  villains  flow — like  rippling 
steel.  Can  you  remember  any  of  his  heroes? 
Not  much — but  dozens  of  his  villains.  Mr. 
Hyde.  The  Master  of  Ballantrae.  Senti- 
mentalists understand  evil  because  they  want 
things  so  much  they  can  understand  doing  any- 
thing to  get  them.  Your  philosopher  knows 
that  if  you  can't  have  a  thing  the  easiest  way  is 
to  stop  wanting  it." 

"V\  THO'S  going  to  play  Kathcrinc?  "  I  asked, 

YV'  once  having  seen  Cissy  Loftus  play  this 
great  lady  whom  the  French  poet  Villon  adored, 
and  wondering  if  anyone  on  the  screen  today 
could  approach  the  matchless  beauty  of  her 
performance. 

"Marcclline  Day,"  said  Jack,  arranging 
three  whiskers  with  minute  care  on  the  right 
side  of  his  upper  lip. 

"U — mm,"  said  I,  "very  pretty.  They  arc 
all  pretty.  Hollywood  is  positively  stuffed 
with  beautiful  girls.  But  what  do  you  do  about 
their  acting?" 

"All  women  can  act,"  said  Jack  darkly, 
sardonically.  "They're  a  histrionic  race. 
They've  had  to  act  for  centuries.  It's  man  to 
whom  acting  comes  hard.  That's  why  we're 
all  a  bit  mad,  I  daresay. 

"  Booth  Tarkington  hates  actors,  y'know. 
He  hates  the  theater,  plays,  everything  con- 
nected with  the  stage.  One  day  we  met  in  the 
Lambs.  We  got  to  talking.  You  know  he's 
got  the  biggest  nose  I  ever  saw — like  Cyrano's. 

"We  got  into  a  row — oh,  sitting  down.  We 
were  both  too  intelligent  in  the  beginning  to  do 
anything  else.    But  after  about  two  hours  I  got 

1     iv  •dmrtlument  In  rnoTOPLAY  MAGAZINE  Is  guarrtntci 


belligerent.  I  got  up.  I  said,  'I  guess  I'll 
punch  you.  I  guess  I'll  punch  you  in  the  nose. 
I  couldn't  very  well  punch  you  anywhere  else.' 

"Whereupon,  that  speech  having  delighted 
us  both,  we  spent  the  next  three  days  together 
in  a  hansom  cab — seeing  New  York.  That  was  in 
pre-prohibition  days,  and  we  were  very  young. 

"  Years  later  I  was  playing  'Justice'  in  a  city 
near  his  home. 

"  A  ND  I  was  on  the  wagon.  I  was  very  much 
*Von  the  wagon.  I  wanted  to  tell  him  I  was 
there,  but  1  didn't  know  what  he'd  think  of  me. 
I  was  afraid  he  might  consider  I'd  become 
almost  effeminate. 

"Finally  I  got  the  courage  to  write  and 
explain  everything.  And  I  got  a  letter  back 
saying  he'd  been  on  the  wagon  twelve  years 
himself  and  he'd  forgive  me  if  I'd  forgive  him. 
Which  we  did,  in  person." 

I  asked  him  if  he  remembered  a  curtain 
speech  he  once  made  in  Chicago,  in  the  days 
when  he  was  not  yet  come  into  his  own.  He 
was  doing  a  play  called  "A  Thief  for  a  Night," 
but  the  really  serious  business  of  his  life  was 
baseball.  I  have  attended  ball  games  with  a 
lot  of  fans,  but  never  one  like  Jack  Barrymore 
in  those  days.  He  played  all  positions  all 
afternoon. 

And  matinee  days  were  an  agony  to  him. 
So  when  on  a  Saturday,  when  Grover  Cleve- 
land Alexander  was  pitching  and  they  called  on 
Bam-more  for  a  curtain  speech,  he  said, 

"It's  very  nice  of  you  and  all  that,  but  I  think 
we're  all  wasting  our  time  being  indoors  on 
such  a  nice  afternoon,  and  I'm  going  to  call  it  a 
day  if  you  are  and  we'll  all  go  out  and  see  the 
ball  game." 

He  looked  sheepish  and  remarked,  "A  man 
can't  be  held  responsible  for  what  he  says  in  a 
curtain  speech." 

"You  haven't  changed  a  bit,"  I  said.  "Some 
folks  get — high  hat,  you  know.  I'd  heard  you 
were — more  serious.  In  fact  I'd  heard  you'd 
gotten  darn  serious." 

"I  was  never  serious,"  said  Jack,  indignantly. 
"Only  married." 

Then,  changing  the  subject  swiftly,  "Here's 
a  telegram  I  got  from  Jack  Dempsey  this  morn- 
ing. 'Dear  Jack.  Thanks  for  your  wire.  I 
forgot  to  duck.  Jack.'  Isn't  that  great? 
What  a  guy  that  Jack  Dempsey  is!  Never 
knew  one  like  him.  Why  is  it  that  all  these 
men  who  make  their  livings  with  their  bodies — 
I  am  not  referring  now  to  us  movie  actors — 
think  so  straight?  I  never  knew  one  of  them 
that  didn't  have  a  fine,  clear,  sweet-tempered 
vision  of  life.  No  introspection  to  embitter 
them,  I  guess." 

"You  like  Hollywood,  don't  you?"  I  asked, 
a  little  maliciously,  remembering  how  he  once 
hated  it. 

"I'm  crazy  about  it.  It's  the  fountain  of 
youth. 

"Hollywood — is — is  a  gorgeous  preposter- 
osity.  It  can't  exist  and  yet  here  it  is.  Every- 
one here  is  purely  objective.  They  don't  be- 
lieve anything  because  somebody  says  it's  true. 
They  don't  take  any  textbook's  word  for  a  darn 
thing.  They  want  to  find  out  about  everything 
for  themselves.  It's  amazing,  magnificent. 
They're  so  alive.  They  live  in  a  different  world. 
They  live  a  hundred  per  cent  more  fully  than 
any  other  people  I've  ever  met.  I've  been 
subjective  all  my  life.  At  last,  in  Hollywood, 
I've  become  objective. 

"The  people  here  are  all  lovable,  irresistible, 
because  they've  got  courage.  They  live.  They 
take  the  good  and  the  bad  with  a  grin.  They've 
created  the  philosophy  of  today.  'Try  any- 
thing once'  and  'They  can't  kill  you  if  you've 
got  a  sense  of  humor.'    That's  Hollywood. 

"I've  lived  about  a  bit,  met  a  few  people,  but 
the  most  interesting  people  in  the  world  are  in 
Hollywood." 


Photoplay  Magazine — Advertising  Section 


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102 


Photoplay  Magazine — Advertising  Section 


PINS 


SMART 
BOBS 

need 

Bobbie  Pins 

Smart  hair-cuts  must  always 
be  smooth  and  trim. 

Bobbie  Pins  make  bobbed  hair 
behave.  Dance,  ride,  golf,  motor 
....  Bobbie  Pins  stay  put — 
they  can't  slip. 

Simply  separate  the  ends  of 

the  pin,  insert  the  hair  where 

you  want  it  to  stay  ....   and 

dismiss  from  your  mind.  Won't 

tear  the  hair  because  the 

ends  meet. 

Four  shades — Black,  Bronze, 
Gold  and  Silver 

Sold  everywhere.  For  your  pro- 
tection— the  copyrighted  name 
is  on  the  card;  the  basic  prin- 
ciple patented.  Avoid  imitations. 

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HO  Turk  Street,  San  Francisco 

BOBBIE 
PINS 

y<£&f>  your  bob 
at  Us  bzst" 


[  CONTINUED  FR01I  PAGE  12  ] 


$5.00  Letter 

Detroit.  Mich. 

Mr.  and  Mrs.  B.,  together  with  their  small 
daughter,  Pearl,  reside  opposite  us.  Their 
religious  principles  will  not  allow  them  to 
countenance  cards  or  dancing.  In  fact,  prac- 
tically all  forms  of  modern  amusement  are 
looked  upon  as  sinful.  And  Pearl,  aged  nine, 
has  never  seen  a  movie. 

In  the  apartment  above  ours,  live  Mr.  and 
Mrs.  T.,  with  eight-year-old  Mary  who,  on 
several  afternoons,  takes  in  the  matinee  at  the 
neighborhood  movie  theater. 

Consequently,  Pearl,  being  forbidden  the 
privilege  of  attending,  is  actually  a  victim  of 
her  well-meaning  parents'  narrow  views.  While 


Mary,  having  had  an  opportunity  to  witness 
life,  as  depicted  to  her  through  the  medium 
of  the  movie,  has  mentally  broadened. 

I  have  studied  the  little  girls.  Mary  is  ap- 
pealing, with  an  interesting  individuality,  still 
retaining  the  childishness  and  sweetness  of 
Pearl. 

Pearl,  although  naturally  as  clever  as 
Mary,  may  only  be  described  as  a  "dull  little 
good  girl." 

Because  imagination  must  play  an  important 
role  in  each  person's  life,  and  since  stories, 
whether  in  book  form  or  pictured,  are  a  large 
factor  in  its  growth,  then  why  should  parents 
deliberately  hinder  the  development  of  imagi- 
nation, by  prohibiting  the  constructive  enjoy- 
ment of  a  movie?  H.  G.  S. 


The  Shadow  Stage 


CONTINUED  FROM  PACK  55  ] 


FOREVER  AFTER— First  National 

D  EMEMBER  the  stage  play  years  ago  with 
"-Alice  Brady  and  Conrad  Nagel?  Well, 
here's  the  movie  version  filled  with  all  the  in- 
gredients to  make  it  a  box-office  bet.  It's  a 
slow-moving  affair  sprinkled  with  sweet  girl 
and  boy  romance,  football  and  war. 

BREED  OF  THE  SEA—F.  B.  O. 

A  ROMANTIC  and  adventurous  tale,  which 
rarely  fails  to  fascinate,  be  it  in  novel  or 
screen  version.  The  bad  men  of  the  West  are 
tame  in  comparison  to  the  bold  pirate  and  his 
crew  who  roamed  the  Java  seas  as  visualized  by 
Ralph  Ince  from  Peter  B.  Kyne's  story.  Ince 
had  quite  a  job  on  his  hands — besides  directing 
he  played  the  lead  and  we  can  readily  say  he  is 
a  master  of  both  arts. 

A  MAN  OF  QUALITY— 
Excellent  Pictures 

THIS  is  the  second  of  the  series  of  Excellent 
Pictures  in  which  the  athletic  George 
Walsh  is  starred.  It  maintains  the  standard 
set  by  "The  Kickoff."  The  plot  has  to  do  with 
the  thwarting  of  an  arch-villain  and  master 
smuggler  by  George,  who  is  introduced  as  a 
Secret   Service   operative. 

THE  UNKNOWN  CAVALIER— 

First  National 

KEN  MAYNARD  will  have  to  show  us 
some  better  trick  riding  or  we're  off  him  for 
life.  Ken  can  ride  with  speed,  but  on  the  trick 
stuff — well  you  watch  and  see  if  we're  not 
right.  O.  K.  for  those  who  don't  take  their 
movies  seriously. 

THE  COUNTRY  BEYOND— Fox 

TAMES  OLIVER  CURWOOD'S  story  of  the 
J  great  North  is  good  screen  material.  Then 
there's  pretty  Olive  Borden  to  help  matters 
along  and  Ralph  Graves,  who  is  an  acceptable 
hero.  It's  a  nice  little  picture — one  you  can 
safely  take  the  whole  family  to. 

BLARNEY—  Metro-Goldwyn-Mayer 

THERE  is  something  about  that  vivacious 
personality,  Renee  Adoree,  that  gets  under 
one's  skin.  Here  is  a  story  that  doesn't  mean  a 
thing,  but  Renee's  appearance  peps  things  up. 
It's  all  about  the  champeen  of  Ireland  who 
comes  to  America  to  makes  his  fortune.  Bad 
companions  and  "likker"  are  his  downfall,  but 
through  his  love  for  Renee  he  stages  a  success- 
ful comeback. 


FOR  ALIMONY  ONLY— 
Producers  Dist.  Corp. 

TT  just  goes  to  show  that  an  interesting  lead- 
-Mng  lady  will  make  a  picture.  Leatrice  Joy 
proves  that  sometimes  storiesaren't  everything. 
We're  not  saying  that  the  story  isn't  good,  but  if 
Leatrice  weren't  there  the  picture  would  be  the 
bunk.  It's  a  bit  too  sophisticated  for  the 
children. 

MY  OFFICIAL  WIFE— Warner  Bros. 

TRENE  RICH  recently  balked  at  playing  a 
-•■mother  role.  If  she  had  refused  to  play  this 
part  we  would  give  her  credit  for  good  sense. 
This  is  the  worst  piece  of  cheap  sex  stuff — we 
don't  even  recommend  it  for  grownups. 

THE  FOURTH  COMMANDMENT— 
Universal 

TN  case  you've  slipped  up  on  your  bible  it's 
-*-"  Honor  Thy  Father  and  Thy  Mother." 
Emory  Johnson  produce!  this  piece  of  about 
nine  reels.  He  could  easily  have  made  it  in  six 
and  carry  the  same  preachment. 

THE  MYSTERY  CLUB— Universal 

TF  you  like  your  movies  thrilling  and  chilling 
-•-don't  overlook  this.  It's  a  mystery  story  of 
the  descendants  of  pirates  who  believe  crimi- 
nals are  not  intelligent.  It  was  adapted  from 
Arthur  Somers  Roche's  story  "The  Armchair 
Club" — and  you  know  how  baffling  Mr.  Roche 
can  be. 

BROKEN  HEARTS  OF  HOLE  YWOOD— 
Warner  Bros. 

TT'S  just  as  weepy  and  draggy  as  it  sounds. 
■•-This  depicts  the  ups  and  downs  of  a  gal 
breaking  into  pictures — and  if  any  little  girl 
wants  to  be  a  movie-star  after  she  sees  this,  she 
has  an  awful  amount  of  courage.  Patsy  Ruth 
Miller  is  the  girl  who  just  must  be  a  success  in 
pictures.  Louise  Dresser  is  her  mother  and 
Douglas  Fairbanks,  Jr.,  is  the  boy-friend. 

WHISPERING  WIRES— Fox 

TF  you  have  to  borrow  the  money — be  sure  to 
-1-see  this.  You'll  shiver  and  shake  at  this 
mystery  story  and  the  next  minute  you'll 
scream  laughing.  Two  men  are  murdered. 
Lights  flash  on  and  off.  Secret  trap-doors  and 
hidden  passageways  are  all  through  the  house. 
Cluck  detectives  try  to  solve  the  mystery. 
You  won't  go  wrong  on  our  advice. 


Every  advertisement   in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


103 


OKOTHY  GPAYS  SCIENTIFIC  PPxEPAIWIONS 

J-or  J~aaai  Jig'uvenatioii 


The  Dorothy  Gray  Treatment  Box 
for  Reducing  a  Double  Chin  anJ 
Restoring  a  Youthful  Chin  Line— 
5  precious  and  exclusive  prepara- 
tions, her  patented  Patter  and  her 
new-type  Chin  Strap.  With  com- 
plete illustrated  directions. 

Price  $10.85. 


\ 


Before  retiring,  Dorothy 
Gray's  Special  Skin  Food 
(Jfi.ee)  should  be  applied, 
especially  to  the  thin  face, 
crepy  throat  and  droopy  chin. 
It  makes  the  face  round  and 
flump. 


No  cream  is  so  famous  for  a 
dry  skin  as  Dorothy  Gray's 
Special  Mixture  ($i.;o). 
Made  from  rare  Russian  oils, 
it  gives  new  youth  to  dried, 
flaky  skin,  new  bloom. 


To  stimulate  the  circulation 
and  strengthen  sagging  mus- 
cles,  Dorothy  Gray's  Circu- 
lation Ointment  ($].2j)  and 
Muscle  Oil  (Si. 00)  are  ex- 
tremely efficient. 


In  place  of  soap  and  water, 
Dorothy  Gray  recommends 
for  cleansing  the  skin  safely, 
her  liquefying  Cleansing 
Cream  ($1.00)  and  her 
Orange  flower  Skin  Tonic 
(J.SSJ- 


For  the  plump  fice,  inclined 
to  wrinkles  and  relaxed 
muscles,  Dorothy  Gray's 
Tissue  Cream  ($1.00)  is 
recommended  because  it  is 
non-fattening,  yet  makes  the 
face  smooth  and  youthful. 


V   DOROTH  Y   GRAY   y 

COMING  to  New  York  eleven 
years  ago,  the  daughter  of  a 
noted  doctor  and  scientist,  Miss 
Gray,  by  the  application  of  new 
methods  of  scientifically  restoring 
a  youthful  chin  line,  soon  became 
one  of  the  most  famous  beauty 
specialists  in  the  world,  number- 
ing among  her  clientele  scores  of 
the  greatest  names  in  the  inter- 
national social  register. 

No  wher  long-proved  treatments, 
hitherto  restricted  to  those  visit- 
ing her  Fifth  Avenue  Salon,  are 
available  for  home  applicarion, 
wherever  you  live.  Dorothy  Gray 
preparations  with  explicit,  illus- 
trated instructions,  may  be  pur- 
chased at  leading  department 
stores  and  quality  drug  stores 
throughout  the  country,  or  at  Miss 
Gray's  own  establishments  in 
New  York  (753  Fifth  Avenue)  or 
at  Atlantic  City  (1637  Board  walk), 
San  Francisco  (The  White  House  : 
or  Washington,  D.  C.  (1009  Con- 
necticut Avenue). 


The  Dorothy  Gray  Treatment 
Box  for  Correcting  Flabby  Muscles, 
Crepy  Throat  and  Drooping  Under 
Chin.  Six  special  preparations  and 
the  Dorothy  Gray  Patter.  Com- 
plete, illustrated  directions. 

Price  $11.60. 

Write  for  a  complete  booklet  descrip- 
tive of  Dorothy  Gray's  preparations 
and  methods. 

DOROTHY  GRAY 

Dept.  75 
753  Fifth  Ave.,  New  V 


The  Dorothy  Gray  Treatment  Box 
for  Erasing  Lines  and  Wrinkles. 
Included  are  5  special  preparations. 
Also  complete,  illustrated  direc- 
tions for  home  application. 

Price  $5.85. 


For  enlarged  pores  and  coarse 
skin  Dorothy  Gray's  fore 
Lotion  (Jor  oily  skin")  (£2. 0  0) 
and  Pore Pasteifor dry  sknn 
(Si  .00)  area  delightfulrelief, 
restoring  the  skin  to  satin 
smoothness. 


As  a  daytime  protection  for 
the  skin  and  a  long-lasting 
foundation  for  make-up,  use 
Dorothy  Grayjs  Russian  As- 
tringent Lotion  (Jor  oily 
skill)  ($1.50)  and  Russian 
Astringent  Cream  (Jor  dry 
skni)  (each  $1.50  in  the  new 
small  sixes). 


When  you  write,  to  adverUB 


N.  Y. 
please  mention  PHOTOPLAY  MAGAZINE 


The  famous  patented  Patter 
devised  by  Miss  Gray  to 
duplicate  the  hand  patting 
used  at  her  Studio.  Accom- 
panied by  an  illustrated 
method  of  patting. 

Price  $2.  so. 


> 


Lately  improved,  here  is  the 
finest,  most  effective,  yet 
comfortable  Chin  Strap  to  bs 
found.  A  most  remarkable 
easy  way  to  reduce  a  double 


chi 


Price  $2.fo4 


To  guard  against  wintry 
blasts  which  chap  and 
roughen  the  hands,  us* 
Dorothy  Gray's  Strawberry 
Lotion  (T/ .  2 j) .  //  heps 
hands  beautiful  and  en- 
chanting. 


Photoplay  Magazine — Advertising  Section 


^is  Chri&mas^ 

ftart  an 

Qdd-q:fiear-£ 

necklace  for  her 

£7)lCTURE  your  little  girl's 
oCT  delight  this  Christmas — 
when  you  present  her  with  a 
small  strand  of  beautiful  gen- 
uine pearls.  Then  look  farther 
ahead  and  see  her  in  young 
womanhood — the  proud  pos- 
sessor of  a  magnificent  pearl 
necklace.  This  is  the  Add-a-Pearl 
idea.  Each  year,  on  gift  occa- 
sions, you  or  others  add  new 
pearls  to  the  string.  It  grows 
moreprecious  with  time.  Make 
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Christmas. 


a**r|«^ 


Buy  additional  pearls  for  your 

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cAsk  your  Jeweler 

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Correspondence  invited  from  dealers  only 


Knapp-Kapp 

Slipon  adainty  Knapp-Kapp  before  re 
tiring, orin  the  house  in  the  mornings. 
Save  yourself  many  dollars  and  hours  cf  time. 
Knapp-Kapp  is  a  high  grade,  form  fitting,  non- 
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holds  each  wave  gently  in  place,  unrurnpled,  as 
fresh  as  when  first  made,  and  for  a  surprising 
length  of  time.  If  your  department  store  can- 
not supply  you,  send  us  50c.  We  willforward 
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faction Guaranteed  or  your  money  back. 
A.  S.  Knapp  &  Co.,  Inc.,  1415  Pine  St.,  St.  Louis 


A  Villainous  Farmer 


[  CONTINUED  FROM  PACE  S2 


At  last  the  little  fellow  began  to  get  better. 

But  the  big  baby  specialists  shook  their 
heads. 

"He'll  never  do  in  New  York.  Have  to  take 
him  to  a  milder  climate.  Better  try  California, 
if  you  expect  him  to  be  really  well  and  strong," 
they  said. 

The  father  and  mother  looked  at  each  other 
across  this  verdict  with  deeply  troubled  eyes. 

They  owed  eight  thousand  dollars  and  that 
eight  thousand  dollars  looked  bigger  to  them 
than  the  national  debt.  They  didn't  have 
enough  money  to  buy  one  ticket  to  Chicago, 
let  alone  two  to  California.  And  their  credit 
had  been  strained  to  the  breaking  point  during 
the  long  months  of  illness. 

"D  UT  they  started.  They  went  as  far  as  their 
■'-'money  would  take  them.  Then  Noah  Beery 
worked.  He  worked  at  anything.  He'd  help  a 
farmer,  he'd  sling  freight — anything  to  get 
money  enough  for  tickets  westward.  Then 
they'd  make  another  trek,  slop  and  he'd  work 
awhile,  and  go  on 

And  that's  the  way  Noah  Been-  and  his  wife 
and  son  made  the  journey  from  New  York  to 
California. 

That's  why,  maybe,  Noah  Beery  suggests  to 
me  the  pioneer,  why  he  has  a  strength  and 
kindliness  and  depth  of  feeling  that  set  him  a 
little  apart  from  most  men. 

There  can  be  no  question  that  the  early 
years  have  much  to  do  with  the  way  a  man 
faces  the  big  things  of  life. 

Noah  Beery  was  born  and  brought  up  on  a 
farm  in  western  Missouri.  He  and  his  brother, 
Wallace,  lived  the  life  of  farm  boys,  worked 
hard,  had  little,  were  hardened  for  the  battle 
of  life  by  contact  with  nature. 

And  in  many  ways,  though  he  is  now  a  screen 
star  with  a  big  Paramount  contract  and  a  large 
public,  Noah  Beery  has  reverted  to  the  soil. 
He  loves  it  and  all  the  things  that  go  with  it. 
He  may  be  a  great  actor,  but  he  is  also  a 
natural-born  farmer,  and  I  mean  that  as  a 
high-powered  compliment.  There  must  have 
been  a  great  inner  urge  that  drew  Been-  away 
from  the  farm  in  Missouri  to  the  footlights  of 
Broadway.  And,  as  you  know  him  and  talk 
with  him,  it  isn't  always  easy  to  understand 
that  urge — isn't  always  easy  to  figure  it  as  part 
of  the  man. 

It  is  that  love  of  the  soil  that  makes  the 
Been-  ranch,  in  the  San  Fernando  valley  about 
half  an  hour  from  Hollywood,  so  different  from 
the  homes  of  other  screen  stars.  It  is  going 
to  be  quite  as  beautiful,  quite  as  modern. 

But  the  Beerys  are  doing  there  what  to  me 
is  a  rather  fine  thing.  They  are  establishing  a 
permanent,  American  home.  One  of  the  kind 
of  homes  you  used  to  read  about.  I  expect 
the  Beerys  will  live  there  for  fifty  years,  and 
then  pass  it  on  to  young  Pidge  Been'  and  his 
family,  and  it  will  go  on  down  through  genera- 
tions. There  isn't  any  other  home  in  the  film 
colony  about  which  I  have  that  feeling  and  it 
is  rather  a  fetish  with  me. 

The  great  need  of  America  today  is  for  a 
swing  back  to  that  feeling  about  home.  Most 
people  nowadays  build  with  shoestring,  chew- 
ing gum  and  a  little  plaster.  They  build  to 
sell.  They  never  have  any  idea  of  living  in  one 
spot  for  generations.  They  move  continually. 
Children  don't  grow  up  with  that  wonderful, 
warm,  happy  feeling  about  "home."  They 
don't  long  to  come  back  to  the  scenes  where 
they  played  as  kids,  because  by  that  time  the 


scenes  have  completely  disappeared  and  the 
old  folks  are  living  in  an  apartment. 

The  Beerys  have  done  something  for  this 
country  in  building  their  ranch  up  toward  a 
permanent  home.  It  isn't  completed  yet. 
They  are  building  slowly,  as  a  man  must  build 
if  he  builds  permanently. 

But  to  go  out  to  that  ranch  in  the  late  after- 
noon, to  see  the  peach  and  apricot  orchards 
green  and  golden  in  the  sun,  and  the  corn  and 
the  grapevines  bearing  their  fruit,  to  see  the 
great  barns  and  the  live  stock  all  about,  is  a 
darned  happy  experience. 

The  house  is  to  stand  on  the  top  of  a  little 
knoll,  overlooking  the  orchards  and  the  fields. 
It  is  productive  land,  supporting  itself,  not 
just  a  vast  burden  of  upkeep  like  so  many 
estates.  It  has  a  reason  for  being.  Horses, 
cows,  chickens,  dogs,  cats — all  the  things  that 
belong  to  ranch  life — exist  there  in  abundance. 

So  you  see,  in  a  way,  Noah  Beery  is  pioneer- 
ing. 

Noah  Beerj'  has  made  a  lot  of  people  hate 
him  on  the  screen.  All  I  can  say  is  that  the 
man  is  a  great  actor  or  he  couldn't  possibly  do 
it.    For  he  is  the  soul  of  kindliness. 

HTHE  boys  at  the  studio  where  he  works  tell 
■*■  me  that  Beery  is  endlessly  giving  of  the 
abundance  that  the  years  have  so  miraculously 
brought  him,  since  the  days  when  he  didn't 
have  the  price  of  a  ticket  to  California.  He 
always  has  two  or  three  people  out  on  his 
ranch,  taking  care  of  them,  giving  them  a 
chance  to  work  or  rest  as  the  need  may  be. 
He  does  it  quietly,  unostentatiously,  but  his 
charity  is  widely  known  in  Hollywood. 

And  I  think  it  is  a  very  good  thing  that  the 
public  can't  meet  him  face  to  face,  because 
they  would  never  be  able  to  believe  in  his 
villainy  again. 

Young  Noah  Beery,  Jr.,  better  known  to  the 
boys  around  Hollywood  as  Pidge,  is  still  the 
center  of  the  Beery  family.  But  I  have  a 
sneaking  hunch  that  they  try  to  conceal  it 
from  him,  try  not  to  spoil  him.  He  weighs  a 
hundred  and  twenty  pounds  now  and  is  his 
father's  pal  and  companion  on  innumerable 
fishing  and  hunting  trips.  They  ride  together, 
too. 

I  have  always  made  it  a  rule  in  writing  about 
people  to  tell  the  bad  with  the  good.  If  you 
tell  only  good,  nine  cases  out  of  ten  people 
don't  believe  you.  They  think  you  are 
putting  something  over  on  them.  You  have 
to  make  people  human.  Because  they  are 
human. 

So  now  comes  the  bad  about  Noah  Beery, 
because  I  wouldn't  for  the  world  want  you  to 
think  of  him  as  a  sort  of  stuffed  shirt  model  of 
perfection  when  he  is  so  essentially  a  man. 

He  is  the  worst-dressed  man  in  Hollywood 
and  nothing  but  tears  on  the  part  of  his  adored 
wife  can  get  him  into  dinner  clothes.  He  rides 
like  a  demon,  but  he  rides  a  western  saddle  and 
will  have  nothing  to  do  with  these  new-fangled 
riding  breeches.  He  is  a  remarkable  rifle  and 
revolver  shot,  but  he  keeps  it  under  cover  and 
most  people  know  nothing  about  it,  which 
makes  him  doubly  dangerous. 

He  has  a  vocabulary  second  to  none  when 
occasion  demands,  so  I  have  been  told.  And 
he  is  an  exceedingly  shrewd  real  estate  dealer. 

So  no"w  you  have  both  sides  of  the  picture, 
and  having  seen  him  in  "North  of  36,"  "Beau 
Geste"  and  "The  Rough  Riders,"  you  will 
have  to  judge  for  yourselves. 


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105 


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[  CONTINUED  FROM  PAGE  3 1  ] 


restless  player  under  contract  for  the  world.  I 
value  my  peace  of  mind  too  much." 

Sometime  Griffith  is  going  to  write  the  story 
of  his  life.  It  will  be  after  he  finishes  directing, 
if  he   ever   does.      Griffith   wants   to   write. 

"Writers  are  the  only  ones  who  can  express 
their  ego,"  he  says.  "Directors  can't,  because 
pictures  must  be  made  to  please  the  majority. 
We  can't  deal  with  opinions.  All  we  can  do  is 
to  weave  a  little  romance  as  pleasantly  as  we 
know  how." 

/GRIFFITH  naturally  doesn't  like  to  express 


.comparisons.     I  did  ask  him  to  name  the 


greatest  actor  he  had  ever  directed. 

He  thought  a  while.  "Arthur  Johnson,  I 
guess,"  he  said.  "Yes,  Arthur  Johnson. 
Henry  Walthall  was  excellent  in  romantic 
roles.  Perhaps  a  little  florid.  Lionel  Barry- 
more  was  vivid  in  those  old  Biograph  days. 
But  Johnson  was  matchless  in  everything — 
modern,  romantic,  comedy.  He  would  have 
been  a  great  film  leader  had  he  lived." 

Griffith  did  not  commit  himself  so  exactly 
about  the  greatest  actress  he  had  ever  directed. 
He  obviously  seems  to  consider  Lillian  ( iish  and 
Carol  Dempster  the  greatest.  I  asked  him 
about  Miss  Gish,  in  view  of  her  more  recent 
film  roles.    He  countered.    "Who  is  greater?" 

Griffithdoesn'tbelieve  that  the  public  is  fickle 
about  its  stars.  "Stars  do  not  slip  quickly,"  he 
says,  "despite  the  theory  to  the  contrary.  You 
hear  that  so-and-so  will  die  if  he  doesn't  get  a 
good  picture  immediately.  Consider  how 
many  weak  pictures  have  been  made  by  the  big 
favorites — who  are  still  favorites.  No,  the 
public  does  not  like  to  revise  its  estimates.  It 
doesn't  want  to  go  to  the  trouble  of  seeking 
new  idols  any  more  than  the  average  man  likes 
to  seek  a  new  object  for  his  affections." 

Griffith  does  not  hold  the  German  technique 
in  awe. 


"Motion  pictures  haven't  changed,"  he  de- 
clares. "The  technique  of  telling  your  story 
varies  with  passing  vogues,  but  the  photoplay 
remains  essentially  the  same.  It  has  remained 
unchanged  since  the  Biograph  days. 

"Yes,  I  know  it  has  become  the  custom  to 
say  that  the  Germans  are  pioneers  in  a  new 
technique.  Why.  they  are  doing  the  things 
that  we  discarded  long  ago.  A  certain  primi- 
tive virility  comes  of  that,  but  it  is  absurd  to 
talk  of  a  new  technique.  They  do  things  long 
prohibited  over  here.  Mugging,  for  instance. 
Long  scenes  played  right  at  the  camera.  We 
did  all  that  in  the  beginning. 

"rPHE  fact  that  this  primitive  stuff  has  been 
■*-  dressed  up  with  superb  camera  work  has 
confused  observers.  The  Germans  have  a  fine 
mechanical  mind.  They  have  perfected  the 
camera.  In  fact,  after  the  war,  we  found  that 
they  had  gone  beyond  us  in  cameras  and 
camera  equipment.     In  lighting,  too. 

"  But  this  new  German  technique  is  all  bosh. 
We  make  better  pictures  in  America.  Sacha 
Guitry.  the  French  playwright-producer,  once 
said  that  the  Biograph  film  drama  revolution- 
ized the  stage.  The  effect  of  films  upon  the 
spoken  drama  must  be  obvious  to  everyone. 
The  Germans  haven't  revolutionized  our  screen 
play — not  yet,  anyway." 

Griffith  has  been  called  a  recluse.  He  was 
for  a  time,  when  collapse  confronted  him  at 
Mamaroneck.  He  goes  to  many  films  but 
seldom  to  screen  premieres.  His  amusement 
tastes  are  various.  I  have  seen  him  dancing 
happily  after  the  theater.  I  have  seen  him  en- 
joying himself  as  a  ringsider  at  big  prize  fights. 
But  I  have  never  seen  him  enjoy  himself  so 
completely  as  he  does  when  he  is  directing. 
Griffith  says  he  would  like  to  spend  his  days  in 
a  sailboat  on  the  Chesapeake.  But  I  know  he 
is  kidding  himself.    He  likes  pictures  too  much. 


The  Big  Boy  from  Berlin  Is  Here 


[  CONTINUED  FROM  PACE  64  ] 


Jannings  has  followed  American  pictures 
with  a  keen  eye.  He  saw  "The  Big  Parade"  in 
Berlin  at  two  private  showings. 

"The  reaction  was  interesting,"  he  said. 
"They  caught  the  note  of  pacifism — and  ap- 
preciated it.  I  wonder  if  Americans  got  that 
note  as  clearly  as  we  Germans." 

Jannings  named  Erich  Von  Stroheim  as  his 
favorite  director,  and  "The  Merry  Widow"  as 
that  director's  best  effort.  He  admitted  that 
Yon  Stroheim  wasn't  popular  in  Germany  now, 
but  his  opinion  stood,  nevertheless.  Jannings' 
other  directorial  favorite  is  Ernst  Lubitsch. 

Jannings  liked  Cecil  De  Milk's  "The  Ten 
Commandments."  But  not  "The  Volga  Boat- 
man." 

"I  saw  'Potemkin,'  that  Russian  film  of  the 
Revolution.  How  could  I  care  for  'The  Volga 
Boatman'  after  that?  Besides,  we  in  Germany 
were  too  close  to  Russia  not  to  realize  that 
'The  Volga  Boatman'  isn't  true  to  itself." 

Asked  for  his  favorite  role,  Jannings  un- 
hesitatingly named  the  old  porter  in  "The 
Last  Laugh."    "Henry  VIII  next,"  he  added, 


"Prohibition,"  he  smiled.  " Besides,  I  like 
the  Continent.  And  I  have  been  afraid  of  the 
sort  of  roles  I  would  get  over  here.  Still,  the 
films  must  be  international  and  I  ought  to  get 
just  as  good  opportunities  here  as  in  Berlin. 

"No  country  makes  the  best  pictures — and 
nobody  is  going  to  make  fine  films  until  we  all 
get  together.  It  is  not  possible  to  be  national 
about  the  photoplay  any  longer." 

Jannings  has  been  getting  on  an  average  of 
two  hundred  fan  letters  a  day  in  Berlin.  "Of 
late  many  of  them  have  been  coming  from 
America,"  he  told  me. 

Jannings  has  brought  his  wife  to  America. 
As  Gussy  Holl,  Mrs.  Jannings  was  widely 
known  on  the  German  stage.  She  was  for- 
merly married  to  Conrad  Veidt,  the  German 
actor  now  in  Hollywood.  The  matrimonial  re- 
adjustment was  amicable  all  around,  for  all 
three  are  good  friends.  Mrs.  Jannings  speaks 
excellent  English.  The  Jannings  spent  some 
weeks  in  Switzerland  before  coming  here. 

In  Hollywood.  Jannings  will  come  under  the 
guidance   of   Eric   Pommer,    who   supervised 


explaining  that  the  British  monarch  fascinated     production  at  UFA  in  Berlin.    Pommer  is  now 

him.  handling  part  of  the  Famous  Players-Lasky 

Jannings  says  he  has  no  special  type  of  role     coast  studio,  Pola  Negri's  "Hotel  Imperial" 


in  mind  for  his  future.  "  I  would  like  to  play 
one  part  in  which  I  could  be  myself,  minus 
character  make-up,"  he  says,  "so  that 
Americans  might  know  me  a  little.  Principally, 
however.  I  want  human  parts.  That's  all." 
I  asked  Jannings  why  he  had  remained  away 
from  America  so  long. 


being  the  first  film  to  be  made  under  his  super- 
vision. Mauritz  Stiller,  the  Swedish  director, 
will  make  Jannings'  first  American  picture, 
still  to  be  decided  upon.  It  may  be  a  Biblical 
story,  with  the  Berliner  as  Samson. 

Anyway,  Jannings  is  taking  his  chances  with 
prohibition  for  a  year,  come  what  may. 


In  niOTOrLAY  MAGAZINE  Is  guaranteed. 


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Photoplay  Magazine — Advertising  Section 


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BEAUTY 

The  effect  of 
proper  color- 
harmony  is 
true   beauty. 

Fashion  rules  careful  color-] 
and  accessories. 

The  skill  and  care  of  half  a  century  are  producing 
the  new  "Whiting  Costume  Bags — the  accessory 
par  excellence. 

Whiting  Costume  Bags,  made  expressly  to  blend 
with  all  the  newest  color  shades,  have  become  a 
necessity  for  every  costume,  and  their  reasonable 
cost  enables  Milady  to  provide  one  for  each 
ensemble. 

A  Christmas  Gift  that  will  really  be  appreciated. 

At  leading  jewelers  and  jewelry  departments. 

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GotfumeBqgs 

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QejIUraefe 


Studio  News  and  Gossip — East  and  West 


'  CONTINUED  FROM  PAGE  84  ] 


pRANCIS  X.  BUSHMAN,  lie  of  the  classic 
*■  profile,  is  now  an  ex-benedict.  But  it  is  very 
confusing.  No  sooner  was  the  final  decree 
granted  from  Beverly  Bayne,  than  Francis  X. 
made  the  announcement  that  he  hoped  to  make 
Beverly  his  wife  again.  The  silence  is  very 
thick  on  Miss  Bayne's  part.  So  thick  it  cannot 
even  be  cut  or  broken  with  Bushman's  pleas. 
It  looks  like  the  sad  ending  of  a  glorious 
romance. 

"pATHER'S  unhappy  marital  experiences  did 
•*-  not  deter  Virginia  Bushman  from  marrying 
Jack  Conway,  the  director.  Virginia,  beautiful 
and  twenty,  met  Conway  when  he  was  direct- 
ing "Brown  of  Harvard."  It  was  a  case  of 
meeting,  marveling  and  marrying.  They  did, 
and  left  immediately  for  Pebble  Beach,  as  per- 
fect a  spot  as  I  have  ever  seen  for  honey- 
mooncrs. 

TJ"E:  "My  number's  Rexford  7161. 
What's  yours?" 

She:  "Rexford  6417." 

He :  "Ho,  ho !  So  you  live  in  Bev- 
erly Hills  too !  And  how  we  do  live 
in  Beverly!" 

HPHEY  say  a  small  bonfire  placed  beneath  an 
■*-  obdurate  burro  has  a  tendency  to  speed  his 
steps. 

Which  reminds  me  of  the  wager  that  Joe 
Schenck  made  last  January  with  Charlie  Chap- 
lin just  before  the  comedian  commenced  his 


\ 


*££ 


Jfc    v 


circus  picture.  Five  thousand  dollars  was  laid 
that  Charlie,  who  takes  one  or  two  years  to 
make  a  film,  would  not  complete  the  picture 
within  six  months. 

Came  June,  the  month  of  roses,  and  Charlie 
paid  his  loss.  But  that  didn't  help  Joe  to  get 
"The  Circus"  on  his  program,  and  Joe  was 
waiting  to  release  it.  Months  passed  and  then 
came  a  small,  but  sufficiently  exciting,  fire  at 
the  Chaplin  Studios. 

Do  you  suppose  Joe,  profiting  by  the  lesson 
of  the  slow-moving  burro,  was  trying  to  smoke 
Charlie  out? 

THIRST  SHEIK:  "There's  de  guy 
■*■  what's  going  to  marry  Bebe  Dan- 
iels. He's  Charlie  Paddock,  de 
woild's  fastest  human." 

Second  Sheik:  "Yeh  (thinking  of 
Bebe's  sojourn  at  the  Santa  Ana 
hoosegow  for  speeding).  Gotta  be 
fast  to  keep  up  with  her." 

T/WTIIERIXE  McDONALD  is  now  a  grass 
-■-^-widow.  From  golf  widow  to  grass  widow 
she  went,  silently,  with  very  few  of  her  friends 
knowing  that  the  "K.  M.  Johnson"  who  was 
seeking  freedom  from  C  S.  Johnson  was  the 
woman  who  was  known  to  the  screen  and  the 
world  as  "the  American  beauty."  They  have 
one  small  son,  Britt,  aged  two,  who  is  to  remain 
with  his  mother. 

[  CONTINUED  ON  PACE  IIO  ] 


The  only  photograph  of  Rudolph  Valentino  with  Mrs.  Teresa 
Werner,  aunt  of  Natacha  Rambova,  who  was  made  one  of  the  chief 
beneficiaries  in  the  actor's  will.  Mrs.  Werner  is  wearing  the  light 
cloak.  The  woman  in  the  center  is  Marie  Guglielmi,  Valentino's 
sister,  who  also  shares  in  his  estate.  This  photograph  was  made 
in  Italy  several  years  ago 

Every  advertisement   in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


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09 


/ 


19 

now. . . 


ND  life's  a  Sazerac  cocktail  —  a 
coin  in  the  air. 

She's  nineteen  today  .  .  .  she'll 
never  be  again. 

She'll  never  know  again  the 
glamour  of  star-powdered  nights 
.  .  .  the  drifting  laughter  of  young 
crowds  .  .  .  the  insouciance  of  love 
.  .  .  the  keen  edge  of  life  .  .  . 

not  quite  as  Nineteen  knows 

them! 

/        *       1 

Fragile,  fleeting — the  hours  of 
youth.  Yet,  we  flatter  ourselves,  we 
have  caught  for  you  some  of  their 
marvelous,  mutable  spirit. 

In  the  pages  of  College  Humor 
we  bring  you  Youth — straight  from 
the  campuses,  warm  from  the  pens 
of  men  who  know  it  best.  <jm. 

Such  writers  as  F.  Scott 
Fitzgerald,  Cyril  Hume, 
Katharine  Brush,  O.  O. 
Mclntyre,  Royal  Brown, 
George     Jean     Nathan, 


Lucian  Cary,  Donald  Ogden 
Stewart,  Percy  Marks,  Thyra  Sam- 
ter  Winslow,   Arnold  Bennett  .  .  . 

with  illustrations  by  America's 
cleverest  draughtsmen  .  .  . 

and,  of  course,  the  latest  wise- 
cracks, the  richest  satire,  the  keen- 
est wit  the  campuses  of  America 
are  producing  in  word  and  picture 
these  chromatic  days. 

The  December  issue  is  now  out. 
Thomas  Boyd,  Lois  Mon- 
tross,  Holworthy  Hall, 
Don  Herold,  James  Mont- 
gomery Flagg,  Roland 
Krebs,  Nancy  Hoyt  are  all 
between  its  covers. 


AT  ALL  NEWS  STANDS 


please  mention  PIIOTOPI.AT  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


LW  SWBEXtncL 

DEPT.^  1660  BRQAWAffiEW  YORK! 


Studio  News  and  Gossip — East  and  West 


[  CONTINUED  FROM  PAGE  108  ] 


TT  has  been  rumored,  particularly  in  the  pages 
-'•of  a  magazine  of  a  certain  type,  that  "big 
brothers,"  "uncles"  and  plain  "sugar  dad- 
dies" figure  prominently  in  the  lives  of  extra 
girls.  Whether  or  not  they  do  is  still  a  ques- 
tion, but  the  girls  need  worry  no  more  about 
their  relatives.  They  are  now  to  be  endowed 
with  "sisters." 

Mrs.  Clarence  Brown,  whose  social  activities 
have  won  her  a  particular  position  in  the  film 
colony,  is  the  president  of  the  Screen  Sisters, 
which  has  Marjorie  Williams,  director  of  the 
Hollywood  Studio  Club,  as  vice-president;  Dr. 
Sonia  Poushkareff ,  second  vice-president;  Bar- 
oness Rhyiner  Morrill,  auditor;  Mrs.  Ben 
Carre,  treasurer,  and  Mrs.  George  Gilmore, 
secretary. 

The  Screen  Sisters  will  establish  a  wardrobe 
for  the  use  of  twenty  girls.  When  these  twenty 
girls  have  been  aided  to  "  bigger  and  better  pic- 
tures," twenty  more  will  be  aided  by  the 
organization. 

HTHE  new  Fox  Film  Studios,  in  Fox  Hills, 
*■  about  five  miles  from  Hollywood,  had  an  At 
Home  the  other  day  and  the  callers  numbered 
something  like  thirty  thousand.  It's  a  rare 
treat  to  get  inside  a  studio,  so  when  the  papers 
published  the  invitation  hoi  polloi  did  a  Xurmi 
to  get  there. 


Tom  Mix  and  his  broncho  busters  offered  a  bit 
of  fancy  riding  and  roping;  Earle  Fox  was 
master  of  ceremonies  and  Margaret  Livingston 
raised  a  flag,  accompanied  by  a  willing  band. 
They  even  had  a  pioneer  attorney,  who  com- 
menced his  speech  with  "Los  Angeles  is  proud 
of  its  motion  picture  industry  ..." 

A  Charleston  contest  between  the  secretary 
of  the  Fox  casting  office  and  a  champion  cow- 
boy dancer  sent  the  thirty  thousand  home  with 
varied  thoughts  about  the  joys  of  a  picture 
career. 

XTOW  Charlie  had  a  pipe  organ  and  Lita  had 
■*-^an  ear  drum,  but  somehow  they  didn't 
harmonize,  and  Lita  Grey  Chaplin  was  taken 
to  the  hospital  suffering  from  a  severe  earache. 
Of  course  it  may  have  been  coincidental  and 
undoubtedly  it  was,  but  it  is  common  gossip 
that  one  of  Charlie's  pet  hobbies  is  to  play  upon 
the  pipe  organ  of  an  evening. 

If  it  really  was  the  pipe  organ  that  gave  Lita 
the  earache,  Charlie  will  have  to  buy  an  organ 
muffler,  or  give  up  those  deep  melodious  pieces. 
Anyway,  Lita  is  quite  recovered. 

VWTNFIELD  SHEEHAN,  second  in  com- 
**  mand  of  the  Fox  organization,  testifies 
that  this  thing  of  writing  stories  to  suit  the 

[  CONTINUED  ON  PAGE   112  ) 


This  is  a  picture  of  Norma  Talmadge's  dressmaker,  known  on 
the  screen  as  Marion  Davies.  Norma  admired  a  white  satin  dinner 
dress,  worn  by  Marion,  and  Marion  sat  down  and  made  her  one  just 
like  it.  Marion  designs  and  makes  many  of  her  own  clothes.  In 
fact,  she  made  the  frock  that  she's  wearing  in  this  photograph 


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Every-day  magic 


CHAIRS  that  flop  into  beds  .  .  .  bags  that  suck  up 
dirt  .  .  .  tiny  ticking  things  that  count  all  day  long 
for  you.  Daylight  any  night  just  by  pushing  a 
button.  A  stream  that  never  stops  till  you  turn 
off  a  faucet.  Any  voice  you  want,  talking  to  you 
from  a  cage  on  your  desk  or  wall.  Actions  of 
yesterday,  of  people  miles  away,  going  on  on  a 
curtain  before  you.  Stilled  throats  singing  to  you 
from  discs;  distant  throats  singing  to  you  from 
nothing! 

Uncanny,  daily  magic — this,  due  to  national 
advertising.  Advertisements  have  given  you  flash- 
lights, telephones,  typewriters,  automobiles,  cold 
creams,  motion  pictures.  They  have  given  you  new 
eyes,  new  ears,  new  hands,  new  feet,  new  faces,  new 
emotions.  They  have  urged  such  wide  use,  so 
lowered  prices,  that  almost  wishes  are  autos,  almost 
beggars  can  ride.  Through  advertisements  you've 
laid  down  the  shovel  and  the  hoe.  You  can 
buy  a  whole  harvest  ready- to-eat  in  cans.  There's 
little  old-time  work  left  in  this  age  of  amazing 
short-cuts. 


Read  the  Advertisements — they  keep  you 
to  the  fore  of  modern  life 


■  mention  I'HOTDT'I  AT  MAGAZINE. 


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A  Christmas 

GIFT 

Twelve  Times 

rH  E  R  E  are  several 
reasons  why  a  sub- 
scription to  Photoplay 
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Christmas  gift.  Not  only 
does  it  continue  its  presence 
month  after  month — long 
after  the  holly  and  mistletoe 
are  forgotten — but  its  wel- 
come is  absolute.  You  know 
it   will   please   the   recipient. 

C  In  these  days  when  every- 
one is  interested  in  motion 
pictures,  the  gift  of  a  maga- 
zine that  reveals  the  inside  of 
the  art  and  industry — every 
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est welcome.  Photoplay  has 
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I    Address 


Studio  News  and  Gossip — East  and  West 


[  CONTINUED  FROM  PAGE  IIO  ] 


location  or  the  star  didn't  start  with  motion 
pictures. 

At  a  dinner  party  the  other  evening  he  was 
moved  to  the  following  reminiscence: 

"In  the  old  days  on  the  New  York  World, 
my  desk  was  right  next  to  Irvin  Cobb's.  One 
day  a  theatrical  producer  named  Riley,  who 
had  put  on  the  revival  of  'Floradora,'  came  in 
and  told  Cobb  he  wanted  a  show  written.  He 
wanted  Cobb  to  write  it.  Irvin  asked  him 
what  he  wanted  it  about  and  Riley  said,  'You 
come  with  me  and  I'll  show  you.'  He  took  him 
over  to  a  theatrical  warehouse  and  showed  him 
a  beautiful  set  of  scenery  representing  a  Mexi- 
can vista.  '  Now,'  he  said,  'I'd  like  the  first  act 
laid  in  Mexico.'    Then  he  took  him  over  to  an- 


Barrymore  can  act  all  right.  But  I 
think  he's  sort  of  effeminate.  I 
thought  the  costumes  he  wore  in 
'Bardelys  the  Magnificent'  were  sort 
of  effeminate." 

"Maybe,"  said  the  other,  tartly, 
"but  he  certainly  wasn't  effeminate 
in  'The  Copperhead.'" 

To  the  wise  fan  who  knows  that 
John  Gilbert  starred  in  "Bardelys," 
and  that  it  was  Brother  Lionel  Barry- 
more  who  played  in  "The  Copper- 
head," this  would  seem  to  be  an  ex- 
cellent example  of  "such  is  fame." 


other  warehouse  and  showed  him  some  more  -  r 
lovely  scenery,  onlv  this  time  it  was  of  Japan.  Mi,,  BRA:SiDEIS>  thc  woman  who 
He'd  had  a  Japanese  play  that  year  that  was  *  "'■makes  wholesome  pictures  with  good  chil 
a  failure.    'I'd  like  the  next  act  laid  in  Japan,'     ?,ren  a"c    g»wiwips  for  mce  peopie,  has  an 

■     idea.     I  he  idea  is  so  good  that  it  is  amazing 
that  no  one  has  thought  of  it  before. 

Mrs.  Brandeis  is  going  to  make  a  series  of 
six  two-reel  pictures  and  she  is  going  to  use  the 
offspring  of  the  stars  as  the  axis  on  which  the 
stories  will  revolve. 

The  dramatic  action  will  be  carried  by  pro- 
fessionals, but  the  interest  will  be  centered  on 
the  kids. 

For  instance,  a  little  two-reel  Western  with 
Tim  Holt  and  his  sister,  Jack's  children;  or 
the  Harry  Carey  kids.  A  bit  of  drama  with 
Ruth  Nagelorjack  and  Mary  Ford's  babies, 
or,  maybe,  Carey  Wilson's  two.  Barbara 
Denny,  daughter  of  handsome,  humorous 
Reggy,  will  be  seen  in  comedy.  Winston 
Miller,  Patsy  Ruth's  brother,  and  Mary  Carr's 
daughter,  know  their  greasepaint  well  enough 
to  be  entrusted  with  real  parts. 


he  said.  They  went  to  a  final  warehouse  and 
he  showed  him  a  beautiful  set  of  the  Swiss  Alps. 
'And  the  last  act  ought  to  be  in  Switzerland,' 
he  said.  The  funny  part  of  it  is  Cobb  wrote 
the  show. 

"It  had  the  long  run  of  one  week  on  Broad- 
way, and  Cobb  wrote  an  article  about  it  for 
Everybody's  magazine,  and  that's  the  way  he 
broke  into  the  magazine  game." 

TUTR.  WILLIAM  WRIGLEY,   the 

man  who  discovered  the  profit- 
able way  to  exercise  the  great  Ameri- 
can jaw,  has  offered  a  neat  sum  to 
the  successful  swimmer  who  will 
navigate  the  channel  between  Cali- 
fornia and   Catalina  Island. 

Reggy  Denny,  an  expert  swimmer 
in  addition  to  being  a  movie  star,  de- 
cided to  cover  himself  with  aquatic 
glory.  Forthwith  he  telephoned 
Henry  MacRae,  general  manager  of 
Universal  City: 

"I'm  sick  this  morning.  Can't 
come  to  work." 

Then  Reggy  'phoned  a  friend  at 
the  studio  to  get  him  some  goggles 
and  a  permit  to  attempt  the  swim. 
MacRae  got  wind  of  the  request  and 
Denny's  telephone  buzzed: 

"WTiat's  this  about  swimming  the 
channel?  Thought  you  were  sick," 
barked  MacRae. 

"Yes,"  answered  the  shameless 
Reggy.  "I  thought  it  would  make  me 
feel  better  to  take  some  exercise." 

"If  you  feel  that  good,  you  can 
come  to  work." 

And  Reggy  worked. 

T>  UCTIONS,  apparently,  among  the  Tha- 
-^Mians,  that  nice  little  club  of  screen  young 
people.  Lincoln  Stedman  has  been  elected 
president  to  fill  the  executive  shoes  of  Ray- 
mond Keane;  George  Lewis  is  now  vice-presi- 
dent and  Marjorie  Bonner  is  treasurer.  But 
whatever  the  ructions  were,  they  have  been 
amiably  smoothed  and  numerous  illustrious 
young  folk  have  been  initiated. 

Dolores  and  Helene  Costello  are  among  the 
new  members,  and  Harold  Goodwin,  Shannon 
Day,  Arthur  Lake,  Charles  Farrell,  Alice  and 
Marcelline  Day. 

Claire  MacDowell  was  patroness  the  other 
day  and  supplied  some  very  old  Griffith  pic- 
tures for  showing. 

'"P'WO  rather  elderly  ladies  sitting 
■*■  in  a  dentist's  outer  office  were 
heard  discussing  motion  pictures. 
"Well,"  said  one,  "I  guess  John 


\>f  ARION  NIXON,  looking  very  small  and 
"•Mrery  determined  and  very  earnest,  as  she 
stood  before  the  judge,  had  to  promise  that  she 
would  never  take  Joe  Benjamin,  her  prize- 
lighter  husband,  back  to  her. 

This  she  readily  pledged,  and  the  judge 
handed  her  a  decree. 

Thus  the  little  boxer,  who  brought  love  and 
sorrow  to  Marion's  heart,  passed  from  her. 
They  were  married  last  year.  Non-support, 
frequent  week-end  trips  to  Tia  Juana  and 
finally  an  alleged  threat  against  her  life,  made 
married  life  a  bit  too  hectic  for  Marion  and  she 
sued  for  divorce. 

T  DON'T  suppose  I  should  tell  you 
■*•  this  one  and  that's  just  the  reason 
why  I  can't  help  it.  For  it's  really  a 
bit  brutal  even  if  not  true. 

It  happened  on  Director  Clarence 
Brown's  set.  I  was  chatting  with  his 
assistant,  Charles  Dorian.  A  certain 
very  charming  foreign  actress  (name 
deleted  by  the  big  editor) — a  recent 
importation — was  before  the  camera 
at  the  time.  I  couldn't  help  noticing 
the  size  of  her  feet,  they  were  so  in 
contrast  with  the  piquancy  of  her 
dainty  features. 

"Gosh,  aren't  they  whoppers, 
Charlie?" 

I  just  couldn't  help  it. 

"Sure,  kid,  sure!  Her  countrymen 
are  noted  for  the  size  of  their  feet. 

"Why,  kid,  if  I  had  her  feet  and 
the  feet  of  (he  named  another  great 
female  star  of  the  same  nationality), 
I  could  make  a  thousand  dollars  a 
week  stamping  out  forest  fires." 

TT  looks  as  though  we  were  to  lose  a  beautiful 
-'•sunny  Day.  That  is,  if  the  reports  of  wires, 
cables,  and  long  distance  telephone  calls  can  be 


Every  advertisement   In  rHOTOPLAY  MAGAZINE  is  guaranteed. 


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true.  Alice  Day,  the  only  Sennett  girl  without 
a  bathing  suit  (don't  get  me  wrong,  Archie,  she 
goes  in  for  domestic  comedy),  has  kept  the 
wireless  operators  busy  receiving  messages 
from  Carl  Laemmle  Jr.,  who  has  been  summer- 
ing on  the  continent  with  his  father. 

Alice  says  nothing,  but  smiles  prettily,  which 
she  does  very  well,  so  perhaps  it  is  but  one  of 
those  youthful  crushes.  They're  both  nothing 
but  kids. 

HPHERL"  are  ideals  and  ideals,  says  Derelys 
■*-  Perdue.  And  the  ideals  of  her  husband, 
Louis  Feldman,  were  not  hers,  so  what  was 
there  to  do  but  separate?  This  they  are  doing, 
after  their  marriage  last  year.  Derelys  has 
gone  back  home  to  mother,  and  divorce  papers 
are  soon  to  be  tiled. 

JJORMAN  TREVOR  tells  about 
■*■  'the  engaging  wisdom  of  the  col- 
ored chauffeur  he  employed  while  he 
was  in  Hollywood  to  play  Major 
Beaujolais  in  "Beau  Geste."  He 
was  motoring  one  day  and  stopped 
before  a  new  public  building.  The 
inscription  on  the  cornerstone  read: 
"1926,  A.  D." 

"Do  you  know  what  'A.  D.'  means, 
George?"  questioned  Trevor. 

"Ah  should  say  Ah  does!" 

"Yes?" 

"It  means  'AH  Done!'  " 

T\  7HILE  the  Crown  Prince  of  Sweden  was 
**  visiting  Hollywood,  Hollywood  sent  a 
very  important  visitor  to  Sweden. 

Anna  Q.  Nilsson  has  just  returned  from  a  two 
months'  visit  to  her  home  and  birthplace  in 
Sweden — the  first  since  she  became  a  screen 
favorite. 

"I  had  a  gorgeous  time  and  everybody  was 
glad  to  see  me  and  they  were  all  so  pleased  at 
the  wonderful  reception  Hollywood  gave 
Sweden's  future  ruler,"  said  Anna  Q. 

She  didn't  add  that  she  is  one  of  Sweden's 
most  famous  daughters,  and  that  they  did  very 
well  in  the  way  of  receiving  her.  Anna  Q.  is 
one  of  those  modest  people. 

""THE  Joseph  Schildkrauts  arc  starting  all  over 
■*■  again — for  the  seventh  or  eighth  time. 
Which  is  it?    I've  lost  count.    Anyway,  Elise 


Beatrice  Lillie,  the  English  come- 
dienne, is  a  regular  cut-up.  This 
is  part  of  her  make-up  for  "Exit 
Smiling,"  her  first  movie.  We 
hope  that  Beatrice  will  be  as  funny 
on  the  screen  as  she  is  on  the  sta<*e 


The  art  of  smiling  charmingly  is  the  art  ofcanng  properly  for  one's  teeth.  That  is  why  Pepsodent, 
urged  by  dental  authorities  for  its  unique  therapeutic  and  prophylactic  properties,  is  also  univer- 
sally placed  by  experts,  these  days,  near  the  top  of  the  list  of  modern  beauty  aids. 

IjOhen  ^eeth  are  ^ilm  ^ree 

SMILES  ARE  CHARMING 

The  Stubborn  Film  on  Teeth  to  Which  Science 
Ascribes  Many  Tooth  and  Gum  Disorders.What 
Numbers  of  Authorities  Suggest  Doing  for  It 


BY  running  your  tongue  across  your 
teeth,  a  film  will  be  felt — a  slip- 
pery sort  of  coating.  Recent  dental 
research  proves  that  film  a  chief  enemy 
of  healthy  teeth  and  gums — the  source 
of  most  dull  teeth,  a  chief  cause  of 
many  gum  disturbances.  Because  old 
ways  of  brushing  failed  to  remove  film 
successfully,  a  new  way  in  tooth  and 
gum  care  is  being  widely  suggested  by 
dental  authorities — a  way  embodied  in 
the  special  film-removing  dentifrice 
called  Pepsodent. 

Now  an  Effective 
Film-Removing  Tooth  Paste 
For  years   dental  science   sought  ways 
to  fight  film.     Clear  teeth  and  healthy 
gums    come    only    when    film    is    con- 
stantly combated. 

Film  was  found  to  cling  to  teeth; 
to  get  into  crevices  and  stay;  to  hold 
in  contact  with  teeth  food  substances 
which  fermented  and  fostered  the  acids 
of  decay. 

Film  was  found  to  be  the  basis  of 
tartar.  Germs  by  the  millions  breed 
in  it.  And  they,  with  tartar,  are  the 
chief  cause  of  pyorrhea  and  most  gum 
disorders. 

Thus  there  was  a  universal  call  for 
an  effective  film-removing  method.  Or- 
dinary brushing  was  found  ineffective. 

Now  two  effective  combatants  have 
been   found,   approved   by   high   dental 


authority,    and   embodied    in   the    film- 
removing  tooth  paste  called  Pepsodent. 

Curdles  and  Removes  Film. 

Firms  the  Gums 

Pepsodent  acts  first  to  curdle  the  film. 

Then  it  thoroughly  removes  the  film  in 

gentle  safety  to  enamel. 

At  the  same  time,  it  acts  to  firm  the 
gums  —  Pepsodent  provides,  for  this 
purpose,  the  most  recent  dental  find- 
ings in  gum  protection  science  knows 
today. 

Pepsodent  also  multiplies  the  alka- 
linity of  the  saliva.  And  thus  aids  in 
neutralizing  mouth  acids  as  they  form. 
It  multiplies  the  starch  digestant  of  the 
saliva.  And  thus  combats  starch  de- 
posits which  might  otherwise  ferment 
and  form  acids. 

Please  Accept  Pepsodent  Test 
Send  the  coupon  for  a  10-day  tube. 
Brush  teeth  this  way  for  10  days.  Note 
how  teeth  gradually  lighten  as  film 
coats  go.  Then  for  10  nights  massage 
the  gums  with  Pepsodent,  using  your 
finger  tips;  the  gums  then  should  start 
to  firm  and  harden. 

At  the  end  of  that  time,  we  believe 
you  will  agree,  that  next  to  regular 
dental  care,  Pepsodent,  the  quality 
dentifrice,  provides  the  utmost  science 
has  discovered  for  better  tooth  and 
gum  protection. 


FREE — Mail  coupon  for  10-day  tube  to 
The  Pepsodent  Company.  Dept.  845,  1104 
S.  Wabash  Ave.,  Chicago,  111.,  U.  S.  A. 
Only  one  tube  to  a  family. 


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Bartlett  stepped  off  the  train  into  the  arms  of 
Joseph  and  a  long,  lingering,  loving  kiss  ensued 
which  lasted  until  at  least  three  news  pictures 
were  taken.  One  thing  can  be  said  for  the  kiss. 
It  was  far  more  poignant  and  true  than  the  one 
Joseph  as  Judas  is  to  give  H.  B.  Warner  as 
the  Christ  in  "King  of  Kings." 

Sirs.  Schildkraut  insisted  that  she  wanted  a 
Spanish  home  with  a  patio;  Joseph  murmured 
something  about  their  now  being  "mother  and 
father";  and  they  finally  compromised  by  leav- 
ing the  station  with  Mr.  and  Mrs.  C.  B. 
De  Mille.  It  seems  "  C.  B."  declared  a  holiday 
for  the  Schildkraut  reunion. 

I  hope  he  is  not  establishing  a  bad  precedent. 

"PNOUG  hopped  off  the  train  at  Pasadena  and 
J-yhanded  Mary  into  a  group  of  friends  who 
had  come  to  welcome  the  globe-trotting  two. 
Mary  was  happy  and  smiling,  anxious  to  com- 
mence work  on  her  shop  girl  story,  but  Doug, 
who,  with  Mary,  traveled  from  England  to 
France  to  Spain  to  Italy  to  Russia  in  search  of 
an  idea,  was  quite  disconsolate,  for  he  returned 
without  one  idea. 

It  had  been  in  Fairbanks'  mind  to  film  a  pic- 
ture of  the  Crusades  with  Mary,  a  long-her- 
alded undertaking,  but  inability  to  find  the 
proper  backgrounds  forced  temporary  aban- 
I  donment.     Mary  is  to  make  three  or  four  pic- 
1  tures  and  Doug  will  film  several  before  they 
I  have  another  six  months'  vacation. 

"LTERE  it  is  again — the  best,  or  the 
■'■■'■worst,  press  agent  yarn  of  the 
month: 

"Isn't  it  odd  that  the  two  heaviest 
featured  names  with  'Mare  Nostrum' 
are  the  names  of  the  two  most  fa- 
mous horses  of  the  screen — Rex  and 
Tony?" 

Don't  shoot  him,  he's  really  a  good 
kid  at  heart,  with  a  lot  of  extra  girls 
depending  on  him!  And  besides  he 
buys  my  lunch  occasionally. 

JTAL  ROACH'S  energetic  press  agent  must 
■*■  -'■have  run  out  of  gags.  Here's  the  one  he 
tells  on  the  young  magician  who  converts 
laughs  into  gold.  And,  incidentally,  it's  the 
great-grandchild,  in  golf  knickers,  of  the  story 
of  the  gateman,  or  the  dog,  or  the  wife,  or  the 
children,  who  didn't  recognize  the  star  in 
make-up. 

Anyway  it  might  be  a  snicker. 

Hal  had  just  returned  from  two  months  in 
Xew  York.  He  stopped  at  the  studio  cafeteria 
for  breakfast.  Assembling  his  eggs  and  coffee, 
he  stopped  at  the  cashier's  desk  only  to  find  he 
didn't  have  a  cent  in  his  golf  knickers. 

The  cashier,  very  new  and  unacquainted 
with  the  personnel  of  the  studio,  was  heartless: 

"Who  are  you?" 

"I'm  Hal  Roach." 

"  Don't  try  to  kid  me.  Come  across  with  the 
money.    I've  got  orders  to  trust  no  one." 

Then  up  ankled  Charlie  Chase  and  the 
cashier  was  introduced  to  her  boss. 

VX  7HILE  on  a  hunting  and  yachting  trip  to 
*»  Old  Mexico,  Tom  Mix  put  in  at  Ensenada 
for  a  few  days. 

They  went  into  the  back  country  each  day — 
packed  in — looking  for  game.  They  sort  of  got 
their  signals  crossed,  for  when  the}-  went  out 
with  their  shotguns  they  saw  nothing  but  deer. 
And  the  next  day.  armed  with  rifles,  they  would 
see  nothing  but  quail.  Don't  know  why  they 
didn't  take  both  kinds  of  guns  at  the  same 
time,  but  seems  they  didn't.  Anyway  they  had 
rotten  hunting. 

"Got  one  real  kick  out  of  the  trip,  though," 
said  Tom.  "Met  some  fella  who  was  a  Mexi- 
can war  hero  or  somethin'.  Seems  he  was  the 
first  guy  to  get  some  certain  kind  o'  medal  for 
bravery  from  the  Mexican  government.  The 
nation's  greatest  honor,  y'  know. 

"Pulled  it  outa  his  pocket  and  showed  it  to 
me.  A  great  big  gold  badge  all  jeweled  an' 
evervthing. 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


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Who  wouldn't  wear  a  slave  chain  of 
platinum  and  diamonds?  Bert 
Lytell  gave  this  wedding  ring  to 
Claire  Windsor,  just  by  way  of 
taking  the  curse  off  matrimony. 
Claire  will  think  twice  before  she 
takes  off  this  ring 


"  'Why  don't  you  wear  it,  fella?'  I  asks  him. 

"  'I'm  goin'  to  soon  as  I  can  get  a  vest  to  pin 
it  on,'  he  up  an'  says. 

"Then  I  takes  another  look  and  decides  that 
his  pants  an'  shirt  don't  look  like  Fifth  Avenue. 
An'  I  felt  real  sorry  for  him.  That  big  jeweled 
medal  an'  no  place  to  put  it  but  in  his  britches 
pocket. 

"So,  as  soon  as  I  gets  home  I  sends  him  a 
vest — ten  of  'em,  to  be  honest — 'cause  I  ain't 
got  much  use  for  vests  myself  and  I  did  want 
him  to  have  the  proper  background  fer  his 
joolery." 

"WTRGINIA  VALLI  swept  into  the 
"  Assistance  League  cafe  in  all  the 
orchid  and  pink  glory  of  an  Adrian 
costume.  Orchid  was  the  shade  of 
her  large  hat,  orchid  was  the  tulle  of 
the  skirt,  which  fell  from  a  tight 
bodice  to  the  jeweled  French  heels 
of  her  slim  slippers. 

Huge  flowers  of  yarn  in  crocus  yel- 
low, gentian  blue  and  rose  pink  gam- 
boled over  the  skirt,  which  swept  to 
the  floor  and  brushed,  I  must  admit, 
bits  of  paper,  small  clouds  of  dust 
and  a  few  stray  matches  with  it. 
Save  for  its  beauty,  it  was  really  a 
very  unsanitary  skirt. 

The  apparition  was  escorted  by  a 
military  and  exceedingly  debonair 
William  Powell  in  a  gold  and  white 
uniform.  Together  they  made  a  pic- 
ture that  might  have  emerged  from 
Godey's  Lady  Book  or  the  newest 
musical  comedy. 

But  Jack  Ford  couldn't  see  it  that 
way.  Out  of  the  corner  of  his  eye, 
that  depicter  of  virile  men  and  steam 
engines  saw  the  vision  approach. 
Out  of  the  corner  of  his  mouth  he 
yelled: 

"Hey,  Virginia!  Sweep  out  that 
other  corner  before  you  sit  down!" 

""THE  Wednesday  night  opening  of  "  Bardelys 
-*-  the  Magnificent"  was  a  night  for  newly- 
weds.  They  walked  gaily,  confidently  and 
gracefully  past  the  microphone  hidden  in  the 
tan  and  gold  King's  coach  at  the  entrance  of 
the  Carthay  Circle  Theater.  They  walked 
splendidly  past  the  admiring  crowds,  lining  the 
entrance,   and   past   the   arc-light,    modestly 


"5 


Gaktea's  Beauty  Tamed 

the  Dreaded  Cyclops 


At  leading  stores  everywhere: 
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Lisle  Welt  and  Sole 


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Chiffon  weight    $2.50 
Style  3S0-Service  weight    $2.75 


— But  He  Probably  Never 
Looked  at  Her  Ankles 

~\JATURE  was  generous  in  the  way  she 
■*■  X^chiseled  Galatea's  classic  features.  But, 
she  was  more  than  generous  in  the  girth  she 
.bestowed  on  Galatea's  ankles.  Even  her  fabled 
facial  beauty  could  hardly  compensate  for 
her  ankles  ■  -  unless,  of  course,  she  wore 
"Onyx  Pointex." 

"Pointex"  has  a  quality  that  can't  be  pur- 
chased in  any  other  stocking  in  the  world.  It 
emphasizes  every  iota  of  charm  that  a  shapely 
ankle  possesses.  The  lines  of  the  "Pointex" 
heel  SUGGEST  trim  slenderness  for  the  same 
reason  that  vertical  lines  in  a  dress  fabric  sug- 
gest it.  You  may  be  sure  that  your  ankles  are 
correct  if  they  are  "Pointex"  clad.  And,  re- 
member, if  a  stocking  isn't  marked  "Onyx", 
it  CAN'T  be  "Pointex." 


11926  "Onyx"  Hosiery  Int. 


Manufacturers 


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n6 


Photoplay  Magazine — Advertising  Section 


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which  actually  brings  back  the  true  golden 
beauty  even  to  the  most  faded  and  lustre- 
less blonde  hair.  This  new  method,  called 
Blondex,  makes  hair  wonderfully  fluffy, 
silky,  lustrous.  Highly  beneficial  to  both 
hair  and  scalp.  It  is  not  a  dye.  Contains 
no  injurious  chemicals.  Over  one  half  mil- 
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Dark,  gypsy  eyes  —  starry  eyes —  eyes  hauntingly 
lovely — how  instantly  they  lure  when  fringed  by 
mysterious,  half-concealinglashes!  What  thrillinglove 
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billed  by  Metro-Goldwyn-Mayer  as  "the  larg- 
est in  the  world." 

It  was  a  night  of  aewlyweds.  Mr.  and  Mrs. 
King  Yidor,  the  very  new  bride,  Eleanoi 
lioardman,  in  the  trailing  garments  sin-  ti  raallj 
affects,  «ith  a  wine-colored  cape  mantling  her 
shoulders;  Mr.  and  Mrs.  Leu-  ("oily,  Mabel 
Xormandin  the  white  chiffon  that  befits  a  bride; 
Mr.and  Mrs.  David  Mdivani,  Mae  Murray, a 
50ft  blush  of  pink;  anil  .Mr.  anil  Mrs.  Robert  Z. 
Leonard,  Gertrude  Olmsted  as  a  bride  of  at 
least  some  months  in  black  lace  and  silver 
shawl. 

Strolling  in  the  lobby  during  the  intermission 


I  saw  Hillie  Dove  and  Irvin  Willal,  Mr.  and 
Mrs.  Tom  Mix — Victoria  Mix  wearing  the 
white  and  gold  that  becomes  her  so  well; 
Richard  ISarthclmess,  Jack  Gilbert,  Norma 
Shearer,  Greta  Garbo  in  the  King  Vidors' 
party;  Mr  and  Mrs.  Clarence  Iirown,  John  T, 
Murray,  Mr.  and  Mrs.  Roy  D'Arcy,  Dolores 
Costello,  earning  her  title  of  "exquisite"  in 
cornflower  blue,  John  Roche,  the  Lubitsches, 
the  Charles  Rays. 

I  can't  name  everyone  who  was  there,  but  it 
was  the  first  premiere  of  what  is  destined  to  be 
a  busy  fall  season,  and  that  means  no  one 
missed  it. 


Fakers  of  Hollywood 


CONTINUED  FROM  PAGE  29] 


through  the  studio,  dined  and  accorded  the 
honors  such  a  title  would  demand,  which 
usually  means  being  photographed  in  friendly 
attitude  with  such  immortals  as  Ramon  No- 
varro,  Antonio  Moreno,  Lew  Cody,  or,  if  the 
title  is  big  enough,  with  Greta  Garbo. 

The  "Baron"  stayed  in  Los  Angeles  for 
some  weeks,  during  which  time  he  cashed  a 
number  of  checks.  Then  he  left  town.  It  was 
discovered  the  checks  were  as  good — or  as  bad 
— as  his  title.  And  that  was  absolutely  worth- 
less. 

"Baron  Krupp" — the  Big  Bertha  man  from 
Essen — tried  to  commit  suicide  when  appre- 
hended by  officers  in  Albuquerque,  New  Mex- 
ico. 

A  BEAUTIFUL  blonde  who  greatly  resem- 
bled Claire  Windsor  had  great  sport  sled- 
ding on  Claire's  fame.  She  confined  her  tobog- 
ganing on  the  royal  runners  of  picture  fame  to 
the  Middle  West,  where  she  incurred  large  hotel 
bills  at  principal  hostelries  and  bought  numer- 
ous gowns^charging  them  all  to  Claire.  Chi- 
cago was  the  center  of  activity  for  the  beauti- 
ful, but  so  dumb,  lady. 

When  Claire  arrived  in  Chicago  on  her  first 
visit  to  the  city,  there  was  some  consternation 
among  the  officials  at  a  large  hotel  where  she 
stopped. 

"We  are  sorry,  Miss  Windsor,  but  you  will 
have  to  settle  your  previous  account  before  we 
can  accept  your  registration." 

Claire  proved  that  she  had  never  been  in 
Chicago  before  and  officers  were  set  on  the  trail 
of  the  bogus  "Claire." 

Conrad  Nagel  is  another  victim  of  imperson- 
ators. About  a  year  ago  he  began  receiving 
letters  from  England  which  usually  commenced 
with: 

"Dear  Mr.  Nagel:  You  will  recall  when  we 
met  in  London  ..."  And  ended:  "I  would 
greatly  appreciate  the  return  of  the  loan  I 
made  you." 

At  the  time  these  loans  were  made,  Nagel 
was  hard  at  work  on  the  Metro-Goldwyn- 
Mayer  lot  and  the  closest  touch  he  had  with 
Britain  was  the  English-made  suit  he  wore. 

The  Metro-Goldwyn-Mayer  exchange  in 
England  was  asked  to  help,  with  the  result  that 
Conrad's  impersonator  was  soon  tracked  down. 

.Mother  love  and  a  desire  that  her  three-year- 
old  boy  have  his  chance  to  become  a  second 
Jackie  Coogan  prompted  an  unknown  woman 
to  take  the  name  of  Mrs.  John  Hicks,  Jr., 
w  ife  of  Paramount's  Australian  Sales  Manager. 

It  happened  that  Mr.  and  Mrs.  Hicks,  Jr., 
had  been  visiting  in  Los  Angeles,  but  had  left 
fur  San  Francisco  the  night  before  the  fake 
Mrs.  I  licks,  Jr.,  'phoned. 

"I  am  Mrs.  John  Hicks,  Jr.,"  the  woman 
said  over  the  telephone.  "My  husband  has 
returned  to  Australia,  but  I  am  staying  in 
Hollywood  to  give  my  child  his  chance  at  a 
screen  career."  She  then  asked  for  a  screen 
test  fur  the  child. 

The  Lasky  employee  answering  the  'phone 
knew  that  the  real  Mrs.  Hicks,  Jr.,  and  her  hus- 
band had  left  town  the  preceding  night. 

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"  We  will  be  glad  to  make  a  screen  test  of  the 
boy.  Will  you  write  us  a  letter,  repeating  what 
you  have  said  over  the  'phone?" 

The  letter  arrived  signed  "  Mrs.  Anne  Hicks, 
Jr.,"  but  when  the  Paramount  people  tried  to 
reach  the  woman  they  were  unable  to  locate 
her. 

They  still  have  the  letter. 

Movie-struck  girls  are  among  the  impostors 
who  use  false  credentials  to  gain  admittance  to 
the  studios.  One  girl  who  posed  as  a  staff 
writer  on  the  Boston  Post  presented  herself  at 
Metro-Goldwyn-Mayer  studios. 

She  claimed  to  have  been  sent  west  by  the 
paper  to  do  a  column  a  day  on  the  extra  people 
of  Hollywood. 

Pictures  were  taken  of  the  girl,  she  was  regis- 
tered at  the  Central  Casting  Agency;  then  a 
telegram  was  sent  to  the  paper  to  verify  her 
statements.  Word  was  received  that  they  had 
never  heard  of  her  at  the  Boston  Post.  How- 
ever, the  girl  never  returned  to  claim  her  pic- 
tures and  all  traces  of  her  were  lost. 

T  AST  May  a  beautiful  and  dashing  red-haired 
-'-'girl  landed  in  Los  Angeles  claiming  to  be 
Lady  Diana  Bathurst,  daughter  of  the  Earl  of 
Athol,  who  was  the  seventh  Earl  of  Bathurst. 
She  stated  she  was  commissioned  to  sell  a  half 
dozen  paintings,  done  by  the  late  Ivan  Kalyn- 
koss,  court  painter  to  the  Czar  of  Russia. 

Lady  Diana,  a  clever  conversationalist  and 
an  extremely  decorative  guest,  was  honored  by 
several  organizations.  She  circulated  in  the 
film  colony.  And  she  acquitted  herself  charm- 
ingly. Then  storm  clouds  brewed.  It  seemed 
that  the  British  Consulate  in  San  Francisco 
doubted  her  title.  Lady  Diana  was  righteously 
indignant.  She  insisted  that  papers  from  Eng- 
land were  due  any  day.  They  would  prove  the 
authenticity  of  her  title.  Then  the  British  con- 
sul in  Los  Angeles  arose  to  remark  that  there 
was  no  Lady  Diana  Bathurst  listed  in  the  peer- 
age. 

Rumor  had  it  she  was  simply  Virginia  Ger- 
aldine  Hurst  of  Texas  or  points  south. 

Lady  Diana  was  photographed  for  the  pa- 
pers,legscrossed  with  vast  expanse  of  attractive 
silken  limb  showing.  Then  she  dropped  from 
sight. 

The  British  consul  still  insists  there  is  no 
Lady  Diana  Bathurst  in  the  peerage. 

About  eighteen  months  ago  a  young  man  of 
nineteen  arrived  in  New  York  City  in  search  of 
fame.  Things  did  not  break  well  for  him  and  a 
chance  remark  decided  the  youth  on  a  course  of 
action.  A  remark  that  he  resembled  Ben  Lyon 
was  his  clue.  He  registered  at  one  of  New 
York's  finest  hotels  as  Ben  Lyon  and  then  be- 
gan a  series  of  happenings.  Bills  began  to 
arrive  at  the  Biograph  studios  where  Ben 
works  nine  months  out  of  twelve — from  a 
fashionable  tailor — two  or  three  hotels — a  Fifth 
Avenue  shoe  shop — all  came  to  Ben,  who 
stared  open-mouthed  at  the  bad  news.  He! 
could  not  recall  patronizing  any  of  these  con- 
cerns and  told  each  one  so.  A  visit  made  to 
the  shops  persuaded  the  managers  that  they 
had  been  duped. 


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Ben  finally  found  the  youth  and  brought  him 
before  his  lawyer,  where  he  swore  to  his  falsi 
impersonation,  and  then  Ben  sent  him  home  to 
the  great  West  without  pressing  any  charges 
against  him.  The  youth,  however,  could  not 
take  his  lesson  and  returned  to  New  York, 
where  next  time  he  was  caught  by  a  hotel  and 
sent  to  Sing  Sing. 

Only  recently  another  boy  came  to  New  York 
to  seek  his  fame  and  fortune.  Things  again  did 
not  break,  and  another  chance  remark  that  he 
resembled  Ben  Lyon  decided  him  in  a  course 
of  action. 

Only  this  youth  did  not  say  that  he  was  Hen 
Lyon,  but  told  several  thai  he  was  Ben's 
brother. 

One  day  a  well  known  actress  in  the  motion 
picture  field  told  a  friend  of  Ben  that  she 
thought  it  was  an  awful  thing  for  a  man  in 
Ben's  affluent  position  to  permit  a  brother  to  go 
about  town  busted  and  down  and  out.  The 
friend  went  to  Ben. 

Ben's  only  brother  was  in  Florida,  a  married 
man,  prosperous  and  the  father  of  two  lovely 
kiddies. 

Then  Ben  and  his  manager  became  detec- 
tives. They  sought  his  pseudo-brother  and 
after  a  series  of  adventures  located  him  through 
a  landlady  who,  because  he  was  the  brother  of 
Ben,  had  let  him  run  board  and  room  rent  ad 
lib.,  so  to  speak.  Then  he  was  sent  to  The 
Tombs.  Ben  then  learned  that  he  had  a  wife 
and  child  and  no  criminal  record,  and  did  not 
press  the  charges.  He  gave  him  some  money 
and  advice  and  the  youth,  on  last  accounts, 
was  making  good. 

Film  stars  are  often  afflicted  with  bogus 
brothers,  sisters  and  cousins.  It's  either  the 
glory  or  a  pecuniary  gain  that  prompts  these 
impersonations.  Richard  Barthelmess,  for 
instance,  was  forced  to  call  on  the  law  in  the 
case  of  a  man  who  posed  as  "Robert  Barthel- 
mess" and  succeeded  in  cashing  several  checks, 
saying  he  was  Dick's  brother. 

When  Gilda  Gray  made  her  Los  Angeles  ap- 
pearance with  "Aloma  of  the  South  Seas,"  she 
was  guest  of  the  Edgewater  Beach  Club  one 
evening. 

A  girl  approached  her  table  and  claimed  to 
be  a  relative  from  Poland.  Said  she  wanted 
Gilda  to  help  her  get  into  pictures.  Gilda  ques- 
tioned her,  asked  her  intimate  questions  about 
the  family,  and  the  girl  failed  miserably  to 
answer  them. 

She  finally  left  after  Gilda  had  routed  her 
with  questions. 

This  was  simply  the  case  of  a  movie-mad  girl 
who  wanted  a  screen  chance. 

VALENTINO'S  death  brought  another  im- 
postor to  Hollywood.  He  claimed  he  had 
heard  the  call  to  take  Rudy's  place  in  the  film 
world.  On  the  very  day  of  Valentino's  burial, 
a  young  man  requested  an  interview  with  Fred 
Datig,  casting  director  for  Famous  Players- 
Lasky. 

He  made  the  application  in  person,  well- 
laden  with  luggage. 

He  admitted  having  arrived  that  day  on  the 
two  o'clock  train  from  the  East,  it  then  being 
three  in  the  afternoon. 

He  claimed  to  be  the  son  of  a  wealthy  Cin- 
cinnati family  and  presented  letters  of  intro- 
duction from  three  important  New  York  mo- 
lion  picture  men. 

Investigation  revealed  that  the  letters  were 
forged  and  that  he  was  not  a  scion  of  wealth. 
I  le  folded  his  tent  like  the  Arab  he  never  was  to 
be  on  the  screen  and  silently  stole  away 

Probably  the  most  ambitious  and  inventive 
impostor  is  the  one  who  has  been  posing  as 
Charles  Ray's  brother,  and  lately,  his  cousin. 
He  is  a  rangy  lad,  very  tall,  and  a  person  not 
very  well  acquainted  with  the  real  Charles  Ray 
might  discover  a  family  resemblance. 

He  calls  himself  Albert  Ray  and  is  t  lought  to 
come  from  Boston,  although  he  claims  lo  have 
been  born  in  Jacksonville,  Illinois,  Charles' 
birthplace.  He  first  made  his  appearance  two 
and  a  half  years  ago,  when  his  activities  con- 
sisted of  frequenting  the  studios  trying  to  get 
extra  work. 


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A  Sure  Way  To 

End  Dandruff 

There  is  one  sure  way  that  never  fails  to 
remove  dandruff  completely,  and  that  is 
to  dissolve  it.  Then  you  destroy  it  en- 
tirely. To  do  this,  just  apply  a  little  Liquid 
Arvon  at  night  before  retiring;  use  enough 
to  moisten  the  sralp  and  rub  it  in  gently 
with  the  finger  tips. 

By  morning,  most,  if  not  all,  of  your 
dandruff  will  be  gone,  and  two  or  three 
more  applications  will  completely  dissolve 
and  entirely  destroy  every  single  sign  and 
trace  of  it,  no  matter  how  much  dandruff 
you  may  have. 

You  will  find,  ton,  that  all  itching  of  the  scalp 
will  stop  instantly  and  your  hair  will  be  lustrous, 
glossy,  silky  and  soft,  and  look  and  feel  a  hun- 
dred times  better. 

You  can  get  Liquid  Arvon  at  any  drag  store, 
and  a  four  ounce  bottle  is  all  you  will  need. 
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give  your  system  just  a  little  calcium! 

Calcium  clears  away  every  impurity  that  keeps 
the  skin  sallow  or  dull.  It  keeps  pores  purged, 
and  the  cuticle  clean.  You'll  feel  and  see  the 
difference  from  the  very  first  day  you  take  a  tiny, 
sugar-coated  Stuart  calcium  wafer! 

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the  whole  world,  and  your  druggist  has  the  new 
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STUARTS 

CALCIUM    WAFERS 


When  he  got  low  in  funds,  he  solicited  maga- 
zine subscriptions  from  Hollywood  celebrities, 
informing  them  that  he  was  Charlie's  brother. 

Charlie  has  a  bona  fide  cousin  by  the  name 
of  Albert  Ray  who  is,  and  has  been,  a  Fox 
comedy  director  for  six  years.  Al  became 
aware  of  the  impostor  when  clothing  ordered  by 
the  fake  Ray  was  charged  to  him.  Later,  the 
fake  Albert  Ray  'phoned  the  real  Al  Ray,  stat- 
ing that  he  had  a  large  sum  of  money  to  invest 
in  the  production  of  pictures  and  that  he  would 
like  the  director,  Al  Ray,  to  direct  the  actor 
"Albert  Ray"  in  a  series. 

The  boy  posed,  not  only  as  Charlie's  brother, 
but  as  a  war  hero  knighted  by  the  King  of  Bel- 
gium and  later  decorated  by  General  Pershing. 

He  often  affixed  a  "Sir"  to  his  name. 


a  document,  purporting  to  be  signed  before  a 
notary  by  Charles  Ray,  giving  him  the  right  to 
appear  with  the  showing  of  Charlie's  personally 
produced  picture,  "The  Girl  I  Loved."  At  one 
time  the  press  carried  a  story  that  "Sir  Albert 
Ray"  was  to  go  into  vaudeville  in  a  sketch 
taken  from  "The  Girl  I  Loved,"  and  adapted 
by  James  W.  Riley. 

He  was  arrested  in  a  Middle  Western  town 
recently  and  held  for  five  days  at  the  instiga- 
tion of  the  American  Legion  Post,  who  investi- 
gated the  validity  of  his  medals.  He  could  not 
produce  the  actual  medals,  although  he  had 
talked  continuously  of  them,  and  was  finally 
released,  as  the  Legion  could  press  the  charge 
no  farther,  "  Sir  Albert "  never  having  served  in 
the  armv. 


Identification  of  Pictures  on  Pages  60  and  61 

1.  Raoul  Walsh  and  Joseph  Henaberry,  now  directors,  ap- 
peared as  actors  in  "The  Birth  of  a  Nation."  Walsh  played 
John  Wilkes  Booth  and  Henaberry  appeared  as  Lincoln.  And 
this,  of  course,  is  the  scene  from  the  Griffith  classic  shdwing  the 
assassination  of  Lincoln  at  Ford's  Theater  in  Washington. 

2.  The  star  is  Marguerite  Clark,  who'played  Little  Eva  in  an 
early  version  of  "Unce  Tom's  Cabin."  Universal  is  now  making 
another  version  of  Harriet  Beecher  Stowe's  history-making  story. 
And  the  little  dark  gal  is  also  Marguerite  Clark,  who  played 
both  Eva  and  Topsy. 

3.  This  director  is  Rupert  Julian.  And  you  know  as  well  as 
wc  do  that  he's  made  up  to  look  like  the  ex-Kaiser.  Mr.  Julian 
did  this  bit  of  royal  villaining  in  "The  Beast  of  Berlin."  June 
Mathis  wrote  the  story. 

4.  Geraldine  Farrar  and  Wallace  Reid  appeared  together 
in  "Joan,  the  Woman."  It  was  Miss  Farrar's  screen  debut  and 
Wally's  first  big  role.  Famous  Players-Lasky  filmed  the  picture 
and  Cecil  B.  De  Mille  directed  it.     It  was  released  in  1916. 

5.  Recinald  Denny  made  one  of  his  earliest  hits  with  Con- 
stance Binney  in  "39  East."  John  Robertson,  the  director, 
gave  him  the  job. 

6.  "La  Boheme,"  now  filmed  with  Lillian  Gish  and  John 
Gilbert  in  the  leading  roles,  was  made  years  ago  by  World 
Film.    Alice  Brady  played  Mimi. 

7.  Adolphe  Menjou  played  a  minor  role  with  Rudolph 
Valentino  in  "The  Sheik."  Agnes  Ayres,  of  course,  is  the 
lady  shown  with  him  in  this  scene.  He  played  the  role  of  Raoul 
de  St.  Hubert. 


"Sir  Albert  Ray's"  activities  are  sporadic. 
Months  will  pass  without  word  of  his  doings, 
but  he  seems  to  have  sufficient  money  to  travel 
the  country.  He  paid  a  visit  to  Seattle,  Wash- 
ington, where  he  met  Bryant  Washburn,  mo- 
tion picture  actor,  and  introduced  himself  as 
Charlie's  brother.  Washburn  wired  Charlie, 
discovered  the  hoax  and  "Sir  Albert"  was  in- 
vited to  leave  town.  Shreveport,  La.,  had 
"Charlie  Ray's  brother"  in  the  prologue  to 
Charles  Ray's  "Paris."  The  bogus  brother 
danced  with  a  local  beauty  and  later  the  girl's 
parents  wrote  Charlie  in  Hollywood  that  his 
brother  was  very  clumsy  and  as  a  result  the 
girl  was  sadly  lamed  for  several  weeks.  He  was 
billed  in  the  papers  as  "Charlie  Ray's  brother 
— author,  director  and  star." 

One  of  the  most  daring  exploits  was  to  forge 


One  day  "Sir  Albert's"  nerve  reached  colos- 
sal proportion  and  he  approached  Charles 
Ray's  mother  with  the  query  that  "he  won- 
dered if  Charlie  objected  to  having  him  say  he 
was  his  brother." 

Arthur  Rosson,  Paramount  director,  said 
that  while  coming  up  from  the  South  Seas, 
some  three  years  ago,  he  met  on  board  ship  a 
young  man  who  introduced  himself  as  John 
Haldane,  eldest  son  of  the  Earl  of  Haldane, 
then  living  in  Australia. 

He  was  a  good-looking  chap  with  a  singu- 
larly great  charm  of  manner,  with  Oxford 
written  all  over  him. 

Some  three  weeks  after  he  returned  to  Holly- 
wood, Rosson  said  he  received  a  telephone  call 
from  Haldane,  who  visited  him  and  wound  up 
by  becoming  a  house  guest  at  Rosson 's  home, 


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where  he  then  remained  for  some  six 
weeks. 

During  this  time,  Rosson  introduced  him  to 
his  friends  and  he  was  accepted  everywhere. 
Haldane  made  no  attempt  to  crash  into  the 
movies,  but  spoke  from  time  to  time  of  launch- 
ing an  independent  production  company  with 
the  backing  of  his  father. 

He  received  rather  large  sums  of  money  at 
regular  intervals,  which  he  said  were  remit- 
tances, and  spent  it  freely. 

Then  one  night  there  was  a  big  raid  staged  by 
the  Hollywood  police  on  a  Highland  Avenue 
garage,  which  turned  out  to  be  a  huge  boot- 
legging headquarters. 

Simultaneously,  Haldane  disappeared,  and 
investigation  developed  that,  far  from  being 
an  earl,  he  was  the  go-between  for  a  gang  of 
rum  runners  operating  between  Australia  and 
Southern  California.  He's  never  been  seen 
since. 

LAST  year  Pat  O'Malley  received  a  very  en- 
dearing letter  from  a  girl  who  signed  her- 
self Margaret  J.  Selwyn,  120  Hyde  Street,  San 
Francisco. 

It  referred  to  the  wholly  delightful  and  rather 
hectic  courtship  that  had  ensued  when  Pat 
was  in  San  Francisco. 

It  went  on  to  ask  why  he  had  not  written  her, 
as  he  had  promised,  and  spoke  of  their  chance 
meeting  which  had  preceded  the  romance.  It 
seems  the  acquaintance  had  been  made  in  a 
picture  theater  during  the  run  of  "The  Eternal 
Struggle,"  Pat's  current  film. 

Apparently  the  unknown  Lothario  had  intro- 
duced himself  as  Pat  O'Malley,  star  of  the  pro- 
duction. 

The  San  Francisco  police  department  was 
notified;  the  girl  was  found,  but  proved  to  be 
very  reticent  when  questioned;  later,  when  the 
police  tried  to  find  her  to  query  her  further,  she 
had  disappeared. 

O'Malley  thinks  it  might  have  been  an  incip- 
ient blackmail  plot,  or  some  impostor  trying  to 
make  a  hit  with  the  girl. 

When  Estelle  Taylor  made  some  purchases 
at  Marshall  Field's  in  Chicago  last  season  and 
ordered  them  sent  to  the  Blackstone  Hotel, 
there  was  no  small  amount  of  eyebrow  raising 
on  the  part  of  the  clerks.  A  girl,  representing 
herself  to  be  Miss  Taylor,  had  preceded 
Estelle's  shopping  tour  by  several  hours,  had 
made  many  purchases  throughout  the  store 
and  ordered  them  sent  to  the  Blackstone 
Hotel. 

When  Estelle  arrived  at  the  hotel,  after  iron- 
ing out  the  difficulty  at  Field's,  she  found 
awaiting  her  dresses,  hats,  shoes,  lingerie  from 
Field's  and  Mandel's. 

The  bogus  Estelle  had  gone  on  a  grand  shop- 
ping orgy  with  no  thought  of  gain  other  than 
the  glory  of  posing  as  Estelle  Taylor.  The 
morning  papers  had  carried  accounts  of  Es- 
telle's arrival  and  where  she  was  stopping,  and 
from  them  the  girl  had  gleaned  her  infor- 
mation. 

A  number  of  years  ago,  when  Creighton  Halt- 
was  better  acquainted  in  the  motion  picture 
circles  of  New  York  than  those  of  Hollywood, 
he  kept  hearing  of  a  man  who  posed  as  his 
brother. 

They  went  in  the  same  set,  Creighton  and 
this  fellow,  but  never  had  met.  There  was 
nothing  vicious  about  the  man.  He  merely 
posed  as  blood  brother  to  Hale. 

Finally  they  met,  and  to  Crcighton's  face 
the  fellow  claimed  to  be  his  brother. 

Creighton  denied  it  and  commenced  ques- 
tioning the  chap: 

"What  is  your  mother's  name?" 
"Virginia  Hale,"  said  the  man. 
"And  your  father's  name?" 
"James  Hale." 

"I  mean  your  real  father's  name,"  insisted 
Hale. 

The  fellow  reddened  at  the  implied  insult. 
"James  Hale,  of  course!" 
"  Well,  that's  not  my  father's  name  nor  my 
mother's  name. 

"Hale  is  a  professional  name  that  I  took 
when  I  went  on  the  stage." 


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[  CONTINUED  FROM  PAGE  50  ] 


"Where?" 

"Down  to  the  waterfront  to  watch  the  ships 
an'  git  ideas.  Him  an'  Florian  Slappey  is 
goin'." 

Mr.  Randall  emitted  a  large  and  raucous 
laugh,  and  Mrs.  Clump  leaned  forward. 

"What  at  is  you  laughin',  Brother  Randall?" 

"Nothin',  Mis'  Clump.  Nothin'  at  all — 
'cept  that  a  lady  which  has  been  ma'ied  to  a 
man  as  long  as  you  has,  should  b'lieve  such 
fumadiddles." 

"You  mean  my  husban'  ain't  gwine  to  no 
waterfront?  You  mean  you  know  where  him 
an'  Florian  is  really  goin'?" 

"Uh-huh."  Mr.  Randall  drummed  on  the 
table-top.  "Xow  you  mind,  Sicily — I  ain't 
tryin'  to  start  somethin'.  But  I  happen  to 
know  that  where  Casar  an'  Horian  really  is 
goin'  is  down  to  a  Aral)  dancin'-girl  place  on  a 
li'l  alley  right  off  that  Rue  de  la  Kasha  we  seen 
ilic  ol her  day." 

Sicily  smiled.  "Tha's  where  you  is  wrong, 
Opus.  The  place  what  you  mention,  Florian 
an'  my  husban'  went  to  las'  night  with  my  per- 
mission." 

"Aaah!  An'  they  had  such  a  good  time  with 
them  cullud  dancin'  ladies  that  tonight  they 
goes  back  without  tellin'  you  they  is  doin' 
such."  Opus  rose  ponderously.  "Sicily,  what 
you  ain't  got  in  you'  haid  is  no  brains." 

He  retired  in  excellent  order,  leaving  Sicily 
Clump  sitting  straight  up  in  her  chair,  eyes 
focused  upon  a  tangerine.  She  knew  instinc- 
tively that  Opus  had  spoken  the  truth,  and  her 
wifely  wrath  was  beginning  to  mount. 

T)  EYIEWING  the  events  of  the  past  week,  it 
■'-'-seemed  as  though  her  husband  and  Florian 
had  been  unnaturally  zealous  in  their  hunt  for 
filmable  material.  East  night  Casar  had  told 
her  frankly  that  he  wished  to  visit  a  hall  where 
Algerian  girls  performed  Arab  dances.  His 
frankness  disarmed  her.  and  she  gave  her  per- 
mission. But  if.  tonight,  he  was  returning  to 
the  dance  hall  and  concealing  his  intention  of 
doing  so — then  she  felt  that  it  behooved  her,  as 
a  lawfully  wedded  spouse,  to  do  something. 

Mr.  Randall  was  thoroughly  satisfied  with 
the  start  he  had  made.  He  knew  Sicily  was  no 
bungler.  He  realized  that  she  would  proceed 
carefully — and  to  the  complete  eventual  dis- 
comfiture of  the  dapper  director  who  persisted 
in  making  Opus's  life  one  misery  after  another. 
Meanwhile  he  seated  himself  on  the  ground 
with  his  back  against  an  orange  tree  and  lost 
himself  in  thought.  A  peaceful  smile  played 
about  his  lips  and  until  a  voice  broke  upon  his 
ears  he  was  unaware  of  another's  presence  in 
the  vicinity. 

"What  is  you  so  happy  about.  Opus?" 

Mr.  Randall  looked  up  at  the  trim  little  fig- 
ure of  Edwin  Boscoe  Fizz,  Midnight's  second 
director.  Mr.  Randall  frowned.  He  resented 
the  imputation  that  he  was  happy. 

"Fse  mis'able!"  he  snapped.  "Entirely  an' 
completely  unhappy." 

"  How  come  you  is  smilin',  then?  " 

"Just  got  to  fool  people.  'Fraid  if  I  don't 
smile,  folks  will  stop  thinkin'  Fse  a  comedjin. 
But  my  heart  ain't  smilin',  Eddie — it's 
bustin'." 

Mr.  Fizz  seated  himself  beside  the  portly 
actor.  "Shuh!  Opus,  that  ain't  no  way  to 
talk.     S'pose  you  tell  me  what's  wrong?" 

Mr.  Randall  was  quite  willing  to  unburden 
himself.  "I  showly  wisht  you  was  my  director, 
Eddie — instead  of  that  uppity,  strutful  Caesar 
Clump.    What  I  think  of  that  feller—  ' 

Eddie  Fizz  stiffened.  "Quit  talkin'  that 
away.  Opus.  Caesar  Clump  is  the  fondest  man 
I  is  of." 

"Well,  I  ain't  gwine  be  yo'  rival.  You  is  a 
better  man  than  him  an'  a  better  director. 
Was  you  handlin'  me,  you  woul'n't  be  doin' 
me  the  dirty  tricks  he  is." 


"Like  what,  f 'rinstance? " 

Opus  unfolded  his  worries  and  laid  them  out 
before  the  eyes  of  Eddie  Fizz.  But  somehow, 
Eddie  failed  to  agree  with  him,  even  though  he 
was  sympathetic.  Soft-heartedness  was  one  of 
Eddie's  greatest  shortcomings.  "I  think  you 
takes  things  all  wrong,  Opus,"  he  volunteered. 
"Wasn't  you  such  a  good  actor,  you  woul'n't 
git  so  much  rough  stuff  to  do.  An'  you  is  lucky 
to  have  such  a  swell  director  as  Caesar — " 

"Piffles!    That  slice  of  tripe!    That—" 

"You  cain't  call  him  out  of  his  name  befo' 
me!"  Eddie  had  risen  and  was  confronting 
the  infuriated  Opus  with   aggressive  loyalty. 

"  I  reckon  I  can.  I  ain't  quarrelin'  w*ith  you, 
Eddie.  I  like  you  fine.  But  I  has  got  my 
'pinion  of  Mustuh  Julius  Caesar  Clump  an' 
there  ain't  nobody  gwine  change  me.  N'r 
neither  I  ain't  no  pusson  to  sit  back  idle  an'  git 
stepped  on.  Caesar  has  insulted  me,  an'  when 
Fse  insulted  I  fights!  I'se  gwine  make  that 
feller  wish  he  hadn't  never  been  bawn.  I'se 
gwine—" 

"Is  you  threatenin' him?" 

"Tha's  the  one  thing  I  ain't  doin'  nothin' 
else  but!" 

Mr.  Fizz  turned  away.  "I  cain't  listen  t( 
you  no  mo'  then,  Opus.  Us  is  friends,  bu 
Casar  is  mo'  friendlier  with  me  than  you.so  1 
bids  you  a  respective  good  evenin'." 

Opus  stared  after  the  slim  figure.  He  liked 
Eddie — couldn't  help  liking  the  modest,  in- 
offensive little  man  whose  genius  for  comedy 
had  elevated  him  to  his  present  important  post 
over  the  handicap  of  a  shy.  sensitive  disposi- 
tion. But  he  resented  ICddie's  loyalty  to 
Caesar  Clump. 

What  if  Clump  had  worked  with  Eddie  and 
taught  him  all  he  knew?  What  if  Eddie  had 
attained  directorship  through  handling  Sicily 
Clump  when  her  husband  failed?  Oratitude 
was  one  thing,  but  Opus  felt  that  Mr.  Fizz 
carried  it  to  the  point  of  insanity. 

AS  for  Eddie  Fizz, he  wasconsiderably  worried. 
He  discounted  Opus's  threats,  of  course. 
Opus  was  always  threatening  somebody.  He 
was  an  inveterate  trouble-maker,  the  single 
member  of  the  Midnight  troupe  possessing  a 
violent  case  of  temperament.  But,  just  the 
same,  it  was  well  for  him  to  know — as  Caesar's 
staunch  friend — that  there  was  somebody  in 
the  organization  who  bore  him  ill-will. 

A  low  whistle  was  wafted  to  his  ears.  He 
traced  it  with  his  eyes  and  saw  that  it  came 
from  the  lips  of  the  elegant  Mr.  Florian  Slap- 
pey. Florian  leaned  out  of  the  window  and 
called  softly. 

"Hey,  Eddie — come  up  to  my  room  a  min- 
ute." 

Mr.  Fizz  obeyed.  He  mounted  the  stairway 
and  entered  the  bare  little  cubicle  which  Mr. 
Slappey  occupied  in  solitary  state.  Then  his 
eyes  fell  upon  the  other  occupant  of  the  room. 

"Hello,  Caesar." 

"Howdye,  Eddie." 

Florian  dropped  an  affectionate  hand  on 
Eddie's  shoulder  and  spoke  beatifically.  "Man! 
where  Caesar  an'  I  was  las'  night!" 

"That  dancin'  girl  place?" 

"Uh-huh!"  Florian  rolled  his  eyes.  "Hot 
diggity  dawg!" 

J.  Ca=sar  Clump  chuckled.  "How  'bout  you 
goin'  back  there  with  us  tonight.  Eddie?" 

Mr.  Fizz  frowned.    "You  goin'  back  there?" 

"Tha's  the  most  thing  we  is  aimin'  to  do." 

"But  Ca-sar — how  come  Sicily  lets  you  re- 
turn to  a  place  bke  that?" 

Mr.  Clump  laughed  loudly.  "Shuh!  Eddie, 
she  don't  know  nothin'  'bout  it.  She  thinks  I 
an'  Florian  is  gwine  be  gallivanting  aroun'  the 
waterfront  lookin'  fo'  lit'ry  material." 

"No?" 

"Yea.  Golla!  she  woul'n't  dream  of  leavin' 
me  go  to  see  no  Algiers  dancin'  girls  a  secon' 


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time.  Once  was  bad  enough.  So  I  an'  Florian 
framed  this  story  an'  right  away  she  says  all 
right  we  can  go.  Now  we  was  thinkin'  that  you 
would  have  the  time  of  yo'  life.  .  .  .  Boy! 
until  you  has  visited  that  place,  you  ain't  been 
nowhere  an'  you  ain't  seen  nothin'.  How 
'bout  it?" 

Eddie  shook  his  head.  "Nothin'  stirrin', 
Cssar.     Glorious  woul'n't  never  say  yes." 

"You  ain't  got  to  'splain  ev'y thing  to  yo' 
wife,  has  you?" 

"Uh-huh.    Us  promised  each  other  that." 

Florian  grimaced.  "What  good  is  a  wife  if 
you  cain't  break  promises  to  her?  C'mon, 
Eddie — be  a  good  sport." 

"Cain't  make  it,  boys."  He  stared  at  Caesar 
thoughtfully.  "Anybody  but  me  know  where 
you-all  is  goin'?" 

"I  don't  reckon  so." 

"Well,  don't  tell  nobody  then." 

Csesar  smiled  affectionately.  "01'  Sad  Face ! 
Why  not?" 

"  'Cause  ev'body  in  this  comp'ny  ain't  yo' 
friend,  Ca-sar.  An'  was  Sicily  to  find  out 
where  you  was  at — " 

Both  men  whistled  expressively.  Eddie 
wished  them  luck  and  went  his  way.  Once  out 
of  the  room  Florian  and  Ca?sar  looked  appre- 
hensively at  each  other. 

"What  you  reckon  he  meant,  Florian?" 

"Talkin'  'bout  Opus  Randall,  mos'  prob'ly. 
He's  hatin'  you  plenty  in  the  las'  few  days." 

"He  don't  know  nothin'  'bout  this  trip  to- 
night, does  he?" 

"Showly  not."  There  was  the  faintest 
quiver  of  doubt  in  Florian's  voice.  "Co'se  I 
guess  there's  some  in  the  comp'ny  suspecks 
where  we  is  gwine.  We  done  a  heap  of  talkin' 
this  mavvnin'  an'  Opus  might  of  heard." 

Mr.  Clump's  eyes  narrowed  hostilely.  "If 
that  fat  slab  of  side-meat  ever  tol'  my  wife  on 
me.  .  .  .  But  shuh!  we  ain't  doin'  nothin'  but 
borryin'  trouble.  Sicily  don't  suspeck  nothin' 
an'  us  is  gwine  have  the  time  of  our  lives." 

Mr.  Slappey  grinned  hugely.  "Chief,  when 
you  said  that  you  show  spoke  a  parabola!" 

At  three  o'clock  that  afternoon  a  party  of 
three,  consisting  of  Director  Clump,  Camera- 
man Exotic  Hines  and  Author  Forcep  Swain, 
left  the  hotel  on  a  tour  of  inspection.  They 
were  seeking  locations  for  certain  important 
comedy  shots  and  were  intent  on  business. 

Mrs.  Sicily  Clump  stood  at  her  window  and 
watched  them  go.  They  moved  off  down  the 
Rue  Michelet  and  passed  from  sight.  Imme- 
diately Sicily  swung  into  action. 

She  descended  to  the  hotel  gardens  and 
quested  for  the  company's  official  Algiers 
guide.  She  found  him  chatting  amiably  with 
two  taxi  drivers. 

M  FERN  AND  BOUTIERRE  was  a  decid- 
•  edly  estimable  gentleman.  His  creden- 
tials were  unimpeachable,  as  President  Orifice 
R.  Latimer  had  taken  very  good  care  to  see 
after  a  certain  thoroughly  disastrous  experience 
in  Biskra. 

Fernand  was  of  medium  height  and  modest 
structure.  In  complexion  he  was  of  that 
doubtful  mahogany  tinge  which  marks  the 
native  Algerian.  Born  and  reared  within  the 
corporate  limits  of  the  sprawling,  hilly  city  on 
the  north  African  coast,  Fernand  had  learned 
to  speak  French  fluently.  Later  he  had  picked 
up  bits  of  English  from  tourists  and  then  had 
seriously  studied  the  language  until  now  it  was 
his  proud  boast  that  he  spoke  it  as  good  as  a 
native. 

A  large  tourist  bureau  had  recommended 
Fernand  without  qualification.  He  was 
licensed  by  the  police  and  they  asserted  that  he 
was  familiar  with  everything  in  Algiers  from 
palace  to  pest-hole.  He  spoke  on  terms  of 
respectful  intimacy  with  officials  and  wharf- 
rats.  Proprietors  of  two  large  halls  where 
boule  and  baccarat  flourished  knew  him  well, 
and  there  was  no  iniquitous  establishment  in 
the  city  which  was  not  eager  to  welcome  him 
and  his  clients. 

His  chief  recommendation  was  that  wher- 
ever he  chose  to  guide  a  person — there  that 
person  was  safe.    Being  a  native  Algerian,  he 


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held  high  social  rank  among  his  kind.  French 
shopkeepers  and  entertainment  purveyors  ca- 
tered to  the  man. 

Sicily  Clump  knew  Fernand  well,  and  liked 
him.  She  opened  the  interview  by  pressing 
in  his  hand  a  crisp,  new  hundred-franc  note, 
realizing  that  this  made  of  Fernand  her  staunch 
ally — unless  somebody  happened  to  come  along 
with  more  than  a  hundred  francs. 

She  spoke  earnestly  and  lengthily  with  M. 
Boutierre.  At  first  he  raised  his  hands  in  hor- 
ror and  shook  his  head  violently.  Once  he 
offered  to  return  her  hundred  francs.  But 
Mrs.  Clump  was  insistent.  He  spoke  of  risks 
and  she  volunteered  to  assume  them.  He  told 
her  he  dared  not  jeopardize  his  very  ex- 
cellent position  with  Midnight,  and  she  prom- 
ised protection:  she  gave  her  word  that  he  was 
to  be  merely  an  innocent  bystander.  And  at 
the  crucial  instant  of  his  indecision,  she  pro- 
duced a  second  hundred-franc  note. 

"pERNAXD  was  converted.  Much  against  his 
*-  better  judgment  he  consented  to  put  himself 
at  her  disposal.  She  then  proceeded  to  speak 
more  specifically  and  a  half  hour  later  the  some- 
what doubtful  M.  Boutierre  boarded  a  tram  for 
downtown,  there  to  seek  the  native  clothing 
shop  of  a  very  good  friend.  Frankly,  Fernand 
regarded  it  as  a  very  silly  proceeding — entirely 
too  much  ado  about  nothing  at  all.  What  if 
this  woman's  husband  cared  to  visit — for  the 
second  time  in  two  nights — an  irreproachable 
dancing  establishment?  Fernand  shrugged. 
The  mental  ways  of  these  American  women 
were  quite  beyond  him.  Why,  the  place  was  so 
respectable  that  he  frequently  took  tourist 
ladies  to  watch  the  dancing  .  .  .  invariably  to 
their  disappointment.  Native  Algerian  dances 
lack  considerable  of  the  paprika  which  seasons 
the  famous  French  Can-Can. 

Shortly  before  the  dinner  hour  Fernand  re- 
turned from  the  native  quarter  with  a  large 
bundle  and  a  suggestion.  He  had  surveyed  the 
situation  from  every  angle  and  finally  made  it 
quite  clear  to  Sicily  that  he  would  take  her  to 
the  dancing  place  only  on  condition  that  some 
colored  gentleman  in  the  company  should 
accompany  them.  This,  Fernand  felt,  would 
leave  him  in  the  clear  should  things  go  wrong. 

Much  to  his  amazement,  Sicily  did  not  pro- 
test. In  fact,  she  instantly  and  heartily  en- 
dorsed the  idea  and  immediately  went  in 
search  of  Opus,  whom  she  found  staring  down 
miserably  upon  the  Mediterranean  sea. 

Opus  demurred.  It  was  one  thing  to  start 
the  ball  rolling,  and  quite  another  to  trot  along 
with  it.     Sicily  used  powerful  argument,  and 


eventually  Opus  consented  to  accompany  them 
to  the  dance  palace. 

"But,"  said  he,  in  qualification  of  his  agree- 
ment, "I  ain't  gwine  in.  I  goes  downtown  in 
the  taxi  with  you-all,  but  when  we  gits  to  that 
place,  I  waits  outside." 

"Why?" 

"You  is  gwine  be  disguised.  I  ain't.  Min- 
ute I  go  in,  Caesar  an'  Florian  reckernizes  me 
.  .  .  then  the  whole  scheme  goes  blooie.  Ain't 
that  the  truth?  " 

"Yeh  .  .  .  seems  so." 

"  'Tis  so.  You  don't  want  yo'  husban'  to 
know  you  is  there.  An'  with  me  waitin'  out- 
side, he  won'  know  nothin'." 

"Good  enough.  Now,  you  keep  yo'  eyes 
open  this  evenin',  Brother  Randall,  an'  as  soon 
as  Caesar  an'  Florian  starts  downtown  ybu  hunt 
me  up." 

THINNER  that  evening  was  a  gala  affair. 
■*— ^There  was  unusual  jocularity  and  good  na- 
ture, most  of  the  laughter  emanating  from  J. 
Ca-sar  Clump,  Florian  Slappey,  Sicily  Clump 
and  Opus  Randall.  The  first  two  stood  upon  the 
threshold  of  a  glorious  evening,  Sicily  was  de- 
termined that  any  lurking  suspicion  on  the 
part  of  her  husband  should  be  allayed  and 
Opus  was  chuckling  inwardly  at  the  thought  of 
the  revenge  he  was  about  to  take. 

Mr.  Randall  was,  as  a  matter  of  fact,  in  fine 
fettle.  His  deep  voice  boomed  across  the  room. 
He  fairly  oozed  high  spirits.  Personally  un- 
popular as  he  was,  the  others  were  laughing 
with  him — all  save  Director  Edwin  Boscoe 
Fizz,  whose  mild  little  eyes  turned  inquiringly 
upon  the  fat  comedian.  Mr.  fizz  felt  that 
there  must  be  something  sinister  behind  Opus's 
abrupt  climb  from  the  nadir  of  unhappiness  to 
the  zenith  of  jocularity. 

By  the  time  dinner  ended,  night  had  settled 
over  Algiers  in  a  rich,  purple  mantle.  The  sky 
was  cloudless  and  spangled  with  stars.  From 
the  hotel  veranda  one  could  look  down  upon 
the  sprawling  city;  the  wide,  tree-sentyieled 
streets  of  the  French  quarter,  the  white  houses 
and  mosques  in  the  native  section.  The  pano- 
rama was  weirdly  beautiful  in  the  moonlight. 
.  .  .  Ca:sar  and  Florian  took  their  leave  and, 
as  long  as  they  remained  within  earshot,  dis- 
cussed loudly  the  sort  of  pictorial  material  they 
hoped  to  discover  on  the  proposed  tour  of  the 
congested  and  malodorous  waterfront. 

Less  than  fifteen  minutes  after  their  depar- 
ture, Sicily  Clump  answered  a  tap  on  her  door. 
She  took  from  M.  Boutierre  a  sizeable  bundle, 
and  talked  with  him  briefly  in  subdued  tones. 
She  closed  the  door  and  started  to  dress. 


Wallace  Beery  and  Raymond  Hatton  follow  the  advice  of  the  poster, 
only  to  discover  that  the  girls  in  Waikiki  are  wearing  Mother 
Hubbards  this  season.    Beery  and  Hatton  make  their  last  appear- 
ance together  in  "We're  in  the  Navy  Now" 


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Less  than  twenty  minutes  after  that,  Mrs. 
Sicily  Clump,  feminine  star  of  Midnight  pro- 
ductions, surveyed  herself  in  the  mirror.  The 
reflection  showed  an  Arab  lady  of  unusua 
shapeliness,  encased  in  a  long,  flowing  robe  of 
white.  The  head  was  completely  covered  and 
the  lower  half  of  her  face  was  concealed  by  a 
white  veil.  Only  the  eyes  shone  forth  .  .  . 
and  they  were  twinkling  with  a  mixture  of  ex- 
citement and  anger. 

Sicily  was  well  content.  "Caesar  woul'n' 
never  know  me,"  she  observed  to  her  reflection. 
"In  fack,  I  ain't  so  sure  I'd  reckernize  myself." 
She  tapped  on  the  door  as  a  signal  to  Fer- 
nand,  who  was  waiting  in  the  hall.  He  entered 
and  exclaimed  rapturously,  declaring  that  even 
an  Algerian  would  mistake  her  for  a  native. 
He  then  bade  her  wait,  while  he  inspected  the 
narrow  hall  leading  to  the  side  door. 

He  returned  in  a  few  moments.  Sicily  took 
his  arm,  gathered  her  Arabian  robe  about  her, 
and  they  slipped  down  the  stairway,  along  the 
dark  hall  and  thence  into  a  taxi  which  was 
waiting  outside.  Opus  was  already  there.  He 
was  enthusiastic.  "Golla!  Sicily — how  mos- 
lemmed  up  you  is!" 

She  smiled.  "You  is  sure  that  they  ain't 
nobody  saw'n  us?" 

"Positively  not.  I  been  standin'  heah  wait- 
in'  an'  nobody  but  the  taxi  driver  ain't  been 
near  heah." 

Mrs.  Clump  was  satisfied.  But  neither  she 
nor  Opus  knew  of  the  loyalty  which  had 
aroused  the  suspicions  of  Eddie  Fizz,  nor  of  the 
determination  with  which  he  had  shadowed 
Opus  Randall  since  dinner. 

Eddie  had  missed  no  move  of  Opus's  since 
the  conclusion  of  that  meal.  He  felt  that  some- 
thing was  brewing — and  when  Mr.  Randall 
posted  himself  by  the  side  door  of  the  hotel, 
Mr.  Fizz  scrooched  himself  in  the  shadow  of  a 
nearby  palm  tree — and  watched. 

What  he  had  just  seen  appeared  to  more  than 
justify  such  pains  as  he  had  taken.  First  there 
had  been  Opus  standing  alone — expectantly. 
Then  the  figure  of  Fernand  Boutierre  appear- 
ing briefly,  speaking  a  few  words  with  the  large 
actor;  then  beckoning  with  his  right  hand.  At 
once,  as  though  he  had  been  waiting  for  this 
particular  signal,  a  taxicab  rolled  out  of  line, 
and  came  to  a  halt  near  where  Mr.  Randall  was 
standing.     Opus  immediately  entered. 

"pERNAXD  re-entered  the  hotel.  He  appeared 
*■  again  a  few  seconds  later  accompanied  by  a 
modestly  veiled  Arab  woman.  This  couple 
joined  Opus  in  the  taxi  and  the  vehicle  rolled 
down  the  driveway  toward  the  gate  of  the  hotel 
grounds. 

Eddie  Fizz  stepped  out  of  the  shadow  of  the 
palm  tree.  The  Arab  woman  puzzled  him. 
Then  his  mind  flashed  back  over  the  episodes 
and  apprehensions  of  the  afternoon,  and  a  great 
light  broke  upon  him.  He  clapped  his  hands 
together  and  his  eyes  blazed. 

"Ow!"  he  murmured,  "what  a  dirty  trick!" 

His  legs  twinkled  upstairs  to  his  room,  where 
he  found  his  wife,  Glorious.    He  spoke  jerkily. 

"  Don'  ast  me  no  questions,  honey;  an'  don't 
say  nothin'  to  nobody  no  time.  But  Ca-sar 
Clump  is  in  trouble,  an'  I  has  got  to  git  him 
out." 

Mrs.  Fizz  patted  his  hand.  "Go  ahead, 
Eddie.  I  ain't  gwine  to  say  nothin',  an'  I  won't 
repeat  myse'f." 

He  was  gone  as  abruptly  as  he  entered.  He 
shot  out  of  the  front  door  like  a  slender,  black 
arrow  and  pitched  himself  into  a  taxi.  He 
motioned  the  driver  into  the  Rue  Michelet  and 
gestured  toward  the  town  below.  Wild  contor- 
tions indicated  to  his  driver  that  he  desired 
speed  and  plenty  of  it. 

They  started  toward  the  lower  town  at  a 
break-neck  rate,  twisting  this  way  and  that, 
coming  now  within  sight  of  the  harbor,  and 
again  being  hemmed  in  by  high  walls  surround- 
ing handsome  homes.  Eventually  there  ap- 
peared far  ahead  of  them  another  car  in  the 
rear  of  which  Eddie  could  discern  the  veiled 
and  hooded  figure  of  the  woman  he  believed 
was  Sicily  Clump.  In  his  very  worst  and  most 
painstaking  French  he  explained  to  the  driver 


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Street  Address.. 


City _ State.. 


Count  Ilya  Tolstoy,  son  of  the 
famous  novelist,  is  in  Hollywood 
helping  Edwin  Carewe  with  the 
details  of  "Resurrection."  When 
Count  Tolstoy  visited  the  studio 
the  doorman  thought  he  was  an 
extra  looking  for  work.  The  door- 
man looked  at  him  carefully  and 
said,  "I  am  afraid  there's  no  work 
here  for  you.  You're  not  the  Rus- 
sian type" 


that  he  wished  the  other  taxi  trailed — but  not 
too  closely. 

Their  way  led  through  the  French  quarter;  a 
section  of  wide  streets  and  imposing  shops — 
very  much  like  any  city  of  France.  Then  they 
turned  to  the  left  and  progress  was  slower. 
The  streets  narrowed,  seeming  to  close  in  upon 
them.  They  rose  sharply,  buildings  lost  indi- 
viduality .  .  .  they  found  themselves  in  a 
twisting,  tortuous  maze  of  narrow  cobble- 
stoned  alleys.  The  native  quarter  was  pictur- 
esque, but  not  prepossessing.  Lights  glowed 
palely — intensifying  the  outer  darkness;  the 
streets  were  crowded  with  burnoosed  Algerians 
moving  with  slow  indifference,  or  merely  squat- 
ting against  the  stucco  walls  and  gazing  with 
some  hostility  and  considerable  distaste  toward 
the  taxi.  It  was  a  silent  section  of  the  city; 
sinisterly  quiet;   narrow;   treacherous.  .  .  . 

A/f  EAXWHILE,  in  the  leading  taxi,  Sicily 
*■  "■'■Clump  was  wondering  whether  she  had  al- 
lowed wifely  indignation  to  vanquish  common 
sense.  In  broad  daylight  the  native  quarter  had 
attracted  her.  Now,  she  felt  herself  oppressed 
by  vague  fears.  She  fancied  that  she  detected 
criticism  in  certain  native  eyes — as  though  they 
were  asking  what  a  veiled  Algerian  lady  was 
doing  in  a  taxicab  with  an  American  negro  and 
a  native  guide. 

Even  the  bazaars,  so  intriguing  in  the  day- 
time, were  pale  and  uninteresting  tonight.  The 
ineffective  lights  glowed  weirdly  on  the  white 
walls  .  .  .  and  there  were  blocks  where  there 
was  no  light  at  all;  merely  scores  of  ghostlike 
figures  moving  soundlessly  in  the  night. 

Sicily  regretted  the  trip,  but  now  that  she 
had  come  this  far  she  had  no  intention  of  turn- 
ing back.  Her  resentment  against  her  husband 
was  flaming.  It  was  all  his  fault!  What  right 
had  he  to  force  her  to  trail  him  down  here! 

"Is  we  near  the  place,  Fernand?" 

"Ver'  near  quite,  Madame.  Almost  are 
there." 

She   sighed.      "Remember.    Fernand — if   T 


In  THOTOPLAT  MAGAZINE  i 


Photoplay  Magazine — Advehtising  Section 


125 


should  be  reckernized  we  is  just  gwine  say  that 
I  was  studyin'  for  a  part  I'se  gwine  play  in  a 
Arab  pitcher,  an'  that  I  made  you  bring  me 
heah." 

"  Madame  is  correct.  For  Arab  part  she  de- 
sire to  see  Arab  dance  so  Fernand  is  delight'  to 
escort,  n'cst-ce-piis?" 

"Old — out!"  broke  in  Opus;  "we  gotcha, 
Fernand." 

Their  taxi  moved  with  difficulty  along  the 
Rue  Babel  Oued,  a  populous  street  urgent  with 
color,  odor  and  life.  In  the  center,  and  flanking 
both  sides,  were  tiny  shops  displaying  odds  and 
ends:  nondescript  garments,  bits  of  glassware, 
pieces  of  filmy  silk,  ragged  and  worthless  rugs, 
squares  of  gaudy,  imitation  tapestry.  Halfway 
along  this  narrow,  pulsing  thoroughfare  they 
came  to  the  corner  of  the  Rue  de  la  Kasba, 
where  the  Kglise  Notre  Dame  des  Victoires 
gleamed  whitely  in  the  moonlight.  An  ancient 
mosque  of  impressive  dimensions  and  architec- 
ture, it  affected  Sicily  Clump  with  a  bad  case 
of  creeps. 

But  even  more  impressive  was  the  narrow 
street  they  swung  into  after  proceeding  a  few 
squares  upgrade  along  the  Rue  de  la  Kasba. 
This  was  indeed  the  narrowest  street  they  had 
yet  traversed,  and  just  as  Sicily  was  on  the 
point  of  reconsidering,  the  taxi  stopped  and 
Fernand  announced  that  they  had  arrived. 

The  house  before  which  they  stood  was  more 
impressive  than  its  somewhat  squalid  neigh- 
bors. It  was  of  strictly  Moorish  design  with  an 
ornate  entrance.  Fernand  instructed  the  taxi 
driver  to  keep  his  headlights  burning  until  after 
he  and  Sicily  had  entered  the  house.  Opus 
settled  himself  comfortably  in  the  rear  of 
the  car  and  wished  the  others  much  luck. 

Obviously  Mr.  Fernand  Boutierre  was  well 
known  in  this  particular  establishment.  The 
girl  at  the  door  smiled  a  greeting  and  gazed 
with  casual  curiosity  at  the  figure  of  the  veiled 
woman.  Fernand  walked  ahead  and  Sicily  fol- 
lowed, her  heart  thumping. 

They  came  into  a  large  room,  perhaps  twenty 
feet  wide  by  forty  in  depth,  across  the  width  of 
which  benches  had  been  placed.  But  the  sec- 
ond floor  of  the  building  did  not  form  a  ceiling 
to  the  room.  Instead,  a  balcony  circled  the 
hall  about  sixteen  feet  above  the  first  story, 
and  leading  off  from  this  balcony  were  several 
ornately  carved  doorways. 

At  the  lower  end  of  the  hall  was  the  stage:  a 
simple  platform  raised  perhaps  two  feet  from 
the  floor.  On  this  stage  were  dancers  and 
orchestra. 

AS  Sicily  and  Fernand  seated  themselves  in  a 
dark,  obscure  corner  where  they  could  not 
be  recognized  the  orchestra  sounded  off.  It 
performed  this  feat  without  undue  formality. 
One  portly  Algerian  lady  played  deftly  on  an 
instrument  resembling  a  flageolet,  another 
scraped  earnestly  at  a  sort  of  fiddle.  And  the 
drummer  drummed. 

The  drummer  fascinated  Mrs.  Clump.  For 
one  thing,  he  seemed  to  be  the  only  man  con 
nected  with  the  enterprise;  for  another,  he  was 
a  man  of  striking  proportions.  Probably  six 
feet  in  height  and  correspondingly  broad;  with 
a  vast  chest  and  huge,  muscular  arms,  he  sat 
cross-legged  in  the  middle  of  the  stage  and 
thumped  with  the  fingers  of  both  hands  on  the 
end  of  a  huge  kettle  covered  with  tightly- 
stretched  hide.  The  effect  was  inspiring: 
t  humpy- thump- thump-thump!  Thumpy- 
thump-thump-thump!  Thumpy-thump  .  .  . 
over  and  over  again,  marking  time  for  the 
flageolet  and  fiddle. 

The  drummer  seemed  disinterested.  His 
black  eyes  were  unseeing,  his  dark-complex- 
ioned face  inscrutable.  He  did  not  even  look 
around  when  a  young  Arab  lady,  introduced  in 
French  as  an  Ouled  Nail  dancer  from  Biskra, 
arose  and  commenced  to  strut  her  stuff. 

The  dance,  as  such,  was  vastly  disappoint- 
ing, even  to  Sicily.  This  particular  young 
woman  was  as  fully  dressed  as  her  dozen  sister 
performers  who  sat  stolidly  on  the  floor  of  the 
stage  awaiting  their  turn.  She  wore  an  ornate 
blouse,  baggy  trousers,  a  few  beads  and  a  sort 


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of  veil.  As  she  moved,  the  others  clapped 
languidly,  keeping  time  to  the  thumping  of  the 
gargantuan  drummer. 

The  dancer  moved  slowly  and  indifferently. 
If  there  was  any  intricacy  in  the  steps,  Sicily 
could  not  detect  it.  To  her  untutored  eyes  the 
lady  seemed  to  be  performing  about  one- 
quarter  of  a  desultory  daily  dozen.  She  walked 
up  and  down  the  stage  a  few  times,  smiled, 
bowed — and  seated  herself.  At  which  signal 
another  lady — equally  bored  and  languid — 
arose. 

But  now  Sicily  turned  her  gaze  from  the 
stage,  and  her  eyes  came  to  rest  on  the  figures 
of  her  truant  husband  and  his  friend. 

TT  was  obvious  that  J.  Caesar  Clump  and 
-*-FIorian  Slappey  were  enjoying  themselves 
hugely.  They  were  sitting  straight  up  in  their 
chairs  paying  rapt  attention  to  the  modest  un- 
dulations of  the  dancer  then  holding  the 
boards.  Once  or  twice  they  broke  into  spon- 
taneous applause  .  .  .  and  it  was  then  that 
Mrs.  Sicily  Clump  commenced  to  become  angry 
in  earnest. 

She  eyed  them  balefully  through  her  veil. 
Once  Caesar  looked  straight  at  her.  For  an 
instant  she  feared  detection,  but  he.  turned 
away  disinterestedly.  What  mattered  it  to 
him  that  an  Arab  woman  desired  to  see  the 
dancers? 

Two  or  three  more  numbers  were  performed, 
the  giant  thumper  thumping  steadily.  Then 
Sicily  saw  her  husband  and  Florian  rise.  They 
beckoned  to  the  overlarge  and  overdark  woman 
who  seemed  to  be  the  proprietress  and  there 
ensued  a  difficult  but  evidently  satisfactory 
conversation  in  French.  Florian  and  Caesar 
started  for  the  door. 

Sicily  half  rose  from  her  seat,  intending  to 
confront  her  husband.  But  just  as  she  would 
have  started  forward,  Caesar  turned  back  to- 
ward the  stage.  The  smile  which  he  flung  at 
the  girls  seemed  to  include  them  all,  and  he 
waved  a  cheery  hand  toward  the  fat  duenna. 

"So  long,  girls,"  called  Caesar  gaily.  "See 
you-all  a  li'I  later!" 

Sicily  sank  back  in  fury.  So  he  was  coming 
back  later,  was  he?  She  was  quivering  with 
righteous  wrath  as  she  watched  them  disappear 
through  the  front  door.  Once  they  had  gone 
she  swung  violently  on  her  guide. 

"Femand,"  she  hissed,  "you  heard  my  hus- 
ban'  say  just  now  he  was  comin'  back,  didn't 
you?  " 

"Oui,  Madame." 


"Well,  I  crave  to  have  you  take  me  up  yon- 
der on  the  balcony.  Then  when  him  an'  that 
wuthless  Florian  Slappey  return  back  heah,  I 
can  watch  what  they  does,  an'  they  won't  see 
me." 

Fernand  shrugged.  He  was  under  orders 
and  receiving  excellent  pay.  If  a  wife  chose  to 
act  this  way.  ...  He  escorted  Sicily  up  the 
twisting  stairway  leading  to  the  balcony.  Once 
there,  Mrs.  Clump  took  matters  in  her  own 
hands. 

She  arranged  two  chairs  where  she  and  the 
guide  might  sit  and  gaze  down  onto  the  first 
floor  without  themselves  being  observed.  To 
make  assurance  doubly  sure,  she  borrowed  an 
ornate  Moorish  screen  from  an  adjoining  room 
and  placed  this  in  front  of  the  chairs.  Then, 
firm-lipped  and  bright-eyed,  she  settled  herself 
to  wait  until  such  time  as  Julius  Caesar  Clump 
paid  his  return  visit. 

Meanwhile,  another  chapter  in  the  drama 
was  being  enacted  in  the  terrifyingly  dark  side 
street  on  which  the  dance  house  was  located. 

Mr.  Edwin  Boscoe  Fizz  was  loyally  on  the 
job. 

HTHE  task  of  trailing  Sicily's  taxi  had  not  been 
■*■  simple,  but  eventually  Eddie's  chauffeur 
parked  a  block  away  from  the  spot  where  the 
other  taxi  was  standing.  Eddie  commanded 
the  man  to  extinguish  his  lights.  Then  the 
little  director  stepped  to  the  ground  and  pussy- 
footed up  the  alley  toward  the  waiting  car. 

He  was  unobserved.  The  Stygian  gloom  of 
the  alley  afforded  excellent  protection  and  he 
came  quite  close  to  Sicily's  car.  There,  in  the 
glow  of  a  light  over  the  doorway,  he  saw  the 
figure  of  the  large  and  smug  Opus  Randall 
perched  comfortably  in  a  corner,  a  large  cigar 
in  his  teeth. 

Eddie  stood  motionless,  observing  Opus — 
and  thinking.  Sicily  and  Fernand  were  inside, 
he  knew.  If  Caesar  was  already  there,  then  the 
rescue  was  too  late.  If  not  .  .  .  Eddie  took  up 
his  place  in  the  shadows  of  a  building  and 
waited,  prepared  to  intercept  Caesar  in  case  he 
had  not  already  arrived. 

The  door  of  the  big  Moorish  house  opened 
and  in  the  pale  yellow  light  of  the  entry,  two 
masculine  figures  stood  revealed.  At  the  same 
instant  a  bit  of  melancholy  music  spurted  into 
the  street:  the  thump  of  drum  and  wail  of 
dcrbuka.  Eddie  frowned  in  puzzlement.  Sicily 
was  inside,  and  Caesar  was  leaving.  Obviously 
he  had  not  been  confronted  by  the  irate  wife. 

Caesar  and  Florian  started  down  the  street. 


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Opus  Randall  made  himself  as  inconspicuous  as 
possible.  And  Eddie  Fizz — hesitating  to  accost 
his  friends  in  full  view  of  Opus — slunk  along  in 
the  shadows  until  they  turned  a  corner.  He 
accelerated  his  pace  and  whistled  softly.  They 
turned  in  surprise. 

"Well  if  it  ain't  ol'  Eddie  Fizz!  Coul'n't 
stan'  the  gaff!     Dawg-gone  yo'  ol'  hide — " 

"Cease!"  commanded  the  mild  little  man. 
"Caesar — you  is  up  to  yo'  neck  in  trouble." 

Mr.  Clump  chuckled.  "  Boy !  you  says  words 
but  they  don't  convey  no  inflammation.  I 
asks  you:   How  come?" 

Eddie  stepped  close.  "Was  there  a  Arab 
lady  sittin'  in  the  dance  place  back  yonder?" 

"Uh-huh." 

"Well,"  snapped  Eddie,  "there  wasn't!" 

"Huh?  Be  yo'  age,  Boy.  I  seen  the  Arab 
lady — " 

"  You  didn't  do  no  such  of  a  thing.  The  lady 
you  seen  which  you  thought  was  Arab,  was 
Sicily  Clump!" 

THERE  was  an  instant  of  hushed  and  bleak 
terror.  Then  doubt  gripped  the  husbandly 
heart  of  Mr.  Clump  and  questions  cascaded 
from  his  lips.  Briefly  and  graphically  Eddie 
explained  the  situation  and  the  sinister  role  in 
which  Opus  had  cast  himself.  The  eyes  of  Mr. 
Clump  blazed  with  homicidal  fury  and  he  sug- 
gested that  they  immediately  repair  to  the 
alley  and  start  the  evening  right  by  completely 
exterminating  Mr.  Randall — a  suggestion 
which  Florian  enthusiastically  seconded. 

Eddie  restrained  them.  "When  time  comes 
fo'  beatin'  up  that  no-good  ol'  buzzard,"  he 
said,  "I'se  gwine  he'p,  an'  he'p  a-plenty.  Any 
man  which  would  do  what  he  has  done  ain't 
wuth  plaintin'  lilies  on.  But  meanwhile, 
Caesar,  you  got  mo'  impawtant  things  to  con- 
sider. In  the  fust  place,  you  got  to  conwince 
Sicily  that  you  ain't  gallivantin'." 

"Hmph!"  mourned  Clump,  "is  that  all?" 

"Tain't  hard!  Where  yo'  brains  is  at,  Fel- 
ler? Now  listen:  Sicily  seen  you  in  there  an' 
you  was  behavin'  proper.  Y*ou  says  yo'se'f 
that  you  tol'  the  lady  you-all  was  comin'  back. 
Undoubtlessly,  Sicily  is  waitin'  fo'  you  to  do 
same.  All  right:  You  an'  Florian  goes  back 
an'  I  goes  with  you.  You  go  in  an'  talk  loud 
about  how  bored  you  is  an'  how  you  wish  you 
was  home  with  yo'  wife.  An'  you  makes  loud 
speechments  about  you  got  to  go  on  down  to 
the  waterfront  an'  git  material.  Sicily  heahs 
all  that,  an'  she  don't  know  you  know  she's 
there  an'  right  away  she  sees  she's  done  you 
injustice  an'  gits  sorry.  Maybe  she  don't  even 
leave  you  know  she  is  there,  but  goes  back  to 
the  hotel  instead.  Then  you  comes  in  about 
an  hour  fum  now  an'  goes  right  to  her  an'  says, 
'Honey,  I  an'  Florian  had  to  go  back  to  that 
dance  place  fo'  a  few  minutes,  but  it  was 
awful.'  That  puts  you  all  clear  an'  makes 
things  happy." 

Director  J.  Caesar  Clump  was  staring  pop- 
eyed  at  his  friend. 

"Eddie,"  he  declared  solemnly,  "you  ain't 
no  man!    You  is  simply  a  genus!" 

The  trio  marked  time  for  perhaps  ten  min- 
utes. Then,  filled  with  high  purpose,  they  re- 
turned to  the  dance  house.  Clump  rapped  on 
the  door  and  they  were  admitted.  They  moved 
through  the  ill-lighted  hallway  into  the  large 
room.  At  sight  of  them  the  music  of  drum  and 
flageolet  and  dcrlmka  immediately  commenced 
and  one  of  the  Algerian  ladies  rose  and  com- 
menced to  undulate. 

Wearing  masks  of  innocence,  the  three  gen- 
tlemen strode  down  the  aisle.  Caesar  surveyed 
the  room  out  of  the  corners  of  his  eyes.  Then 
he  stopped  short  and  whispered  uncertainly  to 
Eddie  Fizz. 

"Eddie — where  Sicily  is  at?" 

From  her  post  of  vantage  on  the  balcony, 
Mrs.  Clump  saw  the  three  men  glance  affright- 
edly  about  the  hall.  But  she  did  not  hear  the 
conversation. 

"I  dunno,  Caesar." 

"She  coul'n't  of  gone  out,  could  she?" 

"No.  Nobody  come  out  of  heah,  an'  be- 
sides, wasn't  Opus  still  sittin'  outside  in  his 
taxi?" 


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"Then  what — " 

Florian  Slappey  had  been  gazing  about  with 
increasing  fright.  He  clutched  Mr.  Clump's 
arm.  "Ca:sar — s'pose  they  'scovered  she 
wasn't  no  Arab  lady  an'  done  somethin'  ter- 
rible to  her?  " 

("*  ENUINE  terror  smote  Mr.  Clump.  It  was 
^^one  thing  for  him  to  come  down  with  his 
friend  and  enjoy  a  bit  of  dancing — and  quite 
another  to  have  his  wife  abducted. 

And  so — in  this  hour  of  danger — Mr.  Clump 
became  a  very  grim  and  determined  man.  He 
was  convinced  that  Sicily  was  somewhere  in 
the  house,  and  he  determined  to  know  where — 
and  to  know  promptly.  His  manner  as  he  ad- 
vanced to  the  stage  was  surcharged  with  hos- 
tility which  those  on  the  stage  sensed. 

Mr.  Clump  and  his  associates  found  them- 
selves in  a  quandary.  No  one  in  the  place 
could  speak  a  word  of  English,  and  he  knew 
practically  no  French.  But  a  mere  discrepancy 
in  language  could  not  affect  his  determination 
to  save  the  fair  Sicily  from  whatever  trouble 
might  have  befallen  her. 

"Madame,"  he  rasped,  "Oh  est  monfemme?" 

The  stout  woman  shook  her  head.  On  the 
balcony  Sicily  inquired  of  Fcrnand  what  Casar 
had  said. 

"I  cannot  comprehend  way  up  here,"  an- 
swered M.  Boutierre.  "Also  I  do  not  know 
whether  Mr.  Clump  speaks  the  French  or  the 
English." 

"That's  French,"  snapped  Sicily. 

Fernand  shrugged.  "  I  do  not  say.  To  me  it 
sounds  like  English." 

Ca?sar  was  trying  again.  His  voice  barely 
carried  to  the  balcony.  "Monfemme  est  id," 
he  asserted  with  a  decidedly  American  accent. 
"Jc  demander  ou  est  cllc  at" 

The  stout  lady  gestured  hopelessly.  Sicily 
again  inquired  of  her  guide  what  Casar  was 
saying. 

"  I  do  not  know,  Madame.  The  words  they 
may  be  French  but  the  sound  is  English  and 
the  meaning  is  absent." 

C.*esar  turned  helplessly  to  Florian  Slappey. 

"You  is  smart,  Florian — you  try.  An'  tell 
her  us  ain't  to  be  fooled  with." 

Mr.  Slappey  spoke  without  hesitation. 
"Femme!"  he  announced.  "Tres  bon  femme! 
Vous  cachet  ou?  Vous  res  pond  ez  or  we  est  going 
to  staht  somethin'.    Comprez!" 

The  woman  did  not  comprez.  Neither  did 
the  bewildered  Fernand  on  the  balcony.  "If 
they  would  not  talk  French!"  he  wailed.  "I 
can  speak  French  and  therefore  I  cannot  under- 
stand what  they  say." 

Caesar  was  glaring  hostilely  at  the  proprie- 
tress. To  his  way  of  thinking,  both  he  and  Mr. 
Slappey  had  spoken  clearly  and  perfectly  in 
French.  It  was  inconceivable  that  they  should 
not  be  readily  understood.  Therefore  he  be- 
lieved that  her  look  of  blankness  was  affected 
to  trick  him. 

Mr.  Clump  tried  again.  He  raised  his  fists 
and  shook  them  in  the  startled  face  of  the  fat 
Algerian  lady.  French  verbs  and  nouns  and 
adjectives  tumbled  all  over  the  room.  Nobody 
understood  what  he  was  saying,  but  it  was 
obvious  that  he  was  exceedingly  wrathy  and  on 
the  verge  of  precipitating  trouble. 

From  the  back  of  the  stage  a  large  gentleman 
uncoiled  himself  and  ostentatiously  placed  his 
drum  on  the  floor.  Standing,  he  seemed  even 
more  formidable  than  when  seated.  His  more- 
than-two-hundred  pounds  of  sinew  moved  for- 
ward and  hovered  over  the  irate  Caesar. 

He  spoke  in  his  native  tongue.  The  words 
fell  softly  as  snowflakes,  but  the  eyes  were  level 
and  cold.  Ordinarily,  the  three  colored  gentle- 
men from  Birmingham  would  have  retreated  in 
more  or  less  good  order,  but  now — confronted 
by  the  possibility  of  genuine  danger  to  Sicily — 
no  such  thought  entered  their  heads.  Caesar 
returned  stare  for  stare. 

"You  long-drawed-out  cracklin'!"  he  ob- 
served scathingly.  "Thinkin'  you  can  scare 
us!" 

He  stepped  away  and  motioned  the  others 
into  a  conference.  His  voice  dropped  to  a 
whisper. 


"They  is  prob'ly  holdin'  Sicily  prisoner,"  he 
announced.  "I'se  gwine  find  her,  an'  it'll  take 
the  whole  Algiers  army  to  stop  me — let  alone 
that  tall  boy.  Is  you-all  with  me,  or  does  you 
crave  to  beat  it  befo'  the  action  stahts?" 

Florian  hitched  his  belt  tighter.  "  Reckon  if 
you  is  boun'  to  git  kilt,  you  could  use  a  li'l 
comp'ny." 

Mr.  Fizz  was  equally  ready,  but  his  brain 
continued  to  function.  "Befo'  the  row  com- 
mences," he  suggested,  "le's  go  drag  Opus 
Randall  in  heah.  He's  got  plenty  beef  an'  we 
can  use  him." 

Cassar  grimaced.    "He  won't  fight." 

"Then,"  suggested  Eddie  calmly,  "le's 
manslaughter  him  out  yonder." 

Still  whispering  they  moved  into  the  alley. 
From  the  balcony  Sicily  and  Fernand  saw  them 
go — apparently  permanently.     Sicily  rose. 

"Le's  travel  back  to  the  hotel,  Fernand." 

M.  Boutierre  was  quite  willing.  He  started 
toward  the  stairway.  Mrs.  Clump  restrained 
him. 

"Ain't  there  another  way  out?  My  husban' 
will  mos'  likely  be  hangin'  around  that  alley  an' 
I  don't  crave  fo'  him  to  see  me." 

Fernand  admitted  that  there  was  another 
exit,  and  through  this  he  escorted  Sicily  from 
the  house.  But  while  they  were  reaching  their 
decision  and  making  their  departure,  much  was 
happening  in  the  alley. 

'"PHEdoorof  the  taxi  was  flung  violently  open 
•*-  and  the  terrified  Mr.  Randall  found  him- 
self staring  into  the  frigid  eyes  of  Director  J. 
Casar  Clump.  Over  Mr.  Clump's  shoulder  he 
could  glimpse  the  hostile  countenances  of 
Florian  Slappey  and  Eddie  Fizz.    Ca'sar  spoke. 

"(lit  out  of  that  car,  Wuthless." 

"Whaffo?" 

"  'Cause  you  stahted  all  this.  It  was  you  tol' 
Sicily  where  I  was  gwine  be  at  tonight.  If  you 
hadn't  of  been  suggestive,  she  never  would  of 
come.  Now  they  has  kidnapped  her,  an'  is 
holdin'  her  prisoner.  Us  four  goes  in  an'  com- 
mits a  rescue." 

Opus  alighted,  but  exhibited  marked  reluc- 
tance.   "I — I  ain't  yearnin'  fo'  no  trouble." 

"  Boy!  yo'  yearns  don't  afflict  me  none  what- 
soever. You  is  in  the  middle  of  a  whole  mess  of 
trouble  right  now.  Inside  that  house  there's 
libel  to  be  a  roughhouse,  an'  you  does  yo'  share. 
Otherwise  us  th'ee  steps  on  you  right  heah  an' 
now  an'  makes  you  into  a  pancake." 

Opus  considered  flight  and  abandoned  the 
idea.  He  stared  at  the  three  men  and  saw  that 
they  were  determined  and  desperate.  He  tried 
to  appear  cheerful.  "Well,  if  you  really  needs 
my  he'p  ..." 

"Come  along.  Keep  yo'  mouf  an'  yo'  fists 
shut!" 

They  barged  through  the  front  door.  The 
dancing  girls  were  cowering  on  the  stage.  The 
proprietress  of  the  place  rushed  forward,  chat- 
tering hysterically  in  French.  And  immedi- 
ately behind  her  towered  the  warlike  figure  of 
the  monster  drummer.  Caesar  acted  as  spokes- 
man. 

"You  got  monfemme  en  haute  somewhere," 
he  grated.  "  Us  is  gwine  fetch  her  down.  An' 
if  this  big  hunk  of  cheese  here  tries  to  stop  me, 
I'll—  " 

The  Algerian  gentleman  and  lady  understood 
nothing  of  the  situation.  They  did  not  connect 
the  dark-skinned  tourists  with  the  veiled 
woman  who  had  recently  visited  the  place.  All 
they  could  see  was  that  these  four  men  were 
obviously  looking  for  trouble.  Therefore  the 
large  man  placed  himself  squarely  across  the 
path  of  J.  C-esar  Clump. 

To  Mr.  Clump  this  was  a  sinister  maneuver. 
His  voice  came  harshly. 

"Out  of  my  way,  Big  Boy!  I'se  gwine  en 
haute — " 

He  put  his  foot  on  the  first  step.  Iron  fingers 
closed.about  his  arm  and  he  was  jerked  roughly 
aside. 

Ca-sar  struck.  He  struck  straight  and  hard 
and  his  fist  spanked  against  the  face  of  the 
Algerian.  That  individual  let  loose  a  bellow  of 
rage  and  astonishment  and  leaped  toward  Mr. 
Clump. 


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i  29 


When  Conrad  Veidt,  German  actor, 
arrived  in  Los  Angeles,  he  was  met 
at  the  station  by  John  Barrymore 
who  had  sent  for  him  to  play  in 
"Francois  Villon."  Veidt  was  so 
grateful  to  Barrymore  that  he  fell 
on  his  knees  and  kissed  the  Ameri- 
can actor's  hand.  We  bet  Conrad 
has  a  job  for  life 


Florian  Slappey  swung  into  action.  Swiftly 
and  with  genuine  skill,  he  executed  a  flying 
tackle.  Algerian  and  Birminghamite  struck 
the  floor  together.  At  the  same  instant  two 
flailing  figures  landed  on  top  of  the  native. 
Ctesar  and  Eddie  were  small  but  enthusiastic. 

It  was  then  that  the  fight  really  started. 
The  girls  were  shrieking.  The  fat  proprietress 
flew  howling  into  the  street.  On  the  floor  four 
figures  milled  viciously. 

Three  against  one,  but  the  three  were  small 
and  the  one  was  a  giant.  Time  after  time  he 
staggered  to  his  feet  with  one  or  two  men  hang- 
ing to  his  arms  and  another  punching  viciously 
at  his  face.  And  in  the  background  stood  the 
terrified  Opus  Randall,  too  cowed  to  fight  and 
entirely  too  scared  to  run.  Once,  from  the 
melee,  came  Florian's  voice — 

"Git  in  heah,  Opus.    Us  needs  you!" 

And  Opus's  honest  answer.  "I — Tse  scared, 
Florian.    You-all  is  doin'  fine  without  me." 

THE  voice  of  Mr.  Fizz  came  back,  expressing 
his  opinion  of  Mr.  Randall.  Mr.  Fizz  was 
doing  himself  proud.  He  and  his  two  friends 
were  taking  a  fine  beating,  but  they  were  in- 
flicting more  than  a  bit  of  punishment  at  the 
same  time.  They  were  now  up,  now  down; 
benches  and  tables  were  knocked  over;  the 
native  was  roaring  with  rage  .  .  .  the  three 
slender  Birmingham  negroes  fought  silently 
and  desperately. 

The  tide  of  battle  ebbed  and  flowed.  It  was 
an  epic  encounter;  numbers  against  might — a 
trio  of  Lilliputians  at  grips  with  a  dark-skinned 
Gulliver.  And  just  when  the  battle  was  at  its 
fiercest,  when  it  was  anybody's  victory — or 
nobody's — the  door  was  flung  open  and  a  weep- 
ing proprietress  entered  in  the  wake  of  two 
businesslike  gendarmes. 

The  voice  of  authority  rang  through  the 
room.  The  two  efficient  figures  surged  into  the 
middle  of  the  bat  tie  and  dragged  thecontestants 
apart.    Then  words  began  to  fly. 

The  four  men  presented  a  sorry  spectacle. 
Caesar,  Florian  and  Eddie  were  clad  in  rags, 
their  faces  resembled  a  boy's  nightmare  of  a 
trip  through  an  abattoir.  The  Algerian  was 
scarcely  any  better.  His  clothing,  too,  was 
torn;  his  face  pounded  out  of  shape  and  his 
whole  body  bruised.  Only  Opus  Randall 
showed  no  scars  of  battle  .  .  .  and  even  in 
their  rage  Florian  and  Eddie  found  time  to  ex- 
press their  opinion  of  him. 


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The  woman  and  the  drummer  explained  that 
they  knew  no  reason  for  the  disturbance.  J. 
Caesar  struggled  in  his  best  French  to  explain 
that  his  wife  was  being  held  prisoner  in  the 
house.  But  they  could  not  understand  him, 
and  so — struggling  and  protesting — he  and 
Eddie  and  Florian  and  Opus  .  .  .  the  latter 
screaming  his  innocence  .  .  .  were  dragged 
to  the  police  station. 

TT  was  a  sadly  bedraggled  trio  which  con- 
-Mronted  the  sergeant  at  headquarters.  But 
fortunately  an  interpreter  was  on  duty  and 
through  him  Caesar  explained  what  it  was  all 
about.  The  interpreter  had  heard  of  the  movie 
company  and  had  no  reason  to  doubt  the  story 
told,  although  he  made  it  quite  clear  that  the 
Americans  were  laboring  under  a  misappre- 
hension. The  house,  he  affirmed,  was  em- 
inently respectable  and  safe. 

The  quartet  was  dismissed  from  custody. 
Then  the  interpreter  and  a  gendarme  went  with 
them  to  the  dancing  establishment.  They 
searched  the  place  and  when  the  interpreter 
explained  whom  they  were  seeking,  the  fat 
woman  told  them  she  had  long  since  departed. 
C&'sar  assuaged  her  grief  with  two  one-hundred 
franc  notes  and  profound  apologies.  Then  he 
caused  the  interpreter  to  question  her.  The 
result  was  somewhat  startling. 

"She  say,"  explained  the  interpreter,  "that 
the  lady  who  was  here  is  Arab  lady  and  not  no 
American." 

Florian,  Caesar  and  Eddie  exchanged  signifi- 
cant glances.  Opus  caught  their  meaning  and 
hastened  to  speak. 

"That  was  Sicily,"  he  announced.  "I'se 
sure  of  it." 

"  How  come  you  is  so  sure?" 

Mr.  Randall  found  himself  between  the 
devil  and  the  deep  sea.  "  I  just  got  a  hunch,"  he 
affirmed.  "I  don't  know  nothin'  fo'  certain, 
but  I'se  positive  anyhow." 

They  took  Opus  with  them  into  the  alley  and 
bundled  him  into  the  taxi.  The  machine 
bumped  and  rolled  down  the  narrow,  fl- 
ighted, cobblestoned  thoroughfare  and  the 
three  participants  in  the  recent  battle  groaned 
with  each  agonizing  jerk  of  the  antiquated 
machine. 

Opus  cowered  in  the  corner.  He  felt  that  all 
was  not  as  it  should  be.  Instinct  informed  him 
that  the  end  was  not  yet,  and  that  he  had  erred 
in  attempting  to  wreak  revenge  on  Caesar. 


During  the  ride  through  the  French  quarter 
and  thence  toward  the  upper  reaches  of  the 
city  where  their  hotel  was  located,  the  three 
battlers  spoke  little  and  groaned  much,  but 
such  words  as  dropped  from  their  lips  were 
fraught  with  unpleasant  promise  for  Mr.  Ran- 
dall. 

Eventually  they  swung  in  through  the  big 
iron  gates,  rolled  under  the  trees  that  lined  the 
hotel  garden  and  came  to  a  stop  before  the  front 
door. 

The  trio  of  battered  figures  dragged  them- 
selves up  the  steps,  completely  surrounding  the 
harried  Opus.  They  moved  into  the  lobby — 
where  a  picture  of  utter  serenity  presented 
itself. 

SEATED  in  an  easy  cha  ir,  immersed  in  a  Lon- 
don magazine,  was  Sicily  Clump.  She  was 
calm  and  quiet  and  unruffled  as  she  swept  the 
newcomers  with  a  curious  gaze. 

Caesar  started  forward,  his  tone  indicative  of 
relief. 

"Honeybunch!"  he  exulted,  "you  is  safe!" 

"What  you  mean,  Caesar?     Safe?" 

"Nothin'  happened  to  you,  did  it?" 

A  slow  smile  creased  Sicily's  lips.  She  had 
determined  to  torture  her  husband  with  un- 
certainty. 

"How  come  anythin'  should  occur  to  me, 
Mistuh  Clump?" 

Caesar  frowned.  "Has  you  been  out  any- 
where?" 

And  Sicily,  mistress  of  the  situation,  shook 
her  head. 

"Goodness,  no!  I  ain't  been  out  of  this 
hotel  all  cvenin'." 

A  solemn  and  terrible  hush  fell  upon  the  trio 
of  slim  young  men  who  had  lately  been  locked 
in  deadly  combat  with  a  large  and  muscular 
drum  beater. 

With  one  accord  they  turned  and  inspected 
the  cringing  Opus  Randall.  He  started  to 
speak,  but  before  the  words  came,  the  others 
acted. 

They  acted  efficiently,  positively  and  imme- 
diately. Two  arms  hooked  into  Opus's  and  he 
found  himself  propelled  into  the  darkness  of  the 
hotel  gardens.  An  awful  thought  occurred  to 
him — there  swept  over  him  the  knowledge  that 
no  matter  what  developed  he  was  in  a  horrid 
predicament. 

They  escorted  him  outside  and  surrounded 
him.    Then,  with  ghastly  ostentation,  Caesar, 


WW'**- 

'yum  MiyuabKauiS^^^ 


Forty  thousand  dollars  went  into  the  making  of  this  scene  for 
Buster  Keaton's  comedy,  "The  General."  A  locomotive  of  the 
Civil  War  period  dashed  onto  a  burning  trestle  and  plunged  into 
the  river  below.  A  dozen  cameras  filmed  the  scene,  while  Buster 
stood  nearby  without  cracking  a  smile 


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Eddie  and  Florian  shed  their  torn  coats  and 
rolled  up  their  sleeves. 

Their  eyes  blazed  with  a  fine  and  righteous 
light. 

"Us  is  about  to  pufform  a  sweet  duty,  re- 
marked Mr.  Slappey  casually. 

Mr.  Clump's  voice  carried  slightly  more 
bitterness.  "An'  all  on  account  of  this  feller," 
he  grated.  "It  was  bad  enough  when  us 
thought  we  was  rescuin'  Sicily.  But  to  find  out 
she  never  lef '  this  hotel,  an'  that  we  got  beat 
up  over  some  woman  we  don't  even  know  ..." 

OPUS  stared  wild-eyed  from  one  to  the  other. 
He  felt  that  it  were  better  that  the  truth  be 
known — far  better  than  that  they  should  think 
he  had  invented  the  entire  story. 

He  knew  he  must  convince  them  that  Sicily 
had  actually  left  the  hotel  to  visit  the  dancing 
establishment. 

His  eye  lighted  on  the  bruised  figure  of  Direc- 
tor Edwin  Boscoe  Fizz.  Mr.  Fizz  could  prove 
his  case.   .  .   . 

"Eddie!"  he  wailed,  "you  know  good  an' 
well  Sicily  lef  this  hotel  tonight.  You  seen  her 
go!  Please,  suh,  tell  these  fellers  that  you  know 
I  is  speakin'  the  truth." 

Mr.  Fizz  caressed  his  biceps.  Terror  still  sat 
largely  upon  him  and  he  burned  with  indigna- 
tion. The  others  moved  closer.  It  became 
terribly  apparent  to  Mr.  Randall  that  his  only 
hope  for  mercy  lay  with  Mr.  Fizz.  If  Eddie 
chose  to  testify  that  he  spoke  the  truth  about 
Sicily's  absence  .  .  . 

"Eddie!  Please  .  .  .  Don't  you  remember 
seein'  Sicily  Clump  leave  the  hotel  in  the  taxi?  " 

Eddie  stared  thoughtfully. 

Then  he  doubled  his  fists  and  nodded  to 
Caesar  and  Florian. 

He  addressed  the  cringing  Mr.  Randall — and 
his  words  shattered  that  gentleman's  last  for- 
lorn hope. 

"When  that  big  drummer  walloped  me  on 
the  jaw,"  announced  Mr.  Fizz,  "he  knocked 
my  memory  plumb  loose!" 


The  Blond  Boy  From 
Bond  Street 


[  CONTINUED  FROM  PAGE  8 1  ] 

save  the  world.  Strange,  isn't  it,  how  many 
actors  once  aspired  to  the  priesthood  and  how 
many  priests  .  .  .  but  then,  let  us  leave  that 
there. 

"I  began  to  grow  up  and  life  beckoned. 

"  I  started  an  education.  You  know  how  one 
gets  an  education.  One  learns  a  lot  of  sports 
and  studies  things  so  that  one  may  play  more 
sports.  After  I  had  learned  some  thousand 
games  an  instructor  came  to  me  and  sug- 
gested, with  the  greatest  politeness,  that  the 
school  could  struggle  on  without  me.  'Why 
should  you  stay  in  school,'  he  asked  me,  'when 
you  never  can  be  a  scholar  and  when  you  are 
now  more  interested  in  friends  in  Oxford  than 
the  dead  masters  in  Greece?'  " 

The  eyeglasses  moved  up  to  the  top  of  his 
head.  "I  couldn't  refute  that  excellent  logic. 
I  only  asked  that  since  my  mother  was  sailing 
for  America  in  three  days,  she  be  allowed  to 
depart  in  peace,  and  that  then  I  would  go  up 
to  London,  like  Dick  Whittington. 

"So  there  I  was,  suddenly,  out  of  school, 
neither  naval,  legal  nor  saintly.  The  theater. 
I  decided  on  that."  He  pushed  the  glasses 
down  on  his  chin.  "I  said,  grandly,  never 
dreaming  anyone  would  bother  to  listen  to 
me,  'I  do  not  wish  to  go  on  the  stage,  but  I  am 
willing  to  make  a  movie.' 

"But  lo  and  behold,  a  movie  company  sent 
for  me. 

"They  were  making  a  school  movie,  an 
English  'Brown  of  Harvard'  only  this  was 
called  'At  St.  Dominic's.'  I  knew  absolutely 
nothing  about  acting  and  so  I  got  away  with  it. 


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j  Name .... 
j  Address 


The  picture  was  reissued  twice  and  the  pro- 
ducers made  scads  of  money  on  it.  I  made 
enough  to  pay  my  carfare  back  and  forth  to 
the  studio. 

"They  hired  me  for  a  second.  I  had  seen 
my  first  effort  and  grown  enthusiastic  about 
myself.  I  thought  of  myself  as  Hamlet.  I 
was  going  to  do  great  things  in  that  second 
movie. 

"  I  did  them,  and  when  it  was  finished,  it  was 
quite  impossible  to  sell  it  to  anyone." 

The  glasses  came  back  to  their  original  rest- 
ing place.  "After  that,"  he  said,  "I  decided 
I  might  just  as  well  try  the  speaking  stage.  I 
got  a  juvenile  role  in  'Three  Wise  Fools'  and 
spent  a  year  touring  nice  little  English  villages 
and  drinking  good  English  beer.  Then  I  felt 
equipped  to  come  to  America. 

"I  got  my  opportunity  to  come  over  with  ihe 
play  'Havoc'  Only  it  was  no  Havoc  on 
Broadway,  but  a  cold  failure.  My  mother  all 
this  while  had  left  me  flat  in  England  and  was 
living  here  in  Los  Angeles.  She  knew  Mr. 
Louis  B.  Mayer  and  told  him  of  me.  Mr. 
Mayer  must  have  been  very  impressed,  for  he 
said,  'How  nice  you  have  a  son'  and  'Yes,  yes, 
isn't  he  blond?'  and  there  the  matter  rested. 
The  day  I  came  to  America,  my  mother  begged 
me  to  go  back  with  her  to  England.  'If  you  go 
alone,  you'll  know  how  terribly  I've  missed 
you,'  I  said. 

"  A  FTER  '  Havoc,'  I  drew  several  other  fail- 
■»*-ures  on  Broadway  and  then  a  manager 
proposed  I  do  a  musical  comedy.  '  But  I  know- 
nothing  of  singing  or  dancing,'  I  protested. 
'That's  excellent,'  said  the  manager,  'the  star 
has  never  been  in  musical  comedy,  cither,  and 
she  wants  a  leading  man  in  the  same  boat.' 

"I  had  no  intention  of  doing  it,  but  I  did 
agree  to  go  have  tea  with  the  star.  It  was  late 
one  afternoon  when  I  called  on  her.  She  was 
Miss  Ruth  Chatterton.  Five  days  later  she 
was  Mrs.  Ralph  Forbes." 

For  the  first  time  he  wasn't  mocking.  "Be 
careful,  now,"  he  said,  "or  I  shall  become  se- 
rious and  when  I'm  serious  I  get  offensively 


sentimental.  But  the  fact  is  that  today  th' 
stage  is  heartbreak.  My  wife  and  I  love  it- 
But  the  managers;  the  great  old  showmen  are 
gone  and  the  new  people  coming  up — well,  the 
traditions,  the  feeling  for  the  theater,  the  love 
and  appreciation  of  fine  acting,  isn't  in  them. 
The  speaking  stage  actor  today  must  take 
direction  from  former  captains  of  tugs  and 
industries.  Anyone  who  has  gathered  togethei 
money  today  can  become  a  producer  and  tell 
actors  how  to  act.  No  actor  is  good  enough  tc 
know  how  well  he  is  doing  his  performance 
from  the  audience's  viewpoint,  but  when  the 
criticism  of  his  performance,  and  the  direction 
of  it  comes  from  someone  who  doesn't  know  the 
theater — well,  one  gets  discouraged. 

""DLJT  that  isn't  what  I  came  to  talk  about." 

■'-'He  got  up  and  paced  across  the  room,  his 
long  legs  flashing  back  and  forth  in  their  white 
flannels.  "My  wife  and  I  did  several  plays 
together,  all  of  them  quite  awful.  We  did,  for 
instance,  'The  Little  Minister,'  but  I  won't 
linger  on  that. 

"We  decided  to  come  to  California  for  a 
trip.  As  we  were  about  to  start,  Mr.  Edward 
Smith  asked  us  if  we  wouldn't  do  'The  Green 
Hat'  under  his  management  in  Los  Angeles. 

"A  few  nights  after  we  opened,  a  card  was 
sent  to  me.  Mr.  Louis  B.  Mayer.  'Do  you 
know  who  I  am?'  I  asked  him.  'I'm  Mary 
Forbes'  son.' 

"And  that,  my  children,"  said  Mr.  Forbes, 
"explains  why  I  purchased  a  new  home  this 
afternoon,  though  really  I  need  new  shirts. 
And  it  explains  why  I  feel  that  the  great  di- 
rectors, who  have  left  the  theater,  have  really 
gone  into  the  movies.  And  it  furthermore  ex- 
plains why  I  must  leave  at  once  and  go  to  my 
wife  who  is  sleeping  outside  in  our  car.  But  it 
doesn't  explain,"  he  said,  standing  in  the  door- 
way, "why  you.  a  literary  lady,  haven't  three- 
chins  and  more  inhibitions."  And  then  he  was 
gone. 

Yes,  these  English  boys  have  something. 
Which  may  explain  why  an  Englishwoman 
isolated  and  named  the  germ  "IT." 


The  Charleston?    No.     The  Black  Bottom'?    No.     Just  a  couple  of 

old-fashioned    girls,    doing    a    buck-and-wing    dance.      The    two 

athletes  are  Julia  Faye  and  Vera  Reynolds,  appearing  together  in 

"Corporal  Kate" 


Miiirlisvmral    In  PHOTOPLAY  MAGAZINE  Is 


Photoplay  Magazine — Advertising  Section 


x33 


The  Synthetic  Star 


[  CONTINUED  FROM  PACE   /O  ] 

the  only  harm  that  befell  any  of  them  was 
Penny's  discomfiture  when  they  were  all  three 
together  and  Larry  would  betake  himself  to  a 
corner,  there  to  brood  in  brave  and  smiling 
sweetness. 

It  was  lilac  time  in  New  England  and  Penny 
and  Nicky  had  an  idyllic  Spring.  They  drifted 
and  dreamed   .    .    . 

The  one  thing  that  bothered  Nicky  was  the 
fact  that  there  didn't  seem  to  be  anything  very 
flaming  and  bizarre  about  it.  He  felt  ashamed 
of  himself  for  such  thoughts,  but  they  would 
persist  in  heckling  him.  The  thought  would 
come  to  him,  recurrently,  that  Penny  was,  after 
all,  only  the  Prices'  kid.  The  kid  he  remem- 
bered, try  as  he  would  to  forget,  with  two  front 
teeth  missing  and  her  petticoat  coming  down. 
A  Summerton  girl. 

And  in  New  York  and  elsewhere  there  were 
women  w'ith  Mona  Lisa  smiles  and  sultry 
passions. 

Gloria  Swansons  and  Pola  Negris. 

Women  like  pallid  poems.  Supposing  he  had 
missed  something. 

In  the  Fall  it  became  apparent  that  Nicholas 
must  make  more  money.  He  decided  to  go  to 
New  York  and  get  a  job.  A  job  connected 
with  the  movies,  if  possible.  He  would  take 
a  year  wherein  to  make  good  and  then  he 
would  return  victorious  and  carry  Penny  off  to 
Paradise. 

Penny,  of  course,  didn't  want  him  to  go. 
She  thought  he  could  do  well  enough  on  the 
Clarion.  She  was  willing  to  wait  .  .  .  they 
could  get  along  nicely  on  very  little  .  .  .  she 
was  afraid  for  Nicky  in  New  York  .  .  . 
Nicky  said: 

"Nonsense,  darling,  a  man  must  try  his 
mettle  ..." 

And  he  went. 

T  ARRY  and  Nicky  went  to  New  York  to- 
•^-'gether.  On  the  way  down  they  decided  that 
Nicky  should  try  to  get  a  job  writing  for  the 
movies.  A  reviewer.  An  interviewer.  A 
press  agent.  Larry  thought  that  Nicky  would 
do  fine  at  any  of  these  things.  After  all,  he 
had  some  slight  entree.  The  press  depart- 
ments knew  his  name.  They  had  been  sending 
him  their  stuff  for  over  two  years.  And  it 
would  be  a  darned  good  opening  wedge.  Nicky 
had  always  been  interested  in  the  movies.  Had 
ideas  about  'em.   Ideas  were  always  needed. 

Nicky  wrote  a  few  articles,  submitted  a  few 
ideas,  poked  about  a  bit  and  finally,  with  less 
difficulty  than  usually  attends  a  young  man's 
sack  of  the  city,  landed  a  job  on  a  motion  pic- 
ture trade  paper  writing  reviews.  It  didn't  pay 
much,  but  it  was  a  start.  Nicky  wrote  the  re- 
views rather  better  than  some.  His  reading 
had  given  him  a  vocabulary.  His  simple  life 
had  given  him  clarity  of  opinion  and  a  fresh 
viewpoint. 

His  belief  in  himself  enabled  him  to  put  these 
qualifications  over. 

He  really  took  hold  amazingly.  In  two 
months  he  knew  more  about  pictures  than 
those  veterans  who  had  attended  the  infant 
industry's  birth.  From  reviews  he  began  to 
write  interviews  for  magazines.  He  began  to 
meet  the  people  of  the  screen  and  everyone 
liked  him. 

This  was  because  he  had  a  gust  of  red  hair 
and  blue  sapphiric  eyes. 

He  believed  in  them,  too,  the  screen  people. 
They  were  wonderful  to  him.  He  saw  their 
faults,  but  he  saw  them,  as  he  said  himself,  con- 
structively. He  thought  their  glitter  potential 
gold  and  he  transmuted  his  discerning  faith 
into  words  that  picturized  personalities  and 
publicized  pictures.  The  fans  began  to  write 
in  about  him.    They  liked  his  stuff. 

"Have  Nicholas  Nast  interview  so-and-so," 
they  wrote,  "he  tells  us  the  things  we  want  to 
know." 


I^a/n  and  Telephone  Qalls 


The  annual  rain  fall  in  the  United 
States  would  weigh  over  three  and 
one-half  trillions  of  tons. 

This  vast  weight  is  drawn  up 
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effective  power  of  the  sun;  rep- 
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The  annual  telephone  conver- 
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There  must  be  the  man-power 
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There  must  be  the  money- 
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The  rain  sustains  life;  the  tele- 
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Hi-  began  i<>  be  in  demand.  Fan  magazines 
competed  for  his  services.  He  wrote  a  movie 
syndicate  I « >r  the  papers.  One  <>r  two  oi  the 
stars  wanted  him  to  be  tluir  press  agent.  He 
went  to  all  the  premieres,  trade  luncheons  and 
|>rt  <s  U'as. 

He  "as  so  very  busy  that  he  didn't  write 
regularly  to  Penny,  but  Penny  wrote  regularly 
to  him. 

She  >aid  thai  slu-  thought  he  was  wonderful 
and  added,  wistfully,  that  .Man-  Trueart  must 
be  "  very  pretty." 

Nicholas  happened  to  answer  this  loiter, 
lie  sail  I  yes,  Mary  Trueart  was  a  knock-out,  but 
no  prettier  than  I.ilith  Flame  or  lolly  Temple 
nr  some  others.  It  wasn't  a  very  reassuring 
letter  to  Penny,  being  for  the  most  part  a 
panegyric  on  the  collective  pulchritude  of  the 
screen. 

But  Penny  bethought  herself  philosophically 
that  this  was  Nicky's  business  now.  that  it  was 
all  for  her  and  that  she  must  be  patient  and 
understanding. 

She  had  fun  making  things  for  her  Hope 
Chest. 

XTICKV  had  been  in  New  York  eight  months 
•^  '  when  he  decided  to  take  on  Alia  Alvarez  as 
an  "account." 

This  was  the  way  press  agents  spoke  of  the 
stars  they  were  specifically  paid  to  publicize, 
run  errands  for  and  advise. 

Alia  Alvarez  had  made  a  great  many  pic- 
tures. Programme  pictures.  She  had  con- 
siderable ability,  but  she  was  just  short  of  being 
a  star.  She  had  been  short  of  this  desirable 
state  for  some  time  now  and  it  worried  her. 
She  felt  that  she  was  not  getting  on.  That  was 
why  she  sent  for  Nicholas  Nast.  Nicholas  had 
said  some  very  pertinent  things  to  her  when  he 
had  interviewed  her.  People  all  said  that  he 
was  so  clever. 

He  could  place  stuff,  too,  as  well  as  write  it. 
She  knew  that  if  she  didn't  get  him  someone 
else  would. 

Nicholas  Nast  took  the  account,  and,  tragi- 
cally enough  for  Penny  Price,  he  fell  in  love  with 
Alia  Alvarez. 

Romance! 

It  was  Romance  to  be  with  Alia  in  her  apart- 
ment on  Riverside  Drive.  Her  apartment 
shrouded  in  sombre  silks,  lighted  with  bulbous 
orange  eyes,  scented  with  odours  of  Araby. 
Romance  to  watch  her  through  the  spiralling 
smoke  of  their  cigarettes,  fragrant  with  amber, 
labeled  "Cairo."  Romance  to  sip  the  heady 
drinks  served  them  by  Muchu,  the  slant-eyed 
Oriental.  Romance  to  be  seen  at  luncheon 
with  her,  at  the  Ritz  or  the  Algonquin  and  to 
know  that  people  were  saying,  "Look,  there's 
Alia  Alvarez  .  .  .  did  you  see  her  in  'The 
Kingdom  of  the  Flesh '?  "  And  to  assume  that 
they  were  adding,  "Yes,  and  that's  Nicholas 
Nast  with  her.  He  writes  for  Film  Fantasies, 
you  know.  He's  'in'  with  all  of  the  producers, 
directors  and  stars.  They  say  she  takes  his 
advice  about  everything,  won't  make  a  move 
without  him." 

Romance  to  advise  Alia  about  her  talk  to 
interviewers,  places  where  she  could  and  could 
not  "afford"  to  be  seen,  to  arrange  her  sittings 
with  photographers,  her  appointments  with 
newspaper  people  and  to  say  when  she  was 
late,  as  she  always  was : 

"I'll  have  to  give  Alia  a  straight-from- 
the-shoulder  talk  for  this." 

There  was  the  perfume  of  mystery  about 
Alia  Alvarez.  She  reincarnated  for  Nicholas 
the  mysterious  woman  of  times  long  past,  of 
poets  long  dead  .  .  .  Swinburne  .  .  .  Bau- 
delaire .  .  .  Pierre  Loti  .  .  .  Poe  .  .  . 
they  had  written  of  women  like  Alia.  Her 
mascaraed  lashes  swept  her  pale  cheeks  like  the 
ghosts   of    fugitive   shadows.      Her   vermilion 

lips  accented  commonplace  words  and  made 

them  provocative,  tiny  golden  snares  to  trap 
the  heart.  She  was  the  kind  of  a  woman 
Nicholas  had  dreamed  about  up  in  the  attic  in 
Summerton  when  he  had  read  his  grandfather's 
Forbidden  books  and  had  foreseen  himself  as  a 
flaming  figure  with  a  great  and  terrible  passion 
for  another  Cleopatra. 

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He  contemplated  telling  I.arry  about  his 
change  of  heart.  It  would  be  the  fair  thing  to 
do.  Larry  still  loved  Penny  Price.  And  Penny 
might  eomc  to  mend  her  broken  heart  in  time 
and  rare  for  I.arry.  Not,  of  course,  as  she  had 
cared  for  Nicky,  but  sanely,  substantially,  as 
one  cares  when  one  has  bade  farewell  to  dreams. 

Larry  was  studying  textiles.  He  wanted  to 
go  back  to  Summerton  and  get  a  job  in  the 
woolen  mills.  Penny  would  like  that,  too. 
Sin  loved  Summerton.  Yes,  Larry  could  go  to 
Penny  and  in  time  everything  would  be  pleas- 
ant. 

But  it  was  difficult  to  open  the  subject  with 
Larry.  Larry'  was  simply  profane  about  the 
screen  stars.  He  called  them  "the  beautiful 
bunk."  He  didn't  take  them  seriously  at  all. 
It's  awful  when  a  man  has  no  imagination.  To 
mention  Alia  Alvarez  as  the  usurper  of  Penny 
would  mean  a  definite  rupture  in  their  friend- 
ship. 

Nicholas  wanted  to  avoid  that  for  as  long  as 
possible. 

He  contemplated  telling  Penny,  too.  But  he 
didn't  have  the  heart.  Penny  was  so  trusting. 
These  trusting  women  were  the  very  deuce!  It 
was  brutal,  hurting  Penny.  She  hadn't  anyone 
but  him  and  no  dream  save  the  dream  he  had 
given  her.  He  wrote  her  fewer  and  fewer 
letters.  Better,  he  thought,  to  let  it  die  down 
gradually. 

It  would  be  less  of  a  shock  that  way.  Penny 
was  young  .  .  .  she  would  forget  .  .  .  she 
might  be  all  the  bigger  woman  for  having 
walked  with  Tragedy  .  .  . 

Penny,  of  course,  was  not  forgetting. 

A  LLA  ALVAREZ  got  plenty  of  publicity. 
-'•-She  had  never  had  so  much  before.  But 
somehow  she  remained  on  the  other  side  of  star- 
dom, Nicholas  Nast's  silver-tongued  pen  to  the 
contrary- 
Many  a  candlelit  hour  was  eaten  by  the 
locusts  while  Alia  and  Nicholas  pondered  the 
impasse  that  confronted  them.  Alia  wrung  her 
hands  and  Nicky's  heart  as  she  paced  the  floor 
blaming  her  screen  status  on  producers,  direc- 
tors, cameramen/scenarioists,  exhibitors,  other 
players,  everyone  and  anyone  but  herself. 

One  thing  Nicholas  was  sure  of  and  that  was 
that  Alia  had  been  too  long  before  the  public — 
as  she  was.  What  she  needed,  he  said,  was 
some  sort  of  a  radical  change.  Some  way 
should  be  contrived  whereby  she  could  burst 
anew  upon  the  cinema  horizon,  a  discovery,  a 
"find."  The  thing  to  do,  the  only  thing  to  do. 
was  to  re-create  Alia  Alvarez.  This,  he  said, 
had  come  to  him  in  slow-  and  painful  stages 
Very  painful.  For  was  not  Alia  Alvarez 
Romance  as  she  was? 

Even  the  fact,  of  necessity  confided  to  him, 
that  her  real  name  was  Bertha  Taylor,  caused 
no  dimming  of  the  glamour,  no  lessening  of  the 
enchantment. 

Nicholas  gave  the  problem  his  best  thought. 
He  performed  the  painful  operation  of  dissect- 
ing the  very  essentials  of  his  charmer.  He  took 
her  personality  and  did  a  drastic  vivisection. 
He  tore  her  to  bits  and  examined  her  with 
ruthless  eyes.  He  reassembled  the  bits  into 
first  one  shape  and  then  another.  Out  of  the 
glittering  fragments  that  were  Alia  Alvarez  he 
strove  to  create  a  new  image.  He  was  Pygma- 
lion dabbling  his  hands  in  the  loose  clay  of  his 
potential  Galatea. 

Nicholas  came  finally,  smashingly  to  his 
great  solution.  Alia  was  by  way  of  being  a 
vamp  ...  a  temptress,  at  any  rate  .  .  . 
The  American  Public,  he  knew,  will  stand  for 
the  vamp  for  so  long  and  no  longer.  Nicholas 
pondered  the  psychology  of  this  and  concluded 
that  it  was  fundamentally  healthy.  He  re- 
called several  deadly  nightshades  who  had 
wrecked  homes  and  husbands  galore  upon  the 
silvcrshcet  and  were  now  without  these  com- 
modities themselves.  Ves,  there  were  too 
many  screen  temptresses  ...  it  was  the 
sweet-faced,  simple  soulful  ingenue  who  went 
better  and  stayed  longer.  The  clinging  vine 
with  the  ringlet  curls  is  the  Eternal  Feminine 
whom  men  cannot  forget. 

Alia  .   .  .  well,  but  there  was,  really,  nothing 


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ADDRESS  DEPT. 


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either  very  sinister  or  incurably  vampish  about 
Alia.  Only  her  make-up  and  her  accent,  one  of 
which  could  be  remade  and  the  other  of  which 
could  not  be  heard. 

The  thing  to  do  was  to  create  a  sort  of  super- 
ingenue  out  of  Alia.  To  burn  the  phoenix  and 
out  of  the  ashes  to  evoke  a  new  and  radiant 
creature,  simple,  soulful,  bearing  armsful  of 
Spring.  Yes,  the  thing  to  do  was  to  rename 
Alia,  give  her  a  new  personality,  trust  to  her 
native  cleverness  and  let  her  begin  again,  a 
star  .    .    . 

The  first  difficulty  was  with  Alia.  She  was 
hard  to  convince.  She  had  been  born  Bertha 
Taylor,  a  medium  blonde,  and  she  cherished 
her  raven  locks,  her  vermilion  lips  and  her 
accent.  To  blondine  her  hair,  to  lisp  instead 
of  hiss,  to  gambol  rather  than  undulate,  to  have 
a  soul  instead  of  a  body  .  .  .  dear,  dear,  she 
didn't  know   .    .    . 

Nicholas  Nast  was  vehement,  and,  eventu- 
ally, convincing.  He  burned  with  the  zeal  of 
the  creator.  He  knew  what  he  was  talking 
about,  he  said.  Alia  remained  a  vamp  and 
she  died — or  she  became  an  ingenue  and  she 
lived. 

She  could  take  her  choice. 

Not  unnaturally  Alia  decided  to  live. 

T_TER  contract  expired  and  Alia  went  into  a 
•*•  ■'-period  of  retirement.  It  was  announced 
that  the  screen  would  know  her  no  more. 

Penny  wrote  Nicholas  just  about  this  time 
and  suggested  that  he  come  home  for  "a  little 
visit."  His  mother,  she  wrote,  had  had  an 
awful  chest  cold  all  winter  and  didn't  look  so 
well.  She  didn't  want  to  worry  Nicky,  but  it 
was  almost  a  year  .  .  .  and  Penny  was  going 
to  have  a  birthday  party  .  .  .  she  would  be 
nineteen  .  .  .  and  it  wouldn't  be  fun  at  all 
without  Nicky. 

It  was  May  again  .  .  .  the  lilacs  were 
heavenly  this  year  .  .  . 

Nicholas  was  in  the  habit  of  sending  wires  as 
answers  to  letters  he  didn't  have  the  time  or 
didn't  feel  the  necessity  of  answering  in  like 
kind. 

He  sent  a  wire  to  Penny.  He  said  that  he 
was  sorry,  but  he  was  up  to  his  ears  in  work 
and  couldn't  spare  a  day,  an  hour   .    .    . 

Penny  went  out  under  the  lilac  trees  and 
cried  when  she  got  the  wire.  Telegrams  usu- 
ally meant  deaths  in  Summerton.  Nick's  wire 
was  a  little  yellow  death  to  Penny.  A  simple 
soul,  Penny,  but  she  had  her  pride.  She  locked 
up  her  Hope  Chest  and  didn't  write  to  Nicholas 
again. 

Alia  Alvarez  went  down  to  Atlantic  City  to 
be  reborn.  Nicholas  Nast  went,  too.  He  used 
the  mallet  and  the  chisel  deftly  and  completely 
and  when  they  returned  to  New  York  Alia 
Alvarez  was  left  behind  and  Tansy  Pell  came 
home  in  the  Alvarez  limousine,  likewise  reborn 
to  a  new  coat  of  paint  and  a  new  monogram. 

Pansy  Pell  was  a  triumph  if  Nicholas  did  say 
so  himself.  Her  hair  had  taken  the  hue  of 
honey  as  if  born  to  it.  Her  face  was  tinted 
with  the  paint  rose  of  the  morning  and  being, 
as  she  was,  a  good  actress  the  personality  of  a 
fair  girl  with  yearnings  was  not  difficult  for  her 
to  live  up  to.  Nicholas  added  the  soupcons  of  a 
wistful  mouth  and  a  paradoxical  twinkle  in  the 
eyes. 

Pansy  Pell,  he  felt,  could  be  relied  upon  to 
pipe  the  hearts  out  of  the  most  seasoned  film 
goers. 

Nicholas  hunted  up  a  director  he  knew.  A 
Big  Gun.  The  director  had  made  a  name  for 
himself  by  way  of  "discoveries."  He  was, 
happily,  on  the  verge  of  casting  a  new  picture. 
He  needed  a  new  star  and  he  needed  publicity. 
For  the  former  Nicholas  boldly  suggested  Miss 
Pansy  Pell  and  for  the  latter  he  modestly  sug- 
gested himself.  The  director  was  admitted 
into  confidence  and  heard  the  story  with  ex- 
citement. They  could  stage  a  great  campaign 
...  he  knew  that  Alvarez  had  been  a  good 
trouper  ...  he  was  for  it  providing  Nicholas 
would  allow  him  to  take  the  credit  for  the  new 
"find."    Nicholas  would. 

He  had  created  and  the  joy  of  creation  was 
sufficient  unto  itself. 


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Pansy  came  wistfully  down  and  a  contract 
was  signed  forthwith.  Nicholas  got  to  work  on 
the  publicity  campaign.  And  he  outdid  him- 
self. The  public,  agog,  demanded  to  know 
when  they  could  see  this  Pansy  Pell.  The  fans, 
of  whom  one  is  born  every  instant,  bombarded 
the  fan  magazines  with  letters  of  inquiry  .  .  . 
the  picture  was  begun. 

•Nicholas  determined  that  at  the  picture's 
end  he  would  ask  Pansy  Pell  to  marry  him. 
He  didn't  know  whether  she  was  in  love  with 
him  or  not.  She  had  let  him  kiss  her  once  or 
twice  when  she  had  been  tired  and  discouraged. 
He  couldn't  quite  fathom  what  those  kisses  had 
meant. 

He  was  not  experienced  enough  to  be  able  to 
gauge  the  degree  of  reciprocity  in  the  tender 
passion  unless  it  came  to  him  immediately,  un- 
equivocally, as  Penny's  had  come. 

The  picture  was  finished  and  lavishly 
launched  and  there  happened  "one  of  those 
things." 

Pansy  Pell  became  a  star  "overnight." 

A  FEW  weeks  after  the  release  of  her  picture 
■**■  she  had  to  engage  a  secretary  to  attend  to 
her  fan  mail.  She  was  interviewed,  photo- 
graphed, feted  in  double  ratio  to  what  had  been 
her  lot  as  Alia  Alvarez.  Nicholas  was  kept  busy 
supplying  the  omnivorous  fan  magazines  with 
stories  and  new  photographs.  He  sent  out 
reams  of  stuff  to  the  general  effect  that  Pansy 
was  from  New  England,  a  village  girl  .  .  . 
He  drew  beautiful  little  word  pastels  of  New 
England  in  the  spring  time  .  .  .  the  lilacs 
and  the  hawthorne  .  .  the  little,  silver 
streams  .  .  .  straight  from  so  fair  a  frame  had 
this  fair  creature  stepped,  he  wrote,  young 
blossoms  in  her  hair,  to  make  the  old  remember 
and  the  young  forget   .    .    . 

Sometimes,  now,  Nicholas  was  short  of  fresh 
copy.  He  had  to  make  most  of  the  stories  up 
out  of  his  head.  It  wasn't  as  easy  to  have  time 
with  Pansy  Pell,  as  it  had  been  Alia  Alvarez. 
She  was  being  wined  and  dined.  She  gave  ex- 
clusive little  dinner  parties.  Great  writers, 
famed  poets,  society  folk,  came  to  her  dinners. 
You  couldn't  always  include  your  press  agent 
in  your  social  activities. 

Nicholas  was  besieged  with  would-be  clients. 
He  took  on  another  account,  a  man.  He  took  a 
room  and  bath  at  the  Hotel  Ambassinia  and 
was  unwontedly  luxurious.  He  learned  to 
dress  very  well.  He  hobnobbed  with  his  con- 
ferees and  with  some  of  the  dramatic  critics 
and  the  lesser  litterateurs.  He  was  invited  to 
every  movie  party  in  New  York  and  Great 
Neck. 

Even-one  liked  him  because  he  had  a  gust  of 
red  hair  and  blue  sapphiric  eyes. 

He  found  out,  too,  just  at  this  time,  that  he 
was  lonely.  Which  was  absurd,  of  course, 
l.onely  in  New  York.  Lonely  in  a  larger  and 
more  articulate  circle  than  he  had  ever  dared 
to  hope  for.  It  suddenly  occurred  to  him  that 
Penny  never  wrote  to  him  any  more  and  that 
Larry  never  looked  him  up.  He  looked  up 
Larry  and  asked  him  if  he  still  heard  from 
Penny. 

Larry  said,  "Oh,  yes,  I  hear  from  her  every 
week.   I  went  up  home  for  her  birthday  party." 

He  said  it  quietly  and  looked  at  Nicholas  as 
though  he  pitied  him. 

Nicholas  felt  furious  and  aggrieved.  All 
very  well  for  Penny  to  cry  thumbs  down  on 
him.  Fair  enough.  He  had  been  neglectful — 
worse.  Far  worse.  But  damn  small  of  her  to 
turn  right  off  and  fall  for  Larry  Winter. 
Women   .    .    . 

Nicholas  wTote  Penny  a  lofty  letter  in  which 
he  philosophized  in  his  best  manner  on  women 
and  love  and  men  and  frailty  and  understand- 
ing. 

Penny  answered  with  a  brief  note  and  said 
that  Nicholas  had  written  all  that  much  more 
beautifully  in  his  last  interview  with  Lillian 
Gish. 

Nicholas  wrote  back  again  in  a  weary  key. 
He  asked  Penny  to  be  so  kind  as  to  explain 
herself.  Wasn't  she  his  friend  any  longer? 
Was  she  so  small  as  to  withdraw  the  always 
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well,  could  he  help  it  that  men  are  men  and 
life  fluid? 

Penny  replied  and  said  that  she  thought  she 
was  his  friend  .  .  .  she  couldn't  quite  say 
and  be  honest  .  .  .  and  that  she  knew  he 
couldn't  help  men  being  men  because  he  wasn't 
God,  as  she  knew,  though  it  was  a  sacrilegious 
thing  to  say  and  she  didn't  mean  it  that  way. 
She  was  teaching  kindergarten  in  the  summer 
school  and  the  children  were  darlings  and  she 
didn't  have  much  time. 

TT  was  while  he  was  reading  that  letter  from 
-••saucy  Penny  that  the  vast  and  overwhelming 
truth  broke  in  upon  Nicholas  Nast.  The  stun- 
ning, revealing  truth.  -  The  truth  that  sent 
him  spinning  into  space.  The  truth  that  made 
him  gasp,  literally  and  aloud. 

It  came  to  him  first  in  the  throes  of  his  lone- 
liness. Lonel) — nobody  cared — really.  Not 
even  Penny  now.  He  was  writing  a  lot  of  tinse 
words  about  a  lot  of  tinsel  people.  All  the 
lilacs  of  spring  were  back  of  plate  glass.  You 
bought  them  at  so  much  the  bunch  .  .  .  and 
with  these  thoughts,  increasingly  bitter,  with 
Penny's  letter  in  his  hand,  came  the  great 
revelation — he  had  made  Alia  Alvarez  over, 
yes  ...  he  had  made  her  over  .  .  .  in  the 
living  image  of  Penny  Price. 

Pygmalion  had  fashioned  his  Galatea  and 
his  Galatea  was  Penny,  the  Prices'  kid. 

He  could  have  made  Alia  over  into  anybody, 
anything.  Why  anybody  at  all.  He  had  ran- 
sacked his  brain,  his  soul,  his  memories,  for  the 
sweetest  image  he  could  think  of  and  his  sub- 
conscious had  yielded  him  Penny.  He  had  re- 
created Alia  in  the  image  of  Penny.  It  was  be- 
cause he  had  been,  all  along,  homesick  for 
Penny.  It  was  because  he  had  wanted  Penny, 
needed  Penny  all  of  the  time.  Deep  down 
underneath  he  had  loved  Penny  and  he  had 
striven  to  create  an  image  in  her  delicate  dear 
likeness. 

It  was  because  he  loved  her  .  .  . 
Nicholas  Nast  jammed  on  his  hat  and  went 
out  to  walk.  He  traipsed  up  Park  Avenue. 
He  stalked  down  Fifth.  He  roamed  into  a 
florist's  and  bought  a  bunch  of  lilacs.  Their 
fragrance  closed  his  eyes  and  shut  his  teeth. 
Well,  no  use  now.  Penny  didn't  love  him  any 
longer.  Penny  wrote  every  week  to  Larry 
.  .  .  when  she  was  so  busy.  Larry  had  been 
home  for  her  birthday.  He  hadn't  been  too 
busy. 

It  must  have  happened  then  .  .  .  Penny 
under  the  lilac  trees  .  .  . 

Nicholas  Nast  telephoned  to  the  apartment 
in  the  F.ast  50s.  It  struck  him  as  suddenly 
funny  that  Bertha  Taylor  had  lived  in  Bogota, 
N.  J. 

Miss  Pell  was  in  .  .  .  oh,  just  a  moment 
.  .  .  then  .  .  .  yes,  Miss  Pell  would  see  Mr. 
Nast  for  half  an  hour  if  Mr.  Nast  would  come 
at  once. 

He  would  ask  Pansy  to  marry  him.  Many  a 
man  had  to  take  the  shadow  in  lieu  of  the  sub- 
stance. Pansy  was  not  the  real  thing,  but  she 
was  very  good  to  look  at  .  .  .  she  was  pro- 
vocative ...  he  would  have  the  envy  of  a 
great  many  men  .  .  .  yes,  he  would  marry 
Pansy. 

Why,  he  had  even  named  her  as  near  to 
Penny  Price  as  possible. 

Pansy  received  him  in  negligee.  Chiffon. 
Baby-blue.  She  had  bobbed  her  blondined 
hair  and  managed  to  look  effete  despite  the 
personality  he  had  given  her.  He  thought  of 
silk  ears  and  sows  purses  and  wondered  just 
what  he  was  thinking  about. 

He  gave  her  the  lilacs  and  they  looked 
ridiculous  wabbling  about  in  a  Laligue  vase 
next  to  a  cluster  of  Peruvian  orchids. 

"Pansy,"  he  said,  headlong,  "I  .  .  .  I  don't 
want  to  startle  you,  but  I've  got  to  say  it  right 
out  or  I  won't  be  able  to  say  it  at  all.  I  want 
you  to  marry  me  .  .  .  soon  .  .  .  will  you?" 
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one  another  and  she  threw  back  her  blond  head 
and  gurgled,  "Oh,  Nicky,  you  might  at  least 
speak  like  a  movie  subtitle  and  say  that  you 
love  me  to  desperation  .  .  .  only  you  don't,  you 
know  .    .    .   oh,  Nicky,  you  funny  sweetie!" 

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*39 


Nicholas  Nast  was  enraged.  He  had  come  a 
long  way  since  the  kids  in  Summerton  had 
called  him  names  and  laughed  at  him.  No 
woman  could  laugh  at  him.  He  grabbed 
Pansy's  wrist  and  a  diamond  bracelet  cut  into 
her  soft  flesh. 

She  squealed,  but  Nicholas  paid  no  atten- 
tion. 

He  was  wondering  where  the  new  diamond 
bracelet  had  come  from. 

He  held  onto  her  wrists  and  shook  her  a 
little.  Pansy  became  angry.  "Stop  this  at 
once,  Nicholas  Nast,"  she  said.  "  Don't  make  a 
fool  of  yourself  and  me  .  .  .  stop  it,  I  say 
.  .  .  this  .  .  .  this  isn't  what  I  hire  you 
for." 

"Oh!"  Nicholas  dropped  her  wrists,  re- 
treated several  steps.  The  odor  of  lilacs  smote 
him. 

"Oh  ..."  he  said  again,  unbeliev- 
ingly. 

"  And  besides, "  said  Pansy  Pell,  angrily  rub- 
bing her  wrists,  "besides,  Samuel  Bernstein  is 
interested  in  me.  He's  going  to  produce  for 
me  .  .  .  my  own  company  .  .  .  he  .  .  .  well, 
I  couldn't  marry  anyone,  don't  you  see?" 

"Oh,"  Nicholas  said  again,  "oh,  yes,  I  see." 

And  he  did  see.  He  saw  Samuel  Bernstein 
with  his  paunch  and  his  millions.  He  saw 
orchids  and  the  bracelet.  He  saw  the  columns 
and  columns  of  words  he  had  written  .  .  .  New 
England  .  .  .  Spring  .  .  .  blossoms  .  .  .  in 
her  image  ...  He  felt  ill  and  he  said,  "Of 
course  I  see,  Pansy.  Please  forgive  me.  Let's 
get  down  to  what  you  are  to  say  tomorrow  to 
that  interviewer  from  Screen  Scoops.  You'll 
have  to  be  careful.  That  girl  is  out  for  all  the 
dirt  she  can  get.  She's  a  wisecracker  and  a 
dangerous  one   ..." 

The  odor  of  lilacs  smote  him.  "Meanies, 
meanies,  meanies!"  Penny  Price  had  yelled  at 
his  long-ago  tormentors. 

She  would  yell  "  Meanie  "  now  at  Pansy  Pell. 

Nicholas  Nast  left  as  Samuel  Bernstein 
came  in. 

T_TE  wrote  Penny  a  letter  that  night.  A  long, 
-*--Mong  letter. 

Penny  was  clear  and  cool  like  a  New  Eng- 
land dawn.  She  was  warm  and  sweet  like  the 
breaths  of  the  lilacs  in  May.  Best  to  tell 
Penny  the  truth,  all  of  it.  Nothing  less  would 
do. 

Nicholas  wrote  the  truth.  He  winced,  but 
he  wrote  on.  He  wrote  all  about  Pansy  Pell, 
nee  Alia  Alvarez.  He  described  honestly  and 
minutely  how  he  had  felt  about  her,  how  he 
had  fashioned  her  in  Penny's  image  and  had 
never  known  that  he  was  doing  it.  He  asked 
Penny  if  she  could  possibly  understand.  He 
didn't  ask  anything  more  of  her  than  just  that 
.  .  .  "Oh  Penny,  if  you  can  only  under- 
stand ..." 

The  next  day  but  one  he  heard  from  Penny. 
Saucy  Penny,  she  wired  him. 

"I  don't  understand  a  word  you  wrote  in 
your  letter,"  she  said,  "but  I  love  you." 

Nicholas  took  the  next  train  for  Summerton. 
He  would  arrive  at  twilight. 


Darn  Those  Engagements 


[  CONTINUED  FROM  PAGE  63  ] 

The  Miller  family  always  does  things  together. 

"I  never  have  been  really  engaged."  One 
marvels.  "Never!  Of  course,  I've  been  in 
love.  Every  girl  falls  in  love — usually  it's  just 
infatuation.  I  have  had  boys  about  me  all  my 
life.  There's  my  brother,  you  know,  and  girls 
with  brothers  usually  meet  lots  of  boys.  And  I 
started  going  to  parties  with  boys  when  I  was 
fifteen." 

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The  health  and  beauty 
of  the  hair 

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oiliness.    Always  use  before  shampooing 
For  the  strength  and  welfare  of  your  hair — for  in- 
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Freckles,  pimples,  liver  spots,  moth  patches,  etc., 
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Photoplay  Magazine — Advertising  Section 


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playwrights,  artists,  clubmen  and  society  men. 
Fat  men,  lean  men,  tall  men,  short  men,  blond 
men,  brunette  men,  curly-haired  men,  straight- 
haired  men,  partly-bald  men.  But  no  grouchy 
men. 

They  all  had  humor. 

"  Don  Stewart  was  a  dear.  We  used  to  have 
more  fun.  Then  the  papers  came  out  with  an 
announcement  of  our  engagement.  I  don't 
know  where  they  got  it."  And  she  didn't. 
There  is  no  coy  subterfuge  about  Pat.  "It  was 
all  wrong,  for  Don  and  I  were  nothing  more 
than  very  good  friends.  But  it  made  good 
copy.  ..."  Pat  looked  for  a  place  to  pack 
a  feathery  lingerie  and  finally  shoved  it  into 
dad's  trunk. 

"You  know  the  kind  of  stuff.  'Donald 
Ogden  Stewart,  Famous  Humorist,  to  Wed 
Actress.'  When  Don  really  did  become  en- 
gaged to  Beatrice  Ames  he  sent  me  a  wire.  It 
said:  'Don't  try  suicide.  That  would  be 
silly.'  And  I  wired  back:  'Be  good  to  the 
little  woman  or  I  will  tell  all.'  " 

"DAT  smiled  reminiscently.  Then  she  grinned 
■*-  broadly.  By  that  time,  the  conversation 
growing  more  intimate,  we  had  reached  the 
cosy  privacy  of  Pat's  bedroom.  Beneath  the 
long  mirror  of  her  dressing  table  was  a  picture. 
A  beautiful  miniature. 

.  It  was  of  Harrison  Post,  a  boy  to  whom  Pat 
has  been  reported  engaged  on  more  than  one 
occasion. 

The  only  other  picture  in  the  room,  besides  a 
gorgeous  likeness  of  Pat.  was  another  picture  of 
Harrison  Post.  A  larger  portrait,  this,  placed 
on  the  wall  above  a  cabinet.  The  first  thing 
Pat  sees  in  the  morning  from  her  green  cano- 
pied bed  is  a  picture  of  this  very  handsome  boy. 
And  the  last  thing  at  night,  before  she  snaps  off 
the  glow  in  the  Chinese  lamp  at  her  bedside,  is 
a  glimpse  of  the  society  youth  with  whom  her 
name  lias  been  linked. 

But,  no,  Pat  is  not  in  love,  she  says;  nor  is 
she  engaged. 


Perhaps  that  is  the  secret-of  Pat's  popularity. 

The  wall  of  the  reading  room  downstairs  is 
lined  with  autographed  pictures  of  men.  Men 
to  whom  Pat  has  been  reported  engaged.  Men 
with  whom  you  have  never  heard  her  name 
mentioned.  They  are  all  men  who  have  ac- 
complished things  in  one  line  or  another.  No 
failures — no  humorless  men  are  there.  There 
is  Matt  Moore,  Harry  Crocker,  Donald  Ogden 
Stewart,  Jason  Robards,  Rupert  Hughes, 
George  Jessel,  John  Gilbert,  Ralph  Forbes, 
Charles  Ray,  Lloyd  Pantages,  Norman  Kerry, 
Douglas  Fairbanks,  Jr. 

There  was  Matt  Moore,  Pat  went  on  to  react 
how  the  engagement  rumors  started.  Matt 
and  she  played  in  three  consecutive  pictures. 
There  were  lunches  and  parties  together.  The 
natural  result  of  four  or  five  months  of  daily 
association. 

It  was  merely  propinquity.  But  an  engage- 
ment was  rumored  nevertheless. 

After  Matt,  who  is  still  a  dear  and  good 
friend,  there  was  the  Pasadena  society  set  and 
two  engagements,  tumbling  one  on  the  heels  of 
the  other.  Harry  Crocker  and  Wilbur  May, 
wealthy  youths  and  socially  prominent.  Then 
Donald  Ogden  Stewart,  when  he  came  to 
Hollywood.  And  that's  the  way  it  has  been 
right  along.  Fngagements  coming  and  going. 
Even  George  Jessel,  arriving  from  Broadway, 
made  a  wisecrack  about  his  round-trip  ticket 
which  included  stop-over  privileges  at  the 
Grand  Canyon  and  an  engagement  to  Patsy 
Ruth  Miller. 

"Just  the  other  day,"  said  Pat,  scrutinizing 
the  dagger-like  points  of  her  glistening  nails, 
"I  was  doing  some  shopping  and  I  met  Ken- 
neth Hawks  in  front  of  Montmartre.  I  hadn't 
seen  Kenneth  for  ages.  'Won't  you  come 
with  me  for  lunch?'  he  asked.  Of  course  I 
wenl  and  next  Sunday  came  the  report  that 
Kenneth  and  I  were  reunited  after  many 
months. 

"Can  you  imagine!    Just  a  casual  luncheon, 
but  with  those  results." 
My    first    engagement    was    reported    in 
'Whiz  Bang.'  "    A  fugitive  smile  crossed  her     HTHF.X  there  was  that  other  time  long  ago 
face.     "Ralph  Forbes  and  I  got  the  publicity       "*-  when  Pat  was  rumored  engaged  to  a  charm- 


that  time.  I  was  making  a  picture  in  Xew 
York.  That  was  before  Ralph  married  Ruth 
Chatterton." 

The  smile  was  captured  by  a  sterner  ex- 
pression. 

Pat  was  aggrieved.  More  than  that,  she 
was  incensed. 

"  But  what  makes  me  utterly  speechless  is  to 
be  reported  engaged  to  a  man  who  is  already 
married.  It  is  rotten.  Rotten.  That's  all. 
And  it  isn't  fair  .  .  .  not  to  the  man,  his  wife, 
nor  me.  But  what  can  you  do  with  these  people 
who  start  unfounded  rumors?  What  can  you 
do  when  they  do  not  even  take  the  trouble  to 
find  out  if  the  man  or  the  girl  is  married?  It 
not  only  happens  to  me.  It  happens  to  others." 

It  seems  that  Pat,  in  the  matter  of  engage- 
ment reports,  is  a  victim  of  circumstantial 
evidence.  It  may  be  a  curse,  as  she  insists. 
But,  more  than  anything,  it  is  circumstantial 
evidence.  Pat  is  popular.  One  of  the  most 
popular  girls  I  have  ever  met.  People  may 
wage  arguments  as  to  whether  or  not  Pat  is  a 
beauty,  but  they  all  agree  that  Pat  is  one  of  the 
most  popular  girls  in  Hollywood.  They  may 
say  her  head  is  too  large  for  perfect  symmetry, 
and  that  her  chin  is  too  firm,  too  resolute,  too 
determined,  for  feminine  perfection.  No  one 
would  say  that  Tat  lacks  sex  appeal. 

More  than  sex  appeal,  Pat  understands  the 
psychology  of  comradeship.  The  exquisite 
thrill  of  being  in  complete  sympathy  with  a 
companion  is  hers.  Pat's  secret  is  that  of  being 
a  perfect  pal. 

And  not  more  than  twenty-four  hours  before 
a  man  had  told  me  just  that  about  Pat.  He 
had  eulogized  her. 

"She's  such  a  real  girl.  Nothing  artificial 
about  her.  Always  glad  to  do  what  you  want 
to  do.  The  littlest  thing  amuses  Pat.  She's 
the  kind  of  girl  you  are  always  glad  to  have 
with  you.  She's  just  as  happy  at  the  beach  as 
she  is  at  a  cafe  or  on  the  tennis  court.  She  is 
the  most  adaptable  girl  I  know." 

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ngaged  I 
ing  young  actor.  A  reporter  haunted  the  set 
where  Pat  was  working,  waiting  to  ask  her 
when  the  marriage  was  to  take  place.  In  the 
meantime  a  contract  was  hanging  fire  which 
would  place  the  young  folks  in  the  same  pic- 
ture. Pat  was  anxious  to  play  the  part  and  the 
actor  wanted  her  to  have  it.  He  came  on  the 
set  to  talk  it  over  with  Pat.  The  reporter 
hovered  in  the  background.  Finally,  when  the 
actor  left,  he  had  an  opportunity  to  talk  to 
Pat. 

"Well,  I  suppose  it  is  all  set,"  said  the  re- 
porter, thinking  of  the  wedding  date. 

"Not  quite.  But  we'll  know  soon,"  replied 
Pat,  thinking  <if  the  contract  and  the  new  rule. 

"I  suppose  you'll  be  very  happy,"  opined 
the  press. 

"Oh,  very'.  It's  something  I've  always 
wanted  to  do!"  breathed  Pat. 

"Shouldn't  think  you'd  want  to  put  it  off," 
remarked  the  reporter,  being  at  heart  very 
romantic. 

"Neither  does  he,"  smiled  Pat. 

"What's  to  prevent  it?" 

"There's  the  producer.  We  have  to  think 
of  him,  of  course,  because  he  has  me  under 
contract." 

"What  has  the  producer  to  do  with  your 
getting  married!  Have  you  a  marriage  clause 
in  your  contract?"  questioned  the  member  of 
the  press. 

"Married!  Who  said  anything  about  get- 
ting married?"  gasped  Pat. 

"Why!  That's  what  I  was  talking  about  all 
the  time." 

"I'm  talking  about  my  next  picture," 
answered  Pat. 

But  the  reporter  printed  the  marriage  story 
anyway. 

What  can  you  do  in  a  case  like  that?  That's 
what  Pat  wants  to  know. 

Numerous  friends  have  suggested  marriage. 
Many  have  personally  volunteered. 

But  Pat  says  she  isn't  ready  .   .    .  yet. 


Photoplay  Magazine — Advertising  Section 


141 


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Perfect  Behavior  in 
Hollywood 


[  CONTINUED  FROM  PAGE  57  ] 

bends  over  to  catch  his  last  words.  "He  would 
have  made  a  great  barber,"  says  the  old  man 
and  dies.    It  begins  to  rain. 

Meanwhile,  in  far  distant  Paris,  France, 
Donald  Ogden  Stewart  returns  from  his  honey- 
moon and  writes  Chapter  Six  of  "Perfect  Be- 
havior in  Hollywood."    It  begins  to  rain. 

CHAPTER  VI 

"Continuity" 

Last  month  we  went  into  the  subject  of 
"treatments"  by  means  of  which  your  story  is 
prepared  for  "continuity."  This  month  we 
shall  take  up  the  writing  of  the  "continuity" 
itself. 

Before  you  write  the  final  continuity  it  is 
always  necessary  to  write  what  is  known  in 
Hollywood  as  a  "rough"  continuity.  This 
does  not  mean  that  your  continuity  must  be 
full  of  dirty  jokes  or  uncouth  sayings,  but  it 
simply  means  that  the  work  you  do  at  this 
time  is  "rough"  compared  to  what  it  will  be 
when  you  are  finished. 

To  write  a  "rough"  continuity  you  take 
your  story  and  set  it  down  in  scenes.  For 
example,  if  you  are  telling  a  story  of  a  boy 
named  John  who  loves  a  girl  named  Alice  you 
pick  up  a  pencil  and  sharpen  it  very  carefully. 
Then  you  take  out  a  piece  of  paper  and  place 
it  on  the  desk  in  front  of  you.  Then  you 
write  the  name  of  the  story,  such  as,  for  this 
case,  let  us  say,  "War  and  Peace."  Then  you 
write  "  Rough  Continuity — Page  1."  Then  you 
write  your  name.  Then,  after  a  minute,  you 
write  "  Scene  One."    Then  you  pause. 

During  this  pause  there  are  several  things 
that  you  can  do.  In  the  first  place,  you  can 
look  out  of  the  window.  If  you  are  lucky,  you 
will  see  somebody  you  know  and  you  can  get  up 
and  talk  to  them  for  a  while.  If  you  don't  see 
anybody  you  know,  you  can  always  watch  the 
man  cut  the  grass.  This  will  take  at  least  half 
an  hour. 

Then  you  can  return  to  your  manuscript  and 
underline  the  words  "Scene  One." 

After  that  you  should  pause  again. 

In  this  intermission  you  will  probably  have 
time  enough  to  walk  over  to  the  mirror  and  see 
if  you  need  a  shave.  This  requires  a  careful 
examination  and  fifteen  minutes  is  not  too 
much  to  spend  on  this  subject,  unless  of  course 
you  are  a  lady  continuity  writer.  Lady  con- 
tinuityjwriters  do  not  shave,  which  takes  away 
almost  their  only  possible  excuse  for  ever  look- 
ing in  a  mirror,  and  if  you  are  intending  to  be- 
come a  lady  continuity  writer  you  can  omit 
this  paragraph  altogether. 

However,  when  you  have  returned  to  your 
desk,  you  should  once  more  take  up  your  pencil 
and  this  time  you  should  not  only  underline  the 
words  "Scene  One"  but  also  the  title  of  the 
story,  your  own  name  and  the  phrase  "Rough 
Continuity — Page  1."  In  the  course  of  doing 
this,  you  will  probably  notice  that  by  putting 
two  little  dots  and  a  mustache  in  the  "0"  it 
looks  just  like  a  face  and  when  you  have  done 
this  to  all  the  possible  "O's"  on  the  page  you 
will  be  suddenly  interrupted  by  the  entrance  of 
VVally  Young  who  has  the  office  next  to  yours. 

"Busy?"  asks  Wally. 

"Oh — just  preparing  a  rough  continuity," 
you  reply. 

"How  about  a  little  lunch?"  asks  Wally. 

"Well,"  you  say,  doubtfully,  "well,  I  don't 
know." 

"Oh,  come  on,"  says  Wally. 

"All  right,"  you  say. 

You  then  put  the  paper  and  pencil  carefully 
away  in  the  upper  right  hand  drawer  and  lock 
it  securely.  Then  you  take  your  hat  and  go  to 
lunch. 

So  much  for  the  writing  of  "rough"  conti- 
nuity. 


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Casts  of  Current  Photoplays 

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"WINNING  OF  BARBARA  WORTH, 
THE  " — United  Artists. — From  the  novel  by 
Harold  Bell  Wright.  Adapted  by  Frances 
Marion.  Directed  by  Henry  King.  The  cast: 
Willard  Holmes,  Ronald  Colman;  Barbara 
Worth,  Vilma  Banky;  Abe  Lee,  Gary  Cooper; 
Jefferson  Worth,  Charles  Lane;  The  Seer,  Paul 
McAllister;  James  Greenfield,  E.  J.  Ratcliffe; 
Texas  Joe,  Clyde  Cook;  Pal  Mooney,  Erwin 
Connelly;  McDonald  Edwain,  J.  Brady; 
Horace  Blanton,  Sam  Blum;  George  Carlwrighl, 
Fred  Esmelton;  Little  Rosebud,  William  Patton. 

"SORROWS  OF  SATAN"— Paramount  — 
From  the  novel  by  Marie  Corelli.  Adapted  by 
John  Russell  and  George  Hull.  Screen  play  by 
Forrest  Halsey.  Directed  by  D.  W.  Griffith. 
Photography  by  Harry  Fischbeck.  The  cast: 
Prince  Lucia  dc  Rimancz,  Adolphe  Menjou; 
dentin  v  Tempest,  Ricardo  Cortez;  Mavis  Claire, 
Carol  Dempster;  Lady  Sybil,  Lya  de  Putti; 
Amiel,  Ivan  Lebedeff;  Mother  Rex,  Marcia 
Harris;  Earl  of  Ellon,  Lawrance  D'Orsay.   • 

"TEMPTRESS,  THE "— Metro-Gold- 
wyn-Mayer. — From  the  story  by  Vicente 
Blasco  Ibanez.  Adapted  by  Dorothy  Farnum. 
Directed  by  Fred  Niblo.  The  cast:  Elena, 
Greta  Garbo;  Manuel  Robledo,  Antonio  More- 
no; M.  Fonlenoy,  Marc  MacDermott;  Can- 
lerac,  Lionel  Barrymore;  Marquis  De  Torre 
Blanca,  Armand  Kali/;  Manos  Dnras,  Roy 
D'Arcy;  Josephine,  Alys  Murrell;  Sahadore, 
Steve  Clemento;  Trinidad,  Roy  Coulson; 
Pirovani,  Robert  Anderson;  Timeleo,  Francis 
McDonald;  Rojas,  Hector  V.  Sarno;  Ci Inula, 
Virginia  Brown  Faire;  Scbastiana,  Inez  Gomez. 

"QUARTERBACK,  THE"— PARAMOUNT. 

— Story  by  Wni  Slavcns  McNutt  and  Wm.  (). 
McGeehan.  Adapted  by  Ray  Harris.  Direct- 
ed by  Fred  Newmeyer.  The  cast:  Jack  Stone, 
Richard  Dix;  Louise  Mason,  Esther  Ralston; 
Elmer  Stone,  Harry  Beresford;  "Lumpy"  Gog- 
gins,  David  Butler;  Denny  Walters,  Robert  W. 
Craig;  Nellie  Webster,  Mona  Palma. 

"KID  BOOTS  "—Paramount.— From  the 
play  by  Wm.  A.  McGuire  and  Otto  Harbach. 
Screen  play  by  Tom  Gibson.  Directed  by 
Frank  Tut  tie.  The  cast:  Kid  Boots.  Eddie 
Cantor;  Jane  Martin,  Clara  Bow,  Polly  Pendle- 
ton, Billie  Dove;  Tom  Sterling,  Lawrence  Gray; 
Carmen  Mendoza,  Natalia  Kingston;  George 
Filch,  Malcolm  Waite;  Polly's  Father.  William 
J.  Worthington;  Carmen's  Lawyer.  Harry  Von 
Meter;  Tom's  Lawyer,  Fred  Esmelton. 

"ACE  OF  CADS,  THE"— Paramount— 

From  the  story  by  Michael  Arlen.  Adapted  by 
Forrest  Halsey.  Directed  by  Luther  Reed. 
The  cast:  Chappel  Maturin,  Adolphe  Menjou; 
Elcanour,  Alice  Joyce;  Sir  Guy  de  Gramcrcy, 
Norman  Trevor;  Basil  dc  Gramcrcy,  Philip 
Strange;  Joan,  Suzanne  Fleming. 

"BETTER  'OLE,  THE"— Warner  Bros. 
— Based  on  the  play  by  Bruce  Bairnsfather  and 
Arthur  Eliot.  Adapted  by  Chas.  Reisner  and 
D.  F.  Zanuck.  Directed  bv  Chas.  Reisner.  The 
cast:  Old  Bill,  Syd  Chapl'in;  Joan,  Doris  Hill; 
Bert,  Harold  Goodwin;  Gaspard,  Theodore 
Lorch;  Corporal  Quint,  Ed  Kennedy;  The 
Major,  Charles  Gerrard;  The  English  General, 
Tom  McGuire;  Alf,  Jack  Ackroyd;  The  Black- 
smith. Tom  Kennedy;  Gen.  Von  Hindcu, 
Kewpic  Morgan;  The  Colonel,  Arthur  Clayton. 

"YOU'D  BE  SURPRISED  "—Paramount. 
— Story  and  screen  play  by  Jules  Furthman. 
Directed  by  Arthur  Rosson.  Photography  by 
William  Marshall.  The  cast:  The  Coroner, 
Raymond  Griffith;  Ruth  Whitman,  Dorothy 
Sebastian;  Deputy  Dist.  Atty.,  Earle  Williams; 
District  Attorney,  Edward  Martindel. 


nple  write  The  Scholl  Mfg.  Co.,  Chicago 

Every  advertisement  In  rriOTOPLAY  MAGAZINE  i?  guaranteed. 
I 


"ACROSS  THE  PACIFIC"— Warner 
Bros. — From  the  play  by  Charles  E.  Blaney. 
Adapted  by  Darryl  F.  Zanuck.  Directed  by 
Roy  Del  Ruth.  The  cast:  Monte,  Monte  Blue; 
Claire  Marsh.  Jane  Winton;  Roma,  Myrna  Loy ; 
Aguinaldo,  Charles  Stevens;  Tom  (Montc's 
colored  servant),  Tom  Wilson;  Captain  Grovcr. 
Walter  McGrail;  Colonel,  Herbert  Pryor; 
Corporal  Ryan,  Ed  Kennedy;  A  guinaldo  Agents, 
Theodore  Lorch,  Sojin. 

"  WANING  SEX"  —  Metro  -  Goldwyn  - 
Mayer. — Story  by  Frederic  and  Fanny  Hat- 
ton.  Adapted  by  F.  Hugh  Herbert.  Directed 
by  Robert  Z.  Leonard.  The  cast :  Nina  Duanc, 
Norma  Shearer;  Philip  Barry,  Conrad  Nagel; 
Hamilton  Day,  George  K.  Arthur;  Mary  Booth, 
Marv  MacAlister;  J.  J.  Flannigan,  Charles 
iMcHugh;  J.  J.  Murphy,  Tiny  Ward;  Ellen  B. 
Armstrong,  Martha  Mattox. 

"GIGOLO" — Producers  Dist.  Corp. — 
From  the  story  by  Edna  Ferber.  Adapted  by 
(iarrelt  Fort.  Directed  by  W.  K.  Howard. 
The  cast:  Gideon  Gory,  Rod  La  Rocque;  Mary 
Hubhel,  Jobyna  Ralston;  Julia  Gory,  Louise 
Dresser;  Doctor  Gerald  Blagden,  Cyril  Chad- 
wick;  Pa  Hubbel,  George  Nichols. 

"  PARADISE  " — First  National. — Story 
by  Cosmo  Hamilton.  Directed  by  Irvin 
Willat.  The  cast:  Tony,  Milton  Sills;  Chrissie, 
Hetty  Bronson;  Qucx,  Noah  Beery;  Teddy, 
Lloyd  Whitlock;  Lady  George,  Kate  Price; 
Lord  Lumley,  Charlie  Murray. 

"FOREVER  AFTER"— First  National. 
— From  the  stage  play  by  Owen  Davis.  Di- 
rected by  F.  Harmon  Weight.  The  cast: 
Theodore  Wayne,  Lloyd  Hughes;  Jennie  Clay- 
ton. Mary  Astai;Jack  Randall,  Hallam  Cooley; 
Clayton,  David  Torrence;  Mrs.  Clayton,  Eulalie 
Jensen;  Wayne,  Alec  Francis;  Mrs.  Wayne, 
Lila  Leslie. 

"LILY,  THE"— William  Fox— From  the 
drama  by  Pierre  Wolff  and  Gaston  Leroux. 
Screen  play  by  Eve  UnselL  Directed  by 
Victor  Schertzinger.  The  cast:  Odette,  Belle 
Bennett;  Georges  Arnaud,  Ian  Keith;  Chris- 
lianc,  Reata  Hoyt;  Max  de  Maigny,  Barry 
Norton;  Comle  de  Maigny,  John  Sainpolis; 
Jusar,  Richard  Tucker;  Lucie  Ploclt,  Gertrude 
Short;  Entile  Plock,  James  Marcus;  Jean, 
Thomas  Ricketts;  Mrs.  Arnaud,  Sr.,  Vera 
I.ewi^;  Mrs.  Arnaud,  Jr..  Betty  Francisco; 
Mile.  Chambray,  Rosa  Rudami;  Housekeeper, 
Lydia  Yeamans  Titus. 

"CAMPUS  FLIRT,  THE"— Paramount. 

— Story  and  adaptation  by  Louise  Long  and 
Lloyd  Corrigan.  Directed  by  Clarence  Badger. 
Photography  by  H.  Kinley  Martin.  The  cast : 
Patricia  Mansfield,  Bebe  Daniels;  Denis 
Adams.  James  Hall;  Knute  Knudson,  El  liren- 
del;  Charlie  Paddock,  Himself;  Harriet  Porter, 
Joan  Standing;  Graham  Steams,  Gilbert  Ro- 
land; Mae,  Irma  Kornelia;  Gwcn,  Jocelyn  Lee. 

"KOSHER  KITTY  KELLY'— F.  B.  (>.— 
From  the  play  by  Leon  De  Costa.  Directed  by 
James  Home.  The  cast:  Kitty  Kelly,  Viola 
Dana;  Officer  Pal  Sullivan,  Tom  Forman:  Mrs. 
Feinbaum,  Vera  Gordon;  Rosic  Feinbattm, 
Kathleen  Myers;  Moses  Finsburg,  Nat  Carr; 
Morris  Rosen.  Stanley  Taylor;  Barney  Kelly, 
Carroll  Nye;  Mrs.  Kelly,  Aggie  Herring. 

"TAKE  IT  FROM  ME"— Universal  — 
Story  by  Will  B.  Johnstone.  Scenario  by 
Harvey  Thew.   Directed  by  W.  A.  Seiter.   The 

cast:  Tom  Eggctt.  Reginald  Denny;  Grace  Gor- 
don. Blanche  Mehaffey;  Dick.  Ben  Hendricks, 
Jr.;  Van,  Lee  Moran;  Cvrus  Crabb,  Lucien 
Littlcfield;  Miss  Abbott.  Ethel  Wales;  Percy, 
Bertram  Johns;  Gwen  Forsythe.  Jean  ToUej  ; 
Taxi  Driver.  Tom  O'Brien. 


Photoplay  Magazine — Advertising  Section 


H3 


"GREAT  K  &  A  ROBBERY,  THE"— 
William  Fox.— Story  by  Paul  Leicester  Ford. 
Directed  by  Lew  Seiler.  The  cast:  Tom  Gor- 
don, Tom  Mix;  Madge  Cullcn,  Dorothy  Divan; 
Eugene  Culling,  William  Walling;  Deluxe 
Harry,  Harry  Grippe;  Burton,  Carl  Miller; 
Bandit  Leader,  Edward  Piel,  Sr. 

"PRINCE  OF  TEMPTERS,  THE"— First 
National. — From  the  novel  by  E.  Phillips 
Oppenheim.  Directed  by  Lothar  Mendes. 
The  cast:  Monica,  Lois  Moran;  Francis,  Ben 
Lyon;  Dolores,  Lya  de  Putti;  Mario — later 
Baron  Ilumberlo  Giordano,  Ian  Keith;  Mary, 
Mary  Brian;  Duchess  of  Chatsjicld,  Olive  Tell; 
Apollo  Bencvcnta,  Sam  Hardy;  Duke  of  Chats- 
field,  Henry  Vibart;  Signora  Wembley,  Judith 
Vasselli;  Lawyer,  Frazier  Coulter;  Francis,  Bert 
Wales;  Papal  Secretary,  J.  Barney  Sherry. 

"  BREED  OF  THE  SEA"— F.  B.  O— Story 
by  Peter  B.  Kyne.  Adapted  by  J.  G.  Hawks. 
Directed  by  Ralph  Ince.  The  cast:  Tod  Pem- 
broke, Tom  Pembroke,  Ralph  Ince;  Marietta 
Rawdcn,  Margaret  Livingston;  Life  Marsh, 
Pat  Harmon;  Bully  Rawden,  Alphonz  Ethier; 
Ruth  Fealherstone,  Dorothy  Dunbar;  Martha 
Winston,  Shannon  Day. 

"BLARNEY" — Metro-Gold  wyn-Mayer. 
— From  the  story  by  Donn  Byrne.  Adapted 
by  Albert  Lewin.  Directed  by  Marcel  De 
Sano.  The  cast:  Peggy  Nolan,  Renee  Adoree; 
James  Carabine,  Ralph  Graves;  Marealina, 
Paulette  Duval;  Blanco  Johnson,  Malcolm 
Waite;  Peggy's  Aunt,  Margaret  Seddon. 

"MY  OFFICIAL  WIFE"— Warner  Bros. 
— From  the  play  by  A.  C.  Gunter.  Adapted  by 
Graham  Baker.  Directed  by  Paul  Stein.  The 
cast:  Countess  Or/off,  Irene  Rich;  Alexander 
(Sascha),  Conway  Tearle;  Dcmi-Mondaine, 
Jane  Winton;  Grand  Duke,  Gustav  von  Sey- 
ffertitz;  Ivan,  Stuart  Holmes;  Nicholas,  John 
Miljan;  Count  Orloff,  Emile  Chautard;  Valet, 
Sidney  Bracey;  Commandant,  N.  Vavitch; 
Sascha' s  four  companions,  Tom  Ford,  Russel 
Ritchie,  Tom  Costello,  Igor  Presnikoff. 

"FOR  ALIMONY  ONLY  "—Producers 
Dist.  Corp. — Story  and  continuity  by  Lenore 
J.  Coffee.  Directed  by  Wm.  de  Mille.  The 
cast:  Mary  Martin  Williams,  Leatrice  Joy; 
Peter  Williams,  Clive  Brook;  Nareissa  Will- 
iams, Lilyan  Tashman;  Bertie  Waring,  Casson 
Ferguson;  The  Maid,  Toby  Claude. 

"UNKNOWN  CAVALIER,  THE"— First 

National. — From  the  story  by  Kenneth  Per- 
kins. Adapted  by  Marion  Jackson.  Directed 
by  Albert  Rogell.  The  cast :  Tom  Drury,  Ken 
Maynard;  Ruth  Gaunt,  Kathleen  Collins;  Peter 
Gaunt,  David  Torrence;  Cloitt  Pcttingill,T.  Roy 
Barnes;  Henry  Suggs,  James  Mason;  Judge 
Blowfly  Jones,  Otis  Harlan;  Lingo,  Josef 
Swickard;  Three  Bad  Men,  Pat  Harmon, 
Frank  Lackteen,  Raymond  Wells;  Bob  Webb, 
Bruce  Webb;  Sheriff,  Fred  Burns;  Billy  Gaunt, 
Jimsey  Boudwin;  Tarzan,  As  Himself. 

"COUNTRY  BEYOND,  THE"— William 
Fox. — From  the  story  by  James  Oliver  Cur- 
wood.  Directed  by  Irving  Cummings.  The 
cast:  Valencia,  Olive  Borden;  Roger  MacKay, 
Ralph  Graves;  Joe  Hawkins,  Fred  Kohler; 
Henry  Harland,  Lawford  Davidson;  Mrs. 
Hawkins,  Evelyn  Selbie;  Sergeant  Cassidy,  J. 
Farrell  MacDonald;  Father  John,  Alfred 
Fisher;  Mrs.  Andrews,  Gertrude  Astor. 

"  BROKEN  HEARTS  OF  HOLLYWOOD  " 
—Warner  Bros. — From  the  story  by  R.  L. 
Schrock  and  Ed.  Clark.  Scenario  by  Graham 
Baker.  Directed  by  Lloyd  Bacon.  The  cast: 
Betty  Ann  Bolton,  Patsy  Ruth  Miller;  Virginia 
Perry,  Louise  Dresser;  Hal  Tcrwilligcr,  Douglas 
Fairbanks,  Jr.;  "Hop"  Marshall,  jerry  Miley; 
Mi  Lain,  Stuart  Holmes;  Molly,  Barbara 
Worth;  Sheriff,  Dick  Sutherland;  Director, 
Emile  Chautard;  District  Attorney,  Anders 
Randolph;  Chief  of  Detectives,  George  Nichols; 
Defense  Attorney,  Sam  De  Grasse. 


"How  beautifully  you  -wrap 
your  gifts,  Jobyna!" 

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twice  as  nice  when  they  are  prettily  wrapped 
ordecorated  in  unusual  ways.  So 
I  always  try  to  make  my  gifts  at- 
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I'm  afraid  I'd  run  out  of  ideas  if  £c 
weren't  for  Dennison's  Christmas 
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one  every  year,  for  27  years  !  It  costs  so 
little  and  is  so  full  of  good  ideas,  I 
wouldn't  think  of  starting  my  Christ- 
mas plans  without  it. 

'yna  Ralston. 


-Jobyh 


and  i 


Stationers,  departmentst* 
druggists  have  Dennison  Christmas 
goods  (in  the  red  and  gold  packages)  and 
The  Christmas  Book,  or,  use  this 
coupon  for  a  copy  by  maiL 


JCW4i/£>OM£ 


DENNISON'S,  Def>t.  N6 

Framing  ham,  Mass* 

J^^SMr  Jobyna   Ralston  says  to   send  fo 

Y  The  Christmas  Book,  so  I  enclose  It 

'  cents  (15  cents  in  Canada).     Pleas 

send  it  to 

NAME 

ADDRESS _ 


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CENTURY 

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please  mention  rnoTOPT.AY  MAGAZINE. 


144 


Photoplay  Magazine — Advertising  Section 


CLASSIFIED    ADVERTISING 

Rat*  40  cts.   per  word. 
FORMS  FOR  FEBRUARY  ISSUE  CLOSE  DECEMBER  TENTH 


AGENTS   AND    SALESMEN 

HELP    WANTED 

SALESMEN     AND    AGENTS       1!      \m      WANT    TO 
on   « ii.it  "s   Bolns   on    hi    toe   mIUds   fU-Ul. 

on    Den    llDM.    ami   luiv   limns    la  Mil.    Ihen   you    sliuuKI 

n«l    Opportunllj     Hnulu     (The     Squ»n      gelesmu 

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for  roaklm;   woiu'y.     The  artlclea  aie   written   b9    high 
-.-.la.    know     the    game.      Formerly 
12.00—  now   only    $1.00    per   year    (sells    on    newsstand 

,tl    that     rati     ll     Issues    for    $3.00'  .      Just 

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SIDE   LINE  SALESMEN:    HERE   IS   A    RIG    SELLER, 
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U.    S.    GOVERNMENT    JOBS.       $1,1 10-S3.000    YEAR. 

AGENTS— NEW     PLAN.     MAKES     IT     BAST     TO 

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$G-$1S  A  DOZEN  DECORATING  PILLOW  TOPS 
at  home.  Experience  unnecessary :  particulars  for 
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ALL  MEN-WOMEN.  IS  TO  00.  WANTING  TO 
qualify  for  permanent  government  positions,  paying  $35 
to  $75  weekly,    home  or  elsewhere.     Write  Ozment,    265. 

CAN    TOTJ    SELL    TO    COLORED    PEOPLE)      WRITE 

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LADIES      HOMEWORK.           SPARE     TIME.          ALL 

BOY    AND    GIRL    AGENTS    WANTED 

erlne   Co.,    151Z  5th  Ave.,   New  Y'ork. 

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INTENTIONS  COMMERCIALIZED.  PATENTED  OR 
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SCHOOLS 

YOIR   HANDWRITING    REVEALS  YOUR    CHARAC- 

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i                 11.    Pencraft.    Coseob,    Conn. 

Portrait  and  Commercial  Photography.  Camera  Free. 
Fit  special  offer,  write  New  York  Institute  nf  Pho- 
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STAMMERING 

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DIRECT     TO     SMOKER— CIGARETTES 

OLD   COINS   WANTED 

SEND     10c    SILVER    OR    STAMPS    FOR    SAMPLE 
package    20    fine    cigarettes.      Direet-to-smoker.      French 
Tobacco    Company,    Dept.    20,    Statesvllle.    North    Caro- 
lina. 

OLD    MONEY    WANTED.      WILL    PAY'    $100.00    FOR 
1804    Dime.    S.    Mint,    $50.00    for    1S13    Liberty    Head 
Nickel     (not     Buffaloi.      Big    premiums     paid     for    all 
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HOW   TO    ENTERTAIN 

PLAYS.  MUSICAL  COMEDIES  AND  REVUES.  MIN- 

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dlaloes.    recitations,    entertainments,    musical    readings, 

in.ik.'-ii]     '-Mini.-.       Biy     eatalos    free. 
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Chicago. 

FILL  VALVE  PAID  FOR  OLD  GOLD,  JEWELRY, 
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"MYSTERY  CLUB,  THE"— Univi 5RSAL, 
From  the  story  by  A.  S.  Roche.  Scenario  by 
Helen  Broderick.  Directed  by  Herbert  Blache, 
The  cast:  Dick  Bernard,  Matt  Moore;  Nancy 
D, in-,  ll,  Edith  Roberts;  Mrs.  Kate  Vanderveer, 
Mildred  Harris;  John  Cranahan,  Charles  Lane; 
Eli  Sinsabaugh,  Warner  Gland;  Scott  Glenden- 
ning,  Henry  Herbert;  Alonzo,  Charles  Puffy; 
Singh,  Alphonse  Martell;  Wilkins,  Finch 
Smiles;  Red,  Earl  Metcalfe:  Eric  Hudson,  Nat 
Carr;  Amos  Herriman,  Jed  Prouty;  Inspector 
Burke,  Alfred  Allen;  Detective,  Sidney  Bracey, 
Snaky,  Monte  Montague. 

"FOURTH  COMMANDMENT,  THE"— 
UNIVERSAL, — Story  by  Emilie  Johnson.  Adapt- 
ed and  directed  by  Emory  Johnson.  Photog- 
raphy by  Arthur  Todd.  The  cast:  Cordon 
Graham,  Henry  Victor;  Marjorie  Miller,  June 
Marlowe;  Virginia,  Belle  Bennett;  Edmund 
Graham,  Leigh  Willard;  Mrs.  Graham,  Mary 
Carr;  Ray  Miller,  Brady  Cline;  Mrs.  Miller. 
Catherine  Wallace;  Frederick  Stotteman,  Frank 
Elliott;  John  M alloy,  Knute  Erickson;  Mrs. 
Smith,  Kathleen  Myers;  Sonny,  Robert  Agnew; 
Sonny  (as  a  little  boy),  Wendell  Phillips  Frank- 
lin; Marjorie  (as  a  little  girl),  Lorraine  Rivers; 
Gordon  (as  little  boy),  Malcolm  Jones;  Count 
Douglas  Von  Rosen,  Stanley  Taylor. 

"MAN  OF  QUALITY,  A"— Excellent 
Pictures. — Story  by  H.  H.  Van  Loan.  Di- 
rected by  Wesley  Ruggles.  The  cast:  George 
Walsh,  Ruth  Dwyer,  Laura  di  Cardi,  Lucian 
Prival,  Brian  Donlevey. 

"WHISPERING  WIRES"— Fox— From 
the  stage  play  by  Kate  McLaurin.  Story  by 
Henry  Leverage.  Scenario  by  L.  G.  Rigby. 
Directed  by  Albert  Ray.  The  cast:  Doris 
Stockbridge,  Anita  Stewart;  Barry  McGiil,  Ed- 
mund Burns;  Montgomery  Stockbridge,  Charles 
Clary;  Bert  Norton,  Otto  Matieson;  Triggy 
Drew,  Scott  Welsh;  Cassidy,  Mack  Swain; 
McCarthy,  Arthur  Housman;  Jasper,  "Heine" 
Conklin;'  Jcanctle,  Cecille  Evans;  Ann  Cart- 
wright,  Maym  Kelso;  Tracy  Bennett,  Charles 
Sellon;  Andrew  Morphy,  Frank  Campeau. 


"The  Big  Parade"  Wins 
Photoplay  Medal  for  1925 


[  CONTINUED  FROM  PAGE  4.1  ] 

the  doughboy  hero,  while  the  picture  was  being 
filmed. 

When  "  The  Big  Parade  "  was  in  the  making, 
Irving  Thalberg  became  convinced  of  its  great- 
ness. The  company  was  sent  to  Texas  and 
many  of  the  battle  scenes  were  re-constructed 
on  a  huge  scale.  Thalberg  felt  that  "The  Big 
Parade"  was  a  big  thing — and  he  gambled  on 
his  theory. 

In  this  way  "The  Big  Parade"  came  into 
being.  Thus  the  honors  can  be  distributed  be- 
tween Loew,  the  man  who  courageously  tossed 
his  millions  into  the  scale,  Thalberg,  who  be- 
lieved in  the  picture  from  the  beginning,  and 
Yidor,  who  actually  made  it. 

Vidor  is  generous  in  paying  tribute  to  Jack 
Gilbert  and  Renee  Adoree,  who  played  the 
principal  roles.  This  not  only  for  their  fine 
acting  but  for  their  directorial  assistance. 
Gilbert,  who  has  directed  himself,  helped  a  lot 
with  suggestions.  His  creation  of  the  gum- 
chewing  episode  has  been  noted.  Miss  Adoree, 
being  French  and  knowing  French  life,  aided 
with  many  suggestions.  The  scenes  in  the 
little  French  family  were  built  with  her  aid. 

A  word  should  be  added  or  credit  should  be 
given  Harry  Behn  for  the  working  script  and 
John  Arnold  for  his  camera  work. 

"The  Big  Parade"  is  a  notable  achievement 
and  Photoplay  is  proud  of  its  readers  in 
awarding  it  the  gold  medal  of  1925.  Indeed, 
"The  Big  Parade"  is  one  of  the  really  great 
films  of  the  American  screen. 


Every  adrertlaoment  In  PHOTOPLAY  MAGAZINE  In  luaranleed. 


Photoplay  Magazine — Advertising  Section 


•45 


Brief  Reviews   of  Current   Pictures 


[  CONTINUED  FROM  PAGE   15  ) 


SOCIAL  CELEBRITY,  A— Paramount.— Adolphc 
Menjou  aa  an  ambitious  young  shaver,  borrows  some 
Clothes  and  becomes  the  toast  of  New  York.  Another 
fascinating  Menjou  picture.     (July.) 

SOCIAL  HIGHWAYMAN,  THE— Warner  Bros. 
— This  purports  to  be  a  comedy  but  it's  a  tragedy  and 
vice  versa.     Don't  be  annoyed.     {August.) 

SON  OF  THE  SHEIK,  THE— United  ArtisN 

Rudolph    Valentino's    last     effort     before     the     silver 

screen.  He  was  the  old  Rudy  again  ...id  his  work 
ranked  at  the  top  of  the  best  performances  of  the 
month.  Long  will  this  picture  remain  in  the  memory 
of  those  fortunate  enough  to  see  it.     (October.) 

SO  THIS  IS  PARIS— Warner  Bros.— Another 
variation  of  the  domestic  Infidelity  theme  presented 
by  the  sophisticated  Ernst  Lubitsch.  The  weakest  oi 
tin-  famous  director's  efforts  to  date.     (September.) 

SPARROWS— United  Artists.— Watching  the  an- 
tics  of  Mary  Pickford  and  a  bunch  of  other  kids  is  a 
safe  bet  for  an  enjoyable  evening.     (August.) 

SPEEDING  VENUS,  THE— Producers  Dist. 
Corp. — Not  so  good.  Priscilla  Dean  is  the  feminine 
interest.     (September.) 

SPORTING  LOVER,  THE— First  National.— 
This  might  have  been  worse,  but  it  doesn't  seem 
possible.     Just  another  movie.     (September.) 

STRONG  MAN,  THE— First  National.— A  grand 
and  glorious  laugh  from  start  to  finish.  If  your  sides 
ache,  don't  blame  us.  blame  Harry  Langdnn.    |  \  >. .  1 

SUBWAY  SADIE— First  National.— A  true  and 
human  j-tory  of  New  York's  underground  army. 
Dorothy  Mackaill  is  splendid.    (Nov.) 

SUNNY   SIDE    UP— Producers    Dist.    Corp.— A 

concoction  of  a  Cinderella  yarn  and  a  Pollyanna-ish 
character.     You  guessed  it — awful.     (September.) 

SWEET  DADDIES— First    National.— The   Jcw- 

ishers  and  Irishers  are  at  it  again — and  what  a  sweet 
comedy  this  is.     It's  worth  while.     (September.) 

TEXAS  STREAK.  THE— Universal.— A  fairly 
interesting  Western  with  Hoot  Gibson.     (Nov.) 

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  BAD  MEN— Fox.— Real  good  entertain- 
ment—the kind  the  whole  family  can  enjoy.     (Oct.) 

THREE    WEEKS    IN    PARIS— Warner    Bros.— 

Matt  Moore  is  again  the  sap  with  the  result  that  you 
sit  through  a  sappy  picture.     (August.) 

TIN  GODS  —  Paramount.  —  Tommie  Meighan 
needed  a  good  story,  director  and  cast  to  prove  he's 
si  ill  a  good  actor.  Of  course  Renee  Adoree  helps  to 
make  this  interesting.     (Nov.) 


TWISTED  TRIGGERS  -Associated  Exhibitors. 
— Then-  i-  no  reason  why  you  should  waste  a  per- 

ood  hour  on  tins  silly  nonsense.     [October.) 

TWO-GUN  MAN,  THE— F.  B.  O.— Go  see  this 
very  grand   hero,    Fired   Thomson,  and   his  famous 

horse.  Silver  King.     They  are  a  delight.     (September.) 

UNDER  WESTERN  SKIES— Universal.— A  storv 
as  old  as  the  hill-  where  it  is  laid,  Yep,  the  good  old 
West  rn  ^tuff.     Fair.     [September.) 

UNKNOWN  SOLDIER,  THE— Prod  Dist.  Corp. 
— A  sad  attempt  at  being  another  "  Hit;  Parade."  It's 
funny — unintentionally.     (August.) 

UP    IN    MABEL'S    ROOM— Prod.  Dist.  Corp.— 

laughter  for  all.  The  players — Marie  Prevost  arid 
Harrison  Ford.     (August.) 

VARIETY— UFA-Famous  Players.— This  absorb- 
ing story  of  vaudeville  life  has  more  popular  qualities 
than  any  German  production  imported  to  America 
since  "Passion."  End  I  Tannings'  work  is  superb. 
(September.) 

VOLGA  BOATMAN,  THE  —  Producers  Dist. 
Corp.— Not  Cecil  De  Milleat  his  best,  but  the  strength 
of  the  theme  and  the  beautiful  composition  and  photog- 
raphy lift  it  above  the  ranks.      (June.) 

WALTZ  DREAM,  THE— UFA-Metro-Goldwyn- 

Maycr.— A  gay  comedy  of  old  Vienna.  If  you  have 
any  prejudice  against  foreign  films,  make  an  exception 
of  this  one.     (October.) 

WET  PAINT— Paramount.— Raymond  Griffith  in 
a  great  film  for  those  to  whom  fun  is  fun.     (July.) 

WHOLE  TOWNS  TALKING,  THE— Universal. 
— Feel  like  laughing  tonight?  See  this  interesting 
version  of  the  John  Emerson  and  Anita  Loos  stage 
play.      (October.) 

WILD  HORSE  STAMPEDE.  THE— Universal.— 
Pass  this  up.     it's  stupid.     (October.) 

WILDERNESS  WOMAN,  THE— First  National. 
— Mild  entertainment.  Chester  Conklin  gives  ari  ex- 
cellent performance  as  a  rough  miner  with  a  million. 
{July.) 

WILD  OATS  LANE— Producers  Dist.  Corp.— An 

interesting  crook  drama  with  Viola  Dana  and  Bobby 
Agnew.     (June.) 

WILD  TO  GO— F.  B.  O.— Tom  Tyler  and 
Frankie  Darro  prove  to  be  a  splendid  combination  in 
Westerns.     It's  worth  seeing.     (July.) 

WISE  GUY,  THE— First  National.— Just  for 
grownups.  All  about  crooks  who  preach  religion  to 
cover  their  shady  connections.    Fair.     (August.) 


TONY    RUNS    WILD— Fox. 

average  Western.     (July.) 


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


TRIP  TO  CHINATOWN,  A— Fox— Two  reels  of 
this  would  have  been  sufficient.  Not  worth  while. 
(August.) 


YOU  NEVER  KNOW  WOMEN— Fan 

rs. — Florence  Vidor's  first  starring   vein. 
ver  big  with  any  audience.     (October.) 


Statement  of  the  Ownership,  Management,  Circulation,  etc.,  Required  by 
the  Act  of  Congress  of  August  24,  1912, 

of  Photoplay  Magazine  Published  monthly  at  Chicago,  Illinois,  for  October  1,  1926 


State    of    Illinois,     /  

County  of  Cook       (  Sb* 

Before  me,  a  Notary  PubMr  in  and  for  t  lie  .State  and  county  aforesaid,  personally  appeared  Kathyrn  J  >in  i ,,  ,  t  \ , 
Who,  liaMiiu-  been  duly  sworn  atvonlins  to  law.  tk- poses  ami  says  that  she  is  the  business  manager  uf  the  1'hotu- 
i.t,u  Magazine,  ami  that  the  followlne  Is.  to  the  beat  i>f  her  knowledge  and  belief,  a  true  statement  of  the  owner- 
ship.   mananemtMil    (and    if   a    daily    paper,    the    ■  in-iilui  inn  ■ .    etc.,    uf    the    aforesaid    publication    for    the    date    shown 


Mi:...      j  ,    Katliyr 


holdi  i 


Its 


James    K.    Quirk.  750    N.    Mlchkjs 

Dougherty,  750  N.  Michigan  Ay.-.,  Chi 

address  musl    be  rtat  >i   and  also  inn 

1 


Publisher,    riiotophiy    Publishm-    ■'■>..    7"<u    X.    MlchU 


ell 


Of  the    individual  own 
a  me  and  addn  ss,   aa 
k.    M.    Colvln,   i  blcago,    III.  .    ic.    m.    Baal 

I'lileano.      111.  :      l'lml.   1 1 J  ;i  v      I'uM    -I, in-     <V..      On,  ;,-,,.      1 

..■ntriu  holders  ouiiinu  or  holding  l  per  rent  0i  more 

(If    there    are    none,    so    stale..       None.       I.    Thai     the    , 

\      Imldn  ■>,     it     :inv,     enii!;iin     in 

appear  upon  the  books  <t   the  company  bid   also,   in 
the   books  ol  the  company   as  trustee 


M. i n.i  :nik'    I'M i tor.    None.       Husiness 
.  That  the  owner  i>:      (U  owned   by  8  Corpora- 

treundei   the  names  and  addresses  of  rtock- 
if   m .t   owned   by  a  corporation,    tin 


firm,   company,   or  other    uu -r- 

ol    ■  ICE    Individual    nicinhei.    nni ■;!    he    iiven.1      Estate    of 

>.    in.;   .i.    B.   Quirk,   Chicago.    111.;   Kattayrn    Dougherty, 
::.   That   the  known   bondholders,   mortgagees,   and  other 

imounl  "f  bonds,  mortgages,  or  other  tenuities  ar^: 

M'hs    ne\t   above,    glvlns    the    names    of    the    owners, 

mily    tin'    li-t    t»t    --toeKlnihlers    ;unl    sermity    holders    as    they 
■i.     the     -tM<-khn|l|er    or    sernnty    holdvr    BppearS    DpOD 

fiduciary  relation,   the  name   of   the   person  or  corporation 

tor  whtm  such  trustee  is  attin^,  is  Riven:  also  Mi.it  the  said  two  pai  tgraph!  rtontaln  statements  embracing  affiant's 
full  knowledge  and  belle!  as  to  the  clrcuin  i  im-.o-  under  wiiieh  st.xktmiders  and  security  holders 
who  do  not  appear  upon  the  books  of  the  company  ;i-  trustees,  hold  stock  and  securities  in  a  capacity  other  then 
that  of  n  hona  fide  owner;  and  this  affiant  has  no  reason  to  believe  thai  any  otbei  person,  association, 
poration  baa  any  Interest  direcl  01  Indirect  In  the  said  stock,  bonds,  or  other  securities  than  as  so  stated  by  her 
5.  That  the  average  numbei  1  ten  Issue  of  this  publication  sold  or  distributed  through  the  mails  or 
otherwise,  to  i.i;,i   ,oi>s.ti1jit-  durins   tht    -iv  months  preceding  tb  1  date?  shown  above  is (This  information  is 

1    from    daily    puhlieutnuis  only.) 

KATHYRN    DOrOHERTT. 

nature    of    Business    Manager.) 


uiiseribe-l    before   m--   this    ], 


of 


ctober,   1926, 


M. 


He  Climbed  from  $1,800 

to  $10,000  a  Year! 
Can  You  Match.  This  Record? 

Eight  years  ago  E.  J,  Dryden  of  Laredo, 
Texas,  was  an  assistant  bookkeeper  at  $150 
a  month.  Today  he  is  a  department  mana- 
ger with  an  income  of  more  than  $10,000 
annually,  Mr.  Dryden's  progress  illustrates 
the  tremendous  importance  of  planning  one's 
future  and  persistently  following  it  thru  to  success. 

Bookkeeping  was  his  work;  so  he  first 
trained  in  LaSalle  Higher  Accountancy;  then 
in  Commercial  Spanish,  because  Laredo  is 
just  across  the  border  from  Mexico.  Then 
came  Business  Management,  to  give  him 
an  all-around  training;  law  was  next,  because 
he  knew  this  training  is  necessary  for  a  suc- 
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Steadily  he  moved  upward. even  while  he  wss  study- 
ing. First,  cashi.-r.  then  credit  manager  and  now  de- 
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Is  it  surprising  that  eleven  other  employees  of  his 
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Send  for  Free  Outline  of 
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In  addition  we  will  send  you  a  64-page  book  de- 
scribing the  unusual  opportunities  in  any  of  the  busi- 
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year  from  today  and  see  a  r.-cord  of  real  progress, 
then— TODAY  is  the  day  to  start— and  the  moment 
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LASALLE  EXTENSION  UNIVERSITY 

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1  should  be  glad  to  learn  about  your 
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Present  Position. 


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Senllpn  PHOTOPLAY  MAGAZINE. 


146  Photoplay  Magazine — Advertising  Section 

CHOOSE  YOUR  PIANO  AS  THE  ARTISTS   DO 


"V\  THEN  friends  drop  in — the  Baldwin  Welte-Mignon* 
*  "  Reproducing  Piano,  with  its  wide  variety  of  artists' 
recordings,  at  once  becomes  the  Life  of  the  Party. 

Songs,  dances,  hits  from  the  latest  Broadway  Revue 
are  played  for  your  guests  with  the  irresistible  rhythm  of 
the  Master  Pianists. 

At  any  time,  on  any  day,  the  Baldwin  Welte-Mignon* 
Reproducing  Piano  stands  ready  to  make  your  home  the 
rendezvous  and  your  parties  a  success. 

The  Baldwin  Dealer  in  your  city  will  be  very  glad, 
indeed,  to  give  you  a  demonstration. 

Grands  and  Uprights  in  Modern  and  Period  Designs 

THE  BALDWIN   PIANO   CO. 

CINCINNATI,    OHIO 


ffllelte-CDignoa 

Reproducing  Piano 


Evtry   Rdvertijclm-nl    in   lllciTc  ll'l.AY    MACAZIM.   Is 


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ot     CwviXv«.cti*fiou.&  -    SIC  Jit-ujfk'i   Scd-t-ti. 


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Pompeia     S4.50 


These  fivemostfavoredodeurs: 
able  in  Essence.  Eau  de  ToiletK, 
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Sels  pour  Bains  (Bath  Sales).  Poud 
ToiletK  i  Baih  Powder  i.  Crayon  pot 
Lores  iLipStlckl. 

Al  rhe  betier  drug  srores  and  t 
counters  — ro  get  acquainred.  senc 
coupon 


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FETICHE 
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FONDFE   EN   I?7-! 


L.  T.  PIVER,  Inc.  I  I.  T.  PIVER.  Ltd. 
118  E.  16th  Street  46  St.  Alexander  St. 

New  York,  N.  Y.  |  Montreal,  Canada 
I  am  sending  25c  for  a  "Get  Acquainted" 
Package  of  Fetiche  Perfume,  Sachet,  and 
Face  Powder,  in  Basanee  (Sun  Tan  i  the  new 
day-shade,  and  copy  of  "Three  Centuries  of 
Beauty  Secrets. '.(A3) 

Name 

Street 

Ci  ty State 


For  your  Christmas  g,ivin£  we  here  illustrate 
some  outstanding  individuals  of  a  brilliant 
£roup,  all  remarkable  performers.  There  is  a 
Sheaffer  pen  and  pencil  for  every  writing,  need. 

SHEAFFEP'S 

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W.  A.  SHEAFFER  PEN  COMPANY  •  FORT  MADISON,  IOWA 

LONDON  OFFICE  199  REGENT  STREET 


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mm 


PN1993 

.P56    Photoplay. 
vol.30 
31 


Robert  L. 

LIPPERT 

Personal  Property