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SCANNED  FROM  THE  COLLECTIONS  OF 


PFA  Librar)'  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  anonyTnous  donation 
in  memor>'  of  Carolyn  Ilauer 


UNIVERSITY  OF  CALIFORNIA.  BERKELEY  ART  MUSEUM  &  PACIFIC  FILM  ARCHIVE 


Digitized  by  the  Internet  Archive 

in  2009  with  funding  from 

IVIedia  History  Digital  Library 


http://www.archive.org/details/photoplay3536movi 


The  T\lational   Quide   to  0\/Iotion    'Pictures 


^ 


i      Madge 


Bellamy 


Menace 

of 

Hollywood 


>./ ■  '^  # 


X"***  Winners  of 
»  f.OOO"-"  Contest! 


^  ^  ^  Never,  never  has 
the  freshness  of  a  Candy 
been  Guaranteed 


MA 


WHEREVER  you  buy 
Baby  Ruth  you  are 
guaranteed  a  candy  whose 
freshness   is  unmistakable 
Freshness  —  savory    with 
mingled  flavors  of  nature's  tastiest 
and    most    recently    harvested     delica 
cies.  Freshness  —  swiftly  captured  and  pro- 
tected by  the  most  modern  methods  known 
to  the  confectioners'  art. 

A  guarantee  like  this  has  never  before 
been  possible  because  no  one  candy  has 
ever  before  enjoyed  such  tremendous 
nation-wide  popularity,  nor  been  sold  in  so 

DE      IN      BILLIONS      FOR 


many  millions  every  day 

so  rapidly  as  Baby  Ruth. 

Only    such    enormous 

daily  sales  make  it  possible 

sell  such  a  dollar-a-pound 

quality  candy  for  5c,  and  to  guar- 

tee  its  absolute  freshness  everywhere. 

These  inviting  "Help  Yourself"  Baby  Ruth 

Racks  on  over  a  million  counters  are  your 

positive  assurance  of  getting  this  freshest, 

purest   and   most   delightful   candy   at   all 

times.     Always    buy    from    one    of    them. 

Treat   yourself  to   guaranteed  fresh   Baby 

Ruth  today.  5c  does  it. 

©1928,  C.C 

AMERICA'S      MILLION 


Photoplay  Magazine — Advektising  Seciion 


rloTT  can  I  escape 
tkis  modern  plague  of  gum  disorders  ? 


Questions: 

by  You 
Answers : 

by  the  Dentists 


YOU:  "This  morning  when  I 
brushed  my  teeth,  my  gums  felt 
tender  and  bled  a  little.  Do  you 
suppose  I  could  have  pyorrhea?" 

DENTISTS:  "Probably  not.  The 
chances  are  it's  nothing  more  serious 
than  a  soft  and  tender  spot  somewhere 
on  your  gums." 

YOU:    "But  ifhat  could  be  the  cause?" 

DENTISTS:  "Lack  of  exercise,  more 
than  hkely.  In  this  day  of  soft  foods 
your  gums  grow  weak  and  flabby  be- 
cause they  have  no  vigorous  chewing 
to  do." 

YOU:   "But  1  can't  change  the  household 

arrangements  about  meals. ' ' 

DENTISTS:  "No  need  to.  Simply  mas- 
sage your  gums  twice  a  day  at  the  time 
you  brush  your  teeth.  Use  your  brush 
or  your  fingsrs,  whichever  is  more 
comfortable." 

YOU :    "  What  good  does  that  do  ? ' ' 

DENTISTS:  "It  stimulates  the  flow  of 


blood  through  the  gum  walls.  It  builds 
up  and  tones  the  tiny  cells.  It  makes 
your  gums  firm  and  healthy." 

YOU:    "Sounds  sensible." 

DENTISTS:  "It  is.  And  if  you  want  to 
get  better  results,  use  Ipana  Tooth 
Paste  for  the  massage  as  well  as  for  the 
regular  cleaning  of  your  teeth.  Brush 
both  your  gums  and  teeth  with  it,  thor- 
oughly, twice  a  day.  If  you  do  this  con- 
scientiously, you'll  see  an  improvement 
within  a  month.  Your  gums  will  be 
firmer  in  texture,  pinker  and  healthier 
in  color." 

t        t        t 

An  imaginary  dialogue,  you  say?  Yes 
—  in  form,  perhaps,  but  not  in  sub- 
stance. For  Ipana's  amazing  growth 
rests  upon  its  professional  support  — 
the  clearest  proof  that  thousands  of 
dentists  are  daily  speaking  to  their 
patients  in  the  vein  of  this  conversation. 


Ask  your  own  dentist  about 
Ipana.   Let  him  point  out  the 
benefits  of  its  marvelous  clean- 
ing power,  the  refreshing  sense 
of  health   it    brings    to    the 
whole  mouth.  And,  most  im- 
.        ^       portant,  let  him  tell  you  why 
he  sees   it  as  a  weapon   in   the  fight 
against  gum  troubles. 

For  Ipana  contains  ziratol,  a  stimulat- 
ing antiseptic  and  hemostatic  long  used 
by  the  profession.  Its  presence  gives 
Ipana  the  power  to  tone  and  invigorate 
weakened  gums  —  to  build  them  back 
to  sound  and  sturdy  health. 

Ipana  deserves  a  full  month's  trial 

The  coupon  offers  you  a  ten-day  sample, 
gladly  sent.  But  the  full-size  tube  await- 
ing you  at  the  nearest  drug  store  makes 
the  better  test.  For  it  contains  100 
brushings,  more  than  enough  for  a 
month.  So  get  a  rube  today  and  let 
Ipana  start  tonight  on  its  good  work 
for  your  teeth  and  gums. 


BRISTOL-MYERS  CO.,  Dept.I-19 
73  West  Street.  New  York.  N.  Y. 

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

Name 

Address 

Ciiy Suit 


Whcti  you  write  to  ajvertlsers   please  mention  PHOTOrLAT  M.4GAZINE. 


Photoplay  Mac.a/.ine — Advertising  Section 


now  it's  on  the  screen— i^ith 
talking,  singing  and  sound! 


■^ 


C  Thrill  to  the  mag- 
nificent voice  of  Jean 
Hersholt!  C,  Hear 
Nancy  Carroll  as  she 
sings,  while  Charles 
Rogers  accompanies 
Iier  on  ibe  piano! 


^■■t 


..S>*B^».. 


J^ 


And  watch  for! 
"Interference" 

ThtfiruQUALITY  Alt-Talking 


Emil  Jannings  in 

■'Sins  of  the  Fathers" 

* 

■'The  Canary  Murder 

Case" 

With  Sound  and  Dialog 

* 

"The  Case  of  Lena 
Smith" 

Slarriog  Esther  Ralston 

* 

Richard  Dix  in 

"Redskin" 

Sound  and  Technicolor 


f^ 


f  „U  secure  „;ciare  "»*  .,-«  the  o*?*" 

°*  ,  molVow  V^'^'  _„,  picture  it  • 


?" 


Hot*""'  '         ,1      \ 


Paramount 

paramount  famous  lasky  corporation 


ley  >'-^-v<:>- 


U     .i.-..-l 


ADOLPH   ZUKOR,  PRES.,  PARAMOUNT  BLDC,  N.  Y. 


Every  advertisement  in  PIIOTori/AY  MAGAZINE  la  rnnianteed. 


The  World's   Leading   Motion   Picture   Publication 


PREDBRICK   JAHE»    SMITH 

UANAalNO  BDITOB 


MARK   LAKKIN 

WBHTFRN    KOlTOn 


Contents 


Vol.  XXXV 


For 

January 

1929 


<^= 


James  R. Quirk 

=  EDITOR    AND    PUBLISHER    : 


No.  2 


=i»i> 


The  High-Lights  of  This  Issue 


Cover  Design  Charles  Sheldon 

Madge  Bellamy — Painted  from  Lite 

As  We  Go  to  Press  6 

Last  Minute  News  from  East  and  West 

Brickbats  and  Bouquets  8 

The  Voice  ot  the  Fan 

Brief  Reviews  of  Current  Pictures  10 

A  Guide  to  Your  Evening's  Entertainment 

Recipes  for  Party  Hostesses  15 

Let  Photoplay's  Cook  Book  Be  Your  Guide 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck     16 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk    27 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

Sonny  Boy  Tad  Hastings    29 

Little  Davey  Lee  Follows  Brother  Frankie  to  Fame 

Diet — The  Menace  of  Hollywood 

Katherine  Albert     30 
Typical   "Star"  Luncheons  Are  Fatal   to  Health 
and  Happiness 

Girl  Wanted — No  Experience  Required 

Cal  York    34 

Charlie  Chaplin  Picks — Literally  Out  of  the  Sky — 
a  New  Leading  Lady 

The  Studio  Murder  Mystery     The  Edingtons    36 

Two    Conflicting    Confessions    Baffle    the    Police. 
There's  $3,000  for  Solutions  of  This  Crime 

Here  Are  Winners  of  $5,000  Contest  40 

Awards  Made  for  Photoplay's  Annual  Cut  Picture 
Puzzles 

The  Stars  That  Never  Were 

Margaret  E.  Sangster    44 
Chinese  New  Year — A  True  Story  ot  Hollywood 


46 


50 


52 


56 


58 


Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

My  Life — So  Far  As  told  to  Dorothy  Spensley 
Janet  Gaynor  Relates  Her  Hollywood  Experiences 

The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

What  Do  You  Mean — Intellectual? 

Katherine  Albert 

Aileen  Pringle  Hates  to  Be  Tagged  "The  Darling  of 
the  Intelligentsia" 

Conrad  in  Quest  of  a  Voice  Mark  Larkin 

Wherein  Mr.  Nagel  Talks  About  the  Talkies 

Doug's  Ofifice  Boy  Makes  Good         Cal  York    63 

But  Barry  Norton  Did  It  on  the  Screen — Not  Be- 
hind a  Desk 

Photoplay  Reviews  the  Film  Year 

Frederick  James  Smith 

Fifteen  Stars  and  Players  Scored  More  Than  One 
Best  Performance  in  Photoplay  During  1928  ' 

Good  Girl  (Fiction  Story)     Alice  L.  Tildesley 

Ken  Laurel's  Heart  Stood  Still  for  Years,  Until — 

Amateur  Movies  Frederick  James  Smith 

Interest  Grows  in  Photoplay's  $2,000  Contest 

How  to  Make  a  Winter  Hat  for  $3.50 

Lois  Shirley 
Esther  Ralston  Demonstrates  the  Way 

"Imagine  My  Embarrassment — " 

Vernon  Bailey 
How  Don  Terry,  Tourist,  Found  Out  That  He  Was 
"Just  the  Type" 

Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film 
Folk 

Casts  of  Current  Photoplays 

Complete  lor  Every  Picture  Reviewed  in  This  Issue 


64 


66 


70 


72 


74 


85 


124 


<%^ 


=<5^ 


A  complete  list  of  all  photoplays   reviewed   in  the    Shadow   Stage  this   issue   will  be  found  on   page  12 


■<&)= 


=<!^ 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Oflice,  750  N.  Michigan  Ave.,  Chicago,  III 

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

James  R.  Quirk,  President  Robert  M.  Eastman.  Vice-President  Kathryn  Dougherty,  Secretary  and  Treasurer 

Yearly  Subscription:  S2.50  in  the  United  States,  its  dependencies.  Mexico  and  Cuba;  S3. 00  Canada;  S3. .SO  to  foreiijtn  countries.     Remittances 

should  be  made  by  check,  or  jiostal  or  express  money  order.    Caution— Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-class  matter  April  24.  1912.  at  the  Postofflce  at  Chlcaso.  III.,  under  the  .Act  of  March  3.  1879. 

Copyright.  1928.  by  the  Photoplay  Publishing  Company.  Chicago. 


As  We  Go 

to  Press 


Last  Minute 

News 

from 

East  and  West 


MAURITZ  STILLER,  director  and 
discoverer  of  Greta  Garbo,  died  sud- 
denly in  Stockholm.  Miss  Garbo 
was  prostrated  by  the  news  and  work  on 
her  new  picture  has  been  held  up. 

WALTER  BYRON,  the  young  English 
actor,  and  Carolyn  Bishop  have 
announced  their  engagement.  Miss  Bishop, 
a  cousin  of  Frances  Marion,  was  once  re- 
ported engaged  to  Gene  Tunney. 

BYRON  has  just  been  loaned  to  Gloria 
Swanson  for  "King  Kelly."  Tully 
Marshall  plays  the  heavy.  Erich  Von 
Stroheim  is  rushing  (yes,  rushing)  work  on 
the  film,  working  night  and  day,  and  Holly- 
wood is  holding  its  breath.  Miss  Swanson 
is  living  at  the  studio  in  a  suite  of  rooms,  so 
that  she  can  be  on  hand  for  Von  Stroheim's 
rapid  fire  shooting  schedule.  Will  wonders 
never  cease? 

FINDING  no  producer  ready  to  sign  him 
up  at  his  figure,  $3,500  a  week.  Rod 
La  Rocque  has  gone  ahead  with  his  plans  to 
leave  the  picture  business.  He  is  opening 
up  a  brokerage  business  in  Los  Angeles  and 
is  already  dealing  in  bonds  and  mortgages. 

ESTHER  RALSTON  and  her  husband, 
George  Webb,  start  a  European  vaca- 
tion this  month. 

RICHARD  DIX  gets  his  wish.  He  is  back 
in  Ne\y  York,  to  work  at  the  Famous 
Players'  Astoria,  Long  Island, 
studio.  It  will  be  a  talkie  ver- 
sion of  "Bulldog  Druramond" 
and  Victor  Schertzinger  will 
direct. 

OUR  GANG  is  back  at  the 
Hal  Roach  studios  after 
a  tour  of  287  of  the  country's 
theaters. 

NOW  they're  talking  of  do- 
ing  "A  Connecticut 
Yankee  in  King  Arthur's 
Court"  over  again  at  the  Fox 
plant.  Remember  the  superb 
Harry  Myers  version  of  some 
years  ago?  This  time  it  will 
be    an    all-talkie    and    Will 


Vilma  Banky  takes  time 
out  to  become  an  Ameri- 
can citizen.  She  recently 
signed  her  first  citizenship 
papers  in  I-os  Angeles. 
The  freckled  observer  is 
Carter  J.  Vermillion, 
United  States  Naturaliza- 
tion Examiner.  Miss 
Eanky  was  born  at  Buda- 
pest, Hungary 


Rogers    is    mentioned    for 
hero  from  Bridgeport. 


Mark    Twain's 


FRED  THOMSON  and  Frances  Marion 
celebrated  their  ninth  wedding  anni- 
versary on  October  13th  as  "Denial  Anni- 
versary." In  other  words,  they  deny  all 
rumors  of  an  impending  divorce. 

LUCILE  MENDEZ  isn't  going  to  divorce 
her    husband.      Director    Ralph    Ince. 
They're  reunited  again. 

JOAN  CRAWFORD'S  first  starring  vehicle 
will  be  Josephine  Lovett's  sequel  to  her 
highly  successful  "Our  Dancing  Daughters." 
The  sequel  is  "The  Brass  Band."  After 
this  Miss  Crawford  will  star  in  Adela  Rogers 
St.  Johns'  "The  Single  Standard." 

SHARON     LYNN'S     playing     in    "Red 
Wine"  won  her  a  five-year  optional  con- 
tract with  William  Fox. 

JUNE  COLLYER  is  spending  Christmas 
with  her  parents  in  New  York.  Rumor 
persists  that  the  Fox  studio  will  not  renew 
its  contract  with  Miss  CoUyer. 

CHESTER  CONKLIN  has  purchased  a 
yacht.     This  tops  a  collection  which  in- 
cludes a  swimming  pool  and  a  pipe  organ. 

TIM  McCOY  is  spending  Christmas  with 
his    wife    and    children    abroad.      The 
children  are  in  school  on  the  other  side. 


YOU  will  see  Betty  Compson  opposite 
Richard  Barthelmess  again  in  "Weary 
River."  She  was  with  him  in  "Scarlet 
Seas."  "Weary  River"  has  patches  of 
dialogue  and  song. 

THE  temptation  to  change  a  Barrie  title  is 
over-powering.  Paramount  has  just 
shifted  Sir  James'  "Half  an  Hour"  to  "The 
Doctor's  Secret."  This  is  an  all-talkie  with 
Ruth  Chatterton  featured. 

ADOLPHE  MENJOU  and  Florence 
Vidor  will  appear  in  a  talkie  version  of 
Leo  Dietrichstein's  success,  "The  Concert." 
Lothar  Mendez  will  direct.  After  "The 
Concert"  the  Menjous  start  on  a  vacation. 

BACLANOVA  and  Nicholas  Soussanin 
may  be  married  by  the  time  you  read 
this  page.  The  wedding  takes  place  this 
month. 

REGINALD  DENNY  and  Betsy  Lee 
were  scheduled  to  be  married  on  No- 
vember 24th  as  this  issue  went  to  press. 
The  Honolulu  honeymoon  will  be  held  up 
until  Denny  finishes  "His  Lucky  Day." 
By  the  way.  Universal  has  just  taken  up  its 
option  upon  Denny's  long  term  contract  for 
another  year. 

THE  Fox  Movietone  powers  are  planning 
an  annual  picture  to  be  called  "The 
Movietone  FoHies."  This  will  be  modelled 
after  the  Ziegfeld  FoUies. 


Photoplay  Magazine — Advertising  Section 


f>tmNX  >s  NO 

WORD  FOU  IT 


You  need  "HILARIOUS," 
"RIB -SPLITTING,"  and 
"UPROARIOUS"  to  de- 
scribe Colleen's  latest 
laugh  success. 

Brisk  and  bubbly,  swift 
and  sprightly,  it's  the 
kind  of  a  hit  you've  been 
hankering  for  ever  since 
"Her    Wild    Oat"   and 

"Oh  Kay!"  .  .  . 

»        •*        * 
She  was  too  Good  to  be 
Famous — so  she  HAD  to 
be  Bad! 


She  warned  to  Sin  and 
Suffer — and  get  it  over 
with!  .  .  . 

"I'll  show  Don  Anthony 
I  can  be  Crushed  and 
Broken!  —  Then  he'll 
have  to  make  me  leading 
lady   in  his   new  play!" 

A  gang  war  and  a  mis- 
leading lady  give  her  her 
Big  Chance  .  .  .  But  her 
only  "crushing"  oppor- 
tunity comes  in  a  role  she 
never  expected  to  play! 


Yon  Call  H£  AR  It! 

If  your  theatre  shows  "Sound"  pictures,  you'll 
H£AR  a  beautiful  musical  accompaniment  by  a 
famous  orchestra,  and  exciting  sound  effects  in 
^'Synthetic  Sin."  You'll  see  handsome  Antonio 
Moreno,  too,  as  leading  man,  in  this  William  A. 
Seiter  production  from  the  brilliant  play  by 
Frederic  and  Fanny  Hatton. 


JOH]^ 

Mccormick 


j^rickb 


Three  prizes 

are  given  e'very  month 

for  the  best  letters'^ 

$23,  $10  and  $S 


Bouquets 

The  REAL  CRITICS, 

the  FANS, 
GIVE  THEIR  VIEWS 


The  Monthly  Barometer 

nPHE  Talkie  situation  still  has  the  center  of 
•*•  the  stage.  Photoplay's  readers  would  like 
theater  managers  to  differentiate  more  sharply 
between  pictures  with  spoken  dialogue  and 
pictures  with  incidental  noises.  Also  there  is  a 
demand  for  more  music,  singing  and  dialogue 
and  fewer  distracting  incidental  noises.  And 
now  that  the  novelty  is  wearing  off,  the 
me.hanical  imperfections  are  beginning  to  jar 
on  the  nerves  of  audiences. 

Since  "The  King  of  Kings"  has  been  pre- 
sented at  popular  prices,  it  has  become  one  of 
the  leaders  in  popularity.  "Wings"  still  re- 
mains a  fa\-orite  while,  among  the  newer  iilms, 
"Our  Dancing  Daughters"  and  "The  Singing 
Kool"  are  by  all  odds  the  most  popular. 

Richard  .\rlen.  Xils  Asther,  Joan  Crawford, 
(rcta  Garbo  and  John  Gilbert  received  the 
greatest  number  of  bouquets. 

And  Photopl.av's  Life  Stories  are  the  most 
dis;ussed  feature  of  the  magazine. 

What  have  you  to  say  about  the  movies? 
This  is  the  pla:e  to  air  your  opinions,  griev- 
ances or  enthusiasms. 

$25.00  Letter 

Grand  Rapids,  Mich. 

It  is  too  bad  we  hear  so  much  about  IT  and 
the  sex  appeal  of  movie  folk,  for  it  gives  some 
persons  unacquainted  with  photoplays  in 
general  the  impression  that  the  main  function 
of  the  movies  is  to  depict  red  hot  love  scenes. 
As  a  club  woman  associated  with  many 
organizations  having  unofficial  movie  censor- 
ship committees,  I  regret  this.  And  I  have 
been  interested  to  note  that  among  the  movies 
I  have  seen  during  the  past  year  or  more,  the 
biggest  drawing  cards  had  nothing  to  do  with 
sex  appeal — some  of  them  did  not  even  involve 
a  man  and  woman  romance.  Among  these 
were:  "Stella  Dallas,"  "The  Patriot,"  "The 
Jazz  Singer,"  "Beau  Gcste,"  and  "The  King 
of  Kings." 

In  "Beau  Geste,"  for  instance,  that  powerful 
drama  of  courage  and  brotheriy  love,  there  was 
(he  merest  suggestion  of  a  boy  and  girl  romance 
— and  no  love  scenes.  Vet  so  moving  and 
appealing  was  this  splendid  picture  that,  as  the 
lights  went  on,  I  could  not  sec  a  dry  eye. 
Quite  a  compliment  to  the  "morons"  who  at- 
tend the  movies!  The  major  theme  of  the 
popular  "Stella  Dallas"  was  mother  love;  of 
"The  Jazz  Singer."  the  religious  passions  and 
lofty  domestic  ideals  of  a  colorful  race.    "The 

8 


The  readers  of  PHOTOPLAY  are  in- 
vited to  write  to  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. 


Patriot"  depicted  the  love  of  a  man  for  his 
oppressed  country.  The  affair  with  his  mis- 
tress was  the  merest  incident.  And  "The 
King  of  Kings"  speaks  for  itself. 

Mrs.  Pendleton  Stew.'vrt  Morris,  Jr. 

$10.00  Letter 

Laconia,  N.  H. 

Visiting  at  the  home  of  a  friend,  I  was  sur- 
prised when  the  daughter,  aged  eight  years, 
presented  me  with  a  typewritten  invitation  to 
witness  "  Seventh  Heaven."  It  transpired  that 
a  number  of  children,  eight  or  ten  years  of  age, 
belong  to  a  Photoplay  Club,  under  the  care  of  a 
chaperon.  With  her,  they  see  certain  pictures 
and  proceed  to  study  the  principal  points  and 
characters.  .-Yssigned  to  their  parts,  the 
chaperon  teaches  them  every  necessity  for 
a  production.  .An  unused  garage  has  been 
fitted  up  with  everything  necessary  for  pro- 
ducing movies.  The  Club  earned  enough  by 
selling  Photopl.ay  subscriptions  to  furnish  the 
necessaries.  The  boys  ha\e  been  taught  how 
to  handle  scenic  effects  and  one  girl  gives  her 
time  as  pianist. 

Benches  are  used  for  seats  and  ten  cents  for 
admission  helps  along  the  project.  The 
"coach"  is  fifteen  years  old,  but  he  knows  his 
business,  and  the  realistic  production  I  wit- 
nessed was  perfect. 

.After  the  show,  "stars"  and  audience  were 
asked  for  criticisms  and  plans  were  made  for 
the  ne.\t  produ  lion.  .\nd  then  the  mothers 
offered     light     refreshments.       Worth-while? 


Pleasure  and  instruction  and  a  new  good  use 
for  Photoplay.  Incidentally,  the  idea  was 
invented  by  a  crippled  child. 

Mrs.  Charloite  Hill  Twombly. 

$5.00  Letter 

Chicago,  III. 

When  will  movie  magnates  cease  to  believe 
that  aviatrices,  channel  swimmers,  football 
heroes,  baseball  wizard:,  cl  alia,  can  attract 
fairly  intelligent  mo\'ie  patrons?  What  a 
pleasure  to  witness  real  acting  by  an  artist! 
But  what  an  insult  to  the  intelligence  to  see 
persons  of  questionable,  or  even  unquestioned, 
prowess  in  fields  of  endeavor  far  removed  from 
acting  exploited  because  of  their  "fame"! 

(iive  us  an  overdose,  if  possible,  of  great 
artists  like  Garbo,  Jannings,  Chaplin,  Bac- 
lanova,  \'eidt,  and  others  of  their  calibre. 
Spare,  oh  spare  us  from  "great"  flagpole 
sitters,  marathon  dance  winners  and  so  on, 
foisted  on  us  as  great  depicters  of  all  human 
emotions! 

Let  the  roller-skate  marathon  winners  and 
the  sensations  in  all  allied  activities  join  the 
side-shows  in  circuses  and  get  publicity  for 
whatever  they  excel  in.  15ut  by  all  means  keep 
them  out  of  a  field  in  which  they  have  abso- 
lutely no  place,  except,  perhaps,  as  news-reel 
features. 

Betty  Benkett. 

Going  Up! 

Chicago,  III. 
Joan  Crawford  certainly  is  shooting  up  like 
a  sky-rocket.    Her  pretty  legs  and  dancing  feet 
took  her  to  stardom,  but  her  fine  acting  wUl 
keep  her  there. 

Harriett  Lafquert. 

Personal  to  Doug  and  Jack 

Rush  City,  Jlinn. 
Here's  my  brickbat  to  a  couple  of  stars,  and 
I  think  many  thousands  of  fans  will  agree  with 
me: 

Douglas  Fairbanks!  Please  discard  the 
gypsy  outfit  for  at  least  one  picture,  and  let's 
see  how  you  look  in  a  straw  hat. 

John  Barrymorc!  Please  face  the  camera. 
Some  of  us  might  get  a  chance  to  go  to  Holly- 
wood some  day,  so  give  us  a  chance  to  recog- 
nize you. 

.\rxold  W.  Ogren. 
[  co.ntinued  on  page  12.s  ] 


Photoplay  Magazine — Advertising  Section 


rrSie  famouf  lover 


ivai  it  aWvay* 


Oee  and  Hear^ 

The  [huiiJct  ot  ,t  Imti'lrc!  Hamirii;  frigaio 
ac  Jiraih  ^rip?  — TIk-  most  colorful  nj\al 
Lombat  ill  iiistorv  rL-enauied  iii  rich 
detail  — Tht  shouts  of  chom:itiJ«  m  bfcjth- 
less  battle  aaion-  ice  ^  fjmuus  .mists  in  .1 
single  picnirc  —  Coilrme  Griliith.  H.  B. 
WjrriLr.  Victor  Vartoiii.  Ian  Keith.  Marie 
Dressltr,  Sec  dirci-tof  Fcink  Lk-yJ  outJo 
the  difc-i-torul  brilliantc  ct  "The  S(.-.i 
Hi^k.  — PrcstntcdbyRichardA  RowbnJ 

A  lirAt 

national 

Picture 

Takes  the  Guesswork  Out 
of  "Going  to  the  Movies" 


Delilah's  love  sent  Samson  into  slavery- 
For  Salome.  King  Herod  sold  his  sod- 
And  Pelleasfell  at  his  brother's  hand 
1,1  the  arms  of  lovely  Melisande. 

r  *  f  f 

The  world  has  called  these  glamor- 
ous women  great  lovers.    Yet  all 
of  them  made  sacrifice  of  the  men 
they  loved  — 

How  much  greater,  then,  is  a  devo- 
tion that  dares  to  sacrifice  LOVE 
ITSELF. ...  An  emotion  so  mighty 
that,  when  Love  spells  Ruin  for 
the  Man,  a  glorious  beauty  re- 
nounces her  last  hope  of  happi- 
ness to  SAVE  HIM  FROM 
THEIR  LOVE! 

*  f  r  * 

No  wonder   the   romance   of 


luxurious  Lady  Hamilton  and  world- 
renowned  Lord  Nelson  has  been 
called  ihe  greatest  of  all  Great 
Loves  .  One  of  history's  most 
thrilling  sirens  and  the  famous  hero 
of  Trafalgar,  united  m  a  reckless 
love  pact  that  was  at  once  the 
scandal  and  the  salvation  of  an 
Empire . . . 

No  wonder  First  National  Pic- 
tures chose  this  epic  story,  from 
E.  Barrington's  great  bestseller, 
as  theme  for  a  vast  screen  spectacle 
of  unimagined  splendor,  planned 
to  mark  a  step  for^-ard  in  picture 

art 

No  wonder  millions  ate  plan- 
ning to  see— and  hear— 


ConnneQfiiTfnn 

ieDIVlNE  lADY 

w /tt  jouncl 


Brief  Reviews  of 

Current  Pictures 


indicates  that  photoplay  was  named  as  one 
of  the  SIX  best  upon  its  month  of  review 


*AIR  CIRCUS,  THE— Fox.— Collegiate  stuff  in 
an  :ivi;ition  training  school.     Good.     (November.) 

AIR  LEGION,  THE— FBO.— Story  about  the 
air  mail  service  that  has  nothing  but  a  good  idea  to 
recommend  it.  {Dec.) 

Al  R  M.ML  PILOT,  THE — Superlative. — .'Another 
air  mail  storv  which  breaks  all  the  rules  of  aviation. 
(Dec.) 

ALIAS  JIMMY  VALENTINE— Metro-Goldwyn- 
Maver. — The  old  favorite,  revived  with  William 
Haines.     Good.     (Oct.) 

ANN.\POLIS  —  Pathe.  —  Pleasant  romance  and 
drama  among  the  admirals  of  tlie  future.   (November.) 

AWAKENING,  THE  —  United  Artists.  —  First 
starring  picture  of  \'ilma  Banky  and  Walter  Byron. 
He's  a  nice  looking  lad.  .\  "IVlaric-Odile"  plot. 
(November.) 

B.'VBY  CYCLONE,  THE  —  Metro-Goldwyn- 
Mayer.— .All  right,  if  you  like  Pekinese  pups. 
{.Seplemher.) 

BACHELOR'S  PARADISE  —  Tifiany-Stahl.— A 
somewhat  rowdy  comedy-drama  with  a  little  old- 
fashioned  pie-throwing  and  an  invigorating  prize- 
fight.   Witli  Sally  O'Neil.     (July.) 

BANTAM  COWBOY,  THE— FBO.— Only  good 
because  Buzz  Barton  is  in  it.     (Ocl.) 

*BARKER.  THE— First  National. — Human  and 
humorous  slory  of  circus  life.  With  Milton  Sills.  See 
it.     (September.) 

BATTLE  OF  THE  SEXES,  THE— United  Artists. 
— Hnw  a  happy  homo  is  wrecked  by  a  blonde. 
Sophisticated  drama.      (September.) 

BE.\U  BROADWAY — Metro-Goldwyn-Mayer. — 
Aileen  Pringle  and  Sue  Carol  fight  for  the  affections  of 
Lew  Cody.     Gay,  inconsequential  comedy.     (July.) 

BEAUTIFUL  BUT  DUMB— Tiffany-Stahl.— 
Patsy  Ruth  Miller  in  gay  comedy.       (Ocl.) 

BEGGARS  OF  LIFE— Paramount. — The  low- 
down  on  hoboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  song  I  (Dec.) 

*BELLAMY  TRIAL,  THE  —  Metro-Goldwyn- 
Maver. — The  auflience  is  admitted  to  the  court  room 
of  the  most  thrilling  murder  mystery  of  the  year. 
(.August.) 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  wlio's  gut  the  emerald?     (November.) 

BEYOND  THE  SIERRAS  —  Metro-Goldwyn- 
Ma\-er. — .\  Tim  McCoy  Western  that  will  put  the 
kids  to  sleep.     (July.) 

BIG  HOP,  THE— Buck  .Tones. — Mr.  Jones  crosses 
the  Pacilic.    .\  good  film.     (Ocl.) 

BIG  KILLING,  THE— Paramount.- Wallace 
Beery  and  Ra\'mond  Hatton  becotne  all  tangled  up 
in  a  1-Centuckv  feud.     (.■Insusl.) 

BIT  OF  HEAVEN,  A — Excellent. — Broadway  vs. 
Park  .Avenue.    .\  good  performance  by  Uia  Lee.  (Ocl.) 

BITTER  SWEtTS— Peerless.— Fun  in  the  life  of 
a  girl  detective.    (Dec.) 

BLACK  BUTTERFLIES— Quality.— Exposing  tlie 
wicked  ways  of  tlie  fake  Bohemians.     (November.) 

BRANDED  MAN,  THE— Rayart.— The  best 
part  of  this  domestic  opera  is  the  titles.  Why  not  do 
your  reading  at  home?     (.August.) 

BROADWAY  DADDIES  —  Columbia.— Trite 
story  but  well  acted.     (Ocl.) 

BROKEN  MASK,  THE— Anchor.— Ugly  story 
of  revenge  but  well  told  and  acted.      (September.) 

BROTHERLY  LOVE  —  Metro-Goldwyn-Mayer. 
— Messrs.  Dane  and  .Arthur  in  burlesque  prison  re- 
form. The  big  moment  is  a  football  game  between 
two  rival  penitentiaries.     (November.) 

BURNING  BRIDGES—  Pathe.—  Better-  than  - 
usual  Western,  with  that  good  hombre^  Harry  Carey, 
in  a  dual  r61c.  (Dec.) 

BURNING  GOLD— Elbec.— A  story  of  dirty 
deeds   in  the  oil   fields.      (August.) 

BURNING  THE  WIND— Universal.— One  of 
Hoot  Gibson's  lapses.     (Oct.) 

•BUSHRANGER,THE— Metro-Goldwyn-Mayer  — 
Tim  McCoy  goes  to  Australia  and  plays  some  rousing 
tunes  on  the  boo  men  ng.     (.August.) 


BUTTER  AND  EGG  MAN,  THE— First  Na- 
tional.— The  amusing  adventures  of  a  country  lad 
(.lack  Mulhall)  who  becomes  an  "angel"  on  Broad- 
way.   (.August.) 

CAMERAMAN,  THE— Metro-Goldwyn-Mayer. 
—  Buster  Keaton  redeems  himself  in  this  one.  Lots  of 
laughs.     (Ocl.) 


CAPTAIN  CARELESS— FBO.— You'll  like  Bob 
Steele.     (Oa.) 

CAPTAIN  SWAGGER — Pathe.— Good  comedy 
in  which  Rod  La  Rocque.  as  a  naughty  aviator,  is  per- 
suasively reformed  b\-  Sue  Carol.     (November.) 

♦CARDBOARD  LOVER,  THE — Metro-Goldwyn- 
Mayer. — Snapps-  Frencli  farce  comedy  with  Marion 
Davies — also  Jetta  Goudal  and  Nils  Asther.  Sophis- 
ticated and  charming.     (Oct.) 

CAUGHT  IN  THE  FOG— Warners.— The  plot 
gets  lost  in  the  fog,  too.     (.August.) 

CELEBRITY — Pathe. — .A  prize-fighter  gets  cul- 
ture.    Meaning  Mr.  Tunney?     (Ocl.) 

CERTAIN  YOUNG  MAN,  A— Metro-Goldwyn- 
Maver. — Romantic  two-timing  in  Arlenesque  London 
society.  A  bit  languid,  but  well  played  by  Ramon 
Novarro.  even  if  he  isn't  precisely  the  perfect  .Anglo- 
Saxon.     (July.) 


Pictu  res   You 

Should  Not  Miss 

"7th  Heaven" 

"The  Singing  Fool" 

"The  Divine  Lady" 

"Interference" 

"Mother  Kncws  Best" 

"Street  Angel" 

"The  Patriot" 

"Four  Devils" 

"Wings" 

"The  Godless  Girl" 

\s  a  service  to  its  readers.  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
precedini;  si.^  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


CHARGE  OF  THE  GAUCHOS  —  FBO.— How 

the  .Arsenline  Republic  got  that  way.     With  Francis 
X.  Bushman.   (Dec.) 

CHEYENNE — First  National.— Ken  Maynard  in 
one  particularly  swell  Western.  (Dec.) 

CHICKEN  A  LA  KING— Fox. — More  lessons  in 
Kold-dig'jing.  Funny,  but  rough  in  spots.  With 
Nancy  Carroll  and  Ford  Sterling.      (.Augu^l.) 


CIRCUS  KID,  THE— FBO.— You  can  sleep 
througli  It.      (Dec.) 

CLEARING  THE  TRAIL— tJniversal.-Again 
saving  tlie  old  ranch.      (Ocl.) 

CLOTHES  MAKE  THE  WOMAN  —  Tiffany- 
Stahl. — Help!  The  Czar's  daughter  is  with  us  again, 
this  time  played  by  Eve  Southern.  The  picture  lias 
its  good  moments.     (July.) 

CLOUD  DODGER,  THE— Universal.- A  battle 
in  the  air  for  a  dizz\'  blonde!     (Oct.) 

CODE  OF  THE  AIR— Bischoff.— More  air  stuff. 
Good  adventure  story.    (Ocl.) 

CODE  OF  THE  SCARLET— First  National.— 
Ken  Maynard  gets  /nv  m^ui.  Good  out-door  storj'. 
(Seplember.) 

COME  AND  GET  IT— FBO.— Contains,  among 
other  things,  a  good  boxing  match.  (Dec.) 

COMPANIONATE  MARRIAGE  —  Gotham.— 
Lots  of  propaganda.  With  such  a  live  topic,  tins 
should  have  been  a  better  picture.     (Oct.) 

COP,  THE — Pathe-De  Mille. — Once  more  the  war- 
fare between  the  cops  and  crooks.  Some  good  melo- 
drama well  acted  by  William  Boyd,  Alan  Hale  and 
Jacqueline  Logan.     (July.) 

*COSSACKS,  THE  —  Metro-Goldwyn-Mayer.— 
Love,  sport  and  murder  among  the  cowboys  of 
Russil.    Jack  Gilbert  is  the  lure.     (.August.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  (Dec.) 

COWBOY  KID,  THE— Fo.x. — .A  Western  for  the 
simple-minded.     (September.) 

♦CRAIG'S  WIFE— Pathe. — Splendid  drama  with 
Irene  Rich  as  the  too  perfect  wife.     (September.) 

CRASH,  THE — First  National.— Wo/  an  under- 
world melodrama,  but  a  swell  thriller  with  a  good  per- 
formance by  Milton  Sills  and  a  rousing  train  wreck. 
(November.) 

CROOKS  CAN'T  WIN— FBO.— Good  celluloid 
gone  haywire.  Will  someone  please  stop  the  liliii 
crime  wave?    (August.) 

DANGER  PATROL,  THE  —  Rayart.  —  A  big 
wholesome,  fresh  air  drama  of  the  Northwest  with 
three  rousing  murders.     (July.) 

DANGER  RIDER,  THE— Universal.— There's  a 
saving  dash  of  originality  in  the  plot  of  this  Hoot 
Gibson  Western.     (July.) 

DANGER  STREET — FBO. — .A  rich  bachelor, 
disappointed  in  love,  drowns  his  grief  in  a  gang  war. 
Well,  that's  one  wa^•  to  forget.     (November.) 

DAWN — Herbert  Wilcox. — .An  English  production 
that  gives  a  fair  and  impartial  presentation  of  the 
Edith  Cavellcase.     (.August.) 

DEMON  RIDER.  THE— Davis.— Just  a  West- 
ern.     (Dec.) 

DESERT  BRIDE,  THE  —  Columbia.  —  Betty 
Compson.  as  a  Parisian  beauty,  raises  havoc  in  the 
Foreign  Legion.      (.August.) 

DETECTIVES  —  Metro-Goldwyn-Mayer.  —  Karl 
Dane  and  George  K.  .Arthur  in  a  collection  of  gags — 
and  some  of  them  are  not  exactly  spotless.     (July.) 

DEVIL'S  TRADEMARK,  THE— FBO.— Aggra- 
vating bunk.      (September.) 

*DIVINE  LADY,  THE— First  National. — The  old 
dirt  about  Lady  Hamilton  and  Lord  Nelson,  told  in 
romantic  fashion.  Pictorially  beautiful,  thanks  to  the 
lovely  face  of  Corinne  Griffith.     (Dec.) 

DIVINE  SINNER,  THE— Rayart.— Austrian 
drama  with  daring  but  grown-up  theme.      (Ocl.) 

DO  GENTLEMEN  SNORE?— Roach-M.-G.-M.— 
A  siiort  farce  turned  into  a  panic  by  the  appearance 
of  a  real,  live  gorilla.     (.August.) 

*DOCKS  OF  NEW  YORK,  THE— Paramount.— 
A  drama  of  two  derelicts,  powerful,  dramatic  and 
stirring.  Superbly  acted  by  George  Bancroft  and 
Betty  Compson.  Worthwhile  adult  entertainment. 
(November.) 

DOG  JUSTICE— FBO. — But  the  story  is  a  cruel 
injustice  to  Ranger,  the  canine  star.     (.August.) 

DOG  LAW — FBO. — Giving  Ranger  a  good  break. 
November.) 

I  CONTINtTED  ON  PAGE   1  2  | 


10 


Photoplay  Magazine — Advertising  Section 


T  T 


se  Talking  Shorts /^^ Really  Features 
Elaboi'ately  Produced  at\^S)^  Movietone  Qt^ 


Napoleon's 
Barber 


ol 


^o\^n  for./,  director  - 
FOUR  S()>S,  TUL  IK*'^ 
XVk  and  oUur  fanu...^ 

Vox  v^^^^»^:z^^:. 

,he  first  time, Ut'^^"" 

l,is  actors  in    this  play   i>y 

Arthur  Caesar. 

Packed  ^viih  -'i -;;;;■;;;(: 

...iin    opifiranis,    this    <■■ 
^X:;.  Movietone  ^.n«..^l-J 

cilen.ent^^as^a"^^.^^    ^^^^  , 

^rant,Bewarc7^U  curyou\;S3";-'^""'-''°' 


f^ 


'.  \^- 


ar  to  ear' 


Charles  (Chic)  Sale 


has    .iven   a    -^   n-^^V;j: 

lion  of  tl'C 
Lincoln  in 


IS   cniti*»-  .- 
man  vvlio  knew 


Marching  On 

Marcel 


'TellTne  ^bopt  Mr.^incoin  Grandp 


Directed    by    M-ce.    SWrcr 
--^IVnX^rtJ^e. 

-^:;;r:r::^Mr"a.en... 

Gl,l  ML-  '."he    LADIES' 
IMLSS     and      I  l'^- 

MAN- 

Clark&^It-CuUougU 

The  funnies,  clovvns  on  U.e 

Lrccn!     >Sliat   poofy    fiu>s. 

XVI.      irresistible   eonudy 

v'.n    never    /..or./  or  -w 

funnier  picture  than 


and" 


-H^ 


Be^  Pardon>-Is  thi?  ba^h  e^ed?^ 

-What  me  the  SOtIND  WAVES  Saiying? 

In   these   talking    pictures    WILLIAM   FOX   presents   the 
ONLY   perfected   talking    film.      The    Sound    Waves   are 

photographed  right  on  the  celluloid  and  you  therefore  hear 

ONLY    absolutely  life 


The  Balh 
Between 

V„„  will  p-^f  !^„^'lt 

vourself   sick   a.    1HE    "^^^^ 

^YSTEIM  and  T  Hb  l"' 
'^^.^TS-but   take  a  chance 
and  see  them  loo. 


like  soinids.     Ask   your 
neighborhood    theatre 
when  these  Fox  Movie- 
tone   entertainments 
will  be  seen  and  heard. 


[luioid  and  vou  therelore  near  |  ^___^  ^"^'■^ 

FOX  MOVIETONE 


ou  write  to  advertisers   please  mention   PHOTOl'I.AY   MACVZINE. 


Brief    Reviews   of   Current    Pictures 


[  CONTINUED  FROM  PAGE   10  ] 


DON'T  MARRY  —  Fox.  —  An  amusing  little  ro- 
mantic comedy  iliat  will  please  the  gals.  Gayly 
played  by  Lois  Moran  and  Neil  Hamilton.   {July.) 

DO  YOUR  DUTY— First  National.— Charlie 
Murrav  plays  his  piece  about  the  honest  traffic  cop 
and  the  crooks.    Not  so  hot.  {Dec.) 

*DRAG  NET,  THE  —  Paramount.  —  Vivid  and 
swiftly  mo\'ing  underworld  story  with  grade  A  acting 
bv  George  Bancroft,  William  Powell  and  Evelyn 
Brent.     {July.) 

*DRY  MARTINI— Fox.— Sophisticated  comedy 
among  tlic  Anirrican  dry  law  ex-patriots  of  the  Ritz 
bar  in  Paris.    Naughty  but  neat.     {Novejnber.) 

DUGAN  OF  THE  DUGOUTS— Anchor.— Gag- 
ging the  Great  War  again.     (September.) 

DUTV'S  REWARD— Elbee.— More  cops,  crooked 
politics,  etc.    (Dec.) 

END  OF  ST.  PETERSBURG,  THE— Sovkinc— 
What  the  Soviet  wants  >-ou  to  believe.  St.  Peters- 
burg destroyed  by  trick  camera  angles.     {August.) 

EXCESS  BAGGAGE— Metro-Goldwyn-Mayer.— 
Vivid  and  realistic  picture  of  stage  life.  See  it. 
(.August.) 

FAMILY  PICNIC,  THE  — Fox- Movietone.— 
Pioneer  all-talking  comedy.  See  it  and  write  your 
own  remedy.     (September.) 

FANGS  OF  FATE— Pathe.— Klondike,  the  dog 
growls  through  an  old  story.     (September.) 

FAZIL^Fox. — Proving  the  sheiks  make  bad 
husbands.  Torrid  necking  in  the  desert.  Not  for 
the  kindergarten  class.     (August.) 

FIFTY-FIFTY  GIRL,  THE— Paramount.— Bebe 
Daniels  inherits  half  a  gold  mine.  It  turns  out  to  be  a 
gold  mine  of  laughs.  James  Hall  is  her  leading  man. 
Recommended  to  your  kind  attention.     (July.) 

FIGHTIN'  REDHEAD,  THE— FBO.— Buzz  Bar- 
ton eats  up  the  Western  scenery.     (September.) 

FIRST  KISS.  THE— Paramount.— Young  love, 
played  by  Fay  Wray  and  Garj-  Cooper  and  set  in  a 
deep  sea  background.     (November.) 

FLEET'S  IN.  THE— Paramount.— Clara  Bow 
among  the  sailors.  Of  course,  you  won't  miss  it. 
{Noi'ember.) 

FLEETWING— Fox.— A  story  of  Araby,  a  giri, 
a  sheik  and  a  horse.     (September.) 

FLYING  COWBOY,  THE— Universal.— Fun— 
and  lots  of  it — on  a  dude  ranch.  With  Hoot  Gibjon. 
(July.) 

FORBIDDEN  HOUR.  THE— Metro-Goldwyn- 
Mayer. — Ramon  Novarro  is  at  his  best  as  the  prince- 
at-play.  Tlie  story  of  a  king  who  gave  up  his  throne 
for  love.  .And  Renee  Adoree  is  in  it.  You'll  like  this 
one.     (July.) 

FORBIDDEN  LOVE— Pathe.— English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damlta.     (Dec.) 

♦FORGOTTEN  FACES— Paramount.-Under- 
world  storj'  of  regeneration  and  sacrifice.  Fine  story, 
fine  acting,  and  100  per  cent  entertainment.    {Sept.) 

•FOUR  DEVILS— Fox.— Dramatic  and  beautifully 
presented  story  of  Continental  Circus  life,  with  great 
performances  by  Janet  Gaynor,  Charles  Morton  and 
Barry  Norton.     You'll  want  to  see  it.     (Dec.) 

*FOUR  WALLS— Metro-Goldw\'n-Mayer.— Story 
of  Jewish  gangster,  splendidly  played  by  John  Gilbert. 
Don't  miss  it.      {September.) 

FREE  LIPS — First  Division. — Virtue  triumphant 
in  a  night  club.  Just  another  one  of  those  pictures. 
With  June  Marlowe.     (July.) 


FURY  OF  THE  WILD— FBO.— More  real  meat 
for  Ranger.     (November.) 

GANG  WAR— FBO.— Yep,  bootleggers  and  crooks 
again.     (September.) 

GATE  CRASHER,  THE— Universal.— Glen  Try- 
on  in  a  hit-and-miss  comedy.     (September.) 

GEORGE  BERNARD  SHAW— Fox-Movietone.- 
Mr.  Shaw  ontert;\ins  liis  public  with  an  imitation  of 
Mussolini.    It's  a  wow.     (September.) 

GIRL  HE  DIDN'T  BUY,  THE— Peerless.— Light 
story  of  a  Broadway  love  affair  with  an  original  twist 
to  the  plot.     (.August.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 
little  slow  but  pleasant  enough.  Sally  O'Neil  wears 
her  one  expression.     (Dec.) 

GIVE  AND  TAKE— Universal.— A  silly  story  but 
made  into  good  entertainment  by  the  expert  comedy 
offered  by  Jean  Hersholt  and  George  Sidney.    (July.) 

♦GLORIOUS  BETSY— Warners.— The  romantic 
story  of  Jerome  Bonaparte  and  Betsy  Patterson  of 
Baltimore.  Tricked  up  with  a  happy  but  unhistoric 
ending.  Mildly  charming,  and  decked  out  with  Vita- 
phonic  outbursts.     Dolores  Costello  starred.     (July.) 

^GODLESS  GIRL,  THE— Pathe-De  Mille— A 
vitally  interesting  and  vivid  story  told  with  all  the 
force  and  power  Cecil  B.  De  Mille  could  give  it.  In- 
cidentally, it  takes  a  poke  at  reform  schools.  -A  real 
picture  with  splendid  acting  by  Marie  Prevost.  George 
Duryea,   Noah   Beery  and  Lina   Basquette.   (July.) 

GOLDEN  CLOWN,  THE  —  Nordisk-Pathe.  — 
Even  Denmark  has  a  clown  who  laughs  to  conceal  a 
broken  heart.  Turgid  foreign  drama  with  a  fine  per- 
formance by  Gosta  Eckman.     (July.) 

GOLDEN  SHACKLES— Peerless.— You  can't 
see  the  picture  for  the  plot.     (August.) 

GOLF  WIDOWS  —  Columbia.  —  Comedy  drama 
built  on  one  of  the  terrible  consequences  of  country 
club  life.  With  Harrison  Ford  and  Vera  Reynolds. 
{July.) 

GRAIN  OF  DUST,  THE— Tiffany-Stahl.— Inter- 
esting drama  based  on  the  David  Graham  Phillips 
novel,  with  the  grief  rather  heavily  stressed.    {Nov.) 


•  Universal.  —  Dumb 


GREASED  LIGHTNING  - 

Western.      (September. ) 

GREEN    GRASS    WIDOWS— Tiffany-Stahl.    — 

Walter  Hagen  in  a  goofy  golf  story.    He  should  know 
better.      (September.) 

GUARDIANS  OF  THE  WILD— Universal  — 
Too  bad  that  Rex,  the  wonder  horse,  can't  write  his 
own  stories  and  put  som,e  horse-sense  into  them. 
(November.) 

GYPSY  OF  THE  NORTH— Rayart,— A  better 
than  usual  melodrama  of  the  Northern  mining 
camps.    {August,) 

HALF  A  BRIDE— Paramount.— Wherein  a  bride 
is  cast  away  on  a  desert  island  with  the  wrong  man. 
(August.) 

HANGMAN'S  HOUSE— Fox.— A  good  drama  of 
Ireland,  with  some  splendid  backgrounds,  a  fine 
horse  race  and  an  excellent  performance  by  Victor 
McLaglen.    (.August.) 

HAPPINESS  AHEAD— First  National.— What 
might  have  been  merely  tawdry  melodrama  is  turned 
into  fine  entertainment  by  the  splendid  acting  of 
Colleen  Moore,  Edmund  Lowe  and  Lilyan  Tash- 
man.    {.August.) 

HAUNTED  HOUSE.  THE— First  National  — 
Too  much  Chester  Conklin  and  not  enough  m^'stcry. 
{November.) 


HAWK'S  NEST,  THE— First  National.— An  in- 
teresting and  colorful  melodrama  of  Chinatown,  ex- 
cellently acted  by  Milton  Sills  and  Doris  Kenvon. 
(July.) 

HEADIN'  FOR  DANGER  —  FBO. —The  best 
Western  in  months.  New  plot,  new  situations,  new 
gags  and  Bob  Steele.     (July.) 

HEAD  MAN,  THE— First  National.— What 
happened  in  a  small  town  when  the  Ladies' Auxiliary 
drank  too  much  lemonade.     (August.) 

HEARTS  OF  MEN— Anchor.— And  producers 
ain't  got  no  heart.     (Oct.) 

HEART  TO  HEART— First  National.— Agreeable 
and  original  comedy  of  small  town  life.  You'll  like  it. 
(September.) 

HEART  TROUBLE— First  National.— Harr>' 
Langdon  writes  liis  own  finish  in  pictures.     (Sept.) 

HELLO.  CHEYENNE— Fox.— That  distinguished 
litterateur,  Mr.  Tom  Mix,  in  a  Western  that  is  pep- 
pered with  new  stunts.     (July.) 

HELL  SHIP  BRONSON— Gotham.— Noah  Beery 
does  some  of  his  best  acting  as  a  rip-roaring  old  sea 
captain  who  is  licked  and  frustrated  by  two  women. 
You'll  be  sorry  when  virtue  triumphs.  Swell  enter- 
tainment.    (July.) 

HEY,  RUBE— FBO.— Carnival  life  film  that  has 
the  real  stuff.  (Dec.) 

HIS  LAST  HAUL— FBO.-Just  a  tear  ierker. 
(Dec.) 

HIS  PRIVATE  LIFE— Paramount.— One  of 
those  French  farces  that  is  full  of  doors  and  bores. 
However,  it  has  Adolphe  Menjou.  (Dec.) 

HIS  RISE  TO  FAME— Excellent —Prize  ring 
stuff  with  night  club  trimmings.      (September.) 

HIT  OF  THE  SHOW.  THE— FBO.— A  lot  of 
grief  about  the  hard  life  of  a  small-town  actor.  Just 
a  tear-fest.     (July.) 

HOLLYWOOD  BOUND  —  Warners.  —  Talkie 
farce  that  sounds  as  though  it  had  been  written  by 
someone  who  never  had  been  nearer  Ho!l>'\vood  than 
Parsons,  Kans.     (November.) 

HOMESICK— Fox.— Sammy  Cohen  as  a  New 
York  tourist  in  California.     Fairly  funny.  (Dec.) 

*HOME  TOWNERS,  THE— Warners— Smooth- 
est talkie  so  far.  Good  lines,  by  George  M.  Cohan, 
and  a  fine  performance  by  Doris  Kenyon.  (Dec.) 

HOT  NEWS— Paramount.— Bebe  Daniels  hunts 
for  thrills  in  the  news  reel  game.  And  finds  'em. 
(September.) 

HOUND  OF  SILVER  CREEK,  THE— Universal. 
— Dynamite,  the  new  dog  star,  blasts  an  inferior 
story  to  success.     (Aiigusl.) 

HOUSE  OF  SCANDAL,  THE— Tiffany-Stahl  — 
If  you  are  not  sick  of  cops,  crooks  and  the  inevitable 
girl  who  reforms.     (July.) 

I  FORBID — Fan-Maid  Pictures. — An  over-ripe 
Kosher  film  of  breaking  hearts.     {November.) 

INSPIRATION— Excellent.— Too  little  of  the 
title  role.  (Dec.) 

♦INTERFERENCE  —  Paramount.— Drama  and 
suspense  in  a  Grade  .A  murder  story.  Well  acted 
and  well  spoken — yes,  it's  a  talkie.    (Dec.) 

INTO  NO  MAN'S  LAND— Excellent.— An  un- 
usually dull  war  picture.  (Dec.) 

JUST  MARRIED  —  Paramount.  —  Honeymoon 
farce  on  a  transatlantic  liner.  Lots  of  laughs. 
(September.) 


Photoplays   Reviewed   in   tke  Shadow  Stage  This  Issue 

Save  this  magazine — refer  to  the  criticisms  before  you  pic\  out  your  evenings  entertainment.     M.a\e  this  your  reference  list. 


Page 

Adoration — First  National 54 

A  Man  of  Peace — Warners 93 

Amazing  \'agabond,  The — FBO 93 

Avalanche — Paramount 54 

Avensing  Rider,  The— FBO 92 

A  Woman  of  Affairs— H.-G.-JI 53 

Black  Ace,  The— Pathe 93 

Cavalier,  The — Tiffany-Stahl 93 

City  of  Purple  Dreams,  The — Rayart. .   92 

Driftwood — Columbia 92 

Geraldine — Pathe 54 

Harvest  of  Hate,  The — Uni\-ersal 92 

Head  of  the  Family,  The — Gotham.. .  .   92 


Page 

King  Cowboy— FBO 92 

King  of  the  Rodeo — Universal 92 

Legend  of  Gosta  Barling,  The — Swedish 

Biograph 92 

Making  the  Varsity — Excellent 92 

Napoleon's  Barber — Fo.x-Movietone. .  .  93 

Naughty  Baby — First  National 54 

On  Trial — Warners- Vitaphone 55 

Outcast — First  National 52 

Power  of  the  Press,  The — Columbia.  .  .  92 

Queen  of  Burlesque — Tiffany-Stahl. ...  92 

Red  Mark,  The— Pathe 54 


I'age 

Red  Wine— Fo.x 53 

Riley  the  Cop — Fox 55 

Romance  of  the  Underworld — Fox.  ...   52 

Scarlet  Seas — First  National 53 

Shakedown,  The — Universal 93 

Silent  Sheldon— Rayart 92 

Sinners'  Parade — Columbia 92 

Sins  of  the  Fathers — Paramount 52 

Sioux  Flood— M.-G.-M 92 

Someone  to   Love — Paramount !   54 

South  of  Panama— Chesterfield 92 

\'iking.  The— Technicolor-M.-G.-M.  .  .   55 


1^ 


Photoplay  Magazine — Advertising  Section 


'.1 


KID'S  CLEVER,  THE— Univt-rsal.— But  the  film 
isn't.     {Novt-mbtr.) 

*KIT  CARSON — Paramount. — FrcfJ  Thomson  in 
an  above  par  western.     (Oct.) 

LADIES  OF  THE  MOB  —  Paramount.  —  Clara 
Bow  becomes  a  gunman's  "moll"  and  handles  a 
dramatic  story  skillfully.     {September.) 

LADIES  OF  THE  NIGHT  CLUB— Tiffany- 
Stalil. — A  clown  and  a  millionaire  are  rivals  for  the 
affections  of  a  cabaret  girl.  Synthetic  heart  interest. 
{Aususl.) 

LADY  RAFFLES— Columbia.— A  mystery  melo- 
drama witli  a  real  mystery — of  all  things!  And  some 
snappy  team  work  by  Estelle  Taylor  and  Lilyan 
Tashman.     (Jw/y.) 

LIGHTNING  SPEED— FBC— Adventures  of  a 
new.-^paper  reporter — as  the  movies  see  'cm.       {Nov.) 

LIGHTS  OF  NEW  YORK  —  Warner- Vitaphont. 
— First  all-talkie  feature  and.  naturallv.  pretty  crude. 
Squawking  night  clubs  and  audible  murders. 
(Stp  Umber.) 

*LILAC  TIME— First  National.— Thrilling  and 
romantic  war  drama  with  enough  sentiment  to  lift 
it  above  the  run  of  war  plays.     {.August.) 

LINGERIE— Tiffany-Stahl.— Alice  White  and 
Malcolm  McGregor  in  a  war  romance  that  you'll 
like.     {Oct.) 

LION  AND  THE  MOUSE— Warner-Vitaphone.— 
Partli'  dialogue  witli  some  effective  performances. 
But  the  story  belongs  to  a  past  decade.      {September.) 

LITTLE  SNOB,  THE  —  Warners.  —  A  Coney 
Island  kid  tries  to  crash  society  but  discovers  that  the 
freaks  are  better  company.  With  May  McAvoy. 
iJuly.) 

LITTLE  WILDCAT,  THE— Warners.— Nothing 
to  shoot  up  the  blood  pressure.     {November.) 

LITTLE    WILD    GIRL,    THE— Hercules.— Lila 

Lee  gets  mixed  up  in  a  lot  of  old-fashioned  hokum. 
{September.) 

LITTLE    YELLOW   HOUSE,   THE— FBO— An 

awful  fuss  about  nothing  at  all.     {Aususl.) 

LONESOME  —  Universal.  —  Barbara  Kent  and 
Glenn  Tryon  in  a  good  human  interest  story  of  young 
love  in  modern  backgrounds.  Lots  of  trick  camera 
work  but,  on  the  whole,  worth  your  while.     {July.) 

LOST  IN  THE  ARCTIC— Fox— Interesting  and 
wortliwliile  story  of  .\rctic  Exploration.    {Oct.) 

LOVE  OVER  NIGHT— Pathe.— Mystery  stuff 
casLd  over  witli  some  good  comedy.      {September.) 

MADELON— Universal.— A  talkie— so  bad  that 
it  should  be  a  museum  piece.     {November.) 

MAGNIFICENT  FLIRT,  THE— Paramount.— 
Mother  and  daughter  in  a  mix-up  of  romances. 
Suave  direction  and  the  fascinating  work  of  Florence 
Vidor  put  this  picture  across.     (August.) 

MAKING  THE  GRADE— Fox.— An  excellent 
movietone,  based  on  a  George  Ade  story.  {Dec.) 

MAN  FROM  HEADQUARTERS.  THE— Rayart. 
— Thrilling  and  enthralling  Secret  Service  yarn. 
Above  average.      (Seplemher.) 

^MANHATTAN  COCKTAIL— Paramount —A 
story  of  life  in  New  York's  theatrical  circles — told 
with  a  kick.     {Dec.) 

MAN  IN  HOBBLES,  THE— Tiffany-Stahl  — 
What  "in-laws"  can  do  to  an  ambitious  artist.  Good 
cnmedy.      (Dec.) 

MAN  IN  THE  ROUGH,  THE— FBO— Not  a 
golf  siory.  A  Western  with  slinn-  villain,  foolish  old 
man,  tomboy  daughter — and  Our  Hero!     {July.) 

MARCHING  ON— Fox.— Chic  Sale  in  a  char- 
acter study  of  a  Civil  War  veteran.  Tears  and 
laughter.     It's  a  Movietone.  {Dec.) 

MARKED  MONEY— Pathe.— Pleasant  comedy 
with  human  interest.      {Dec.) 

MASKED  ANGEL,  A— Chadwick.— Just  dumb. 

{Oct.) 

MASKS  OF  THE  DEVIL— Metro-Goldwyn- 
Mayer. — John  Gilbert  is  great  in  a  weird  and  sinister 
story.      {Dec.) 

♦MATING  CALL,  THE— Paramount-Caddo.— 
Thomas  Meighan,  Evelyn  Brent  and  Renee  Adoree 
in  an  unusual  stor>'  of  strong  dramatic  appeal.  (Oct.) 

*ME.  GANGSTER— Fox.— Sentimental,  melo- 
dramatic and  yet  completely  absorbing.  Introducing 
an  unusual  newconier,  one  Don  Terry,  whose  perform- 
ance is  worth  seeing.     {November.) 

MICHIGAN  KID,  THE— Universal.- Thrilling 
melodrama  and  beautiful  scenery  successfully  smother 
a  Horatio  Alger  plot.  With  Conrad  Nagel  and  Renee 
Adoree.     {July.) 

MIDNIGHT  ADVENTURE,  A— Rayart.— Some- 
thing verv  niftv  and  baffling  in  the  way  of  a  murder. 
{July.) 

MIDNIGHT  LIFE— Gotham.- Night  club  stuff 
and  a  bit  bloodthirsty.      (Oct.) 

MIDNIGHT  TAXI,  THE— Warners.— Bootlegger 
and  hijackers  run  riot.     {August.) 

MODERN  MOTHERS— Columbia.— Show  folks 
vs.  Babbitts.      {Oct.) 


MORGAN'S    LAST    RAID  —  Metro-Goldwyn- 

Mayer.— An  old-time  melodrama  made  passable  by 
modern  endnlhshments.     {November.) 

*MOTIIERKNOWSBEST— Fox.— Edna  Ferbers 

story  of  a  stage  motlicr  whoye  dominating,  relentlei^s 
ambition  for  her  daughter  sends  the  girl  to  fame.  A 
remarkable  performance  by  Madge  Bellamy  and 
great  acting  by  Louise  Dresser  and  Barry  Norton. 
{November.) 

MUST  WE  MARRY?— Trinity.— Must  we  make 
pictures  like  this?  (Dec.) 

MYSTERIOUS  LADY,  THE  —  Metro-Goldw>n- 
Majer. — Greta  Garbo  as  a  spy  in  a  war  romance. 
And.  oh  what  fun  for  the  officers!    {September.) 

NAME  THE  WOMAN— Columbia.— And  also 
name  the  plot.     {Oct.) 

NED  McCOBB'S  DAUGHTER— Palhe.—Plenty 

of  action  plus  sound  drama  plus  fine  acting.    {Dec.) 

*NEWS  PARADE,  THE— Fox.— A  snappy  and 
original  melodrama  of  the  exploits  of  the  news  reel 
photographers.  Nick  Stuart  and  Sally  Phipps  head 
tlie  cast.    Excellent  way  to  spend  the  evening.    {July.) 

NIGHT  BIRD.  THE  —  Universal.  —  Reginald 
Denny  goes  back  to  tlie  prize-ring,  where  he  is  at  his 
best.     {November.) 

*NIGHT  WATCH,  THE— First  National.— War 
story  with  navv  background  and  some  good  drama. 
/l"d  BillieDove.    {Oct.) 

*NOAH'S  ARK— Warners. — Big  cast,  big  theme, 
big  flood.    Your  money's  worth.     {Oct.) 

NONE  BUT  THE  BRAVE— Fox.— Once  more  the 
college  hero  makes  good.     {Oct.) 

NO  OTHER  WOMAN— Fox.— One  of  'Dolores 
Del  Rio's  early  movie  mistakes,  dug  up  for  no  good 
reason.     {September. ) 

NO  QUESTIONS  ASKED— Warners.— William 
Collier,  Jr..  and  Audrey  Ferris  in  one  of  those  "first 
year  '  stories.    Just  so-so.     {July.) 

OBEY  YOUR  HUSBAND— Anchor.— Horrible 
moral  lesson  for  naughty  wives.     (September.) 

OH  KAY! — First  National. — Colleen  Moore  in 
some  agreeable  nonsense.     (Oct.) 

OLD  CODE,  THE— Anchor.— Heaven  help  the 
Indian  on  a  night  like  this!    {Oct.) 

OPENING  NIGHT,  THE  —  Columbia.  —  One 
moment  of  cowardice  wrecks  the  life  of  an  otherwise 
fine  man.     A  drama  worth  seeing.      lAugiist.) 

ORPHANS  OF  THE  SAGE— FBO.— Boss  pitcli- 
er.     {Oct.) 

*OUR  DANCING  DAUGHTERS  —  Metro- 
Goldwyn-Mayer. — Lively  and  very  modern  romance 
in  the  younger  set,  staged  in  a  luxurious  background 
and  ornamented  by  Joan  Crawford,  Anita  Paee  and 
Dorothy  Sebastian.  John  Mack  Brown  and  Nils 
Asther  also  lielp  a  lot.     (.'\ugust.) 

OUT  OF  THE  RUINS— First  National.— Dick 
Bartlielmess  in  a  pretty  uniform  and  a  Buster 
Keaton  expression.      {Oct.) 

OUT  WITH  THE  TIDE— Fearless.- Great  hand- 
fuls  of  melodrama.     {November.) 

PAINTED  POST— Fox.— Tom  Mix's  swan  song 
for  Fox.     (September.) 

PERFECT  CRIME,  THE— FBO.— Clive  Brook, 
as  a  great  detective,  is  in  search  of  a  perfect  crime. 
How  he  finds  it  is  the  basis  of  an  unusually  fine 
m\'stcry  >'arn.     (July.) 

PHANTOM  CITY,  THE— First  National.— Fun 
and  mystery  in  a  deserted  mining  town,  with  Ken 
Maynard  as  the  spook  chaser.     (.Xugust.) 

PHANTOM  PINTO,  THE— Ben  Wilson.— Why 
expect  a  pinto  pony  and  a  flock  of  horses  to  furnish 
all  the  brains  of  a  picture?      (August.) 

PLASTERED  IN  PARIS— Fox— Pretty  tire- 
some.     {Dec.) 

POLLY  OF  THE  MOVIES— First  Division.- 
Inexpensive  but  eiitertLtining  film  about  an  ugl\' 
duckling  wlio  would  be  a  movie  cpieen.    {September.) 

PORT  OF  DREAMS— Universal.— Proving  that 
you  can't  make  a  "7th  Heaven"  just  by  slowing  down 
the  scenes.     Tliis  one  is  full  of  yawns.     (November.) 

*POWER — Pathe. — Romantic  adventures  of  Bill 
Boyd  and  Alan  Hale  a  couple  of  dam  good  workers — 
or  good  flam  workrr>.      .\nd  verj'  funny,  too.     (Sept.) 

PRICE  OF  FEAR,  THE— Universal.— Something 
to  avoid.      (Dec.) 

PROWLERS   OF  THE   SEA— Tiffany-Stahl.   — 

Devastating  eftects  of  a  beautiful  Cuban  girl  on  the 
morale  of  a  Navy  officer.      {Septetnber.) 

QUEEN  OF  THE  CHORUS,  THE— Anchor.— 
Routine.  Temptations  of  a  chorus  girl,  with  virtue 
triumpliant.      {August.) 

♦RACKET.  THE— Caddo-Paramount.— Thomas 
Meiglian,  as  a  lone  cop,  cleans  up  a  ganp  of  racketeer'^, 
headed  by  Louis  Wolheim.    Don't  miss  it.    {August.) 

RAIDER  EMDEN,  THE— Emelka-Columbia.— A 
thrilling  reproduction  of  the  most  spectacular  sea 
exploits  of  the  War.     {A  ugust.) 

RANSOM^ — Columbia. — Childish  rumpus  over  a 
heav>'  international  secret.     Third  rale.     (Oct.) 
1  CONTINUED  ON  PAGK  111  ] 


A  Chri^mas 

GIFT 

Twelve  Times 

THERE  are  several 
reasons  why  a  sub- 
scription to  Photoplay 
Magazine  is  such  an  ideal 
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- 
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VVt) 


'Audiences   are    sacfing  it,   Everywhere  ;  — 


Xtlasty  PICTURESr/zarTALi; 
Me  LIVING  PEOPLE/ 


Vitaphone  Talking  Pictures 
are  electrifying  audiences 
the  country  over! 

For  Vitaphone  brings  to  you 
the  greatest  of  the  world's 
great  entertainers  . . . 

Screen  stars!  Stage  stars! 
Opera  stars!  Famous  orches- 
tras!  Master  musicians! 

Vitaphone  recreates  them 
ALL  before  your  eyes.  You 
see  and  hear  them  act,  talk, 
sing  and  play — like  human 
beings  in  the  flesh! 


Do  not  confuse  Vitaphone 
with  mere  ^'sound  effects." 

Vitaphone  is  the  ONE 
proved  successful  talking 
picture  —  exclusive  product 
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Remember  this  —  if  it's  not 
Warner  Bros.  Vitaphone, 
it's  NOT  the  real,  life-like 
talking  picture. 

Vitaphone  climaxes  all  prev- 
ious entertainment  achieve- 
ments. See  and  hear  this  mar- 
vel of  the  age — Vitaphone, 


aviTAww' 


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If  itsj/^/  g  WARNER     PICTURE    it^s    !^/  VITAPMOWt 


Every  advertisement  In  PnOTOPLAY  MAGAZINE  Is  goiaranteed. 


r(.edpes 

for 

Party 


Hostesses 


Three  good  dishes, 

furnished  by  the  stars, 

that  your  guests  are 

sure  to  like 


MANY  readers  have  written  to  me,  asking  for  suggestions 
for  "something  different"  to  serve  at  evening  parties. 
They  tell  me  that  they  are  tired  of  sandwiches  and 
would  like  to  give  their  friends  something  special  for  a  change. 
As  a  rule,  women  like  salads,  esp'ecially  if  they  are  served 
attractively,  while  men  want  something  more  substantial. 
The  problem  of  most  hostesses,  unless  they  have  several 
well-trained  servants,  is  to  find  something  to  serve  that  will 
not  take  too  much  last  minute  preparation.  So  the  three 
recipes  that  I  am  suggesting  for  parties  are  all  practical  for 
the  hostess  who,  with  one  maid,  must  not  only  prepare  the 
dishes  but  serve  them  too. 

A  very  simple  recipe  which  is  fine  for  small  evening  parties 
was  contributed  to  Photopl.^y's  Cook  Book  by  Harold  Lloyd. 
It  is  called  Eggs  Dolores.  Here  :ire  the  ingredients  but,  of 
course,  if  you  are  serving  twelve  people,  you  must  double  the 
amounts: 

\^  teaspoon  salt 
cheese       1  teaspoon  Worcestershire  sauce 
Cayenne 


Corinne  Griffith  takes  a  cooking  lesson  from  O'ive. 
As  a  Southerner,  Miss  Griffith  is  partial  to  Dixie 
cooking.  On  this  page,  you  will  find  a  recipe  for 
Nut  Sticks,  as  they  are  prepared  for  Corinne  by 
0!ive 


Strain  tomatoes  and  put  in  double  boiler.  Boil  up  once. 
Add  grated  cheese  and  seasoning  and  cook  until  melted.  .Add 
eggs,  which  have  been  beaten  until  lemon  colored.  Cook 
until  eggs  are  set.     Serve  very  hot  on  toast. 

This,  as  you  see,  is  a  variation  of  Welsh  rarebit  and  it  is 
invariably  popular  with  men. 

MARION  D.AVIES  furnishes  another  good  party  recipe  to 
the  Cook  Book.  It  is  slightly  more  elaborate,  but  by 
making  the  pie  crust  the  day  before,  you  not  only  improve 
the  quality  of  the  crust  but  simplify  the  last  minute  prep- 
aration. 

For  the  pie  crust  for  Miss  Davies'  cheese  patties: 


IJ-^  cups  flour 
l^  teaspoon  salt 


6  tablespoons  shortening 
A  little  cold  water 


1  can  tomatoes 

2  cups  grated  American 
6  eggs 


..^^ 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  150  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


Be  sure  to  write  name  and  address  plainly. 
You  may  send  either  stamps  or  coin. 


Sift  the  dry  ingredients  and  rub  in  the  shortening  ver\' 
lightly  with  the  fingertips.  .\dd  the  water  slowly,  just  enough 
to  make  a  stitl  dough.  Roll  out  very  thin  on  floured  board 
and  line  patty  pans,  being  careful  to  make  pastry  come  well 
over  edge  of  pan. 

For  the  filling: 

2  tablespoons  butter  3-^  cup  grated  cheese 

2  eggs  1  teaspoon  baking  powder 

}^  cup  bread  crumbs  One  third  cup  milk 

Seasoning  to  taste 

Beat  the  butter  until  creamy  and  add  slightly  beaten  eggs, 
bread  crumbs,  cheese,  baking  powder  and  seasoning.  Mi.\  in 
the  milk.  Place  a  small  quantity  in  each  tin  and  bake  for 
fifteen  minutes  in  a  hot  oven. 

FOR  Corinne  Griffith's  Nut  Sticks,  which  are  ideal  to  serve 
with  salad:  Work  one-half  teaspoon  butter  into  a  pint  of 
flour  into  which  you  have  sifted  1  teaspoon  baking  powder 
and  }-2  teaspoon  salt.  I\Ii.\"  thoroughly  and  add  enough  milk 
to  roll  into  light  dough.  Roll  out  the  dough  until  about  one- 
fourth  inch  thick.  Brush  lightly  with  milk  and  spread  with 
chopped  hickory  nuts  or  almonds,  pressing  the  nutmeats  into 
the  dough.  Mold  strips  of  dough  inio  thin  sticks,  place  in  a 
shallow  greased  pan  and  bake  to  a  delicate  brown. 

In  Photoplay's  Cook  Book  you  will  find  other  recipes 
which  will  help  you  make  your  parties  a  success.  By  filling 
out  the  little  coupon  to  your  left,  you  may  receive  the  Cook 
Book,  with  its  one  hundred  and  fifty  star  recipes,  by  return 
mail. 

Cakolyn  \'ax  Wvck. 

15 


Friendly  Advice  from  Carolyn  Van  Wyck 


on 


Girls' 
Problems 


Men  judge  by  appearances.    And  so,  like  Joan  Crawford 

as  Diana  in  "Our  Dancing  Daughters,"  the  girl  who 

has  the  reputation  of  beinga  fiirt  sometimes  has  a  hard 

time  convincing  a  man  that  she  really  loves  him 


DEAR  CAROLYN  VAN  WYCK: 
/  am  in  love!  And,  though  I  am 
twenty,  I  am  in  love  for  the  first  time. 
l)oein't  it  seem  a  strange  statement — coming 
from  a  girl  who  has  been  called  "ultra  modern"? 
Everybody  in  my  crowd,  thinks  that  I  have 
been  in  love  ever  so  many  times! 

And.  oh.  Carolyn  \'an  Wyck,  that  is  my 
problem!  For  the  man  that  I  adore  thinks  so, 
too.  He  utterly  believes  that  there  have 
been  other  men — perhaps  many  of  them — in 
my  life.  And,  because  he  believes  this  thing, 
he  has  put  up  a  strange  sort  of  a  mental 
barrier  between  us.  And  I  can't  seem  to  get 
beyond  that  barrier. 

I'm — well.  I'm  just  dizzy  over  him!  And 
that's  the  truth.  I  can't  sleep  for  thinking 
about  him.  And  it  is  not  a  foohsh  crush,  for 
I'm  a  grown  woman.  I  know,  too,  that  he  feels 
the  same  way  about  me,  for — to  be  \'ery  per- 
sonal— he  can  hardly  keep  his  hands  oft  me. 
.\nd  he  can't  control  his  eyes  at  all.  But — 
this  is  the  trouble: 

I've  always  been  what  people  call  the  "life 
of  the  party."  I've  danced  the  longest,  and 
laughed  the  loudest,  and  stayed  the  latest. 
I've  told  the  newest  stories  and  sung  the  latest 
songs.  I've  flirted  the  hardest!  And  so  I 
have  the  reputation  of  being  spcedv.  Only — 
I'm  telling  you  the  truth,  Miss  Van  Wyck— 
my  speed  has  all  been  on  the  surface.  I've 
kept  my  lo\-e,  all  of  it,  for  the  man  that  I 
would  s<ime  day  marry.  I've  kept  myself 
clean  for  him. 

>»ow — I've  found  the  man.  But  I  can't 
seem  to  put  over  with  him  the  fact  that  I'm  the 
sort  of  a  girl  I  really  am.  He  is  judging  me 
entirely  by  surface  things — just  as  e\er  so 
many  others  judge  me.  And  before  I  know  it 
he  wiU  go  off  and  marry  some  little  pero.\ide 
blonde  with  big  eyes — who  lisps.  And  who 
does  things,  in  private,  that  I  wouldn't  even 
care  to  think  about! 

Can  you  gi\e  me  any  advice.  Miss  Van 
Wyck?    This  is  a  vital  matter,  with  me.    My 

16 


life's  happiness  is  hanging  by  a  thread. 
And  I  don't  know  what  to  do  to 
make  it  more  secure! 

WiLM.I  K. 

APPEARANCES— said  the  old 
-''■adage — are  often  deceitful.  And 
it  is  the  truth,  this  saying!  Especially 
so  in  your  case.  Wilma — and,  I  ha\-e 
no  doubt,  in  many  another  case  that 
is  parallel  with  yours.  For  you  have 
gi\-en  so  much  publicity  to  your 
youth  and  good  spirits  and  desire  for 
fun  that  you  ha\-e  allowed  yourself 
to  be  quite  misunderstood.  And  the 
sort  of  misunderstanding  that  you 
have  permitted  is  the  sort  that  is  apt 
to  breed   serious   trouble. 

As,  for  instance,  in  the  case  of  Diana 
— the  heroine  of  "Our  Dancing 
Daughters."  ^^^ 

Have  you,  by  the  way,  seen  "Our 
Dancing  Daughters"?  It  you  haven't 
I  should  suggest  that  you  locate  the  theater 
at  which  it  is  playing.  And  that  you  go  to 
see  it,  at  once.  And,  if  possible,  take  with 
you  the  young  man  that  you  love!  Seeing  the 
picture — and  especially  seeing  it  with  you — 
won't  do  him  any  harm. 

For  "Our  Dancing  Daughters"  is  the  story  of 
a  girl  who,  in  e\-ery  way,  is  like  you.  She,  too, 
has  always  been  the  life  of  the  party.  And 
when  she  falls  in  love,  the  man  that  she  cares 
for  distrusts  her.  And,  as  a  direct  result  of 
this  distrust,  he  marries  another  girl  who 
seerns  sweet  and  gentle  and  innocent. 

-  Needless  to  say,  the  marriage  is  a  miserable 
failure.  It  works  out  in  a  way  brutally  unfair 
to  the  man.  The  innocent,  sweet  girl  has  been 
hiding  from  him  her  real  nature.  But,  after 
marriage,  the  real  nature  comes  to  light.  It  is 
only  through  blind  luck  that  the  stoiy  comes, 
at  last,  to  a  happy  ending! 

"Our  Dancing  Daughters"  is  a  vivid  pic- 
ture.   It  teaches  that  one's  eyes  do  not  always 


Appearances  May 
Deceive 

Is  This  Month's  Problem 

BY  this  I  don't  mean  neatness  and 
smartness  and  prettiness.  When 
1  say  "appearances,"  I  mean  some- 
thing very  different.  I  mean  the  sort 
of  appearances  that  label  one  girl 
"sweet" — and  another  girl  "wild." 
.Sometimes  the  person  that  you  see — 
the  outside  person — is  quite  different 
from  the  inside  person.  Sometimes 
unbelievable  goodness  of  soul  is  hid- 
ing under  an  extremely  sophisticated 
exterior.     And  vice  versa! 

And — while  we're  talking  of  ap- 
pearances— remember  that  I'm  ready 
to  help  with  hair,  complexion  and 
clothes  problems — as  well  as  with 
matters  of  the  heart!  Beauty,  health 
and  happiness  are  all  topics  upon 
which  I  would  like  to  advise  you. 
Letters  enclosing  stamped,  self-ad- 
dressed envelopes  I  will  answer  by 
return  mail.  Those  without  postage 
will  be  answered  as  soon  as  possible, 
in  the  magazine. 

For  information  regarding  the  care 
of  the  skin,  send  a  stamped  envelope. 
And  if  you  want  to  weigh  less  (who 
doesn't?)  send  ten  cents  for  my 
booklet  on  sane  reducing  methods. 
Write  to  me  in  care  of  PHOTOPLAY 

Magazine,  221  West  57th  St.,  New 
York.     CAROLYN  VAN  WYCK. 


record  the  truth — that  circumstantial  evidence 
can  not  be  always  trusted.  It  mirrors  life  with 
a  real  fidelity.  E.\cept  in  this:  In  real  life  the 
ending  might  not  have  been  so  satisfactory!  In 
real  life  the  man  might  ha.\e  had  to  be  faithful 
for  fifty  years — to  a  desperate  mistake. 

Wilma,  I  am  going  to  gi\-e  you  the  advice 
for  which  you  ask.  'The  ad\-ice  isn't  going  to 
be  that  you  curb  your  high  spirits  or  give  up 
your  gayety,  or  that  you  cease  being  the  life  of 
the  party.  But  I  do  ad\ise  that  you  are  a  trifle 
more  discreet  in  your  actions — that  you  do  not 
beha\-e,  so  completely,  in  a  way  that  can  be 
misunderstood.  I  might  suggest  that  you  try 
to  be  more  modest  and  tactful — that  you  leave 
no  opening  by  which  you  may  be  falsely 
judged.  Folk,  especially  men,  can  not  be 
blamed  for  putting  their  own  interpretation 
upon  too  much  license.  They  have  only  ap- 
pearances upon  which  to  base  their  conclusions. 
How  can  they,  without  being  psychic,  know 

[  CONTINUED  ON  PAGE  98  ] 


Phoiuplay  Magazine — Advertising  Section 


17 


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Photoplay  Magazine — Advertising  Section 


H 


ow  many 


other  gifts  it  brings 


lOUTH,   CHARM,   LOVE,    SUCCESS — how 

easily  they  come  to  the  woman  with  a 
beautiful  skin! 

Have  you  one  of  those  naturally 
smooth,  faultless  complexions  that  are 
the  envy  of  the  great  majority  of 
womankind?  Then  cherish  your  good 
fortune !  You  can  keep  your  skin  lovely 
all  your  hfe  long  if  you  begin  now  to 
give  itjustthe  right  kind'of  regular  care. 

And  even  if  you  are  not  one  of  those 
fortunate  women  whose  skin  is  flawless 
to  start  with— you  can  make  it  so! 

Six  common  skin  defects  are  all  that 
keep  most  women's  skin  from  being 
beautiful.  They  are: 

Excessive  Oiliness         Blemishes 

Dryness        Conspicuous  Nose  Pores 

Sallotvness         Blackheads 

Every  one  of  these  troubles  can  be 
overcome!  A  famous  skin  speciahst, 
after  years  of  study,  has  not  only 
worked  out  the  proper  care  for  normal 


/ /<  is  an  easy  thing  for  any  woman  to  have  a  beautiful  complexion, 

—   now  that  scientists  really  know  about  tlie  skin — what  care  it  needs. 

Thousands  of  women  say  they  owe  their  lovely  color,  the  softness, 

smoothness,  brilliance  of  their  complexion  to  Woodbury's  Facial  Soap. 


Every 


skins,  but  has  developed  special  treat- 
ments for  correcting  the  six  skin 
troubles  named  above,  by  means  of 
ice,  warm  or  hot  water,  and  Wood- 
bury's Facial  Soap — the  soap  espe- 
cially made  for  the  skin. 

Thousands  of  beautiful  women  tes- 
tify that  they  owe  their  lovely  com- 
plexion to  this  care. 

You  will  find  the  famous  Woodbury 
treatments,  including  the  treatment 
for  normal  skins,  in  the  booklet  wrap- 
ped around  every  cake  of  Woodbury's 
Facial  Soap. 

Get  a  cake  of  this  wonderful  soap 
today,  and  begin,  tonight,  to  gain  the 

advertisement  In  niOTOPI.AT  MAGAZINE  Is  guaranteed. 


charm  of  "a  skin  you  love  to  touch!" 
A  25-cent  cake  of  Woodbury's  lasts  a 
month  or  six  weeks.  Sold  at  all  drug 
stores  and  toilet  goods  counters. 

Send  for  the  large-size  trial  set! 

The  Andrew  Jergens  Co., 2201  Alfred  St.,  Cincinnati,  O. 
For  the  enclosed  10  cents — send  the  large-size  trial  cake 
of  Woodbury's  Facial  Soap,  the  Facial  Cream  and 
Powder,  the  Cold  Cream,  the  treatment  booklet,  "A 
Skin  You  Love  to  Touch,"  and  instructions  for  the 
new  complete  Woodbury  "Facial."  In  Canada,  address 
The  Andrew  Jergens  Co,t  Limitedt22ol  Sherbrooke  St., 
Penh,  Ont. 


Name 
Street_ 


^ 


LL  roads  lead  to  Hollywood.     Dolores  Costello  was  born  in 
Pittsburgh  and  went  to  kindergarten   at  the   old  Vitagraph 
Studio  in  Brooklyn.    In  many  of  the  melodramas  of  that  day, 
Dolores  was  featured  as  the  angel  child  with  long  golden  curls. 


Lansing  Brown 


C~7~\^^  ALVARADO  comes  from  Albuquerque,  New  Mexico,  that  way  station  of  Hollywood 

/  ^  where  Indians  sell  beads  and  blankets  to  Califomia-bound  tourists.  His  mother  was  Spanish 

and  his  father  an  American.  One  day  Alvarado  hopped  a  rattler  and  landed  in  the  City  of 

Angels  and  camera  angles  at  a  time  when  Latin  ancestry  was  in  great  demand.    He's  married  and 

has  a  young  daughter,  Joy  Alvarado. 


i„in>iiiy  Brown 


r  w   "^ROM  Moscow  to  Hollywood — Olga  Baclanova.    If  you  want  to  be  correct,  pronounce 
t'  it  Bah-clahn-ova,  with  the  accent  on  the  "clahn."    The  Russian'  actress  received  her  train— 
«-^     ing  at  the  Moscow  Art  Theater,  at  whose  productions  high  brows  fall  flat  on  their  faces. 
The  lady  is  now  playing  in  a  Western — "Sunset  Pass."    With  her  foreign  background  and   her 
experience  on  the  stage  as  a  singer,  what  could  be  more  logical? 


Lansing  Brown 


(T^^^^ARCELINE  DAY — a  native  of  Colorado  Springs.     Five  years  ago,  with  her  mother 

^__yj  ^   ^^'^  fier  sister,  Alice,  Marceline  arrived  in  Hollywood.    Her  first  work  was  as  an  extra 

in  Lois  Wilson's  picture,  "Only  38."   When  there  was  no  studio  call,  she  attended 

school.    Marceline  has  been  leading  woman  for  everyone  from  John  Barrymore  to  Buster  Keaton, 

from  Ramon  Novarro  to  Lon  Chaney. 


(J^^^^^ARION  NIXON  was  born  in  Superior,  Wisconsin,  and  educated  in  Minneapolis. 

^^y  (i  1^   Shs  came  to  Hollywood  via  vaudeville  and,  like  Marceline,  served  her  apprenticeship 

as  an  extra  girl,  ornamenting  the  background  of  Mary  Pickford  and  Charles  Ray  films, 

before  she  earned  her  first  close-up.    Her  new  address  is  the  Pathe  Studios,  where  she  will  be 

starred  in  "Geraldine." 


ii^m 


y^HARLES  MORTON  is  one  of  the  Fox  youngsters  whose  acting  makes  "Four  Devils" 

/       worth  your  attention.    Born  in  Vallejo,  California,  Charles  was  educated  at  the  University 

^/   of  Wisconsin  where  he  played  football.    He  also  held  the  Detroit  Athletic  Club  record  for 

the  220  yard  swim.    Morton  played  a  season  in  vaudeville  with  William  Faversham's  company 

before  he  went  into  the  movies.    You'll  see  him  with  Janet  Gaynor  in  "Christine." 


^  OSSARD  "step-ins" 

are  ItTtO  STAY— and  they're 
stepping  up  in  general  favor 
with  every  season.    Considered 
revolutionary  and  decidedly  ex- 
treme when  Gossard  first  brought 
them  out,  their  popularity  has  in- 
creased by  leaps  and  bounds  be- 
cause modern  women  have  welcomed 
the  ease  with  which  they  could  be 
donned— the   end  of   old-fashioned 
buckling  and  what  not.  There  is  ease 
and  comfort  within  the  gentle  con- 
fines of  a  Gossard  "step-in."    Yet  so 
perfectly  does  it  mould  and  retain 
that  you  have  the  feeling  of  being 
tailor-made  right  down  to  the  flesh. 
You  enjoy  the  supreme  satisfaction 
of  wearing  a  foundation  garment 
designed   for    your    individual 
need.  The  model  pictured  here 
and  described  below  is  fea- 
tured   by    Gossard  dealers 
the  world  over.  Ask  for  it. 

A  fourteen-inch  step-in  of  rich 
brocade  combined  with  elastic. 
Wide  sections  of  elastic  over  hips 
and  a  five-inch  gore  in    front    en- 
hance the  glove-like  snugness  of  this 
garment.     Boned   front  and    back,  and 
trimmed  at  lop  with  ribbon  and  flowers. 
Lacing    adjustment    at    lop    on    one    side. 
This  is  Model  Number  738  ..  .  Retails  at  $7.50. 

THE  H    W    GOSSARD  CO..  Chicago.  New  York,  San  Francisco,  Dallas.  Atlanta.  London.  Toronto.  Sydney,  Buenos  Aires 

Division  ol  As^ocialed  Apparel  Induslries.  Inc. 


LSiick 
OTEUr 
G1FT§ 

LcLck  one  emhrses 
the  aood  task  of 
ike  cjlvtr 


A  GIFT  for  a  day?  Far  more  than  that!  Truly  a  treasure  ....  for 
months  .  .  .  and  years!  The  mingled  qualities  of  beauty,  useful- 
ness and  duration  in  Meeker  Made  distinctive  leather  goods 
appeal  alike  to  giver  and  recipient.  Besides  the  momentary  thrill,  you 
may  be  sure  that  the  day-in  and  day-out  utility  of  any  one  of  these 
articles  will  prove  a  long-time  reminder  of  your  thoughtfulness  and 
judgment.  A  Meeker  Made  handbag,  underarm 
or  vanity,  rich  in  itself,  will  complement  any  cos- 
tume. Neutral  in  tone — a  harmonizing  accessory. 
A  billfold,  key  case  or  set  of  two  or  three  in 
matched  design  for  the  man,  well — you  just  can't 
give  him  anything  that  is  more  practical  or  any- 
thing he  would  rather  have.  The  genuine  imported 
steerhide  from  which  Meeker  Made  goods  are  ^^^^^■■F^  1 
fashioned  is  the  choicest  of  all  the  market  affords. 


Origiokl  ihapcs  And 
itvlci  lOjtechcr  with 
their  excellent  crafts- 
manthip  give  these 
haniJbafi»  their  char- 
acter and  enviable  re- 
putation. 


Shapes  arc  smart.  Designs,  new  :ind  exclusive.  Beautifully 
tooled,  hand-colored  and  with  hand-laccd  edges,  they  repre- 
sent the  leather  craftsman's  most  distinguished  effort.  At  the 
better  dealers  everywhere. 


The  "Meeker  Made"  imprint  in  (he 
leather  is  your  guarantee  of  quuhty. 
Look  for  ic.  It  is  the  mark  uf  Tlic 
Mcckcr  Company,  Inc.,Juplin,  Mis- 
souri, hirjjcst  m.inufjctiir(.T>  of  ntctT- 
hide  Icjthcr  ^iiods   in   [he  U.S.A. 


finest  imported  fteerhlde 

^feather  (j^oods 


Bags  arc  suede  Icailicr  lined. 
Have  exclusive  turn  lock  frames. 
.^ppropriatc  fittings.  In  general 
effect  and  in  detail,  Meeker 
Made  leather  goods  arc  obvi- 
ously finer. 


There  arc  so  many  sugges- 
tions—Meeker  Made—for 
him,  A  billfold  with  hisown 
initial,  for  instance  ...  or  his 
lodge  orclubemblera.  A  key 
case.  Cigarette  case.  An  at- 
tractively boxed  gift  set.  Also 
other  items. 


The    National     G 


u  i  d  e     to 

U'KADK  MARK) 


Motion     Pictures 


January,  1929 


k 


Close-Ups  and  Long-Shots 


-S 


"a 


R.  Quirk 


FOR  years  we  of  the 
photoplay  world  have 
been  told  what  we  ought 
to  see  by  the  professional 
snoopers  that  roam  the 
country.  With  the  coming  of 
talking  pictures,  it  is  probable 
that  a  lot  of  human  ear-plugs 
will  try  to  tell  us  what  to  hear. 

Now,  most  astonishing  of  all,  a  group 
of  people  in  Hollywood  are  trying  to  tell 
us  what  to  write  about  Hollywood  and 
its  folks. 

The  Motion  Picture  Academy  of  Arts 
and  Sciences  is  all  hot  and  bothered  about 
what  it  calls  the  "scurrilous,  degrading 
and  facetious  articles  published  about 
personalities  in  fan  magazines." 

'  I  'HIS  august  body  proposes,  with  the 
•^  help  of  press  agents  and  a  few  marines, 
to  establish  a  "white  list"  of  magazine 
writers  whom  it  is  safe  to  admit  to  the 
studios. 

Once  in,  they  can  write  a  lot  of  pretty, 
backscratching  pieces  about  the  gods  of 
filmland. 

Unbelievable  though  it  may  seem,  it 
is  reported  that  one  famous  leading  man 
has  actually  moved  toward  the  deporta- 
tion of  a  British  magazine  writer  who 
grinds  out  articles  for  periodicals  in  this 
country  and  his  homeland. 


©_ 


S" 


Such  astoundingly  high- 
handed procedure  against  the 
freedom  of  the  typewriter 
could  only  be  born  in  the  mad- 
der sections  of  the  film  colony. 

TARS  are  no  longer  born 
in  the  shadow  of  the  Sphinx, 
nor  do  they  keep  pet  doodle- 
bugs, nor  do  little  children  run  at  the 
approach  of  vampires  as  they  did  in  the 
golden  days  of  fan  rubbish. 

Can  it  be  that  these  actors  and  pro- 
ducers object  to  a  little  truth? 

No  one  gets  scurrilous  at  the  expense 
of  Hollywood  any  more.  It  is  both 
wrong  and  out  of  fashion.  But  the  self- 
anointed  censors  don't  seem  to  know 
that.  They  appear  to  be  living,  in  misty 
stupidity,  in  the  days  of  1920. 

Photoplay,  at  least,  tries  to  play  the 
game  of  Truth  with  its  two  million  readers 
and  the  picture  people.  And  it  does  not 
like  to  see  anyone  in  filmland  deal  from 
the  bottom  of  the  deck. 

A  S  for  the  press  agents,  called  in  to 
■*■  *-help  the  outraged  mummers,  it  is 
really  too  bad.  Ink  is  their  life-blood, 
and  white  paper  their  world,  and  if  they 
try  to  join  hands  and  turn  on  the  writ- 
ing people,  it  will  be  tantamount  to  neatly 
slitting    their    throats    with    their    own 


.^L. 


Tr 


paper  cutters.  If  they  are  wise,  they  will 
cut  and  run  for  the  deep  woods  until  the 
fussing  Academicians  forget  this  silly  peeve 
and  begin  fuming  and  sputtering  about 
something  else. 

Oh  dear!  Some  people  never  will  learn 
when  they're  well  off! 

A  LITTLE  German  girl  is  going  back 
home  from  Hollywood. 

In  this  fact  is  hidden  one  of  the  little 
heartbreaks  of  the  gold  coast. 

Irving  Thalberg,  honeymooning  in  Ger- 
many, found  Eva  von  Berne  and  imported 
her.  They  reduced  her  and  redressed  her 
and  primped  her,  and  put  her  across  from 
Jack  Gilbert  in  "Masks  of  the  Devil." 
Now  she  is  going  home. 

Metro-Goldwyn  says  the  talkies  have 
made  her  garbled  English  useless,  but  we 
can  take  that  or  leave  it  alone. 

I  am  afraid  the  truth  is  that  Eva  just 
wouldn't  do.  She  didn't  photograph  well, 
and  her  acting  opposite  the  star  didn't 
spell  anything  like  hit. 

And  so  a  little  German  girl  is  going  back 
to  Deutschland,  probably  with  a  serious 
crack  in  her  heart.  Goodbye,  Eva.  It's  a 
tough  break.  Just  a  little  Cinderella  on 
whom  the  prince  couldn't  fit  the  glittering 
slipper. 

WHEN  Prince  George  of  England 
played  hookey  from  his  cruiser  and 
made  whoopee  in  Hollywood  he  did  a  better 
job  of  handshaking  across  the  sea  than  a 
dozen  notes  by  nervous,  high-strung  diplo- 
mats. 

Young  George  struck  the  human  note  on 
the  royal  xylophone  when  he  tea'd  with 
Lily  Damita,  dined  with  Mary  Pickford 
and  danced  the  morning  in  at  Fatty  Ar- 
buckle's  night  club. 

The  whole  country  smiled  at  his  carry- 
ings on.  Only  his  captain  seemed  a  little 
peevish. 

And  when  his  girl  friends  wirelessed  the 
ship  at  sea,  offering  condolences  on  his 
punishment,  the  kid  had  a  good-sport  answer 
ready. 

"The  fun  I  had  in  Hollywood  was  worth 
it." 

THE  Soviet    Government's  newest  blow 
for  Art  to  reach  this  country    is  "Ten 
Days   that   Shook  the  World."      It  ought 


28 


to  be  retitled  "Ten  Reels  that  Ruined  the 
Eyesight."  And  while  it  seems  too  bad 
to  dampen  the  enthusiasm  of  those  who 
rate  the  Russian  film  directors  higher  than 
our  local  talent,  may  we  remind  the  public 
of  a  few  facts? 

All  films  made  in  Russia  are  produced  un- 
der the  direct  supervision  of  the  Soviet 
Government. 

They  are  pure  propaganda  and  should  be 
plainly  labeled  as  such. 

THE  Soviet  Government  is  no  more  in- 
clined to  give  an  unbiased  picture  of  the 
events  of  the  Revolution  than  is  the  Anti- 
Saloon  League  likely  to  give  you  the 
straight  facts  on  Prohibition. 

For  example:  in  "Ten  Days  that  Shook 
the  World"  Trotsky  is  completely  elimi- 
nated from  the  picture,  although  he  was  an 
active  factor  in  the  Revolution.  But  Trotsky 
is  out  of  favor  and  the  present  leaders  don't 
want  to  give  him  any  publicity. 

SO  when  you  go  to  see  a  Soviet  picture, 
keep  a  few  of  these  points  in  mind. 

Remember  that  you  are  seeing  Russian 
history  as  the  Soviet  leaders  want  you  to 
see  it — not  as  it  happened. 

Remember  you  are  paying  your  admission 
fee,  not  for  a  commercial  product,  but  for 
advertising. 

And  remember  that  there  isn't  a  political 
party  in  this  country  that  could  produce 
such  propaganda  and  have  it  presented  in 
theaters  where  an  admission  fee  is  charged. 

IS  the  heavy  film  lover  dying  with  the 
immortal  dodo? 

With  all  precincts  reported,  Peoria,  111., 
votes  "yes." 

Lon  Chaney  is  cock  of  the  walk  in  the 
middle  west  now.  The  great  Putty  King, 
in  "When  the  City  Sleeps,"  outdrew  John 
Barrymore,  Ronald  Colman  and  Rod  La 
Rocque  combined  in  the  same  length  of 
time. 

CHANEY  is  the  best  bet,  with  Emil 
Jannings  not  far  behind  and  George 
Bancroft  a  hot  third.  The  day  of  the  hairy 
he-man  is  in,  as  far  as  Peoria  goes. 

You  remember  the  old  political  saying, 
"As  Peoria  goes,  so  goes  the  nation."  Take 
heart,  male  fans!  Perhaps  it's  out  of  the 
boudoir  into  the  logging  camps! 


A 


onny 


Ten  years  later  another 
film  hit  comes  to  the  Lee 
family,  as  little  Davey 
follows  Brother  Frankie 
to  fame 

By 
Tad  Hastings 


THIS  is  a  story  about   a  little  boy  and  his  big 
brother. 
Credit  for  the  little  boy's  discovery  has  been 
given  to  Al  Jolson.    It  belongs,  instead,  to  a  woman  and 
to  an  obscure  casting  director. 

The  woman  knew  long  before  anyone  else  that  this  little  boy 
was  a  remarkable  child.  It  is  not  strange  that  she  knew,  how- 
ever, for  she  is  his  mother.  And  mothers  know  a  great  many 
things  long  before  other  people  know  them,  and  often  are  not 
given  credit  for  the  knowledge. 

The  name  of  the  lad  is  Davey  Lee.  He  will  be  four  years  old 
exactly  fourteen  days  after  this  story  goes  on  all  newsstands — 
on  the  twenty-ninth  of  December,  to  be  specific. 

So  you  see,  he  is  a  sort  of  combination  Christmas  present  and 
New  Year's  greeting — one  that  people  will  cherish  forever  if  he 
continues  his  present  cinema  pace. 

Davey  plays  the  part  of  Sonny  Boy 
in  Al  Jolson's  new  picture,  "The  Sing- 
ing Fool."  And  he  fairly  tears  the 
heart  out  of  you,  too,  when,  dying,  he 
asks  his  daddy  to  sing  him  to  sleep. 

The  story  of  how  Davey  became 
Sonny  Boy  is  one  of  those  strange  tales 
for  which  Hollywood  is  famous.  It  is 
part  and  parcel  of  the  bizarre  fabric 
that  makes  the  town  unique.  It  is 
another  case  where  truth  is  stranger 
than  fiction,  where  fact  is  more  potent 
than  fabrication,  where  the  press 
agent's  conception  falls  far  below  par. 
The  real  story  is  saturated  with  shat- 
tered hopes,  with  doubts  and  disap- 
pointments; it  brims  with  heartbreak. 
For  it  is  the  story  of  how  an  older 
brother  was  called,  but  a  younger 
brother  chosen. 

Frankie  Lee  is  the  older  brother. 
Frankie,  the  little  crippled  boy  of 
"The  Miracle  Man" — not  a  real  crip- 
ple, of  course,  just  the  youngster  who 
acted  the  part.  That  was  ten  years 
ago.  Yet  it  left  an  unforgettable  im- 
pression, one  that  survives  to  this  day. 

And  the  tragedy  of  this  story  is  that 
Frankie  was  called  first  for  the  part 
that  made  his  baby  brother  famous. 

But  Frankie  is  now  si.xteen.  He  has 
been   going    to    Hollywood    High    for 


You'll  be  touched  by  little  four- 
year-old  Davey  Lee's  sincere 
playing  of  Al  Jolson's  son  when 
you  see  "The  Singing  Fool."  As 
soon  as  Jolson  saw  Davey  he  ex- 
claimed:     "Come   to   Uncle  Al" 


Of  course  you  remember  Frankie  Lee  as  the 
crippled  boy  of  the  unforgettable  "Miracle  Man." 
Frankie  is  sixteen  now  and  he  goes  to  Hollywood 
High.  The  Warner  Studio,  forgetting  that  boys 
grow  up,  called  him  for  the  role  in  "The  .Singing 
Fool" — but  Davey  walked  right  into  the  part 

several  years.     He  is  tall  and  gangling,  and  he  does  not  even 

remotely  resemble  that  whimsical  Mttle  fellow  with  the  wistful 

smile  in  "The  Miracle  Man." 

Yet  in  the  minds  of  producers  and  directors,  Frankie  Lee  has 

never  grown  up.  He  is  still,  to  them,  "  that  little  Miracle  Man 
kid."  Thus  we  see  how  indelible  was 
the  imprint  of  his  work.  Its  eflfect 
upon  memory  produced  a  picture  that 
cannot  be  erased. 

A  SHORT  time  ago,  Frankie  was 
called  to  take  a  test  with  Lois 
Moran  for  "The  River  Pirate."  William 
K.  Howard  remembered  him.  In  fact, 
Howard  proved  himself  the  e.xception 
to  the  rule  by  actually  daring  to  con- 
sider that  possibly  Frankie  had  grown 
up.  He  wanted  Frankie,  not  for  a 
child  part,  but  for  a  full-fledged  young 
man's  role.  Frankie,  however,  was  a 
little  too  immature,  so  the  part  went 
to  Nick  Stuart. 

But  that  test  put  the  celluloid  virus 
back  into  Frankie  Lee's  blood  with  a 
vengeance. 

"  Mother,"  he  said,  "  I'm  all  steamed 
up  and  want  to  get  back  into  the 
game." 

So  mother,  in  the  role  of  manager 
once  more,  undertook  to  restore 
Trankie's  career. 

And  here's  where  the  heartbreak 
begins.  Wherever  Frankie  went,  he 
found  himself  surrounded  by  little 
children,  kids  often  less  than  half  his 
size — all  called  for  the  one  part. 

It  was  most  embarrassing. 
[continued  on  page  101  ] 

29 


Wrong 


A  typical  "star"  luncheon,  so  fatal 
to  health  and  happiness,  demon- 
strated by  Josephine  Dunn.  Crack- 
ers, 100  calories;  cottage  cheese,  50 
calories;  consomme,  13  calories; 
pineapple,  50  calories.  Food  fit  for 
neither  man  nor  beast! 


Q)lET- 


By 

Rather ine  Albert 

Why  the  average 
woman  risks  her 
health  when  she 
attempts  to 
achieve  a  movie 
figure 


Unwittingly,  the  producers  are  modern  Shylocks  who, 
when  they  demand  a  pound  of  flesh,  also  demand  a  part 
of  the  life-span  of  the  star;  without  realizing  the  grave 
responsibility  they  assume  the  producers  point  the  way 
to  the  hospital  and  set  an  example  that  threatens  to  pro- 
duce a  race  of  anaemic,  tubercular  weaklings. 


H( 
1. 


Right 


A  satisfying  meal  for  a  girl  who 
wants  to  lose  two  or  three  pounds 
a  week — roast  beef,  baked  potato, 
spinach,  pickled  beets,  cucumbers, 
buttermilk  and  fruit  cup.  Remem- 
ber, you  can't  do  good  work  on  a 
starvation  diet 


DIET!     It  has  put  one  world  famous  star  in  her  grave, 
has  caused  the  illness  of  many  others,  has  wrecked 
careers  and  has  become,  largely  through  its  practice  in 
Hollywood,  the  Great  American  Menace! 
For  as  Hollywood  does  so  does  the  rest  of  the  world. 
It  is  a  grim  problem — this  matter  of  diet — and  it  concerns 
not  only  every  Hollywood  studio  but  every  home  in  the  United 
States  as  well.      High  school  girls  of  fifteen  or  si.xteen,  who  need 
wholesome,  body-building  food,  are  actually  putting  their  lives 
in  peril  when  they  cut  down  their  rations  and  refuse  everything 
but  a  hard  boiled  egg  and  an  ounce  of  spinach,  or  attempt  to 
hve  on  nothing  but  lamb  chops  and  pineapple. 

The  wife  of  the  household  prepares  well  cooked,  savory  meals 
for  her  husband  and  then  nibbles  on  a  few  "health"  crackers 
in  order  to  have  a  sylph-like  figure! 

The  fault  may  be  laid  at  the  doors  of  the  studios! 

30 


OSPITAL  reports  show  that  there  is  more  tubercu- 
losis among  women  than  ever  before  and  that  this  is 
the  direct  result  of  diet! 

The    foremost    physicians    declare    that    they    treat 
thousands  of  cases  of  anaemia.     Diet — a  death's  head 
wearing  the  mask  of  beauty — is  again  responsible! 
The  stars  have  set  the  styles  in  slim  figures. 
The  correct  weight  for  a  girl  five  feet  two  inches  tall  is 
119  pounds.    The  average  screen  player  of  this  height 
weighs  only  108  pounds. 
A  survey  of  all  the  studios  embracing  the  film  plants  of 
Culver  City,   Burbank,   Westwood  and  Hollywood  and  in- 
cluding one  hundred  fifty  of  the  most  famous,  most  envied 
film  celebrities,  resulted  in  the  compilation  of  a  table  of  heights 
and  weights  showing  that  the  players  are  from  ten  to  fifteen 
pounds  underweight,  according  to  medical  standards. 

This  means  that  they  have  starved  themselves  for  pictures, 
for  personal  whims,  or  to  be  fashionable  untU  they  have 
lowered  their  physical  resistance  to  the  danger  point  and  are 
unfit  to  do  the  strenuous,  nervous,  emotional  work  required 
of  them! 

Barbara  LaMarr  died  of  tuberculosis  brought  on  by  weight 
reduction.  Kathryn  Grant  ruined  her  career  and  was  made  an 
invalid  from  starvation.  Lottie  Pickford  took  her  life  in  her 
hands  when  she  resorted  to  quick  reducing  medicines  and  is 
today  virtually  an  invalid.  Eva  von  Berne  collapsed  on  the 
set  after  trying  to  lose  ten  pounds;  Flobelle  Fairbanks,  niece 
of  Doug,  caused  her  family  much  concern  and  endangered  her 
health  by  indulging,  secretly,  in  a  lime  juice  diet.  Lina  Bas- 
quette  has  just  come  out  of  a  gruelling,  enervating  reducing 
process.  Molly  O'Day,  now  one  of  the  most  famous  of  those 
waging  the  battle  against  avoirdupois,  is  convalescing  from  an 
operation  for  the  removal  of  surplus  flesh — an  operation  which 
has  resulted  disastrously  for  others.  Excess  weight  ended  the 
film  careers  of  Clara  Kimball  Young,  Mrs.  Sidney  Drew,  Leah 
Baird  and  Katharine  McDonald. 


The  Menace 

of 

Hollywood 


A  girl  may  be  the  reincarnation  of  Duse,  she  may  have  the 
histrionic  ability  of  Bernhardt,  she  may  be  able  to  touch  the  heart 
of  humanitx',  but  if  she  is  five  pounds  overweight  according  to  screen 
standards — that!  for  her  career! 

Why  this  mad  search  for  slimness?    Why  must  the  stars  starve 
themselves? 
There  are  two  reasons. 

According  to  Dr.  H.  B.  K.  Willis,  one  of  Hollywood's  best  known 
physicians  who  daily  turns  down  dozens  of  women  who  beg  to  be 
reduced  quickly,  it  is  a  mistaken  idea  on  the  part  of  the  producers. 
They   think   that   the  public  demands  stream-lines  in  stars  and, 

believing  this,  set  the 
dangerous  example  to 
women  of  the  entire 
world  who  blindly  at- 
tempt to  copy  Holly- 
wood's prevailing 
figure. 

The  second  reason 
concerns  only  the  pic- 
ture girls  and  no  other 
women. 

If  a  practical  stereo- 
scopic camera  lens 
were  perfected  these 
all  too  rigid  diets  would 
be  unnecessary. 

When  a  woman  steps 
in  front  of  the  camera 
she  adds  from  live  to 
twenty  pounds  to  her 
figure.  The  camera 
photographs  but  two 
dimensions.  This  tends 
to  flatten  a  round 
object.  Look  at  a  pipe. 
Then  shut  one  eye.  The 
pipe  immediately 
widens  and  appears 
several  inches  broader 
than  it  really  is. 


Hollywood  may  slowly 
return  to  the  natural 
figure.  Anita  Page,  for 
instance,  is  five  feet, 
two  inches  tall  and 
weighs  118  pounds, 
which  is  a  sane  weight. 
.\nita  prefers  to  follow 
health  charts  rather 
than  camera  lines 


CORRECT  DIET 

Compiled  by  Dr.  Willis  from  works  of 
the  most  famous  authorities  on  diet 

BREAKFAST 

}^  large  grapefruit 
Scalloped  codfish 
Stewed  tomatoes 
Saltine  crackers 
1  cup  coffee 
1  teaspoon  butter 
1  teaspoon  sugar 

374 
Calories 

LUNCHEON 

2  large  slices  lean  roast  beef 
Tomato  or  mushroom  sauce 

1  medium  baked  potato 

2  heaping  tablespoons  spinach 

2  heaping  tablespoons  pickled 

beets 
8  slices  cucumbers 
1  glass  buttermilk 
1  teaspoon  butter 
1  fruit  cup 

654 
Calories 

DINNER 

1  slice  cold  roast  lamb 

2  heaping  tablespoons  squash 
Mint  sauce 

1  tablespoon  green  peas 

3  heaping  tablespoons  mustard 
greens 

Mediiun  sized  tomato  salad 
Mineral  oil  or  vinegar 

2  small  biscuits 
'  2  cantaloupe 

1  glass  skimmed  milk 

524 

Calories 

1552 
Calories 

{This  must  be  varied  every  day.    It  will  reduce 
you  from  2  to  i  pounds  per  week) 

STAR  DIET 

This  is  what  the  stars  eat — it's  wrong! 

BREAKFAST 

Hot  water 

000  calories 

LUNCHEON 

8  tablespoons  consomme 

2  saltines 

13  calories 

100  calories 

25  calories 

3-4  pound  tomatoes 

DINNER 

Cottage  cheese 

2  oimces  pineapple 

1  glass  butterrnilk 

50  calories 
50  calories 
67  calories 

305  calories 

Sometimes 

1  hard  boiled  egg 

6  otmces  spinach 

100  calories 
100  calories 

605  calories 

31 


How  the   Camera   Lies  About  Figures 


Don't  envy  the  unnaturally  thin  figure  of  your 
favorite  star.  Remember,  that  it  is  usually 
achieved  by  a  dangerous  diet.  In  trying  to  reduce 
her  weight  too  quickly,  Barbara  La  Marr  con- 
tracted tuberculosis.  She  paid  for  her  beauty 
with  her  life 


A  skillful  cameraman  may  arrange  his  lights  so  that  this 
condition  is  helped,  but  only  the  three  dimensional  lens  will 
alleviate  the  necessity  of  the  stars  being  underweight. 

Dr.  Willis  declares  that  it  is  detrimental  to  reduce  more 
than  two  or  three  pounds  a  week. 

That's  a  nice  idea.  A  physician  can  sit  calmly  by  and  make 
this  truism,  but — and  this  is  large  and  vital — when  a  pro- 
ducer sits  back  in  his  leather  chair,  looking  out  across  his 
mahogany  desk  and  says  to  a  girl,  "  You  may  have  the  leading 
role  in  my  ne.xt  super-epic  if  you  will  lose  ten  pounds  in  the 
ne.xt  ten  days,"  what  is  the  girl  going  to  do? 

Before  her  lies  fame  and  fortune,  lu.xury  and  acclaim.  Is 
she  going  to  think  of  her  health?  Is  she  going  to  heed  a 
doctor's  advice?  Not  much!  She  has  heard  the  ullimatum. 
"Lose  ten  pounds  in  ten  days."  A  career  against  her  health. 
The  career  always  wins. 

Twelve  hundred  calories  is  the  minimum  prescribed  by  Dr. 
Willis.  And  this  is  used  only  in  extreme  cases,  for  excessivelv 
fat  women.  The  sensible,  balanced  diet  has  1552  calories  per 
day.  The  average  picture  girl  receives  no  more  than  500 
calories  a  day!  Impossible  for  her  to  do  the  kind  of  work 
required  on  that! 

I  have  seen  Joan  Crawford  make  an  entire  luncheon  on  a 
few  tablespoonfuls  of  cold  consomme,  a  dish  of  rhubarb  and  a 
half  dozen  crackers  thickly  spread  with  mustard.  And  this  is 
a  day  after  day  performance. 

32 


Is  it  any  wonder  that  Joan  is  constantly  under  the 
care  of  a  doctor?  She  knows  that  such  a  diet  is  none 
too  good  for  her,  but  what  is  she  to  do?  She  has  to 
keep  thin. 

Alice  White  reduced  from  126  pounds  to  96  in  a 
few  weeks.  What  a  shock  to  the  nervous  system! 
She  began  by  going  on  a  lamb  chop  and  pineapple 
diet  for  a  few  days  and  then  had  "just  a  sensible 
diet,"  consisting  of  salads  and  fruits  amounting  to 
all  of  400  calories,  no  doubt! 

POL.\  NEGRI  took  off  ten  pounds  with  an  egg  and 
spinach  diet.  Six  ounces  of  spinach  contain  100 
calories,  one  hard  boiled  egg  is  another  hundred.  It 
was  the  critics  who  forced  Pola  to  this  extreme 
measure.  The  Negri  just  won't  be  told  by  pro- 
ducers. She  had  to  be  convinced  and,  when  "The 
Woman  of  the  World  "  was  released,  almost  every 
newspaper  commented  upon  her  excessive  weight. 

Renee  Adoree's  work  in  "The  Big  Parade"  stands 
out  as  one  of  the  classic  gestures  of  the  screen. 
Never  before  or  since  has  she  reached  greater  heights. 
At  that  time  she  weighed  more  than  she  ever  did,  125 
pounds.  The  producers  did  not  complain  then 
because  she  characterized  a  French  peasant  girl,  but 
immediately  that  the  picture  was  finished  they 
insisted  that  she  lose.  A  few  days  ago  the  scales 
pointed  to  97  pounds. 

She  has  paid  dearly  for  an  intensive  course  in  diet 
and  steam  baths  and  mas- 
sage. She  has  paid  with 
illness  and  ragged  nerves. 


Kathryn  Grant 
had  a  beautiful 
figure,  but  she 
was  just  a  little 
too  plump  for  the 
eye  of  the  camera. 
Kathryn  tried  to 
reduce  in  a  hurry. 
Trying  to  undo 
the  mischief  of  a 
foolish  diet,  she 
spent  months  in 
a  sanitarium. 
Today  she  is  an 
invalid  and  studio 
work  is  out  of  the 
question 


Don't   Be   Guided   by  Star  Weights! 


Without  being  given  a  chance  to  show  what 
abihty  she  had,  Dimples  Lido  was  shipped  back 
to  Germany  because  she  gained  weight  that  she 
could  not  seem  to  take  off.  She  was  discovered 
by  Carl  Laeninile  on  the  Riviera  and  brought  to 
Hollywood.  Naturally  bu.xom,  she  added  several 
more  pounds  to  her  figure  and  was  given  her 
conge.  She  might  have  been  the  world's  greatest 
actress — who  knows?  She  might  have  had  the 
subtlety  of  a  Mrs.  Siddons  but  she  was  over- 
weight!   Finis — enough — out! 

Perhaps  Dimples  is  one  of  the  fortunates. 
Better  for  her,  no  doubt,  to  have  been  forced  to 
give  up  her  career  than  to  put  herself  through  the 
rigid  demands  of  diet. 

Eva  von  Berne's  entire  future  rests  upon  just 
ten  pounds.  She  is  only  eighteen  years  old  and  is 
built  along  generous,  continental  lines.  At  the 
time  of  life  when  she  needs  good,  substantial  food, 
she  is  dining  upon  lettuce  salad  and  sliced  pine- 
apple. She  looks  pale  and  haggard  and  her  cry  is 
the  same  as  the  others,  "But  what  am  I  to  DO? 
What  am  I  to  do?" 

PITIFUL,  lovely  Barbara  LaMarr— her  search 
for  slimness  cost  her  her  life.  She  resorted  to 
the  most  drastic  means  of  taking  oft  weight — 
methods  too  horrible  even  to  recount.  This 
struggle  so  depleted  the  energy  of  "the  girl  who 
was  too  beautiful "  that  she  was  an  easy  victim  of 
tuberculosis. 

And  then  there  is  Molly  O'Day!  What  will  be 
the  fate  of  the  O'Day?  A  part  of  the  story  was 
recounted  in  the  August  issue  of  Photoplay,  but 
what  of  this  recent  development?  Molly  is  over- 
weight even  for  a  non-professional.  At  the  begin- 
ning of  "The  Patent  Leather  Kid"  she  was 
twenty  pounds  heavier  than  she  should  have  been 
for  the  screen.  Her  test  showed  acting  ability 
and  she  was  told  that  she  could  play  the  part  if 
she  would  lose  twenty  pounds.  She  did  at  the 
rate  of  half-pound  a  day. 

But  Barthelmess  hurt  his  foot  soon  after  the 
picture  was  started  and  Molly,  playing  opposite 
him,  was  left  at  home  while  the  company  went 
north  for  war  scenes.  Thin  and  svelte  she  was 
when  the  company  left,  as  the  sequence  at  the 
ring-side  showed  her.  But  when  the  troupe  re- 
turned she  was  fat  and  chunky. 

In  discussing  her  case,  Al  Santell,  director  of  "The  Patent 
Leather  Kid,"  said,  "The  real  reason  for  flesh  is  self-assurance. 
Molly  O'Day  was  acclaimed  the  great  find  in  years  and  she 
believed  it.  She  was  sent  away  to  lose  weight  and  finally  a  wire 
came  saying  she  was  thin  and  ready  to  start  a  picture. 
When  she  walked  into  my  office,  she  was  pathetically  fleshy." 

And  then  she  resorted  to  a  drastic  method.    Dr.  Robert  B. 


Why  it  is 

dang( 

jrous  to  copy 

a  movie  star 

in  fi 

nding  your  correct 

weight 

Height 

Health  weight 

Star  weight 

5  ft. 

114  lbs. 

96  lbs. 

5  ft.,  1  in. 

116  lbs. 

104  lbs. 

5  ft.,  2  in. 

119  lbs. 

108  lbs. 

5  ft.,  3  in. 

122  lbs. 

Ill  lbs. 

5  ft.,  4  in. 

125  lbs. 

115  lbs. 

5  ft.,  5  in. 

128  lbs. 

1 19  lbs. 

5  ft.,  6  in. 

132  lbs. 

122  lbs. 

Molly  O'Day  is  recovering  from  a  drastic  surgical  operation 

that  removed  the  flesh  that  threatened  her  career.     But 

will  the  fat  return?    And  what  will  be  the  after-effects  of 

this  strenuous  and  painful  treatment? 


GrifBth,  who  claims  that  quick  reduction  is  harmless  (a  large 
part  of  Griffith's  chentele  is  made  up  of  women  who  want  to 
"  take  it  off"  at  any  cost),  performed  an  operation  on  MoUy. 

THE  knife  made  long  incisions  on  either  leg  and  across  the 
stomach  and  the  fat  was  removed.  Electric  needles 
to  melt  the  fat  away  were  used,  also. 

Molly  remained  under  the  ether  for  an  hour  and 
fifteen  minutes  while  the  operation  was  performed.  She 
has  suffered  acutely,  but  the  doctor  assures  her  that 
there  will  be  no  scars  left  and  that  she  wiU  be  from 
twelve  to  fifteen  pounds  lighter. 

Will  there  be  any  ill  etTect  from  this?  WiU  the  fat 
return?  That  remains  to  be  seen.  Al  Santell  believes 
that  the  operation  will  do  no  good,  for  there  is  fat  all 
over  Molly's  body.  She  is  a  splendid  actress.  Her 
director,  her  producer,  her  public  know  this.  But  un- 
less she  is  more  than  sylph-like  her  art  will  be  completely 
wasted.    This  is  the  demand  of  the  screen! 

She  has  high  hopes  now.  Wan  and  convalescent  in 
the  hospital,  she  smiled  and  expressed  the  wish  that  this 
drastic  measure  would  allow  her  to  continue  her  career. 

Some  of  the  stars  are  really  sensible  about  diet.  Mary 
Pickford,  for  instance,  often  takes  the  milk  cure,  pre- 
scribed by  reliable  physicians.  Lillian  Gish  is  prac- 
tically a  vegetarian. 

The  "Miss  Los  Angeles"  of  a  few  years  ago  was 
Kathryn  Grant.  A  film  career  was  assured  when  she 
was  given  a  long   term      [  continued  on  page  113  ] 

33 


Girl 

Wanted 


By  Cal  York 


Charlie  Chaplin  went  to  a 
Los  Angeles  fight  recently. 
He  saw  Virginia  Cherrill,  a 
blonde  Chicago  visitor  to  the 
coast.  He  signed  her  imme- 
diately for  his  forthcoming 
comedy,    "City    Lights" 


JUST  what  does  it  take  to  be  Charlie  Chaplin's  leading  lady? 
If  you  can  figure  that  out,  you  can  be  Mayor  of  Beverly  Hills  and  dance 
the  first  seven  dances  with  Clara  Bow. 
For  Charlie's  leading  women  have  been  the  sensation  of  Hollywood  and, 
later,  of  the  movie-mad  world.  Hollywood  wakes  up  every  morning,  stretches, 
yawns  and  asks  the  clerk  what  the  latest  quotation  is  on  Chariot's  Lead,  Pre- 
ferred. 

There's  no  answer.    Evidently,  all  a  gal  needs  is  a  lot  of  luck,  all  good. 

Recently  Chaplin  saw  a  Chicago  girl 
named  Virginia  Cherrill  at  a  bo.x  fight. 
Before  you  could  say  Waladek  Sbyszko  she 
was  made  leading  woman  of  "City  Lights," 
his  new  film.  She  probably  didn't  know  a 
Kleig  light  from  an  assistant  property  man, 
but,  P.  S.,  she  got  the  job. 

Of  course,  if  you  are  a  nut  on  hunches, 
believe  in  numerology  and  once  played  the 
Ouija  board,  you  can  go  for  the  '"A"  hunch. 
Look  at  the  list. 

Edn-A,    Lit-A,    Georgi-A,    Mern-A,    and 
now  Virgini-A. 
But  let  that  go. 
Chaplin,  himself,  carried  it  further. 

HERE  are  the  characteristics  he  wants  in 
one  of  his  leading  women — 

Appeal,  adaptability,  ambition,  amiabil- 
ity, and  attractiveness. 

The  ayes  seem  to  have  it. 

Where  other  stars  hem,  haw  and  figure, 
ChapHn  picks  his  girls  out  of  thin  air.  If 
he  knew  of  thinner  air,  he  would  go  to  it. 

If  you  girls  think  you  are  all  broken  out 
with  a  rash  of  "IT,"  don't  bother  about  a 
Chaplin  job.  He  places  physical  appeal  last 
in  his  list  of  qualifications. 

Hear  the  Little  Grey  Clown  himself  on  the 
subject. 

"To  be  a  leading  lady  for  me,"  says 
Charlie,  "a  girl  must  have  appeal,  but  not 
necessarily  sex  appeal.  She  must  have 
youth,  but  not  necessarily  screen  experience. 

"In  fact,  I  prefer  that  she  have  no  picture 
e.xperience.  Without  it,  she  has  fewer  faults 
to  correct.  She  must  be  adaptable,  too,  in 
order  to  take  direction.  She  should  have 
some  appreciation  of  music  in  order  to  be 

The  very  first  scene  of  Charlie  Chap- 
lin and  his  new  discovery,  Virginia 
Cherrill.  Charlie  says  his  leading 
women  must  have  appeal,  adapta- 
bility, ambition,  amiability  and  at- 
tractiveness. All  A's — and  Virginia 
fills  the  bill.  Charlie's  leading 
women  last  one  picture  and  then 
depart.     But  they're  famous 


isa 


•iU 


'No  Kxperiena  Required 


I 


"To  be  a  leading  woman 
for  me,"  says  Charlie 
Chaplin,  "a  girl  must 
have  appeal  but  not  sex 
appeal'' 


susceptible  to  vibrations.  When  one  becomes  absorbed  in  a  part  one 
is  only  a  sounding  board  reflecting  the  play  of  emotions. 

"Also,  a  girl  must  be  ambitious.  Otherwise,  she  will  not  take  her 
work  seriously.  And  to  succeed,  one  must  be  intensely  serious,  par- 
ticularly in  pictures." 

All  the  Chaplin  leading  women  have  possessed  these  qualifications. 

Run  down  the  list.  Edna  I'urviance,  Lita  Grey,  Georgia  Hale, 
Merna  Kennedy  and  now  Virginia  Cherrill. 

NOTE  well  that  there  has  been  something  dramatic — something 
really  romantic,  about  the  bolt  of  lightning  that  has  hit  these 
unknowns,  from  first  to  latest. 

In  1915  Chaplin  went  to  a  dance  in  San  Francisco.  He  didn't 
crave  it,  but  he  went.  There  he  met  a  blonde  girl  from  Lovelock, 
Nevada,  who  was  learning  stenography  in  the  Golden  Gate  town.  He 
danced  with  the  girl,  and  liked  her.     Her  name  was  Edna  Purviance. 

Today  that  same  blonde  girl,  who  never  had  a  written  contract  with 
Charles  Chaplin  in  her  life,  who  received  other  ofTers  and  could  have 
left  him  flat  on  the  lot,  who  never  took  advantage  of  her  position  as  the 
great  comedian's  lead — is  still  on  the  Chaplin  payroll  at  precisely  the 
same  salary  she  enjoyed  during  the  height  of  her  popularity. 

Chaplin's  intimates  say  that  whether  Edna  Purviance  makes  a 
picture  or  never  postures  for  the  camera  again  she  will  still  be  on  that 
salary  list  at  full  pay. 

That's  the  Chaplin  sense  of  loyalty. 

Charlie  first  met  Lita  Grey  when  she  was  doing  an  e.xtra  bit  in 
"The  Kid."  She  was  just  a  spindly  kid  then,  less  than  12.  She  and 
her  mother  both  worked  in  that  one,  and  in  "The  Idle  Class." 

Then,  when  Charlie  began  "The  Gold  Rush"  without  a  leading 
lady  Mrs.  Grey  brought  Lita  over  to  show  the  comic  what  a  big  girl 
she  was  now. 

She  wore  an  organdie  dress,  and  its  simplicity  caught  Charlie's  eye. 
He  made  a  test  of  her,  bundled  in  furs.  After  all,  he  might  need  a  head 
girl  before  the  film  was  through.     The  rest  is  in  the  book. 

GEORGIA  HALE  was  discovered  along  with  Joe  von  Sternberg.  She 
was  the  leading  woman  in  "Salvation  Hunters."  George  K.  Arthur, 
then  a  cocky  little  Britisher  doubling  from  the  grocery  business  into 
films,  wangled  Charlie  into  taking  a  look  at  the  picture. 

That  great  story,  too,  is  in  the  book.  Arthur  got  a  swell  job  w^ith 
Metro-Goldwyn,  and  Chaplin  made  Miss  Hale  leading  woman  in 
"The  Gold  Rush"  after  his  marriage  to  Lita  Grey.  .\nd  Georgia  is 
"_Chaplin's  staunch  admirer  and  friend  today. 

Oddly  enough,  Merna  Kennedy  was  introduced  to  Chaplin  by 
Lita,  who  recommended  her  for  the  lead  in  "The  Circus."  That,  of 
course,  was  pre-war,  before  suits  and  counter-suits  had  turned  Chaplin's 
hair  grey,  and  no  pun  meant. 

The  story  of  Virginia  Cherrill  remains  to  be  told.  Time  will  tell  it. 
The  beginning  is  dramatic  and  romantic.  What  the  end  will  be  is  in 
the  lap  of  the  gods. 

Since  Purviance's  day,  no  leading  woman  for  Chaplin  has  made  more 
than  one  picture.  They  come  and  go,  like  the  seasons  and  the  family 
bootlegger. 

They  are  not  too  beautiful,  these  children  of  chance.  They  are  with- 
out experience. 

What  to  do,  girls?     Carry  a  rabbit's  foot,  probably. 

And  yet  the  rabbit  .once  had  four  of  them,  and  what  good  did  they 
do  him? 


6^dnm 


bo 


%e  Studio  Murder 


Two  conflict- 
ing confes- 
sions baffle 
the  Holly- 
wood Police- 
Try  your  skill 
at  solving  the 
startling 
crime  and  win 
$3,000 

What  Has  Gone  Before 

Dwight  Hardell,  one  of  the  foremost 
players  of  the  Superior  Films  Company, 
is  found  dead  on  Stage  Six.  Hardell,  who 
has  played  heavies,  has  been  something 
of  a  scoundrel  in  his  private  as  well  as 
his  make-believe  life.  He  has  an  un- 
savory reputation  as  a  ruthless  philan- 
derer. 

Chief  of  Detectives  Smith  quickly 
takes  over  the  investigation.  The  search 
for  clues  starts.  It  is  revealed  that  Har- 
dell and  Director  Franz  Seibert  left  the 
studio  together  at  12:17  a.  m.  after 
working  together  for  three  hours  on  close- 
ups  in  an  otherwise  deserted  studio.  It 
also  develops  thai  Billy  West,  Seibert's 
■  assistant,  and  Yvonne  Beaumont,  a 
French  actress,  were  in  the  studios  on  the  night  of  the  murder — on 
mysterious  errands  outside  their  film  work. 

The  corotier's  examination  of  Hardell's  body  tends  to  show, 
strangely  enough,  that  the  actor  must  have  died  before  or  shortly 
after  midnight.  The  death  weapon  was  a  rapier  used  in  the  film 
scene.  This  weapon  is  without  finger  prints  of  any  kind,  although 
other  prints  are  found  on  the  murder  set. 

The  investigation  continues.    Now  go  on  with  the  story. 

FOR  a  moment  the  president  sat  looking  back  unblink- 
ingly  into  the  detective's  grey  eyes.  Then  he  said  thought- 
fully, "Four  people  you  say.  Veil,  there  vould  be  Seibert, 
and  Hardell  .  .  .  and  maybe  Billy  Vest,  but  I  do  not 
think  so.    Seibert  sometimes  vorks  absolutely  alone.    Veil,  then 
there  vould  be  Seibert  and  Hardell.     That  is  two.     You  mean 
two  more  besides  them,  then?" 

"I  mean  four  besides  Hardell,   the  murdered  man  .   .   ." 
"You  mean  four  people  vere  mixed  up  in  that  murder? 
You  mean  you  got  four  suspects?" 

36 


"That's  more  like  it,  when  I  identify  the  fourth  .  .  .  who  at 
this  point  is  just  'another  woman',"  returned  Smith. 

"Another  voman.     You  haflf  then  von  woman  already?" 

"Proof  positive  that  Miss  Beaumont  came  out  here  last 
night  to  see  Hardell,  and  evidence  tending  to  show  that  she  . . ." 

He  was  interrupted  by  Rosenthal,  who  made  a  low  moan  of 
protest. 

"I  could  not  to  believe  it!  You  do  not  know  her!  No,  there 
iss  something  the  matter  vid  your  evidence!"  he  stuttered,  and 
then,  "And  already  ve  are  going  to  star  her!  Already  ve  haff 
bought  a  story,  just  for  her,  and  Bonet  is  to  direct  it!  Ve  haff 
the  news  stories  in  all  the  papers,  last  week,  and  in  all  the  fan 
magazines  .  .  .  ve  haff  our  releases  aU  set  ...  I  tell  you,  Mr. 
Smith,  this  is  terrible!    I  do  not  believe  it!" 

"Sergeant  Clancy  has  the  case  all  cut  and  dried,"  said 
Smith,  grinning  reminiscently.  "To  his  mind  Miss  Beaumont 
is  the  guilty  person.  But  so  far  she  is  really  just  a  possibility." 
Then  he  told  Rosenthal  of  the  note  taken  from  BiUy  West,  and 
written  to  Yvonne. 


Mystery 


By 
The  EDINGTONS 


"Veil,  and  because  she  writes  a  silly  letter,  you  make  of  her  a 
murderess!     That  man  Clancy  is  a  dumb  bell  ...  a  fool! 
exclaimed  Rosenthal  angrily. 

"Ah  .  .  .  but  .  .  .  there  were  finger  prmts  on  the  set  .  .  .  a 
woman's  fingers  marked  in  blood  on  the  canvas  door  .  .  .  plenty 
of  other  finger  marks  ...  and  when  these  are  matched  up  with 
the  ones  on  the  letter,  I  am  afraid  .  .  .  but,  we  will  go  to  the  third 
party,  a  man  who  wore  rubber  soled  shoes,  bull-dog  grip.  Does 
your  night  watchman  wear  such  shoes.-"' 

ROSENTHAL  held  out  his  fat  hands  protestingly. 
"Mr  Smith,  how  should  I  know  vat  my  night  vatchman 
vears?    I  do  not  look  at  the  feet  of  my  people.    It  is  their  faces 

I  should  look  at!"  ,.   ,.  r  -j     .t  ■„„ 

"Forget  the  question.  I  was  only  thinking  of  identifying 
the  man  .  .  ."  Smith  looked  up  and  smiled.  "But,  such  shoes 
were  certainly  on  that  set!"  He  described  the  trai  left  by 
them,  adding.  "If  the  wearer  of  those  shoes  is  the  murderer  we 
know  that  he  was  on  the  set  for  several  minutes  after  he  killert 


Itluitriiled    by 
C.    A.    BRYSON 


"Billee!  Why  have  you  the  hand- 
cuffs on?"  Yvonne  burst  into  the 
room,  her  grey,  dusky-lashed  eyes 
wide  with  terror,  her  sweet  red 
mouth  quivering.  "Billee!  Talk  to 
me!  1  have  heard  when  I  come  on 
the  lot  that  Dwight  is  murdered! 
Tell  me!  You  .  .  .  didn't."  She 
stopped  and  her  great  eyes,  now 
tear  filled,  questioned  him.  "He 
said  he  did,  Miss  Beaumont,"  said 
Chief  of  Detectives  Smith,  quietly 


Hardell,  or,  he  left,  and  returned  a 
few  minutes  later.  If  this  is  the  man  I 
think,  and  if  the  evidence  of  the  gate- 
man  shows  him  to  have  been  here  in  the 
studio  at  that  time,  he  will  have  to 
have  a  darn  good  alibi.  .  .  .  Now,  as  to 
the  fourth  person.  We  will  call  her 
the  'unknown  woman.'  I  say  fourth, 
but  this  person  may  turn  out  to  be 
the  same  as  the  writer  of  the  note  .  .  . 
Miss  Beaumont. 

OUR  unknown  woman  was  also  on 
the  set  at  the  time  of  the  murder. 
She  either  committed  it,  or  witnessed  it. 
How  do  I  know?    I  shall  have  to  keep 
some  of  these  tale-telling  clues  to  my- 
self, but  you  shall  know  them  all  in 
time.     She  was  frightened  .  .  .  forced 
to    hide,    at    one    time.      Later    she 
must  have  gone  to  the  body  of  Hardell, 
and,    in    an    attempt    to    find    if   he 
were    dead    or    not,    leaned     down 
and   touched    him.       She    got    blood 
on  her  hand,  which  evidently  terrified 
her,  for  she  fled  the  set.     I  know  that 
she-  was  terrified,   and  that  she  fled, 
because  she  left  her  finger  marks,  in 
blood,  on  the  canvas  door.     A  per- 
son in  a  normal  state  of  mind  would 
not   have   done   that.      If   the   finger 
prints  on  the  door,  and  the  ones  on  the 
letter  paper  are  identical  .  .  .  you  see 
what  we  have?     Beaumont.     Also,  other  things  carry  out  the 
theory.    She  was  angry  at  him.     Perhaps  afraid  of  him.    .\ny- 
way,  'furious  because  he  persisted  in  his  attentions.     \  furious 
woman  sometimes  acts  .  .  .  and  thinks  afterwards.     That  the 
murder  was  unpremeditated,  if  committed  by  this  woman,  is 
probable  .  .  .  most  likelv.     She  killed  him.   and  then,  became 
horrified,  and  hvsterical  ...  in  short,  rushed  away. 

"Now,  as  I  said,  we  have  four  suspects:  Seibert,  who  was 
undoubtedly  the  last  man  to  be  with  Hardell  the  night  he  was 
murdcreci;  the  wearer  of  the  rubber-soled  shoes,  who  has  left 
his  bloodstained  evidence  for  all  to  see;  Miss  Beaumont,  who 
wrote  Hardell  that  'tonight  she  would  end  all  between  them." 
(Rather  a  significant  remark,  don't  you  agree?)  And  then,  this 
third  party  ...  a  woman,  from  the  small  finger  prints,  who  .  .  . 
dipped  her  hand  in  Hardell's  life  blood!" 

Abraham  Rosenthal  sat  in  stunned  silence.  Accustomed  to 
visualizing  a  scene  presented  to  him  .  .  .  trained  by  his  pro- 
fession to  put  life  and  movement  into  mere  names  of  persons  .  .  . 
he  was  now  looking  at  this  dim  set,  through  which  dark  and 

37 


La 
"I 


''T  was  a  grand  night  for  a  murder,  sor,  as  I  said  to  MacDougal," 
Lanning,  the  night  watchman,  told  Chief  of  Detectives  Smith, 
made  me  rounds  and  near  froze  to  death  with  the  dirty  fog 
creepin'  down  me  back.  Things  began  to  happen.  Whin  I  starts  on 
me  11:30  round  I  sees  a  woman's  figger  runnin'  down  the  women's 
dressin'  rooms.  I  see  it  steahn'  out  of  the  bushes  on  the  West  side 
of  Stage  Six,  and  makin'  for  the  stage  door.  That  was  just  at  mid- 
night." 


19  Prizes,  Totaling  $3,000,  Offered  for 
the  Best   Murder  Mystery  Solutions 


sinister  figures  flitted,  and  in  which  a  man  has  been  stabbed  to 
death;  it  was  all  frightfully  real  to  him. 

"  Gott  of  Abraham!"  he  finally  groaned.  "Iss  it  that  all  my 
people  are  murderers?" 

"All  men  are  murderers — yes — Mr.  Rosenthal,"  said  Smith 
soberly.  "There  is  a  time  in  every  human's  life  when  the 
veneer  of  custom  is  thrown  aside  .  .  .  at  least  in  the  mind  .  .  . 
and  in  such  times  the  taking  of  another  human's  life  becomes 
a  possibility  ...  at  least  in  thought!  I  believe  that  a  great 
many  people  have  felt  an  irresistible  impulse  towards  murder! 
To  some  it  may  come  through  a  desire  to  strangle  .  .  .  with 
the  hands.  To  some  it  may  be  an  over-powering  impulse  to 
pull  the  trigger.  ...  I  fully  believe  that  some  men  who  have 
become  murderers  have  only  yielded  to  this  momentary  im- 
pulse .  .  .  and  then  .  .  .  the  thing  is  done.  They  may  never 
have  had  another  such  impulse  in  their  lives.  Might  never 
again  .  .  .  and  yet,  for  the  brief  lack  of  that  control  .  .  ." 

THE  president  of  Superior  Films  shuddered  audibly. 
"No  .  .  .  no.    That  I  do  not  think,  I, myself,  have  never 
felt  like  murdering  anybody.  .  .  ." 

"Think  carefully.  Back  in  those  difficult  days  when  you 
were  climbing  up  from  the  gutter  ...  oh  yes,  I  know  your 
history  .  .  .  when  life  seemed  a-hard  and  bitter  struggle  .  .  . 
when  other  humans  with  money  and  power  seemed  cold  and 
selfish  beasts  .  .  ." 

"  Veil,  mebbe  a  couple  of  times  there  was  low-lifers  I  vished 
vould  die,"  admitted  Rosenthal  naively. 

Smith  smiled,  ".^ndif  you  had  had  those 'low-lifers'  at  your 
mercy,  at  a  time  when  you  resented  their  power,  their  e.xistence, 
most  .  .  .  what  then?  My  theory  is  not  improbable.  Meiiand 
women,  as  they  exist  today,  are  but  the  sum  total  of  the  genies 
of  their  ancestors,  plus  the  variations  and  inhibitions  which 
civilization  has  instilled  in  them!  Take  away  the  inhibitions. 
Man  killed  in  the  beginning,  and  the  only  code  he  had  was 
whether  it  was  right  or  wrong  to  himself!  Today  we  are  living 
under  mass  determinations  of  right  and  wrong,  which  have 
laid  down  a  code  barring  killings,  except  as  safeguard  for  the 
masses.  Yet,  today  as  in  the  leopard  skin  days,  man  thinks 
.  .  .  and  acts  .  .  .  individually!  Instinctively,  he  is  a  killer! 
He  may  go  through  life  without  being  aware  of  it.  He  may  not. 
He  may  be  aware  of  it,  and  draw  away  in  horror  from  the  idea. 
That  is  because  of  his  culture,  up  through  the  ages! 


^^YUWOR  F/tjv^^ 


DAILY  ^'J*  ""'S  DAILY 

TIME  REPORT  STUDIOS  TIME  REPORT 


The  tell-tale  studio  time  sheet  of  the  murder 

night.    This  plays  an  important  part  in  solving 

the  puzzling  murder  mystery 

"I  have  studied  human  nature  .  .  .  especially  that  human 
nature  which  has  yielded  to  the  killing  impulse  .  .  .  and  I  am 
convinced  that  all  humanity  contains  in  itself  the  impulse  to 
take  life,  should  occasion  arise  that  makes  it  necessary.  Wars 
prove  that.  Murders  prove  that  humanity  contains  this  im- 
pulse, also,  when  occasions  arise  that  create  the  killing  thought, 
even  when  it  is  not  necessary." 

Rosenthal  shivered,  and  shrugged  his  shoulders  as  if  to  shake 
off  the  unpleasant  philosophy. 

"  Veil,  you  haff  had  more  experience  in  that  line  than  my- 
self, certainly  .  .  .  but  I  am  very  glad,  Mr.  Smith,  that  I  do 
not  believe  such  things!  It  vould  make  me  very  miserable.  I 
should  look  at  efferbody  like  they  vas  already  murderers!" 

Smith  smiled,  and  said, 

"  Well,  maybe  it's  a  good  thing  a  lot  of  us  who  have  decided 
ideas  about  things,  don't  go  around  preaching  them  ...  or 
thinking  of  them  all  the  time!  I  assure  you  I  do  not  go  around 
looking  at  people  as  though  they  were  murderers!  Only  .  .  .  when 
I'm  on  a  case  like  this  .  .  .  and  .  .  ."he  pulled  out  his  watch, 
"Clancy  ought  to  be  along  pretty  soon  with  your  watchman." 

Rosenthal  did  not  answer.  Smith  reached  over  and  took  a 
cigar,  and  for  a  little  while  each  man  sat  with  his  own  thoughts. 

There  was  a  knock  on  the  door,  and  Smith  opened  it  to  admit 
Clancy,  propelling  before  him  a        [  continued  on  p.\ge  90  ] 


Rules  for  Studio  Murder  Mystery  Solutions 

1.  Nineteen  prizes,  totalling  $3,000,  are  offered  for  They  must  be  typewritten  on  one  side  of  a  sheet  of  paper 
the  best  solutions  to  the  thrilling  serial,  "The  Studio  and  contestant's  name  and  address  must  be  typed  on 
Murder  Mvsterv. "  This  story  will  appear  in  Photoplay  the  upper  left  hand  corner. 

in  eight  installments.  Thefirsiinstallment  appeared  in  the  4    ^he  nineteen  prizes  wiU  be  awarded  as  follows: 

October,  1928,  issue  and  the  concludmg  mstallment  will  Fir-t  Prize                                      $1  000 

appear  in  the  May,  1929,  issue.     After  the  appearance  Second  Prize SOO 

of  the  March,  1929,  number,  on  February  15th,  1929,  Third  nrize    350 

solutions  to  the  mystery  may  be  submitted  but   not  Fourth  nrize 150 

before  that  date.      All  solutions  must  be  received   by  Five  orizes  of  $100 SOO 

Photoplay  before  midnight  of  March  10th,  1929,  to  re-  -p^j^  prizes  of  $50    500 

ceive  consideration.  The  final  installments  of  "The  Studio 

Murder  Mystery,"  printed  in  the  April,  1929,  and  May,  In  the  event  that  two  or  more  contestants  tie  for 

1929,  issues,  will  solve  the  mystery.     The  full  list  of  any  award,  duplicate  prizes  will  go  to  each  contestant. 

winners  will  be  announced  as  soon  after  the  close  of  the  5    ^11  solutions  must  be  addressed   to   The   Studio 

contest  as  possible.  Murder  Mystery  Editor,  Photoplay,  221   West  57th 

2.  .Awards  will  be  made  according  to  the  accuracy  of  Street,  New  York,  N.  Y. 

contestants  in  foretelling  the  real  solution  to  "The  Studio  5    ^^  solutions  will  be  returned  to  contestants.     No 

Murder  Mystery      as  worked  out  by  the  authors,  the  inquiries  regarding  this  contest  will  be  answered.    Failure 

Edingtons.    Literary  merit  will  not  count.     The  awards  j^  f^iflu  g^g^v  rule  will  invalidate  your  solution.     The 

will  be  made  wholly  upon  the  detective  ability  of  con-  contest  is  open  to  evervone  except  employees  of  Photo- 

testants  in  working  out  the  mystery,  e.xplaimng  how  the  p^^v  and  members  of  their  families.     It  is  not  necessary 

crime  was  committed,  giving  the  reasons  and  naming  j^  ^^  .^  subscriber  or  even  a  purchaser  of  a  single  copy 

the  real  murderer.  ^f    Photoplay.      You    can    consult    copies    in    public 

3.  Solutions  must  be  written  in  200    words    or    less.  libraries,  if  you  wish. 


JO 


Here  Are  Winners 


The    Prize    Winners 

First  Prize  $1,500 — Ruby  Album 
Margaret  Myers 

II718  Browning  Ave.,  Cleveland,  Ohio 

Second  Prize  $1,000 — "Starlit"  Wedding 

Mrs.  a.  Lauritzen 

1236  Churchill  Ave.,  St.  Paul,  Minn. 

Third  Prize  $500 — Gilded  Fan 
Bernard  Finkelstein 

1491  St.  Johns  Place,  Brooklyn,  N.  Y. 

Fourth  Prize  $250 — Stage 

Mrs.  J.  Howard  Greene 
Cherrywood  Apts.,  2315  Alice  St.,  Dallas,  Texas 

Fifth  Prize  $125 — Train 
Mrs.  J.  A.  Reisser 

633  Keel  Ave.,  Memphis,  Tenn. 
[additional  prize  \vinners  on  pace  78  ] 


ALL  the  returns  are  in  and  the  judges  have  made  their 
decisions   in    Photoplay's    Fifth    Cut    Picture    Puzzle 
Contest.     Simultaneously   with   the  appearance  of  this 
issue  of  Photoplay  on  the  newsstands,  the  five  capital  and  the 
forty-five  lesser  awards  are  placed  by  Uncle  Sam's  mail  carriers 
in  the  hands  of  the  winners. 

Previous  to  this  published  announcement,  only  the  "Big 
Five"  had  any  inkling  that  their  solutions  were  being  con- 
sidered. This  advance  information  could  not  be  kept  from 
them,  if  their  photographs  and  letters  were  to  be  received  in 
Photoplay's  editorial  offices  and  printed  in  the  same  issue 
with  this  announcement.  But  in  no  instance  did  any  one  of 
the  five  have  the  slightest  clue  as  to  what  rank  his  or  her  entry 
would  take.  So  that  they,  too,  have  shared  in  the  suspense 
as  well  as  the  prize  money  with  the  other  lucky  forty-five. 
When  at  midnight,  September  twentieth,  the  gong  sounded, 
closing  the  entries,  the  work  of  the  judges  began.  Every  entry 
was  carefully  opened,  examined  and  tabulated.    The  number  of 


Fifty   cash    prizes 

awarded   for   cut 

puzzle  solutions 


correct  solutions  ran  into  the  hundreds,  thus  intensifying  the 
labor  of  the  judges.  The  manner  in  which  the  solutions  were 
presented  was  so  varied  and  so  ingenious  as  to  call  for  the 
most  minute  comparisons  and  the  most  careful  consideration. 

THE  preliminary  preparations  required  even  more  time,  since, 
among  the  thousands  of  entries  made,  the  incorrect  ones  had 
first  to  be  sifted  from  the  others.  This  task  was  particularly 
unwelcome  to  the  judges,  inasmuch  as  often  a  splendidly 
presented  solution  had  regretfully  to  be  set  aside  because  of 
one  or  more  errors. 

Among  the  commoner  errors  was  that  of  dropping  the  "e"  in 
spelling  Adolphe  Menjou's  first  name.  Another  error,  though 
perhaps  not  occurring  as  often  as  in  some  of  the  contests  in 
previous  years,  was  the  placing  of  hair  on  the  wrong  head. 
The  male  were  oftener  guilty  of  this  than  the  feminine  en- 
trants, apparently  indicating  that  hair  has  more  significance 
to  a  woman  than  it  has  to  a  man. 

That  Photoplay's  annual  Cut  Picture  Puzzle  Contest  is 
regarded  somewhat  in  the  light  of  a  classic  by  its  readers  is 
evidenced  from  the  fact  that  many  who  fail  to  capture  a  prize 
one  year  come  back  the  next  with  renewed  enthusiasm  and 
determination.  And  in  a  number  of  instances  it  is  a  matter 
of  gratification  to  note  that  ultimate  success  has  crowned  this 
persistent  effort  and  self-confidence. 

Certainly  the  vast  majority  of  contestants — whether  new- 
comers or  veterans — made  a  very  sincere  bid  for  success,  if 
imagination  and  cleverness  in  working  up  a  novel  plan  of  pres- 
entation and  painstaking  care  in  executing  it  are  criteria.  The 
grouping  of  the  solutions  in  the  several  special  rooms  that  had 
to  be  set  aside  to  house  them  was  comparable  to  an  exhibit  or 
bazaar,  international  in  scope,  for  not  only  was  every  section  of 


"•*iiiS 


The  solution  of  Margaret  Myers,  a 
hand  made  Ruby  Album  shown  open, 
and  closed,  won  for  her  the  first  prize 
of  $1,500 


iO 


I 


of  $5,000  Contest 


Mrs.  A.  Lauritzen,  winner  of  second 
prize,  $1,000,  with  her  "Starlit" 
Wedding  and  the  correct  pictures 
on  the  lanterns  around  the  garden 


Ihis  country  represented,  but 
Canada,  Mexico  and  even  far- 
away Australia  were  not  back- 
ward in  entering  their  cham- 
pion puzzle  solvers.  Indeed,  with  the  exception  of  Asia,  not  a 
continent  failed  of  representation. 

Our  own  Pacific  Coast,  though  relatively  closer  to  Hollywood 
than  the  rest  of  the  country,  was  not  so  well  represented  as  one 
might  think.  The  Mid-Westerners  were  heavy  contenders,  as 
were  noticeably  some  of  the  Southern  States,  particularly 
Texas.  But  sweeping  the  country  from  north  to  south  and 
from  east  to  west,  not  a  single  state  was  found  that  was  not 
without  a  really  creditable  quota.  As  one  of  Photoplay's 
readers  wrote,  in  submitting  her  entry:  "This  is  not  just 
another  one  of  those  contests;  it's  a  national  institution." 

EVERY  possible  type  of  presentation  seems  to  have  been 
entered.  The  world  of  the  motion  picture  and  the  theater;  of 
business  and  of  invention;  of  adventure  and  of  play;  the  new 
and  the  old;  the  prosaic  and  the  romantic;  the  bizarre  and  the 
commonplace — jostled  each  other.  Here  a  dance  pavilion, 
with  the  faces  of  the  stars  in  the  Contest  gazing  upon  the  scene 
from  the  walls,  there  a  Spanish  galleon;  Charlie  Chaplin  dances 
with  a  fair  charmer;  the  stars  gaze  upon  you  from  chess  and 
checker  boards,  from  packs  of  cards,  from  footballs,  from 
baskets  of  flowers,  from  automobiles,  trains,  steamships,  wind- 
mills, from  books,  fans,  crazy  quilts  and  cushions;  they  dangle 


The    beautiful    Gilded    Fan,    the 

work  of  Bernard  Finkelstein,  won 

for  him  the  third  prize  of  $500 


from  the  neck  of  a  great  toad 
made  of  green  silk;  they  peer 
at  you  from  chests  of  drawers; 
they  ride  in  chariots.  They 
represent  characters  and  events  as  thrilling,  as  romantic,  as 
lovable,  as  fascinating,  as  the  world  of  the  motion  picture. 

Here  in  tabloid  we  catch  a  glimpse  of  the  vast  realm  of  the 
screen.  We  begin  to  understand  something  of  what  it  has  done 
for  the  ideals,  the  emotions,  the  lives  of  us  all.  And  all  this 
packed  away  in  the  scanty  quarters  of  three  rooms! 

The  first  prize — Si, 500 — is  awarded  to  iSliss  Margaret  Myers 
of  11718  Browning  Ave.,  Cleveland,  Ohio,  for  her  Ruby  Album. 

She  writes:  "My  solution  under  consideration  for  a  prize! 
What  news  could  be  better  to  'pep'  me  up  just  now,  while 
convalescing  from  an  illness? 

"It  seems  as  if  I  have  always  been  a  movie  fan — as  long  as  I 
can  remember.  Following  up  all  the  news,  pictures  and  chats 
about  my  favorites  of  the  screen,  I  have  come  to  depend  on 
Photoplay  to  keep  me  well  informed.  The  announcement  of 
the  Cut  Picture  Puzzle  Contest  in  the  June  issue  proved  too 
tempting  to  resist. 

"My  time  is  rather  limited  because  I  work  in  an  ofSce  all 


The  Thirty-Two  Correct  Cut-Puzzle  Answers 


June 

Sally  Rand 
Alice  White 
Alice  Joyce 
Louise  Brooks 
George  O'Brien 
Neil  Hamilton 
Ralph  Forbes 
Harry  Crocker 


July 

Charles  Rogers 
Raoul  Walsh 
James  Murray 
Ramon  Novarro 
Sue  Carol 
Madge  Bellamy 
Nancy  Phillips 
Lois  Moran 


August 

Marceline  Day 
Laura  La  Plante 
Phyllis  Haver 
Ruth  Taylor 
Gary  Cooper 
Adolphe  Menjou 
William  Powell 
Don  Alvarado 


September 

Dolores  Costello 
Greta  Garbo 
Aileen  Pringle 
Estelle  Taylor 
Rod  La  Rocque 
Harold  Lloyd 
Ben  Lyon 
Antonio  Moreno 

41 


Photoplay's    Fifth    Cut    Picture    Awards 


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HARR\  CROCItK      GEORGE  OBRIIIN        \IICI      w  ti  I  T  t       NHL  HAHILTOUt 


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OAHY  COOPER    PHVLLfSHftVEfi     WtLl  lAM  POWElt      DON  AtVAR^OO 


This  elaborate  thirty- 
two  compartment 
stage,  one  for  each 
star  in  the  contest,  is 
the  work  of  Mrs.  J. 
Howard  Greene,  and 
was  awarded  the 
fourth  prize,  $250 


day,  besides  managing  our  home  for  dad,  brothers  and  sister. 
So  I  decided  to  use  my  vacation  in  making  an  old  gold  volume 
of  French  design  taken  from  the  Fifteenth  Century." 

In  reply  to  a  telegram  from  Photoplay,  in  which  she  was 
asked  what  she  would  do  in  case  she  won  one  of  the  principal 
prizes,  ]\Iiss  Mj'ers  said:  "I  would  like  to  send  my  sister 
through  college. 

"To  be  able  to  travel,  visit  places  I've  read  about  and  want  so 
much  to  see.     To  continue  studying  music. 

"To  be  able  to  do,  oh,  a  thousand  and  one  things  in  a  future 
as  golden  as  my  book,  with  days  as  shining  as  its  pages — if  I 
should  be  one  of  the  fortunate  ones!" 

THE  second  prize — .§1,000 — goes  to  Mrs.  A.  Lauritzen, 
1236  Churchill,  St.  Paul,  Minnesota,  for  her  solution  pre- 
sented as  "A  Wedding  in  a  Starlit  Garden." 

She  says:  "  Various  contests  conducted  by  Photoplay  have 
aroused  my  interest,  but  not  until  this  latest  one  did  I  decide  to 
submit  an  entry. 

"  I  was  thinking  of  the  various  possibilities  for  settings  for 
these  screen  faces  when  suddenly  the  idea  of  my  'Starlit 
Garden'  flashed  through  my  mind.  Ever  since  I  can  remember 
I  have  loved  to  sew,  dressing  dolls  being  my  specialty,  andsince 
my  husband  is  a  florist,  it  was  only  natural  that  I  should  make 


a  setting  which  would  involve  both  a  knowledge 
of  gardening  and  the  knowledge  of  making  and 
dressing  dolls. 

"  If  I  should  be  one  of  the  prize  winners,  I  know 
exactly  for  what  I  shall  use  the  prize  money. 
My  lifelong  ambition  has  been  to  have  a 
children's  ready  to  wear  shop  combined  with  a 
doll  shop." 

And  this  from  Mr.  Bernard  Finkelstein,  1491 
St.  Johns  Place,  Brooklyn,  New  York,  winner 
of  the  third  prize — S500 — for  his  Gilded  Fan: 

"  On  picking  up  the  July  issue  of  Photoplay  I 
noticed  the  prizes  offered  for  the  solution  of  the 
Cut  Picture  Puzzle  and  decided  to  enter  the  Con- 
test and  when  I  did,  I  certainly  acquired  a  great 
deal  of  knowledge  regarding  the  personalities  of 
the  screen  stars,  and  I  spent  many  hours  at  this 
task  after  a  hard  day's  work  during  the  sizzling 
hot  days  of  last  summer,  cutting,  matching  and 
assembling  the  different  faces. 

"My  son,  who  is  now  attending  high  school, 
will  soon  have  to  enter  college,  and  the  prize  money  would  be  a 
great  help  in  that  direction.  Also,  I  have  a  daughter,  who  is 
five  and  wants  to  take  dancing  lessons,  because  she  wants  to 
play  in  the  movies.  The  prize  money  might  go  a  long  way 
toward  helping  achieve  this  goal." 

THE  winner  of  the  fourth  prize — S2S0 — is  Mrs.  J.  Howard 
Greene  of  the  Cherrywood  Apts.,  2315  Alice  Street,  Dal- 
las, Te.xas.  She  presented  her  solution  in  the  form  of  a  set  of 
theatrical  stages.  She  writes:  "I  have  eagerly  watched 
Photoplay's  Contest  every  year  with  longing  and  it  was  only 
this  year  that  I  could  muster  the  courage  to  try  an  entry. 

"If  I  happen  to  be  one  of  the  fortunate  'Big  Five'  group, 
I  shall  use  the  prize  money  to  advance  my  study  of  art,  which 
I  began  in  schoo'  but  have  never  continued  although  I  have 
always  wished  to.  If  I  am  real  fortunate  I  will  study  interior 
decorating  and  later  open  up  a  little  art  shop  all  my  own." 

Mrs.  J.  A.  Reisser  of  633  Keel  Ave.,  Memphis,  Tenn.,  takes 
the  fifth  prize— $125— for  the  "Starland  Limited." 

Here  is  her  letter:  "Being  a  movie  fan,  I  naturally  buy 
Photoplay  each  month  and  knowing  quite  a  few  of  the  stars  I 
became  interested  in  the  contest. 

"To  say  what  I  would  do  with  the  money  is  impossible,  not 
knowing  which  prize  I  might  be     [  continued  on  page  78  ] 


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Here  are  the  stars  in  the  Cut-Puzzle  Contest  riding  in  a  train.    This  novel  solution  was  submitted  by  Mrs. 

J.  A.  Reisser,  and  was  awarded  fifth  prize,  $125 


45 


Ruth  Hairiet  Louise 


(TT^^HY  girls  want  to  go  into  the  movies — just  to  wear  gowns  like 
yy  this.  Carmel  Myers  swishes  around  in  this  creation  of  taffeta  and 
tulle  in  "Dream  of  Love,"  a  picture  originally  called  "Adrienne 
Lecouvreur."  Miss  Myers  plays  a  French  countess  who  gets  all  mixed 
up  in  one  of  those  glamorous  Balkan  romances.  And,  in  "Dream  of 
Love,"  Joan  Crawford  and  Nils  Asther  will  again  share  the  same 
close-ups. 


h3 


r 


The  picture 
ended  in  a  ques- 
tion mark.  But 
those  in  the 
studio  knew 
what  happened 
behind  that 
closed  door 


Th 


e 


TARS  that  Never 


You  remember  him,  don't  you?    A  rare  member  of  that 
curious,   exhilarating,  pathetic  group — the  stars  that 
never  were!    You  remember  him  surely— the  old  China- 
man who  sat  so  silently  in  the  doorway  of  the  joss 
house — in  the  very  last  episode  of  "Other  Gods"?    That  episode 
in  which  the  Oriental  star,  discredited,  slinks  down  the  silent, 
slum  street  and  enters  the  joss  house — and  vanishes. 

You  remember  how  the  old  Chinaman  raises  his  head — and 
stares,  inscrutably,  into  the  passing  star's  face?  And  then  at 
the  very  last,  with  only  a  few  feet  more  to  run — how  he  rises 
suddenly  and  stiffly.  And  whips  out  a  narrow  knife,  from  in- 
side of  his  ragged  garments.  And  follows  the  star  into  the 
joss  house? 

And  how — at  that  moment — the  film  breaks? 

The  critics  called  the  unanswered  question  of  that  ending  a 


bit  of  sheer  art.  They  applauded  the  strange  fatalitv  of  the 
old  Chinaman's  last  gesture.  "A  daring  finale,"  they  said-— 
and  asked,  loudly,  to  see  the  shabby,  bowed  figure  in  other 
pictures.    But  they  never  saw  him  again.    Never. 

Neither,  for  that  matter,  did  they  ever  see  again  the  man  who 
was  the  star  of  "Other  Gods." 

For  the  daring  finale — //  was  not  writlen  into  tlic  script! 
It  just  happened.  .  .  . 

THE  star  had  come  up  out  of  the  darkness  of  Chinatown. 
He  admitted  that,  affably,  when  the  special  writers  ques- 
tioned him.  Furthermore — he  admitted  this,  also,  in  his  care- 
ful, slightly  lisping  English — he  had  not  bought  a  home  in 
Beverly  Hills,  nor  a  house  in  Los  Angeles.  He  still  lived  in 
Chinatown.     And — 


Were 


"My  life  upon  the  screen?"  he  said,  very  charmingly.  "It 
belongs,  wholly,  to  the  public.  But  my  life,  among  my  people, 
is  my  own.  .  .  ."  And,  saying  this,  the  dark  curtain  of  his 
race's  inscrutability  shut  down  over  his  eyes.  And  the  special 
writers  were  forced  to  be  content.  For  that  matter  the  special 
writers  rather  liked  his  reticence — although  it  defeated  their 
purpose,  it  was  a  rare  motion  picture  quality!  And  even 
the  public  did  not  object,  too  vehemently,  to  the  mystery  that 
shrouded  one  of  the  Orient.    In  fact,  they  rather  enjoyed  it. 

FOR  the  public  had,  forgetting  race  prejudice  and  religious 
intolerance,  taken  the  star,  who  was  yellow,  to  their  hearts. 
,  They  had  accepted  him,  and  given  him  the  boon  of  their  favor. 
And  the  public,  than  this,  can  go  no  farther! 

And  so,   in   "Other   Gods,"   the  producers   had   planned   a 


lllustratea   by 

Everett  Shinn 


"You  talk,"  said  the 
director,  "as  if  you're 
in  love  with  him. 
Well,  it's  not  healthy 
for  a  girl  like  you  to  get 
crazy  about  a  fellow 
like  him.  Even  if  he 
wasn't  Chinese,  there 
is  nobody  in  Holly- 
wood that  knows  a 
thing  about  him." 
"If  I  am  crazy  about 
him,"  answered  the 
blonde  star  slowly, 
"it's  my  own  busi- 
ness" 


super  spectacle.  Which — 
because  in  fiction  stories 
inter-racial  alliances  are 
de  trap — must  end  on  a 
note  of  wistfulness. 

You  remember  the  pic- 
ture? But  of  course  you 
do.  How  the  young 
Chinese  boy,  rising  from 
the  gutter,  brings  his 
great  talent  as  an  artist 
into  society.  And  is  ac- 
cepted. And  is  revered. 
And  how,  involved  in  a 
tong  war,  and  a  world 
war,  and  a  romance,  he 
allows  himself  to  be,  at 
last,  beaten.  Rather  than 
to  make  the  golden  haired 
heroine  of  the  screen  un- 
happy. Rather  than  in- 
volve her  in  an  unpleasant 
chain  of  circumstance.  He 
is  the  one — not  she — who 
breaks  their  engagement. 
Do  you  remember  his 
stark,  lonely  face,  in  the 
final  love  scene?  He  is 
the  one  who  goes  stum- 
bling down  a  Chinese 
street,  past  shuffling,  in- 
curious, black  sateen 
coated  figures.  He  is  the 
one  who  reverts  to  type, 
even  in  his  own  shuffling 
walk,  as  he  enters  the  joss 
house — passing  so  close  to 
an    aged,   stupid-eyed 

Chinaman  that  their  garments  touch! 

He  it  is  that  the  aged  Chinaman  suddenly  follows — with  a 

knife  in  his  hand! 

WHEN  they  were  casting  for  the  street  crowd — for  the  joss 
house  set  was  a  built  one,  in  the  studio — the  old  Chinaman 

presented  himself.    With  a  mumbled  word,  in  pidgeon  English, 

at  the  director's  window. 

"Me — "  he  said,  "I  good — actor!" 

The  casting  director  recognized  a  type.     And — 

"Sure  you  are,  big  boy!"  he  agreed,  affably,  and  gave  the  old 

man  a  magic  slip  of  paper — the  magic  slip  which,  to  the  stars 

that  never  were,  spells  open  sesame. 

And  so  the  old  Chinaman  entered  the  studio — and  stumbled 

past  the  wardrobe  room,  and  blinked  [continued  on  page  121  ] 

45 


By  Margaret  E. 
Sangster 


Eleanor  Boardman  used  to  wear  her  hair  long 
and  straight.  It  was  different  and  conservative 
— but  not  becoming.  Now  Eleanor  has  one 
of  those  new  shoulder-length  bobs,  curled  off 
the  face  and  ears.  This  picture  proves  that  a 
good  coiffure  makes  a  pretty  girl  prettier 


The  HoUywoodcn  Santa  Clans 
Distributes  presents  without  pause. 
A  gallon  here,  a  gallon  there, 
His  Klaxon  snorting  on  the  air. 
And  kiddies  hear,  as  midnight  tolls, 
The  busy  humming  of  his  Rolls. 

JOAN  CRAWFORD'S  new  home  in  Brentwood  Park  has 
been  christened  "El  Jodo,"  a  contraction  of  Joan  and 
Dodo,  the  pet  name  of  Doug  Fairbanks  Jr. 

Joan  has  changed  considerably  since  her  engagement, 
or  some  say  marriage,  to  Doug.  The  gay,  dancing  feet  are 
still  and  Joan  is  cooking  and  sewing — yes,  actually — and 
managing  her  home  in  an  economical  manner.  The  other 
day  a  linen  salesman  called  at  the  house  with  his  wares. 

"This,"  he  said,  "is  a  beautiful  tablecloth,  exactly  like 
one  I  sold  to  Mrs.  So  and  So.    The  price  is  $175." 

"Out  of  my  class,"  said  Joan,  "absolutely  out  of  my 
class.    Show  me  one  for  $40  and  sell  the  others  to  Mrs.  So  and 
So." 

A  year  and  a  half  ago  Joan  would  have  bought  six  of  the  ex- 
pensive linens  without  the  faintest  notion  of  how  she  could  pay 
for  them. 

TAT'HILE  Ramon  Novarro  was  abroad,  he  visited  two 
of  his  sisters  in  the  Canary  Islands  who  are  now  nuns. 
One  of  them  was  caring  for  an  insane  woman.  Ramon  and 
his  sister  sat  on  a  bench  in  the  arbor.  The  patient  came 
and  peeped  through,  callmg  to  the  nun : 

"Sister,  you  gave  up  this  brother  and  all  your  family  to 
come  here,  didn't  you?" 

"Yes,"  Sister  replied. 

"Then  it  is  you  who  are  crazy  and  not  I." 

IT  is  rumored  that  two  hearts  have  been  caught  on  the  re- 
bound.    The  return  of  Eddie  Sutherland  to  the  Paramount 
fold  to  wield  the  megaphone  in  the  next  Bebe  Daniels  picture 

A6 


By  Cal  York 


I-ita  Grey  Chap- 
lin  and  her 
stage-door 
Johnny,  Mr. 
Roy  D'Arcy.  In 
spite  of  a  heavy 
settlement  from 
Charlie,  Lita 
has  gone  on  a 
vaudeville  tour. 
It  costs  money 
to  build  a  big 
house  in  Bever- 
ly Hills.  Roy  is 
waiting  for  one 
of  those  leisure- 
ly California 
divorce  decrees, 
to  ask  Lita  to 
become  the 
second  Mrs. 
D'Arcy 


International  Nt;wsrt;cl 


is  not  entirely  a  business  arrangement.  Bebe,  whose  engage- 
ment to  Jack  Pickford  seems  at  an  end,  and  Eddie,  who 
recently  received  his  divorce  from  Louise  Brooks,  have  been 
seen  frequently  together  and  the  wise  ones  say  that  Eddie  may 
assume  more  definite  directorial  duties  in  a  matrimonial  way. 

NILS  ASTHER  wins  the  Swedish  herring  for  being  Holly- 
wood's most  perfect  host. 

The  other  evening  he  entertained  a  group  of  friends  in  his 
new  hillside  home.  A  merry  fire  crackled  on  the  hearth,  the 
friendly  smell  of  cigarettes  filled  the  room  and  good  talk  flowed 
freely  along  with  the  coffee. 

Finally,  one  of  us  remarked: 

"Now  if  one  could  only  hear  the  sound  of  rain  against  the 
windows  everything  would  be  perfect." 

Nils  excused  himself  and  returned  a  moment  later.  Suddenly 
the  windows  shook  with  the  sound  of  water. 

He  had  instructed  his  house  boy  to  stand  in  the  garden  and 
turn  the  hose  against  the  side  of  the  house! 


of  All 

J    the 


tudios 


Oh  her  toes  for 
a  back  flip. 
Esther  Ralston's 
swimming  pool 
is  more  than  a 
mere  ornament 
in  the  yard 
of  her  home. 
When  Esther 
puts  on  a  bath- 
ing suit,  she 
really  swims. 
Incidentally, 
while  more 
temperamental 
stars  flash  in — 
and  out.  Miss 
Ralston  has  just 
signed  a  nice, 
new  contract  to 
star  in  Para- 
mount pictures 


.j^m? 


TOM  MIX  will  not  allow  his  wife  to  get  a  Paris  divorce.  Not 
that  he  objects  to  a  divorce,  so  far  as  we  can  learn,  but 
merely  that  he  thinks  American  courts  are  able  to  handle  any  of 
his  atfairs  that  need  legal  adjustment.  He  politely  returned 
unanswered  the  questionnaire  sent  him  from  the  French  city. 
Incidentally,  maybe  Tom  is  wiser  than  he  appears.  The 
Paris  divorce  would  permit  him  to  marry  at  once.  Likely  he  is 
insuring  protection  against  himself  in  a  weak  moment,  for  under 
a  California  divorce  he  cannot  possibly  be  married  under  twelve 
months. 

I  cannot  talk,  I  cannot  sing, 
Nor  screech,  nor  moan,  nor  anything. 
Possessing  all  these  fatal  strictures. 
What  chance  have  I  in  motion  pictures? 

GRETA  GARBO  to  sail  for  Sweden,  willioul  signing  a  new 
contract  with  Metro-Goldwyn-Mayer.     And  she  lets  it  be 
well  understood  that  she  doesn't  know  whether  she  is  coming 


•  i- 

Cinderella  and  her  lucky  slippers.  These  bat- 
tered pumps  were  worn  by  Janet  Gaynor  in 
"7th  Heaven."  And  they  are  Janet's  most 
treasured  possession.  She  makes  a  point  of 
wearing  them,  if  only  for  a  few  minutes,  in 
every  one  of  her  pictures — just  for  luck 


back  or  not,  and  that  she  doesn't  care  whether  she  ever 
makes    another    movie. 

From  some  of  the  stars,  this  would  be  written  off  as  plain 
bluflf. 

But  Greta  is  such  a  strange  soul  that  there  is  an  awful 
chance  that  she  might  mean  it. 

Greta  cares  nothing  for  money;  the  lady  lives  in  Spar- 
tan simplicity. 

Fame  hasn't  made  her  particularly  happy. 

AS  for  John  Gilbert,  he  has  signed  with  United  Artists. 
Just  how  things  stand  between  John  and  Greta, 
nobody  knows.  When  John  was  in  New  York,  he  met 
Dorothy  Parker,  one  of  the  wittiest  and  most  attractive 
of  lit'ry  gals. 

And  shortly  after  John  departed  from  the  coast,  Mrs. 
Parker  signed  up  to  write  dialogue  for  M.-G.-M.  Just 
a  lot  of  gossip,  but  there  you  are! 

T  OU  SEILER,  who  is  directing  "The  Ghost  Talks," 
"^a  Fox  talkie,  was  talking  to  a  "culud  gent"  who  had 
been  called  for  a  test. 

(By  the  way,  if  you've  heard  this  one,  stop  me.  Lou 
swears,  however,  it's  the  gospel  truth.) 

"How  are  you  on  lines?"  Lou  asked. 

The  colored  boy  looked  at  him  with  widening  eyes 
before  answering. 

"Boss,"  said  he,  "I  ain't  a-goin'  to  be  in  this  picture 
if  there's  lions  in  it." 


WE  are  beginning  to  understand  why  Jack  Gilbert  could 
nonchalantly  decline  an  offer  of  half  a  million  dollars  a 
year,  now  that  we  know  about  the  money  he  has  made  on  the 
side. 

Heretofore  Jack's  business  adviser  has  never  permitted  him 
to  invest  in  stocks  or  bonds,  but  recently  the  rule  was  broken 
and  Jack  was  permitted  to  buy  a  nice  slice  of  Montgomery 


Horrible  effect  of  the  talkies  on  a  dog's  life. 
John  Loder's  pup,  Tangy,  had  a  way  of  follow- 
ing his  master  on  the  set.  When  Loder  went 
into  the  talkies,  Tangy  broke  up  several  scenes 
with  his  barks.  This  invention  silences  all 
growls.    It  doesn't  work  on  supervisors 


Ward  stock  with  the  result  that  he  cleaned  up  several  hundred 
thousand  dollars. 

WHAT  are  the  movie  stars  to  do,  now  that  producers  are 
engaging  the  girls  and  boys  from  the  stage  to  play  in  the 
talkies?  Well,  the  movie  stars  are  getting  right  back  at  them 
by  going  on  the  stage.  Some  of  the  stars  are  trying  vaude- 
ville, where  the  salaries  are  large  but  there  isn't  much  glory. 
Others  are  venturing  into  the  little  theater  companies  in  Los 
Angeles,  where  there  isn't  much  money  but  lots  of  chance  for 
artistic  reclame. 

BROADW.W— that's  a  street  in  New  York— is  hard  on 
movie  stars.  The  dramatic  critics  on  the  local  newspapers 
polish  up  the  axe  and  lay  in  wait  for  them.  The  only  movie 
star  to  get  kind  words  from  the  old  grouches  is  Dorothy  Gish. 
Dorothy  is  playing  with  her  husband,  James  Rennie,  in  a  piece 
called  "Young  Love."  It  isn't  so  much  of  a  play  but  it  has 
established  Dorothy  as  a  stage  comedienne.  The  girl  is  really 
good. 

"'W'OUNG  LOVE"  is  not  the  lily-white  play  you  might  expect 
i  from  a  Gish.  In  fact,  Dorothy  has  some  lines  that  are  a 
little  "What  Price  Glory."  This  disquieting  news  must  have 
reached  Lillian  in  Austria,  because  on  opening  night  she  sent 
Dorothy  the  following  cablegram:  "No  matter  what  you  do, 
remember  your  family  still  loves  you." 

However,  Dorothy  is  sitting  pretty.  She  has  been  studying 
voice  culture  for  two  years  and  has  developed  a  splendid 
speaking  voice.  And  so  she  is  all  set  for  the  talkies.  "Either 
that,"  says  Dorothy,  "or  announcing  trains." 

'T^HE  other  day  the  Jap  gardener  was  weeding  the  flower 
beds  next  to  the  offices  of  the  writers  in  the  movietone 
section  of  the  Fox  Studio.  Eugene  Walters,  the  play- 
wright, who  has  gone  movie,  watched  him  for  a  time  and 
then  remarked  laconically,  "Better  watch  out,  Hashamaru, 
you'll  weed  out  a  couple  of  writers  if  you  aren't  careful." 

EVA  VON  BERNE  has  returned  to  Vienna.  There  was  no 
blaze  of  glory  to  mark  her  departure.  She  was  sent  back 
beca"use  she  would  not  be  a  success  in  the  talkies!  She  couldn't 
learn  perfect  English  in  two  months. 


This  mechanical  age  hands  another  wallop 
to  art.  It  takes  no  long  hours  of  practice 
to  learn  to  play  the  Rolmica.  You  simply 
insert  a  roll,  turn  the  crank  and  blow — as 
demonstrated  by  Blanche  Le  Clair 


She  will,  no  doubt,  have  a  chance  to  work  at  UFA  abroad 
but  that  does  not  alleviate  the  hurt  she  feels  at  going  back. 
The  episode  was  as  tragic  as  it  was  avoidable.  Irving 
Thalberg  and  his  bride.  Norma  Shearer,  have  received 
thousands  of  dollars'  worth  of  publicity  from  the  Viennese 
"discovery." 

This  is  in  sharp  contrast  with  a  discovery  that  Harry  Rapf 
brought  over,  one  Mona  Martenson,  who  was  given  no  pub- 
licity at  all  and  who,  therefore,  went  back  without  a  heart- 
break. 

CLOTHES  that  make  a  noise  with  their  beads  and  bangles 
are  barred  from  talkie  stages. 

A  ringing  bell  sounds  like  a  fire  alarm.  All  bells  must  be 
muffled   in   the   talkies. 

Special  heavy  cardboard  is  put  in  the  panel  of  the  doors 
on  the  set  when  a  knock  is  supposed  to  sound. 

One  of  the  few  noises  that  records  perfectly  is  the  scratching 
of  a  pen. 

In  "Sal  of  Singapore"  one  of  the  most  interesting  sounds 
is  the  beating  of  a  baby's  heart. 

How  doth  the  little  clarabow 
Improve  each  shining  hour? 
By  turning  Brooklyn's  buttercup 
Into  a  passion  flower. 

THE  difficulty  about  Tui  Lorraine's  passport  has  been 
cleared  up.  Tui's  only  claim  to  fame  is  that  she  is  Clara 
Bow's  stepmother,  having  but  recently  married  Clara's 
father.  When  the  marriage  was  announced  immigration 
officials  found  that  the  gal  had  entered  the  country  illegally 
from  New  Zealand. 

But  the  difficulty  is  solved  when  she  goes  to  Mexicalli  and 
returns  under  her  status  as  an  American  citizen,  which  she 
acquired  by  marriage. 


Clara  Bow's  birthday  present  from  her  boss, 
the  Paramount  Studio.  Clara  couldn't  get 
the  picture  in  her  dressing  room,  so  she  gave 
it  to  her  dad.  And  Papa  Bow  is  now  looking 
for  a  house  with  rooms  as  big  as  those  sets  in 
a  society  drama  to  accommodate  it 


With  just  ten  minutes  between  appoint- 
ments, Billie  Dove  eats  a  taxi  luncheon. 
It's  a  good  trick  but  only  recommended  to 
those  who  live  in  communities  with  bump- 
less,  skidless  roads.      Driver,  go  slow! 


MAYBE  the  reason  that  all  the  gals  in  Hollywood  are  mad 
over  Gary  Cooper  is  because  he  is  so  very  mysterious. 
Everybody  wonders  who  is  the  little  blonde  nonprofessional 
seen  with  Gary  at  all  those  quiet  little  restaurants  and  tea  places. 

JIMMY  MURRAY  stole  a  march— a  wedding  march  at  that 
— on  the  film  colony  and  married  a  little  extra  girl  named 
Lucille  McName.  For  five  weeks  the  marriage  was  kept  secret. 
It  occurred,  strangely  enough,  just  after  Jimmy  found  himself 
without  a  contract  at  M.-G.-M.  Are  they  just  an  old-fashioned 
couple  who  believe  that  two  can  live  as  cheaply  as  one? 

I  met  her  on  the  palace  set. 

Her  eyes  with  glycerine  were  wet. 

I  seized  her  hands,  John  Gilbert-fashion, 

And  Vitaphoned  my  deathless  passion — 

And  when  she  whispered  "Yes!"  (the  sweet!) 

I  kissed  her  for  5,000  feet. 

ME,  oh  my!  It  fairly  puts  one  all  out  of  breath  keeping 
up  with  the  affairs  of  some  of  these  HoUyvvooders.  Now 
there's  Merna  Kennedy  and  James  Hall  who,  according  to  the 
newspapers,  are  supposed  to  be  disengaged.  But  somebody 
who  knows  them  told  me  all  this  paper  talk  is  camouflage. 
They  are  scheduled  to  be  married  in  about  three  months,  so 
my  informant  says,  and  it  will  be  very,  very  secret. 

We  understand  also  that  Merna  and  Mamma  Kennedy  are 
not  getting  on  and  that  Jimmy  is  the  bone  of  contention,  but 
the  funniest  one  of  all  is  this: 

MERNA  and  Mrs.  Kennedy,  and  Lita  Grey  Chaplin  and 
Mrs.  Grey  all  live  in  the  same  apartment  house  but  neither 
couple  knows  that  the  other  is  there!  What  a  problem  the 
landlady  must  have  keeping  this  tragic  information  from  the 
various  mothers  and  daughters.  You  remember  it  was  Lita 
who  introduced  Merna  to  Charlie. 


It  is  interesting  to  note,  too,  that  Roy  D'Arcy  also  has  an 
apartment  in  the  same  house.  At  present  Lita  is  on  a  vaude- 
viDe  tour  and  there  are  rumors  of  strife  in  the  Grey  household. 
It  seems  that  mother  and  daughter  have  had  words  concerning 
one  Mr.  D'Arcy. 

By  the  way,  the  two  little  Chaplin  kids  are  too  cute  for 
words — growing  into  right  sturdy  youngsters. 

"D  OLAND  DREW  may  be  called  upon  to  sing  French 
folk  songs  when  he  plays  opposite  Dolores  Del  Rio  in 
"Evangeline." 

The  other  day  he  asked  a  friend,  who  was  anxious 
for  a  role  in  the  new  picture,  "Do  you  speak  French?" 

Said  the  friend,  "Just  in  the  long  shots,  my  boy,  just 
in  the  long  shots." 

MARION  DAVIES  is  back  in  Hollywood,  after  seeing  all 
Europe  had  to  offer.  She  received  the  decoration  of 
Academic  Palms  in  France  and  Pour  Le  Merite  in  Spain,  but 
Hollywood  would  not  be  outdone  in  its  welcome. 

The  first  night  after  Marion's  arrival,  she  was  given  a 
surprise  party  at  the  Ambassador  hotel  that  is  rarely  surpassed. 
The  joint  hosts  and  hostesses  were  Charlie  Chaplin,  Bebe 
Daniels,  Joe  Schenck,  Mr.  and  Mrs.  Sam  Goldwyn,  Mr.  and 
Mrs.  Robert  Leonard,  Harry  Crocker,  Louella  Parsons, 
George  K.  Arthur,  Harry  d'.\rrast,  and  Matt  Moore.  About 
two  hundred  guests  were  present. 

ROD  L.\  ROCQUE  has  announced  his  intention  of  retiring 
from  the  screen.  Some  folks  tell  me  this  may  be  a  case  of 
"sour  grapes,"  but  Rod's  tale  is  much  to  the  contrary.  He 
announces  that  pictures  bore  him  because  of  inartistic  stories 
and  needless  excitement  over  small  details. 

Producers  seem  to  feel,  however,  that  Rod  has  put  too 
high  a  value  on  his  services.  M.-G.-M.  once  asked  him  to 
bring  his  make-up  kit  to  their  lot,  but  the  officials  thought 
SI, 500  a  week  was  about  enough  in  the  way  of  stipend.  Rod, 
having  been  paid  $3,500  a  week  as  a  star  by  Pathe,  naturally 
didn't  cheer  over  the  M.-G.-M.  offer. 

With  other  producers  feeling  much  the  same  way  about  the 
La  Rocque  popularity,  it  is  not  astonishing  to  hear  that  Rod 
plans  to  retire.  He  will  not  need  to  stand  in  the  bread  line, 
however,  as  the  stock  market  has      [  continued  on  page  80  | 


49 


Jonesy's  dream  comes  true 

and  Diane  of  "7th  Heaven" 

becomes  a  film  immortal 


Janet  Gaynor  at  the  age  of 
twelve.  The  World  War  was 
then  in  progress.  About  this 
time  Janet  gained  local  fame 
as  an  elocutionist,  acquired 
reciting  to  sailorsat  the  Great 
Lakes  Naval  Training  Station, 
near  Chicago 


Harry  Jones, 
Janet 's  step- 
father. "Jonesy" 
saw  Janet  always 
as  a  potential 
screen  star.  He 
lived  to  watch  the 
glory  of  the  open- 
ing night  of  "7th 
Heaven,"  when 
his  Janet  stepped 
to  fame  from 
among  the 
screen's  un- 
knowns 


Simply  and  directly,  Janet  Gaynor  told  last  month  of  her  early 
life.  She  was  horn  in  Gcrmantown,  Philadelphia,  October  6,  1906. 
At  eight  her  father  and  mother  separated.  There  was  a  divorce. 
This  was  the  first  tragedy  of  her  life.  With  her  mother  and  sister, 
Helen,  Janet  moved  to  Chicago.  Janet  spent  her  winters  in  Florida 
with  her  aunt.  These  were  war  days.  Janet  and  her  sister  gave 
recitations  to  sailors  at  the  Great  Lakes  Naval  Training  Station, 
north  of  Chicago.  Janet  began  to  gain  a  little  local  fame  as  an 
embryonic  actress. 

Then  "Jonesy"  entered  the  life  of  the  Gaynors.  He  was  Harry 
Jones,  a  mining  promoter  from  the  West.  Jones  was  married  to 
Mrs.  Gaynor. 

Janet's  step-father  was  destined  to  play  an  important  role  in 
the  future  star's  career. 

m 


Janet  Gaynor  and  George  O'Brien  in  "The  Johns- 
town Flood."  This  was  Janet's  first  dramatic  role. 
She  gave  up  a  regular  S50-a-week  salary  at  Universal 
to  take  it.  It  was  a  venture.  "I  shall  never  forget 
how  hard  I  tried,"  she  says.  "I  was  giving  all  I 
could  to  succeed" 


THOSE  days  under  Jonesy's  protecting  heart  are  very 
sweet  and  fresh  in  my  mind.  Here,  at  last,  were  three 
lone  women  gathered  into  the  warmth  of  a  good  man's 
embrace.  Jonesy  with  his  maps,  with  his  dreams  of 
wealth  when  this  mine  or  that  yielded  its  treasure.  And  they 
never  seemed  to.  His  room  was  stacked  high  with  prospector's 
tools,  with  gauges,  with  blue-prints,  with  books  on  ore.  His 
dreams  of  a  generous  earth  sharing  her  riches  with  him  never 
materialized.    He  lived  in  a  tomorrow  bright  with  promise. 

I  should  not  say  they  never  materialized.  One  dream  did. 
His  blessed  persistent  dream  that  some  day  I  should  be  an 
actress.  "Oh,  Jonesy,  you  silly!  Don't  be  absurd.  I'll  never 
be  an  actress.  One  must  be  very  beautiful  to  be  an  actress. 
Now  look  at  Helen,  she  is  beautiful.  She  should  be  an  actress. 
Anyway,  I'd  rather  be  a  teacher — or  a  lawj'er." 

And  so  I  entered  Poli-Technic  in  San  Francisco  to  finish  my 
high  school  training. 

The  first  summer  I  was  there  I  decided  it  would  be  well  for  me 
to  work.  I  might  as  well  be  self-supporting.  Poor  little  me, 
bashful,  shy,  I  went  out  one  morning  with  a  chum  to  get  em- 
ployment. She  had  a  list  of  three  places  to  which  she  was  to 
apply.  The  first  place  was  the  one  she  took,  without  looking  at 
the  other  two  vacancies.  I  was  to  see  if  I  couldn't  land  one  of 
the  other  jobs.     "You  do  this,  Lolly,  and   do  that,"  she  in- 


So  Far 


as  told  to 

Dorothy  Spensley 

by 

Janet  Gaynor 

structed.     "Don't  be  shy.     They  won't 
bite  you." 

My  first  call  was  at  Frank  Mores'  Shoe 
Shop  on  Geary  Street.  I  was  offered 
eighteen  dollars  a  week,  to  start,  for  ofTice 
work.  It  was  three  dollars  more  than  my 
friend  had  accepted,  so  I  took  it  imme- 
diately. For  three  months  I  worked  at 
Mores'.  I  thought  I  was  terribly  clever. 
And  perhaps  I  was.  I  checked  salary  lists 
and  finally  made  up  the  payroll.  I  de- 
posited company  money  in  the  bank.  It's 
a  wonder  someone  didn't  knock  me  down 
and  step  off  with  the  money.    It  would  not  have  been  difficult. 

Sometimes,  during  a  rush  period  or  at  lunch,  I  would  enter 
the  cashier's  cage  and  take  charge  of  things.    I  felt  very  im- 


m 


Most  of  Janet  Gaynor's 
first  screen  work  was 
done  at  the  Hal  Roach 
comedy  studio.  This 
was  due  to  the  kindly 
interest  of  Molly 
Thompson  of  the  Roach 
staff.  Janet  says  the 
superiority  of  the  other 
girls  simply  floored  her. 
felt  so  immature — 
they  were  most 
superior" 


Janet  Gaynor  and  her  mother.  Mrs.  Gaynor's 
marriage  to  Harry  Jones  shaped  little  Janet's  career, 
for  it  was  "Jonesy's"  faith  in  his  step-daughter 
that  led  her  to  stardom.  Jones  lived  just  long 
enough  to  see  his  hopes  realized 

portant.  They  raised  my  salary  to  twenty  dollars  a  week.  I 
felt  even  more  important.  I\Iy  self-confidence  increased  in  pro- 
portion to  my  success.  Soon  I  was  answering  the  telephone  in 
the  adjustment  department,  telling  irate  customers  that  their 
shoes  would  be  delivered  immediatel>';  telling  theatrical  stars 
that  the  satin  sandals  would  surely  reach  them  for  the  evening 
performance. 

No  one  ever  told  me  I  had  nice  eyes.  That  I  should  be  in 
pictures.    Only  Jonesy,  at  home,  said  that. 

SEPTEMBER  came  and  with  it  school  and  soon  I  returned 
to  Florida  for  the  winter.  It  was  that  year — the  family  had 
lived  in  San  Francisco  for  four  years — that  they  decided  to  move 
to  Los  Angeles.  They  took  a  house  in  Hollywood  where  I  came 
on  my  arrival  from  ifelbourne. 

Of  course,  Hollywood  was  a  thrill  to  me.  At  every  turn  I 
embraced  make-believe  land.  The  stimulating  fairy  stories  of 
my  youth  were  alive  in  Hollywood.  One  never  knew  at  what 
corner  one  might  see  the  glamorous  siren  of  last  night's  motion 
picture.  A  gleaming  limousine  might  bear  the  hero  of  today's 
romantic  drama. 

My  life  was  uneventful,  save  for  those  chance  contacts.  I 
entered  the  Hollywood  Secretarial  School,  bent  on  becoming  a 
stenographer.  Helen  was  already  a  tremendously  capable  one, 
commanding  a  nice  salary.  After  a  week  or  two  of  study  I  gave 
it  up.  It  was  too  humdrum.  But  Helen  had  discovered  a  new 
occupation.  She  had  discovered  that  the  casting  oflices  of  the 
studios  were  open  to  her.  It  was  before  the  Hays  organization 
had  formed  the  Central  casting  office.  Casting  was  done  by  the 
individual  studios. 

One  day  I  went  along  with  her  when  she  had  a  call  from  the 
Hal  Roach  Studio.  She  put  my  greasepaint  on,  covered  the  tan 
freckles,  rouged  my  lips,  darkened  my  brows.  I  was  tremen- 
dously thrilled,  and  eciually  as  embarrassed. 

After  that  I  went  the  rounds  of  the  casting  offices  myself, 
bashful,  timid.  I  worked  most  of  the  time  at  the  Hal  Roach 
Studio.     I  felt  the  friendly  interest    [  continued  on  p.-\ge  94  ] 

51 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


luH  "^ 

1 

i  ^ 

'"' 

The 


OUTCAST— First  National 

THIS  picture  is  not  a  million-dollar  production,  such  as 
"The  Divine  Lady,"  but  is  vastly  more  interesting  and 
far  better  acted. 

This  is  the  third  time  "Outcast"  has  been  filmed.  Ann 
Murdock  did  it  first,  to  be  followed  by  Elsie  Ferguson,  who 
had  played  it  behind  the  footlights.  This  time  the  locale  has 
been  switched  from  London  to  San  Francisco  (possibly  to 
save  expensive  studio-built  exteriors),  and  Director  William 
Seiter  has  kidded  virtue  quite  considerably  during  its  length. 

"Outcast"  is  the  story  of  a  rich  young  bachelor  who 
picks  up  a  girl  of  the  boulevards  in  order  to  forget  a  lost  love. 
Then  the  girl  falls  in  love  with  him. 

Corinne  Griffith  makes  a  lovely  Miriam,  her  best  role  in  a 
Ion?  time,  and  Edmund  Lowe  is  excellent  as  the  wealthy 
bachelor,  Geojfrey. 


ROMANCE  OF  THE  UNDERWORLD—Fox 

ADAPTED  from  the  late  Paul  Armstrong's  passably 
popular  stage  play,  this  develops  into  one  of  the  best  of 
the  underworld  avalanche  of  films.  We  credit  this  to 
Irving  Cummings'  taut  direction. 

Briefly,  "  Romance  of  the  Underworld"  is  the  story  of  a 
little  entertainer  in  a  speakeasy  who  raises  herself  to  become 
an  expert  stenographer — and  then  the  bride  of  her  rich 
young  employer.  She  never  tells  him  of  her  early  days,  and 
her  past  comes  up  to  smash  her  happiness,  via  an  unscru- 
pulous gangster.  The  girl  is  saved  by  a  shrewd  detective  who 
helped  her  in  the  old  cabaret  days. 

Mary  Astor  is  good  as  the  ex-speakeasy  charmer,  but  the 
honors  go  to  Robert  Elliott,  as  the  smiling,  gum-chewing, 
cool  Irish  detective.  Even  in  the  face  of  scores  of  under- 
world pictures,  this  stands  out  above  par. 


Shadow 
Stage 

(ri:g.  u,  s.  pat.  off.)    M  ^ 

A  Review  of  the  New  Pictures 


SINS  OF  THE  FATHERS— Paramount 

NOT  a  "Patriot"  or  a  "Last Command"  and,  of  course, 
not  a  "Last  Laugh" — but  an  eminently  distinguished 
parade  of  prohibition  and  its  evils.  And  it  provides  the 
superb  Jannings  with  great  opportunities  for  the  complete 
characterization  of  another  of  those  mellow  German- 
Americans. 

The  story  is  simple,  if  a  little  slow  of  movement.  Wilkdm 
Spengler  is  a  waiter,  happy  in  his  home  life  and  his  Saenger- 
bund.  He  becomes  the  owner  of  one  of  those  old-fashioned 
restaurants  with  its  gilded  bar.  Prohibition  wipes  aside  his 
small  success  and,  step  by  step,  Spengler  is  drawn  into  the 
army  of  bootleggers.  He  knows  no  other  way  to  maintain 
his  existence  and  that  of  his  son. 

Then  the  son,  just  back  from  college,  drinks  poisoned 
liquor  and  goes  blind.  Thus  the  title.  That  crushes  Spengler 
and  sends  him  to  prison,  a  broken  old  fellow. 

"Sins  of  the  Fathers"  savors  just  a  bit  of  "The  Way  of  All 
Flesh."  There  is  the  same  home  life,  although  Spengler  is 
not  quite  the  social  partner  of  the  bank  worker,  August 
Schiller.  "Sins  of  the  Fathers"  hasn't  the  sharp  emotional 
tug  of  several  Jannings  characterizations,  but  it  is  a  care- 
fully   conceived    and    beautifully    acted   portrayal. 

Ruth  Chatterton  makes  a  vivid  screen  appearance  in  an 
unsympathetic  part  and  her  work  is  intelligent  and  forceful. 
She  is  excellent.  Barry  Norton  gives  a  fine  performance  as 
the  spoiled  son  who  loses  his  sieht. 

Be  sure  to  see  this  film.  It  is  a  worthy  Jannings  eftort, 
which  means  it  would  be  an  extraordinary  picture  for  almost 
anyone  else. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 

SINS  OF  THE  FATHERS  OUTCAST 

A  WOMAN  OF  AFFAIRS  SCARLET  SEAS 

RED  WINE  ON  TRIAL 

ROMANCE  OF  THE  UNDERWORLD 

The  Best  Performances  of  the  Month 

Emil  Jannings  in  "Sins  of  the  Fathers" 

Greta  Garbo  in  "A  Woman  of  Affairs" 

Ruth  Chatterton  in  "Sins  of  the  Fathers" 

Richard  Barthelmess  in  "Scarlet  Seas" 

Betty  Compson  in  "Scarlet  Seas" 

Conrad  Nagel  in  "Red  Wine" 

Robert  Elliott  in  "Romance  of  the  Underworld" 

Casts  of  all  photoplays  reviewed  will  he  found  on  page  124 


A  WOMAN  OF  AFFAIRS— M.-G.-M. 

DESPITE  the  change  of  title,  despite  the  Hays  ban, 
despite  new  names  for  old  characters,  it  is  still  Michael 
Arlen's  "The  Green  Hat."  And  it  is  corking.  Clarence 
Brown  atones  here  for  his  directorial  sins  in  "The  Trail  of 
'98." 

The  story  is  a  study  in  emotions.  A  girl  sets  out  to  uphold 
the  wild  reputation  of  her  family  because  the  father  of  the 
man  she  loves  won't  let  him  marry  her.  Her  life  becomes  a 
whirl  of  escapades.  Also  one  tragic  marriage.  Through  it 
all,  however,  she  clings  fast  to  her  first  love.  And  the  beauty 
of  this  love  story  lifts  the  picture  to  exalted  heights  and 
purges  it  of  any  possible  tang  of  sordidness. 

As  Diana,  the  self-sacrificing  heroine,  Greta  Garbo  gives 
her  greatest  performance.  Jack  Gilbert,  in  spite  of  an 
eternal  dress  suit,  plays  the  difficult  role  of  lover  with 
dramatic  repression.  Lewis  Stone  lends  fine  British  dignity 
as  the  family  friend  and  Hobart  Bosworth  makes  a  splen- 
didly austere  English  father  whose  stupid  stubbornness 
wrecks  Diana's  life.  Dorothy  Sebastian,  the  hero's  wife, 
presents  an  interpretation  brief  but  classic.  John  Mack 
Brown  as  Diana's  crooked  husband  blights  his  characteriza- 
tion with  one  over-acted  scene.  Douglas  Fairbanks,  Jr.,  is 
almost  too  wayward  as  the  wayward  son.  Miss  Garbo's 
interpretation  is  all  the  greater  because  she  puts  it  over 
without  a  single  clinging  dress  or  a  single  Garbo  slink.  Those 
who  read  the  story  will  remember  the  heroine's  big  motor 
car.  Also  a  certain  green  hat  she  wore.  Both  are  con- 
spicuous in  the  picture,  though  without  reference  to  the 
color  of  the  lady's  hat. 


SCARLET  SEAS— First  National 

THIS  is  a  picture  of  blood,  brutality,  cave-man  love- 
making  and  drama  that  reeks  with  the  thing  called 
"guts."  The  story  is  typical  deep  water  trader  stuff — hard- 
boiled  skipper  in  love  with  hard-boiled  maid,  mutiny,  booze 
and  murder,  and  in  the  end  regeneration  for  the  rough,  tough 
skipper  and  his  gal.  Betty  Compson  and  Barthelmess  give 
excellent  performances.  Photography  is  splendid,  with  a 
kick  for  those  who  like  full-rigged  ships.  The  picture  grows 
De  MiUe-like  and  "gets  religion"  in  the  middle,  but  the 
Bible  scenes  are  handled  with  a  delicacy  and  humanness  that 
should  hold  any  audience  hushed.  It's  patent,  however, 
that  the  director  never  spent  three  agonizing  days  becalmed 
on  a  tropic  sea  in  an  open  boat,  suffering  the  hell-torture  of 
heat  and  thirst.  On  the  whole,  however,  it's  good  strong 
stuff,  with  plot  variations  that  give  quality. 


RED  WINE— Fox 

HERE'S  a  charmingly  whimsical  little  comedy  that  will 
inspire  intellectual  laughter.  The  slight  story  concerns 
a  perfect  husband  who  is  led  to  a  wild  parly,  becomes 
gloriously  bunned  and  thinks  that  he  has  kept  dates  with 
any  number  of  girls,  when,  in  reality,  it  has  been  a  frame-up. 

The  delight  of  this  simple  yarn  lies  in  the  sophisticated 
direction  of  Raymond  Cannon  and  in  the  faultless  perform- 
ance of  Conrad  Nagel.  Nagel,  himself  an  abstemious  man, 
does  one  of  the  most  perfect  drunk  scenes  we  have  ever 
witnessed. 

June  CoUyer  is  attractive  as  the  stay-at-home  wife  who  is 
almost  "wronged."  This  is  rare  entertainment  worthy  of 
comparison  with  Lubitsch  at  his  best.  Dialogue  is  to  be 
inserted  later  and  this  should  help,  too.  You  mustn't 
miss  it. 


5S 


Watch  Photoplay's  New  Sound  Reviews 


SOMEONE 
TO  LOVE^ 
Paramount 


NAUGHTY 
BABY— 

First  National 


BUDDY  ROGERS'  second  starring  vehicle  is  a  clean,  delight- 
ful comedy  drama  that  any  audience  will  enjoy.  He  is  sup- 
ported by  Mary  Brian,  whose  feminine  charm  becomes  more 
apparent  in  each  picture.  A  young  man  with  honest  intentions 
becomes  the  victim  of  a  fortune-hunting  scheme  of  his  associ- 
ates, and  as  a  result  very  nearly  loses  his  sweetheart.  The 
picture  is  a  story  of  young  and  innocent  love. 


NAUGHTY,  naughty!  Li'l  Alice  White  and  Jack  MulhaU 
make  bad  picture.  Li'l  Alice  White  doesn't  wear  any 
clothes,  just  like  Clara  Bow,  but  that  isn't  the  naughty  part. 
It's  naughty  for  producers  to  bore  you  and  make  you  waste 
the  nicest  evening.  Oh,  there's  a  cloak  room  girl  and  a  rich 
boy.  And  maybe  he  isn't  rich,  but  just  a  badie.  Yes,  he's  rich. 
No,  he  isn't.    Well,  yes,  he  is.    And  what  of  it? 


ADORATION 

—First 

National 


AVALANCHE 
— Paramount 


THIS  is  the  love  song  of  a  Romanoff  prince  and  princess, 
written  by  Lajos  Biro,  author  of  "The  Last  Command." 
It  rises  above  the  chaos- of  revolution  and  is  drowned  for  a  while 
in  the  clatter  of  post-war  Paris.  It  is  unique  in  that  both  prin- 
cipals are  of  the  same  social  cast.  .  A  perfectly  constructed 
picture,  in  which  Billie  Dove's  acting  is  second  only  to  her 
exquisite  beauty.     Stimulating  entertainrfient. 


THE  combination  of  Zane  Grey  and  Jack  Holt  means  good 
he-man  opera — and  this  picture  is  no  exception.  Holt  is  a 
"square"  gambler  who  goes  crooked  in  order  to  send  his  younger 
brother  to  college.  Baclanova  all  but  takes  the  picture  with  her 
splendid  work  as  a  dance  hall  girl  in  love  with  Holt.  John 
Darrow,  as  the  younger  brother,  and  Doris  Hill  as  the  girl  sweet- 
heart, are  both  good.    A  high-class  Western. 


GERALDINE 
—Pathe 


THE  RED 

MARK— 

Pathe 


THIS  is  about  a  gal  who  needs  to  know  the  ways  of  men.  It's 
by  Booth  Tarkington,  and  light  and  funny.  Marion  Nixon 
is  the  gal,  and  Eddie  Quillan  the  industrious  youth  who  under- 
takes her  education.  Gaston  Glass  is  the  man  she  needs  to 
know  about.  The  plot  doesn't  matter.  A  cafe,  liquor,  laugh- 
ter, a  raid,  jail,  then  the  girl  and  the  right  young  man  find  their 
love.    It's  good — and  watch  Eddie  Quillan. 

EL 


ONE  of  those  depressing  affairs  of  abused  prisoners  in  a 
tropical  penal  institution.  The  cruel  governor  wants  to 
marry  the  daughter  of  one  of  the  prisoners.  She,  however,  has 
a  weakness  for  a  handsome  young  prisoner  who  is  about  to  be 
paroled.  When  the  horrid  villain  discovers  this,  he  cancels  the 
parole  and  has  her  lover  led  to  the  guillotine — only  then  to  dis- 
cover it  is  his  long  lost  son!     Can  you  bear  it? 


for  the  Latest  Talkie   Developments 


RILEY 
THE  COP 

Fox 


THE  VIKING 

Techni- 
color- 
M.-G.-M. 


JFARRELL   MacDONALD'S   first    starring   vehicle   is   an 
.episodic  account  of  the  adventures  of  a  Quixotic  policeman 
sent  to  Europe  to  bring  back  a  young  embezzler. 

Riley  and  the  boy  are  dear  friends  and  the  lad  manages  the 
trip  for  both. 

MacDonald  gives  a  real,  honest  characterization,  which  is 
all  that  can  be  said  for  the  picture. 

The  obvious  gags  are  lacking — thank  heaven — but  in  spite  of 
this  the  picture  is  a  bore. 


THIS  is  the  first  all-color  sound  picture.  It  brings  to  the 
screen  a  historical  romance  dealing  with  the  discovery  of 
America  by  Lief  the  Lucky,  son  of  Eric  the  Red,  ruler  of  Green- 
land's hardy  Norsemen.  It  is  vital  drama  against  a  back- 
ground of  tapestry-like  beauty  made  possible  through  recent 
improvements  in  color  photography.  Pauline  Starke,  in  the 
role  of  heroine,  is  a  provoking  armful.  This  is  the  first  full- 
length  color  film  since  Fairbanks'  "The  Black  Pirate,"  so  tlon't 
miss  it. 


[  AdJiiional  reviews  of  latest  pictures  on  page  92 


Sound  Pictures 


ON  TRIAL- 

Warners- 

Vitaphone 


PHOTOPLAY  GOLD  MEDAL 
A  WARD — Fox-Movietone 


"/^N  TRIAL"  was  one  of   the  dramatic  successes 
V-'sta 


of  the 
'stage,  and  the  cinema  version  is  one  of  the  best  talking 
pictures  made  to  date.  Elmer  Rice,  the  author,  did  a  daring 
thing  with  the  play  when  he  conceived  the  idea  of  portraying  an 
entire  murder  trial  and  using  for  his  stage  technique  the  movie 
flashback.  By  this,  all  the  related  incidents — childhood,  court- 
ship, every  action  leading  to  the  crime — were  introduced.  The 
result  was  a  sensation.  By  the  same  means  the  all-talking 
picture  becomes  tremendously  effective  as  we  see  the  past  and 
present  and  are  moved  by  the  voices  of  the  characters. 

The  story  opens  in  a  court  room  on  the  first  day  of  a  murder 
trial.  The  accused  was  the  friend  and  debtor  of  the  murdered 
man,  and  has  confessed  to  the  crime.  Nevertheless,  the  testi- 
mony goes  on  and  unfolds  a  great  dramatic  story. 

Pauline  Frederick  is  the  featured  player  and  it  marks  her 
introduction  to  the  talking  pictures.  She  is  supported  by  an 
unusually  fine  cast,  including  Bert  Lytell,  Lois  Wilson,  Holmes 
Herbert,  Jason  Robards,  Richard  Tucker  and  others.  Also 
Vondell  Darr,  a  little  girl,  gives  a  beautiful  performance. 

.'\rchie  Mayo  is  not  a  new  director,  but  this  definitely  places 
him  in  the  class  of  those  who  know  how  to  direct. 

See  this  at  your  earliest  opportunity. 


HERE'S  a  picture  of  real  interest  to  Photoplay's  readers 
because,  for  the  first  time,  you  may  see  and  hear  the 
results  of  your  voting  for  the  best  picture  of  the  year.  And  this 
3'ear,  the  Gold  Medal  Presentation  was  a  transcontinental 
affair. 

James  R.  Quirk,  editor  and  publisher  of  Photoplay,  tele- 
phones from  his  office  in  New  York,  to  Winfield  Sheehan, 
production  head  of  the  William  Fox  Company,  at  the  Fo.x 
Studios  in  Hollywood. 

Mr.  Quirk  notifies  Mr.  Sheehan  that  "7th  Heaven"  was 
voted  the  best  picture  of  1927  by  Photoplay's  readers.  That's 
the  scenario. 

And  to  furnish  the  happy  ending,  an  airplane  pilot  delivers 
the  Gold  Medal  to  Mr.  Sheehan  at  the  conclusion  of  the 
conversation. 

This  is  the  first  time  that  the  Gold  Medal  Award  has  been 
recorded  in  a  newsreel.  And  so  readers,  whose  careful  and  con- 
scientious voting  has  made  this  award  such  a  high  honor  in  the 
film  world,  will  be  interested  to  see  and  hear  the  actual  cere- 
mony. 

Out  of  modesty,  both  Mr.  Sheehan  and  Mr.  Quirk  declined 
to  accept  "best  performances." 


'  Additional  reviews  of  sound  pictures  on  page  93  . 


55 


r^UPPOSE  you  made  mental  whoopee  by  playing  a  game  of 
^^  A  dominoes  with  a  celebrated  author.  Suppose  you  woke  up  the 
(_^  next  morning  to  find  yourself  famous.  Suppose  you  thus  be- 
came the  living  Hollywood  symbol  of  a  Great  Mind.  What  would  you 
do?   Yes,  that's  what  Aileen  Pringle  does.    But  what  do  protests  get  her? 


56 


What  Do 
You  Mean- 


Aileen  Pringle  has  been 
tagged  "the  darhng  of 
the  inteUigentsia"  but, 
gosh,  how  she  hates  it! 

By  Katherine  Albert 


WHEN  Aileen  Pringle  hears  the  word  "intel- 
lectual" something  curls  up  inside  her  like 
a  permanent  wave. 
You'd  writhe,  too,  if  you  were  tagged  "the 
darling  of  the  intellectuals."  Suppose  you  were  twenty- 
four-sheeted  as  the  wittiest  woman  in  Hollywood?  Put 
yourself  in  Aileen's  place,  if  you  can.  Think  how  you'd 
feel.     So  does  Aileen — the  victim  of  a  phrase. 

Suppose  you  made  mental  whoopee  by  playing  an 
innocent  game  of  dominoes  with  a  gentleman  who 
happened  to  be,  in  addition  to  a  bum  domino  player, 
one  of  the  finest  writers  of  fiction  in  America.  Then 
suppose  you  woke  up  one  morning  to  find  yourself  all 
over  one  of  the  country's  biggest  periodicals  as  having 
been  the  domino  partner  of  a  literary  bonfire?  You'd 
feel  badly  about  it,  too,  just  as  you  would  if  you  had 
been  caught  playing  stud  poker  for  matches  with  your 
pastor. 

Suppose,  on  a  sweltering  day,  you  remarked,  "Well,  is 
it  hotenoughforyou?"  What  would  happen?  Practically 
nothing.  Yet  if  Aileen  Pringle 
were  to  crack  this  chestnut,  all 
Hollywood  would  be  whisper- 
ing, in  a  half  hour,  that  the 
First  Wit  had  slipped. 

You  can  add  "like  olives," 
when  anyone  mentions  an 
acquired  taste,  without  blush- 
ing. Can  Aileen?  Not  by  a 
jugful  of  split  infinitives!  She 
has  a  reputation  to  sustain. 
She  can  never  indulge  in  a 
[continued   on  page  105] 


Aileen  Pringle  isn't 
a  social  lion  chaser. 
She  makes  no  effort 
to  be  known  as  the 
pet  of  the  typewriter 
pounders.  She  just 
likes  'em.  "I  like  the 
people  I  like,"  she 
says.  "One  doesn't 
have  to  be  clever 
with  clever  people" 


51 


Conrad 


in 


Quest 


of  a 


Voice 


Wherein  Mr.  Nagel 
proves  that  a  "phonetic 
voice"  may  be  just  as 
important  as  a  photo- 
graphic face 

By  Mark  Larkin 


SEATED  at  a  luncheon  table  on  the  screened  porch  at 
"The  Masquers,"  which  is  to  Hollywood  what  "The 
Lambs"  is  to  New  York,  Conrad  Nagel  told  me  that  talk- 
ing pictures  have  brought  out  a  new  kind  of  personality — 
the  personality  of  voice. 

"Not  that  we  haven't  had  voice  personality  before,"  he  ad- 
mitted, "but  we  have  never  been  so  acutely  conscious  of  it. 
"Did  you  ever  stop  to  consider  how  great  a  bearing  upon 
personality  the  voice  has?  Think  of  the  various  persons  you 
have  met,  consider  how  their  voices  intluenced  you.  A  stranger, 
for  instance,  in  a  group  of  people:  You  have  never  heard 
him  speak,  you  know  nothing  of  the  sound  of  his  voice.  In  out- 
ward appearance  and  general  characteristics  he  is  inconspicuous. 
Perhaps  he  is  under-sized,  plainly  garbed,  or  otherwise  un- 
impressive. But  suddenly  he  speaks.  You  are  startled.  Your 
whole  impression  of  his  character  changes.  He  may  rise  in 
your  estimation,  he  may  submerge.  At  any  rate,  his  voice 
has  affected  you — its  vibrant  pilch,  its  magnetism,  or  possibly 
the  lack  of  these  qualities — has  crystallized  your  opinion.  Had 
he  remained  silent,  had  he  gone  out  of  the  room  without 
speaking,  you  would  have  retained  your  original  impression — 
good  or  bad,  as  it  happened  to  be.  His  voice  personality, 
however,  is  what  fixed  your  idea  of  the  man. 

58 


"And  so  it  is  with  the  screen  player  appearing  in  talking 
pictures  today.  His  voice  personality  will  be  largely  responsible 
for  his  success." 

There  is  probably  no  one  in  Hollywood  better  qualified  than 
Conrad  Nagel  to  discuss  the  influence  of  voice  upon  personality. 
It  so  happens  that  the  quality  of  his  own  voice — its  "phonetic 
value"  as  the  director  of  talkies  woiddsay  — has  brought  about 
a  phenomenal  increase  in  the  Nagel  popularity.  In  fact,  since 
the  advent  of  cinema  conversation,  Conrad  Nagei's  daily 
fan  mail  has  increased  twelvefold.  Whereas,  in  the  past  he 
could  carry  it  in  his  two  hands,  he  now  finds  it  impossible  to 
carry  the  daily  grist  of  letters  in  his  two  arms. 

"But  do  not  get  the  impression,"  he  hastened  to  explain, 
"that  all  you  need  to  achieve  talking  picture  success  is  a  good 
voice  or  voice  personality.  Far  from  it!  The  talkies  levy  the 
most  e.vacting  tax  upon  ability  that  has  yet  been  placed. 
And  for  that  reason,  players  from  the  legitimate  stage,  with 
their  wider  e.x'perience,  are  signally  successful  in  the  speakies." 

For  this,  it  seems  there  is  one  outstanding  reason. 

"Actors  and  actresses  who  have  had  screen  experience 
only,"  Nagel  explained,  "are  not  schooled  in  maintaining 
audience  tempo.  A  screen  scene  that  runs  one  hundred  feet 
is  a  long  scene.     Yet  it  passes  [continued  on  page   113] 


i 


if 


\ 


■i' 


\ 


\ 

» 

Ja 

t' 

■'rr 

>f>-^ 

^ 

i 

Ruth  Harriet  Louise 


^^N  the  opposite  page  you  will  find  a  story  on  "voice  personality."  The  speaker  is 
fy  Conrad  Nagel.  He  tells  you  that  many  people  are  afraid  to  speak  correct  English, 
^"^  because  they  might  be  accused  of  putting  on  airs.  And  he  predicts  that,  just  as  the 
screen  has  given  us  a  new  standard  of  personal  appearance,  so  will  it  improve  the  quality 

of  our  speech. 


Don't  try  to  wear  a 
helmet  hat  with  a 
strap,  unless  you 
have  a  well-shaped 
chin  —  and  only  one. 
This  Lewis  hat  is  of 
gray  felt.  With  it, 
Marion  Davies  wears 
a  gray  cloth  coat, 
from  Jenny,  with  a 
wide  collar  of  white 
fox  flecked  with 
black  tips 


The  trousers  of  this 
Lelong  lounging  cos- 
tume are  almost  as 
wide  as  a  skirt.  The 
pajamas  are  of  white 
satin,  made  all  in  one 
piece.  And  the  coat 
is  black  velvet  with 
large  white  dots  and 
edged  with  white 
satin 


Clothes 

Some  Paris  cos- 
tumes that  show 
the  excellent  taste 
of  Marion  Davies' 
personal  wardrobe 


This  Jenny  evening  coat  is  of  thin,  shim- 
mering gold  cloth,  with  an  interwoven 
design  of  blue  and  gold.  Around  the  un- 
even hem  is  a  narrow  fringe  of  gold  .beads. 
It  has  a  collar  of  silver  fox.  With  it,  Miss 
Davies  carries  a  flat  gold  bag  from  Milgrim 


that  Speaf 

Fren  ch 


Marion  is  most  charming  in  this  Lelong 
eveping  gown  of  white  lace.  Like  all  good 
evening  dresses,  it  has  a  decided  dip,  with 
a  tight  waist-line  and  a  bit  of  fullness  at 
the  hips.  The  waist  is  bolero  effect,  plain 
in  front  but  full  and  dipping  at  the  back 


Another  youthful  evening  gown — this 
one  from  Lanvin.  It  is  oyster  white  satin, 
and  here  and  there  on  the  full  skirt  are 
medallions  of  pearls  and  brilliants.  A 
jewelled  band  falls  from  the  high  neckline 
to  the  edge  of  the  ankle-length  skirt 


pHHV 

n 

r 

■ 

.,V.' 

_^ 

II 

1 

T 

1 

9 

IV 

^^E^Wk 

^^1^1 

^^^D^l 

If 

aH|^M| 

flu 

H|H 

^^ 

^^^^^^^^^KmZ^ 

^H 

i 

^^^^l^^^^^MHH 

m 

1 

There's  a  dash  about  this  Callot  creation  that 
suggests  a  Russian  military  coat.  It  is  three- 
quarters  length,  with  a  tight-fitting  back  and 
flaring  skirt.  The  color  is  ash  rose,  embroid- 
ered in  gold,  and  luxuriantly  trimmed  in  sable 


% 


'^!K 


\ 


Aulrey 


(^"T^ARKY  NORTON'S  parents  wanted  him  to  enter  the  diplomatic  service 

/^  of  his  native  country,  the  Argentine.     Barry  wanted  to  see  the  world  before 

continuing  his  studies.    In  the  course  of  his  travels  he  arrived  in  Hollywood.    In 

the  story  on  the  opposite  page,  you  will  find  Barry's  own  account  of  how  he  broke 

into  the  movies. 


Uougs 
Office  Boy 

Makes  Good 


Who  says  that  the  modern 
boy  has  no  spirit  of  adven- 
ture? Read  the  lively 
story  of  Barry  Norton's 
career 

By  Cal  Yo7-k 


Casting  directors  told  him  he  "wasn't  the  type." 

They  advised  him  to  go  home.     But  when  the 

public  saw  him  in  "What  Price  Glory,"  it  voted 

him  very  much  the  type.   So  he's  staying 


Alfredo  Biraben  —  at  the  age  of 
four.  This  photograph  was  taken 
in  Buenos  Aires,  where  Alfredo  was 
born.  You  know  him  now,  of 
course,  as  Barry  Norton 


THREE  years  ago  he  was  Douglas  Fairbanks'  office  boy. 
Today  he  is  one  of  Hollywood's  best  actors. 
Tomorrow — do  we  dare  predict  about  tomorrow?     In  Barry  Norton's 
case,  yes,  for  tomorrow  is  rich  with  promise,  the  promise  of  stardom  for 
this  lad,  despite  the  fact  that  three  years  ago  it  was  a  big  day's  work  when  he 
opened  the  Fairbanks  mail. 

Alfredo  Biraben  rebelled  at  the  idea  of  being  a  diplomat,  and,  because  of  that, 
Barry  Norton  became  an  actor.  You  see,  Alfredo  Biraben  and  Barry  Norton 
are  one  and  the  same.  At  the  age  of  nineteen,  Alfredo,  living  in  Buenos  Aires, 
the  city  of  his  birth,  found  Fate  and  Firpo  in  a  conspiracy  tc  shape  his  destiny. 

That  was  five  years  ago. 

Firpo,  if  you  remember,  came  from  the  tall  grass  of  his  native  country  to  the 
city  of  New  York  to  battle  Jack  Dempsey,  then  world's  leading  leather-pusher. 
And  accompanying  Mr.  Firpo — or  at  least  hovering  close  enough  to  reflect  his 
glory — were  twelve  snappy  young  Argentine  lads,  all  about  twenty,  constitut- 
ing themselves  his  rooting  section.  They  were  eager  to  see  the  Wild  Bull  of  the 
Pampas  knock  the  Dempsey  block  loose  from  its  moorings,  and  it  was  no  fault 
of  theirs  that  he  failed. 

In  South  America — particularly  in  the  Argentine — education  is  dispensed 
quite  differently  from  methods  emplo\ed  in  our  good  old  U.  S.  A.  Many 
educators  claim  the  South  American  systems  are  more  thorough,  which  is  a 
point  we  will  not  argue.  At  any  rate,  these  twelve  young  men  had  reached 
that  period  in  their  education  where  they  were  to  decide  upon  various  and 
sundry  life  callings,  and  to  pursue,  thereafter,  specific  training  for  their 
careers. 

But  Barry  Norton  had  not  been  allowed  to  choose  his  career.  His  parents 
had  done  it  for  him  and,  unfortunately,  their  selection  had  not  pleased  the  lad. 

His  father  was  a  government  geologist  who  had  dreamed  of  diplomatic 
service,  and  he  was  an.xious,  therefore,  to  see  the  dream  fulfilled  in  the  chosen 
work  of  his  son.    And,  too,  it  was  the  earnest  wish  of  his  mother. 

But  the  boy's  leaning  was  toward  architecture. 

So  he  looked  with  gloom  upon  the  prospect  of  returning  to  the  Argentine. 

" I  had  my  passage  home,"  he  said,  "in  fact,  it  is  still  rotting  in  the  oflice  of 
the  Argentine  consul  of  New  York.     In  addition      [  continued  on  p.^ge  96  ] 

65 


John    Gilbert    was    given    four    best    per- 
formances during  1928,  in  "Four  Walls," 
"The  Cossacks,"  "Man,  Woman  and  Sin" 
and  "Masks  of  the  Devil" 


N 


fashion. 


INETEEN  TWENTY-EIGHT  will  go  down  in  iilm 
history  as  the  year  of  the  talkie. 

The  advent  of  the  synchronized  sound  picture  has 
dented    the    Hollywood    histrionic    ego  in    no  mean 
Instead  of  newi  personalities,  we  have  new  methods 


of  reproducing  sound. 


Photoplay 

By 

Frederick  James  Smith 

Summary  of  1928— Fif- 
teen stars  and  players 
scored  more  than  one 
best  performance 


Right  now  Hollywood  is  looking  for  young  women  with  the 
IT  of  Greta  Garbo  and  the  voice  of  Julia  Marlowe.  Young 
actors  with  the  appeal  of  Rudy  Valentino  and  the  enunciation 
of  Walter  Hampden  can  get  a  job  any  time  in  the  celluloid 
capital.  Since  none  of  these  combinations  have  been  found 
yet,  the  sound  pioneers  may  be  said  still  to  own  their  complete 
set  of  worries. 

Out  of  all  the  hysteria  of  synchronization  just  one  personality 
has  emerged — Al  Jolson.  There  are  no  other  big  dialogue-and- 
song  hits  yet. 

One  new  silent  star  climbed  into  the  firmament — Joan 
Crawford. 

It  has  not  been  a  very  successful  year  for  the  old  line  lumi- 
naries, such  as  Mary  Pickford,  Doug  Fairbanks,  Norma  Tal- 
madgeandLon  Chancy.  Pola  Negri  has  withdrawn  from  view. 

Baclanova  and  Camilla  Horn  top  the  new  and  glamorous  per- 
sonalities. K  little  further  back  we  have  Lupe  Velez,  waiting  a 
real  opportunity  to  flash. 


George  Bancroft 

"Docks  of  New  York" 

"The  Draft  Net" 


Richard  Barthelmess 

"The  Noose" 
"Wheel  of  Chance" 


Betty  Compson 

"Docks  of  New  York" 
"The  Barker" 


Gary  Cooper 

"Legion  of  the  Condemned" 
"Beau  Sabreur" 


Joan  Crawford 

"Four  Walls" 
"Our  Dancinft  Daughters" 


Marion  Davies 

Louise  Dresser 

Greta  Garbo 

Janet   Gaynor 

Jean   Hersholt 

'The  Cardboard  Lover" 
"The  Patsy" 

"Mother  Knows  Best" 
"His  Country" 

"Mysterious  Lady" 
"The   Divine  Woman" 

"Street  Angel" 
"Four  Devils" 

"Jazz  Mad" 
"Abie's  Irish  Rose' 

64 


Reviews 
Film  Year 


The  big  five  in  popularity  are  still  John  Gilbert,  Emil 
Jannings,  Greta  Garbo,  Clara  Bow  and  Harold  Lloyd. 

Janet  Gaynor  climbed  a  little  closer.  Pretty  soon  she  may 
be  one  of  the  big  si.\. 

The  comedians  have  had  a  tough  year.  Charlie  Chaplin 
and  Harold  Lloyd  maintain  their  preeminence,  but  such  comic 
figures  as  Buster  Keaton,  Harry  Langdon  and  Doug  MacLean 
have  passed  into  eclipse.  In  Langdon's  case  it  has  been  a  total 
eclipse,  observed  in  all  parts  of  the  Northern  Hemisphere. 

The  year  ran  chiefly  to  one  style  of  story — underworld. 

The  screen  was  surfeited  with  Russian  stories,  chiefly  phony, 
and  there  was  an  avalanche  of  sea  films.  War  pictures,  mostly 
of  aviation,  continued.  But  1928  was  principally  a  year  of 
gunmen. 


DOLORES  DEL  RIO  climbed  into  the  best  sellers  with 
"Ramona"  and  now,  due  to  varying  performances  and  ill- 
judged  publicity,  seems  to  be  climbing  right  out  again.  1929 
will  tell  whether  or  not  Miss  Del  Rio  was  a  flash  in  the  pan. 

Look  at  the  case  of  Gloria  Swanson.  Months  have  passed 
and  she  has  not  started  on  her  ne.xt,  to  be  directed  by  Erich 
Von  Stroheim.  Her  1928  record  rests  upon  "Sadie  Thompson," 
a  good  effort  and  a  much  talked  about  one.  But  Miss  Swanson 
can  not  afford  to  let  the  months  roll  around  without  pictures. 

Consider  Lillian  Gish.  No  picture  at  all,  save  an  old  one, 
"Wind,"  just  released  by  Metro-Goldwyn.  Her  next,  to  be 
handled  by  United  .Artists,  is  still  far  away.  Yet  Miss  Gish 
is  considered  by  many  to  be  the  screen's  most  distinguished 
actress. 

Such  consistent  stars  as  Adolphe  Menjou,  Richard  Barthel- 
mess,  Richard  Dix,  Ronald  Colman  and  Vilma  Banky  held 
their  own  during  1928.     ^ 

The  directors?  Clarence  Brown  crashed  up  against  his  first 
big  disappointment,  "The  Trail  of  '98."  D.  W.  Griffith  added 
nothing  to  his  glorious  record  with  "Drums  of  Love"  and  "The 
Battle  of  the  Sexes."  Cecil  De  Mille  contributed  a  second  rate 
sermon,  "The  Godless  Girl."  Erich  \'on  Stroheim's  "The 
Wedding  March"  died  on  the  cutting  room  floor. 

The  big  megaphone  laurels  go  to  Ernst  Lubitsch,  for  his 


Emil  Jannings  registered  three  best 
performances  in  Photoplay's  Shadow 
Stage,  in  "Street  of  Sin,"  "The 
Patriot"  and  "The  Last  Command" 


"The  Patriot";  F.  W.  Murnau,  for  his  "Four  Devils";  Josef  von 
Sternberg,  for  his  "The  Last  Command";  Paul  Leni,  for  his 
"The  Man  Who  Laughs";  and  Lewis  Milestone,  for  his  "The 
Racket."  King  \'idor  followed  his  noble  experiment  of  last 
year,  "The  Crowd,"  with  a  neat  comedy,  "The  Patsy."  Harry 
b'Arrast  continued  to  show  improvement  in  the  field  of  high 
comedy. 

The  best  of  the  year's  bumper  crop  of  crook  dramas  was 
"The  Racket."    This  did  a  lot  to  help  Thomas  Meighan. 

Marion  Davies  did  the  best  work  of  lier  career  in  "The 
Patsy,"  already  noted. 

The  popular  success  of  "Our  Dancing  Daughters,"  which 
made  a  star  of  Joan  Crawford,  is  likely  to  start  1929  off  with  a 
deluge  of  lively  pictures  of  youth  and  jazz. 

1928  completely  washed  up  on  Western  melodrama.  This 
means  that  such  high  paid  stars  as  [  coxtinued  on  page  111  ] 


Thomas  Meighan 

"The  Racket" 
"The  MaUng  Call" 


William    Powell 
"The  Drag  Net" 
"In  terf  erence' ' 


Fay  Wray 

"The  Weddinft  March" 
"Legion  of  the  Condemned" 


PHOTOPLAY'S  Honor 
Roll  for  1928 

Players  and  Number  of  Best 
Performances 

John  Gilbert,  4 

Emil  Jannings,  3 

George  Bancroft,  2 

Richard  Bartheltness,  2 

Betty  Compson,  2 

Gary  Cooper,  2 

Joan  Crawford,  2 

Marion  Davies,  2 

Louise  Dresser,  2 

Greta  Garbo,  2 

Janet  Gaynor,  2 

Jean  Hersholt,  2 

Thomas  Meighan,  2 

William  Powell,  2 

Fay  Wray,  2 

65 


By 

Alice  L.  Tildesley 


OOD 
IRL 


Ken  Laurel  had 
seen  her  picture, 
"The  Home  Girl," 
which  had  earned 
her  a  long  term 
contract.  In  real 
life  Ellen  was  just 
the  girl  she  had 
played.  Once  she 
had  even  taken  a 
prize  for  making 
chicken  pie 


LLEN  saw  Ken  Laurel's  shadow  before  she  met  him. 
Afterwards,  she  used  to  wonder  if  that  didn't  somehow 
symboHze    their    rehitionship, — his    shadow    darkening 
the  bright  pattern  of  her  life,  yet  not  affecting  him  at 
all.     She  was  a  sentimental  little  thing. 
The  shadow  incident  occurred  in  the  big  living-room  wherein 
Hollywood's  favorite  hostess  was  serving  Sunday  afternoon 
tea.     Ellen's  backless  antique  chair 
was  set  close  to  a  great  studio  win- 
dow that  opened  on  a  patio;  sunshine 
pouring  in  made  her  modest  slipper 
buckles  gleam.     She  drew  her  prim 
little  hat  down  on  one  side  because 
of  the  dazzle  in  her  e.ves.   .  .  .  And 
then  she  saw  the  shadow  on  the  pol- 
ished floor,  a  grotesque  thing  sprawl- 
ing across  the  bright  blotch  from  the 
radiant  window. 

"Ellen,  darling,  I  don't  believe 
you've  met  Ken  Laurel.  Ken,  this  is 
Hollywood's  shining  example, — a 
girl  who  doesn't  drink  or  smoke  or 
pet." 

The  hostess'  svelte  figure  blotted 
out  the  shadow;  she  bent  over  Ellen, 
a  long  scarlet  cigarette  holder  almost 
touching  the  prim  little  hat. 

Color  rose  in  a 
painful  flood  from 
Ellen's  pretty  throat 
to  her  bright  brown 
hair.  She  put  her 
fingers  into  those 
outstretched  to  re- 
ceive them  and 
veiled  her  eyes  with 
her  lashes.  But  she 
saw  him  distinctly 
— big  and  broad  and 
self-confident,  with 
sea-blue  eyes  and 
the  ruddy  tan  of  a 
sailor.  .  .  .  He  had 
a  private  yacht. 

"  Have    you     no 
vices?"    he    asked, 
whimsically,   and 
though    it    was    an 
old  line,  she  laughed. 
"Don't   tell  any- 
one —  /  cat  onions!" 
she  retorted,   drop- 
ping   her    voice    as 
though  imparting  a 
tremendous    secret. 
He  sat  down  by 
her   and   the  rest  of  the  afternoon  became  a 
rosy  blur.     It  was. the  only  time  so  far  as  she 
could  remember   later  that  their  conversation 
turned  on  her.     He  had  seen  her  picture,  "The 
Home  Girl,"  which  had  earned  her  a  long  term 


66 


^EN  LAUREL 

^  thought  only 
of  his  career  and 
his  close-ups  and 
her  heart  stood  still 

for  years  until — 


Illustrated  by 

O.  F.  Howard 


contract,  and  he  listened  to 
what  she  said  about  Big 
Brother  and  their  rose- 
colored  bungalow  and  how 
she  had  once  taken  a  prize 
for  making  chicken  pie. 

Big  Brother  himself  inter- 
rupted the  letc-a-lcle  by 
putting  his  head  into 
the  room  and  calling: 
"Paging  Miss  Ellen 
Field!"  in  stentorian 
tones.  Brother  always 
took  Ellen  to  and  from 
parties;  she  couldn't 
drive ;  besides  he 
thought  of  her  as  some- 
one inexpressibly 
precious. 

Ken  walked  to  the 
car  with  her,  handing 
her  in  with  an  air  of 
deferential  adoration 
familiar  to  his  fans,  and 
stood  for  several  min- 
utes looking  into  her 
eyes. 

He  called  up  just  as 
she  stepped  into  the 
bungalow  to  know  if  he 
might  come  over  that 
evening.  She  asked 
him  to  supper  and  made 

some  featherweight  biscuits  before  he  got  there.  Later 
they  took  a  walk  down  the  palm  and  pepper  lined  street 
and  he  asked  if  she  minded  his  calling  her  Ellen. 

She  decided,  as  she  lay  blissfully  sleepless  in  her  white 
bed  that  night,  that  she  would  be  married  in  church;  the 
bridesmaids  should  wear  orchid  and  carry  yellow  roses.  .  .  . 
Pale  blue  with  apple-blossoms  would  be  lovely,  but  it  would 
be  so  long  before  there  were  any  apple-blossoms.  .  .  . 

The  company  that  starred  Ken  Laurel  borrowed  Ellen  to 
play  opposite  him  in  his  next  picture  which  was  made  on 
location  in  a  mountain  wilderness.  The  principals  lived  in  a 
lodge  by  a  silver-shining  lake  that  rippled  almost  to  the  edge 
of  the  rustic  veranda.  Ellen  could  hear  the  waves  lap-lap- 
lapping  below  her  window  as  she  lay  in  the  dark  telling  over 
the  rosarv  of  hours  of  the  too-brief  davs. 


SHE  was  happy — rather  determinedly  happy.     Ken  saved  a 
place  for  her  beside  him  at  the  table  and  made  a  great  to-do 
over  whether  or  not  her  coffee  was  hot. 

He  called  her  "Our  N'ell,"  caressingly,  and  put'  great  fervor 
into  their  love-scenes. 

He  even  organized  a  band  to  serenade  her,  his  own  passable 


When  Ellen  came  back 
from  Italy  she  was 
wholly  changed.  Ken 
liked  women  of  the 
world,  did  he?  She 
bobbed  her  hair.  The 
carmine  line  of  her  lips 
became  a  flame  in  the 
dead  white  of  her  make- 
up. "Ellen's  gone  flap- 
per," Hollywood  said, 
as  it  watched  her  trans- 
formation 


!|  /  baritone  ringing  out  above   the  ukulele  and 

//  portable  organ  borrowed  from  studio  musicians. 

*      /■  "Give  me  all  your  love,  dear, 

^.,y/  Or  else  give  me  none! 

Give  me  every  kiss,  dear, 
I  Or  not  our!" 

he  would  sing,  standing  silhouetted  in  manly 
beauty  against  the  rising  moon. 

She  listened  from  her  window,  a  darkened  win- 
dow, of  course,  so  that  no  one  might  see  her 
modest  negligee.  The  trouble  was,  she  decided,  that  they  were 
never  alone — an  assistant  director,  a  camera  man  or  a  character 
woman  was  always  within  earshot.  But  the  last  day  of  the 
eight  weeks  brought  opportunity.   .  .  . 

The  script  called  for  a  "long  shot"  of  Ken  and  Ellen  in  a 
canoe  far  out  on  the  lake.  She  sat  facing  him,  the  breeze 
ruffling  her  pretty  hair,  her  shy  brown  eyes  pleading:  "Oh,  tell 
me  you  love  me!"  But  he,  leaning  on  the  oars,  developed  an 
interest  in  fish  and  insisted  on  explaining  the  difference  between 
fresh  and  salt  water  sport. 

"It's  the  first  time  we've  been  alone  together  since  we  came," 
she  managed  to  observe  when  he  had  finished  a  tale  about  a 
swordfish.  [  continued  on  page  100  ] 


oounding   a  o 


ong 


L 


OOK  over  these  pictures  reveal- 
ing the  inside  of  a  sound  film 
'studio  in  action.  They're  the  last 
you  will  see  for  some  time.  The  pro- 
ducers have  banned  disclosures  of 
the  talkies. 

Here  }ou  see  "The  Desert  Song" 
in  the  making  at  the  Warner  Broth- 
ers Coast  Studios,  with  the  same 
scene  from  above  and  from  behind 
the  camera  booth  lines.  The  cam- 
eras are  within  glass  windowed  sound 
proof  booths.  They  bear  the  nu- 
meral 2  in  both  pictures.  Look  close 
for  the  microphones  hanging  in  lines 
and  on  stands  just  above  and  out  of 
reach  of  the  camera  lens.  Also  be- 
hind the  camera  booths  and  fronting 
the  orchestra.  Thus  you  get  the 
dialogue,  the  songs  and  the  back- 
ground music.  A  sound  film  set  still 
is  a  pretty  cramped  place — but  the 
talkies  are  in  their  infancy. 

Incandescent  lights  are  used  for 
the  talkies.  Sound  film  photography 
still  is  handicapped  by  the  fact  that 
the  cameras  have  to  be  out  of  sound 
range,  so  that  the  microphones  do 
not  pick  up  their  whir. 


CB 


5^ 


EELiNG  Around 


W 


ith 


Leonard   Hall 


The  Gag  of  the  Month  Club 

By  Walter  O'Keefe  via  Mark  Hellinger. 

Rin-Tin-Tin,  the  dog  star,  was  given  a  talking 
picture  test  recently. 

He  failed  to  pass,  as  he  was  found  to  bark  like 
a  Pekinese. 

Laughing  It  Off 

Gilda  Gray  has  a  birthday  .  .  .  Shake,  Gilda! 
.  .  .  Frank  Keenan,  at  70,  marries  a  third  wife 
.  .  .  and    they    called     his    first    movie    "The 
Coward"!  .  .  .  Tex  Guinan,  back  from  Holly- 
wood, says  that  if  her  night  club  racket  fails  she  can  always  get 
a  job  as  bridesmaid  for  Peggy  Joyce    .  .  .  Uncle  Carl  Laemmle 
tells  his  directors,  "Sure,  I  want  sex  .  .  .  but  I  want  CLEAN 
sex!"  .  .  .  Favorite  greeting  of  movie  managers  in  New  York 
.  .  .  "How's  business,  you  liar?"  .  .  .  Lya  de  Putti,  in  New 
York,  shopped  SI, 900  worth  in  one  day  .  .  .  Just  reviving  the 
old  game  of  Putti  and  Take.  .  .  .  Sixty  four  hundred  people 
attended   '"La   Tosca"   in   Los   Angeles 
ordinary  people  and  Norma  Shearer.  .  . 

a  parrot  is  just  a  canary  that  has  taken  up  Vitaphone.  .  .  .Fox 
Hnes  up  103  theaters  in  New  York  .  .  .  Originating  the  old 
saw  about  "Dumb  like  a  William  Fox." 


That    is,    6,399 
Eddie  Nugent  says 


The  Star 

At  parlor  games  I  admit  I'm  rank, 
At  Ritzy  gabble  a  total  blank, 
At  parties  I  never  cause  a  stir — 
But  goodness  me,  how  I  register! 

Hearts  and  Flowers 

James  Hall  and  Mema  Kennedy  have  ceased  bleating  .  .  . 
Jack  Gilbert,  on  his  New  York  visit,  is  said  to  have  gone  overboard 
for  Dorothy  Parker,  wit  and  poet  .  .  .  Don't  tell  Greta.  .  .  . 
Marceline  Day  announces  that  she  has  never  been  really  in  love 
.  .  .  which  cinches  it  that  it  Can't  Be  Long  Now.  .  .  .  The 
Evelyn  Brent-Gary  Cooper  crooning  seems  to  have  suspended. 
.  .  .  Bessie  Love  and  Eddie  Foy,  Jr.,  are  Being  Seen  Places.  .  .  . 
Joan  Crawford's  anklet,  gift  from  Doug  the  Younger,  says  "To 
darling  wife  from  Dodo"  .  .  .  Dodo  I  ...  If  he  writes  like  that 
it  certainly  is  love  and  no  fooling! 

Gettuig  Personal 

Doug  and  Mary  lunch  with  the  President  .  .  .  Mr. 
Coolidge,  it  is  reported,  said  "Yep!"  three  times,  and  "Nope" 
eight  .  .  .  Doug  stunned  Washington  with  a  trick  beret.  .  .  . 
Sue  Carol  is  now  21.  .  .  .  Japanese  film  kisses  are  limited  to 
30   seconds  ...  In    that    time   Jack    Gilbert    could    barely 


MOVIE  STUNT  MAN— "Darn  it! 
There  goes  my  fountain  pen  ! " 


take  a  breath  and  pucker  up.  .  .  .  Betty  Bronson  weighs  98 
pounds.  .  .  .  With  the  Sunday  papers  under  her  arm,  prob- 
ably. .  .  .  Vilma  Banky  is  to  make  a  talkie  .  .  .  Like 
"Darlink,  I  loaf  you."  .  .  .  Since  the  Strand,  New  York,  went 
all-talkie,  the  orchestra  of  18  men  plays  exacth'  16  minutes  a 
day  ...  at  full  salary  .  .  .  and  I  sassed  my  mother  when  she 
wanted  me  to  take  up  the  oboe!  .  .  .  Don't  call  a  failure  a 
"flop"  any  more.  .  .  .  When  a  show  or  a  romance  blows  up,  it 
is  now  said  to  have  "laid  an  egg."  ...  In  South  Africa  is  the 
"Bio-Tearoom"  .  .  .  Admission,  the  price  of  one  cup  of  tea, 
and  you  can  watch  moom  pitchers  as  long  as  you  like.  .  .  . 
Reliably  reported  that  Fairbanks  will  quit  as  an  actor  after 
present  picture  .  .  .  That  act  is  called  "Pulling  a  Patti"  .  .  . 
Juanita  Hansen,  former  serial  star,  was  scalded  in  a  hotel 
shower  bath  and  sues  for  sS2S0,000  .  .  .  Hot  mamma!  .  .  . 
Nils  .Esther  is  in  training  to  be  Metro's  Heavy  Lover  Ace  when 
Gilbert  goes  United  Artist.  .  .  .  Bill  Reid,  son  of  the  late 
Wally,  plays  the  saxophone.  .  .  .  Who  is  the  male  star  who 
has  been  losing  all  his  money  at  the  old  army  game  of  black- 
jack? .  .  .  Dustin  Farnum  is  living  in  retirement  on  Long 
Island  with  bis  wife,  Winifred  Kingston.  .  .  .  Pearl  White 
.  .  .  Remember  Pearl?  .  .  .  is  running  a  swell  gambling  casino 
at  Biarritz.  .  .  .  .'\  girl  named  Mary  Pickford  standing  for 
Parliament  in  England  .  .  .  Probably  on  a  Modified  Bob 
Platform. 


The  Little  Star's  Letter 

Dear  Santy  Clans,  I  do  not  ask 
A  mess  of  things  from  you. 

I'm  practically  perfect  now — 
There's  little  you  need  do. 

Give  me  a  dash  of  Swanson's  nose. 

The  leaping  legs  nf  Bow, 
A  touch  or  two  of  Ralston' s  hair, 

And  Lupc's  fiery  glow. 

Give  me  the  charm  that  Pickford  had, 
The  pep  that  Moore  has  noiv, 

Give  me  the  oo-la-la  of  Dove — 
And  I'll  get  by  somehow. 


69 


Amateur  Movies 

By  Frederick  James  Smith 

Interest  Grows  in  $2,000  Prize  Contest — Many  Clubs 
Preparing  Entries — News  of  Amateurs 


Filming  a  scene  of  "Freshman  Days,"  with  the  Flower  City 
Amateur  Movie  Club,  of  Rochester,  N.  Y.,  on  location 


INTEREST  in  Pho- 
toplay's S2, 000  Am- 
ateur Movie  Contest 
is  increasing  steadily. 
Judging  from  the  notes 
of  information  and  in- 
quiry, the  number  of 
contest  iilms  submitted 
will  far  exceed  the 
prints  presented  for  the 
consideration  of  the 
judges  in  the  first  con- 
test. 

Not  only  is  there  in- 
terest  throughout 
America  in  the  con- 
test, but  there  will  be 
contesting  films  from 
abroad,  as  well. 

Photoplay  wishes  to 
repeat  its  advice  of  the 
past:  Be  sure  to  read 
all  the  rules  with  ex- 
treme care.  Every  film,  to  be  considered  by  the  judges  for  any 
of  the  prizes,  must  conform  to  every  rule. 

Send  in  your  contest  films  early,  if  you  wish,  but  remember 
that  they  cannot  be  returned  until  after  the  contest  closes. 
Photoplay  suggests  that  you  hold  your  film  as  long  as  possible. 
Repeated  examination  will  find  many  ways  of  improving  it. 

PHOTOPLAY    has    received    a   number   of    inquiries    from 
organizations  regarding  the  sort  of  equipment  necessary  to 
do  successful  35  millimeter  (standard  film)  work. 

Photoplay  suggests  that  such  clubs  will  find  either  the 
De  Vry  or  the  Eyemo  cameras  ideal  for  35  millimeter  work. 
Both  of  these  cameras  are  used  continually  in  the  leading  Holly- 
wood studios  for  special  and  unusual  shots. 

Both  of  these  machines  are  equipped  with  a  good  all-round 
lens  for  general  photography,  but  organizations  will  need  a 
speedy  lens  for  close-ups  and  for  interior  shots.  .\t  least  three 
lights  will  be  essential  and  more  will  be  required  if  you  expect 
striking  interior  shots. 

It  is  easy  to 
make  your  own  re- 
flectors. If  you 
don't  know  how, 
write  this  depart- 
ment and  enclose 
a  stamp  for  reply. 

A  tripod  for  the 
camera,  a  combi- 
nation rewinder 
and  splicer  for  cut- 
ting and  editing,  a 
projection  ma- 
chine and  screen 
for  observing  the 
picture  and,  per- 
haps, some  special 
lens  filters.  This 
will  constitute  a 
good  working 
equipment. 

Still,  all-round 
outfits  are  not  al- 

70 


ways  necessary. Some  of 
the  best  films  submitted 
in  the  first  Photo- 
play Amateur  Movie 
Contest — and  some  of 
the  winners,  as  well — 
were  made  with  an 
equipment  that  con- 
sisted only  of  a  camera 
and  a  re-winder  and 
splicer.  Step-ladders 
acted  as  tripods.  Home- 
made lights  served 
their  purpose  satisfac- 
torily. Everything  de- 
pends upon  the  inge- 
nuitv  of  the  user. 


THE   Chicago  Cine- 
ma Club  off^ers  an 


— .■  ■■■         ■ 


The  Drama  Class  of  the  Newport  News,  Va.,  High  School  is  making 

another  student  film.     The  Drama  Class  was  well  represented  in 

PHOTOPLAY'S  First  Amateur  Movie  Contest 


interesting  example  of 
the  way  a  good  ama- 
teur organization 
should  function.  "Chicago,"  a  composite  film  study  of  the 
city  co-operatively  produced  by  members  of  the  club,  has  just 
been  screened.  Members  contributed  shots  of  the  city  which 
were  edited  by  a  committee  into  a  complete  film  narrative  of  the 
civic  and  industrial  life  of  Chicago.  Joe  Symons  is  now  presi- 
dent of  the  Chicago  Cinema  Club,  Oscar  Nugent  is  vice-presi- 
dent, Dwight  Furness  is  secretary  and  Frank  T.  Farrell  is 
treasurer. 

THE  Amateur  Motion  Picture  Club  of  Miami,  Florida,  is 
getting  ready  for  the  Photoplay  Amateur  Movie  Con- 
test. The  club  has  been  holding  weekly  meetings  and  shooting 
short  productions  in  order  to  gain  experience. 

The  Miami  club  was  lately  formed  with  a  membership  of 
fifty.  Miami  city  officials  are  offering  every  possible  co-opera- 
tion. The  organization  recently  shot  "The  Hero"  in  two 
Sundays  of  work,  with  Dr.  Milton  J.  Benjamin  directing. 
F.  H.  Arcularious  is  president. 


THE  Cumber- 
land Amateur 
Motion  Picture 
Club,  of  Vineland, 
N.  J.,  is  prepar- 
ing two  35  milli- 
meter productions 
to  be  submitted  in 
Photoplay's 
Amateur  Movie 
Contest.  Thecam- 
era  work  on  one  of 
these,  an  under- 
world melodrama 
bearing  the  work- 
ing title  of  "Judg- 
ment Fulfilled,"  is 
half  finished  under 
the  direction  of 
Roy  C.  Ehrhardt. 
Sixteen  hundred 
[  continued  on 
PAGE  110  1 


Thousands  of  home  Christ- 
mas trees  will  be  immortal- 
ized    in     amateur     movies 
during  the  coming  holidays. 
Indeed,  the  Christmas  tree 
will    be    probably    the   first 
object  to  fall  victim  to  the 
new  camera.     To  help  be- 
ginners    Photoplay     pre- 
sents   these    two    pictures. 
Here's  how  you  should  pose 
your  tree  and  the  belle  of 
your  household.    You  need 
two  lights,   placed  so  that 
your    baby's   face    will    not 
have   bad   shadows.      Then 
attach  a  fast  lens  to  your 
camera — and  shoot.    If  the 
room   is  brilliantly  lighted 
by  the  sun  and  your  lens  is 
fast   enough,    you    can    get 
your   shots   without   artifi- 
cial illumination.    In  these 
specially  posed  pictures  for 
Photoplay  —  by    Eva    von 
Berne,    Eddie    Nugent    and 
little  Evelyn  Mills — a  Filmo 
and  two  of  the  new  home 
photography    incandescent 
lights  are  utilized 


H 


Buy  an  unblocked  felt  shape  in  the  color 
that  is  most  becoming  to  you.  It  may 
look  unpromising,  but  don't  be  dis- 
couraged. Study  it  carefully  and  decide 
just  how  you  want  to  drape  it  to  fit 
your  head 


Now,  with  a  sharp  pair  of  scissors, 
cut  the  brim  from  the  crown.  Leave 
about  an  inch  and  a  half  of  felt  on  the 
brim,  as  you  will  need  this  to  work  on. 
And  be  sure  that  you  cut  in  a  neat 
circle 

72 


OW  to 


Make 


By  Lois  Shirley 


DON'T  start  telling  me  that  the  stars  are  all  lilies  of  the  field 
who  walk  into  the  most  expensive  store  in  town  and  pay 
hundreds  of  dollars  for  their  dresses  and  hats. 
I've  been  shopping  with  them  and  I  know.  I  shall  never 
forget  a  day  when  Joan  Crawford  and  I  discovered  the  grandest  sale 
of  sweaters  for  $2.95  and  Joan  was  quite  as  thrilled  as  I  was.  She 
bought  two  and  added  to  her  purchases  the  most  cunning  little 
fifteen-dollar  dress  you  ever  saw.  You  should  have  seen  the  look 
on  the  saleswoman's  face  when  Joan  wrote  the  check. 

"You're  NOT  Joan  Crawford?"  she  asked  in  an  amazed  voice. 
And  Joan  had  to  produce  every  sort  of  evidence  that  it  was  really 
she  before  the  store  would  accept  the  check.  "Well,  I  never  thought 
that  YOU  would  come  into  this  little  shop!" 

'"Maybe  I've  shattered  an  illusion,"  said  Joan,  as  we  went  out, 
"but  you  can't  tell  me  that  these  sweaters  are  not  just  as  good  as 
ten  and  fifteen  dollar  ones." 

Any  number  of  the  stars  patronize  the  smaller  shops  and  some 
of  them  are  handy  with  the  needle  and  do  much  of  their  own 
sewing.  Eleanor  Boardman  made  six  little  porch  frocks  not  long 
ago  and  Gertrude  Olmsted  actually  invented  and  patented  a 
house  dress. 

NOW  along  comes  Esther  Ralston  with  a  smart  winter  hat  that 
can  be  made  for  $3.50  and  a  couple  of  hours'  work.  This  is  not  the 
first  time  that  Esther  has  made  herself  useful  as  well  as  ornamental. 
She  takes  great  delight  in  designing  and  executing  frocks  for  her 
little  nieces. 

But  I  must  tell  you  about  this  wonderful  hat.  Esther  was  good 
enough  to  pose  showing  just  how  it  is  done  and  you  can  follow  it 
through  picture  by  picture  and  stitch  by  stitch. 

I  know  that  you've  seen  whole  tables  covered  with  unblocked 
felt  hats  in  the  department  stores.  As  you  know,  these  can  be 
bought  for  $2.50  and  up.  They  come  in  all  colors.  It  happens 
that  Esther  chose  one  of  rose  beige  because  it  is  the  shade  that  is 
most  becoming  to  her.  How  awkward  and  ungainly  the  shape 
looks  until  skillful  scissors  and  needles  do  the  work! 

The  first  step  consists  in  cutting  the  brim  from  the  crown.     Of 


Next,  as  Miss  Ral- 
ston  demon- 
strates,  lift  the 
brim  from  the 
hat.  Cut  the  brim 
straight  down  the 
center  of  the 
back.  If  the  crown 
is  too  large  for 
your  head,  take  a 
tuck  in  the  back. 
If  it  is  too  deep, 
trim  it  down  un- 
til it  fits  you 


a  Winter  Wat  for  ^3.50 

It  can't  be  done?     Then  take  a  little  lesson  in 
millinery  from  Esther  Ralston 


^^^^^  ^  ^^^^^T  iiMH^K^ 

fwWFm^ 

^LJ^H                          ^^iffilHH^^^^^A^K  V.     1 

p 

1 

■f/;\ 

^  *J>  I 

1 

^^HP^^HL?^  xl 

m-  'i 

^^^H 

l"* 

H  J 

^^^'^H 

\  ;* 

3  '^ 

^Bbh 

^^^■B'  •.    p^^l 

^^^^E 

^ 

^^Bk^  '"^k 

k^lW 

kl 

1^^^   ^-^ 

■    ^ 

W  '^  i 

If 

H 

■    /    1 

Ek^' 

1 

Go  to  a  mirror  and  watch  the 
next  few  steps  carefully.  Pin 
the  front  of  the  brim  to  the 
front  of  the  hat,  so  that  the 
brim  makes  a  frame  for  your 
face 


course,    you    must    remember    to    leave 
about  an  inch  and  a  half  of  the  felt 
standing   to   the   brim   as   this   gives 
something  with  which  to  work.     It 
leaves  a  solid  body  that  is  necessary 
lo    the    success    of    the    chapeau. 

Now    comes   the    tricky    part. 
Stand  in  front  of  a  mirror  and 
place  the  crown  well  down  over 
your  head.  If  it  is  too  deep,  trim 
it  down  to  the  right  size.    If  it 
is  too  large  take  a  tuck  at  the 
back.   These  little  tucks   are 
very  chic  and  sometimes  add 
ji'st  the  touch  of  smartness 
for    which    you're    looking. 


THE  brim,  which  has  been 
split  at  the  back,  is  now 
turned     upside     down     and 
pinned  to  the  crown  tempo- 
rarily unlil  you  have  decided 
upon  the  lines. 

Esther  decided  that  the  up- 
ward rolling  brim  is  best  for  her, 
so  the  crown  is  pinned  at   the 
center  back  in  a  neat  little  roll. 
You   will   note   that    the   brim   is 
placed  rather  high  on   the  crown, 
giving  the  smart   bandeau   effect. 

The  brim  and  crown  may  now  be 
sewn  together  and  the  ragged  edges 
evened  up.  With  the  hands  the  brim 
is  shaped,    a  low  droop  on  the  left 


This  is  where  you  show  your 
skill.  Roll  the  front  of  the 
brim,  bring  it  down  on  the 
sides,  and  fasten  in  the  back. 
Experiment  to  see  what  line 
suits  vou  best 


Miss  Ralston  has  placed  the 
brim  high,  to  give  a  bandeau 
effect,  and  has  shaped  it  into 
an  upward  roll.  The  brim  is 
fastened  to  the  crown  at  the 
back 


and  an  upward  sweep  at  the  right,  with 

a  short  hne  at  the  back.   The  finishing 

touch  is  accomplished   with  an  ony.Y 

and  rhinestone  pin  at  the  side  front. 

The  pin  cost  $1. 

And  there   you    have   a   hat   in 
which  you  would  not  be  ashamed 
lo  lunch  at  the  smartest  restau- 
rant in  town.     The  beauty  about 
it   is   that   this  is   not   the  only 
shape  that  may  be  made.   Felt 
lends  itself  to  draping  and  if  you 
e.vperiment  long  enough  before 
your  mirror  you  may  be  able  to 
evolve   an   even   smarter,   more 
becoming   design  of  your  own. 


Here  is  the  finished  hat, 
tricked  out  with  an  orna- 
ment that  may  be  purchased 
for  one  dollar.  The  total  cost 
is  only  three  dollars  and  a 
half,  but  the  effect  is  that  of 
a  hat  three  times  as  expen- 
sive. Any  girl  with  only  a 
slight  knowledge  of  milli- 
nery can  easily  make  one  like 
it  for  herself 

IB 


"Imagine  My 


By 

Ve  r  n  o  n 
Bailey 


Kmbarrassment 


It  was  Charles  Francis  Coe,  the  author,  who 
asked  Don  Terry  if  he  wanted  to  take  a  test  for 
"Me, Gangster."  Terry  thought  he  was  kidding, 
but  he  figured  it  might  give  him  a  chance  to 
see  the  inside  of  a  studio 


ANYBODY  that  has  ever  read  about  Hollywood  knows 
about  ^lontmartre,  or  at  least  almost  anybody. 
For  the  benefit  of  those  who  do  not,  allow  me  to 
explain  that  Montmartre  is  not  a  tough  section  of  the 
city,  but  a  restaurant.  And  this  stor>-  is  somewhat  of  a  free 
advertisement  for  that  restaurant. 

Exactly  speaking,  it  is  a  dissertation  about  lunch  and  the 
evils  thereof,  if  any.  It  is  the  tale  of  a  lunch  that  paid  and 
paid  and  paid.    A  man  paid,  not  a  woman. 

A  statistician  with  a  sense  of  humor  once  figured  that  one 
out  of  ever\-  eighty-four  movie  actors  was  ''discovered"  while 
lunching  at  Montmartre.  The  yarn  is  a  bit  hackneyed  and 
would  have  been  cast  into  oblivion  had  not  Charles  Frances  Coe, 
the  well-known  author,  come  to  town. 

The  tale  we  are  about  to  unfold  deals  with  one  Don  Terry, 
of  whom  you  probably  never  heard  before  in  your  life.  If 
things  go  as  Charles  Francis  Coe  expects,  however,  you  will 
hear  much  of  Mr.  Terr\-. 

It  so  happened  that  Terr\'  had  betaken  himself  to  Mont- 
martre for  lunch.  .And  on  the  same  day,  Mr.  Coe,  wearying  of 
his  typev,riter  and  the  Fox  lot,  likewise  had  betaken  himself 
to  liontmartre  to  appease  the  inner  man. 

Columnists  and  humorists  have  commented  so  frequently 


When  I  ordered  luncheon 
at  Montmartre  and  got  a 
job  in  the  movies."  How 
Don  Terry,  tourist,  found 
out  that  he  was  "just  the 
type" 


upon  the  matter  of  screen  opportunities  ofifered  by  the  Mont- 
martre, that  I  hesitate  to  set  forth  what  actually  happened 
this  particular  day. 

But  even  at  the  risk  of  being  ridiculed,  I  shall  tell  the  har- 
rowing truth.  Or  I  shall  do  even  better.  I  shall  allow  Mr. 
Terry  to  tell  the  harrowing  truth,  in  his  own  words: 

"T  H.\D  no  idea,"  Mr.  Terry  began,  stepping  briskly  up  to 
-1-  the  microphone,  "that  anything  untoward  was  going  to 
happen.  As  a  matter  of  fact,  I  had  written  home  to  tell  the 
folks  that  the  prodigal  was  returning,  and  to  prepare  the  fatted 
calf's  liver  and  onions. 

"But  you  see,  during  my  stay  in  Hollywood,  I  had  seen  no 
picture  stars.  In  fact,  I  had  found  picture  stars  altogether  at 
a  premium.  I  could  not  get  into  a  studio.  On  Hollywood 
Boulevard  I  could  find  only  branches  of  the  Bank  of  Italy,  a 
branch  to  every  corner.  Then  someone  told  me  about  Wednes- 
day and  the  ^lontmartre,  so  to  the  Montmartre  I  went  for 
lunch,  expecting  to  glimpse  a  star  or  two  but  finding  chiefly 
lowans  with  the  same  idea  as  my  own. 

"Imagine  my  surprise  whan  a  man  came  over  to  me  and  asked 
if  I  was  in  pictures.  I  thought  he  was  kidding,  especially  when 
he  said  I  was  just  the  type.  He  looked  so  much  like  a  tourist, 
however,  that  I  resolved  not  to  hit  him.  I  took  his  card  and 
read  the  name,  'Charles  Francis  Coe,'  figuring  that  maybe  it 
would  give  me  a  chance  to  see  a  studio.  I  had  only  the  vaguest 
idea  of  what  a  test  was,  but  I  paid  my  check  and  set  forth  for  the 
Fox  Studio." 

Young  Terry  evidently  believes  in  the  luck  of  the  Irish,  for 
his  name  is  not  Terr\'  at  all  but  Loker — Donald  Loker.  Loker 
would  never  do  on  the  screen,  however,  and  Don  Terry  will  do 
very  handsomely. 

THE  thing  Coe  had  in  mind  for  Terr>'  was  the  lead  in  a 
picture  he  had  just  written  from  his  story,  "!Me,  Gangster," 
which  Raoul  Walsh  directed.  Coe  felt  that  Terr\-  was,  as 
he  so  aptl_\'  expressed  it,  "just  the  type." 

The  author  took  his  "find"  to  the  maker  of  "What  Price 
GloPi',"  and  that  worthy  gave  him  the  up-and-down  and 
said,  "Coe,  I  think  you've  got  something."  He  made  a  test 
and  as  soon  as  it  came  out  of  the  laboraton,-,  Don  Terry  was, 
without  any  previous  screen  experience,  a  leading  man. 

And  still  they  say  there's  no  Santa  Claus! 

As  to  whether  Terry  will  remain  a  leading  man  is  another 
matter.  It  will  depend  upon  whether  he  can  act.  But  for  the 
present  he  has  a  job  that  most  folks  would  give  their  index 
finger  or  toe  to  capture.  And  his  qualifications  for  holding 
it  are  the  following:  [  coxtinued  on  page  105  ] 


Richee 


/UST  a  little  story  to  show  why  Lupe  Velez  is  the  favorite  star  of 
the  prop  boys,  electricians  and  extras.  When  Lupe  finished  "The 
Love  Song,"  the  prop  boys  presented  her  with  a  hand-carved  make- 
up box.  The  oldest  property  man  made  the  presentation,  and  Lupe  re- 
warded him  by  kissing  him  on  both  cheeks.  "Every  man  offer  Lupe 
diamond,  which  she  no  take,  but  no  man  every  made  anything  for  her 
with  his  own  hands."    Whereupon  everyone  had  a  good  cry 


r/fi 


resstng 
A 

Good  Game 


Modern  golf  is  excel- 
lent for  displaying 
perfect  form.  Gwen 
Lee  has  no  sleeves  to 
bind  her,  no  hose  to 
run.  She  knows  her 
niblicks.  Bu  tin 
mother's  day  girls  had 
things  on  their  minds, 
particularly  those 
fuzzy  Scotch  tarns 
and  the  vague  feeling 
that  a  spoon  shot 
sounded  faintly  im- 
proper 


Gaze  on  the  little 
water  wow,  center, 
ready  to  launch  forth 
on  that  abandoned 
breast  stroke.  Com- 
pare her  with  the  trim 
young  thing  illustrat- 
ing the  new  freedom 
of  the  seas 


When  a  girl  arrives  at  the 
tennis  courts  gowned  with 
comfortable  distinction,  the 
man  behind  the  net  knows 
she  has  a  beautiful  serve. 
Formerly  her  costume 
warned  him  that  the  only 
stroke  the  poor  darling  would 
get  was  one  of  apoplexy 


Once  it  was  not  so  hot. 

Today  chic  clothes 

make  champions 


76 


Photoplay  Magazine — Auvektising  Section 


At  sixteen  Jane  Kendall  excelled 

in  riding  and  every  sport.  "Beauty 

and  the  Beast"  this  portrait  zvith 

her  Great  Dane  was  called. 


At  seventeen  she  siudu.:  piii'.r.K-^ 

in  Paris  {for  she  is  gijted  as  she 

is   beautiful) — and  prepared  for 

her  '^coming  out'*  festivities. 


At  eighteen  came  her  Washington 

debut  in  this  Lanvin  frock.    They 

called  her  "the  prettiest  girl  that 

ever  entered  the  Ik'hite  House." 


At  nineteen  her  marriage  to  a  dis- 
tinguished young  New  Yorker  -ujas 
the  outstanding  event  of  the  smart 
Washington  season. 


"  Ike  Prettiest  GlrL  tkat  ever  etttered  tke  Wklte  Hcaise''' 

Ma^.  George  Grant   MaSon..^. 


JANE  KENDALL  MASON  has  not 
long  left  her  teens,  but  her  extra- 
ordinary beauty  has  already  made  her 
famous.  "The  prettiest  girl  that  ever 
entered  the  White  House"  they  called 
her  when  she  made  her  dazzling  debut 
in  Washington.  Soon  followed  her  bril- 
liant marriage  to  a  New  Yorker  of 
distinguished  family. 

Clear-cut  as  a  cameo  is  Mrs.  Mason's 
pale  blonde  Botticelli  beauty.  Her 
purple  pansy  eyes  are  dark  against  her 
flawless  skin,  pale  as  a  wood  anemone. 
Gifted  and  interesting,  she  is  always  in 
demand.  From  her  father's  homes  in 
Washington  and  Maryland  to  the  gay 
diplomatic  circles  of  Havana  where  her 
husband  is  an  important  figure,  she 
flits  like  a  butterfly,  yet  her  complexion 
is  ever  exquisite. 

This  perfection  of  her  pale  anemone 
skin  she  owes  to  the  tour  simple  steps 
to  beauty  that  so  many  lovely  young 
moderns  follow.  "I've  used  Pond's 
Creams,"  she  says,  "ever  since  I  can 
remember. 

"I  dote  on  them!  The  Cold  Cream 
is  so  light  and  pleasant — leaves  the  skin 
really  clean  and  soft.  The  Vanishing 
Cream  gives  such  a  velvety  surface  for 
powder." 

Now  Mrs.  Mason  finds  Pond's  two 
new  products  just  as  delightful. 

"The  Cleansine  Tissues  are  a  lux- 


Pond's  Tivo  Creams,  Skin  Freshener  and 
Cleansing  Tissues  compose  Pond's  famous 
Method,  the  sure  way  thousands  of  young 
moderns  use  to  keep  their  skin  always  lovely. 


.M,,  .  Ulukol  (jkaxt  Maso.n,  Jr.,  ■i.us  Miss 
Jane  Kendall,  daughter  of  Mr.  and  Mrs.  Lyrtian 
Kendall  of  If  'ashington,  D.  C.  Since  her  brilliant 
debut  her  Botticelli  beauty  has  been  famous.  Her 
flawless  skin  is  delicate  as  a  wood  anemone. 


ury,"  she  says.  "They  remove  cold 
cream  perfectly.  And  the  Skin  Fresh- 
ener  gives    your   skin    such    a   lovely 


USE  POND'S  Cold  Cre-im  for  cleansing 
generously  several  times  a  day  and 
every  night,  patting  it  over  face  and  neck 
with  upward,  outward  strokes.  It  soaks  into 
the  tiny  apertures;  softens  and  loosens  the 
dust  and  dirt. 

With  Pond's  Cleansing  Tissues,  firm, 
ample,  light  as  thistledown,  wipe  off  the 
cream  carrying  the  dust  with  it. 

Repeat  these  two  steps  until  the  tissues 
show  no  soil. 

If  you  are  having  a  daytime  cleansing  a 
dash  of  the  exhilarating  Skin  Freshener  will 
tone  and  refresh  your  face.  Apply  it  briskly. 
See  how  it  livens  and  braces  the  complexion. 

Lastly,  for  the  correct  completion  to  per- 
fect grooming,  apply  just  a  shade  of  Pond's 
\'anishing  Cream  before  you  powder.  It 
protects  the  skin,  gives  it  fine-grained 
texture. 

Pond's  four  simple  steps  mean  beauty. 

If  it  is  possible  that  you  have  not  used 
Pond's  four  delightful  preparations,  mail 
the  coupon  for  a  week's  test  supply. 

Mail  the  Coupon  vcilh  loi.  for  Pond's 
four  preparations. 

I'on'd's  Extract  Company,  Dept. N 
I  '4  Hudson  Street,  New  York  City 

Name 


Street- 
City— 


Stare 

Copyright,  192S,  Pond's  Exrract  Company 


When  you  write  to  advertisers   please  mention   PllDTOPLAT   MAGAZINE. 


Here  Are  Winners  of  $5,000  Contest 


[  CONTINUED  PROM  PAGE  42  ] 


fortunate  enough  to  recei\'e,  but  regardless  of 
the  amount,  it  would  no  doubt  be  put  to  good 
use  in  my  own  home,  as  the  Christmas  season 
is  near  and  I  am  positive  it  would  make  possible 
a  very  happy  Christmas  for  the  famih-,  which 
consists  of  my  husband  and  two  sons." 

For  the  number  of  accurate  solutions,  the 
ingenuity  of  ideas  and  the  neatness  with 
which  they  were  presented,  this  contest  of  1928 
led  all  previous  ones. 

To  those  who  failed  to  win  a  prize  Photo- 
PL.\Y  says:  "May  3'ou  have  better  luck  next 
time!"  To  the  winners,  Photopl.ay  offers  the 
heartiest  congratulations. 

FIFTY  DOLLAR  PRIZES 

George  Gle.-\son 

911 — 33rd  Street,  Galveston,  Texas 

ISIrs.  E.  Scott  Ferguson 

3330  West  Franklin  Street,  Richmond,  Va. 

!Mrs.  Helen  Smith 

79  Godwin  Avenue,  Paterson,  N.  J.  . 

IMiss  S.adie  Xelsen 

603  East  Lake  Street,  Minneapolis,  Minn. 

Mrs.  Edith  K.mipel 

2920  Madison  Rd.,  Cincinnati,  Ohio 

Mrs.  E.  C.  V.\n  Pelt 

Marion,  Ky. 

Mrs.  W.  R.  Sshth 

1105  Cullom  Street,  Birmingham,  Ala. 

M.\RY  HARilON 

Frontenac,  Minn. 

Emil  Paulson 

569  South  Race  Street,  Denver,  Colo. 

Marad  Serriou 
P.  O.  Box  No.  801,  Palo  .\Ito,  CaHf. 

1\Irs.  G.  Spillenaar 
618  \V.  lUth  Street,  New  York,  X.  Y. 


Mrs.  Alice  Barr 
617  W.  MuUan  Avenue,  Waterloo,  Iowa 

Miss  Helene  Speaker 

1812  Fairfield  Avenue,  Ft.  Wayne,  Indiana 

Hazel  Dunham 

23  Euclid  Avenue,  Ludlow,  Ky. 

Mary  Ruth  Moore 

1766  Meadowbrook  Rd.,  Altadena,  Calif. 

Mrs.  a.  M.  Bentley 

371  Spring  Street,  Macon,  Ga. 

Helen  Marples 

3235^  Descanso  Drive,  Los  Angeles,  Calif. 

Sally  Nicol 

1928  Kent  Street,  Los  Angeles,  Calif. 

Mrs.  S.  O.  Neilson 

3001  Portland  Avenue,  Minneapolis,  Minn. 

Miss  Grace  V.  Trotter 

4232  Edmondson  Avenue,  Dallas,  Texas 

TWENTY-FIVE  DOLLAR   PRIZES 

Dr.  T.  N.  Visholm 

Lake  Street  CUnic,  Minneapolis,  Minn. 

Alma  C.  Morley 

15  Catherine  St.,  Oswego,  N.  Y. 

]Mrs.  Jack  Wier 

Belton,  South  Carolina 

Nellie  Conroy 

23  N.  Thorpe,  Kansas  City,  Kansas 

Captain  Betty  O'Neil 

2544  East  Boulevard,  Shaker  Heights,  Ohio 

Mrs.  Jennie  A.  Taylor 

120  State  Capitol,  St.  Paul,  Minn. 

Mary  O'Day 
1925  South  17th  Street,  Omaha,  Neb. 

Kathryn  Mlt-len 
126  North  Cecilia  Street,  Sioux  City,  Iowa 


Mrs.  Clint  F.  Overman 

c/o  Block  Brothers  Department  Store, 

Kenosha,  Wis. 

Louise  Axtell 

2900  Prospect  Avenue,  Kansas  City,  Mo. 

Mrs.  S.  I.  Moore, 

402  Park  .\ venue,  Burlington,  N.  C. 

Mrs.  D.  B.  Janes 

242  West  Main  Street,  Jackson,  Tenn. 

Grace  Sheller 

1106  Dodge  Street,  Omaha,  Neb. 

Clara  Clark 

57  James  Street,  Maiden,  Mass. 

Kathryn  Pump 

1518  Granger  Street,  Saginaw,  Mich. 

Alice  Lee  Sage 

1508  Burlew  Street,  Dallas,  Texas 

Elizabeth  Wayiian 

Ellsworth,  Wis. 

Charles  P.  Ament 

57  State  Street,  Rochester,  N.  Y. 

Miss  Marie  A.  Shapter 

821  Neil  Avenue,  Columbus,  Ohio 

Miss  Emma  Gi^-ren 

1132J^  West  40th  Place,  Los  Angeles,  Calif. 

E.  J.  Myrose 

43  Real  Estate  and  Law  Bldg.,  Atlantic  City, 

N.J. 

Mrs.  R.  J.  M.WHER 

5118 — 41st  .\ venue,  S.  E.,  Portland,  Oregon 

Miss  Melissa  Weaver 

c/o  The  Roseville  State  Bank,  Roseville,  Ohio 

I\Irs.  Dorothy  McAuslin 

16  Phoenix  Avenue,  Waterbury,  Conn. 

RiTTH  Curry 
1100  Winfield  Avenue,  Topeka,  Kansas 


A  large  storeroom  was  necessary  in  which  to  keep  the  thousands  of  solutions  in  this  year's  Cut-Puzzle  Contest. 
Here  is  a  section  of  the  great  mass  after  the  judges  had  selected  the  first  five  prize  winners 

7^ 


Photoplay  Magazine — Advertising  Section 


79 


P 


Her  hair  is  oily 


She  should  use  Packer's  Pine  Tar  Shampoo 

If  you  have  the  kind  of  hair  that  loses  its  fiufEness  shortly  after 
shampooing,  use  Packer's  Pine  Tar  Shampoo.  This  preparation  is 
tonic  and  mildly  astringent  .  .  .  approved  by  dermatologists.  It 
leaves  the  hair  fluffy,  with  a  natural  sparkle.  Use  it  every  four  or 
five  days  at  first;  later  every  week  or  ten  days  may  be  enough. 

Her  hair  is  dry 

She  should  use  Packer's  Olive  Oil  Shampoo 

Like  all  Packer  soaps,  this  shampoo  is  a  vegetable  oil  soap  ...  in 
addition,  it  contains  a  rich,  soothing  emollient  (and  nothing  to  dry 
the  scalp).  Dry  scalps  will  never  feel  a  stinging  sensation  when 
they  use  this  special  shampoo.  Leaves  your  hair  soft  and  silky  to 
the  touch— more  manageable— and  delicately  perfumed. 

He  has  dandruff 

He  should  use  Packer's  Tar  Soap 

.  .  .  the  soap  that  made  pine  tar  famous  for  shampooing.  Pine  tar 
is  antiseptic,  healing,  with  properties  valuable  in  the  treatment  of 
dandruff.  Packer's  Tar  Soap  is  endorsed  by  dermatologists  for 
skin  and  scalp.  For  noticeable  dandruff  use  Packer's  Tar  Soap 
every  few  days  until  improvement  begins. 


Select  the  shampoo  your  hair  needs 


Acute  cases  of  dryness,  oiliness  and  dan- 
druff need  the  care  of  a  dermatologist— a 
doctor  who  is  a  skin  specialist.  But  nearly 
all  scalps  lend  to  be  dry  or  oily,  and  many 
are  mildly  affected  with  dandruff.  Now — 
each  type  of  scalp  can  have  the  special 
shampoo  which  meets  its  particular  needs. 
The  coupon  is  for  your  convenience.  The 
regular  size  of  each  shampoo  is  for  sale 
at  your  drug  or  department  store. 


Check  Sample  Desired 

For  10c  enclosed  send  sample  of 


PACKER  s 


n   Olive  Oil  Shampoo 
n   Tar  Shampoo 
n  Tar  Soap 


Packer  Mfg.  Co.,  Inc.,  Dcpt.  10  A,  101  West 
Thirty-first  Street,  New  York  City:  Send  me 
offer  checked,  with  28-page  book  on  hair  health. 


Name_ 


.\ddress_ 
City 


_State_ 


When  you  write  to  adverUsers  please  mention  PHOTOPLAY  MAGAZINE. 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  49  ] 


done  right  well  by  him.  He  is  one  of  those  lucky  lads  who 
in\ested  heavily — to  the  tune  of  $125,000,  we  are  told — in 
Bank  of  Italy  stock  and  got  out  just  eleven  days  before 
the  crash. 

ARISING  young  star,  laden  with  letters,  met 
Polly  Moran  on  the  M.-G.-M.  lot. 
"See,"  said  the  r.  y.  s.,  "this  is  my  daily  fan 
mail." 

"I  haven't  been  to  get  mine  yet.  Walk  over 
to  the  post  office  with  me,"  said  Polly.  At  the 
window  she  said: 

"Come  on,  boys,  don't  hold  out.  Give  me 
that  postal  card." 


The  megaphone  for 
directors  goes  on  the 
shelf  and  earphones 
take  its  place.  This 
picture  shows  the 
new  technique  of  re- 
cording talkies.  Roy 
Pomeroy  is  directing 
Evelyn  Brent  and 
Doris  Kenyon  in  a 
scene  from  "Inter- 
ference." The 
microphone,  over 
their  heads,  is  just 
outside  of  the  range 
of   the  camera 


In  the  talkies,  the  cutter  must  work  on  two  films, 
the  visual  picture  and  the  sound  track  record.    Mer- 
rill White  inspects  a  scene  and    its    vocal    accom- 
paniment for  "Interference" 

80 


A  NOTHER  expression  of  Phyllis  Haver's 
-'^■popularity.  Recently  she  gave  a  rather  large 
party,  to  which  one  hundred  ninety  guests  were 
invited.  The  number  of  people  that  came 
slightly  exceeded  four  hundred.  Eddie  Brand- 
statter  was  called  on  to  furnish  the  third  supply 
of  food  and  there  was  enough  for  Grant's  army 
to  begin  with.  Did  she  say  to  them,  "I  am  so 
happy  to  see  you,  I  wish  I  had  thought  to  invite 
you"?   Not  much,  for  Phyllis  is  not  like  that. 

P'OLLEEN  MOORE  and  William  Seiter  were 
^^-'riding  down  Sun?et  Blvd.  As  they  passed 
Warners'  studio,  fearful  sounds  rent  the  air. 
Bill  stopped  the  car  and  looked  in  every  direction. 
"Drive  on,"  said  Colleen  "they  are  merely 
making  a  Vitaphone  insert." 

/"''WEN  LEE  has  deiinitely  broken  her  en- 
^■-'gagement  with  George  Hill.  Gwen  is 
beautiful  and  attractive  and  a  splendid  dancer. 
Hill,  once  a  cameraman,  now  a  director,  had  no 
interest  in  the  social  life  of  Hollywood.  He 
avoided  parties  and  opening  nights,  which 
meant,  of  course,  that  Gwen  avoided  them,  too. 
This  should  be  great  news  to  eligible  young 
bachelors  about  town. 


In  the  air  scenes  for  "Gold  Braid"  the  record- 
ing apparatus  was  carried  aloft  by  the  planes. 
Ramon   Novarro   is   holding   the   microphone 
that  caught  the  roar  of  the  motors 


CHARLIE  CHAPLIN  and  Charles  Furthman  were  driving 
along  the  boulevard  in  their  respective  cars.  Being  famous 
film  folk  they  saw  no  reason  why  they  shoiild  not  park  double 
w'hile  Chaplin  went  into  a  store  to  make  a  purchase. 

Upon  his  return  he  discovered  a  lordly  cop  standing  over 
the  car. 

■'Parking  double!    What's  your  name?" 

"Charles  Chaplin,"  said  the  little  comedian. 

The  cop  looked  him  over.  "Maybe  yes,  maybe  no.  How  can 
you  be  Charlie  Chaplin?    Where's  your  moustache?" 

Where  are  the  stars  of  yesteryear? 
Where  are  the  worshipped  ones,  and  dear? 
Where  are  the  old  gods,  fine  and  fair? 
Wait — don't  answer  me !    I  don't  care. 


R 


EMEMBER  the  old  wheeze  about  what's  in  a  name? 
Well,  lend  ear  to  this: 
Muni  Weisenfrund,  famous  [  continued  on  page  86  ] 


Photoplay  Magazine — Advertising  Section 


8l 


After  exposure — avoid  ^Or*G     I     MT*0/lt" 


LISTERINE 


Checks   it  quickly 

because  powerful 

against  germs 


Sore  throat  is  a  danger  signal 
of  oncoming  trouble  —  a  cold 
or  worse. 

It  usually  develops  after  sud- 
den  changes  in   temperature 
or  exposure  to  others  in  over- 
heated   offices,     germ-ridden 
railway  trains,  street  cars  and 
buses.  Wet  feet  also  encourage 
it. 

The  moment  your  throat  feels 
irritated,  gargle  with  Listerine 
full  strength.      Sore  throat  is 
usually  caused  by  germs — and 
Listerine    full     strength     kills 
germs. 

For  example,  it  kills  even  the 
virulent  B.  Typhosus  (typhoid) 
and  M.  Aureus  (pus)  germs  in 
15  seconds,  as  shown  by  re- 
peated laboratory  tests.    Yet  it 
may  be  used  full  strength  in 
any  cavity  of  the  body.    Indeed, 
the  safe  antiseptic. 
The  moment  Listerine  enters 
the  mouth  it  attacks  the  dis- 
ease-producing   bacteria    that 
cause  you  trouble.    And  unless 
your  sore  throat  is  a  symptom 
of  some  more  serious  disease, 
calling    for    the    services    of  a 
physician,  Listerine  will  check 
it     in     an     amazingly     short 
time. 

For     your     own     protection, 

keep   a    bottle    in    home   and 

office.       It's    an    investment 

in    health.      Lambert    Phar- 

macal   Company,    St.    Louis, 

Mo.,  U.  S.  A. 


To  escape  a  cold 


use  Listerine 
this  way: 


You  can  materially 
lessen     tlic    riwk    of 
catching   colds    by 
rinHiiig    the   hands 
ivith    Liistcrine   bc- 
ftirc  each  meal,  the 
way    physicians    do. 
The   reaHon   for   this 
is  obvious: 

Listerine    attacks 
the  germs  of  cold  on 
the  bands,   thus 
reiidcrinR    them 
hariiilcHs  when  they 
enter  the  mouth  on 
foinl     >vhi<-h     hands 
have  carried.     Isn'^t 
this  quick   precau- 
tion  worth   taking? 


GREAT! 


men  say.  They're  enthusiastic  about  Lis- 
terine Shaving  Cream.  You  will  be  also 
when   yiiu   try    it.      So  cool  I      So  soothing! 

S\'hcn  sou  write  to  advertisers   please  mention  PHOTOPLAT  MAGAZINE. 


82 


Photoplay  Magazine— Advertising  Section 


Madge  Bellamy,  Fox  star, 
in  the  quaintly  charming 
bathroovi—one  of  the  finest 
huilt  in  Hollywood — which 
so  effectively  combines  richly 
veined  marble  with  natural 
grained  paneling. 

"The  'studio  skin  a  star 
must  have  demands  a  soap 
that  leaves  the  skin  smooth  as 
a  rose-petal— and  Lux  Toilet 
Soap  does!" 


I'lioto  by  L    T  liumson.  Hollywood 


Photo  by  E.  A.  Bachrach.  Hollywood 


The  very  next  time  you  see  tiny  Olive  Borden  in  a 
close-up,  notice  how  exquisite  Lux  Toilet  Soap  keeps 
her  slcin.  "  It's  so  important  for  my  skin  to  have  the 
smoothness  wemean  by'studioskin,' and  Lux  Toilet 
Soap  is  so  splendid  for  it  that  I  am  dehghted  with 
this  daintily  fragrant  soap,"  she  says. 


Mary  Nolan,  Universal  star,  gives  such  intelligent  care 
to  her  beautiful  skin,  both  at  home  and  in  her  dressing 
room  on  location.  "I  am  utterly  enthusiastic  about 
Lux  Toilet  Soap,"  she  says. 

Lux    Toilet 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  Buaranteed. 


Photoplay  Magazine — Advertising  Section 


83 


B 


otkathomc 


and  in  their  dressing  rooms 

9  out  of  10  screen  stars 
use  Lux  Toilet  Soap 


Photo  by  W-  E.  Tlionias.  Hollywood 

Irene  Rich,  in  the  bathroom  built  in  Holly- 
wood to  combine  classic  luxury  with  modern 
charm.  "Lux  Toilet  Soap  gives  the  skin  as 
beautiful  a  smoothness  as  the  famous  French 
soaps  do,"  she  says. 


EVERY  GIRL  knows  how  at- 
tractive   she    IS   when    her 
skin  is  really  lovely. 

Experience  has  taught  movie 
directors  that  an  exquisite  skin  gets 
an  immediate  response  from  people. 

"Smooth  skin  is  the  first  essen- 
tial of  charm,"  says  Paul  Leni, 
director  for  Universal.  "To  become 
—  and    remain — a    popular    screen 


star,  a  girl  must  have  a  skin  so  flaw- 
lessly smooth  that  even  in  the  glare 
of  the  close-up  it  is  perfect." 

Of  the  451  important  actresses 
in  Hollywood,  442  are  devoted  to 
Lux  Toilet  Soap  because  it  keeps 
the  skin  so  smooth  and  soft.  And 
all  the  great  film  studios  have  made 
it  the  official  soap  for  all  dressing 
rooms.  You,  too,  will  be  delighted 
with  this  white  fragrant  soap. 


photo  by  W.  E.  Thomas,  Hollywood 

Phyllis  Haver,  Pathe  star— "Lux  Toilet  Soap  leaves  my  skin  so  gently 
smooth  that  I  have  no  fear  of  the  high-powered  lights  of  the  close-up." 


"Under  the  new  incandescent  'sun- 
spot'  lights  a  star's  s!:in  must  show 
flawlessly  smooth,"  says  Seena  Owen. 


Soap 


Luxury  such  as  you  have  found  only  In  French  soaps 
at  joc  and  $1.00  the  cake — Now 

When  you  write  to  advertisers  pkase  mention   PHOTOPLAY   MAGAZINE. 


lOc 


84 


Photoplay  Magazine — Advertising  Section 


Helena  Rubmstein.  Cosmetics 
Proclaim  tlie  Artist! 


Mme.  Helena  Rubinstein 
World-Renowned  Beauty  Specialist 

For  color,  for  texture,  for 
staying  quality,  for  whole- 
someness,  the  cosmetic 
creations  of  Helena  Rubin- 
stein are  unquestionably 
the  finest  in  the  world. 

The  Basis  of  a  Chic 


Beforeyou apply  your  finishing  touches, 
cleanse  the  skin  with  Valaze  Pasteurized 
Face  Cream — the  soothing,  revitalizing, 

Erotective  cream.  Ic  molds  the  skin  in 
eauty  (1.00).  Valaze  Beauty  Founda- 
tion Cream  makes  rouge  and  powder 
doubly  adherent,  doubly  flattering.  An 
ideal  powder  foundation  (1.00,  2.00). 
Now  your  skin  is  ready  for — 

A  Powder  Masterpiece 

Valaze  Powder.  Clinging,  exquisitely 
textured,  subtly  fragrant.  In  a  rich 
variety  of  smart  and  enhancing  shades, 
Novena  for  dry  skin.  Fia/^ze  for  average 
and  oily  skin.   1.50,  3.00. 

It  is  essential  that  you  visit  Helena  Rubinstein's 
Salons  at  this  trying  time  of  year,  so  that  your 
beauty  may  present  a  harmony  of  perfection — skin, 
contour,  eyes,  hands  and  hair  all  exquisite.  Here 
you  -wili  receive  the  last  -word  in  scientific  beauty 
treatments  and  expert  guidance  on  home  treatments 
and  make-up. 


THE  secret  of  a  successful  facial  ensemble?  .  .  .  Make-up  that 
is  as  perfect  in  texture  as  in  color  .  .  .  lipstick  that  lends  satin 
smoothness  as  well  as  luscious  tone  .  .  .  rouge  you  can  blend  with 
ease  .  .  .  powder  so  gossamer  it  becomes  one  with  the  skin  .  .  . 

Such  are  the  cosmetics  of  Helena  Rubinstein.  For  they  are  the 
creation  of  one  who  is  artist  as  well  as  scientist  .  .  .  one  who  for 
years  has  divided  her  life  between  laboratory  and  atelier  .  .  .  study- 
ing constantly  to  bless  all  women  with  the  wondrous  coloring  of 
immortal  beauties. 

When  you  touch  the  new  Cubist  Lipstick  to  your  lips,  when  you 
bring  the  glow  of  Red  Raspberry  Rouge  to  your  cheeks,  when  you 
clothe  your  skin  with  the  gentle  fragrant  radiance  that  is  Valaze 
Powder,  then  you  realize  the  magic  that  lies  in  make-up. 


Beautiful  Eyes 

Accent  the  Beauty  of  Your  Eyes  with 
Valaze  Persian  Eye-Black  (Mascara) — 
instantly  darkens  the  eyelashes  giving 
them  an  effea  of  silky,  soft  luxuriance. 
Wonderfully  adherent,  yet  does  not 
leave  lashes  stiff  or  brittle.    1.00,  1.50. 

Valaze  Eye  Shadow  [Compact  or  Cream 
in  black,  brown,  green  or  blue]  1.00. 

Valaze  Eyelash  Grower  and  Darkener 
promotes  luxuriant  growth  of  lashes 
and  brows.  1.00,  1.50. 


Valaze  Rouges  (compact  or  en  creme) 
impart  a  luscious  bloom  that  actually 
protects  the  skin!  For  daytime  you  will 
choose  gay  piquant  youthful  Red  Rasp- 
berry and  for  evening,  Red  Geranium, 
the  vivid,  the  provocative.  For  the  con- 
servative woman  there  is  the  subtle 
Crushed  Rose  Leaves  1.00. 


The 


lagic 


Cubist  Lipstick — Helena  Rubinstein's 
newest  cosmetic  creation.  Brings  to  the 
lips  a  softness,  lustre  and  beauty  rivalled 
only  by  the  rare  loveliness  of  its  color- 
ing. In  two  enchanting  shades.  Red 
Raspberry  for  day  and  Red  Geranium 
for  evening.  To  be  chic  one  must  have 
both.  Smart,  enameled  cases,  Golden 
or  Black,  1.00. 


are  masterpieces  of  the  jeweler's  craft! 
Enameled  inJetBlack,  ChineseRed,Jade 
Green  or  Golden.  Double  compact 
2.50,  Golden  3.00,  Single  Compact 
2.00,  Golden  2.50. 


Cleanse  with  Valaze  Pasteurized  Face 
Cream  (1.00).  Clear,  refine  and  animate 
the  skin  with  Valaze  Beautifying  Skin- 
food — Helena  Rubinstein's  skin-clear- 
ing  masterpiece  (1.00).  Brace  the  tissues 
and  tighten  the  pores  with  Valaze  Skin- 
toning  Lotion  (1.25).  Complete  treat- 
ment— a  two  months'  supply — with 
detailed  instructions  (3.50.) 

If  there  are  blackheads,  conspicuous 
pores,  wash  the  skin  with  Valaze  Black- 
head and  Open  Pore  Paste  Special 
(1.00).  This  unique  preparation  gently 
penetrates  the  pores,  ridding  them  of 
all  impurities.  Use  instead  of  soap. 


LONDON 


JSdma /fldinjiem 


PARIS 


Ai 


8  East  57th  Street,  New  York 
Philadelphia,  254  South  I6th  St.  670  N.  Michigan  Ave.,  Chicago 


Boston,  234  Boylston  Street 


951  Broad  Street,  Newark 


Cosmetic  and  home-treatment  creations  of  Helena  Rubinsleh)  are  obtainable 
at  the  better  shops,  or  direct  from  the  Salons 


Every  .-.dvenlscment  in  PHOTOPLAY  IIAGAZINE  13  guaranteed. 


QUESTIONS  ef  ANSWERS 


Read  This  Before 
Asking  ilyestions 

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.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  ail  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
57th  St.,  New  York  City. 


A.  A.  LtJDER,  Germantown,  Pa. — Glad  to 
ansvyer  your  questions  about  The  Shadow 
Stage.  The  pictures  are  reviewed  by  both  men 
and  women  and  do  not  represent  the  opinion 
of  one  person.  They  are  seen  by  several  mem- 
bers of  Photoplay's  re\-iewing  staff.  Most  of 
the  pictures  are  seen  at  pre-views  either  in 
New  York  or  Los  Angeles.  The  amount  of 
money  spent  on  a  production  does  not  influence 
the  reviewers.  Entertainment  value  is  the 
chief  consideration;  good  acting  and  unusual 
direction  are  other  points  that  place  a  picture 
in  the  "Six  Best."  But  the  principal  test  is 
simply  this:  Is  the  picture  worth  the  time  and 
money  of  Photoplay's  readers?  Thank  you 
for  your  interest. 

TiLLiE  THE  Toiler,  Oswego,  N.  Y. — I  have 
no  wife;  and  if  I  h(ni  a  wife,  her  name  would 
nol  be  Buttercup.  As  for  that  "most  beautiful 
bozo  on  the  screen,"  Johnny  Mack  Brown,  his 
next  picture  is  "The  Little  Angel,"  which 
doesn't  fit  in  with  John's  sLx  foot  figure.  You're 
not  Irish,  are  you? 

C.  A.  J.,  Easton,  Pa.— "Craig's  'Wife" 
wasn't  released  until  Sept.  16,  1928.  It  must 
have  been  someone  else's  wife  that  you  saw  in 
Bethlehem  two  years  ago.  Lon  Chaney's  new- 
est is  "West  of  Zanzibar,"  which  might  or 
might  not  be  "  Kongo."  Banned  stories  have  a 
way  of  slipping  by  under  another  title,  as 
witness  "  Sadie  Thompson  "  and  "  A  Woman  of 
.'\ffairs."  Emil  Janning's  next  is  "The 
Feeder  " 

Mrs.  Irene  Wellot,  Torrence,  Calif. — 
By  film  cutting  is  meant  the  elimination  of 
superfluous  scenes,  duplicate  "takes"  and  un- 
satisfactory "shots."  Sometimes  several  hun- 
dred thousand  feet  of  film  is  exposed  to 
obtain  the  seven  or  eight  thousand  feet  of  the 
finished  picture.  The  business  of  picking  the 
best  scenes  and  building  them  into  dramatic 
sequence  is  quite  a  job.  The  average  salary  of 
an  "extra"  is  seven  dollars  and  a  half  a  day. 
But  an  "extra"  who  gets  three  days'  work  a 
week  is  in  luck.  I  know  of  no  such  juvenile 
Home  in  Hollywood.  The  Studio  Club  is,  a 
home  for  girls,  but  it  is  not  limited  to  girls 
under  eighteen,  nor  are  the  regulations  as 
strict  as  those  you  mention.  Gwen  Lee's  real 
name  is  Le  Pinski  and  she  was  born  in  Hast- 
ings, Neb.  Jacqueline  Logan  is  a  native  of 
Corsicana,  Tex.  Hope  you  win  your  sub- 
scription. 

L.  S.  C,  Chicago,  III. — Your  friend  wins 
the  bet.  Antonio  Moreno  is  Spanish,  not 
Italian.  He  was  born  in  Madrid,  forty  years 
ago. 

M.  K.,  New  York,  N.  Y. — Gloria  Swanson, 
not  Dolores  Del  Rio,  played  in  "The  Loves  of 
Sunya."  Dolores  is  twenty-three  years  old, 
five  feet,  four  and  one-half  inches  tall  and 
weighs  120  pounds. 


Just  Another  Blond,  Chicago,  III. — 
Woof,  yourself!  Also  Grrrr  right  back  at  you! 
Don't  bother  your  head  about  all  those  Lind- 
Ijcrgh  matrimonial  rumCirs.  The  newspapers 
just  must  find  something  to  write  about  Lindy. 
Don't  know  where  Joyce  Compton  is  at  present. 
Warren  Burke  was  the  boy  who  played  in 
"Roadhouse."  Write  to  Anders  Randolf  at 
the  Tiffany  Studios,  4516  Sunset  Blvd.,  Holly- 
wood, Calif. 

Marion  B. — Mary  Philbin  was  about  fifteen 
years  old  when  she  first  went  into  the  movies. 
She  has  brown  hair.  Mary  is  an  American  by 
birth,  but  her  ancestors  were  Irish.  Most  of 
the  actresses  on  the  screen  were  poor  girls.  In 
fact,  most  of  the  rich  girls  who  have  tried  the 
movies  have  been  flops. 


AND  still  the  questions  about 
Nils  Asther  come  bouncing 
to  the  desk  of  the  Answer  Man. 
Mr.  Asther  is  twenty-six  years 
old,  and  has  brown  hair  and 
ha:el  eyes. 

Next  in  the  Seven  Most  Per- 
sistent Questions  of  the  Month 
is  Joan  Crawford.  Joan  has  red- 
brown  hair  and  blue  eyes. 

Where  did  the  rumor  start 
that  William  Boyd  has  gray 
hair?    Bill's  hair  is  light  brown. 

Richard  Arlen  is  twenty-nine 
years  old,  has  brown  hair  and 
blue  eyes,  and  weighs  155 
pounds. 

Gary  Cooper  is  American,  not 
English.  Born  in  Helena,  Mon- 
tana, twenty-seven  years  ago. 

Evelyn  Brent  is  twenty-nine 
years  old  and  divorced  from 
B.  P.  Fineman. 

Clara  Bow  is  five  feet,  three 
and  one-half  inches  tall  and 
weighs  115  pounds.  Her  next 
picture  will  be  "The  Saturday 
Night  Kid." 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY  ad- 
vises you  to  enclose  twenty-five 
cents,  to  cover  the  cost  of  the 
picture  and  postage.  The  stars, 
who  receive  hundreds  of  such 
requests,  cannot  afford  to  com- 
ply with  them  unless  you  do 
your  share. 


R.  H.  G.,  III. — I  should  think  it  would  be 
practical  to  install  a  talkie  outfit  in  your  town. 
Write  to  any  of  the  motion  picture  companies 
for  the  cost  of  the  installation  and  terms  of  the 
service.  I  can't  give  the  information  in  these 
columns. 

S.  C,  M.  S.,  E.  McC,  Savannah,  Ga.— I 
don't  know  why  Colleen  Moore  doesn't  curl  her 
hair.  Perhaps  she  thinks  that  her  straight, 
Dutch  bob  is  distinctive.  But  here,  Colleen, 
are  three  girls  who  want  to  know  how  you  would 
look  with  a  finger  wave. 

Happy,  Sandy,  Utah. — W'rite  to  Ray  E. 
Harris  of  the  Wallace  Reid  Memorial  Club 
about  obtaining  a  picture  of  Wallace  Reid. 
Mr.  Harris'  address  is  3625  R.  Street  N.  W., 
Washington,  D.  C.  Thomas  Meighan  has 
dark  hair  and  blue  eyes.  He  weighs  180 
pounds  and  is  49  years  old.  William  Haines 
has  black  hair  and  brown  eyes.  Mary  Pick- 
ford  has  golden  hair  and  hazel  eyes. 

J.  C,  Sioux  City,  Iowa. — If  you  will  write 
to  Adela  Rogers  St.  Johns  in  care  of  Photoplay 
Magazine,  221  West  57th  Street,  New  York,' 
your  letter  will  be  forwarded  to  her.     And  it 

is  "Mrs." 

E.  O.,  New  York,  N.  Y. — "Fascinating 
Youth"  was  Charles  Rogers'  first  picture  and 
twi  the  same  as  "Red  Lips."  "Red  Lips"  was 
reviewed  in  the  May,  1928,  Photoplay  under 
its  original  title,  "Cream  of  the  Earth." 

H.  P.  F.,  Cannelton,  Ind. — Richard  Bar- 
thehness  is  thirty-one  years  old  and  was  mar- 
ried to  Mrs.  Jessica  Sargent  April  20,  1928. 
He's  five  feet,  seven  inches  tall  and  has  brown 
eyes.  Write  to  him  at  the  First  National 
Studios,  Burbank,  Calif. 

A.  G.  B.,  Paris,  Tex. — Well,  since  you  don't 
care  whether  he  is  single,  married  or  divorced, 
I'll  tell  you  that  Ronald  Cohnan  is  neither 
single,  married  nor  divorced.  He's  separated 
from  Thelma  Raye,  who  lives  in  England. 
Ronald  isn't  leaving  the  screen;  you'll  see  him 
next  in  "The  Rescue,"  with  Lily  Damita  as 
his  leading  woman. 

F.  C,  Auburn,  Me. — James  Hall  and  Dick 
Barthelmess  related?    Positively  no! 

R.  A.  H.,  New  York,  N.  Y.— BiUie  Dove  is 
twenty-five  years  old  and  has  dark  brown  hair 
and  dark  brown  eyes.  She  is  five  feet,  five 
inches  tall  and  weighs  114  pounds.  Single- 
minded  woman! 

E,  M.  L.,  New  Iberia,  La. — Elaine  Ham- 
merstein  and  William  Haines  played  in  "The 
Midnight  Express."  Jack  Mulhall  is  thirty- 
seven  years  old  and  his  pretty  wife  is  Evelyn 
Winans — not  in  the  movies. 

(  continued  on  page  102  ] 

85 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  80  ] 


Yiddish  character  actor,  is  now  under  contract 
to  Fox.  Of  course  a  moniker  such  as  Muni 
Weisenfrund  would  be  ridiculous  on  the  screen, 
so  studio  executives  went  into  a  huddle  and 
decided  to  call  him  Muni  Wise.  One  executive 
filed  a  minority  vote,  however,  claiming  that 
the  public  would  quickly  change  this  to  Money 
\\'ise.  Bad  psychology,  he  said.  So  now  they 
call  him  Paul  Muni. 

NICK  STUART  and  Sue  Carol  have  had 
great  fun  making  "Chasing  Through 
Europe."  Night  after  night  Sue  and  Nick 
rode  up  and  down  the  canals  of  Venice,  in  the 
most  romantic-looking  gondolas  they  could 
hire.  WTien  Director  Dave  Butler  would  take 
them  to  task  for  being  la^e  next  morning,  their 
response  would  be; 


i 


.P| 


Two  exercises,  posed  by  Mary 
Doran,  that  should  be  part  of 
every  daily  dozen.  In  this  exer- 
cise, first  one  leg  is  brought  for- 
ward, then  the  other;  and  then 
both  together,  so  that  you  reach 
this  position 

"We  rehearsed  our  lo\e  scenes  until 
quite  late  last  night." 

TOM  TYLER  calls  our  atten- 
tion to  the  fact  that  a  number 
of  couples  who  spent  their  first 
honeymoon  on  the  beach  are 
spending  their  second  on  the 
rocks 

T  ILY  D.\MIT.\  speaks  English  with 
■'-'  a  delightful  French  accent.  Some  of 
her  friends  are  teaching  her  the  latest 
slang. 

8G 


The  course  is  just  one  long  sand  trap  in  this  game  of  beach 
golf.  It's  a  new  gag  now  adding  interest  to  the  scenery  along 
Santa  Monica  beach.  The  players  are  Raquel  Torres,  about 
to  sink  a  put;  Dorothy  Janis,  holding  the  flag;  and  Mary 
Doran,  waiting  her  turn 


She  rattles  the  words  off  glibly,  but 
with  Uttle  idea  of  their  meaning.  We 
suggested  that  she  have  Mr.  Goldwyn 
pass  on  them,  as  we  wouldn't  like 
to  guarantee  that  they  are  all  "cor- 
rect as  hell"  .  .  .  this  last  expression 
being  one  of  the  number  she  knows. 


LILY'S  mother  is  in  Paris  selling  her 
daughter's  two  establishments.  Tha.t 
leaves  poor  Httle  Lily  all  alone  at  the  Roosevelt 
Hotel  to  battle  cruel  Hollywood  without  a 
mother's  guiding  hand. 


I 


F  you  can't  find  Lily  and  Mrs.  Sam  Goldwyn 
in  the  usual  places  you  can  look  for  them  at 
an  ice  cream  parlor,  where  LUy  sneaks 
away  to  indulge  in  the  forbidden  sweets. 

A  WELL-KNOWN  actor 
had  played  the  famous 
Afro-American  game  of  craps 
for  eight  consecutive  hours. 
The  toaees  of  his  trousers 
showed  wear.  When  his  wife 
questioned  him  he  answered, 
"I  was  out  with  Al  Jolson 
singing  'Mammy.'  " 

WHEN  Lupe  Velez  and  William 
Boyd  were  playing  together  in 
"The  Love  Song,"  Boyd's  wife,  Elinor 
Faire,  spent  most  of  her  spare  time  on  the 
set.  It  may  have  been  that  she  was 
interested  in  the  production  and  then., 
again,  it  may  have  been  that  Boyd 
brought  her  along  for  protection 
against  the  fiery  Velez. 

[  CONTINUED  ON  PAGE  88  ] 


The  first  exercise  helps  to  keep 
the  legs  slender  but  shapely. 
This  one  is  your  old  favorite  of 
touching  the  floor  with  your 
hands.  Only  most  people  cheat 
and  bend  their  knees.  And 
that's  no  way  of  getting  thin 


Photoplay  Magazine — Advertising  Section 


87 


*1  light  a  Lucky  and  go 
light  on  the  sweets* 

That's  how  I  keep  in  good 
shape  and  always  feel  peppy. *^ 


Al  Jolson 

Famous  comedian 
and  star  of  song. 


Reach  for 

a  Lucky 
instead  of    ^ 

a  sweet. 


Al  Jolson 

as  he  appears  in 
Warner  Bros. 
Vitaphone  suc- 
cess, "The  Sing- 
ing Fool." 


SOMETHING  sensible.  "Better  to 
light  a  Lucky  whenever  you  crave 
sweets."  It  brings  to  men  the  health  and 
vigor  that  come  with  avoiding  over- 
weight. To  women  it  offers  a  slender, 
fashionable  figure.  And  all  it  means  is 
a  few  puffs  of  a  Lucky  Strike  when  you 
are  tempted. 

20,679  physicians  have  stated  that 
Lucky  Strike  is  less  irritating  to  the 
throat  than  other  cigarettes.  Very  likely 
this  is  due  to  toasting  which  removes 
impurities.  This  same  process,  toasting, 
improves  and  develops  the  flavor  of  the 
world' s  finest  tobaccos.  This  means  that 
there  is  a  flavor  in  Luckies  which  is  a 
delightful  alternative  for  the  things  that 
make  you  fat.  That's  why  "It's  Toasted" 
is  your  assurance  that  there's  real  health 
in  Luckies — they're  good  for  you  ! 

Keep  fit — reach  for  a  Lucky  instead  of  a 
sweet.  That's  what  many  men  have  been 
doing  for  years.  They  know  the  evidence 
of  prominent  athletes  whose  favorite 
cigarette  is  Lucky  Strike  and  who  say 
Luckies  do  not  harm  the  wind  nor  im- 
pair the  physical  condition. 

Why  not  give  it  a  trial  ?  The  next  time 
you  are  tempted  to  eat  between  meals 
or  crave  sweets,  go  light — light  up  a  Lucky 
instead. 


It's  toasted 

No  Throat  Irritation-No  Cough. 


)  1928,  The  American  Tobacco  Co..  Manufacturers 


Whon  you  write  to  ajvertlsers  please  mention   PHOTOPLAY  MAGAZINB. 


Gossip  of  All  the  Studios 


CONTINUED  FROM  PAGE  86  ] 


A  FEW  months  ago  Harry  Crocker  opened  a 
motion  picture  museum  in  Hollywood. 
He  will  close  it  January  1st. 

The  biggest  day's  business  was  $7.00. 

One  woman  drove  up  to  the  place  in  a  fine 
big  car  with  a  chauffeur,  stepped  out  with  two 
friends  to  visit  the  museum,  but  became  abso- 
lutely horror-stiicken  when  told  that  the  price 
of  admission  was  twenty-five  cents.  "Oh, 
my  land,"  she  said,  "we're  just  out  for  a  drive 
and  we  thought  it  was  free." 

Somebody  said  to  Harry,  "It  seems  a  pity, 
Mr.  Crocker,  that  Hollywood  won't  support 
a  venture  as  fine  and  clean  as  this."  "I 
guess  that's  what's  the  matter  w-ith  it,"  replied 
Mr.  Crocker,  rather  sadly. 

THE  kitchen  in  the  restaurant  at  the  M.-G.- 
M.  studio  caught  fire  a  short  time  ago  and 
half  a  dozen  fire  engines  dashed  into  the  studio 
in  response  to  the  alarm.  Hose  was  laid,  asbestos 


International  Newsreel 

When  three  little  girls  from  Brooklyn  f;iced  the  camera 
together  for  the  first  time.  The  baby  in  the  center  is  Con- 
stance Talmadge.  At  the  right  is  Norma,  then  five  years 
old.  And  at  the  left  is  Natalie  Talmadge  Keaton,  three 
years  old 


When  we  were  very  young. 
At  the  age  of  three  months, 
Mary  Brian  was  not  Mary 
Brian  of  Hollywood.  She 
was  little  Louise  Dantzler, 
just  one  of  the  neighbor's 
children  in  Corsicana,  Texas 


m 


fARY  PICKFORD  and 
•-Douglas  Fairbanks  jour- 
neyed to  Washington  tosettle  a  little 
argument   with  Uncle  Sam   about 
their  income  tax.      This  unpleasant- 
ness over,  President  CooUdge  invited 
them  to  luncheon. 

When  you  get  in  trouble  with  your  in- 
come tax,  does  the  President   ask  you  in 
for    a    meal?      This  httle    incident    only 
proves  once  more  that  it's  great  to  be  a 
movie  star. 

MILTON  SILLS  is  wearing  an  atrocious 
beard  while  playing  in  "Changeling."  As 
a  result,  he  has  let  himself  in  for  a  lot  of  good- 
natured  ridicule.  Even  his  wife  pokes  fun 
at  him.  When  Doris  bobbed  her  hair,  she 
carefully  wrapped  that  portion  which  was  cut 
off  and  mailed  it  to  Milton  with  the  inscrip- 
tion, "For  bigger  and  better  beards." 

ACCORDING  to  a  Poverty  Row 
"fillum  magnet,"  an  author  is  a 
"fellah    with    a    good    remembery." 


X_rEADLINES     in     Los     Angeles 
-•-  ■^-announced  the  arrival  of  Wm.  J. 
noted  novelist,  as  follows: 
W.  J.  LOCKE,  65 

LOOKS  45,  HERE 

AS  FILM  WRITER 

[  CONTINUED  ON  PAGE  103  ] 


papers 
Locke, 


blankets  were  jerked  out  of  fire  trucks  and 
extinguishers  were  rushed  to  the  scene,  but 
the  chief  of  each  company  had  his  own  idea  of 
how  to  extinguish  the  flames. 

They  all  stood  on  the  roof  of  the  burning 
building,  arguing  on  how  to  proceed. 

"WeU,"  said  W.  S.  Van  Dyke,  M.-G.-M.'s 
traveling  director,  as  he  watched  the  row, 
"looks  like  another  story  conference!" 

LAURA  LA  PLANTE  pulled  a  fast  one  on 
Universal  this  week.  It  seems  their  contract 
with  her  makes  allowance  for  a  few  weeks' 
lay-off  in  the  year.  She  had  just  finished  "Show 
Boat,"  and  was  scheduled  to  begin  "The 
Haunted  Lady"  very  shortly.  She  was  all 
primed  for  wardrobe  fittings  for  the  new 
picture,  when  notice  came  th^-t  she  could  have 
two  weeks'  vacation.  Nothing  pleased  Laura 
npre.  A  few  hours  later  she  had  chartered  an 
airplane  and  was  on  her  way  to  New  York. 

This  was  the  last  thing  Universal  had  ex- 
pected, as  their  plans,  it  appears,  had  been  for 

88 


a  lay-off,  without  pay,  with  Laura 
standing  hours  every  day  for 
fittings. 

I  was  faithful  without 
swerving. 
Norma,  since  your  star 
was  bom! 
Then  you  up  and  mar- 
ried Irving! 
You  the  Shearer — 
I  the  shorn. 


Cecil  De  Mille,  with  his  big 
brother,  William.  Cecil  is 
the  four-year-old  lad  with 
the  curls  and  the  flowers, 
and  William,  aged  eight,  is 
holding  the  dog 


Photoplay  Magazine — Advertising  Section 

"The  Shady  Lady 

A  New  Pathe  Production 
Featuring 

PHYLLIS   HAVER 


89 


See  Phyllis  Haver  at  her  best  in  this  new  Pathe 
production.  Note  in  particular  her  marvelous 
skin — how  well  it  shows  up  in  the  picture. 

Then  read  below  how  she  cares  for  that 
skin — with  Boncilla.  Many  a  star  on  the  stage 
and  screen  could  tell  a  similar  story.  Fo'r  the 
women  whose  careers  depend  on  charm  and 
beauty  do  not  omit  this  supreme  aid. 


H 

^ 

|J 

6> 

WBKl-}  sBKBm 

^m 

Mj^m 

V 

^^L                                                   ^'.-.;^^| 

^^^^^^^^^^K_jM 

1 

■l^^^^^^^^^^^^^l 

H 

PHYLLIS  HAVER,  Pathe  Star,  10  ''The  Shady  Lady" 


PHYLLIS  HAVER 

Preparing  for  "The  Shady  Lady" 

The  first  step  in  preparing  for  a  pic- 
ture is  Boncilla  clasniic  pack.  That 
cleans  the  skin  to  the  depths,  gives  a 
rosy  glow  and  an  animateci  look.  When 
that  is  removed,  Boncilla  Cold  Cream 
is  applied.  Then  Boncilla  Vanishing 
Cream  as  a  powder  base.  Then  the  ex- 
quisite Boncilla  Powder  of  the  shade 
desired. 

PHYLLIS  HAVER  5^>i.- 

*'I  use  Boncilla  regularly.  With  all  the 
arduous  location  sets  we  have  to  make, 
the  exposure  of  the  skin  to  all  ele- 
ments, the  constant  use  of  cold  cream 
and  greasy  paints,  Boncilla  keeps  my 
skin  soft  and  velvety." 


The  Pretty  Lady 

Prepare  for  ICour  Part --Tonight 


ROMAN'S  great  part  in  social  spheres 
.  is  to  play  The  Pretty  Lady.  The 
best  way  to  prepare  is  the  same  as  for 
stage  parts.  The  rewards  are  the  same — 
success  and  applause. 

Don't  depend  alone  on  cosmetics. 
Before  them  must  come  the  right  foun- 
dation—  a  clear,  clean,  glowing  skin. 
Before  the  make-up  use  this  wake-up — • 
the  greatest  beauty  aid  in  existence. 

All  in  30  Minutes 

Prepare  in  this  way  for  a  social  evening 
when  you  wish  to  look  your  best.  It  will 
multiply  your  beauty  and  your  charm. 

Apply  Boncilla  clasmic  pack  to  the 
face  and  neck.  Rest  while  it  dries.  At 
once  you  will  feel  it  draw.  That  means 
it  is  fairly  sucking  from  the  pores  what- 
ever clogs  or  mars  the  skin.  It  is  draw- 
ing out  the  dirt  and  grime,  dead  skin  and 
hardened  oil.  It  is  removing  the  causes 
of  blackheads  and  blemishes. 

Old  make-up  is  absorbed.  At  the  same 
time,  the  blood  is  drawn  to  the  surface 
to  nourish  and  revive  the  skin.  When 


you  remove  the  Boncilla  clasmic  pack 
the  results  will  amaze  you — ■ 

A  radiant  glow, 

All  animated  look, 

A  clear,  clean  skin, 

A  soft,  smooth  skin. 

In  30  minutes  you  will  see  results  which 
ordinary  methods  cannot  bring  in  years. 
And  there  is  no  other  way.  Boncilla  is 
the  only  clasmic  pack.  It  is  so  unique  and 
effective  that  beauty  experts  the  world 
over  import  it  as  their  leading  beauty 
aid.  No  girl  or  woman  can  afford  to 
sacrifice  the  charm  which  Boncilla 
brings.  Never  will  YOU  do  so  when  you 
know  it. 


Four  for  loc 


Boncilla  clasmic  pack  is  sold  at  all 
toilet  counters  in  jars  for  S3. 50  and  $1.50 
and  in  tubes  for  SI  .00.  Or  the  coupon, 
with  10c  for  mailing,  will  bring  you  a 
one-week  test.  With  it  will  come  the 
two  creams  and  the  powder  which  go 
with  it.  A  box  of  beauty,  just  for  mail- 
ing cost.  Clip  coupon  now. 


For  Cheeks 
Like  Roses 


r 


ONE-WEEK    TEST 

BONCILLA— Indianapolis.  Ind. 

Mail  me  a  one-week  treatment  of  Boncilla  with  the  three 
helps  which  go  with  it — four  samples.  I  enclose  a  dime. 


Name 


Address . 


L. 


If  you  live  in  Canada,  mail  coupon  with  10c  to  Canadian 
Boncilla  Laboratories.  Ltd..  77  Peter  Street,  Toronto 


J 


Whco  jou   write  to  advertlsel^   please  mention  rnilTOPLJlT   MAGAZINia 


The  Studio  Murder  Mystery 


I  COXTIN'UEU  KROM  PAGE  39  1 


dried  up  wisp  of  a  man  in  rough  clothing. 
Over  the  latter's  shoulder,  suspended  on  a 
heavy  string,  hung  a  circular  machine,  which 
identified  the  man  immediately  as  the  night 
watchman.  Lannigan.  for  it  was  he,  stood 
with  his  sharp  little  eyes  peering  monkej'wise 
from  Rosenthal  to  Smith.  The  president 
motioned  him  to  a  chair,  and  he  sat  down, 
plainly  overcome  at  being  admitted,  and  seated 
in  the  holy  of  holies.  At  Captain  Smith's 
words,  however,  his  shifting  glances  came  to 
rest  steadily  upon  his  questioner. 

"You  "re  Lannigan?" 

"Yissor.   Patrick  Lannigan." 

"You  are  the  night  watchman  of  this  studio?" 

Lannigan  straightened  his  bony  shoulders, 
and  there  was  an  air  of  truculency  in  his  man- 
ner as  he  replied, 

"I  am  thot!" 

"Is  that  the  time  clock  you  used  last  night, 
on  your  back?" 

"CURE,  it's  the  wan  I  always  use.    Yis,  it's 
•^me  time  clock.  .  .  ." 

"Can  you  open  it  and  take  out  the  tape?" 

"That  I  cannot.  'Tis  the  head  fireman  who 
does  that." 

"All  right.  Clancy,  take  that  clock  over 
and  have  it  opened.  Bring  back  the 
record." 

As  Clancy  reached  for  the  clock,  Lannigan 
swung  himself  away.  His  face  instantly  took 
on  that  expression  so  typical  of  his  sort  ...  a 
sullen,  closed  look.  Smith  saw  he  was  to  have 
trouble  prying  anything  out  of  this  man. 
Neither  would  it  do  any  good  to  tell  him 
"poHce  business."  That  would  only  seal  liis 
hps  the  tighter.  His  kind  had  an  instinctive 
and  instant  resentment  of  the  law. 

"  Lannigan !"  spoke  the  president  of  Superior 
Films  sharply,  "I  vish  you  to  give  your  clock  to 
thatofificerl" 

"Oh  .  .  .  and  an  officer,  is  it  now?"  said 
Lannigan,  with  drawling  sarcasm. 

"I  vish,  also  that  you  answer  what  questions 
Mr.  Smith  vill  ask  you.  He  is  Captain  of 
Detectives,"  added  Rosenthal  sternly.  But 
this  announcement  made  no  apparent  im- 
pression on  the  little  Irishman.  He  only 
darted  one  of  his  swift  bright  glances  at  Smith, 
and  his  long  upper  Kp  tucked  down  tighter 
over  his  nether  one. 

"I'll  be  answering  no  questions  till  yez  tell 
me  why  the  likes  of  him  is  after  taking  me 
clock  away,  and  what  for  I  am  hauled  out  of 
me  bed  to  come  here  this  rime  o'  day!" 

Rosenthal  started  to  speak,  but  Smith  held 
up  his  hand,  silenc- 
ing him.  It  would 
take  tact  to  handle 
this  belligerent  little 
Irishman  .  .  .  not 
bulldozing. 

"  Lannigan,  get 
this  straight.  I  don't 
beheve  you  haveany- 
thing  to  do  with  this 
matter  .  .  .  with  the 
reason  why  I  am  out 
here.  But  I  do  be- 
lieve you  can  help 
me  a  lot!  A  detec- 
tive, Lannigan,  is  at 
the  mercy  of  the 
people  he  questions. 
You  could  tell  me  a 
long  string  of  things 
that  didn't  happen 
at  all,  and  it  would 
cause  me  a  lot  of 
time  and  trouble  to 
get  the  truth  of  it. 
I'd  get  it.  Never 
fear    that.      But    it 


would  considerably  inconvenience  me.    I  don't 
think  you  want  to  do  that,  do  you?" 

Lannigan  did  not  answer.  It  was  evident  it 
made  no  difference  to  him  how  much  he  incon- 
venienced the  detective.  Smith  continued  to 
look  pleasantly  at  the  man,  tapping  his  chair 
arm  thoughtfully  with  his  pencil,  his  little  red 
notebook  open  on  his  knee.  Musingly,  his 
eyes  went  down  to  it.  Then,  when  he  looked 
up  there  was  a  quickened  e.xpression  in  them. 

"Lannigan,  I'\e  always  wanted  to  hear  a 
banshee.    Did  you  ever  hear  one?" 

The  watchman  looked  at  him  searchingly, 
quick  to  detect  if  the  other  was  poking  fun  at 
him.  He  found  only  serious  and  sincere 
curiosity  in  Smith's  face.  For  a  moment  he 
struggled  with  the  resolution  to  keep  silence, 
then,  as  if  to  burst  involuntarily  from  him, 
came  the  statement,  in  a  lowered  voice, 

"Well,  sor,  and  what  would  you  think  if  I 
was  to  tell  you  I've  heard  one  meself?" 

"I'd  believe  you,  Lannigan.  Where  was  it 
you  heard  it?" 

"On  this  very  lot,  sor.  So  late  as  last  night, 
sor!" 

"Hm  ...  I  thought  so,"  mused  Smith. 
"I've  heard  that  sound  described  many  times, 
Lannigan,  but  ne\-er  by  a  person  who'd  heard 
one  so  recently  as  you  say  you  have.  I'd 
appreciate  your  telling  me  what  it  was  like." 

"There's  nothing  hke  it,  sor,  except  maybe 
the  scream  of  a  woman  scared  half  out  o'  her 
wits  ...  or  maybe  the  yowl  of  a  domn  cat. 
It  fair  raises  the  hair  on  yer  head,  sor!" 

"I  .  .  .  thought  so  .  .  ." 
murmured  the  detective  again. 
Then,  "Lannigan,  what  time 
did  you  hear  the  banshee?" 

"Well,  it  must  have  been 
around  12:30  this  mornin'.  I 
had  just  started  on  me  12:30 
round.      I    usually    ends    me 


Jimmy,  the  office  boy,  worshipped  Billie  West.  Billy  was  a 
war  ace  and  he  had  killed  the  enemy  from  the  air.  He  was  a 
being  set  apart.  But  today  Jimmy  failed  to  note  West's 
approach,  as  he  sat  hunched  strangely  in  a  chair  behind  the 
rail  which  divided  the  privileged  from  the  unprivileged  in 
Rosenthal's  office.  "I  promised  not  to  tell  anyone,"  Jimmy 
whispered  .  .  .  "Hardell's  murdered  on  Stage  Six.  I  .  .  . 
kicked  him!" 


round  at  Stage  Six  on  the  hour,  sor,  but  this 
time  I  struck  straight  across  the  lawn,  and 
over  to  Stage  Six  first,  to  see  what  ailed  the 
light  at  the  East  entrance,  which  had  wint  out 
the  round  before.  ...  I  found  'twas  a  burnt 
out  globe.  So  I  straightway  turns  back  to  the 
store  room  to  get  a  new  one.  Just  as  I  reached 
the  end  of  Stage  Six,  I  heard  the  banshee." 

"  A  ND  you're  sure  it  was  12:30?" 

-'*■     "Yis  sor,  but  more  likely  it  was  12:40. 

An\'ways,  it  was  not  beyond  that  time,  fer  I 

had  just  come  back  from  me  lunch  across  from 

the  studio,  which  same  I  wint  over  to  eat  right 

after  Seibert  and  Hardell  left  the  lot,  which 

same  time  was  at  12:17.  .  .  ." 

"How  do  you  know  that?" 

"By  me  clock,  sor.    I  laid  it  by  whin  I  wint 

to  eat,  it  bein'  heavy  and  in  the  way.    When 

I  laid  it  down  I  glanced  at  it  like  I  always  do, 

sor." 

"Lannigan,  how  are  your  rounds  scheduled?" 

"I  leaves  the  gate,  where  I  starts,  on  the 

half-hour.    I  goes  straight  around,  and  makes 

it  back  to  Stage  Six  by  the  hour.    Then  I  cuts 

straight  back  to  the  gate,  and  chats  a  bit  with 

MacDougal.     Usually,  though,  sor,  me  time 

between  is  taken  up  doin'  odd  jobs  about,  so 

that  me  time  at  the  different  stages  isn't  always 

the  same.     Sometime?  I  makes  it  right  on 

schedule,  and  sometimes  I 

don't." 

"What  kind  of  odd 
jobs,  Lannigan?" 

"Oh,  pickin'  up  after 
them  domn  spalpeens . . ." 
he  stopped  to  shoot  a  de- 
fiant look  at  RosenthaL 
"Begging  yer  pardon,  sor 
. . .  but  they  do  be  domned 
careless.  Some  of  thim 
leaves  lights  in  their 
dressing  rooms  and  offices. 
Electric  fans  goin'  in  the 
sununer,  and  electric  heat- 
ers in  the  winter.  And, 
would  yez  believe  it  or  not, 
many's  the  time  I  have 
to  shut  off  the  faucets  in 
the  lavatories.  ..." 

"Yes,  yes,  I  under- 
stand, Lannigan. 
Some  people  are  very 
careless.  Now,  I 
want  you  to  tell  me 
exactly  what  hap- 
pened on  this  lot 
last  night,  from  the 
time  you  came  on 
until  you  left." 

"May  I  ask,  sor, 
what  it's  all  about?" 
"I'U  tell  you  later. 
It  was  a  nasty  night 
out  here,  and  plenty 
of  opportunity  for 
things  to  happen . . ." 
"It  was  a  grand 
night  for  a  murther, 
sor,  as  I  told  Mac- 
Dougal!" 

Smith  laughed. 
"You    said    that, 
did  you  Lannigan?" 
"I  did,  sor,  and  I 
meant  it!" 

Smith  checked  a 
desire  to  banter 
further  with  the  little 
man.  He  sat  back, 
and  composed  him- 
self to  hsten.     Lan^ 

[  CONTINUED  ON 
PAGE  115  ] 


90 


Photoplay  Magazine — Advertising  Section 


91 


Marffo/  Lanilbcrg 
hv  North  n, 

Slockhoim,  Sttcdcn 


WHY  NOT 
HAVE 

uoit  can  jifdt  Aeiid  for 

M  A  P^G  O  T    L  A  N  D  B  E  r^G  '^    /3i'ar///ll'e 
— //  mk  tjmi  //mi' 

BY  Anna  Q.  Ni  ls$  o  n 

Like  so  many  women  from  the  North,  I  have  a 
most  delicate  complexion.  I  have  to  use  the  ut- 
most care  in  the  way  I  treat  it. 

Imagine  my  joy,  then,  when  Margot  Landherg, 
my  fellow-country-woman,  demonstrated  for  me  her 
marvellous  beauty  invention,  her  controlled  water- 
massage!  Morning  Dew — the  perfect  treatment  for  a 
woman's  skin!  It  is  exactly  wh^t  I  needed,  and  today 
is  certainly  one  of  my  most  precious  possessions. 

I  think  Margot  Landherg  kno\vs  more  about  sci- 
cntific  beauty-culture  than  anybody  in  the  world. 
What  knowledge,  what  patience,  what  feminine  wis- 
dom has  gone  into  the  making  of  this  wonderful 
little  machine  of  hers ! 

Send  for  her  beautiful  booklet,  The  English 
Complexion.  It  will  tell  you  all  about  it,  explain 
everything.  It  is  full  of  priceless  words  of  wisdom 

MrfilY-i,.  I      for  women  who  want   to  be 

■  ^™*^  their  loveliest. 


]ust  use  the  roiifion  below;  that  is  all.  It  will  bring  you 
the  brochure,  "The  English  Complexion,  how  to 
11  AVE  IT.  HOW  TO  KEEP  IT."  This  brochure  is  illustrated 
in'color  and  quite  complete.  Send  the  coupon  to  Margot 
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Please  send  me  yo 
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ur  booklet, 
obligation 


"The 

to  me. 


-•J]iillBil';VrtA'M>ii  -fl-i-f  iTi1-iii-il5r>i  ■ 


-]         Name 

Address_ 


•^Tien  you   write  to  advertisers  please   mention  PTT0T0PI..4T  MAGAZINE. 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  55  ] 


THE  LEGEND  OF  GOCTA  BERLING- 
Swedish  Biograph 

THIS  was  the  only  European  film  appearance 
of  Greta  Garbo  before  she  was  sold  down 
the  river  to  Hollywood.  Moreover,  it  was 
directed  by  the  brilliant  Mauritz  Stiller,  who 
discovered  her.  It  need  only  be  said  that 
Hollywood  has  made  the  Glamorous  One.  In 
this  picture  she  photographs  execrabl}',  and 
acts  like  an  anemic  clam.  Stiller  work  is  in 
evidence,  and  there  is  a  good  performance  by 
Lars  Hanson.  You  won't  die  in  vain  even  if 
you  miss  this  one. 

SINNERS'  PARADE^Columbia 

A\'ERV  smart  picture  of  modern  life  in 
wliich  we  have  flappers  and  reformers  and 
bootleggers  and  cabarets  and  cops  and  the 
ritzy  part  of  the  underworld.  The  picture  is 
well  cast,  with  Dorothy  Reviere  and  Victor 
Varconi  in  the  principal  parts.  John  Adolphi's 
direction  is  flawless.  The  story  goes  as  follows : 
A  high  school  teacher,  forced  to  care  for  a  Maj-- 
ward  sister,  works  daytimes  at  school  and 
nighttimes  in  a  night  club.  The  mother  of  one 
of  her  pupils  is  a  reformer  and  sets  out  to  clean 
up  the  night  clubs.  This  brings  complications. 
And  such  comphcations!  The  lady  reformer's 
daughter  is  discovered  as  one  of  the  club's 
drunkards,  while  her  son  is  the  power  behind 
the  rum  ring.  An  O.  Henry  finish  ends  the  story ! 

SILENT  SHELDON— Rayart 

MOST  Westerns  are  quite  irritating,  but 
this  one  isn't,  probably  because  it  makes 
no  obvious  attempt  to  set  the  world  on  fire.  It 
ambles  along  most  amiably,  through  the  most 
palatable  plot  in  the  horse-opera  category.  A 
rich  young  sportsman  from  New  York  goes 
West  to  puU  his  father's  ranch  together.  The 
villainous  foreman  objects,  and  the  hero  falls 
into  all  the  trouble  in  the  world — including 
love.  Starlight  and  a  cute  collie  furnish  the 
animal  relief. 

KING  COWBOY—FBO 

THIS  pestilential  Western  sheds  the  last 
vestige  of  logic  when  the  one-and-only  Tom 
Mi.x  leads  a  cowboy  band  into  the  Arabian 
Desert  to  find  his  one-and-only's  father.  The 
sheik's  a  lustful  old  meanie  about  the  girl. 
While  Tom,  in  a  burnous — can  you  cope  with 
it? — goes  to  her  rescue,  his  rival  sells  out  to  the 
Arabs.  Customary  Mi.x-isms  stem  the  tide  of 
tragedy,  but  the  whole  thing  is  utterly  ridic. 

THE  POWER  OF  THE  PRESS— 
Columbia 

ANOTHER  newspaper  story  about  the  same 
cub  reporter  making  the  same  big  scoops. 
You've  seen  it  over  and  over  again,  yet  this  is 
so  skillfully  done  that  you  find  yourself 
absorbed  to  the  very  end.  Without  its  being 
done  obviously,  you'll  get  a  perfect  idea  of  how 
a  big  newspaper  is  "put  to  bed."  Douglas 
Fairbanks,  Jr.,  and  Jobyna  Ralston  are  a 
charming  couple,  the  personification  of  the 
spirit  of  youth.    You'll  enjoy  this. 

CITY  OF  PURPLE  DREAMS— Rayart 

OCCASIONALLY  small  producers  bite  off 
enough  drama  to  choke  an  elephant,  but 
somehow  Robert  Frazer  manages  to  handle 
this  story  in  a  convincing  manner.  It's  built 
around  the  wheat  pits  of  Chicago.  A  man, 
nearly  ruined  by  the  influence  of  a  radical  girl, 
is  eventually  inspired  to  great  accomplish- 
ments by  the  wheat  king's  daughter.    Barbara 


Bedford  is  excellent  as  the  radical,  and 
Jacqueline  Gadsdon  is  adequate  as  the  wealthy 
girl.    Fair  entertainment. 

THE  HEAD  OF  THE  FAMILY— 
Gotham 

WE  knew  it  was  coming.  After  the 
"butcher  boy"  came  into  his  own  as  a  gay 
Lothario,  we  knew  plodding  husbands  would 
take  notice.     The  husband  in  this  picture  is 


Why  the  trip  to  Hawaii  is  such  a 
popular  way  of  spending  a  vaca- 
tion. Dorothy  Mackaill  keeps  up 
her  exercises  on  the  deck  of  the 
S.  S.  Los  Angeles,  on  a  location  trip 
to  the  Pacific  island  to  film  scenes 
for  "Changeling" 

taunted  by  his  plumber  for  being  such  a 
namby-pamby,  whereupon  the  henpecked  man 
calls  the  plumber's  bluff,  installing  liim  as  head 
of  the  family,  pro  tem. 

SOUTH  OF  PANAMA— Chesterfield 

C.VRMELITA  GERAGHTY  and  Eduardo 
Raquello  in  a  gay,  fast-moving  adventure 
picture  that  seethes  with  suppressed  revolu- 
tions. Things  are  slow  in  the  gun-running 
business,  so  an  .American  profiteer  sends  his 
darkly  romantic  underling  to  a  fly-by-night 
Latin  republic  to  stir  up  a  war.  He  almost  suc- 
ceeds when  he  falls  in  love  with  the  president's 
daughter.  Then  he  goes  into  reverse  gear  and 
tries  to  undo  all  the  dirty  work. 


THE  AVENGING  RIDER— FBO 

T^HIS  picture  is  nothing  to  write  home  about. 
■'■  A  man  and  a  girl  inherit  a  ranch  jointly,  but 
suspicion  points  to  the  man  as  the  murderer  of 
the  former  ranch  owner.  The  picture  relates 
how  he  clears  his  name  and  exposes  the  mur- 
derer. There  is  an  engaging  boyishness  about 
Tom  Tyler's  smile,  and  a  sincerity  in  all  that 
Frankie  Darrow  does,  but  this  story  is  an 
obviaus  one,  too  thin  for  adult  audiences  and 
not  thriUing  enough  for  children. 

SIOUX  BLOOD— M.-G.-M. 

A  RE  the  movies  in  their  second  childhood, 
-'•-or  is  history  merely  repeating  itself?  In- 
dians and  prairie  settlers  after  each  other's 
scalps,  bloody  tomahawks,  torture  fires,  buck- 
skin-clad whites,  rescuing  beautiful  blondes, 
wholesale  bloodshed  .  .  .  epic  stuff,  fifteen 
years  ago.  But  Colonel  Tim  McCoy  can  dis- 
inter the  stalest  movie  plot  and  show  you  what 
grandpa  should  have  done.  Made  on  the 
Federal  Indian  Reservation  in  Montana,  extras 
were  recruited  from  local  redskin  circles. 

THE  HARVEST  OF  HATE— Universal 

'"PHIS  picture  had  possibilities,  but  the  star, 
-'-  Rex,  the  wild  horse,  is  again  pushed  to  the 
background  to  develop  romance  between  a  boy 
and  a  girl.  Rex  should  have  had  his  chance 
with  the  pretty  white  horse.  Starlight,  but  who 
is  going  to  fight  for  the  horse's  rights  when 
Jack  Perrin  and  Helen  Foster  are  playing  in 
the  picture?  The  result  is  an  opus  that  is 
neither  fish  nor  fowl.  Only  children  will  be  in- 
terested in  this. 

KING  OF  THE  RODEO— Universal 

A  FEW  more  pictures  of  this  type  and  Hoot 
Gibson  will  be  playing  a  lone  hand  in  the 
field  of  Westerns.  This  is  crammed  full  of 
rodeo  thrills — and  real  ones  at  that.  Not  a 
new  story  but  refreshingly  handled.  A  ranger 
father  desires  a  different  life  for  his  son  and 
plans  it  accordingly,  but  the  boy  loves  horses 
and  stays  with  them.  DeUghtful  comedy 
throughout  and  the  best  picture  Hoot  has  made 
in  a  coon's  age. 

DRIFTWOOD— Colum  bia 

A  PALE  shadow  of  Sadie  Thompson,  ■  in 
which  MarceUne  Day  portrays  a  lady  of 
uncertain  past  and  even  more  doubtful  future. 
She  wanders  to  the  isle  of  Luva,  inspiring  the 
white  king  who  owns  it  with  the  desire  to  add 
her  to  his  possessions.  To  defeat  his  shady 
plans,  she  marries  the  community  drunkard. 
A  derelict  and  an  outcast — flotsam  and  jetsam 
on  the  tropic  tide.  A  mediocre  picture,  with  a 
plot  as  aimless  as  driftwood. 

THE  QUEEN  OF  BURLESQUE— 
Tiffany-Stahl 

ANOTHER  story  of  show  folks.  The  at- 
tempt at  poignancy  falls  short.  After  all 
that  has  gone  before,  can  you  get  e.xcited  over  a 
clown  with  a  broken  heart?  With  the  im- 
mortal "Stella  Dallas"  to  her  credit,  it  seems  a 
pity  that  Belle  Bennett  should  be  given  such  a 
slight  situation  upon  which  to  work.  Joe 
Brown  is  best  in  the  vaudeville  act,  which  is 
part  of  the  story. 

MAKING  THE  VARSITY— Excellent 

A  DYING  mother  exacts  a  promise  from  her 
older  son  that  he   will   stand   by    baby 
brother  until  he  "makes  the  Varsity."    This 


0«> 


Photoplay  Magazine — Advertising  Section 


was  much  too  much,  for  the  Varsity  shouldn't 
have  been  "made."  Notwithstanding  the  fact 
that  the  football  sequence  was  directed  by  an 
experienced  coach,  the  balance  of  the  story  is  so 
preachy,  you  had  belter  stay  home  and  get 
your  game  over  the  radio. 

THE  AMAZING  VAGABOND~FBO 

BOB  STEELE'S  newest  picture  dwindles  off 
to  a  disappointing  finish.  The  agile  Bob 
plays  a  daring  fellow  with  a  flair  for  the  high 
places,  sucli  as  aeroplanes  and  parachutes.  So 
his  disapproving  father  packs  him  off  to  the 
family  lumber  camp  to  cure  his  aviation  com- 
plex. Which  cures  the  kid,  but  spoils  the 
picture. 

THE  SHAKEDOWN—Universal 

T.AMES  MURRAY  in  a  realistic  yet  pictur- 
Jesque  story  of  crooked  fight  promoters  in  an 
oil  town.  The  young  promoter  adopts  a  fresh, 
freckle-faced  orphan,  to  get  in  right  with  the 
townsfolk  whom  he  plans  to  "gyp."  Jack 
Hanlan,  a  ten-year-old  actor,  hitherto  un- 
known on  the  screen,  walks  away  with  the 
picture.  Barbara  Kent,  completely  w-inning, 
as  usual,  shares  honors  with  Murray. 

THE  CAVALIER— Tiffany-Stahl 

npHIS  is  another  of  Richard  Talmadge's 
■*■  frenzied  attempts  to  out-Doug  Doug  Fair- 
banks. The  sturdy  star,  as  a  Spanish-American 
Robin  Hood  who  robs  the  Dons  and  protects 
the  Indians,  does  impossible  leaps  and  climbs — 
all  to  save  the  pretty  per.^on  of  Barbara  Bed- 
ford from  an  odi  lus  marriage  to  a  wealthy 
nincompoop.  A  pretty  picture,  with  some  hot 
riding,  but  old-fashioned  and  imitative.  There 
is  a  synchronized  Photophone  score  by  Dr. 
Riesenfeld.  Its  feature  is  the  astonishing  feat 
of  Mr.  Talmadge  who,  as  the  Spaniard,  sings  a 
love  song  in  perfect  English  without  opening 
his  mouth. 

THE  BLACK  ACE—Pathe 

TT'S  a  difficult  proposition  for  a  professional 
-^gambler  and  thief  to  mend  his  waj's  and 
right  about  face  for  twenty  years  without  a 
slip.  That's  what  our  hero  does,  only  to  be 
confronted  with  his  past  record  at  the  most 
critical  point  in  his  career.  Certainly  he 
stands  the  test.  Don't  Western  pictures  all 
end  properly?  Love  interest  furnished  by 
Jeanette  I.off  and  Don  Coleman.  Okay  for  in- 
expensive amusement. 


Sound  Pictures 


[  CONTINinjD  PROM  PAGE  5S  ] 

NAPOLEONS  BARBER— 

Fox-Movietone 

"Yji  7"E  hope  that  they  make  a  lot  more  talkies 
"^  like  this  one  and  then — goody,  goody! — 
maybe  they  won't  make  any  more!  Now 
wouldn't  that  be  just  dandy?  It  is  all  very 
crude  and  unreal.  The  characters,  as  usual, 
seem  to  speak  from  their  vest  pockets.  Otto 
Matieson  gives  an  interesting  performance  as 
Napoleon  and  his  voice  is  better  than  the  aver- 
age. There  is  but  one  real  consolation — it  is 
only  a  two-reel  picture. 

A  MAN  OF  PEACE— 
Warners-  Vitaphone 

TPHE  feud  in  the  Ozarks  never  dies.  It  prob- 
■'■  ably  never  will  while  there  are  movies  to 
'  keep  it  alive.  Hobart  Bosworth  permits  his 
singularly  fine  voice  to  wax  eloquent  over  such 
whiningsas:  "  Y'all  bumped  off  mah  pappy,  yo' 
duh-ty  skunk ! '  "We  knows  as  how  to  Io\'e  in 
these  h-yre  hills,  an'  we  knows  as  how  to  hate ! " 
Of  course  Mr.  Bosworth  is  good,  but  it's  a  bit 
disappointing  to  us  that  his  first  Vitaphone 
sketch  is  not  quite  worthy  of  his  capabilities. 


"The  Golden  State  Limited'  is,  indeed,  an  unusual  train 
and  really  makes  what  might  easily  be  a  trying  journey,  a 
thing  of  constant  and  complete  pleasure  and  comfort." 

The  Southern  Pacific— Rock  Island  "Golden  State  Limited" — 6114-hour 
flyer  befween  Los  Angeles  and  Chicago.  F.  S.  McGinnis,  Passenger  Traffic 
Manager,  Southern  Pacific,  San  Francisco;  L.  M.  Allen,  Vice-President 
and  Passenger  Traffic  Manager,  Rock  Island,  Chicago.  1| Convenient  ticket 
offices:— 6768  Hollywood  Blvd.,  Hollywood;  212  West  7th,  Los  Angeles; 
531  5th  Avenue,  New  York;  33  West  Jackson  Blvd.,  Chicago. 


When  you   write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINB. 


My  Life— So  Far 


[  CONTINUED  FROM  PAGE  51 


of  dear  Molly  Thompson.  But  the  superiority 
of  the  other  extras  simply  floored  me.  So  suave, 
so  elegant,  so  unperturbed,  so  beautiful  in  their 
smooth  make-ups.  The  lovely  rounded  bodies 
of  the  girls.  I  felt  so  immature  in  my  high- 
waisted  frocks,  spanning  a  flat  little  bosom. 
They  were  most  superior,  these  creatures,  with 
their  castes,  their  httle  secrets.  There  were 
those  who  knew  the  best  place  to  lunch,  where 
one  could  get  the  most  for  the  least  money. 
They  knew,  too,  how  to  apply  make-up  so  it 
would  be  as  smooth  at  the  end  of  the  day  as 
when  they  first  patted  it  on  in  the  morning. 

By  the  time  eleven  o'clock  came  my  make-up 
was  usually  sadly  streaked.  I  was  quite  miser- 
able.   Really  too  self-conscious  of  my  defects. 

IT  can't  be  vanity,  and  if  it  is,  it  must  be 
quite  human,  but,  now,  when  I  walk  on  a  set 
assembled  for  Janet  Gaynor,  I  cannot  help  but 
give  a  fleeting  thought  to  those  other  days.  To 
think  that  the  "some  day"  has  come  when 
those  same  people  are  called  to  work  in  a  pic- 
ture in  which  I  am  the  star. 

It  was  just  after  I  had  answered  a  call  to  do 
extra  work  at  the  Roach  Studio  the  next  day, 
that  Fred  Datig  of  Universal  telephoned  and 
asked  me  to  report  to  the  studio  the  day  follow- 
ing to  play  a  lead.    A  lead! 

"But,  oh,  Mr.  Datig,  I  can't!  Oh,  I  can't. 
Isn't  it  too  bad?  I've  just  promised  Mrs. 
Thompson  at  Hal  Roach  that  I  will  do  extra 
work  tomorrow.    Oh,  isn't  it  a  shame?" 

His  laugh  comes  to  me  now.  "  Don't  worry 
about  that.  When  you  have  a  chance  to  play 
a  lead,  don't  bother  about  extra  work.  We  can 
fix  it  up." 

The  next  day  I  became  leading  lady  for 
Peewee  Holmes  and  Ben  Corbin,  Western 
comedians,  and  in  five  days  my  first  picture,  a 
two  reel  comedy,  was  completed.  I  recall  the 
opening  shot,  me  with  my  forefinger  beneath 
my  chin,  and  the  opening  title  which  read 
"Little  Susy  Harper  ..."  And  the  closing 
shot,  me  with  my  forefinger  beneath  my  chin, 
and  "So  little  Susy  Harper  ..." 

I  had  done  some  work  with  Alberta  Vaughn 
in  an  FBO  series.  I  had  done  a  bit.  But  never 
had  I  done  a  lead.  Wesley  Ruggles,  who  was 
directing  Alberta,  told  me  that  I  "had  some- 
thing." I  blushed  and  didn't  believe  him. 
Jonesy  did,  though. 

You  can  imagine  my  dehght  when  at  Uni- 
versal they  told  me  that  I  was  to  make  five 
more  comedies  with  Peewee  and  Ben.  Hereto- 
fore they  had  changed  leading  women  with 
every  picture,  but  they  hked  my  work.  I 
received  fifty  dollars  a  week,  and  the  days  I  did 
not  work  in  my  Western  comedies,  I  worked  as 
an  extra  on  some  Laura  La  Plante  pictures  and 
others.  I  was  not  under  definite  contract,  but 
I  was  in  stock.    So  was  Fay  Wray. 

GRADU.^LLY  I  was  becoming  accustomed 
to  the  studios.  I  felt  like  a  more  intrinsic 
part  of  them,  now  that  I  was  leading  lady.  I 
was  engaged  at  that  time  to  a  sweet,  a  darling 
boy,  Herbert  Moulton.  He  was  a  young  jour- 
nalist on  The  Los  A  ngclcs  Times.  With  him  I 
wouldattend  the  theatrical  openings.  Iwouldgo 
with  him  when  he  covered  pictures  and  plays. 
Seated,  at  night,  in  the  newspaper  olfice  while 
he  wrote  his  criticisms  for  the  morning  paper,  I 
would  look  over  the  stacks  of  pictures  with 
which  his  desk  was  deluged.  I  studied  the 
pictures  attentively,  thinking  to  myself  "this 
is  what  I  would  not  do  if  I  were  posing"  and 
"this  girl  should  make  good." 

And  I  would  wonder  to  myself  if  I  would 
ever,  ever  make  good  in  the  films.  If  my  pic- 
tures would  be  pubUshed  in  the  papers.  If 
critics  would  gather  to  discuss  my  latest 
picture. 

One  day  a  call  came  from  the  Fox  studio. 
They  were  to  film  "The  Johnstown  Flood." 


A  second  lead  was  needed  to  play  with  George 
O'Brien  and  Florence  Gilbert.  They  were  con- 
sidering me.  I  took  some  tests  with  Irving 
Cummjngs,  who  was  to  direct,  instructing  me. 
He  was  a  never-tiring,  a  sympathetic,  good 
friend.  They  offered  me  a  contract  to  play  in 
this  one  picture,  or,  if  they  chose  someone  else, 
I  was  to  play  the  lead  in  a  comedy.  At  Uni- 
versal I  was  getting  fifty  dollars  a  week,  regu- 
larly; yet  I  gave  up  that  definite  salary  for  the 
chance  to  play  an  emotional  part. 

It  meant  severing  my  relations  with  Uni- 
versal. It  was  daring.  Nevertheless,  I  took  it, 
without  qualms.  "You  are  right,  Lolly,"  said 
Jonesy. 

I  got  the  part  in  "The  Johnstown  Flood." 
I  shall  never  forget  how  hard  I  tried  to  do  well. 
I  would  tremble  so  before  I  went  into  a  scene 
that  the  property  boy  would  grip  me  tightly  by 
the  arms,  lest  my  trembling  show  on  the  screen. 
I  was  giving  all  I  could  to  succeed.  We  worked 
in  water  almost  all  of  the  time.  Irving  Cum- 
mings  was  a  prince.  Nevertheless,  I  went  into 
each  scene  super-charged  with  emotion.  I  was 
worn  out  by  the  time  night  came.  I  have 
learned  since  to  conserve  emotion.  Not  to 
force  it  for  the  first  camera  shot.  Emotion  is 
not  to  be  driven.    It  will  come. 

Nowadays,  if  the  first  shot  is  not  as  it  should 
be,  I  do  not  worry.  I  know  that  in  one  of  the 
succeeding  shots  the  great  flood  of  feeling  that 
is  demanded  will  go  over  the  flood-gates.    The 

In  her  life  story,  Janet  Gaynor 
mentions  Lydell  Peck  as  a  young 
man  "I  adore  as  a  fine  friend." 
Rumors  report  an  impending 
engagement,  for  little  Janet  is  a 
frequent  visitor  at  the  home  of 
the  young  attorney's  parents  in 
San  Francisco 


camera  can  wait.  The  director  wants  to  wait. 
He  knows,  as  I  do,  that  eventually  we  will  get 
what  we  are  striving  for.  On  "The  Johns- 
town Flood"  I  was  constantly  at  the  highest 
pitch.  I  would  come  out  of  the  scene  hysterical, 
and  go  home,  quite  spent,  to  go  immediately 
to  bed. 

Irving  Cummings  liked  my  work.  So  did 
Mr.  Sheehan.  He  gave  me  a  contract  which 
paid  one  hundred  dollars  a  week.  "I  knew  it," 
Jonesy  said,  and  went  around  to  his  friends 
telhng  of  his  little  Janet. 

Then  came  some  hghter  pictures.  "The 
Shamrock  Handicap,"  which  John  Ford  di- 
rected.   "The  Midnight  Kiss,"  which  first  was 


Inlei national  Nlw.s 


The  first  home 
of  the  Gaynors 
in  Hollywood. 
From  the  house 
Janet  went  daily 
to  the  Holly- 
wood Secretarial 
School,  little 
dreaming  of  fu- 
ture film  star- 
d  o  m  .  She 
wanted  to  be- 
come a  stenog- 
rapher —  and  a 
good  one 


caUed  "Pigs."    "The  Blue  Eagle,"  in  which  I 
again  appeared  with  George  O'Brien. 

With  "The  Return  of  Peter  Grimm"  came 
my  second  dramatic  role.  Oh,  how  I  worked  to 
make  that  a  good  picture,  to  justify  the  high 
hopes  that  Winnie  Sheehan  had  for  me.  I 
worked  so  hard  that  I  collapsed  on  the  set  and 
had  to  be  rushed  home  where  the  doctor  told 
Gaynor  that,  unless  I  was  taken  away  im- 
mediately and  within  the  week,  something  far 
more  serious .  than  a  temporarj'  breakdown 
might  occur.  The  studio  arranged  that  all  my 
scenes  be  made  in  one  day,  and  I  left  for  a  vaca- 
tion at  Del  Mar,  south  on  the  California  coast, 
the  following  day. 


Photoplay  Magazine — Advertising  Section 


But  there  was  more  than  good  care  to  speed 
me  on  my  way  to  recovery.  While  I  had  been 
making  "Peter  Grimm,"  Frederick  Wilhelm 
Murnau,  that  splendid  German  director,  had 
come  to  the  Fox  organization  and  was  going  to 
make  "  Sunrise."    I  was  going  to  play  in  it. 

Never  will  I  forget  the  day  that  I  went  to  his 
ofBce.  It  was  a  very  warm  day.  I  had  shoved 
my  hair  straight  back  from  my  brow,  I  never 
have  been  one  to  (ix,  and  pulled  a  large  black 
hat  well  over  my  eyes.  The  hat  was  protective. 
I  knew  it  would  shield  me  somewhat  from  those 
piercing,  penetrative,  blue  eyes,  kindly,  but 
nevertheless  awesome. 

Rochus  Gleis,  his  art  director  from  Germany, 
was  with  Murnau. 

"Will  you  take  off  your  hat  please?"  asked 
Mr.  Murnau,  and  off  it  came.  My  big  hat 
availed  me  nothing. 

Murnau  and  Gleis  stood  side  by  side,  Mur- 
nau with  his  hands  to  his  face,  lips  pursed, 
while  Gleis  chattered  violently  in  German,  of 
which  I  knew  not  a  word.  Then  Murnau 
spoke,  in  German.  They  circled  around  me, 
nodding,  gesticulating.  Murnau  approached 
me  and  stroked  my  hair:  "Nice,  nice,"  he  said 
and  smiled.  They  had  forgotten  I  was  alive. 
I  was  more  a  chnical  exhibit  than  anything. 
Suddenly  he  remembered. 

"You  do  not  like  it,  ncin?  Well,  so,  perhaps 
it  iss  not  so  pleasant." 

I  admitted  it  was  not  so  good.  "It  is  not 
very  pleasant  to  sit  here  and  have  you  talk 
about  me,"  I  answered.  "  Especially  when  I  do 
not  know  what  you  are  saying." 

I  was  going  to  play  "Sunrise."  This  was 
what  Winnie  Sheehan  had  told  me.  He  had 
also  told  me  two  other  glorious  things. 

The  second  was  that  my  contract  was  to  be 
torn  up  and  a  new  one  at  three  hundred  dollars 
a  week  was  to  supplant  it.    And  the  third.  .  .  . 

All  during  the  making  of  "Peter  Grimm" 
the  studio  had  been  agog  with  rumors  of  who 
was  going  to  play  Diane  in  "7th  Heaven." 
Every  actress  of  importance  in  Hollywood  had 
taken  a  test.  Day  by  day  limousines  would 
draw  up  to  disgorge  another  celebrated  con- 
testant. Rumor  was  that  even  Douglas  Fair- 
banks and  Mary  Pickford  wanted  to  do  it. 
Unknowns  were  being  photographed  for  the 
part. 

Between  scenes  we  would  gossip  about 
whom  we  thought  should  be  Diane.  My  choice 
was  Dolores  Costello. 

T  WAS  doing  the  wedding  scene  in  "Peter 
-'-  Grimm"  when  Frank  Borzage,  that  grand 
person  who  was  to  direct  "7th  Heaven," 
and,  later,  "Street  Angel,"  came  to  our  set. 
No  one  introduced  me  to  him.  He  sat  about, 
silently,  and  then  left.  I  consoled  myself  with 
the  thought  that  anyway  I  was  wearing  my 
most  beautiful  costume.  But  even  that  had 
not  seemed  important  enough  for  someone  to 
present  me  to  him.  Afterward  he  told  me  he 
had  come  on  the  set  for  the  express  purpose  of 
seeing  what  I  looked  like. 

"Oh,  I'd  love  to  play  Diane,"  I  confided  to 
the  cameraman. 

"Your  eyes  are  too  bright,  Janet,"  he  said. 
"Too  much  Hfe  in  them.  Diane  was  a  poor, 
beaten,  drab  little  thing.  You  haven't  lived 
enough  to  know  how  to  act  that." 

The  third  thing  that  Winnie  Sheehan  told 
me  was  that  I  was  to  play  Diane  in  "7th 
Heaven."    I  had  never  even  made  a  test  for  it. 

Did  ever  any  girl  go  away  on  a  rest  with 
brighter  prospects  awaiting  her  return? 

Making  "Sunrise"  under  the  gentle  and 
kindly  direction  of  Murnau  was  a  tremendous 
e.xperience.  George  O'Brien  and  I  made  a  pact 
when  we  started  that  we  would  do  anything 
and  everything  that  this  man  told  us  to  do.  I 
worked  in  water  all  day  long  in  some  of  the 
sequences,  worked  until  I  seemed  to  have  not  a 
spark  of  life  in  me.  Murnau  would  thank  me 
simply,  and  when  I  arrived  home  there  would 
be  a  great  bunch  of  red  roses,  expressing  his 
appreciation.  And  when  we  were  on  location 
at  Lake  Arrowhead  he  sent  to  Los  Angeles  for 
a  huge  birthday  cake  with  sixteen  candles  and 

[  CONTINtTED  ON  PAGE   123  ] 


95 


uyeriJ  wamaiv 

from 

Mrs  Noah  to  now 


w: 


HO  can  doubt  that  the  debark- 
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At  your  druggist 's 


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Doug's  Office  Boy  Makes  Good 


I  CONTINUED  FROM  PAGE  63  | 


to  that,  my  folks  sent  me  each  month  a  small 
remittance,  so  I  put  off  returning  home,  upon 
first  one  excuse  and  then  another,  because  I 
knew  I  would  have  to  go  back  to  school  and 
specialize  for  diplomatic  service." 

"D  ARRY  remained  a  year  and  a  half  in  New 
-^Vork,  with  no  thought  whatever  of  pictures. 
In  fact,  one  night  in  the  Pepper  Pot,  a  Green- 
wich \'illage  cafe,  Bijou  Fernandez,  scouting 
for  types  for  Paramount,  offered  to  enter  the 
boy  in  the  Paramount  School  for  Pictures,  that 
novel  institution  which  gave  us  Buddy  Rogers 
and  Josephine  Dunn.  But  young  Mr.  Norton, 
quite  satisfied  with  life  as  he  found  it,  rejected 
the  offer  with  considerable  scorn.  There  fol- 
lowed, also,  opportunities  to  go  on  the  stage. 

"But  I  never  could  remember  lines,"  he  said, 
"so  I  was  afraid  of  these  offers." 

Finally  a  time  came 
when  he  went  to  Chi- 
cago, to  settle  the  estate 
of  a  friend  of  his  father. 
Despite  the  parental 
admonition  against  fur- 
ther travel,  he  contin- 
ued on  to  Hollywood, 
the  wanderlust  whisper- 
ing that  he  could  boast 
he  had  traveled  from 
coast  to  coast.  Even  then 
he  intended  returning  to 
South  America. 

"I  was  confident,"  he 
e-xplained,  "  that  I  could 
work  my  way  back  to 
New  York  through  the 
Canal.  And  I. was  light- 
hearted  and  without 
care." 

It  had  been  necessary 
in  Chicago  to  pawn 
practically  everythinghe 
owned  in  order  to  obtain 
money  for  the  fare.  And, 
when  Barry  Norton  ar- 
rived in  Los  Angeles,  he 
possessed  just  fifteen 
dollars,  an  Argentine 
valise  and  an  extra  suit 
of  Buenos  Aires  clothes. 

WHAT  do  you 
think  my  first  job 
was?  "he  asked,  his  eyes 
alight.  We  did  notknow. 
"Carrying  lumber! 
Oh,  boy,  what  a  job! — 
ina  lumber  yard. Boards, 
planks,  scantlings,  posts, 
— tons  of  'em!  It  nearly 
broke  my  back.  I  was 
too  light  for  the  work, 
so   they  fired  me,  and 

that  about  wrecked  my  pride.  I  went  to 
the  boss  and  begged  him  to  let  me  keep  on. 
I  told  him  I'd  carry  twice  as  much.  I  didn't 
want  to  fail.  It's  always  bad  to  fail — the 
psychology  is  demoralizing.  But  the  boss 
shrugged  and  shook  his  head.  His  coldness 
offended  me.  Maybe  I  was  sensitive.  All  my 
hfe  I  have  been  sensitive,  and  I  felt  it  was  un- 
fair not  to  give  me  a  chance.  But  that  is 
America — cold,  businessUke.  Great  oppor- 
tunities if  you  are  competent,  but  no  room  if 
you  can't  hold  the  pace.  In  my  own  country, 
I  think  they  would  have  helped  me.  Yet  I  did 
not  leave  that  job  with  the  feeling  that  I  was 
useless;  I  merely  felt  I  had  learned  that  this 
was  not  my  sort  of  work. 

"In  South  .America  I  fear  I  had  gained  a 
rather  imperialistic  outlook.  I'or  instance,  I 
felt,  until  I  came  to  this  country,  that  indi- 
viduals were  born  to  their  station  and  should 


be  treated  accordingly.  A  servant  was  a 
servant,  a  chauffeur  a  chauffeur,  a  w^aiter  a 
waiter  and  nothing  more.  Under  all  circum- 
stances they  should  be  made  to  realize  their 
places.  But  I  have  found  that  the  world  is  not 
like  that. 

"There  is  no  such  thing  in  life  as  'station.' 
One  of  my  very  good  friends,  for  example,  is  a 
young  Canadian  with  whom  I  worked  in  the 
lumber  j'ard.  He  is  not  intellectual,  I  admit, 
but  he  is  human,  and  he  has  a  heart.  And 
today  he  is  a  taxi  driver!" 

After  the  disaster  of  the  lumber  yard,  Barry 
Norton  turned  his  gaze  screenward. 

"I  remembered  what  Bijou  Fernandez  had 
told  me  in  the  Pepper  Pot,"  he  said,  "so  I 
knew  it  would  be  a  cinch."  His  eyes  twinkled 
and  he  smiled  oddly.  "Yes,  I  knew  it  would  be 
an  absolute  cinch!" 


Barry  Norton's  mother  and  father.      They  haven't  seen  their  son 

since  he  left  them  five  years  ago,  to  come  to  this  country  as  a 

member  of  the  cheering  section  for  Firpo,  the  Wild  Bull  of  the 

Pampas.   But  the  Biraben  family  plans  a  reunion  in  Paris  soon 


The  assurance  of  youth!  Its  tenacious  ar- 
rogance! 

From  studio  to  studio  he  trudged,  his  feet 
blistered,  occasional  relief  grudgingly  granted 
by  passing  motorists.  But  at  every  casting 
window  the  same  answer  was  inevitable — "  Not 
the  t>pe."  So  it  was  just  the  old  story  without 
variations. 


■pINALLY,  however,  persistence  won. 


Barry 

Norton  got  a  break. 

A  picture  at  FBO. 

"It  was  interesting,"  he  said,  "because  of 
one  experience.  I  was  introduced  to  the  star. 
Very  condescending  indeed,  that  star,  strug- 
gling desperately  to  keep  her  high  hat  on.  Two 
years  later  I  signed  a  contract  with  Fox.  My 
first  'opus'  was  'The  Lily,'  made  mostly  with 
free-lance  players. 

"In  fact,  I  was  the  only  contract  player  in 


the  cast.     Belle  Bennett  topped  the  list  of 
players. 

"  Far  below  me  was  billed  the  ritzy  lady  who 
had  worn  the  high  hat  of  stardom  at  FBO.  A 
strange  place,  Hollywood!" 

npHIS  "big  opportunity"  at  FBO,  however, 
-'■  developed  into  just  another  extra  job.  But 
out  of  it  Barry  Norton  made  enough  to  buy  a 
new  pair  of  shoes  with  which  to  continue  his 
marathoning. 

And  again  he  heard  the  wolf  cry — "You're 
not  the  type." 

But  one  morning  he  got  a  call  from  an  agency 
in  the  Taft  Building — the  very  building  where 
Photoplay  now  has  its  Hollywood  head- 
quarters. 

"The  United  Artists  studios  want  you,"  he 
was  told.      "Douglas  Fairbanks." 

Douglas  Fairbanks! 
His  heart  gave  five  extra 
thumps.  A  break  at  last! 
So  he  marched  boldly 
to  the  United  Artists 
studios,  expecting  noth- 
ing short  of  the  juvenile 
lead,  and  receiving  in- 
stead an  offer  to  go  to 
work  as  office  boy. 

What  a  blow  to  high 
hopes,  to  visions  that 
soared  in  the  clouds. 

But  Barry  Norton, 
still  Alfredo  Biraben, 
mind  you,  did  some 
fast  thinking.  It  was 
a  job. 

It  paid  money.  It  was 
with  Douglas  Fairbanks 
and  that  meant  prestige 
and  maybe  a  chance  to 
learn  about  pictures. 
He  took  it. 

And,  roughly  speak- 
ing, he  remained  there 
four  months,  learning 
about  pictures.  At  every 
opportunity  he  was  on 
the  set,  studying.  In 
fact,  he  devoted*  so 
many  golden  hours  to 
observation  on  the  set 
that  it  was  his  eventual 
undoing. 

Clarence  Erickson, 
manager,  a  practical 
soul  with  no  feeling 
whatever  for  higher  art, 
finally  discovered  how 
the  office  boy  spent  his 
time  .  .  . 

"But  I  learned  much," 
says  Barry.  "I  learned 
timing  there,  the  great 
secret  of  screen  acting."  After  being  detached 
from  the  Fairbanks  payroll,  Barry  took  up  the 
great  trek  again,  consumed  this  time  with  an 
even  greater  determination  to  act. 

I  KNEW  I'd  be  set  if  I  could  just  get  a  test," 
he  said.  "But  casting  offices  were  always 
broadcasting  that  favorite  jazz  number,  'Not 
the  type.'  It  was  like  static,  forever  interrupt- 
ing the  song  of  hope. 

"Casting  directors  used  to  advise  me  to  go 
back  home. 

"They  said  there  was  nothing  in  Hollywood 
for  me,  that  it  would  be  infinitely  better  to  take 
up  some  other  line." 

Fie  paused  for  a  moment  and  looked  away. 

"One  thing  I  will  never  do,"  he  said  finally. 
"I  will  never  discourage  anyone.  I  will  never 
tell  anyone  not  to  try.  You  never  can  tell. 
Let  people  learn  for  themselves.     They  will 


96 


Photoplay  Magazine — Advertising  Section 


find  out  eventually  if  they  are  not  suited,  and 
when  they  learn  it  for  themselves  they  are 
more  apt  to  stay  convinced." 

No  matter  what  the  breaks  were,  Barry 
Norton  never  considered  the  possibility  of 
quitting. 

"You  see,"  he  remarked,  eyes  twinkling 
again,  "I  knew  I  was  good!  I  had  a  hunch.  I 
felt  that  it  was  merely  a  matter  of  getting  a 
test. 

"The  break  came  one  day  at  the  Fox 
Studio.  Irving  Cummings  saw  me.  'Just  the 
type  I'm  looking  for,'  he  said.  That  casting 
oflice  dirge  came  back  to  me — 'You're  not  the 
type,  not  the  type!'  I  almost  laughed  out- 
loud,  for  right  here  in  front  of  me  was  a  flesh 
and  blood  director  announcing  me  as  just  the 

t>T>e. 

"Strange  town,  indeed,  this  Hollywood." 

THAT  test  won  Barry  Norton  a  contract, 
and  with  the  signing  of  that  contract,  he 
lost  his  South  American  name. 

Studio  executives  ruled  that  it  was  too  un- 
wieldy and  that  he  must  adopt  an  American 
name  in  its  stead. 

From  a  list  he  prepared,  the  name  Barry 
Neilan  was  chosen,  and  it  was  under  this 
nom  de  cinema  that  he  received  his  first  screen 
credit. 

But  to  avoid  being  confused  with  Marshall 
Neilan,  Barry  selected  Norton  for  his  last 
name. 

He  is  being  carefully  groomed  now  by  Fox  for 
bigger  and  better  things.  The  latest  develop- 
ment in  his  career  is  a  trainer.  Leo  Houck, 
ex-fighter,  actor,  stunt  man  and  assistant 
director,  has  been  assigned  by  Winnie  Sheehan 
to  build  up  the  Norton  neck  and  thus  add 
character  to  the  Norton  face. 

And  from  what  I  know  of  Leo,  he  will  either 
build  up  the  Norton  neck  or  unjoint  it,  if  you 
know  what  I  mean! 

Barry  is  now  twenty-four,  and  a  large  hunk 
of  actor,  providing  you  do  not  mind  the  deli- 
cate cast  of  his  features.  You  will  remember, 
of  course,  that  in  "What  Price  Glory"  people 
spoke  of  him  as  that  beautiful  boy.  He  is  five 
feet  eleven  and  one-half  inches  tall  and  weighs 
one  hundred  and  seventy-four  pounds.  And 
when  he  is  not  in  costume,  his  favorite  apparel 
is  a  pair  of  whipcord  riding  breeches,  tan  boots, 
light  tan  camel's  hair  sweater,  light  yellow 
shirt  that  blends  smartly,  and  a  slightly  darker 
tie  with  small  brown  polka  dots. 

This  get-up  sounds  hke  a  Hollywood  pose, 
and  hard-boiled  grips  and  prop  men  fre- 
quently yell,  "Hey,  Barry,  where's  your  horse?" 
But  for  all  that,  it's  on  the  level,  and  every 
opportunity  finds  him  bridle-pathing  his  favor- 
ite steed  over  the  Hollywood  hills. 

JUST  now,  Barry's  great  ambition  is  to  see 
Jhis  folks — his  mother,  his  father,  his  only 
brother. 

"I  have  not  seen  them  since  I  left  Buenos 
Aires,"  he  told  me.  "But  I  do  not  expect  to 
visit  them  in  my  native  city.  I  think  I  shall 
see  them  in  France.  It  takes  too  long  to  go  to 
the  Argentine — thirty-one  days  on  the  boat 
alone. 

"So  we  will  meet  in  Paris,  the  birthplace  of 
my  mother." 

And  it  is  just  possible  that  Barry  will  take 
a  woman  with  him — a  beautiful  woman, 
talented,  clever.  If  she  goes,  it  will  be  as  Mrs. 
Norton. 

We  can't  say  for  sure,  of  course,  because  he 
wouldn't  say  for  sure.  But  when  we  asked  him 
about  Myrna  Loy,  he  grew  silent.  And  when 
he  finally  spoke,  it  was  with  caution,  each  word 
carefully  weighed. 

"Myrna  and  I  go  together,  yes,"  he  said. 
"She  is  wonderful.  But  marriage — "  He  shook 
his  head. 

"Bad  for  your  careers?"  I  suggested. 

He  nodded. 

Which  is  always  a  good  omen. 

.'\nd  therefore  this  actor  who  once  was  an 
office  boy  looks  forward  to  two  things — 

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Girls'  Problems 


[  CONTINUED  FROM  PAGE  16  ] 


whether  your  appearances  are  the  deceitful 
kind? 

So  I  advise  you — first.  And  then  I  go  back 
to  what  you  have  told  me  in  your  letter.  For 
you  have  written — "My  life's  happiness  is 
hanging  by  a  thread."  And  if  such  is  the  case, 
if  the  matter  is  so  desperate,  then  surely  you 
should  not  pause  in  taking  a  direct  course  to 
straighten  it  out.  So  long  as  you  are  so  sure  of 
your  man's  love,  you  should  go  to  him.  And 
be  frank.  You  should 
explain  to  him  just  how 
appearanceshavelabeled 
you  with  an  unpleasant 
tag — how  they  put  you 
in  a  wrong  position.  And 
you  should  explain  that 
the  ultra-modern  veneer 
with  which  you  have 
covered  yourself  means 
less  than  nothing.  You 
should  explain  to  him 
that  underneath  the 
veneer  you  are  as  old- 
fashioned  —  that  you 
have  as  high  ideals  and 
right  principles — as  his 
own  mother,  and  the 
girls  who  lived  in  his 
mother's  time. 

If  the  man  is  worth 
while,  Wilma,  he  will 
understand  you  —  and, 
what  is  even  more  im- 
portant, he  will  believe 
you.  And  if  he  doesn't 
understand  — a  n  d 
doesn't  believe — then  he 
isn't  worthy  of  your  af- 
fection. And  you  would 
do  well  to  forget  him. 
As  soon  as  you  possibly 
can. 

B.  A.  S.: 

You  are  of  the  Gloria 
Swanson  type.  Your 
coloring  is  almost 
identical  with  hers.  You 
can  wear,  as  she  does, 
subtle  shades — strange 
greens  and  ambers  and 
blues. 

Ethel  S.: 

Oily  hair  is  a  problem. 
It  requires  infinite  care 
and  patience.       If  you 
can  manage  to  stand  it 
in  its  oily  state  over  the 
time  when  you  usually 
shampoo    it,     you    will 
find  that  the  oUiness  de- 
creases. Oftentimes  oily 
hair  comes  from  over- 
shampooing.      Some- 
times, however,  oily  hair  is  successfully  treated 
with  oil  itself — in  the  form  of  hot  oil  shampoos. 
Ask  the  hair  dresser  in  your  town  for  her 
advice. 

Nancy: 

I  think  you  have  proved  that  your  more 
carefree  methods  of  living  (which  you  refer  to 
as  "wildness")  have  decreased  rather  than  in- 
creased your  popularity.  Go  back  again  to 
your  old  standards.  Be  the  sweet  little  girl 
that  you  used  to  be  and  I  am  sure  that  you  will 
regain  your  one-time  charm. 

J.  v.: 

Is  there  no  one  in  your  town  to  whom  you 
can  go  for  advice  about  singing?  Certainly 
there  is  a  choirmaster  in  your  church  or  a  song 


leader  in  your  high  school  who  at  least  could 
tell  you  to  whom  you  should  apply  for  help  in 
realizing  your  ambition. 

Laura  K.: 

Are  you  sure  that  your  teeth  are  in  good  con- 
dition? Sometimes  skin  troubles  come  from  an 
infected  tooth.  Apparently  you  are  healthy  in 
every  other  way,  and  your  method  of  caring  for 
your  skin  seems  a  wise  one.    I  would  suggest 


How  a  big  girl  and  music  show  looks  to  the  man  in  the  fly  gallery. 
An  unusual  shot  of  a  stage  scene  being  made  by  Malcolm  St.  Clair 
for  Paramount's  production  of  "The  Canary  Murder  Case,"  the 
S.  S.  Van  Dine  mystery  story.    Louise  Brooks  is  the  girl  in  the  swing 


that  you  have  your  teeth  X-rayed.  Perhaps 
you  would  find  also  some  good  suggestions  in 
my  booklet  on  the  care  of  the  skin. 

P.  L.  S.: 

Some  people  who  find  a  cream  too  heavy  for 
their  delicate  skins  are  pleased  with  the  results 
obtained  from  using  a  good  skin  lotion. 

Indeed  daily  sun  baths  would  help  you  in 
your  second  trouble.  They  are  found  most 
beneficial  by  many  people. 

As  to  your  weight,  you  should  weigh  about 
125  pounds. 

Jane: 

An  inferiority  complex  is  a  hard  thing  to 
battle.  I  don't  know  quite  how  to  advise  you. 
I  can  only  say  that  you  should   try  to   be 


natural,  that  you  should  be  as  unaffected  with 
boys  as  you  are  with  girls.  If  you  find  it  hard 
to  talk,  let  the  other  person  carry  on  the  greater 
part  of  the  conversation  and  show  your  interest 
by  your  understanding  and  intelligent  silence. 
The  most  popular  girls  I  have  ever  known  have 
been  the  best  listeners. 

Patsy: 

See  my  advice  to  Jane  and  follow  it.  Read 
good  books  and  be  able 
to  comment  intelligently 
on  them.  Also  keep  up 
with  current  events. 
You  evidently  lack 
something  in  conversa- 
tion. 

Lois: 

You  should  wear 
straight-line  dresses 
with  skirts  slightly  long- 
er than  the  average,  and 
low  waist  lines.  You 
must  avoid  ruffles  and 
frills.  They  will  make 
you  seem  heavier.  Dress 
your  hair  high — as  high 
as  possible.  Brush  the 
little  curls  up  to  a  loose, 
soft  knot  at  the  top  of 
3'our  head.  This  will 
give  you  height,  charm 
and  slimness. 

A.  R.: 

Massage  your  legs 
with  a  good  tissue  build- 
ing cream.  This  should 
make  them  a  little  less 
thin.  Drink  a  glass  of 
cream  and  millc  three 
times  a  day — halt  cream 
would  be  best.  Do  not 
take  over-hot  baths  and 
do  not  exercise  too 
violently  if  you  want  to 
gain  weight. 

Pauline: 

Never  sacrifice  your 
looks  to  a  ruhng  style. 
If  you  look  best  with 
your  hair  short,  be  sure 
to  keep  it  short,  no 
matter  how  popular 
'ong  hair  may  become. 
Individuality  is  more 
important  than  the 
thing  that  fashion  dic- 
tates. 

You  will  be  prettiest 
in  straight  dresses,  and 
your  best  colors  will  be 
different  shades  of  blue 
and  greens.  You  will 
also   be   quite   lovely   in   beige. 

You  are  just  a  trifle  overweight,  but  at  your 
age  it  is  quite  easy  to  control  one's  weight  by 
exercise.  Your  letter  makes  you  sound  very 
attractive.  Don't  worry  about  any  minor 
defects. 

Last  of  all,  I  want  to  thank  you  for  one  of  the 
loveliest  compliments  that  has  ever  been  paid 
me.    You  will  understand  what  I  mean. 

JOBYNA  K.: 

Beige  is  a  good  color  for  you.  You  can  also 
use  the  strange  off  shades — queer  reds  and 
mauves  and  greens.  Personally,  when  one  can 
wear  such  colors,  I  prefer  them.  They  stand 
out  from  the  average  thing.  Use  ashes  of  roses 
rouge  and  Rachel  No.  2  powder.  They  will  be 
best  for  you. 


98 


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Ifitlfj'^  MOVI  ET01>I  E 


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Good    Girl 


[  CONTINUED  FROM  PAGE  67  J 


"Yeh,  great  little  old  trip!"  His  eyes  slid 
past  hers.  "  See  the  rushes  of  my  iight  scene? 
Pretty  hot,  what?" 

She  went  home,  divided  between  hope  and 
despair.  He  hadn't  said  anything,  but  surely 
there  had  been  meaning  in  the  way  he  had 
pressed  her  hand  when  they  had  said  goodby. 
.  .  .  She  wasn't  a  girl  who  let  men  kiss  her, 
but  he  hadn't  tried.  .  .  . 

"Ken  Laurel's  not  the  marrying  type," 
Marjorie  Ford,  who  played  vamps,  observed. 
She  was  using  a  lipstick  and  small  mirror  and 
wasn't  looking  at  Ellen,  who  flushed  at  men- 
tion of  the  star. 

"Don't  you  think  so?" 

"V\7ELL,  he  always  dodges  before  they  get 

**  him  to  the  altar.  There  was  that 
Madam  WhatyoucaUer  who  made  'The  Green 
Sin,'  and  Lou  Leslie  and  that  blonde  that 
married  the  Jew  bootlegger, — oh,  a  lot  of  'em 
have  tried  to  get  him.  .  .  .  Dearie,  if  you've  any 
designs  on  him,  forget  'em  and  go  after  the 
Prince  of  Whales  or  the  Astor  offspring  or  some- 
body easy.  And  don't  look  at  the  word  'de- 
signs.' Only  them  as  has  'em  are  going  to  land 
rich  and  handsome  husbands  in  these  hard 
times." 

Ellen  rearranged  a  pin  in  a  soft  coil  of  hair 
and  tried  to  speak  casually.  "He  asked  me  to 
dinner  tonight." 

Marjorie  flashed  an  upward  glance  at  the 
self-conscious  little  figure  by  the  dressing-table. 
They  were  attending  a  "cat"  party. 

"WeU,  listen  to  Gramma,  dearie.  If  you 
reaUy  want  him,  you'd  better  can  the  sweet, 
domestic  type  and  develop  some  pep.  You've 
read  that  men  may  pay  attention  to  the  giddy 
girls,  but  it's  the  good  ones  that  grab  off  the 
wedding  rings.  Take  it  from  me,  that's  the 
bunk!  Nothing  will  drag  some  men  to  the 
J.  P.  but  a  couple  bottles  of  bad  gin." 

But  EUen  had  gone  downstairs.  Connie 
Lane  was  there  and  Bess  Pretty,  both  newly 
engaged,  discussing  Christmas  presents  for  the 
fiance. 

"What  you  got  for  your  best  beau?"  called 
Connie,  hghting  her  cigarette  at  one  of  the 
table  candles. 

"It's  finished,"  confessed  Ellen.  "I  was 
afraid  I  wouldn't  get  it  done,  we've  had  so 
many  night  calls.  It's  a — "  she  lowered  her 
voice —  "a  lounging  robe." 

Marjie,  on  the  stairs,  commented:  "My 
Gawd,  she  made  it !" 

But  no  comment  could  touch  Ellen's  pride 
in  her  gift — shining  black  satin  without,  vivid 
crimson  silk  within,  beautifully  quilted,  every 
stitch  a  memorial  to  Ellen's  convent  days.  It 
lay  in  its  holiday  box,  the  special  silver-starred 
paper  and  wide  scarlet  ribbon  for  its  wrapping 
beside  it.  There  was  a  card,  too,  that  read: 
"  Ken  from  Our  Nell." 

SHE  sent  the  gift  to  him  by  special  messenger 
so  that  it  would  reach  him  Christmas  Eve. 
He  had  told  her  his  family  celebrated  then.  .  .  . 
She  hadn't  seen  him  for  eight  days,  but  he 
wasn't  out  of  town.  Bess  Pretty,  who  was  in 
his  picture,  said  they  were  working  every  day. 

None  of  the  packages  that  came  to  the 
bungalow  before  Christmas  were  from  Ken.  .  .  . 
buthe'dprobablybringithimself  on  theday 

Ellen  was  up  so  early  that  Brother  pre- 
tended she  still  believed  in  Santa.  She  was 
unusually  gay  over  the  gifts.  "How  lo-o-vely !" 
she  kept  crying. 

"You're  awfully  easy  pleased!"  grunted 
Brother,  when  the  exclamation  came  after  the 
opening  of  a  box  of  knitted  washrags  from  an 
Idaho  aunt.  But  he  didn't  pursue  the  subject. 
EUen's  eyes  looked  misty. 

Noon.  Afternoon.  Evening.  Eight  o'clock. 
Nothing  from   Ken.     Not  even  a  card  or  a 

100 


telephone  call.  Ellen  slipped  out  to  the 
garden  to  get  away  from  the  indignant  pity  in 
Brother's  face.  All  the  shades  were  up,  reveal- 
ing the  lighted  tree,  the  holly  wreaths,  the  hope- 
ful sprig  of  mistletoe  on  the  chandelier.  Beds 
of  blooming  poinsettias,  that  made  a  flaming 
wall  around  three  sides  of  the  house,  were 
picked  out  by  the  electric  lamps  across  the 
street. 

Perhaps  she  could  tell  the  girls  Ken  had 
given  her  the  turquoise  pin  of  Brother's — or 
the  silver  candlesticks  from  the  Wheatleys — 
or  the — no,  not  the  dress  from  Cousin  Jane! 
.  .  .  Was  that  a  car  turning  the  corner?  Yes — 
lights — it  was  stopping!    She  had  reached  the 


International  Newsreel 


Flashing  one  of  those  famous  Del 
Rio  smiles,  Dolores  the  Dangerous 
came  home  from  her  European 
jaunt  on  the  "Paris."  Tlie  other 
lady  is  her  mother 


sidewalk  before  she  had  seen  it  was  a  delivery 
wagon.    A  boy  came  staggering  up  with  a  box. 

"I  knew  he  wouldn't  forget!"  almost  sobbed 
Ellen,  as  Brother  signed  the  boy's  book.  She 
could  hardly  get  into  the  house  with  the  box. 

Flowers  .  .  .  They  won't  keep  but  you  can 
press  them  .  .  .  Why  wouldn't  the  silly  box 
open?  .  .  .  There!  Now  the  paper —  .  .  . 
Poinsettias/ 

She  read  the  card,  a  florist's  card  written  by 
someone  at  the  store.  He'd  telephoned  the 
order.  .  .  .  "Christmas  greetings  from  Ken 
Laurel."  .  .  . 

Her  brother  admired  them  perfunctorily, 
but  when  she  had  taken  them  to  the  kitchen 
for  vases,  she  heard  him  growl:  "Forgot  aU 
about  her  until  he  opened  her  present  and  then 
forgot  we  have  sixty  million  of  those  in  the 
yard!   The  low-lifer!" 

She  laughed  mirthlessly.  .  .  .  You  can't 
press  a  poinsettia.  .  .  . 

The  tragedy  of  it  was  that  Ken  never  quite 


dropped  her.  In  the  years  that  followed  he 
was  always  coming  back  from  New  York, 
where  he  made  a  picture  or  so,  calling  her  up 
and  saying  with  that  inflection  that  seemed  to 
mean  much  and  meant  nothing:  "How's  the 
pride  of  Hollywood?  Coming  to  dinner  with 
an  old  flame?"  or  "That  Our  NeU?  Know 
who  this  is?    How  about  a  bite  and  a  show?" 

She  always  went — always  put  on  her 
prettiest  frock,  had  her  hair  marceled  and 
mentioned  his  taking  her  to  the  other  girls. 

pEOPLE  were  sorry  for  her.  "Poor  EUen!" 
-'-  they  used  to  say,  with  more  or  less  of  a  shrug. 
"  She's  mad  about  him.  I  wish  he  would  marry 
her!"  with  the  intonation  that  means  there's 
nothing  less  Hkely. 

There  were  times  when  it  seemed  possible 
Ellen  might  capture  him.  After  his  ardent 
affair  with  the  Dane  girl,  for  instance.  .  .  .  He 
had  seemed  actually  in  earnest  over  that  and 
he  was  as  much  amazed  as  anyone  when  she 
announced  that  she  had  been  married  all  the 
time  to  a  French  count.  Ellen  was  seen  every- 
where with  him  for  the  next  few  weeks.  "A 
French  count,  my  dear,"  she  would  say,  scorn- 
fully, to  anyone  who  hstened.  "They  don't 
kavr  counts  in  France.    It's  a  republic!" 

Then  there  was  the  time  a  boat  was  blown 
up  before  the  director  expected  the  explosion, 
and  Ken,  who  had  been  on  it,  was  taken  to  the 
hospital.  His  eyes  were  bandaged  and  there 
seemed  grave  doubt  as  to  whether  or  not  he 
would  see  again.  Ellen  was  the  only  one  who 
could  keep  him  quiet.  His  mother,  weeping 
in  the  corridor,  said  so  herself.  Good  little 
EUen,  giving  every  spare  minute  to  the 
furious  invalid. 

He  must  have  said  things  to  her  then  that 
worried  him  when  the  doctors  found  that  his 
eyes  would  be  as  good  as  ever.  He  was  fond  of 
EUen,  but  ...  At  any  rate,  it  was  arranged 
that  Ellen  should  go  to  Italy  with  a  movie 
company  before  Ken  was  ready  to  worjf . 

"  Why,  you  ought  to  be  jumping  for  joy!"  he 
cried,  when  she  came  to  him  in  tears  .  .  .  She'd 
be  away  a  year!  "I  think  it's  great!  Look  at 
the  opporitinity!     Why,  Ellen,  it's  marvelous/" 

"B-but  you  won't  be  there!" 

"A  year's  no  time  at  all,"  he  assured  her, 
ignoring  her  piteous  little  wail.  "Think  of  the 
edueation!  .  .  .  Gee,  I  wish  they'd  send  me 
to  Italy!" 

EUen  was  twenty-seven  by  that  time. 
Education  seemed  to  her  something  to  be  con- 
sidered in  connection  with  her  children.  "But 
I'U  never  have  any!"  she  told  Connie  Lane, 
who  went  to  Italy,  too.  They  told  each  other  a 
great  deal  just  then.  They  were  both  fright- 
fully homesick  and  neither  of  them  Uked 
spaghetti. 

"■\yfARRIAGE  isn't  everything."  returned 
■^"•'■Connie,  gloomily.  She  had  divorced  the 
fiance  of  that  long-ago  Christmas  and  was  said 
to  be  on  very  poor  terms  with  her  second 
husband. 

"With  the  right  man — "  argued  Ellen. 

"There  isn't  any!  Why  don't  you  forget 
Ken  Laurel  and  take  someone  else?  There's 
the  chap  who's  business  managing  us — whats- 
aname  Peters.  He's  always  giving  you  the 
glad  eye.  .  .  .  Oh,  don't  get  mad!  .  .  . 
Believe  me,  I'm  not  going  to  act  like  an  inmate 
of  the  old  ladies'  home  while  we're  here.  If  I 
see  any  likely  prospects — " 

The  director  sent  Connie  home  six  weeks 
later.  She  was  a  disturbing  influence,  and 
besides  he'd  had  the  script  rewritten  and  cut 
her  part  out.  She  repeated  EUen's  confidence 
to  some  of  the  people  at  home. 

"I  promised  never  to  breathe  a  word,  so  of 
course  I'm  telling  yout"  she  giggled. 

[  CONTINUED  ON  PAGE  107  ] 


Photoplay  Magazine — Ad\ehtising  Section 


lOI 


Sonny  Boy 


[  CONTINUED  FROM  PACE  29  ] 

"They  just  can't  seem  to  forget,"  Frankie 
told  his  mother.  "  that  I'm  not  a  little  boy  any 
more." 

Then  finally  came  the  call  from  'Warner 
Brothers  for  the  part  of  Sonny  Boy  in  "The 
Singing  Fool." 

■KJOW,  mind  you,  this  call  was  for  Frankie, 
■'-^  notforDavey.but  Mrs.  Lee  had  formed  the 
habit  of  taking  Da\'ey  along  whenever  they 
answered  a  call,  thinking  that  possibly  some 
day  some  one  would  see  something  in  him  and 
give  him  a  break. 

"I  wanted  somebody  else  to  discover  it," 
she  told  me.  "I  wanted  them  to  see  for  them- 
selves, because  I  knew  if  they  found  it  out 
without  being  told,  his  chances  would  be  much 
better." 

As  usual,  when  Frankie  and  Davey  and  their 
mother  arrived  at  the  casting  office,  it  was 
teeming  with  urchinp,  and  nary  a  one  was  more 
than  half  the  size  of  Frankie. 

He  looked  them  over  with  his  sixteen-year- 
old  superiority,  sniffing  his  contempt. 

Rut  at  that  moment,  the  casting  director 
caught  sight  of  Davey  .  .   . 

We  must  pause  here  to  tell  you  wherein  the 
true  story  of  Davey's  engagement  differs  from 
the  press  agent  version,  '^'hat  the  publicity 
department  was  after,  evidently,  was  copy  that 
would  paint  a  glowing  picture  for  Jolson  as  the 
star  of  "The  Singing  Fool."  The  adventure 
they  invented  for  Davey  ran  as  follows: 

Davey  eluded  his  mother  for  a  moment, 
squeezed  through  the  half  open  door  of  the 
casting  office  and  stepped  out  on  the  lot, 
almost  into  the  arms  of  Al  Jolson.  Jolson 
picked  him  up.  yelled  "Mammy"  in  a  loud 
voice,  and  instantly  Davey  received  a  five 
year  contract.  These  are  the  highhghts,  minus 
the  verbal  garnishings,  of  course. 

But  the  facts  are  as  follows: 

The  casting  director  said  to  Mrs.  Lee.  "  How 
old  is  this  baby?"  And  when  she  told  him.  he 
asked,  "Can  he  act?  —  has  he  ever  had  any 
experience? — will  he  take  direction?" 

The  answer,  of  course,  was  no. 

In  spite  of  that,  however,  the  casting  direc- 
tor, being  much  impressed  by  the  child,  an- 
nounced that  he  was  going  to  take  him  over 
to  see  Jolson. 

"And  when  he  said  that."  said  Mrs.  Lee,  "I 
wish  you  could  have  seen  Frankie's  face." 

What  she  meant,  of  course,  was  that  all  the 
disappointment  in  Frankie's  heart,  all  of  the 
dreams,  all  of  the  air  castles  that  he  had  built 
so  high  under  the  urge  of  imagination  and  am- 
bition, came  crashing  down  in  a  heap.  And 
the  effect  was  apparent  in  his  face. 

But  Frankie  swallowed  the  lump  in  his 
throat  and,  with  his  mother,  followed  the  cast- 
ing director  at  a  discreet  distance  as  he  and 
Davey  led  the  way  across  the  lot  toward  the 
sound  stage. 

"npHIS  kid  has  never  been  in  pictures,"  the 

•*-  C.  D.  told  Jolson.  "but  I  wanted  you  to 
see  him."  Al  looked  down  at  the  youngster, 
smiled,  then  extended  his  arms. 

"Come  to  Uncle  Al,"he  said. 

Davey  hesitated  a  moment,  then  went  into 
Julson's  arms.  Jolson  hugged  him  tight  and 
laughed.  Then  Davey  laughed.  They  kept 
laughing.  Just  laughing  about  nothing.  And 
from  that  moment  on,  Jolson  was  Uncle  Al  to 
Davey.  One  day  after  they  had  gotten  well 
into  production.  Mrs.  Lee  asked  Jolson  why  he 
had  been  so  sure  that  Davey  was  the  right 
boy  for  the  part. 

"  I  got  it  right  in  the  heart  the  minute  I  saw 
him,"  he  said.  .And  that,  in  a  sentence,  is  the 
secret  of  this  four-year-old's  success.  .   .   . 

But  Frankie  says  this  is  not  the  end  of  the 
story.  He  says  that  his  dreams  will  yet  come 
true.  And  just  to  prove  it,  he's  rebuilding  his 
shattered  air  castles. 


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Questions  and  Answers 


[  CONTINUED  FROM  PAGE  85  ] 


G.  F.  I.,  Omaha,  Neb. — These  weird  and 
fj.ntastic  tales,  told  by  returning  Hollywood 
tourists,  keep  this  old  boy  busy.  Your  friend 
is  "warpish,"  all  right,  because  Douglas  Fair- 
banks is  si.x  inches  taller  than  Charlie  Chaphn. 
In  fact,  you  guessed  Doug's  height  exactly — 
five  feet,  ten  inches.  And  Doug  weighs  145 
pounds  while  Charles 'tips  the  scales  at  a  mere 
125.  Show  this  to  the  girl  friend  and  put  her 
to  shame! 

Maude  S.,  San  Francisco,  Calif. — Okeh. 
It  was  the  late  Nat  Goodwin  who  appeared  in 
"Business  Is  Business." 

W.  C,  Bartlesville,  Okla. — Joseph  Schild- 
kraut  played  Judas  in  "The  King  of  Kings" 
and  Pontius  Pilate  was  enacted  by  Victor 
Varconi.  I  don't  think  that  Nils  Asther  is 
going  to  retire. 

M.  R.  L.,  Omaha,  Neb.— "7th  Heaven" 
was  written  by  Monckton  Hoffe,  and  "What 
Price  Glory"  was  adapted  from  the  play  by 
Lawrence  Stallings  and  Maxwell  Anderson. 
Is  that  what  the  movie  dirctor  told  you? 

"SunnyTennesseeans"— Clara  Bow's  very 
first  picture  was  "Beyond  the  Rainbow,"  re- 
leased Feb.  26,  1922.  What  a  great  day  in 
history!  Billie  Dove's  real  name  is  Lillian 
Bohny.  James  Hall's  first  picture  was  "The 
Campus  Flirt."  No,  he  never  has  played  with 
Mary  Brian.  Richard  Di.x  entered  the  movies 
in  1921.  Mary  Brian  hasn't  told  me  about  any 
engagement.    And  Clara's  hair  is  red. 


K.  McG.,  Carthage,  Tenn. — Larry  Kent 
played  in  "Her  Wild  Oat";  Ralph  Forbes  in 
"The  Latest  From  Paris";  Richard  Arlen  in 
"Figures  Don't  Lie";  and  Orville  Caldwell  in 
"The  Patsy."  Always  glad  to  help  out  the 
owners  of  scrap-books. 

F.  J.  G.,  PtJEBLO,  Colo. — Here's  where  I 
take  a  deep  breath.  Dolores  Costello  is  about 
twenty-three  years  old  and  unmarried;  five 
feet,  four  inches  tall  and  her  newest  picture  is 
"The  ]\Iadonna  of  .Avenue  A."  Madge  Bel- 
lamy has  dark  brown  eyes  and  is  fi\-e  feet, 
three  inches  taU.  Her  newest  is  "iVIother 
Knows  Best."  Alice  White's  next  picture  is 
"Bad  Baby."  John  Mack  Brown  is  twenty- 
three  years  old  and  has  black  hair.  He's  si.x 
feet  tall.    Whew! 

Martha  S.,  MICHIGAM^EE,  Mich. — Greta 
Garbo  was  born  in  Stockholm,  Sweden,  twenty- 
two  years  ago.  She  has  light  golden  brown 
hair  and  blue  eyes.  No,  I  don't  think  she  is 
going  to  marry  John  Gilbert.  Pearl  White  is 
very  much  alive,  even  if  she  isn't  playing  in  the 
movies.  When  last  heard  from.  Pearl  was 
operating  a  Casino  at  Biarritz,  which  is  a  very 
Biarritzy  place.  And  it  is  a  big  Casino,  not  a 
little  Casino.  Write  to  Greta  and  John  at  the 
Metro-Goldwyn-Mayer  Studios,  Culver  City, 
Calif. 

"Pesty,"  Chicago,  III. — Dorothy  Se- 
bastian's real  name  is  just  that.  And  Joan 
Crawforc}  has  blue  eyes.  Am  I  prompt,  or  am 
I  not?    What  cause,  please,  to  get  so  sarcastic? 


A.  C.  R.,  ToRSiNGTON,  Conn. — Billie  Dove 
and  Bcbe  Daniels  are  both  American,  although 
Bebe  has  a  mixture  of  French,  Spanish  and, 
Scotch  ancestry.  Baclanova  is  a  Russian- 
born  in  Moscow.  Eugene  O'Brien  and  Mae 
Murray  are  both  on  the  stage. 

E.  F.  R.,  Dallas,  Tex. — Janet  Gaynor  and 
Nancy  Drexel  aren't  sisters.  I  have  no  record 
of  the  actress  you  mention. 

P.  F.  K.,  Boise,  Idaho. — Anita  Page's  real 
name  is  Anita  Pomares.  She  was  born  in , 
Flushing,  L.  I.,  Aug.  4,  1910.  Blue  hair  and 
blonde  eyes — I  mean  blonde  hair  and  blue 
eyes.  Olive  Borden  was  born  in  1907.  She  is 
half  an  inch  shorter  than  Anita,  being  only' 
five  feet,  one  and  one-half  inches  tall.  Jet 
black  hair  and  dark  brown  eyes.  And  neither 
Anita  or  Olive  is  married. 

Ben  W.,  Montgomery,  Ala. — " Satisf}'ing  ' 
other  people's  curiosity"  is  not  only  my  bread 
and  butter,  but  also  my  cake.  Bring  on  your 
questions!  Clive  Brook  is  thirty-seven  years 
old — a  fascinating  age.  Walter  Byron  is  \'ilma 
Banky's  new  leading  man.  And  Phyllis 
Haver's  new  pictures  are  "The  Shady  Lady" 
and  "The  Office  Scandal." 

Patsy  Chandler,  Lima,  O. — Conrad  Nagel 
is  married  to  Ruth  Helms,  his  first  and  only 
wife.  Ramon  Novarro  is  single.  Write  to  him 
at  the  JMetro-Goldwyn  Studios,  Culver  City, 
Calif.  You  have  a  lot  of  accomplishments,  but 
I  can't  give  long  distance  screen  tests. 


Ten  Years  Ago  in  Photoplay 


WELL,  Santa  Claus— disguised  as  INIr. 
Adolph  Laemmle  Loew — is  bringing 
good  Httle  stars  pretty  new  contracts, 
and  we  have  disposed  of  the  enemy  overseas. 

Now  we  are  socking  toe  to  toe  with  a  new 
foe — the  little  Spanish  Influenza  bug. 

The  flu  epidemic  has  knocked  the  movies 
for  a  row  of  ice-packs. 

Picture  houses  all  over  the  country  are  nailed 
up  by  the  plague. 

And  as  fast  as  players  finish  current  pictures, 
they  are  being  given  four  week  layoffs  while  the 
photoplay  catches  up  to  itself. 

The  flu  has  already  taken  its  greatest  toll. 

Harold  Lockwood  has  just  died — fine,  big, 
handsome  Hal;  the  first  prime  favorite  of 
filmland  to  pass  at  the  top  of  his  game. 

His  going  breaks  up  one  of  the  happiest  of 
co-starring  teams.  May  .Allison  has  been  his 
teammate  in  many  pleasant  pictures. 

And  Bryant  Washburn  has  been  a  mighty 
sick  boy,  too,  but  is  on  the  mend. 

THED.\  B-ARA,  first  of  the  great  movie 
man-maulers,  has  just  crashed  out  with  her 
"Salome." 

Mr.  Juhan  Johnson  (now  editor  of  Para- 
mount Pictures)  takes  a  long,  looping  hay- 
maker at  it  in  the  current  "Shadow  Stage." 

"As  Salome,"  says  the  learned  Johnson, 
"Miss  Bara  does  not  resemble  the  tigerish 
princess  of  Judea  so  much  as  a  neurasthenic 
taking  sun  baths." 

OUR  leading  editorial  takes  a  ringing  smack 
at  the  pretty  leading  men  who  funked  out 
on  the  war,  parading  the  boulevards  while 
less  sturdy  stars  massaged  warship  decks  or 
did  squads  east  with  the  doughboys. 

.And  there  is  mention  of  the  gold  star  for 
young  S.  Rankin  Drew,  who  died  on  active 
service  with  the  air  service  in  France. 


THIS  month  also  turns  loose  a  picture  about 
tlie  death  of  Edith  Cavell,  the  English 
nurse  executed  by  the  Germans  for  aiding  the 
escape  of  prisoners. 

Dr.  Johnson   gives  it   okay,   praising   the 


HAROLD  LOCKWOOD 

At  the  crest  of  his  career,  the  pop- 
ular Harold  Lockwood  died  ten 
years  ago,  a  victim  of  flu.  He  •v/2iS 
the  first  prime  favorite  of  filmdom 
to  pass 


work  of  Miss  Julia  Arthur,  legitimate  actress, 
in  the  lead.  Little  did  he  reck  that  in  1928  an 
English  picture  on  the  same  theme,  with 
Sybil  Thorndike  in  the  lead,  would  strike 
American  screens  and  rebound  without  a 
sound. 

"N/TADGE  KENNEDY  is  a  popular  star  for 
■^'•'•Gold\\'yn,  and  Mae  Marsh  is  starring  in 
"Pride  of  Kentucky"  for  that  outfit  .  .  .  Alice 
Joyce's  new  picture  is  "The  Captain's  Cap- 
tain," and  Maurice  ("Dimples")  Costello  is 
already  relegated  to  a  character  part  .  .  .  Two 
pages  of  Sennett  bathing  beauts,  with  Phyllis 
Haver,  Harriet  Hammond,  Virginia  Warwick, 
and  Ethel  Lynn  leading  the  skin  parade  .  .  . 
Who's  this  in  the  picture  gallery  but  one 
Texas  Guinan?  .  .  .  She's  making  Westerns 
.  .  .  Others — Marjorie  Rambeau,  a  Peggy 
Hopkins  (Joyce)  and  Betty  Blythe,  all  curves 
.  .  .  Billy  T.  of  Toledo  is  breaking  her  heart 
over  Jack  Pickford  .  .  .  Want  to  be  an  old 
meany  and  check  up  ages?  ...  In  January, 
1919,  Bryant  Washburn  is  29,  Billie  Burke 
is  32,  Mary  Miles  Minter  is  16,  Kenneth 
Harlan  is  23,  Dorothy  Dalton  is  25  and  the 
Answer  Man  is  going  mad  .  .  .  John  Collins, 
Viola  Dana's  husband,  has  just  died  of  the  flu 
...  He  was  only  28. 

"T^HE  big  smash  picture  of  the  month  is 
■*-  "The  Squaw  Man." 

.Actors?    Oh,  a  few  ham  and  eggers. 

Elliott  Dexter,  Thurston  Hall,  Katherine 
MacDonald,  Tully  Marshall,  Noah  Beery, 
Ann  Little,  Theodore  Roberts,  and  Jack  Holt 
— the  last  as  that  varmint,  Cash  Hawkins. 

NO,  B.  A.  G.  of  Providence,  Mr.  Chaplin 
is  NOT  married  to  Miss  Purviance.  More 
than  that.  Miss  Purviance  is  not  married  to 
Mr.  Chaplin. 


Photoplay  Magazine — Advertising  Section 


103 


Gossip  of  All  the 
Studios 

[  CONTINUED  FROM  PAGE  88  ] 

If  Mr.  Locke  meets  with  the  characteristic 
adventures  of  authors  in  Hollywood,  headlines 
such  as  the  following  may  anjiounce  his 
departure: 

W.  J.  LOCKE,  65 
LOOKS  95,  OUT 

AS  FILJSI  WRITER 

STRANGE  ariid  tragic  circumstances  sur- 
round the  death  of  Arnold  Kent.  He  had 
struggled  hard  for  success  and  the  chance  of 
making  his  mother  and  sisters  in  Italy  com- 
fortable. He  took  out  an  insurance  policy 
of  S45,000  to  go  into  effect  on  October  1, 
Monday.  The  accident  occurred  the  Friday 
before.  He  died  Saturday.  Had  he  died  at 
midnight  Sunday,  his  family  would  have  been 
well  provided  for. 

At  the  time  of  his  death  he  was  playing  an 
important  role  in  "Four  Feathers"  and, 
according  to  Dick  Arlen,  was  stealing  the 
picture.  Dick  appreciated  the  boy's  worth  as 
an  actor.  Rumor  has  it  that  the  reason  Xorma 
Talmadge's  picture,  "The  Woman  Disputed." 
was  entirely  re-made  was  because  Kent  stole 
every  scene  from  Gilbert  Roland. 

He  was  on  the  verge  of  buying  a  beautiful 
home  in  Taluca  Lake  Park  and  his  money  was 
so  tied  up  that  at  the  time  of  his  death  he 
had  but  $60! 

AFTER  completing  his  final  shot 
for  the  "Redskin"  at  Chin  Lee, 
Richard  Dix  arrived  at  Gallup,  New 
Mexico,  late  at  night,  tired  and 
weary,  grabbed  a  pen  and  signed  the 
register  at  El  Navajo  hotel  thusly : 

"Richard  Dix— Chin  Yourself, 
Arizona." 

INSTEAD  of  the  command  "Camera!"  the 
word  "Interlock"  is  used  on  a  talkie  stage 
when  a  scene  is  to  begin. 

The  other  day  William  de  Mille  was  directing 
a  romantic  moment  for  "Half  an  Hour"  with 
Ruth  Chatterton  and  John  Loder,  the  young 
English  actor. 

"Interlock,"  said  the  director. 

Loder  took  it  seriously  and  immediately 
ent%vined  his  arms  around  Ruth. 

LESS  than  a  year  ago  Hugh  Herbert,  former 
vaudeville  hcadliner,  and  prolific  writer  of 
sketches,  was  under  contract  to  W'arner  Broth- 
ers, furnishing  material  for  Vitaphone  sketches. 
It  was  during  the  lean  days,  financially,  and 
Jack  Warner  asked  Herbert  as  a  favor  to 
him  to  take  stock  in  lieu  of  salary.  Herbert 
did.  He  took  a  block  of  stock  when  it  was 
listed  at  17.    He  sold  it  when  it  was  139. 

"D  EMEMBER  Doris  May,  the  little  girl 
■'-^who  played  ingenue  leads  a  few  years  ago? 
She  married  Wallace  McDonald  and  retired 
from  the  screen  and  now  she  has  her  inter- 
locutory divorce  decree. 

Doris  was  bored  with  home  life  generally. 
She  wanted  to  go  abroad  and  she  thought  a 
trip  to  Europe  would  be  much  more  interesting 
if  she  made  it  as  a  single  woman,  so  Wallace 
obligingly  allowed  her  to  get  a  divorce.  He 
will  make  her  a  comfortable  allowance  while 
she  is  away.  All  the  time  he  is  hoping  she 
will  have  a  yen  for  home  life  again  before  the 
divorce  is  final. 

In  the  meantime,  Wallace  is  more  in  demand, 
both  as  director  and  actor,  than  at  any  previous 
date,  to  say  nothing  of  his  popularity  with  the 
ladies.  We  suggest  that  Doris  make  her  stay 
in  Europe  brief,  if  she  hopes  to  find  him  un- 
attached on  her  return. 


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Twinkle,  Twinkle,  little   star — 
I  don't  wonder  what  you  are, 
I  know  all  about  your  capers 
Just  by  reading  Sunday  papers. 

AN  e.xecutive  walked  into  the  casting  office 
of  a  well  known  "talkie"  studio  and 
advised  the  casting  director  in  this  manner, 
"Got  a  new  talking  find  for  you,  Joe.  He's 
playing  Movietone  now  at  the  Cathay  Circle. 
Fellow  named  Shaw." 

"Yeah?  What's  his  other  name,  what  sort 
of  an  act's  he  got?" 

"George  Bernard.    Does  a  monologue." 

"Not  interested  in  monologues." 

"But  this  guy  is  good.  I  understand  he 
plays  Hillstreet  next  week." 

The  casting  director  called  the  manager  of 
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act  of  George  Bernard  Shaw,  a  guy  with  a 
monologue. 

"Nope,"  was  the  response.  "We  haven't 
any  Shaws  booked,  but  if  he  plays  our  time 
I'll  give  you  a  buzz." 

SOME  time  ago  Dorothy  Sebastian  played 
for  a  short  period  as  John  Barrymore's 
leading  lady  in  "Tempest."  Then  something 
happened  and  Miss  Sebastian  was  no  longer 
leading  lady  for  JohnBarrymore  in"Tempest." 
Just  what  it  was  that  happened,  no  one  ever 
knew  for  sure.  Those  in  the  know,  however, 
say  that  it  was  a  political  conspiracy  between 
Sam  Taylor,  who  joined  the  Barrymore  com- 
pany as  director  after  finishing  Mary  Pick- 
ford's  last  picture,  and  Mr.  Barrymore  him- 
self. It  fell  upon  John  Considine's  shoulders 
to  let  Miss  Sebastian  go,  which  he  did  as 
painlessly  as  possible.  One  of  the  sops  he 
offered  was  the  two  reels  of  film  in  which  Miss 
Sebastian  had  appeared  with  Mr.  Barrymore. 
And  these  two  reels,  by  the  way,  are  very,  very 
beautiful. 

Now  Miss  Sebastian  gets  quite  a  kick  out 
of  showing  the  reels  upon  occasion. 

Those  who  view  the  reels  get  a  kick  out  of 
comparing  the  work  of  Miss  Sebastian  with 
the  work  of  Camilla  Horn,  the  German  actress 
who  replaced  her  as  the  Barrymore  lead. 

We  understand  that  Mr.  Considine's  gallant 
gesture  represented  the  sum  of  $100,000,  that 
being  what  it  cost  to  produce  these  first  two 
reels. 


TPNICK  ARLEN'S  dusky  man  of  all  work, 
-*— '^John,  is  about  to  become  a  bridegroom. 
He  has  requested  his  master  to  act  as  best  man. 
There  is  great  excitement  in  the  house!  The 
other  day  John  presented  himself  before  his 
employer.  "Look  heah,  Mistah  Ahlen,  Ah 
was  just  wonderin'  if  yo-all  had  a  pair  of  spats 
you  cud  loan  me?" 

Dick  would  have  gladly  complied  with  the 
request,  but  he's  probably  the  only  actor  in 
town  who  doesn't  own  a  pair  of  spats.  The 
wedding,  it  appears,  will  take  place  at  high  noon ! 

npHESE  large  Swedish  gentlemen  seem  to 
-^  have  the  most  quaint  sense  of  humor.  At 
a  studio  party  to  celebrate  the  completion  of 
a  new  Dane-Arthur  atrocity,  Karl  playfully 
turned  a  fire  hose  on  the  assemblage.  Now 
wasn't  that  cute  and  didn't  everybody  laugh? 
My  dear,  it's  just  too  adorable  the  way  these 
actors  carry  on. 

THE  cafe  is  so  close  to  the  sound 
stage  at  First  National  that 
either  the  cafe  will  have  to  be 
moved  or  the  soup  course  eliminated, 
says  Alice  White. 

rjRED  NIBLO  was  recently  asked  by  a  well- 
■'-  meaning  welfare  worker  if  most  film  stars 
found  time  in  their  busy  careers  for  homes  and 
housekeeping.  The  director  replied  solemnly, 
"A  home!  What  does  any  modern  girl  need 
with  a  home?  She  is  usually  born  in  a  hospital, 
educated  in  college,  courted  in  a  car,  and 
married  in  a  church.  The  routine  of  those  out- 
side of  studio  duties  include  mornings  on  the 
golf  course,  afternoons  at  bridge  tables,  and 
evenings  at  the  movies.  Apparently  all  the 
modern  girl  requires  is  a  garage!" 

ROD  LA  ROCQUE  and  Vibna  Banky  were 
separated  for  several  weeks  while  Vilma 
was  in  New  York  doing  a  picture.  Both  made 
a  verbal  pact  that  they  would  keep  a  motion 
picture  record  of  all  their  experiences.  They 
are  amateur  camera  fiends,  you'  know.  It 
was  agreed  that  Vilma  was  to  take  movies  of 
everything  that  happened  to  her  on  the  trip, 
while  Rod  was  to  give  a  complete  movie  account 
of  himself  in  Hollywood. 

It's  a  thought  for  separated  couples  and  the 
camera  doesn't  lie. 


With  Director  Bob  Leonard  holding  a  stop-watch  and  a  property 
man  furnishing  sighing  sea  breeze  with  an  electric  fan,  how  can 
Norma  Shearer  and  Johnny  Mack  Brown  get  hot  and  bothered  on 
this  romantic  moonlight  chair- ride?  It's  a  scene  from  Metro- 
Goldwyn-Mayer's  "The  Little  Angel."  And  how  do  you  like  Bob's 
Kamera  Kiddie  Kar? 


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105 


Imagine  My 
Embarrassment 

[  CONTINUED  FROM  PACE  74  ] 


He  has  that  all-essential  thins,  Youth.  And 
he  has  personality — just  another  name  for 
"IT."  He  has  rambled  and  touched  hands  with 
life  all  over  the  world — cattle  steamers  and  the 
like — merely  for  adventure's  sake  and  the 
sheer  joy  of  living. 

He  boxed  in  the  last  Olympics.  He  is  a 
Harvard  graduate.  An  unusual  combination, 
to  be  sure. 

He  was  born  in  Boston,  the  home  of  the 
bean,  and  he  is  proud  of  it. 

And  if  he  doesn't  win  with  all  these  qualifi- 
cations, maybe  he  will  yet  have  an  opportunity 
to  view  California  in  the  bumpiest  way.  When 
he  first  arrived  in  Hollywood  he  purchased  a 
pepped-up  flivver,  intending  to  tour  the  state 
and  then  to  drive  across  the  continent  to 
Boston  and  home  sweet  home. 

But  that  all  happened  before  he  lunched  at 
the  Montmartre! 


What  Do  You  Mean 
—Intellectual? 

I  CONTINUED  FROM  PAGE  57  ] 


good  orgy  of  conversational  bromides.  It's  so 
comfortable  to  be  able  to  let  off  a  bromide  now 
and  then. 

Fancy  how  you'd  feel  if  everyone  you  met 
drew  you  aside  and  sounded  off  one  brilliant 
remark  after  another.  The  strain  would  set 
you  counting  your  fingers. 

Poor  Aileen  Pringle!  She  has  become  a 
symbol — the  incarnation  of  a  Large  and 
Fruity  Mind! 

Her  bon  mots  are  passed  from  mouth  to 
mouth  until  they  lose  their  quotation  marks 
and  are  palmed  off  as  originals.  People 
swoon  and  he  in  heaps  on  Hollywood  Boule- 
vard if  she  makes  a  remark  that  doesn't  ring 
like  the  schoolhouse  bell. 

And  the  horrible  thing  is  that  it  is  all  a  great 
big  bobble! 

."Mleen  didn't  go  for  this  sort  of  reputation 
as  literary  lion  and  pet  of  the  high  foreheads. 
It  was  wished  on  her  by  space  grabbers, 
columnists,  smart  Alecks  and  tub-thumbers 
in  general. 

If  you  mention  it,  Aileen  looks  at  you 
aghast  and  says  "What  do  you  mean — intel- 
lectual?" And  means  it. 

How  did  La  Belle  Pringle  get  that  way,  and 
what  if  she  did? 

.Aileen,  a  naturally  clever  person,  doesn't 
crave  bores.  And  you  can't  sue  a  girl  for  that. 
She  discovered  early  in  life  that  there  were  a 
lot  of  people  who  made  her  acutely  tired,  and 
so,  when  they  rang  the  bell  she  was  out.  Then 
she  found  a  group  of  people  who  stimulated 
her,  and  they  were  always  welcome.  Certainly 
no  catch  in  that. 

It  just  happened  that  some  of  the  boys  and 

girls  who  didn't  bore  her  made  good  livings  by 

writing  books  and  pieces  for  the  magazines. 

Suppose  the  people  who  didn't  bore  you 

were  plumbers. 

Would  you  relish  being  called  "The  Pet  of 
the  Pipe-Pounders"? 

But  just  because  Aileen  liked  people  who 
wrote  things  she  was  dubbed  "the  darhng  of 
the  intelligentsia."  Every  time  she  was 
caught  saying  howdy  to  a  pen  pusher  old 
meanies  whispered  that  she  had  added  a  new 
lion  to  her  literary  zoo. 

Aileen  isn't  a  social  lion  chaser.  The  only 
lion  that  ever  cracked  her  across  the  conscious- 


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Colleen  Moore  exhibiting  that  irreproachable  set  of  teeth  to 
Ambassador  Myron  T.  Herrick  on  the  First  National  lot,  during  his 
recent  Hollywood  visit.  His  Excellency  is  no  doubt  saying  some- 
thing gallant.    What  did  they  give  him  the  Legion  of  Honor  for? 


ness  is  the  M.-G.-M.  trademark  who  snaps  at 
three  flies  before  one  of  Mr.  Mayer's  opera 
unfolds  on  the  screen. 

She  didn't  make  any  effort  to  be  known  as 
the  favorite  of  the  smart  boys.  She  has  never 
let  out  a  line  of  publicity  to  the  effect  that 
writers  and  wits  can  be  found  in  every  nook 
of  her  home. 

This  greatness  has  been  thrust  upon  her  like 
a  rubber  check,  and  the  funny  part  of  it  is 
that  her  intellectual  friends  are  just  great 
playmates  and  regular  people.  They  never 
attempt  the  high  hat  with  her,  and  she  doesn't 
play  that  way  either. 

She  just  looks  at  you  wide-eyed  and  says, 
"What  do  you  mean — intellectual?" 

And  I  can  assure  you  that  I  had  a  rocky 
time  getting  Aileen  to  talk  about  them  at  all! 

npHIS  is,  in  fact,  the  first  time  she  has  ever 
•I- done  it! 

"The  idea  is,"  said  Aileen,  "that  if  you 
meet  one  of  the  people  who  write  or  paint  or 
make  epigrams,  you  meet  them  all.  They  come 
in  bunches,  like — " 

I  held  up  a  warning  finger. 

"Here,  my  lady,"  I  warned,  "if  you  are 
going  to  say  'bananas,'  it's  out.  You  can't  be 
bromidic.  Think  of  your  pubUc.  You  must 
be   intellectual   or   else!" 

"Or  else,  then,"  said  Aileen,  and  I  prayed 
that  she  wasn't  cross,  "I  don't  know  any 
people  who  expect  me  to  be  intellectual.  I 
don't  know  any  bores.  There  is  a  sort  of 
closed  corporation  here.  I  like  the  people  I 
like.  One  doesn't  have  to  be  clever  with 
clever  people." 

"But  your  public  expects  it."  I  threw  this 
harpoon  with  deliberation  and  malice. 

Aileen  mumbled  something  which  was 
muffled  by  the  creamed  chicken. 

I  have  an  idea  she  was  mildly  miffed,  in  a 
nice  way. 


So  I  stopped  teasing,  and  let  her  talk. 
That's  about  the  easiest  thing  anyone  can  do. 

It  was  probably  Joseph  Hergesheimer,  the 
novelist,  whose  friendship  with  Aileen  started 
The  Great  Pringle  Intellectual  Legend. 

She  met  him  in  Cuba,  it  seems.  She  had 
almost  met  him  once  before.  Someone 
thought  she  would  be  interested  in  the  author, 
and  introduced  them  over  the  phone.  Her- 
gesheimer said  he  would  call  at  her  hotel,  but 
that  afternoon  Aileen  was  run  down  and 
cornered  by  a  feminine  pest,  and  she  said  some- 
thing about  another  appointment  and  fled 
the  inn. 

Hergesheimer  wrote  her  a  note  to  the  effect 
that  he  was  sorry  he'd  missed  her.  It  wasn't 
a  clever  note  at  all — just  the  sort  you  or 
I  would  write  if  we  had  missed  out  on  a  meet- 
ing. 

But  in  Cuba  they  met,  and  Hergesheimer 
made  himself  known.  Probably  he  merely 
said,  "How  do  you  do,  Miss  Pringle?  I'm 
Joe  Hergesheimer.  I'm  sorry  I  missed  you 
that  day  in  New  York," 

THEN  Ralph  Barton,  the  caricaturist,  wanted 
her  to  meet  H.  L,  Mencken,  critic  and 
editor,  Mencken,  oddly  enough,  bucked.  He  is 
a  shy  bachelor,  for  all  his  literary  fireworks,  and 
balks  at  meeting  women  places.  So  when 
Barton  arranged  a  get-together  dinner  at  his 
home,  Mencken  suggested  another  location, 
and  Aileen  couldn't  be  brought  along  to  grace 
the  meal, 

Mr,  and  Mrs,  Hergesheimer  were  coming 
back  from  somewhere  (Aileen  is  always  some- 
what vague  about  page  and  number)  and 
people  met  them  at  the  boat.  The 
Hergesheimers  and  Mencken  and  Aileen  all 
found  themselves  in  the  same  motor.  Aileen 
got  some  California  climate  in  her  eye  and 
Mencken  showed  her  the  most  approved 
method  of  rolling  the  lid  over  a  pencil.    Oh  my 


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dear,  what  a  lot  of  things  have  started 
that ! 

There  have  been  many  other  friends  in  the 
artistic  world.  The  Ernest  Boyds,  Carl  Van 
Vechten,  Theodore  Dreiser,  George  Jean 
Nathan,  Rupert  Hughes,  Thomas  Beer, 
Konrad  Bercovici — just  all  the  people  who 
circle  about  in  that  smart  set.  Aileen  liked 
them — they  liked  her. 

Any  cause  there  for  calling  her  an  "in- 
tellectual" in  some  vague,  derogatory,  high- 
brow sense? 

These  people,  oddly  enough,  play  just  the 
way  we  do,  only  much  simpler.  They'd 
rather  play  lotto  than  bridge. 

Once  when  Aileen  was  visiting  Joe  and 
Dorothy  Hergesheimer,  she  walked  out  on 
the  back  lawn  and  found  a  perfectly  divine 
place  for  a  croquet  set. 

"You  really  must  have  croquet  here,"  she 
said. 

"No,  I  won't,"  said  Joe,  pugnaciously, 
"You  fall  over  the  wickets,  and  the  balls 
skin  your  shins.  And  it's  a  silly  game,  any- 
way." 

This  didn't  slow  La  Belle  Pringle.  Back  in 
New  York,  she  sent  the  Hergesheimers  the 
smartest  croquet  set  jhe  could  find.  The 
mallets  were  red  and  gold,  and  each  wicket  had 
a  candle  on  top  so  the  game  need  never  be 
called  on  account  of  darkness. 

A  FEW  days  later  she  and  Mencken  were 
-^  ^  calling. 

"Joe,  did  you  get  a  little  gift  I  sent?"  asked 
.\ileen. 

"I  did,"  said  the  novelist,  "but  I'm  trying 
to  forget  it.  I  think  it's  under  the  sink.  At 
any  rate,  it  will  be  set  up  over  my  large  dead 
body." 

That  afternoon,  while  the  Hergesheimers 
went  oflf  stalking  antiques,  Aileen  and  Mencken 
put  up  the  set  themselves.  They  howled  over 
it,  and  the  wickets  were  cockeyed  and  the 
staves  wouldn't  go  in,  but  there  the  croquet 
set  was,  up  and  active.  The  Hergesheimers 
gave  in. 

Anything  highbrow  about  that? 

Such  are  the  simple  pleasures  of  the  lords 
of  the  mind. 

Of  course,  many  know  the  gag  that  Mencken 


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lik 


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107 


'and  .\ilccn  pulled  on  Hergesheimer  when  he 
arrived  in  Los  Angeles.  They  met  him  at 
the  train  with  a  domino,  and  conducted  him 
with  much  fanfare  to  his  hotel,  where  his 
room  was  decked  with  crepe  paper  and  bunt- 
ing. _ 

Cigars  were  passed  and  speeches  piade — 
in  short,  a  regular  greeting  of  the  sort  that 
delights  Mencken  in  his  studies  among  the 
"Boobus    Americanus"    tribe. 

pOR  the  most  part,  however,  Aileen  finds  her 
•*-  chief  pleasure  with  her  friends  in  goo<l, 
pleasant  talk  about  everything  in  the  world. 
(When  Mencken  gets  to  a  town  he  looks  first, 
not  for  the  leading  literatus  of  the  place,  but 
for  a  good  glass  of  beer.)  Van  Vechten  enter- 
tains for  her  in  New  York,  and  she  for  him  in 
Hollywood.  The  parties  are  small,  and  the 
evenings  are  talkfests,  and  not  tall  millinery 
talk  either. 

Now,  the  point  of  this  story,  if  it  has  a 
poiat,  is  that  Aileen  Pringle  is  a  really  intelli- 
gent woman.  There  is  nothing  I'd  rather  do 
than  spend   hours   with   her. 

When  you're  bidden  to  luncheon  you  seldom 
go  into  the  dining  room.  You  eat  from  trays 
in  the  sitting  room,  where  the  talk  flows  fine 
and  free. 

Her  con\-ersation  is  genuinely  witty  and 
tremendously  absorbing.  She  is  very  clever. 
She  was  once  offered  an  editorial  job  on 
"Vanity  Fair." 

But  remember  that  she's  not  a  posing  high- 
brow. Remember  that  she's  no  pubUcity 
beagle. 

She  has  never  talked  about  her  writing 
friends  before,  and  she  never  collected  one 
genius  for  mere  collecting's  sake. 

She  likes  them,  that's  all,  and  they  like  her. 
They  talk  the  same  language,  and  they  do 
amusing,  ordinary,  homey  things. 

The  intellectuals  are  good  playmates,  and 
just  because  a  gal  happens  to  be  an  actress  is 
no  reason  why  she  can't  pick  her  friends  from 
sparkling  minded  men  and  women. 

And  that's  all  there  is  to  the  legend  of 
Aileen  Pringle  as  Hollywood's  Great  Aloof 
Mind. 

No  more  hooey,  please,  about  .Aileen  as  the 
Pet  of  the  Sophisticates. 


Good   Girl 


I  CONTINtlED  FROM  PAGE  100  1 


"Poor  old  Ellen!"  said  her  listeners.  It  was 
"PooroW  Ellen"  now. 

Some  unkind  soul  wrote  Ellen  enclosing  a 
clipping  from  an  interview  with  Ken.  ...  He 
"couldn't  stand  a  gaga."  His  taste  "ran  to 
women  of  the  world. 

"There  was  something  pathetic  about  per- 
ennial ingenues"  .  .  . 

Ellen  let  Randall  Peters,  the  business  man- 
ager, take  her  out  that  night.  Hereyeswerevery 
bright,  but  hard  instead  of  soft,  and  her  smile 
seemed  frostbitten.  She  asked  for  a  cigarette 
and  drank  a  second  glass  of  white  wine.  Mr. 
Peters  was  rather  slight,  his  hair  was  thin  and 
he  stammered.  But  he  hstened  beautifully. 
He  heard  all  about  Ken  before  the  evening 
was  over. 

"V\  THEN  the  year  was  up,  Ellen  came  back  to 
''»  Hollywood.  Ken  was  standing  outside 
the  Athletic  Club  when  she  passed. .  .  .  She  was 
sitting  on  her  spine  at  the  wheel  of  a  low 
foreign-looking  car,  speeding  so  that  he  caught 
only  a  glimpse  as  she  flashed  by.  She  had 
bobbed  her  hair.  The  carmine  line  of  her  lips 
was  like  a  flame  in  the  dead  white  of  her  make- 
up. 

"Ellen's  gone  flapper,"  people  said,  as  they 
caught  sight  of  her  darting  into  the  Ambas- 
sador, running  up  the  Montmartre  stairs,  or 
hurrying  out   of  a   studio.      She   was  always 


rushing.  Her  hair  was  a  little  shorter  than 
anybody's  and  so  were  her  skirts.  She  said 
"si"  for  "yes,"  "cara  mia"  for  "my  dear" 
and  wore  a  flame-orange  sport  coat  that  she 
called  "my  Rome  rag." 

CHE  swept  her  bewildered  brother  out  of  the 
^bungalow  and  into  a  purple  house  that 
sprawled  on  the  side  of  a  hill,  bedrooms  open- 
ing on  a  lower  road  and  kitchen  on  an  upper 
one,  a  devotee  of  new  art  "doing"  the  place  so 
that  it  looked  as  if  it  had  been  decorated  by  a 
persevering  child.  Randall  Peters  said  it 
would  be  a  good  place  for  a  squirrel  to  go 
hunting. 

Ken  came  up  to  see  it  and  Eflen  greeted  him 
with  a  kiss.  "Cara  mia,  what  absolute  ages 
since  I  saw  you!  ...  I've  been  dying  to  find 
out  who's  your  bootlegger.  Do  send  him 
around — we  get  the  vilest  stuff!" 

She  was  smoking  a  cigarette  that  matched 
her  costume;  the  costume  itself,  of  poppy-red 
and  black,  could  have  been  packed  in  a  vanity 
case. 

She  was  more  animated  than  Ken  had  ever 
seen  her,  but  when  he  had  left  she  stood  at  the 
tiny  barred  porthole  in  the  purple  door  very 
quietly,  her  carmine  lips  trembling,  the  light 
gone  from  her  eyes. 

Mariie  and  Ellen  found  themselves  chorus- 
ing, "Have  you  no  vices?"  when  little  Janet 


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Gates  refused  a  cocktail  at  the  opening  of  the 
newest  club.  They  looked  at  one  another  over 
their  own  glasses. 

"If  it  isn't  little  Bright  Eyes!"  cried  Marjie. 
"My  dear,  you  look  like  an  illustration  from 
some  frightful  modern  book.  Where've  you 
Ijeen?  .  .  .  Oh,  yes,  that  god-awful  picture. 
I  saw  it!  .  .  .  Hope  you  landed  a  tame  duke 
over  there.  .  .  .  Have  you  heard?  But  of 
course  you  have!  Wonder  Tim  AUingham 
doesn't  tumble.  Gertie  Alhngham  was  always 
a  perfect  idiot,  and  even  if  Tim  is  out  of  town 
this  week — " 

It  was  five  minutes  before  Ellen  knew  what 
she  meant.  Then  Ellen's  eyes  that  had  been 
searching  restlessly  ever  since  Randall  Peters 
had  brought  her,  found  Ken  Laurel.  He  was 
bending  over  Gertie  AUingham.  Her  soft 
blonde  hair  was  growing  and  hung  in  loose 
curls  on  her  neck.  Her  dress  was  long,  the 
white  net  falling  to  her  ankles,  though  the  silk 
slip  stopped  at  her  knees.  She  looked  like 
an  old-fashioned  valentine,  and  Ken — there 
was  something  about  the  way  he  looked  at 
her.  .  .  . 

"Tim'sa  jealous  beast.  .  .  .  This  gin  tastes 
like  bad  varnish.  .  .  .  Ken'd  better  watch  his 
step  or  he'll  find  himself  on  the  outside  looking 
in,  if  not  too  badly  damaged  to  look  at  all. 
His  fan  mail's  fallen  off.  .  .  .  What?  Well, 
nobody  loves  a  fat  man!" 

Ken  danced  once  with  Ellen.  Only  Ellen 
knew  that  that  was  because  she  asked  him. 
.-Vnd  only  Ellen  knew  that  while  she  was  in  his 
arms  her  heart  was  crying:  "Oh,  love  me! 
Love  me!" 

"D  ANDALL  PETERS  had  gone  ahead  to 
■t»-bring  his  car  to  the  door  when  Ken  left  the 
club,  so  tliat  several  people  saw  Ken  and  Ellen 
go  down  the  covered  way  together.  Ellen  was 
glad  of  that  until  she  saw  that  all  his  atten- 
tion was  centered  on  the  door  behind  them. 
Mrs.  Allingham's  blonde  head  was  visible 
through  the  glass. 

Randall  made  the  difficult  curves  up  to  the 
purple  house  in  silence.  He  had  a  gift  for 
knowing  when  Ellen  couldn't  chatter.  She 
could  be  her  real  self  with  him,  not  the  smart, 
sophisticated  stranger  who  had  come  home 
from  Italy. 

"Th-that's  your  phone,  Ellen.  Shall  I 
answer?"  he  said,  when  he  had  unlocked  the 
purple  door.  He  took  the  instrument  out  of  its 
jazz  cabinet.  "H-hello  .  .  .  Who  wants  her? 
.  .  .  It's  K-ken  Laurel." 


She  seized  the  receiver.  "What  is  it,  dolce 
amone?  .  .  .  Si — si,  this  Our  NeU.  .  .  .  Oh! 
Oh,  I  see.  ...  On  the  MulhoUand  Drive.  .  .  . 
Is  she — badly  hurt?  .  .  .  Yes — yes,  I'll  come." 
Yes,  instead  of  i; —  .  .  .  She  put  the  telephone' 
back  in  its  cabinet,  with  fingers  carefully 
steady.    "What  time  is  it.  Randy?" 

"T-two  twenty.    Where  are  you  going?" 

She  shrugged  into  her  white  and  silver  cloak. 
"Ken's  car  turned  over  on  Mulholland.  Mrs. 
Allingham's  hurt.  He  wants  me.  He's  bpen 
calling  for  ages.  If  we  hadn't  gone  to  the 
beach  before  coming  home — " 

"I'll  go.     Don't  to;« — " 

She  pushed  past  him  and  ran  out  to  the  car. 
"Hurry!  Oh,  don't  lalk — hurry!  Someone 
else  might  get  there — " 

"What  if  they  d-do?"  But  he  was  at  the 
wheel. 

"T_riS  career's  ruined,  that's  what!  Tim 
-'■  -'-.Vllingham  would  either  shoot  him  or  name 
him  in  a  divorce  suit.  .  .  .  Can't  you  go  faster? 
.  .  .  No,  I  (/oh'/ think  he  was  drinking!  Oh,  let 
us  get  there!"  The  high  coUar  of  her  cloak  had 
ruffled  her  short  hair  so  that  it  stood  up 
wildly;  she  could  not  keep  her  hands  still. 

Through  the  black  night  they  sped,  their 
lights  pricking  the  dark  ahead — curve  after 
curve,  hill  after  hill.  .  .  .  At  length:  "Ken!" 
on  an  uptake  of  Ellen's  breath,  and  Randall 
slowed  under  a  giant  eucal>ptus.  There  was 
a  scratch  across  Ken's  face  on  which  the  blood 
had  dried. 

"She's  back  here."  Ken  hfted  Ellen  from 
the  car.  "Ellen,  I  knew  you  would!  ...  I 
don't  know  how  bad  she's  hurt,  but  I  can't 
moA-e  her.  .  .  .  Listen  .  .  .  You've  been  with 
us  all  evening  .  .  .  You  and  I — i/ze  was  just — 
just  along,  see?  .  .  .  We've  got  to  get  her  to  a 
doctor.    Y'ou've  got  to  be  :;'///;  her,  see?" 

"I  won't  have  Ellen  m-mi.xed  up  in  this!" 
cried  Randall. 

But  she  mer^y  patted  his  arm  and  ran 
toward  the  overturned  roadster.  Part  of  it 
pinned  Gertie  AUingham  to  the  asphalt;  her 
fair  curls  lay  limply  against  the  fluff  of  pink 
shawl  that  had  billowed  up  as  she  fell;  the  net 
of  her  skirts  was  torn  and  muddied,  and  one 
of  her  arms  was  bleeding. 

"Move  the  car,"  directed  Ellen.  She  tugged 
at  the  girl  when,  between  them,  the  men  had 
managed  to  lift  the  weight.  "There.  .  .  . 
Carry  her,  one  of  you.  I'll  hold  her  in  the  back 
seat.  We'll  take  her  to  my  house  and  call  a 
doctor." 


Filming  a  scene  on  a  new  war  machine.    This  big  bombing  plane, 

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109 


She  told  Gertie,  efficiently  and  gently,  as  the 
old  Ellen  would  have  done,  but  she  did  not 
talk  as  Randall  drove  through  the  graying 
morning.  Let  Ken  and  Randall  argue.  .  .  . 
What  did  it  matter?  .  .  .  What  did  anything 
matter? 

Gertie  lay  in  one  of  the  green-and-orchid  jazz 
beds  in  the  spare  room  of  the  purple  house, 
clad  in  an  apricot  silk  gown  of  Ellen's.  The 
doctor  bent  over  her,  absent-mindedly  cursing 
the  ruffle-dimmed  lamps.  In  the  hall  outside, 
Randall  and  Brother,  the  latter  in  a  shabby 
dressing-gown  and  slippers,  waited  and  wor- 
ried. From  the  hall  above,  they  could  hear 
Ellen's  hard  little  voice  telephoning  to  Gertie's 
mother. 

"She's  going  to  be  all  right,  the  doctor  says. 
Slight  concussion,  yes.  He  said  slight.  She 
can  come  home  tomorrow  ...  I'm  so  sorry — " 

The  first  newspaperman  called  up  before  the 
doctor  left. 

"'T'HIS  is  Ken  Laurel,"  said  Ken,  at  the  in- 

-'■  strument.  "Yes,  most  unfortunate.  Why 
— a — Miss  Field  and  I  were  leaving  the  new 
club  when  Mrs.  Allingham  found  there'd  been 
some  mistake  about  her  car — calling  her  car — 
so  we —  .  .  .  Yes,  MulhoUand  .  .  The  car 
turned  over — hit  something  and  skidded — Mrs. 
Allingham  was  pinned  under  it.  Miss  Field  has 
a  few  bruises  but  nothing  .  .  .  Not  on  the  way 
home!  No.  we  decided  to  look  at  the  ranch 
we're  thinking  of  buying —  .  .  .  What?  .  .  . 
MissFieldand  I  .  .  .  We're  getting  married — " 

"OhI"  cried  Ellen,  softly.  Brother  had  in- 
sisted on  putting  her  warmest  negligee  over 
her  brief  evening  gown.  The  blue  feather 
trimming  stood  up  about  her  head.  She  looked 
like  a  tired  child  in  her  corner  of  the  settee. 

"We're  giving  notice  of  intention  today," 
went  on  Ken,  eying  Ellen  over  the  transmitter 
with  the  gaze  of  one  consciously  noble. 

He  was  still  looking  noble  when  he  set  down 
the  telephone  and  came  over  to  kiss  her  .  .  . 

She  didn't  go  to  bed  at  all,  just  hopped  into  a 
bath  and  dressed  for  an  early  call,  dashing  off  to 
spend  the  day  being  pursued  by  a  screen 
menace  up  and  down  a  plank  and  plaster  hill 
on  one  of  the  largest  stages.  Her  legs  ached 
so  that  they  shook  when  she  stood  still. 

Ken  called  for  her  at  noon,  conspicuous  in 
the  rose  brocade  of  a  court  costume  with 
queued  and  powdered  wig  and  black  beauty 
patches  accentuating  his  sea-blue  eyes. 

"We've  just  time  to  dash  to  the  license 
bureau,"  he  said,  wrapping  a  fur  coat  about 
her  ragamuffin  garb. 

"But — "  she  began,  and  in  spite  of  it  found 
herself  beside  him  in  his  topless  racer. 

News  cameras,  doubtless  notified  in  advance, 
clicked  as  they  left  the  car,  as  they  entered  the 
building,  and  again  as  they  signed  their  names. 
Ellen  tried  to  hide  her  roughened  hair,  to  wipe 
off  some  of  the  grimy  streaks  her  make-up 
had  demanded,  to  dodge  behind  Ken  at  the 
last  instant,  but  he  seemed  to  enjoy  the  pro- 
ceeding. He  gave  his  age  as  twenty-six, 
though  she  knew  he  was  seven  years  her  senior, 
so  she  reduced  hers  to  twenty-four. 

They  reached  the  studio  just  as  Ellen's 
scene  was  being  called.  It  was  Randall  Peters 
who  remembered  she  hadn't  had  luncheon  and 
brought  hot  soup  in  a  thermos  bottle. 

■[^EN'S  shadow  lay  across  Ellen's  plate  as 
■'-^they  sat  at  Marjie's  Cocoanut  Grove  table 
— a  watery,  blurry  shadow  cast  by  the  gay 
parrot  lamp  the  other  side  of  Ken.  Ellen's 
tired  eyes  rested  on  it,  but  she  couldn't  remem- 
ber what  it  should  have  brought  to  mind.  She 
was  so  weary.  She  hadn't  wanted  to  go  when 
Marjie  had  called  up  to  announce  a  dinner- 
dance  "in  honor  of  your  catching  Ken,"  but 
the  bridegroom-to-be  had  overruled  her. 

"It's  good  business,"  he  said.  "Ought  to 
get  alotof  publicity  out  of  this." 

He  was  a  bit  impatient  with  her  for  being  so 
tired.  After  all,  he  had  been  up  all  night, 
too!  .  .  .  He  hadn't  been  running  away  from 
a  husky  villain  all  day,  though.  And  he 
wasn't  shaken  up  over  being  engaged  at 
last.  .  .  . 


tender  skin 
need  not  be 

CHAPPED 


AT  THEN  mittens  slip  off,  and 
'V  tiny  hands  get  rough  and 
cracked  —  relieve  the  painful 
chitpping  with  Mentholatum. 
Also  keeps  mother's  skin  soft 
and  white.  Feci  it  healt 


For  a  Holiday  Present  nothing  will  be  more  greatly 
appreciated  than  a  subscription  to  Photoplay. 
You  will  find  a  subscription  coupon  on   page  115 


How  to  Keep  Love 

when  excess  fat  might  lose  it 


People  who  are  over- 
fat  lose  in  youth  and 
beauty,health  and  vigor. 
What  a  pity.  Excess  fat 
is  now  easily  controlled. 
You  see  that  in  every 
circle. 

Some  years  ago  sci- 
ence discovered  a  great 
cause  of  overweight.  It 
lies  in  a  gland  which  is 
under-active — a  gland 
which  largely  controls 
nutrition.  Fat  is  not  lost 
to  stay  lost  until  that 
defect  is  corrected. 

The  modern  method  of  treating  obesity  is 
embodied  in  Marmola  prescription  tablets. 
They  were  perfected  in  a  famous  medical 
laboratory.  People  have  used  them  for  20 
years — millions  of  boxes  of  them.  They  have 
told  the  results  to  others,  and  year  by  year 
the  use  has  spread. 

Today  you  see  the  effects  in  every  circle. 


Slender  figures  are  the 
rule.  Countless  people 
who  were  over-fat  now 
have  normal  weight. 
Women  look  younger, 
more  attractive.  Men 
have  gained  in  vigor. 
One  great  reason  is 
found  in  Marmola. 

Each  box  of  Marmola 
contains  the  formula, 
also  the  scientific  rea- 
sons for  results.  You 
know  what  you  are  tak- 
ing and  why.  No  hard 
work,nostarvation.Just 
be  moderate.  Then  take  four  tablets  daily 
until  weight  comes  down  to  normal. 

Try  Marmola,  because  of  what  it  has  done 
for  over  20  years  for  so  many  .The  results  will 
be  a  revelation  to  you.  Do  this  for  your  own 
sake.  Do  it  now. 


Marmola  prescription  tablets  are  sold  by  all 
druggists  at  $1  per  box.  If  your  druggist  is 
out,  he  will  get  them  at  once  from  his  jobber. 


MARMOLA 


Prescription  Tablets 

The  Pleatant  Way  to  Reduce 


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1  lO 


Photoplay  Magazine — Advertising  Section 


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pictures  of  photoplay- 
ers  and  illustrations  of 
their  work  and  pastime. 

Scores  of  interesting  articles 
about  the  people  you  see 
on  the  screen. 

Splendidly  written  short 
stories,  some  of  which  you 
will  see  acted  at  your  mov- 
ing picture  theater. 

Brief  reviews  of  current  pic- 
tures with  full  casts  of  stars 
playing. 

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  neces- 
sity for  telling  you  that  it  is  one 
of  the  most  superbly  illustrated, 
the  best  written  and  most 
attractively  printed  magazines 
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in  its  field  of  motion  pictures. 

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Street  Address. 

City 

Slate 


"Show  Dick  your  ring,  Ellen,"  he  directed, 
over  his  shrimp  cocktaU. 

She  held  out  her  finger  obediently,  and  the 
big  diamond  flashed  under  the  lights.  She 
tried  to  look  pleased,  but  her  dream  ring  had 
been  a  circlet  of  tiny  stones  with  "Forever" 
engraved  inside. 

"  Set  me  back  quite  a  bit,"  boasted  Ken. 

He  paid  little  attention  to  her  save  for 
moments  of  overacted  devotion  which  left  her 
hot  with  confusion,  and  jokes  directed  at  her, 
such  as:  "She  got  me  at  last,  boys!"  "Wait 
till  after  the  divorce — " 

Ellen  made  a  little  noise  that  passed  for 
laughter  at  these  sallies,  but  she  heard  them 
only  vaguely.  The  vision  of  bed  swam  before 
her  eyelids, — white-pillowed,  soft  and  warm 
and  quiet  .  .  .  Bed,  Sleep — Sleep.  .  .  . 

They  were  laughing  again.  She  didn't  care 
why. 

She  looked  at  Ken,  seeing  him  with  a  sudden 
frightening  clarity, — a  man  with  pouches  of 
dissipation  under  his  eyes,  a  tendency  to  a 
double  chin  and  a  paunch — selfish,  self- 
centered,  gross  .  .  .  Slie  was  engaged  to  tins 
man! 


The  blurry  shadow  across  her  plate  lifted. 
Ken  was  getting  up. 

"Come  on,  Marjie,  let's  do  some  stepping. 
.  .  .  Ne'mind  thebaU-and-chain." 

But  she  did  run  away. 

She  slipped  out  behind  the  little  raised  booth 
that  held  their  table,  scurried  to  the  dressing 
room,  retrieved  her  cloak,  and  sped  on  to  the 
hotel  desk. 

"Dear  Ken,"  she  wrote  on  the  paper  the 
clerk  gave  her.  "Here's  the  ring.  I  don't 
want  to  marry  you.  I'm  sorry.  I  just  don't." 
She  signed  it  "Ellen  Field,"  and  gave  it  to  a 
bellhop.    Then  she  ran  downstairs. 

She  wasn't  so  numb  with  weariness  now. 
She  felt  free — as  if  someone  had  given  her 
wings.  She  moved  lightly  down  the  passage 
between  the  hghted  shops. 

It  wasn't  surprising  to  find  Randall  Peters 
standing  near  the  revolving  doors.  It  was 
merely  beautiful  and  natural.  He  rushed  to 
meet  her. 

"Ellen!  .  .  .  Are  you  all  r-right?  .  .  . 
Where  are  you  going?" 

She  put  her  hand  in  his  and  smiled  up  at  him. 

"Anywhere — with  you,"  she  said. 


Amateur  Movies 


[  CONTINUED  FROM  PAGE  70  ] 


feet  of  film  for  this  production  has  been  de- 
veloped by  members  in  the  club  laboratory. 
The  other  production  will  be  an  all-interior 
film  to  be  directed  by  John  B.  il'IppoUto,  Jr. 
Research  work  has  been  completed  for  this 
film  and  the  scenery  and  costumes  have  been 
designed.  Mr.  d'IppoHto  states  that  the  scenic 
backgrounds  will  be  used  symbolically  to  evoke 
the  stor.y's  mood. 

FOTO-CINE  Productions,  an  amateur  club 
in  Stockton,  Cahf.,  is  producing  a  16  milli- 
meter film  under  the  working  title  of  "Three 
Episodes"  for  PnaroPLAY's  Amateur  Movie 
Contest.  The  plot  scenario,  written  by  Robert 
Burhans,  is  based  upon  the  World  War  and 
the  motion  picture  treatment  has  been  worked 


out  well  within  amateur  limitations.  A  mov- 
ing camera  will  be  used  and  the  story  will  be 
told  completely  without  sub-titles. 

Wallace  W.  Ward  is  president  of  Foto-Cine 
Productions,  Edwin  Farrell  is  vice  president 
and  supervisor«and  Alice  Buckle  is  secretary. 
Mr.  Burhans,  author  of  the  scenario,  is  also  the 
director  of  "Three  Episodes." 

"PRINCETON,"  the  production  of  the  Un- 
-'-  dergraduate  Motion  Pictures  of  Princeton 
University,  is  attracting  a  lot  of  attention 
among  amateurs.  Shown  to  the  Chicago  Cin- 
ema Club  at  a  recent  meeting,  it  was  en- 
thusiastically received.  The  Cumberland 
Amateur  Motion  Picture  Club,  of  Vineland, 
N.  J.,  recently  viewed  it  with  approval. 


$2,000  Amateur  Movie  Contest  Rules 


1.  $2,000  in  cash  pri-es  will  be  awarded  by 
PHOTOPLAY  as  follows: 

Class  One, 

$500  for  the  best  amateur  photoplay. 

$250  for  the  second    best  amateur  photo- 
play. 

$1 50  for  the  third  best  amateur  photoplay. 

$100  for  the  fourth  best  amateur  photo- 
play. 

Qlass  Two. 

$500  for  the  best  non-dramatic  picture. 

$250   for   the   second    best   non-dramatic 

picture. 

$1 50    for    the    third    best    non-dramatic 

picture. 

$100    for    the    fourth    best    non-dramatic 

picture. 
In  the  event  that  two  or  more  films  prove 
of  equal  merit  in  their  consideration  for  any 
award,  duplicate  prizes  will  be  given  for  each 
tying  film. 

2.  CLASS  ONE — Devoted  to  photoplays, 
will  embrace  all  pictures  made  by  ama- 
teurs in  which  amateur  actors  appear, 
whether  of  a  dramatic  or  comedy  nature. 
CLASS  TWO— Will  include  all  other 
motion  pictures  such  as  films  of  news 
events,  home  pictures,  travelogues,  sport 
shots,  studies  of  animal,  bird  or  plant 
life,  etc.,  made  by  amateurs. 

3.  In  awarding  prizes  the  judges  will  con- 
sider the  cleverness,  novelty  and  fresh- 
ness of  idea  and  treatment,  as  well  as  the 
general  workmanship.  Under  the  head 
of  general  workmanship  comes  photog- 
raphy, lighting,  editing  and  cutting  and 
titling.  In  Class  One,  added  items  of 
consideration  will  be  direction,  make- 
up and  acting  ability. 

4.  All  films,  to  be  considered  by  the  judges, 
must  come  within  the  following  specified 
lengths: 

If  >S  millimeter,  the  contest  film  must  be 
1,000  feet  or  less  in  length. 


If  16  millimeter,  it  must  be  400  feet  or  less 

in  length. 

If  9  millimeter,  it  must  be  60  feet  or  less  in 

length. 

All    films    must    be    submitted    on    non- 

infiammable  stock   with   the  names  and 

addresses  of  the  senders  securely  attached 

to  the  reel  or  the  box  containing  the  film. 

Name  and  address  of  the  sender  also  may 

be  part  of  the  film  itself. 

5.  Any  number  of  contest  films  may  be  sub- 
mitted by  an  individual  or  amateur 
organization. 

6.  Any  person  or  amateur  organization  can 
enter  this  contest.  Professional  cinema- 
tographers  are  barred,  as  well  as  anyone 
employed  by  PHOTOPLAY  MAGA- 
ZINE or  any  relatives  of  anyone  employed 
by  PHOTOPLAY.  Winners  of  PHOTO- 
PLAY'S first  amateur  movie  contest  may 
compete. 

7.  AH  films  are  to  be  addressed  to  the 
judges.  The  Amateur  Movie  Contest, 
PHOTOPLAY  MAGAZINE,  221  West 
57th  Street,  New  York,  and  are  to  be  sub- 
mitted between  October  1,  1928,  and 
midnight  of  March  31st,  1929. 

8.  The  jury  of  judges  consists  of  Professor 
George  Pierce  Baker  of  Yale,  Philip  K. 
Wrigley,  Stephen  Voorhees,  Colonel  Roy 
W.  Winton,  Wilton  A.  Barrett,  King 
Vidor,  James  R.  Quirk  and  Frederick 
James  Smith. 

9.  PHOTOPLAY  assumes  no  responsibility 
for  loss  of  films  in  transit  and,  while 
every  precaution  will  be  taken  to  safe- 
guard them,  this  publication  will  not  be 
responsible  for  loss  or  injury  in  any  way- 

10.  As  soon  as  possible  after  the  conclusion 
of  the  contest,  the  prize  winners  will  be 
announced  and  the  films  returned  to 
senders  on  receipt  of  sufficient  postage 
for  return  transportation. 


Every  advertisement   in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I  I  I 


Photoplay  Reviews  the  Film  Year 

[  CONTINUED  FROM  PAGE  65  ] 


Tom  Mix  and  Fred  Thomson  will  not  have  so 
much  trouble  making  out  their  income  taxes 
this  year.  The  minor  Western  stars  have  been 
making  reservations  at  their  old  ranches. 

1928  showed  a  preference  for  tough  babies, 
principally  blonde.  Witness  Phyllis  Haver's 
gun-girl  of  "Chicago,"  iMarie  Pre vost's  belle  of 
the  reformatory  in  "The  Godless  Girl"  and 
Betty  Compson's  hard  boiled  gals  of  "The 
Docks  of  New  York"  and  "The  Barker,"  not 
to  mention  Dorothy  Mackaill's  carni\al 
charmer,  also  of  "The  Barker."  The  advent  of 
Baclanova  was  in  this  get-your-man  division. 
On  the  other  hand,  more  refined  blondes,  such 
as  the  heroine  of  "Gentlemen  Prefer  Blondes," 
did  not  win  popular  favor.  Thus  Ruth 
Taylor's  debut  as  Lorelei  attracted  only  a 
ripple  of  attention. 

Every  epic  film  now  has  its  theme  song. 
Unless  you  own  a  radio  you  can't  realize  what 
this  means.  Our  favorite  theme  song  is 
"Woman  Disputed,  I  Love  You."     1929  will 


have  to  step  some  to  top  this  maukish  classic. 

If  you  ask  me  for  my  personal  choice  of  the 

twelve  best  performances  of  1928,  here  they  are: 

Emil  Jannings  in  "The  Patriot"  and  "The 

Last  Command." 

L.  M.  Leonidoff  in  "Czar  Ivan  the  Terri- 
ble." 

Alexis  Davor  and  Olga  Korloff  in  "The 
End  of  St.  Petersburg." 

Sybil  Thorndyke  in  "Dawn." 
Conrad   Veidt   and   Baclanova  in   "The 
Man  Who  Laughs." 

Lewis  Stone  in  "The  Patriot." 
Louise  Dresser  and  Madge  Bellamy  in 
"Mother  Knows  Best." 

Baclanova  in  "Street  of  Sin." 
"The  Patriot,"  to  me,  was  easily  the  best 
American-made  film  of  1928.     "Four  Devils" 
would  be  my  second  choice. 

The  two  best  imported  pictures  were  "Czar 
Ivan  the  Terrible"  and  "The  End  of  St. 
Petersburg,"  both  Russian. 


Brief  Reviews  of  Current  Pictures 

(  CONTINUED  FROM  PAGE   13  ] 


*RED  DANCE — Fox. — More  Russian  revolution, 
dramatically  directed  by  Raoul  Walsh.  Charles 
Farrell,  Ivan  Linow  and  Dolores  del  Rio  head  an 
exceptional  cast.    The  picture  is  a  real  thriller.  (July.) 

REFORM — Chadwick. — Wherein  a  mush-headed 
psychologist  reforms  a  good-looking  girl  crook  by 
teaching  her  to  eat  with  a  fork.     {July.) 

RETRIBUTION— Warners.— Vitaphone  with  a 
bad  script  but  our  old  friend,  Henry  B.  Walthall, 
registers  neatly.    {Dec.) 

♦REVENGE— United  Artists.— The  third  of  the 
three  "R's"  of  Edwin  Carewe  and  Dolores  Del  Rio. 
Pictorially  attractive  gypsy  stuff.     {Ocl.) 

RIDING  TO  FAME— Elbee.— Does  the  villainous 
bookie  succeed  in  queering  the  horse  race  and  wreck- 
ingyoung  love?    Don't  be  dumb!     (August.) 

RILEY  OF  RAINBOW  DIVISION— Anchor.— 

Trivial  comedy  of  the  training  camps.  {Dec.) 

RINTY  OF  THE  DESERT— Warners.— An  ap- 
pealing and  unusual  dog  story  with  the  one  and  only 
Rin-Tin-Tin.     {July.) 

RIVER  WOMAN,  THE— Gotham.— Fine  and 
sincere  story  with  a  splendid  performance  by  Jac- 
queline Logan.    (Oct,) 

ROAD  HOUSE— Fox.— Proving  that  flaming 
youth  got  the  idea  from  the  older  generation.  Rather 
hot.     (Oct.) 

ROMANCE    OF    A    ROGUE,    THE— Carlos.— 

Soggy.     {November.) 

ROUGH  RIDIN'  RED— FBO.— Buzz  Barton's 
red  hair  triumplis  over  cinematic  slush.    (November.) 

RUNAWAY  GIRLS— Columbia.— StuflFy  melo- 
drama with  a  moral.    (Dec.) 

SALLY    OF    THE    SCANDALS— FBO.— Bessie 

Love  puts  life  into  a  back-stage  story  that  might  have 
been  dull.      (August.) 

SALLY'S  SHOULDERS— FBO.— Slightly  exas- 
perating.    (Oct.) 

SAL  OF  SINGAPORE— Pathe.— Phyllis  Haver 
as  a  bad  girl  who  is  reformed  by  a  little  che-ild. 
Salty  and  picturesque  background.  (Dec.) 

SAWDUST  PARADISE,  THE— Paramount.— 
From  ballyhoo  artist  to  lady  soul-saver,  played  by 
Esther  Ralston.     (Oct.) 

SAY  IT  WITH  SABLES— Columbia.— Heigh-ho  I 

Another  gold-digger  story.    {September.) 

SCARLET  DOVE,  THE— Tiffany-Stahl.— Mili- 
tary life  in  Czarist  Russia.  Mostly  bedroom  scenes. 
Lowell  Sherman — the  cur — acts  grand  and  wears  as 
many  gaudy  uniforms  as  a  Roxy  usher.     (July.) 

SCARLET  LADY,  THE— Columbia.— Ho-hum, 
more  Russians.    Silly  stuff.    .(Oct.) 

SEX  LIFE  OF  THE  POLYP— Fox-Movietone.— 
Gorgeous  satire  on  a  scientific  lecture,  by  old  Profes- 
sor Robert  Benchley.     (November.) 

SHIP  COMES  IN,  A— Pathe-De  Mille.— How 
patriotism  comes  to  an  immigrant  family.  (Sept.) 

SHOULD  A  GIRL  MARRY?— Rayart— Pre- 
senting the  sad  problems  of  a  gal  with  a  past.  (Dec.) 

SHOW  FOLKS— Pathe.— Just  an  obvious  story  of 
theatrical  people  and  their  struggles.     (November.) 


SHOW  GIRL— First  National.— It  misses  the 
piquant  charm  of  the  book  but  still  it  is  an  above-the- 
average  comedy.     {November.) 

+SHOW  PEOPLE  —  Metro-Goldwyn-Mayer.  — 
Marion  Da  vies  and  William  Haines  portray  the  funny 
side  of  the  goof  who  would  get  into  the  movies. 
Recommended.      (August.) 

SINGAPORE  MUTINY.   THE— FBO.— Life  in 

coal  hole  of  a  ship — if  ihtrl's  what  interests  you.    (Dec.) 

*SINGING  FOOL,  THE— Warners.— Saga  of  a 
mammy  shouter.  With  Al  Jolson.  Sobs  and  Vita- 
phone  songs.     (Oct.) 

SINGLE  MAN,  A— Metro-Gold  wyn- Mayer.— 
Aileen  Pringle  and  Lew  Cody  in  their  best  smart-set 
comedy  so  far.       (Oct.) 

SINNERS  IN  LOVE— FBO.— Little  gal  alone  in 
a   big  cit\'.      Where   have   you    heard   that   before? 

(November.) 

SIN  TOWN— Pathe.— Just  a  poor  western.  (Oct.) 

SISTERS  OF  EVE — Rayart.— Mystery  story  of 
a  missing  millionaire  who  is  not  missed  by  his  hard- 
hearted bride.    Fair  enough.     (November.) 

SKIRTS— Metro-Goldwyn-Mayer.  —  Syd  Chap- 
lin in  a  soggy  British  comedy.     {September.) 

SMILIN*  GUNS— Universal.— Hoot  Gibson  in  a 
really  funny  one.     (Oct.) 

SMOKE  BELLE W— Big  Four.— Conway  Tearle 
returns  in  an  Alaskan  yarn.  Some  splendid  blizzards. 
(November.) 

SO  THIS  IS  LOVE— Columbia.— Slightly  goofy 
story  of  a  dressmaker's  assistant  turned  prize-fighter 
— all  for  love.  With  William  Collier,  Jr.,  and  Shirley 
Mason.     (July.) 

SON  OF  THE  GOLDEN  WEST— FBO.— Tom 
Mix  has  changed  his  studio  but  not  the  plot  of  his 
pictures.     (November.) 

SPEED  CHAMPION,  THE— Rayart.  —  If  you 

can  get  steamed  up  over  the  adventures  of  a  grocery 
boy.    {September.) 

SPIELER,  THE— Pathe. — Carnival  life,  as  it 
really  is.  And  Renee  Adoree  knows  her  atmosphere. 
A  good  show.    {Dec.) 

SPIES  —  UF.A.— Metro-Goldwyn-Mayer.-  Dull 
story  made  only  slightly  less  dull  by  fantastic, 
Germanic  treatment.      {Dec.) 

STATE   STREET   SADIE— Warners.— Can    you 

believe  it?      Another   underworld  story.      And    not 
among  the  best.     (July.) 

STICK  TO  YOUR  STORY— Rayart —Fun 
among  the  reporters.  My.  what  a  life — and  what  a 
picture!     (Dec.) 

STOLEN  LOVE— FBO.— A  quickie.  Try  the 
show  down  the  street.  (Dec.) 

STOP  THAT  MAN— Universal.— Arthur  Lake  in 
a  comedy  that's  a  riot  of  fun.  Watch  this  lad! 
(September.) 

STORMY  WATERS— Tiffany-Stahl.  —  Eve 
Southern  tries  a  Sadie  Thompson  but  this  story  of 
love  in  the  tropics  doesn't  quite  come  off.     (August.) 

STRANGE  CASE  OF  CAPTAIN  RAMPER.— 

Defu-First  National. — German  picture  with  original 
plot.    Just  a  bit  heavy.     (August.) 


1  You  try  it  first  on  a  single  lock  of  your 
*■  hair  to  see  what  it  does.  Thus  have  no 

fear  of  results. 
O  Then  simply  comb  this  water-like  liquid 
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STREET  OF  ILLUSION— Columbia.— Back- 
stage story  and  an  interesting  defense  of  the  Tfjespian 
ego.     (Dec.) 

♦STREET  OF  SIN,  THE— Paramount.— Tech- 
nically a  fine  picture  but  the  story,  a  brutal  tale  of  the 
London  slums,  is  repellent.  The  least  satisfactory  of 
Emil  Jannings'  American  productions.    (July.) 

STRIVING  FOR  FORTUNE  —  Excellent. — 
Doity  woik  in  the  siiip-yards.     (November.) 

STRONGER  WILL,  THE— Excellent.— Just  one 
long  yawn.     (August.) 

SUBMARINE— Columbia.— A  great  thriller,  with 
a  fine  situation  and  some  spectacular  scenes,  almost 
spoiled  by  unimaginative  handling.  Worth  seeing, 
nevertheless.     (November.) 

SWEET  SIXTEEN— Rayart.— Mild  but  fairly 
pleasing  story  of  a  modern  girl.  (Dec.) 

TAKE  ME  HOME— Paramount.— Bebe  Daniels 
in  a  natural  comedy  of  back-stage  life.     (November.) 

TAXI  13— FBO.— Chester  Conklin  in  the  funny 
adventures  of  a  superstitious  taxi  driver,    (Oct.) 

TELLING  THE  WORLD  —  Metro-Goldwyn- 
Mayer. — That  comical  cuss.  Bill  Haines,  goes  to 
China.  More  darned  fun,  in  a  silly  way.  Anita  Page, 
who  makes  her  debut  in  this  one,  is  all  to  the  good. 
(July.) 

TENTH  AVENUE— Pathe-De  Mille.— Boarding 
house  life  on  the  wrong  side  of  Manhattan.  Heavy 
melodrama  and  vividly  played  by  Phyllis  Haver, 
Victor  Varconi  and  Joseph  Schildkraut.     (July.) 

*TERROR,  THE— Warners.— Mystery  stuij,  well 
presented  in  an  all-talkie.      (Ocl.) 

THREE  RING  MARRIAGE— First  National,— 
Heart  interest  and  comedy  in  an  original  story  of 
circus  life.     (September.) 

THROUGH      THE      BREAKERS— Gotham.— 

South  Sea  Island  story — and  a  really  good  one.  (Dec.) 

THUNDERCLOUD,  THE— Anchor.— A  good 
scenic,  but  shy  on  drama.     (Oct.) 

TIDE  OF  EMPIRE— Metro-Goldwyn-Mayer.- 
Standard  pattern  story  of  Gold  Rush  but  acted  and 
directed  with  a  verve  that  puts  it  over.     (Dec.) 

TIMES  SQUARE— Gotham.— Arthur  Lubin  im- 
itates Al  Jolson  and  so  invites  the  inevitable  odious 
comparisons.     (November.) 

TOP  SERGEANT  MULLIGAN— Anchor.— Fair 

enough  war  burlesque  but  enough's  enough.  (Sept.) 

TRAIL  OF  COURAGE,  THE  —  FBO,— Cactus 

epic  and  simply  terrible.    (September.) 

UNCLE  TOM'S  CABIN— Universal.— Originally 
reviewed  in  January.  Sound  effects  have  increased 
its  box-office  value.     (Oct.)  ' 

UNDRESSED— Sterling.— Teaching  us  not  to  be 
mean  to  our  children  and  also  not  to  pose  for  strange 
artists.    An  odd  plate  of  hash.    (September.) 

UNITED  STATES  SMITH  —  Gotham.  —  Eddie 
Gribbon  and  Mickey  Bennett  in  a  roughneck  but 
funny  comedy.     (August.) 

VANISHING  PIONEER,  THE— Paramount.— 
The  return  of  Jack  Holt  to  the  Paramount  ranch. 
And  the  result  is  a  Grade  A  Western.     (August.) 

VARSITY — Paramount. — The  more  sentimental 
side  of  life  at  Princeton.  Charles  Rogers  and  Mary 
Brian  will  make  it  popular  with  the  young  folks.  (Oc/.) 

VIRGIN  LIPS— Columbia.— Respectable,  in  spite 
of  ttie  title  and  some  dangerous  costumes  worn  by 
Olive  Borden.     (November.) 

WALKING  BACK— Pathe-De  Mille.— Trivial 
story  of  the  younger  generation  made  interesting  by 
the  presence  of  the  charming  Sue  Carol.     (July.) 


WARMING  UP— Paramount.— Richard  Dix  In  an 
original  and  really  funny  story  of  a  bushleague 
pitcher.     Family  diversion.     (July.) 

*WATERFRONT— First  National.— Jack  Mul- 
hall  proves  that  he  can  be  attractive  even  with  a  dirty 
face.  And  he  is  again  aided  by  Dorothy  Mackaill. 
A  comedy  with  originality.    (November.) 

WATER  HOLE,  THE— Paramount.— De  Luxe 
Zane  Gray  Western  that  marks  the  return  of  Jack 
Holt.    (November.) 

WEDDING  MARCH,  THE— Paramount —Von 
Stroheim's  romance  of  old  Vienna,  messed  up  with 
some  repellant  scenes  and  characters.  Some  good 
moments,  but,  as  a  whole,  a  waste  of  time,  money  and 
talent.     (November.) 

WEST  OF  ZANZIBAR— Metro-Goldwyn-Mayer. 
— Lon  Chaney  goes  cripple  again.  So  does  the  plot. 
(November.) 

*WHEEL  OF  CHANCE— First  National.— Rich- 
ard Barthelmess  does  some  good  acting  in  a  dual  rdle. 
You  forget  the  improbabilities  of  the  story  in  your 
interest  in  the  star's  acting  and  the  dramatic  situa- 
tions.    (August.) 

WHEN  THE  LAW   RIDES— FBO.— Something 

better  than  the  conventional  Western  plot.  With 
Tom  Tyler  and  Frankie  Darrow.     (August.) 

WHILE  THE  CITY  SLEEPS— Metro-Goldwyn- 
Mayer. — Lon  Chaney  au  naturel.  Swell  crook  story. 
(September.) 

WHIP,  THE— First  National.— Dorothy  Mackaill 
in  an  English  sporting  melodrama  that  just  misses 
being  thrilling.     (September.) 

WHITE  SHADOWS  OF  THE  SOUTH  SEAS— 

Metro-Goldwyn-Mayer. — Just  misses  being  a  re- 
markable picture.  Its  weakness  of  story  is  atoned  for 
by  some  of  the  most  beautiful  tropical  pictures  ever 
filmed,     (August.) 

WIFE'S  RELATIONS,  THE— Columbia.— Naive 
romance  of  an  heiress  who  finds  a  job  and  a  husband 
in  a  department  store.     (August.) 

WILD  WEST  ROMANCE— Fox.— Some  thrills  in 
this  Western  but  Rex  Bell,  the  newcomer,  will  never 
fill  the  Stetson  of  Tom  Mix.     (August.) 

WIN  THAT  GIRL— Fox.— With  Sue  Carol  and 
Dave  Rollins.  Otherwise  nothing  to  recommend  it. 
(November.) 

*WOMAN  DISPUTED,  THE— United  Artists.— 
Norma  Talmadge  and  Gilbert  Roland  are  excellent  in 
a  stirring  drama  of  Central  Europe  during  the  war. 
(September.)   * 

WOMAN  FROM  MOSCOW,  THE— Paramount. 
— Pola  Negri's  swan  song  for  Paramount.    (Oct.) 

WOMAN'S  WAY,  A— Columbia.— This  time  the 
diamond  necklace  is  lost  in  the  Latin  Quarter  of  Paris. 
(August.) 

WOMEN   THEY   TALK    ABOUT— Warners.— 

Charming  Vitaphone  comedy.      (Oct.) 

WOMEN  WHO  DARED— Excellent.— Slumming 
party  to  the  lower  East  Side,  as  the  movies  picture 
it.     (August.) 

WRIGHT  IDEA,  THE— First  National.— But 
gone  wrong.     (Oct.) 

YELLOW  CONTRABAND  —  Pathe.—  Dope 
smuggling  and  other  cute  modern  occupations.  (Dec.) 

YELLOW  LILY,  THE— First  National.— Con- 
cerning the  bad  habit  of  archdukes  of  falling  in  love 
with  ladies  who  live  on  the  other  side  of  the  tracks. 
Billie  Dove  and  Clive  Brook  are  the  principal  reasons 
why  you'll  want  to  see  the  picture.     (July.) 

YOUNG  WHIRLWIND,  THE— FBO.— Kid  en- 
tertainment,  with  Buzz  Barton.  (Dec.) 


"An  apple  a  day  keeps  the  director  away."    It's  the  oldest  form  of 

vamping  in  the  world.     The  girl  playing  Eve  is  Greta  Garbo  and 

the  head  man  in  the  picture  is  Victor  Seastrom,  her  director 


Every  adrertlaement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Diet — The  Menace  of  Hollywood 


I  CONTINUED  FROM  PAGE  33  1 


contract  with  the  Hal  Roach  Studios.  Pretty, 
talented — but  overweight! 

The  order  came. 

She  must  lose.  Those  pounds  HAD  to  come 
off! 

She  went  on  a  diet,  so  strenuous  that  she 
collapsed  and  was  rushed  to  a  sanatorium. 
Today  you  do  not  see  her  on  the  screen.  Holly- 
wood has  forgotten  her. 

She  has  dropped  out  completely  from  the 
film  world. 

There  are  dozens  of  stories  of  this  kind  to  be 
recounted.  There  is  hardly  a  star  in  the  busi- 
ness who  has  not,  at  one  time  or  another,  been 
sentenced  to  diet.  Their  own  ideas  on  the  sub- 
ject are  almost  identical.  In  the  first  place 
they  must  do  it  and  they,  themselves,  do  not 
realize  what  effect  it  will  have  upon  their 
health.  They  are  not  convinced  enough  of  the 
danger  from  diet  to  make  an  effort  to  change 
things. 

There  is  but  one  beam  of  hope.  "The  girls 
could  stop  all  this  nonsense  if  they  would,"  said 
Dr.  Willis,  "  but  they  don't  know  they're  being 
harmed  by  it.  They  could  band  together  and 
refuse  to  take  off  this  ridiculous  amount  of 
weight.  They  seem  to  get  the  sort  of  clothes 
they  want  at  the  studios.  They  make  a  big 
enough  howl  about  dressing  rooms  and  lighting 
and  publicity.  Why  don't  they  start  a  cam- 
paign about   their  figures?     Because  of  this 


stupid,  atrocious  style  they  are  affecting  the 
health  of  women  the  world  over." 

Will  there  be  a  new  woman?  Will  these  slim 
princesses  disappear  from  the  silver  sheet? 
Anita  Page  has  gone  right  on  playing  leading 
roles  and  Anita  is  one  of  the  few  girls  who  is 
average  weight.  She  is  five  feet  two  and 
she  weighs  118  pounds.  That  is  just  one  pound 
below  the  correct  weight.  Her  fan  mail  in- 
creases. There  have,  as  yet,  been  no  criticisms 
in  the  papers  about  her  figure.  She  is  a  novice 
to  the  screen  and  she  may  be  the  herald  of  a 
new  era  in  filmdom. 

Recently  it  was  reported  that  eighty  per  cent 
of  the  women  who  took  out  marriage  licenses  in 
a  given  month  were  plump,  so  maybe  the  pro- 
ducers are  wrong  and  maybe  men  do  like  'em  a 
trifle  hefty  after  all. 

At  any  rate,  one  thing  is  certain.  The  stars 
cannot  keep  up  when  they  are  underfed. 
Tragic,  isn't  it,  that  they  should  work  so  hard 
for  luxury  and,  when  it  comes,  be  too  starved 
to  enjoy  it? 

But  this  battle  of  fame  versus  health  is 
bound  to  bring  the  dawning  of  a  new  screen 
era.  The  pendulum,  no  doubt,  will  swing  to 
the  other  extreme.  And  you'U  be  drinking 
milk  and  eating  large  quantities  of  mashed 
potatoes  yet  to  be  in  style.  In  the  meantime, 
however,  don't  copy  the  stars'  figures  nor  their 
diets  if  you  want  to  be  well  and  happy. 


Conrad  in  Quest  of  a  Voice 


I  CONTINUED  FROM  PAGE  58  1 


before  the  lens  in  a  few  seconds.  And  even 
at  that,  if  it  sags,  it  can  be  saved  by  cutting. 
In  making  sound  pictures,  however,  a  scene 
cannot  be  cut.  The  conversation  must  carry 
through,  the  tempo  must  be  sustained.  Thus, 
the  experienced  stage  actor  has  a  distinct 
advantage,  for  he  is  in  the  habit  of  holding 
his  audience  for  as  long  a  period  as  twenty- 
five  minutes,  the  length  of  an  entire  act. 

"Due  to  this  lack  of  stage  experience,  there 
has  been  an  incHnation  on  the  part  of  screen 
players  to  talk  their  lines.  By  that  I  mean 
they  forget  to  act  their  parts,  they  forget  to 
be  natural  and  at  ease;  they  step  out  of 
character  to  speak.  But  experience  is  rapidly 
changing  this,  and  players  are  learning  that 
all  they  need  to  do  is  be  absolutely  natural 
before  the  microphone — as  natural  as  though 
they  were  talking  on  the  telephone." 

In  the  first  pictures  employing  conversation, 
Nagel  admits  that  he  and  all  others  made  the 
same  sad  mistake  of  speaking  vrtth  exaggerated 
emphasis,  each  word  enunciated  distinctly  and 
by  itself. 

"That  of  course  was  artificial.  It  registered 
just  that  way  on  the  recording  device.  It 
destroyed  all  semblance  of  personality,  of 
individuality. 

"With  the  perfection  of  reproducing  methods, 
however,  with  the  development  of  a  'vocal 
technique,'  the  voice  is  bound  to  take  on  a 
new  significance,  to  become  a  dominant  factor. 

"TN  fact,  I  feel  sure  that  the  time  will  come 
-'-when  players  will  be  known  by  their  voices. 
There  will  be  'voice  fans.'  People  will  go  to 
see  certain  players  because  they  like  to  hear 
them  speak.  'There  will  even  be  sex  appeal 
in  the  voice." 

Conrad  Nagel  was  the  first  male  star  ever  to 
appear  in  a  full-length  talking  picture.  Al 
Jolson,  of  course,  launched  the  speakies  by  his 
bit  of  conversation  in  "The  Jazz  Singer." 
But  Jolson  was  not  a  motion  picture  actor. 
And,  too,  Nagel  appeared  in  "Glorious  Betsy" 


before  Jolson  brought  forth  his  "Singing 
Fool."  To  that  extent,  then,  Nagel  has  con- 
tributed to  this  new  chapter  of  cinema  prog- 
ress. And  when  talkie  history  is  written,  he 
will  be  listed  among  the  pioneers. 

If  there  was  ever  any  skepticism  regarding 
Nagel's  magnetism  and  latent  power,  that 
doubt  died — or  will  die — under  pressure  of  his 
voice  personality. 

"T  BELIEVE,"  he  predicted,  "that  talking 
-•■  pictures  will  do  much  to  make  correct  Eng- 
lish popular.  Recently  I  listened  to  the  accept- 
ance speeches  of  both  our  presidential  can- 
didates and  was  surprised  at  the  number  of 
words  each  mispronounced.  Yet  both  are  well 
educated  men — especially  Herbert  Hoover,  a 
college  graduate,  trained  in  the  science  of 
engineering.  The  fact  that  they  did  not 
speak  correctly  is  nothing  for  which  to  criticize 
them,  however.  In  fact,  correct  speech  is  so 
novel  that  probably  they  would  have  been 
criticized  for  using  it.  They  would  have  been 
looked  upon  as  above  the  common  people,  as 
ript  being  down  to  earth.  And  that,  naturally, 
would  have  cost  votes. 

"As  a  rule,  people  are  afraid  to  speak  good 
English.  They  are  afraid  of  being  'razzed,' 
of  being  called  high-hat.  It's  the  same  com- 
plex that  keeps  men  from  being  well-dressed, 
from  appearing  at  their  best  instead  of  their 
half-best.  If  a  man  ever  should  be  correctly 
garbed,  it  is  when  he  goes  to  a  Ijanquet.  Yet 
how  many  wear  c\'ening  Clothes  willingly  or 
well?  They  are  afraid  of  looking  ridiculous,  of 
what  the  other  fellow  will  say.  Vanity  defeats 
them.  They  hide  from  perfection  in  imper- 
fection. And  so  it  is  with  the  proper  usage  of 
speech. 

"But  the  screen  will  change  all  that.  Of 
course,  there  will  be  both  good  and  bad 
EngUsh  in  pictures,  depending  upon  the  char- 
acter one  assumes.  Incorrect  speech,  however, 
wUl  be  a  part  of  characterization;  correct 
speech  wUl  be  the  ideal.    And  where  the  screen 


EARLE  LIEDERMAN— The  Muscle-Builder 

Aullior   (If  "Mnsi'lf   liuililing."    -' Scieyicc   of    lyrt.stliriij." 
"Sccnr.^  0/  Sffrmitfi,"  "IIcn'':>  Health,"  "Endurance,"  etc. 

Does  She  Love  You  Enough? 

GiVe  a. Thought  to  Your  Physical  Self 

ir  your  wife  or  sweetheart  acts  cool  and  dissatisfied  with 
you,  give  a  thouglit  to  your  physical  self.  A  woman  looks 
at  more  than  a  man's  face.  She's  thinking  of  his  ability  to 
protect  her;  provide  for  her:  of  her  pride  in  his  appear- 
ance in  a  bathing  suit,  on  the  athletic  fleld,  on  the  dance 
floor. 

When  you  hear  a  woman  exclaim:  "Oh.  what  a  hand- 
some man!"  she's  not  looking  at  his  face  alone.  She's 
sized  him  up  from  top  to  toe.  Those  broad  shoulders,  that 
graceful  athletic  stride,  the  well-shaped  neck  and  head, 
those  strong,  muscular  arms  and  legs.  They  thrill  any 
woman.  Every  wife  and  every  sweetheart  wants  her  man 
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sive.  erect  stride  of  the  man  who  knows  what  he  wants  and  is  goins  to 
get  It,  just  commands  attention. 

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has  created  a  world-wide  desire  to  impress 
by  appearance,  it  will  now  produce  an  earnest 
wish  to  become  effective  through  the  medium 
of  words." 

With  this  end  in  view,  Conrad  Nagel  has 
approached  school  authorities  in  Los  Angeles 
to  suggest  special  departments  and  courses  for 
voice  training  and  also  for  specialization  in 
language. 

"My  thought,"  he  said,  "is  to  originate 
this  branch  of  education  in  the  city  where 
pictures  are  made,  and  to  let  it  spread  from 
the  cinema  center  to  the  rest  of  the  world. 

"Since  the  world  began,  there  has  been  pride 
in  speech.  Oratory,  in  fact,  is  one  of  the  oldest 
arts.  Demosthenes  stood  by  the  sea  with  his 
mouth  filled  with  pebbles  and  struggled  to 
enunciate  his  words  distinctly  in  order  that  his 
pronunciation  might  be  the  clearer  with  the 
impediment  removed.  It  was  the  study  of 
oratory  which  in  the  very  beginning  developed 
\'oice  personality." 

"pROM  now  on,  there  is  bound  to  be  special 
■*-  effort  to  concentrate  on  this  new  angle.  Al- 
ready it  looms  among  screen  aspirants  as  the 
coming  craze. 

Like  bobbed  hair  and  Oxford  bags,  it  will 
be  the  great  affliction. 

"But  this  wild  rush  to  voice  teachers  and 
elocutionists,"  says  Nagel,  "wiU  not  accom- 
plish the  purpose  hoped  for.  Personally,  I 
think  that  if  all  the  elocution  teachers  were 
rounded  up  and  dropped  overboard,  it  would 
be  a  good  riddance. 

"Elocution  teachers  concentrate  on  artifici- 
ality. They  take  naturalness  entirely  out  of 
the  voice.  And  how  unnecessary,  for  what  a 
simple  thing  it  is  to  speak  correctly  and,  at 
the  same  time,  naturally. 

"Have  you  heard  Rabbi  Wise  or  George  Ber- 
nard Shaw  on  the  Movietone?  Their  English 
is  flawless,  their  diction  perfect,  and  there  is 
not  the  slightest  suggestion  of  artificiality  in 
the  voice  of  either. 

"I  took  voice  training  during  my  college 
course,  and  even  after  I  went  to  New  York 
to  go  on  the  stage.  I  had  a  terrible  struggle 
to  shake  my  mid-western  twang,  and  de- 
veloped a  series  of  exercises  for  my  tongue  and 


lips  that  I  practiced  diligently,  all  for  the 
purpose  of  breaking  my  drawl,  and  also  to 
place  my  voice  correctly.  The  enunciation  of 
words  along  with  the  tone  of  the  voice  means 
everything. 

"Did  you  ever  see  Clarence  Darrow,  famous 
criminal  attorney,  slumped  down  in  his  chair, 
half  asleep,  absolutely  insignificant  in  ap- 
pearance? Yet  when  the  man  rumbles  that 
voice  of  his  to  the  far  corners  of  the  room, 
its  vibrations  strike  the  emotional  sounding 
board  oi  every  listener.  Without  that  marvel- 
ous voice,  powerful  in  the  beginning,  no  doubt, 
but  perfected  through  years  of  training  in  the 
practical  school  of  oratory,  Clarence  Darrow 
would  be  anything  but  the  great  force  he  now 
represents  before  the  bar. 

"To  my  mind,  he  is  one  of  the  most  out- 
standing examples  of  the  importance  of  voice 
personaHty." 

It  was  Conrad  Nagel's  voice  that  brought 
him  conspicuously  to  the  front  in  public 
activities  of  the  Film  Capital.  Resonance  and 
volume  give  an  impression  of  personality  en- 
tirely at  variance  with  his  screen  self.  We  get 
no  adequate  impression  of  the  Nagel  physique 
in  pictures,  for  through  some  unknown  trickery 
of  the  lens  he  is  disclosed — as  he  himself 
admits — not  as  a  man  of  unusual  stature  but 
much  smaller  than  he  really  is. 

■pEOPLE  are  often  surprised  when  they  learn 
^  that  Nagel  is  more  than  six  feet  tall,  that  he 
weighs  nearly  one  hundred  and  seventy 
pounds,  that  he  has  an  athlete's  body,  every 
muscle  a  sinew  of  steel.  Taking  hold  of  his 
arm  is  like  grabbing  up  a  chunk  of  cement 
sidewalk. 

On  his  feet,  addressing  an  audience,  this  man 
Nagel  is  a  bundle  of  dynamite.  The  intensity 
of  his  voice  completely  dominates  his  auditors. 
Not  only  is  he  eloquent,  he  gives  to  his  words 
a  conviction  that  carries  unquestioned  sincer- 
ity. 

And  as  far  as  he  can  be  heard,  his  words 
are  distinct,  understandable. 

It  will  be  interesting  to  watch  the  Nagel 
career,  as  well  as  the  Nagel  predictions.  He, 
with  a  few  others,  is  a  cinema  Columbus  of  the 
moment,  striking  out  into  a  new  world. 


The  Universal  film  lot  is  puncture  proof,  thanks  to  this  comical 
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I  I 


The  Studio    Murder 
Mystery 

[  CONTINUED  FROM  PAGE  90  ] 


nigan  related  his  story  faithfully  as  follows: 
"Well,  I  come  on  duty  as  usual  at  sivin.  I 
made  me  rounds,  and  near  froze  to  death 
with  the  dirty  fog  creepin'  down  me  back. 
Nothin'  happened  up  to  me  9:,?0  round,  whin 
I  heard  Seibert  carryin'  on  as  usual  on  Stage 
Six.  Thin  later  Wiss  Beaumont  comes  on,  so 
MacDougal  tells  me,  and  Billy  West.  About 
that  time  things  begin  to  happen.  ..." 

WHAT  things?" 
"Well,  sor,  nothin'  you  can  put  yer 
finger  on,  and  MacDougal  he  tells  me  I'm  a 
domned  liar.  Not  in  so  many  words,  you 
understand,  but  that's  his  manin'  all  right! 
Anyways,  whin  I  starts  on  me  11:30  round  I 
sees  a  woman's  figger  runnin'  down  the  women's 
dressin'  rooms  in  direction  of  Hardell's  room. 
...  I  see  it  sneakin'  down  the  steps,  sor! 
Thin,  later,  I  see  a  dark  figger  stealin'  out  of 
the  bushes  on  the  West  side  of  Stage  Six,  and 
makin' for  the  stage  door  .  .  ." 

"That  was  about  .  .  .  midnight?" 

"Just  at,  sor.  I  was  just  fetchin'  up  at 
Stage  Six,  which  same  would  be  near  tweh'e 
o'clock.  Whin  I  gets  up  to  the  stage,  the  figger 
has  disappeared.  I  thinks  to  meself  it's  inside, 
and  makes  to  go  on  the  stage.  Then  Seibert 
bellows  out  fer  me  to  stay  off .  .  .  ." 

"Does  he  often  do  that?" 

"Sure,  it's  second  nature  to  him,  sor!  Bad 
cess  to  him!"  with  another  quick  glance  of 
defiance  at  Rosenthal.  The  president  said 
quickly, 

"You're  right,  Lannigan.  Mr.  Seibert  has 
too  much  temperament.  .  .  ." 

"Timper,  plain  and  simple,  I'd  call  it,  sor! 
Well,  thin  I  goes  back  to  the  gate,  and  talks  a 
bit.  Pretty  soon  Seibert  and  Hardell  come  out 
in  Seibert's  car.  Seibert,  contrary  to  his 
custom,  speaks  to  us!  He  says,  'Goodnight, 
men!'  and  Hardell,  who's  always  been  in  the 
habit  of  exchangin'  a  word  whin  he  comes  and 
goes,  sings  out,  'It's  a  great  life  if  you  don't 
weaken!'  I'm  tellin'  this,  sor,  because  whilst 
I  nivver  had  much  use  fer  a  dirty  bum  like 
Hardell,  he  knows  how  to  treat  a  man  decent 
whin  he  meets  him!" 

"'Y"OU  could  swear  that  Seibert  and  Hardell 

•*•  went  out  of  this  studio  .  .  .  together  .  .  . 
at  that  time,  Lannigan?"  said  Smith  with  sud- 
den sharpness. 

"And  why  couldn't  I  swear  it?  Ain't  it  the 
truth?"  bridled  the  little  Irishman. 

"And  what  time  did  they  go?" 

"Just  before  I  wint  over  to  have  me  lunch, 
as  I  said  ...  it  was  12:17  by  me  clock,  sor, 
and  that  was  the  time  MacDougal  marked 
thim  out." 

"All  right.  Now,  did  you  see  any  more  dark 
figures?" 

"  Right  after  I  hears  the  banshee,  I  sees  wan 
skeedaddlin'  across  the  lawn  from  Stage 
Six.  .  .  ." 

"Lannigan,  you're  night  watchman  of  this 
studio,  aren't  you?" 

"I'amthot!" 

"Then  wouldn't  it  have  been  your  duty  to 
investigate  these  queer  happenings?" 

"Sure,  and  didn't  I  want  to  do  that  very 
thing,  sor?  Didn't  I  tell  Mac  me  suspicions? 
And  what  does  he  say  to  me?  He  says  I  niv\er 
seen  that  first  figger  at  all  .  .  .  that  the  only 
woman  on  the  lot  is  Miss  Beaumont,  and  I  can 
see  by  her  light  she's  up  in  her  room,  and  the 
other  wan  he  says  is  Billy  West  makin'  a  sneak 
fer  the  stage  as  soon  as  he  can  to  get  his  script ! 
And  the  third,  which  same  I  sees  after  I  hears 
the  banshee,  Mac  won't  hear  to  at  all!  He 
tells  me  it's  me  ignorant  Irish  superstition,  and 
if  I  thinks  I  hears  a  banshee,  which  same  I 
couldn't  have  heard  at  all,  there  not  bein'  any 


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such  cratures,  wiiy  thin  of  course  I  couldn't 
have  seen  any  other  dark  figger  .  .  ."  and 
Lannigan  spat  disgustedly  on  his  hands  and 
rubbed  them. 

"And  so  he  wouldn't  encourage  you  to 
make  a  search  of  the  lot?" 

"Encourage  me?  Not  him.  I  was  goin'  to 
ask  him  to  come  along  .  .  .  but  I  sees  he 
thinks  I'm  a  domn  fool.  .  .  ." 

"But  you  heard  that  banshee  .  .  .  don't 
forget  that!"  said  Smith  insistently. 

"T  AIN'T  likely  to  forget  it,  nor  would  ye  be 
-l-yerself ,  sor ! "  snapped  Lannigan  impatiently. 
Smith  smiled, 

"That's  right.  Now  Lannigan,  who  do  you 
really  think  that  last  dark  figure  was?" 

"Judgin'  by  what's  been  goin'  on  this  lot 
fer  some  time  past,  I'd  say  it  was  MacDougal's 
daughter,  which  same  inference  is  what  made 
Mac  so  mad  the  first  time  I  told  him  .  .  ." 

"The  first  time?" 

"Well,  you  see,  sor,  not  knowin'  there  was 
any  lady  on  the  lot  whin  I  sees  that  first  dark 
figger  goin'  in  the  direction  of  Hardell's  room, 
I  thinks  to  meself  it  must  be  Mac's  daughter. 
Which  same  I  would  not  have  mentioned  to 
him  only  he  made  me  mad  whin  he  pokes  fun 
at  me  fer  me  Irish  superstitions  .  .  ." 

"Did  you  tell  him  you  thought  it  was  his 
daughter?" 

"Not  in  so  many  words,  sor  .  .  .  but  he 
knew  what  I  meant." 

"Km  ...  I  understand  his  daughter  has 
been  mixed  up  with  Hardell.  Perhaps  you 
know  about  that?" 

"I  could  tell  you  things  would  open  yer  eyes, 
sor  .  .  .  which  same  I  finds  out  whin  I  makes 
me  round  of  the  stages  at  night !" 

A  groan  came  from  Rosenthal.  He  banged 
his  fist  down  on  his  desk.  Not  with  a  crash, 
but  softly  .  .  .  hopelessly. 

"Onmylot!  On  my  stages !  The  dirty  low- 
lifer!"  he  muttered.  He  was  overcome  with  an 
overwhelming  sense  of  his  impotency.  He  had 
made  the  unwritten  law  .  .  .  and  how  they 
had  broken  it  .  .  .  broken  it  to  the  end  that 
murder  had  been  committed.  The  realization 
that  he  had  not,  after  all,  controlled  the  be- 
havior of  the  people  who  worked/  for  him  in 
such  things,  sobered  him  and  saddened  him. 


"So  it  made  MacDougal  mad,  did  it?  Then 
I  take  it,  he  doesn't  like  this  affair  between 
his  daughter  and  Hardell.  ..." 

"Like  it?  He  turns  cold  as  an  icicle,  and 
mutters  he'll  kill  the  man  if  he  catches  'em. ..." 

"You've  heard  him  say  that?" 

"Didn't  I  just  say  I  had?  I  ain't  the  only 
wan.  Others  have  heard  him,  too.  The  day 
watchman,  fer  wan." 

"And  what  time  did  you  suggest  to  him 
that  you  might  have  seen  his  daughter?  Was 
it  before,  or  after,  you  went  across  for  your 
lunch?" 

"Before.  Shortly  after  midnight,  it  was, 
sor." 

"That's  all  for  the  present,  Lannigan,  thank 
you,"  said  Smith  then. 

"If  it's  not  askin'  too  much,  sor,  will  you  tell 
me  what  happened  last  night?"  burst  from  the 
little  man. 

"D  wight  Hardell  was  murdered  on  Stage 
Six." 

"Holy  Mither  o'  God!"  breathed  Lannigan, 
and  crossed  himself  piously. 

"Lannigan,  could  MacDougal  igo  to  Stage 
Si.\  while  you  were  out  on  your  round,  and  you 
not  see  that  he  was  missing  from  the  gate?" 

"Sure,  and  he  could  ..."  started  the 
Irishman,  and  checked  himself.  "You're  nivver 
thinkin'  old  Mac  did  the  deed,  mister?" 

"It  appears  he  had  a  desire  to  see  Hardell 
dead  .  .  ." 

"  Saints  presairve  us.  .  .  ." 

"T  VISH  to  know  vat  made  you  tink  Lanni- 
-L  gan  heard  a  scream  ...  a  banshee  ..." 
inquired  Rosenthal. 

"Two  and  two  make  four,"  smiled  Smith. 
"The  woman  who  fledjhe  set  was  so  frightened 
she  left  her  finger  marks  in  blood  on  the  can\'as 
door. 

"More  Ukely  than  not,  she  screamed!" 

"But  .  .  ."  and  Rosenthal  leaned  forward 
quickly,  and  Smith  was  surprised  at  the  evi- 
dence of  real  probing  into  the  matter  in  his 
statement. 

"But  .  .  .  you  say  she  screamed  and  left 
blood  marks  at  the  same  time  .  .  .  veil,  Mr. 
Smith,  maybe  she  pricks  her  own  finger!  .  .  . 
Mr.  Seibert  tells  us  he  and  Hardell  are  not  on 
the  lot  at  the  time  Lannigan  tells  us  he  heard 


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17 


the  banshee  .  .  .  who  you  tell  me  vas  the 
voman  who  dipped  her  hand  in  Hardell's  life 
blood!  If  ve  are  to  beheve  Seibert,  and 
MacDougal  and  Lannigan,  Hardell  vas  in 
Hollywood  at  the  time  you  make  out  he  vas 
on  my  lot  .  .  .  murdered!" 

"Bravo!"  applauded  the  detective.  "Keep 
this  up  and  we'll  want  you  on  our  force!" 
Then,  soberly,  "You've  hit  the  monkey 
wrench  in  the  machinery,  all  right!  There's 
a  hitch  somewhere.  Maybe  Lannigan's  clock 
was  an  hour  out  of  the  way.  We'll  have  to 
check  up.  Anyway,  there's  something  rotten 
in  Denmark  about  it!  Well,  we'll  talk  to 
MacDougal  .  .  .  that  daughter  of  his  now." 

"That  is  foolishness!  I  know  that  little 
girl.  She  is  vid  my  cousin  ofer  at  Killing 
Komedies!  She  is  vild,  yes,  but  she  is  not  a 
murderess!    Neffer  vill  I  belief  that!" 

"MacDougal,  then?" 

Rosenthal  shrugged. 

"Of  course  I  should  not  vant  to  think  that 
of  him,  either,  but  .  .  .  he  is  a  qveer  fellow  .  .  . 
qviet,  and  .  .  .  veil,  you  see  him  yourself!" 

CHAPTER  IX 

WHILE  Clancy  is  getting  MacDougal 
over,  I'U  step  in  to  your  restaurant  and 
have  a  bite,"  said  Smith,  unfolding  his  long 
length  from  Abraham  Rosenthal's  all  too  com- 
fortable chair.  The  president  of  Superior 
Films  drew  a  sucking  breath  of  regret. 

"Tsk!  So!  You  haff  not  yet  had  your 
lunch!    Ve  vill  go  right  avay  .  .  ." 

"I  want  to  go  alone."  The  detective  could 
be  abruptly  truthful  at  times. 

"I  want  time  to  miU  over  this  testimony  .  .  . 
and  I  want  to  study  your  people.  .Also  .  .  . 
I  have  taken  a  lot  of  your  time  today,"  he 
amended. 

Even  the  news  of  the  murder  could  not 
quite  quell  that  irrepressible  spirit  of  .  .  . 
Smith  stopped  a  moment  in  his  tracks  to 
analyze  it.  What  was  it?  On  every  hand  he 
caught  the  tag-end  of  a  bantering  remark  .  .  . 
the  last  chuckle  of  a  burst  of  laughter!  These 
people  about  him  seemed  to  be  playing  .  .  . 
always  playing  .  .  .  even  that  morning, 
when  the  director,  Bonet,  was  roaring  orders 
through  his  megaphone,  and  there  was  the 
apparent  nerve-tension  of  catching  a  mob  at 
the  psychological  moment  ...  of  gathering 
and  holding  the  many  ends  that  went  to  make 
up  the  successful  photographing  of  the  scene 
by  three  variously  angled  cameras,  trained  on  a 
constantly  shifting  group  of  humanity  .  .  . 
taking  in  with  each  turn  the  action  of  indi- 
viduals and  stars  alike  (Smith  thought  of 
certain  "snapshots"  he  had  taken,  and  how 
everything  always  seemed  to  get  in  the  way 
and  to  worry  him)  even  in  that  period,  when 
certainly  those  picture  folk  were  working, 
and  working  hard  ...  he  had  felt  the  under- 
current of,  as  Rosenthal  had  said,  "kidding." 
Earher  in  the  afternoon,  wandering  about  the 
lot  by  himself,  after  his  study  of  Stage  Six,  and 
its  grim  figure,  he  had  peeked  into  a  set  where 
an  old  man  sat  thumbing  over  some  faded 
yellow  letters,  and  weeping  weakly  all  over  his 
long  beard. 

T  TP  until  the  instant  the  camera  started, 
^— '-this  old  man  was  jazzing  his  body  in  his 
chair  .  .  .  snapping  his  thumbs,  anci  enter- 
taining the  rest  of  the  company  with  a  running 
fire  of  ludicrous  comment ! 

Then,  the  "snapping"  into  the  scene  .  .  . 
the  tears,  welling  up  as  easily  as  though  from 
a  faucet  turned  on  .  .  .  the  "Cut"  shouted 
by  the  director,  and  the  old  man  jumping  up 
with  alacrity, 

"Me  for  a  coke,  fellows!  Never  too  old  to 
drink.  Gimme  a  bottle."  Then  slapping  his 
own  wrist  as  he  spilled  a  drop  on  the  long  false 
beard. 

"Naughty!    Naughty!    Papa  spank!" 

It  wasn't  what  they  said,  so  much  as  the 
way  they  said  it.  The  laughter  .  .  .  bubbling 
all  the  time  underneath  .  .  .  the  happy-go- 
lucky,  comradely  joy  of  life,  effervescing  be- 
neath  the   surface!     The   doing  seriously  of 


serious  scenes,  but  the  never  taking  seriously, 
of  themselves!  Smith  felt  the  charm  of  it. 
He  had  a  moment's  wistful  hunger  to  be  one  of 
them  ...  to  love  life,  and  live  it  to  the  full, 
as  these  people  loved  it,  and  hved  it! 

Like  the  little  girl  from  Kansas  he  thought 
longingly  of  the  beauty  that  money  could  buy, 
and  how  these  people  were  surrounded  with  it 
on  every  side.  Even  the  most  ordinary  and 
lowly  object  of  furnishing,  was  made  a  work 
of  art!  He  wanted  to  climb  on  the  band 
wagon  and  join  the  gay  throng  ...  to  go 
lau.ghing  and  shouting  merrily  down  the  road 
of  life!  He  thought  of  these  people  as  holding 
their  lips  to  a  brimming  cup  ...  a  cup  in 
which  all  the  desires  that  life  brought  to  one, 
were  jammed  and  packed! 

nPHEN  he  went  into  the  commissary,  and  met 
■'-  his  first  contact  with  the  caste  system  of  the 
studios.  Rosenthal  had  told  him  to  take  a 
table  at  the  end  of  the  room  farthest  from  the 
door.  He  had  wondered  why.  Now  he  caught 
it  all  in  a  glance.  Near  the  door  were  e.xtras, 
eating  belated  luncheons  like  his  own  ...  or 
having  tea,  or  drinks.  Then  came  people  who 
seemed  to  him  to  have  more  importance.  Up 
near  where  Rosenthal  had  told  him  to  sit  he 
recognized  two  famous  motion  picture  stars. 
He  laughed  to  himself  as  he  sat  down.  There 
were  no  marked  divisions  of  the  room,  but 
the  divisions  were  there!  He  felt  that  it  would 
surely  follow  out  that  way  throughout  the 
industry.  The  extras  to  the  extras,  and  the 
stars  to  the  stars.  He  realized  what  a  hard 
won  fight  it  must  be  to  reach  the  brimming 
cup!  As  he  was  finishing  his  coffee,  a  waitress 
came  to  him. 

"You  are  Mr.  Smith?  Mr.  Rosenthal  said 
you  would  be  at  his  table.  You  are  wanted  on 
the  phone." 

"  That  you,  chief?    I've  got  the  guy." 
"Has  he  learned  what  has  happened?" 
"Nope.     He  was  reading  his  paper  in  his 
kitchen,  but  you  know  there  wasn't  nothin' 
init." 

"Well,  don't  tell  him.  I'm  coming  right 
over." 

T^HE  difference  in  Clancy's  attitude  towards 
■^  this  man,  compared  to  that  he  used  towards 
Lannigan,  was  in  itself  sufficient  evidence  of 
the  difference  in  the  two  witnesses.  As  tall  as 
Smith  and  with  an  upright,  mihtary  bearing 
not  so  different  from  Seibert's.  Level,  blue 
eyes,  staring  out  calmly,  almost  bleakly,  from 
under  beetling,  bushy  sandy  eyebrows.  A 
massive  face,  without  rounded  contours.  High 
cheek  bones,  a  long  straight  nose,  above  full 
but  firmly  moulded  lips,  the  whole  dominated 
by  a  strong,  square  jaw. 

A  sandy  mustache  cUpped  squarely,  and 
adding  to  the  grim  look  of  efficiency  which  gave 
out  from  him. 

"A  hard  man  .  .  .  and  a  set  one,"  said 
Smith  to  himself.  Then  he  rose  and  held  out 
his  hand. 

"  Royal  Northwest  Mounted  Police,  I  under- 
stand, MacDougal?" 

"Eight  years,  sir."  Then  to  Rosenthal, 
"You  wished  to  see  me?" 

"Captain  Smith  vishes  to  ask  you  some 
qvestions,"  answered  the  president  of  Superior 
Films,  waving  him  to  a  chair  with  his  fat  hand, 
in  which  one  of  his  choice  cigars  smoked 
fragrantly.  Ignoring  Rosenthal's  frown  and 
out  thrust  lower  lip,  Smith  tendered  the  gate- 
man  a  cigar  from  the  open  box  on  the  desk, 
and  started  to  light  a  match  for  it.  But 
MacDougal  put  out  his  hand  in  refusal. 

"Thank  you.  I  smoke  a  pipe,"  he  said 
courteously. 

Smith  sensed  the  pride  in  the  tone.  The 
man  would  not  accept  one  of  the  president's 
cigars,  offered  by  another  than  himself!  It 
was  one  of  those  straws  which  show  the  way 
the  wind  blows.  Smith  knew  the  unbending 
nature  of  this  man's  make-up  on  the  instant. 

"ilacDougal,"  he  said  without  preamble, 
"  there  was  a  murder  committed  on  this  lot  last 
night!"  He  said  it  with  his  eyes  narrowed, 
and  every  intuitive  help  he  possessed  trained 


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on  the  gateman.  He  saw  a  sudden  tightening 
of  the  other  man's  attitude.    Then, 

"Who  was  it?"  MacDougal  asked  quietly. 

"Harden." 

"Harden?  He  left  the  lot  with  Seibert,  and 
he  did  not  come  back!" 

"  That's  what  I  wanted  to  know.  He  didn't 
come  back  you  say,  and  yet  ...  he  was 
found  murdered  this  morning  on  Stage  Six!" 
and  Smith  looked  searchingly  at  the  other. 
"  So  you  see,  he  must  have  come  back!" 

''"NTOT  through  the  gate,  Captain!"  asserted 

*-  ^  MacDougal  quickly. 

"  Could  he  have  gotten  in  any  other  way?" 

"I  do  not  see  how  he  could!" 

Smith  pondered  this,  and  then  evidently 
thought  better  not  to  probe  farther.  Instead 
he  said, 

"Are  you  in  the  habit  of  going  across  with 
Lannigan  to  eat  lunch?" 

"Not  in  the  habit  of  it,  sir,  but  I  did  step 
across  last  night.  It  was  a  mean  night.  Cold 
and  foggy." 

"Hm  .  .  .  much  fog?" 

' '  Thick  as  pea  soup. " 

"^^'hen  you  went  across  .  .  .  did  you  lock 
the  gate?" 

"If  I  do  go  over,  I  usually  lock  the  gate. 
Last  night,  however,  we  had  people  on  the  lot, 
which  is  not  customary  so  late.  Thinking  they 
might  be  wanting  to  leave,  I  left  the  little  door 
open." 

"  What  people  were  on  the  lot?" 

"Miss  Beaumont  and  Mr.  West." 

"No  one  else.     No  other  .  .  .  woman?" 

]MacDougal  met  his  eyes  squarely, 

"The  nurse  in  the  hospital.  That's  all,"  he 
said. 

"'Y'OUR  time  sheet  shows  that  Aliss  Beau- 

■'■  mont  did  not  leave  until  1:30  A.  M.,  and 
that  Billy  West  left  ten  minutes  later,"  said 
Smith  glancing  at  the  record  which  had  been 
sent  over  from  the  Production  Office  earlier  in 
the  day. 

"  That  is  right.  Captain." 

"Then,  MacDougal,  you  did  not  see  them 
leave  while  you  were  in  the  lunch  room?" 

"No,  sir." 

"Were  you  sitting  with  your  back  to  the 
street,  depending  on  your  sixth  sense  to  make 
you  turn  when  anyone  approached  the  gate?" 

"Hardly,  sir!    The  counter  runs,  also,  along  , 
the  side.     By  sitting  on  the  end  seat,  I  can 
easily    keep    my    face    turned    towards    the 
boulevard.    I  did  not  take  my  eyes  off  the  gate 
for  the  short  time  Lannigan  and  I  were  there." 

"But  no  one  left  the  lot,  during  that  time?" 

"No,  sir." 

"  Then,  MacDougal,  if  you  did  not  see  an}'one 
leave,  how  can  you  be  sure  someone  did  not 
enter?  In  short,  you  do  not  know,  for  certain, 
whether  you  could  see  a  person  going  through 
the  gate,  from  that  distance,  in  that  fog  .  .  . 
do  you?" 

"Putting  it  that  way,  I  do  not,  sir,"  ad- 
mitted the  man  without  hedging. 

"Putting  it  that  way,  MacDougal,  we  have 
only  the  word  of  Seibert  that  he  drove  Hardell 
to  Hollywood  ...  as  yet.  What  was  to  pre- 
vent his  dropping  Hardell  a  short  distance 
from  the  studio,  and  Hardell  coming  back  .  .  . 
to  .  .  .  meet  your  daughter!"  said  the  detective 
significantly.  For  an  instant  the  Scotchman's 
face  took  on  a  hard  look.  He  opened  and  shut 
his  well-knit,  strong  hands,  on  his  knee.  When 
he  spoke,  how-ever,  his  voice  was  quiet  .  .  . 
direct. 

"You've  no  right,  Captain,  to  bring  my 
daughter  into  this!  I  will  grant  you  this  much. 
Seibert  could  ha\'e  dropped  Hardell  a  short 
distance,  and  Hardell  might  have  slipped 
through  the  gate  when  I  was  across  the  street. 
Why  he  came  back  I  cannot  say!" 

The  detective  sat  for  a  moment  holding  the 
other's  eyes  with  his  own.  Failing  to  force 
the  Scotchman  to  evade  his  gaze,  he  said 
directly, 

"MacDougal,  if  you  had  gone  over  to  Stage 
Six  on  your  return,  could  Lannigan  have  seen 
you?" 


"Lannigan  went  immediately  to  the  stage 
himself,  to  see  about  a  light.  Then  he  went 
to  the  storeroom,  to  get  a  new  globe.  I  could 
have  gone  to  the  stage  and  entered  from  this 
end,  while  he  was  leaving  by  the  other,  or 
walking  away  from  the  stage  at  the  other  end, 
with  his  back  to  me.  It  would  have  been  easy," 
said  MacDougal,  unhesitatingly. 

"I  thought  so.  .  .  .  MacDougal,  are  those 
the  shoes  you  wore  last  night?" 

"No.  I  have  to  be  on  my  feet,  as  you 
know,  and  I  wear  rubber  heels  when  on  duty." 

A  NOISE  came  from  Rosenthal,  and  Smith 
■''■shot  him  a  warning  glance  for  silence. 

"MacDougal,  a  man  wearing  rubber  heeled 
shoes  stood  at  the  side  of  the  dead  body  of 
Hardell,  stepped  over  it,  and  walked  across 
the  stage !    He  left  a  trail  of  bloody  footprints ! ' ' 

An  inscrutable  look  came  into  the  ex- 
redcoat's  face. 

"That  could  be  a  clue  ...  or  a  plant  ..." 
he  said  quickly. 

"Correct.  Before  we  assume  it  to  be  a 
plant,  we  will  assume  it  to  be  a  clue.  I  shall 
have  to  see  the  shoes  you  wore  last  night, 
MacDougal!" 

"Certainly." 

"Why  did  you  refuse  to  accompany  Lanni- 
gan on  a  search  of  the  lot  to  investigate  the 
figures  he  saw?" 

MacDougal  smiled  with  a  certain  scorn. 

"You  do  not  know  Lannigan  like  I  do. 
However,  I  did  not  refuse  to  accompany  him. 
He  did  not  ask  me.  If  I  humored  all  his 
hallucinations,  I'd  spend  my  time  touring  the 
lot!" 

"Hm.  .  . .  Y'ou  accounted  for  one  of  the  figures 
as  being  West.  You  did  not  explain  the  other 
two.  MacDougal,  I  believe  that  the  figure 
Lannigan  saw  following  the  scream  of  'the 
banshee '  was  your  daughter!" 

"My  daughter  was  not  on  the  lot!"  came  the 
retort,  cold  and  crisp. 

"You  did  not  mark  herin,  no!"  .  .  .  agreed 
Smith  significantly. 

"Do  you  think,  sir,  that  I  would  abet  my 
daughter  in  meeting  a  man  like  Hardell?  Do 
you  think  I  would  admit  her  to  the  lot,  and  try 
to  conceal  it?  I  have  forbidden  her  the  lot 
after  dark!" 

MacDougal 's  eyes  held  dignity  and  pain. 
Smith  sensed  the  depth  of  his  love  for  this 
,  wayward  girl. 

"I  think  that  there  are  angles  of  this  case 
which,  so  far,  are  baffling.  .  ."  returned  Smith 
impatiently. 

"T  APPRECIATE  your  position.  Captain," 
•*■  said  the  gatemen  quietly. 

"Then  you  appreciate  the  fact  that,  regard- 
less of  your  feelings,  I  must  get  at  the  bottom 
of  this!"  snapped  Smith.  "Where  was  your 
daughter  last  night!    Do  you  know?" 

After  a  moment's  hesitation,  MacDougal 
said, 

"I  do  not  know." 

"Where  was  she  when  you  returned  home 
this  morning?" 

"She  sometimes  has  to  be  on  the  lot  .  .  . 
where  she  works.  Killing  Komedies  .  .  .  early. 
She  had  gone." 

"Do  you  know  that  she  had  gone  to  KiDing 
Komedies?" 

"I  have  no  reason  to  think  otherwise." 

"We  wiU  check  that  up  right  now,"  re- 
turned the  detective,  looking  at  Rosenthal. 

"I  vill  half  my  secretary  find  out,"  said  the 
president. 

When  Smith  again  looked  at  MacDougal 
the  man's  face  had  whitened  about  the  mouth. 

"You  have  Miss  Beaumont  marked  out  at 
1:30  A.  M.  and  West  ten  minutes  later.  What 
reason  can  you  give  for  them  to  be  on  the  lot 
so  late?" 

"Miss  Beaumont  came  out  to  read  a  new 
script,  which  she  had  promised  to  have  fmished 
by  today.  I  expect  she  was  reading  it.  There 
was  a  light  in  her  room.  I  cannot  account  for 
West  remaining  so  late.  He  came  to  get  his 
script  book  which  he  had  left  on  the  set.  He 
was  forced  to  wait  until  Seibert  finished,  as 


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Seibert  sometimes  allows  no  one  on  the  set 
.  .  .  not  even  his  assistant.  Why  he  re- 
mained after  that  I  cannot  tell  you." 

"Did  you  notice  anything  unusual  in  the 
manner  of  either  one  of  them,  when  leavinR?" 

"Miss  Beaumont  is  very  often  in  a  state  of 
excitement.  That  is  her  nature.  She  be- 
comes enthusiastic  over  things  and  is  friendly 
to  everyone.  She  seemed  nervous  .  .  .  and 
.  .  .  what  we  might  say,  'flighty'  .  .  .  late 
last  night.  Whether  it  was  anything  unusual, 
or  just  the  nervous  reaction  from  reading  a 
highly  dramatic  story,  so  late  at  night,  I 
cannot  say.    She  feels  her  roles  intensely." 

Smith  realized  that  MacDougal  was  a  keen 
observer  of  human  nature,  and  also  an  intelli- 
gent one. 
,  "How  about  West?" 

"Nothing  unusual,  beyond  the  fact  that  he 
looked  a  bit  hollow-eyed.  That  is  customary 
after  a  long  grind  with  Seibert,  however!" 

"Are  you  sure?" 

"The  position  of  assistant  director  is  that  of 
a  buffer  between  the  production  office  and  the 
director.  He  is  between  .  .  the  devil  and  the 
deep  blue  sea,  or,  to  be  more  specific,  between 
the  efficiency  of  the  production  office,  which 
balks  at  recognizing  temperament,  and  the 
artistic  abandon  of  the  director,  who  cannot 
comprehend  the  position  of  the  production 
office!  With  a  man  such  as  Seibert,  the 
assistant's  job  is  a  doubly  nerve-racking  one." 

"Thanks,"  said  Smith. 

He  sat  a  moment,  looking  down  at  the  little 
red  book  on  his  knee.    Then  he  said: 

"  >  ^AcDOUGAL,    you    cannot    swear    that 
■i '••-Miss  Beaumont  was  in  her  room  all  the 

time  her  light  was  on?  You  cannot  swear  that 

Lannigan  did  not  see  her  running  down  the 

corridor,    and   the   stairs,    towards   Hardell's 

room?" 

"No,  sir.    I  cannot  swear  that." 

"You  cannot  swear  that  Billy  West  was  in 

his  office,  as  you  suppose,  during  all  the  time  he 

was  on  the  lot?" 
"No,  sir.    I  cannot  swear  to  that." 
"You  cannot  swear  that  Hardell  could  not 

have  re-entered  while  you  were  at  lunch?" 
"  No,  sir.    I  cannot  swear  to  that." 
"Lannigan  cannot  swear  that  you  did  not 

leave  your  post  after  returning  to  the  lot,  and 

go  over  to  Stage  Si.x?" 

"  Unless  he  made  it  a  point  of  watching  me, 

which  I  am  sure  he  did  not,  I  cannot  swear  to 

that." 

"Why  are  you  sure  he  did  not?"  was  the 

quick  follow-up  from  Smith  at  this. 

"I  modify  that.    I  assume  that  he  did  not." 
"Where  were  you  when  a  scream  came  from 

the  direction  of  Stage  Six?" 
"  I  did  not  hear  such  a  scream." 
At  this  point  Rosenthal's  secretary  knocked 

at  the  door,  and  was  bidden  to  enter. 


"Beth  MacDougal  left  Killing  Komedies 
yesterday  afternoon,  because  she  was  feeling 
ill,  and  did  not  go  to  work  this  morning,"  she 
reported. 

CHAPTER  X 

TJILLY  WEST  swallowed  the  last  scraps  of 
■'-'that  part  of  the  note  he  had  been  able  to 
conceal  when  he  wrestled  for  its  possession 
with  Clancy.  The  silhouette  of  Yvonne 
against  the  light,  laying  it  on  Hardell's  dress- 
ing table,  had  leaped  into  his  mind  the  minute 
he  had  come  on  the  lot,  and  the  office  boy, 
had  .  .  .  but  we  are  getting  ahead  of  our  scene. 

Now  he  smiled  wryly  to  himself,  and  thought 
that  he  would  never  again  deride  the  foolish 
actions  of  people  under  stress  of  emotion,  for  no 
sooner  had  he  laboriously  gotten  down  the 
last  morsel  when  he  realized  that  so  long  as  the 
police  had  a  fraction  of  the  mauve  note  paper, 
even  minus  the  signature  and  monogram,  they 
would  trace  it  down!  Had  anyone  told  him 
j'esterday  he  would  be  doing  such  a  stupid 
thing,  he  would  have  snorted  contemptuously. 
"You're  cock-eyed  and  crazy!" 

He  wondered  angrily  if  he  had  completely 
lost  his  wits  over  this  thing.  It  made  him 
more  furious  at  himself  because  he  knew  this 
was  a  time  in  which  every  sense  he  possessed 
must  be  used  to  the  utmost. 

He  looked,  even  as  the  president  of  Superior 
Films  had  looked,  at  the  autographed  photo- 
graphs on  his  walls.  Yesterday  they  had  been 
pictured  faces  of  people  he  liked,  and  who  liked 
him!  Now  they  seemed  to  withdraw  from 
him,  and  became  a  part  of  another  existence 
.  .  .  his  past!  They  became  dream  people, 
in  a  dream  existence.  What  was  nightmarishly 
real  to  him  was  the  fact  that  he  was  sitting 
locked  in  his  own  office,  with  the  broad  back 
of  a  sergeant  of  pohce  patrolHng  his  window, 
and  the  suspicion  of  murder  darkening  his 
future.  Yet  not  a  twinge  of  regret  for  the  man 
lying  in  his  blood  out  on  Stage  Six  agitated 
him.    In  fact,  he  did  not  think  of  him  at  all. 

"LJIS  thoughts  were  milling  in  a  desperate 
-'-  -"-circle  about  himself  and  Yvonne.  Yvonne, 
her  grey  eyes,  swept  by  heavy  lashes,  looking 
at  him  pleadingly.  Her  quick,  pretty  little 
movements  re-visioning  themselves  in  his 
brain.  Her  small  pale  hands,  thrown  out  in  a 
gesture  of  appeal  .  .  .  and  .  .  .  her  dainty 
body  stiffening  furiously  as  she  stood  with  the 
telephone  in  her  hand,  talking  to  Hardell  in  her 
apartment  the  night  before!  What  had  hap- 
pened after  that?  He  remembered  the  night  as 
a  long  dwelling  in  Gethsemane.  He  had  been 
betrayed.  His  love  of  Yvonne  had  been 
betrayed  ...  by  Hardell.  He  knew  he  had 
been  in  a  condition  when  any  extreme  act 
might  have  been  possible.  He  knew  he  had 
even  thought  murder,  in  his  heart.  .  .  . 


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Coming  as  something  comforting  was  the 
thought  of  the  office  boy,  who  had  found 
Hardell.  Because  he  must  keep  his  mind  busy 
or  go  crazy,  he  went  over  the  little  scene  as  it 
had  happened  that  morning. 

The  office  boy's  name  was  Jimmy,  as  is  the 
name  of  many  an  office  boy.  He  hated  Seibert 
and  he  worshipped  Billy  West. 

Billy  was  a  war  ace  and  had  killed  the 
enemy  from  the  air.  He  was  a  being  set  apart, 
even  in  a  world  knowing  the  common  after- 
math of  war. 

When  the  assistant  director  came  on  the 
Superior  Films  lot  the  morning  Hardell  was 
discovered  murdered,  he  had  seen  Jimmy 
hunched  strangely  in  a  chair  behind  the  rail 
which  divided  the  privileged  from  the  un- 
privileged in  Rosenthal's  outer  office. 

"What's  matter,  old  pal?" 

Jimmy  looked  up,  greenly,  at  the  hand  on 
his  shoulder. 

"Nothin'  ..." 

"You  look  sick.  Hospital  for  you,  kid,  and 
castor  oil!" 

"I'm  all  right.    Honest,  Billy!" 

"  Honest,  Jimmy?" 

HOW  could  he  lie  to  his  hero?  He  evaded 
the  frank  brown  eyes  looking  down  at  him, 
waiting  for  the  truth.  He  wriggled  uncom- 
fortably. 

"Jimmy,  have  you  been  smoking  again?" 

"No.  Honest  I  haven't,"  but  still  the  eva- 
sive eyes  that  could  not  meet  the  brown  ones. 
Silence.  Billy  did  not  beUeve  him.  Without 
another  word  he  was  turning  away.  Jimmy 
caught  at  his  arm.  .  .  . 

"I  .  .  .  it  isn't  my  fault,  Billy,  honest.  .  .  . 
I  do  feel  sick,  but  ...  I  promised  not  to  tell 
anyone.  .  .  " 

"Then  don't,"  briefly,  from  Billy.  There  was 
a  moment  in  wliich  Jimmy  pondered.  He'd 
given  his  word  of  honor  to  BUly  not  to  smoke 
until  he  was  eighteen  years  old.  He  had  not 
given  his  word  of  honor  to  Rosenthal.  At  the 
worst  Rosenthal  would  only  fire  him.  If  Billy 
thought  he'd  lied  to  him  .  .  .  he'd  lose  him 
for  a  friend.  He  couldn't  do  that.  He  gulped, 
and  cast  a  swift  look  at  the  door  of  Rosenthal's 
inner  ofiice.  He  clutched  Billy  somewhere 
about  the  middle. 

"  Hardell 's  murdered  on  Stage  Si.x.  I  .  .  . 
kicked  him!"  he  breathed  in  a  rush,  partly 
remembered  terror  at  that  gruesome  figure. 
He  felt  Billy's  body  go  taut  in  his  encirchng 
arms.  BiUy  did  not  speak.  He  looked  up  at 
his  face.    It  was  white. 

Then,  without  a  word,  and  with  a  wild  look 
in  those  frank  brown  eyes,  his  hero  put  him 
firmly  from  him,  and  strode  out  the  way  he  had 
come. 

Frantically  Jimmy's  vivid  young  imagina- 
tion, which  had  lapsed  into  coma  under  the 
startling  reality  of  what  he  had  seen,  leaped 
into  action.  With  the  sophistication  of  the 
modern  youngster  he  began  putting  two  and 
two  together,  Billy  and  Yvonne.  Yvonne  and 
Hardell.  It  made  four!  He  recoUed  from  the 
thought  of  Billy  having  so  brutally  killed  a 
man.  Then  he  remembered  war.  Of  course. 
Human  lives  were  nothing  to  an  ace  who  had 
snuffed  out  the  existence  of  countless  of  the 
enemy. 

.■\nd  then  Jimmy  Kstened  with  a  sickened 
heart  to  a  strange  sound  about  him.  It  was  the 
shattering  of  the  cymbals  of  the  Glory  of  War! 

ROSENTHAL'S  desk  phone  rang.  Captain 
of  Detectives  Smith  was  treated  to  a  family 
portrait  of  the  head  e.xecutive  of  Superior 
Films. 

"Yes,  yes,  sure  it  is  me,  mama!  Vat? 
Didn't  I  have  Miss  Dunham  phone  you  I  vas 
busy,  mama?  Veil,  I  am  busy!  Now,  mama, 
vat  a  thing  to  say!  I  am  all  alone,  except 
for  .  .  .  "  and  Rosenthal  rolled  his  liquid 
brown  eyes  over  to  Smith,  and  hesitated.  His 
statement  was  an  unfortunate  one. 

There  was  quite  a  lengthy  return  from  the 
other  end  of  the  wire,  under  which  the  gen- 
erous body  of  the  head  executive  wriggled 
apologetically  for  Smith's  benefit.     \\'ith  one 


fat  hand  waving  in  the  air,  he  put  his  lips 
close  to  the  phone. 

"Now,  Izzie,  you  be  a  good  boy  and  go  to 
bed.  Papa  is  not  coming  home  yet  avile. 
Izzie,  I  tell  you  papa  is  busy!  Vill  you  please 
to  behaff  yourself?  AH  right  ...  all  right 
...  I  vill  get  it  tomorrow.  Now  go  to  bed 
right  avay,  and  don't  bother  your  mama!" 

When  he  had  hung  up  the  phone  he  turned 
to  Smith,  and  threw  out  his  hands  in  a  helpless 
gesture. 

"Everything  that  boy  vants!  He  thinks  his 
papa  is  made  of  money!"  A  complaint  with 
pride  in  it! 

"  ,  .  .  aren't  you?  ..."  drawled  Smith, 
with  a  smile. 

"I  am  made  of  vorry  right  now,"  returned 
Rosenthal  lugubriously,  adding,  "Veil,  if  \^ 
are  to  haff  our  dinner  and  get  through  vid  this 
mess  tonight,  ve  had  better  go  offer  to  the 
commissary  right  avay." 

"You  succeeded  in  locating  Miss  Beau- 
mont?" 

"Yes.  Her  maid  tells  my  secretary  she  has 
gone  to  Newport  Beach.  Right  avay  I  send 
a  message  to  her  friend's  yacht,  and  she  says 
she  vill  be  here  at  8:30.  Veil,  it  is  now  8 
o'clock.     Ve  got  to  hurry." 

"Hm.  ...  I  want  to  question  West  first. 
Can  we  have  a  sandmch  and  a  bottle  of  some- 
thing to  drink  sent  over?" 

"Sure  .  .  .  Iget  it  right  avay." 

Smith  thought  it  must  be  the  first  time 
Rosenthal's  shining  mahogany  desk  had  been 
utilized  as  a  lunch  counter,  and  then  was  a 
httle  surprised  to  see  the  door  open  and  a  table 
brought  in. 

The  sandwich  and  bottle  of  something  to 
drink  materiaUzed  into  fried  chicken  .  .  .  and 
a  bottle  of  something  very  choice  to  drink  .  .  . 
salad,  dessert  and  coffee. 

"Vat  you  think  about  MacDougal?"  asked 
Rosenthal,  looking  up  from  a  crisp  chicken 


"npHAT  he  is  the  darnedest  liar  in  the  bunch, 

•L  so  far,"  returned  Smith  promptly. 

"Tsk!"  exclaimed  Rosenthal,  his  eyes 
widening. 

"Absolutely.  He  knows  something  he's  not 
telling.  The  minute  I  pin  that  murder  on  his 
daughter,  he's  going  to  throw  a  monkey  wrench 
into  the  machinery  that  wiU  make  it  impossible 
for  me  to  get  a  conviction." 

"Veil,  maybe  his  daughter  didn't  do  it!" 

"Maybe.  I  tell  you,  Rosenthal,  all  my  evi- 
dence is  up  in  the  air.  There  are  too  many 
clues  and  too  many  suspects!" 

"MacDougal  iss  not  a  murderer,"  returned 
the  other  thoughtfully. 

"No.  He's  only  a  killer!"  exclaimed  Smith 
dryly. 

"Vat  is  the  difference?" 

"Just  this.  I'm  not  a  murderer,  but  I'm  a 
killer  if  necessity  demands.  There  are  men 
who  would  step  around  a  rattlesnake,  and 
others  who  would  stop  to  kill  it.  If  Mac- 
Dougal kiUed  Hardell,  he  did  it  in  the  same 
way  he  would  kill  a  rattlesnake  ...  as 
deliberately.  He's  hard,  and  he's  clever.  He 
knows  just  how  he's  going  to  handle  this  thing, 
and  he's  got  it  all  planned  out.  His  training 
as  a  Redcoat  gives  him  the  advantage.  He 
knows  the  law!" 

The  detective  drained  his  glass  with  appre- 
ciative eyes  looking  over  its  rim.    Then  he  said: 

"If  you  don't  mind,  I'll  have  Clancy  bring 
West  in  now.  I  want  to  get  him  out  of  the  way 
before  Miss  Beaumont  comes." 

"Sure,  I  am  through,  myself,"  returned  the 
president  courteously.  He  rang  and  had  the 
table  removed.  The  two  men  leaned  back  and 
puffed  luxuriously. 

CAPTAIN  SMITH  saw  a  good  looking 
young  man,  in  whose  brown  eyes  lay  a 
baffled  look.  He  was  cornered,  and  he  knew 
it,  and  whUe  his  face  showed  a  certain  despera- 
tion ...  a  hunted  e-xpression  ...  it  also 
showed  a  hesitancy  at  making  a  break  for  free- 
dom. "There's  something  more  in  this 
than  he's  going  to  teU  me,"  Smith  told  himself, 


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Photoplay  Magazine — Advertising  Section 


121 


and  immediately  took  on  an  entirely  different 
attitude  than  the  ones  in  which  he  had  ques- 
tioned Lannigan  and  MacDougal.  Rosenthal 
felt  a  mounting  resentment  and  surprise,  in 
which  he  regretted  his  quick  intimacy  with 
the  man.  It  was  all  he  could  do  to  keep  from 
throtving  him  out  of  his  office,  when  Smith 
shut  him  up  tersely  because  of  a  protest  at  the 
detective's  ruthless  methods  with  the  young 
assistant  director.  Perhaps,  if  Rosenthal  had 
not  been  honestly  fond  of  Billy  .  .  .  but  he 
was  .  .  . 

"  And  so,  you  say  you  only  went  to  the  set 
for  your  script?  Would  that  take  you  two 
hours?" 

"What  I  did  after  getting  my  script  is  my 
own  affair,  sir!" 

"You're  wrong,  my  boy!  Perhaps  you'll 
feel  more  like  explaining  your  actions  when 
you've  spent  a  night  in  jail!" 

"You  have  no  evidence  upon  which  to  give 
you  a  right  to  arrest  me!" 

"You  are  already  arrested!  Sergeant 
Clancy  arrested  you!  What  you  mean  is,  that 
you  have  given  me  no  evidence  upon  which  to 
release  you!" 

"  You  will  have  to  prove  what  you  say!" 

"I  e.xpect  to!  Where  was  Miss  Beaumont 
after  Seibert  and  Hardell  left  the  lot?" 

Billy  West  shut  his  lips. 

"All  right,  if  you  won't  answer  that,  perhaps 
you  will  this.  Who  was  the  woman  you  talked 
to  while  on  the  set  .  .  .  after  Seibert  had  left?" 

"T  DID  not  talk  to  any  woman!" 

-L  "I  found  a  woman's  finger  marks  ...  in 
blood  ...  on  the  canvas  door!"  snapped  Smith 
significantly. 

Billy  started  perceptibly,  and  Smith  could 
see  he  was  holding  his  breath  in  a  manner  that 
told  the  detective  his  heart  had  leaped  .  .  . 
startled. 

"When  we  match  up  those  prints  with  the 
ones  on  the  note  you  so  obligingly  tried  to 
secret  .  .  .  written  by  Miss  Beaumont  .  .  .  we 
will  know  the  identity  of  the  woman  who  made 
those  prints,"  he  stated  with  finality  in  his 
voice,  as  though  it  were  already  a  settled 
question,  and  adding,  as  if  by  an  afterthought, 
"Miss  Beaumont  was  the  only  woman  who 
came  on  the  lot  last  night,  according  to  the 
gateman's  testimony  and  time  sheet!" 

BiUy  West  steadied  himself  against  a  sud- 
den whirling  of  things  around  him.  His  already 
haggard  young  face  grew  more  so.  Smith  pur- 
sued his  advantage. 

"Miss  Beaumont  .  .  .  your  sweetheart  .  .  .  has 
all  but  confessed  to  the  deed  in  her  letter.  Did 
you  have  time  to  read  it? 

"No.  Just  saw  her  name  and  handwriting 
and  thought  you'd  better  get  it  out  of  the  way, 
eh?  Well  .  .  .  perhaps,  if  you  had  read  it,  you 
would  know  .  .  ." 


"Stop!  I'll  make  a  clean  breast  of  it.  I  did 
it!" 

Smith  relaxed  back  in  his  chair,  a  slight  smile 
of  satisfaction  on  his  face.    Rosenthal  groaned. 

"Mine  Gott,  Billy!  Vydidyou!  Vy  did  you! 
The  dirty  low-lifer  .  .  .  and  you  should  ruin 
yourself  for  him!" 

"Don't  worry,  Mr.  Rosenthal  ...  it  doesn't 
matter  .  .  .  it's  all  right  ..."  and  the  pale  faced 
young  man  smiled  bitterly. 

""DILLEE!  Why  haveyouthehandcuffson?" 
■'-'  Every  man  in  the  room  turned  to  look  at 
her.  She  stood  leaning  against  the  door,  her 
grey,  dusky-lashed  eyes,  wide  with  terror,  her 
sweet  red  mouth  quivering.  Rosenthal  w-as 
immediately  at  her  side,  with  one  huge,  com- 
forting arm  about  her. 

"Shu!  Shu!  Yvonne  .  .  ."  he  was  saying, 
patting  her  soothingly  .  .  .  and  yet  finding  no 
words  with  which  to  lie  to  her.  She  put  him 
gently  but  firmly  from  her. 

"I'm  aU  right,  Rosey  ...  I  must  know  the 
truth!  Billee!  Talk  to  me!  I  have  heard  when 
I  come  on  the  lot  that  D wight  is  murdered! 
Tell  me!  You  .  .  .  didn't  .  .  ."  she  stopped, 
and  her  great  eyes,  now  tear-fiUed,  questioned 
him. 

"He  says  he  did,  Miss  Beaumont,"  said 
Smith  quietly.  The  girl  wheeled  on  him,  her 
tremulous  grief  all  consumed  in  the  instant 
flash  of  her  temper. 

"Says  he  did!  And  you  ...  a  detective  .  .  . 
you  believe  him!  You  put  on  the  handcuffs 
just  for  that!  Bah!  That  is  .American  .  .  . 
stupeed!    In  Paris  ..  ." 

"I  am  aware  that  in  Paris  you  have  some 
master  criminologists,"  interrupted  Smith 
smoothly,  "but  even  in  your  native  city,  I 
imagine  a  confession  is  given  some  credence 
until  proved  untrue!" 

"Ah  .  .  .  you  agree  it  must  be  proved!  I  ask 
you,  what  proof  have  you  now  .  .  .  that  Billee 
did  this  so  terrible  thing  .  .  .  what  proof  be- 
side his  silly  word?" 

"We  arrested  him  because  he  was  found  in 
HardeU's  room  .  .  .  taking  a  note  from  his 
dressing  table  ...  a  note,  written  by  you!" 

She  laughed  scornfully. 

"And  because  of  that,  you  try  to  make  him 
theenk  I  did  it!  Then,  natural  ...  he  tells  you 
he  did  it  himself!  Is  it  not  what  any  man 
would  do,  Jl'sieur?  I  ask  you?  And  you 
believe  him?  Non!  He  did  not!  Billee, 
foolish  one,  tell  him  the  truth!" 

"Yvonne.  .  . ."  He  looked  up  miserably,and 
stopped.  What  could  he  say?  There  was 
nothing  to  say.    He  could  not  tell  the  truth! 

"Veree  well!  I  tell  it  myself,  then!  It  was 
I  ...  I,  il'sieur,  who  came  out  here  last 
night  to  meet  Mistair  Hardell!  Because  he 
have  some  letters  of  mine.  .  .  ." 

(  CONTI.\UED    NEXT  MONTH  I 


The  Stars  That  Never  Were 


[  CONTIXliED  FROM  PAGE  45  ] 


his  way  over  to  the  set.  .\nA  engaged  in  aim- 
less converse  with  some  of  the  younger  China- 
men who  were  also  extras.  The  talk,  though 
unintelligible  to  the  occidental  listener,  had  to 
do  evidently  with  the  star.  For  fingers  were 
pointed  in  the  direction  of  the  star's  dressing 
room,  and  heads  were  shaken. 

The  blonde  girl — who  played  opposite  the 
star — was  watching,  from  the  sidelines.  Al- 
though her  part  in  the  picture — even  to  the 
last  soft  focus  closeups,  was  quite  done.  She 
had  never  before  known  the  Oriental  star — she 
had  been  chosen,  solely,  for  her  silvery  beauty 
which  contrasted  so  desperately  with  his  dark- 
ness. .And,  whether  it  was  the  newness  of  the 
type  to  her,  or  the  man's  very  real  fascination, 
she  was  quite  evidently  captured  by  his  charm. 
And  so  they  had  lunched  together,  often,  dur- 
ing the  picture's  making.    And  she  had  ap- 


peared in  the  star's  scarlet  roadster,  more  than 
once.  And  folk  said — But  you  know  what 
rumor  is! 

Anyway — the  blonde  girl  was  watching.  .And, 
as  the  extras  gesticulated  and  pointed  and 
asked  and  answered  questions,  she  turned  to 
the  director. 

"A  kind  of  a  weird  lot,  aren't  they?"  she 
questioned,  idly. 

The  director  answered.  His  answer  was  not 
so  idle,  either. 

"You  don't  seem — "  he  said  rather  nastily — 
"to  think  so!" 

The  girl  blushed.  Her  silvery  fairness  was 
swallowed  up  in  a  tide  of  cerise.  Which  is 
rare  in  your  studio — and  which  shocked  the 
director! 

"If  you  mean  Wing — "  said  the  girl,  hotly 
(for  folk  laughed  and  said  that  the  Oriental 


.day 


Fashion  decrees  that  the  figure  be 
slender  and  (graceful.  Women  who  are 
fat  in  spots— in  the  abdomen,  hips* 
throat,  underarm,  or  elsewhere — need 
no  longer  worry! 

Simply  use  the  wonderful  Frances 
Jordan  Reducer  10  minutes  daily!  It 
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tvhere  you  ivartt  it  renioved^no  where 
else.  There  is  no  discomfort — no  exer- 
tion— no  wrinkles  nor  flabby  flesh! 

The  Frances  Jordan  stimulates  the 
circulation  and  the  fat  spots  are  ab- 
sorbed. It  relieves  constipation  and 
tones  up  the  nerves. 

This  remarkable  Frances  Jordan 
originally  sold  for  $15.00.  Very  large 
sales  now  permit  us  to  sell  direct  to  you 
^for  $5.00.  Act  today!  Send  $5.00  in 
cash,  money  order  or  check.  SatisfaC' 
don  guaranteed  or 
money  refunded. 


DUCER 


Frances  Jordan,  Inc. 

RNANCE  BtniDlNG.  PHIUDEIPHIA  . 


"PERSONAL 

Appearance 


is  now  more  than  ever 
the  key-iiotc  of  8uc- 
cfS9.  both  in  social 
atid  bueineee  lifr, 
Row-lies^«d  anil 
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Star  was  named  atter  a  collar!)  "why,  you  can 
shut  up.    See?    He's  different  from  the  rest." 

The  director  spoke  sharply.  For  he  liked 
the  blonde  girl  and  her  blush,  to  him,  had  been 
a  danger  signal! 

"Yeah — "  he  answered,  "I  mean  Wing. 
And  he's  not  different  from  the  rest.  Not  so 
as  you  can  notice  it.  He's  a  darn  good  actor — 
I'll  grant  you  that!  And  he's  got  b.o.  appeal — 
and  he  makes  money  for  the  old  man.  But 
he's  a  best  bet  for  white  women  to  like  when 
he's  on  the  screen.     Get  me?     On  the  screen. 


celebrate  for  a  whole  week,  don't  you?  And 
it  costs  just — " 

The  star  threw  out  his  slim,  olive  tinted 
hands.    In  a  gesture  of  finality. 

"Always,  in  this  profession,"  he  said,  "there 
are  two  spectres.  Money — and  time.  We,  of 
the  Orient,  are  leisurely.  We  can  afford  to 
lose  a  week,  if  we  wish,  to  make  holiday. 
But  I" — he  nodded  to  the  director — "can 
see  your  point.  And  I  am  ready.  For  there 
may  be  some  re-takes — " 

Only — there  were  no  re-takes! 


Because,  off  it,  he's  yellow — as  yellow  as  that 

old  geezer  over  there!"    He  pointed,  with  an      A  S  he  watched  the  star  step  into  character — ■ 

anfri-tr   nr.pfror»Vi/^n^      inwctrA    ihp.    f\\t\     Pliin^man         -*     ^-aS     he     Watchcd     the     achlug     drOOp     Of     thC 


angry  megaphone,  toward  the  old  Chinaman 
who — blear  eyed  and  brooding — had  moved 
away  from  the  other  extras.     And — 

"He'll  look  like  that,  himself,  some  day — 
Wing  will!"  added  the  director. 

BUT  the  blonde  girl  did  not  hear  him.  For 
the  star,  in  the  ragged  garments  of  an  alien 
race,  had  come  out  of  his  dressing  room.  And 
was  walking  toward  her.    And — 

"It  was — ■"  he  said —  "so  kind  of  you  to 
come.  This  last  scene — you  will  inspire  it!" 
And  then,  so  low  that  the  director  could  only 
sense  it,  "My  dear!" 

The  blonde  girl  was  blushing  again.  She 
didn't  speak.  But  she  extended  her  hand. 
And  the  star  took  it  in  his  own.  Not  took  it — 
seized  it.  And  kissed  it  suddenly  and  openly, 
palm  up,  with  a  curious  hunger.  A  hunger 
that  the  director  turned  from  suddenly — and 
that  the  extras  watched  with  blank  faces  and 
curiously  alive  eyes. 

All  except  the  old  Chinaman  who  was 
hunched  up  against  a  plaster  of  Paris  column — 
and  who  might  have  been  dozing,  so  still  he 
was! 

The  director  turned  away  from  what  ap- 
peared to  be  a  real  love  scene,  in  the  making. 
And  beckoned  to  the  script  girl.  And  then, 
all  at  once,  he  was  talking  to  the  light  boys, 
the  property  men.  And  then — quite  as  if  he 
was  anxious  to  be  through  with  it — he  had 
called  to  the  waiting  group  of  Chinamen. 

"Just  act  natural,"  he  explained  to  them 
briefly,  "act  like  you  were  walking  down  one 
of  your  own  streets.  Going  about  your  own 
Ijusiness.  Forget  that  Wing's  the  star — he's 
just  one  of  you  fellows.  You're  not  curious 
about  him.  ...  He  walks  down  the  street, 
among  you,  and  goes  into  that  door — "  he 
pointed  to  the  gaudily  painted  joss  house. 
"And  then— that's  all!" 


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star's  shoulders,  and  the  weary  slouch  that 
grew  into  his  legs — the  director  was  forced  to 
admit  the  man's  artistry.  Here  he  had  no 
necessity  of  telling  an  actor  what  to  do.  This 
star  was,  always,  a  part  of  his  part.  He  did 
not  act  it — he  lived  it. 

"I  really,"  said  the  blonde  leading  lady,  as 
she  saw  him  walking  toward  the  built  in  street, 
"I  really  feel  as  if  he  is  going  out  of  my  life. 
Actually — not  as  a  part  of  the  script!" 

The  director  thrust  savage  hands  into  his 
pockets.  It  wasn't  that  he  especially  hked 
the  blonde  leading  lady — but  she  was  so 
blonde! 

"I  wish  that  he  was,"  said  the  director, 
"going  out  of  it!"  And  then,  grudgingly — 
"But  the  boy  does  know  his  celluloid.  He 
can — act!" 

Yes,  he  could  act!  There  was  no  doubt  about 
that.  As  the  star  walked  down  the  street  there 
was  an  air  of  suspense  about  the  whole  manner 
of  his  walking.  It  even,  in  some  intangible 
way,  became  a  part  of  the  street,  itself.  It 
even  ate  its  way  into  the  souls  of  the  extras. 
For,  though  they  noticed  the  star  not  at  all, 
one  felt  that  they  were  aware  of  him.  As  he 
jostled  his  way  through  the  thickest  of  the 
throng — as  he  walked,  apparently  lost  in 
thought,  beneath  a  low  hanging  awning — the 
director  found  himself  actually  believing  the 
continuity  that  was  being  followed.  Some- 
thing that  your  directors  aren't,  regrettably, 
able  to  do.  Not  very  often!  As  the  star 
paused  for  a  second,  on  a  corner,  the  leading 
lady's  slim  white  fingers  pressed  close  together. 
There  was  something  so  utterly  lost  in  the 
droop  of  his  shoulders — something  so  subtly  • 
heart-breaking  in  the  very  attitude  of  his ' 
hanging,  empty  hands. 

"I  feel,"  she  whispered,  "as  if  I'd  like  to  call 
him  back!" 
The  Chinamen  stood  about.    Almost  statue- 
like in  their  stillness.    All  !except  the!  one  old     HPHE  director — coming  out  of  a  dream,  al- 
man  who  had  seemed  asleep.     With  an  odd      J-  most — snapped  his  answer. 


agility  he  had  crossed  the  set.  And  had 
settled  down  against  the  joss  house  door.  In 
a  dozing,  forgetful-of-self  attitude.  It  was 
toward  him  that  the  director  gestured. 

"See  that,"  he  said,  to  his  best  camera  man. 
"Absolutely  natural.  Nothing  studied  about 
that  pose!  The  old  fellow's  the  keynote  of 
age — and  futility — and  the  whole  race.  Get 
him — a  lot  of  him!" 

The  camera  man  trained  his  lenses  on  the 
slumped,  careless  figure.  And  the  director 
turned  toward  the  star.  Trying,  quite  avidly, 
to  be  affable. 

"I  think,"  he  began,  "that  we'd  better — " 

But  the  star  did  not  seem  to  hear. 

"TT'S  amazing  that  so  many  of  them  turned 
-'•up,"  he  was  saying,  "for  tomorrow — it  will 
be  the  beginning  of  our  New  Year.  And,  the 
day  before  the  Chinese  New  Year,  your  average 
Chinaman  is  very  busy.  It  is  our  custom,  you 
know,  to  at  this  time  clean  the  slate  of  all  old 
business.  To  pay  all  debts  on  this  day.  We — 
as  a  nation — begin  the  New  Year,  always, 
clean — " 

The  silvery  blonde  head  of  the  leading  lady 
was  bent.  She  murmured  something  unin- 
telligible. 

And  again  the  director  spoke.  Not  quite  so 
affably  this  time. 

"If  that's  the  case,"  he  told  his  star,  "per- 
haps we'd  better  get  on  the  job.  We  can't 
hold   up   production   for   a   week — you   folks 


"You  talk,"  he  said,  "as  if  you're  crazy 
about  him.  Well,  it's  not  healthy  for  a  girl 
hke  you  to  get  crazy  about  a  fellow  like  him. 
Even  if  he  wasn't  Chinese — which  is  barrier 
enough — there's  nobody  in  Hollywood  that 
knows  a  thing  about  him.  He  may  have  a 
wife  and  seven  yellow  kids  down  in  San 
Francisco.     He  may — " 

But  the  blonde  star  was  speaking. 

"If  I  am  crazy  about  him,"  she  said  slowly, 
"it's  my  own  business.  Any  way — lay  off 
him  now.  Watch  him,  and  learn  something 
about  your  own  business!" 

For  the  Oriental  star  had  come  to  the  final 
moment.  To  the  last  episode  of  all.  He  had 
reached  the  joss  house  door — the  door  of  the 
place  of  worship  to  which  his  fathers  had  come, 
before  him! 

You  who  saw  "Other  Gods."  Didn't  you 
sit  close  to  the  edge  of  your  chair,  during  that 
last  brief  moment?  In  which  the  star  tried  to 
straighten  his  drooping  shoulders — and  failed? 
In  which  he  gave  one  brief  look  over  his 
shoulder,  a  painfully  futile  glance  into  a  lost 
yesterday?  Didn't  you  sigh  as  he  stepped  past 
the  old  Chinaman,  into  the  shadows  that 
shrouded  the  joss  house  doorway? 

The  blonde  star,  watching  from  just  off  the 
set — she  sighed.  And  the  director's  face  had 
lost  its  displeasure  of  a  brief  moment  ago. 
And— 

"That,"  he  began.  And  then,  all  at  once, 
he  broke  his  sentence.     Sharply.     And — 


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"Hey,  you,"  he  called,  "what  th' — " 
For  the  aged  Chinaman,  he  whom  the  star 
had  passed  as  he  walked  through  the  door- 
way, had  come  to  his  feet.  He,  whom  the  star 
had  never  deigned  to  notice,  had  whipped  a 
knife  from  his  ragged  jacket — a  knife  that 
flashed  in  the  sunlight.  And  he,  too,  his  age 
lost  in  an  expression  of  almost  ecstatic  eager- 
ness, had  stepped  quietly  through  the  shrouded 
doorway. 

THERE  wasn't  a  sound.  That,  perhaps, 
was  why  the  leading  lady  went  running 
across  the  set.  Why  the  e.xtras  were  suddenly 
scattering.  Why  the  director  pushed,  first, 
through  the  doorway.  Somehow  he  wasn't 
surprised  at  what  he  saw. 

"Keep  the  girl  out  of  here,"  he  bellowed 
to  the  studio,  at  large.  And  then  he  bent  over 
the  still  figure  upon  the  dusty  floor  of  the 
platform  which  supported  the  plaster  columns 
of  the  joss  house.  Bent  over,  and  straightened 
suddenly.  To  face  an  old  Chinaman  who 
stood,  knife  in  hand.  A  knife  that — for  a 
grim  reason — no  longer  caught  the  light. 


But  the  old  Chinaman  had  ceased  to  be  a 
drab,  futile  figure. 

There  was  an  odd  dignity  in  his  bearing — 
one  could,  in  imagination,  clothe  his  body  in 
the  silks  of  a  mandarin.  Rather  than  in  the 
rags  it  wore. 

The  director  didn't  speak.    He  only  stared. 

And  so,  simply  and  in  perfect  English,  the 
old  Chinaman  answered  an  unvoiced  question. 

"He  told  my  daughter,  just  a  week  ago, 
that  he  loved  the  white  woman" — said  the 
old  Chinaman,  calmly — "and  that  he  was 
through  with  lur.  I  did  not  know  him;  or 
of  her — friendship — with  him.  I  did  not  even 
know,  until  she  told  me,  yesterday,  that  he 
should  have  made  my  daugnter  his  wife.  But 
when  I  sent  a  message  to  him  he  tore  it. 
And  laughed  at  my  messenger.  .  .  ."  The  old 
Chinaman  touched  the  star's  body,  very 
gently,  with  the  toe  of  one  shabby  slipper. 
And  then — 

"Tomorrow  is  our  New  Year,"  he  said, 
"and  the  men  of  my  race  must  always  face 
that  New  Year  clean.  I  had — a  debt — to 
settle!" 


123 


My  Life— So  Far 


1  CONTINUED  FROM  P.iCE  95  1 


had  a  party  with  Gaynor  and  me  for  honor 
guests. 

And  then  I  made  "7th  Heaven"  with 
another  fine  person,  Frank  Borzage.  On  the 
crest  of  my  intense  delight  at  two  big  pictures 
I  made  a  comedy,  "Two  Girls  Wanted,"  and, 
while  I  was  laughing  away  my  vivacious 
scenes,  my  Jonesy  left  us;  my  mother  broke 
down  at  his  passing  and  was  whisked  away  to 
Charles  Farrell's  beach  by  Charlie  where,  for 
five  days  and  nights,  he  made  every  effort  to 
amuse  her  and  distract  her  mind  from  our 
great  loss. 

Jonesy  had  lived  to  see  the  glory  of  the  open- 
ing night  of  "7th  Heaven."  He  had  hved 
to  hear  the  crowds  hail  Janet  Gaynor  as  a  new 
star.  He  had  lived  to  see  a  dream  which  was 
almost  an  obsession  come  true.  He  had  sat 
by  my  side  in  the  darkened  theater,  with  Herb 
Moulton  at  my  left,  with  mother  and  Helen 
and  my  girl  chum  from  San  Francisco,  and  had 
heard  the  little  staccato  bursts  of  applause  as 
Frank  Borzage 's  picture  unreeled  on  the  screen. 
In  front  of  us  sat  Charles  Farrell  and  whenever 
a  particularly  spontaneous  burst  of  applause 
came  Charlie  would  reach  back  and  grab  my 
hand,  or  I  would  pummel  the  neck  of  his  dinner 
jacket. 

But  now  Jonesy  was  gone.  Mother  had  been 
in  the  hospital.  The  sudden  shock  of  Jonesy's 
death  had  been  bad  for  her  health. 

A  LL  about  me,  people  were  telling  me  how 
-'•■splendid  I  was  as  an  actress.  Women,  far 
more  e.xperienced  in  the  motion  picture  world 
than  I  was,  would  grasp  my  hand  and  tell  me, 
in  truth,  that  I  had  done  things  in  my  few 
pictures  that  they  had  longed  to  do.  .\i  this 
party  and  that,  my  praises  were  sung.  I  was 
getting  three  hundred  dollars  a  week.  Our 
expenses  were  mounting.  Doctor  bills  and 
those  of  the  hospital.  I  was  now  Janet  Gaynor, 
star,  not  a  httle  girl  who  could  slip  into  an  in- 
expensive gingham  dress  and  pass  unobserved. 
We  must  five  in  a  nicer  home.  The  one  on 
Selma  Avenue,  just  around  the  corner  from 
where  we  had  li\'ed  when  we  first  came  to 
Hollywood,  was  not  adequate. 

.'^U  about  me  people  were  telling  me  I  should 
demand  more  money.  I  will  admit  that  I  was 
influenced.  I  went  to  Mr.  Sheehan  and  told 
him  I  must  have  more  money.  I  told  him  I 
wanted  fifteen  hundred  dollars  a  week.  Others 
on  the  lot,  not  as  valuable,  I  thought,  were 
getting  as  much,  if  not  more.  He  told  me 
"no,"  not  yet.  That  "7th  Heaven"  was 
barely  released;  "Sunrise"  not  at  all.  That 
the  Fox  company  was  not  yet  realizing  on  the 


amount  of  money  they  had  e.xpended  on  me. 
That  they  would  make  money  and  share  it 
with  me,  later. 

But  bills  kept  coming  in.  Our  Jonesy  was 
gone.  We  were  again  three  \/omen  dependent 
on  each  other.  People  were  taking  sides  in  the 
thing.  Papers  were  coming  out  bludgeoning 
Mr.  Sheehan;  trying  to  force  the  Fox  people 
to  give  me  more  money.  Charles  Farrell,  who 
was  getting  one  hundred  and  fifty  a  week, 
struck  out  for  more.  We  were  making  "  Street 
Angel"  then.  I  think  it  was  the  saddest  pic- 
ture engagement  I  have  ever  had.  I  did  not 
want  Mr.  Sheehan  to  think  I  was  ungrateful 
to  him  and  to  the  Fox  company  for  what  they 
had  done  for  me.  I  knew  I  was  so  much  chattel 
on  which  they  had  placed  money,  but  I  also 
felt  that  I  was  worth  more  money  now,  not 
later. 

I  had  saved  nothing  from  my  previous 
salaries.    There  had  been  little  to  save. 

I  placed  the  whole  thing  in  the  hands  of  an 
attorney.  I  could  not  give  my  strength  to 
"  Street  Angel "  when  I  had  to  worry  about  my 
contractual  difficulties.  That  gave  rise  to 
more  talk. 

It  was  a  sad,  a  sickeningly  sad,  occurrence. 
I  never  want  it  to  occur  again. 

It  was  settled  finally;  amiably  and  to  my 
entire  satisfaction. 

My  contract  runs  for  five  years,  on  a  grad- 
uating scale  at  a  rate  that  is  exceedingly  good 
to  me. 

T  THINK  I  never  felt  so  happy  in  my  life  as 
-'-  when  I  signed  my  new  contract  with  Mr. 
Sheehan,  cried  a  bit,  and  assured  him  that  my 
loyalty  and  gratitude  was  his  and  had  been  his 
all  the  time. 

It  was  after  the  difficulties  had  cleared  that 
the  company  gave  me  my  trip  to  New  York, 
to  Philadelphia,  Chicago,  with  parties  at  Emil 
Fuchs'  studio,  at  the  Sherman  House.  Life 
Was,  and  is,  very  full. 

It  is  very  full  of  pleasant  pastimes  and  pleas- 
ant boys.  Herb  Moulton,  now  an  ex-fiance, 
still  a  sweet  and  darling  boy;  Charlie  Farrell, 
whom  I  adore  as  a  fine  friend;  Lydell  Peck  of 
San  Francisco,  whom  I  also  adore  as  a  fine 
friend.  Some  day,  it  might  be  any  day,  I 
would  like  to  marry. 

I  do  not  see  why  a  screen  career  should  ham- 
per one  from  being  an  excellent  wife.  I  might 
marry  an  actor.  I  might  marry  a  broker  or  a 
lawyer. 

But  my  great  regret,  and  that  of  Gaynor's, 
is  that  Jonesy  cannot  be  there,  in  flesh,  to 
witness  the  wedding. 


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"ADORATION" — First  National. — From  the 
story  by  Lajos  Biro.  Adapted  by  Winifred  Dunn. 
Directed  by  Alexander  Korda.  The  cast:  Elena, 
Billle  Dove;  Serge,  Antonio  Moreno;  Muravjev,  Emile 
Chautard;  Ninelle,  Lucy  Doraine;  Ivan,  Nicholas 
Bela;  Vladimir,  Nicholas  Soussanin;  Baroness,  Wini- 
fred Bryson;  Baron,  Lucien  Prival. 

"A  MAN  OF  PEACE"— Warners.— Story  by 
Joseph  Jackson.  Directed  by  Bn-an  Foy.  Photog- 
raphy by  Ed.  B.  Dupar.  The  cast:  Jane,  Ann 
McKay;  Tom,  Hobart  Bosworth;  Trigger  Eye,  Charles 
Middleton. 

"AMAZING  VAGABOND,  THE"— FBO.— From 
the  story  by  Frank  Howard  Clark.  Continuity  by 
Frank  Howard  Clark.  Directed  by  Wallace  Fox. 
Photography  by  Virgil  Miller.  The  cast:  Jimmy 
Hobbs,  Bob  Steele;  Geo.  Hobbs,  Tom  Lingham;  Bill 
Wharton,  Jay  Morley;  Haywire,  Perry  Murdock;  Phil 
Dunning,  Lafe  McKee;  Alice  Dunning,  Thelma 
Daniels. 

"AVALANCHE" — Paramount. — ^From  the  story 
by  Zane  Grey.  Adapted  by  J.  Walter  Ruben  and  Sam 
Mintz.  Directed  by  Otto  Brower.  The  cast:  Jack 
Dunton,  Jack  Holt;  Kitly  Mains,  Doris  Hill;  Grace 
Stillwell,  Baclanova;  Verde,  John  Darrow;  Mr.  Mains, 
Guy  Oliver;  Jack  Dunton^(al  12),  Richard  Winslow. 

"AVENGING  RIDER,  THE"— FBO.— From  the 
story  "  Dancing  Hoofs"  by  Adelc  Buffington.  Adapt- 
ed by  Frank  Howard  Clark.  Directed  by  Wallace 
Fox.  The  cast:  Tom  Larkin,  Tom  Tyler;  Sally 
Sheridan,  Florence  Allen;  Frankie  Sheridan,  Frankie 
Darro;  Bob  Gordon,  Al  Ferguson;  Sheriff,  Bob  Flem- 
ing; Dancing  Professor,  Arthur  Thalasso. 

"A  WOMAN  OF  AFFAIRS"— M.-G.-M.— From 
the  story  by  Michael  Arlen.  Continuity  by  Bess 
Meredyth.  Directed  by  Clarence  Brown.  The  cast: 
Diana,  Greta  Garbo;  Neville,  John  Gilbert;  Hugh, 
Lewis  Stone;  David,  John  Mack  Brown;  Geoffrey, 
Douglas  Fairbanks,  Jr.;  Sir  Montague,  Hobart  Bos- 
worth; Conslance,  Dorothy  Sebastian. 

"BLACK  ACE.  THE"— Pathe.— From  the 
screen  play  by  Ford  I.  Beebe.  Scenario  by  Ford  I. 
Beebe.  Directed  by  Leo.  D.  Maloney.  Photography 
by  Edward  A.  Kull.  The  cast:  Dan  Stockton,  Don 
Coleman;  Dan  Stockton,  as  a  boy.  Billy  Butts;  Mary 
Evans,  Jeanette  Loff;  "Draw"  Evans,  J.  P.  McGowan; 
"Cherokee"  Kaul,  Noble  Johnson;  "Slim"  Brisco, 
William  Steele;  Ranger  Griggs,  Ben  Corbett;  SergearU 
McCann,  Edward  Jones. 

"CAVALIER.  THE "  —  Tiffany-Stahl.  —  From 
the  novel  "The  Black  Rider'.'  by  Max  Brand. 
Adapted  by 'Victor  Irvin.  Directed  by  Irvin  Willat. 
Photography  by  John  Stevens  and  Harry  Cooper. 
The  cast:  El  Cabellero,  Richard  Talmadge;  Taki, 
Richard  Talmadge;  Lucia  D'Arquisla,  Barbara  Bed- 
ford; Her  Aunt,  Nora  Cecil;  Ramon  Torreno,  David 
Torrence;  Carlos  Torreno,  David  Mir;  Sergeant  Juan 
Dinero,  Stuart  Holmes;  Pierre  Gaston,  Christian 
Frank;  The  Padre,  Oliver  Eckhardt. 

"CITY  OF  PURPLE  DREAMS,  THE"— Ray- 
art. — From  the  story  by  Edwin  Baird.  Adapted  by 
George  Pyper.  Directed  by  Duke  Worne.  Photog- 
raphy bv  Walter  Griffin.  The  cast:  Esther  Strom, 
Barbara'  Bedford;  Daniel  Randolph,  Robert  Frazer; 
Symington  Otis,  David  Torrence;  Kathleen  Otis, 
Jacqueline  Gadsdon;  "Slug"  Nikolay,  Paul  Panzer; 
Kelly,  Jack  CarUsle;  Quigg,  Henry  Roquemore. 

"DRIFTWOOD" — Columbia. — From  the  story 
by  Richard  Harding  Davis.  Adapted  by  Lillie  Hay- 
ward.  Directed  by  Christy  Cabanne.  Photography 
by  Joe  Walker.  A.  S.  C.  The  cast:  Jim  Curtis,  Don 
Alvarado;  Daisy  Smith,  Marceline  Day;  Johnson, 
Alan  Roscoe;  Barlow,  J.  W.  Johnston;  "Doc"  Prouty, 
Fred  Holmes;  Lola,  Fritzi  Brunette;  Mrs.  Prouty, 
Nora  Cecil ;  Johnson's  Henchman,  Joe  Mack. 

"GERALDINE" — Pathe.— From  the  story  by 
Booth  Tarkington.  Adapted  by  Carey  Wilson. 
Directed  by  Melville  Brown.  Photography  by  Dave 
Abel.  The  cast:  Geraldine,  Marion  Nixon;  Eddie, 
Eddie  Quillan;  Mr.  Wygate,  Albert  Gran;  Bell 
Cameron,  Gaston  Glass. 

"HARVEST  OF  HATE,  THE"— Universal.— 
From  the  story  by  William  Lord  Wright  and  George 
Plympton.  Directed  by  Henry  MacRae.  Photog- 
raphy by  George  Robinson.  The  cast:  Rex,  Rex; 
Jack  Merritt,  Jack  Perrin;  M'argie  Smith,  Helen 
Foster;  Martin  Trask,  Tom  London;  Starlight,  Star- 
light. 

"HEAD  OF  THE  FAMILY,  THE"— Gotham.— 
From  the  story  by  George  Randolph  Chester. 
Scenario  by  Peter  Milne.  Directed  by  Joseph  C. 
Boyle.  The  cast:  Bill  Moran,  William  Russell; 
Michael  Dennis  O'Sliaughnessy,  Mickey  Bennett; 
Alice  Sullivan,  Virginia  Lee  Corbin;  Charley  Sullivan, 
Richard  Walling;  Mabel  Manning,  Alma  Bennett; 
Daniel  Sullivan,  William  J.  Welsh;  Maggie  Sullivan, 
Aggie  Herring. 


"KING  COWBOY"— FBO.— From  the  story  by 
S.  E.  V.  Taylor.  Continuity  by  Frank  Howard  Clark. 
Directed  by  Robert  DeLacy.  Photography  by 
Norman  DeVol.  The  cast:  Tex  Rogers,  Tom  Mix; 
Polly  Randall,  Sally  Blane;  Ralph  Bennett,  Lou 
Meehan;  "Shorty"  Sims,  Barney  Furey;  Abdul  El 
Hassan,  Frank  Leigh;  Ben  Suliman  AH,  Wynn  Mace; 
Jim  Randall,  Robert  Fleming. 

"KING  OF  THE  RODEO  "—Universal.— From 
the  story  by  B.  M.  Bower.  Adapted  by  George 
Morgan.  Directed  by  Henry  MacRae.  The  cast: 
Montana  Kid,  Hoot  Gibson;  Dulcie  Harlan,  Kathrj'n 
Crawford;  Chip,  Sr.,  Charles  K.  French;  Mother, 
Bodil  Rosing;  J.  G.,  Harry  Todd •  Haj-/aJ!,  Joseph  W. 
Girard;  Slim,  Slim  Summerville;  Shorty,  Jack  Knapp; 
Weasel,  Monte  Montague. 

"LEGEND  OF  GOSTA  BERLING,  THE"— 
Swedish  Biograph. — From  the  story  by  Selma 
Lagerlof.  Directed  by  Mauritz  Stiller.  The  cast: 
Countess  Elizabeth  Dohna,  Greta  Garbo;  Costa  Berling. 
Lars  Hanson;  Countess  Martha  Dohna,  Ellen  Ceder- 
stron;  Ebba  Dohna,  Mona  Martennson;  Marianne 
Sinclaire,  Jenny  Hasselquist;  Mrs.  Gustafa  Sinclaire, 
Karin  Svanstrom;  Squiress  Marjaretha  Somelius, 
Gerda  Lundequist-  Count  Henrik  Dohna,  Torsten 
Kammeren;  Capt.  Christian  Berg,  Svend  Tornbech. 

"MAKING  THE  VARSITY  "—Excellent.— 
From  the  story  by  Elsie  Werner  and  Bennett  South- 
ard. Directed  by  Chff  Wheeler.  Photography  by 
Edward  Kull.  The  cast:  Ed  Ellsworth,  Rex  Lease; 
Wally  Ellsworth,  Arthur  Rankin;  Estelle  Carter, 
Gladys  Hulette;  Mrs.  Ellsworth,  Edith  Yorke;  Gladys 
Fogarty,  Florence  Dudley;  Jerry  Fogarty,  Carl  Miller; 
Cridlcy,  James  Latta. 

" NAPOLEON'S  BARBER"  —  Fox-Movietone. 
• — From  the  story  by  Arthur  Caesar.  Scenario  by  Ben 
Holmes.  Directed  by  John  Ford.  Photography  by 
Joseph  August.  The  cast:  A^o^o/eo«,  Otto  Matiesen; 
Empress  Josephine,  Natalie  Golitzin;  Napoleon's 
Barber,  Frank  Reicher;  Barber's  Wife,  Helen  Ware; 
Barber's  Son,  Philippe  de  Lacy;  Tailor,  D'Arcy 
Corrigan;  Blacksmith,  Rus  Powell;  Peasant,  Michael 
Mark;  French  Officer,  Buddy  Roosevelt;  French 
Officer,  Ervin  Renard;  French  Officer,  Y.  Troubetsky; 
French  Officer,  Joe  Waddell;  Soldier  Bit,  Henry 
Herbert. 

"NAUGHTY  BABY"— First  National.— From 
the  story  by  Charles  Beahan  and  Garrett  Fort. 
Scenario  by  Tom  Geraghty.  Directed  by  Mervyn 
LeRoy.  The  cast:  Rosalind  McCill,  Alice  White; 
Terry  Vandeveer,  Jack  Mulhall;  Bonnie  Le  Vonne 
Thelma  Todd;  Polly,  Doris  Dawson;  Terry's  Pal, 
James  Ford;  Goldie  Torres,  Natalie  Joyce;  Bonnie's 
Pal,  Frances  Hamilton;  Dugan,  Fred  Kelsey;  Madame 
Fleurette,  Rose  Dione;  Mary  Ellen  Toolen,  Fanny 
Midgley;  Benny  Uzzy)  Cohen,  Benny  Rubin;  Joe 
Cassidy,  Andy  Devine;  Tonny  Caponi,  Georgie  Stone; 
Terry's  Valet,  Raymond  Turner;  Toolen,  Larry 
Banthim. 

"ON  TRIAL" — ^Warner-Vitaphone. — From  the 
stage  play  by  Elmer  Rice.  Scenario  by  Robert  Lord. 
Directed  by  Archie  Mayo.  The  cast:.  Joan  Trask, 
Pauline  Frederick;  Robert  Strickland,  Bert  Lytell; 
May  Strickland,  Lois  Wilson;  Gerald  Trask,  Holmes 
Herbert;  .Arbuckle,  Defense  Attorney,  Jason  Robards; 
Gray,  Prosecuting  Attorney,  Richard  Tucker;  Stanley 
Glover,  Johnnie  Arthur;  Doris  Strickland,  Vondell 
Darr;  Ttirnbull,  Franklin  Pangborn;  Judge,  Edmund 
Breese;  Dr.  Morgan,  Edward  Martindel;  Clerk,  Fred 
Kelsey. 

"OUTCAST " — First  National. — From'the  stage 
play  by  Hubert  Henry  Davies.  Adapted  by  Agnes 
Christine  Johnston.  Directed  by  William  A.  Seiter. 
The  cast:  Miriam,  Corinne  Griffith;  Tony.  James 
Ford;  G(;o#i-fy,  Edmund  Lowe;  Hugh,  Huntly  Gordon; 
Valentine,  Kathryn  Carver;  Mable,  Louise  Fazenda; 
Moreland,  Claude  King;  Jack,  Sam  Hardy;  Mrs. 
O'Brien,  Patsy  O' Byrne;  Fred,  Lee  Moran. 

"POWER  OF  THE  PRESS,  THE"— Columbli. 
— From  the  story  by  Frederick  A.  Thompson. 
Adapted  by  Sonya  Levien.  Directed  by  Frank 
Capra.  Photography  by  Chet  Lyons.  The  cast: 
Clem  Rogers,  Douglas  Fairbanks,  Jr.;  Jane  A  twill, 
Jobyna  Ralston;  Marie,  Mildred  Harris;  Blake,  Philo 
McCullough;  Van,  Wheeler  Oakman;  City  Editor, 
Robert  Edeson;  Mr.  Atwill,  Edwards  Davis;  Johnson, 
Del  Henderson;  District  Attorney,  Charles  Clary. 

"QUEEN  OF  BURLESQUE"— Tiffany-Stahl. 
— From  the  story  by  H.  R.  Durant.  Adapted  by  Lois 
Leeson.  Directed  by  Albert  Ray.  Photography  by 
Ernest  Miller.  The  cast:  Molly  Wilson,  Belle 
Bennett;  Jim  Wilson,  Joe  E.  Brown;  Peggy  Lamer, 
Alberta  Vaughn;  Dan  Kingsley,  Charles  Byer. 

"RED  MARK,  THE"— Pathe.— From  the  story 
by  John  Russell.  Adapted  by  Juhen  Josephson. 
Directed  by  James  Cruze.  Photography  by  Ira 
Morgan.  The  cast:  Zelie,  Nena  Quartaro;  Bibi-Ri, 
Gaston  Glass;  De  Nou,  Gustav  Von  Seyflertitz; 
Mother  Caron,  Rose  Dione;  Papa  Caron,  Luke  Cos- 
grave;  Sergeo,  Eugene  Pallette;  Bombiste,  Jack  Roper; 
Lame  Priest,  Charles  Dervis. 


Brery  adrertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


"RED  WINE"— Fox.— From  the  story  by  Ray- 
mond Cannon.  Scenario  by  Andrew  B.  Bennison. 
Directed  by  Raymond  Cannon.  The  cast:  Alice 
Cook.  June  Colh'cr;  Charles  H.  Cook,  Conrad  Nagcl; 
Jack  Brown.  Artliur  Stone;  Miss  Scott,  Sharon  Lynn; 
Jack's  First  Friend,  E.  Allvn  Warren;  Jack's  Second 
Friend,  Ernest  Hilliard;  Jack's  Third  Friend,  Ernest 
Wood;  Jack's  Fourth  Friend,  Marshal  Babe  Ruth; 
Stenographer,  Dixie  Gay. 

"RILEY  THE  COP"— Fox.— From  the  story  by 
James  Gruen  and  Fred  Stanley.  Scenario  by  James 
Gruen  and  Fred  Stanley.  Directed  by  John  Ford. 
Pliotography  by  Charles  Clarke.  The  cast:  James 
Riley  (the  Cop),  Farrell  Macdonald;  Lena  Kraus- 
meyer,  lx)uisc  Fazenda;  Mary  Coronelli,  Nancy 
Drexel;  Joe  Smith,  David  Rollins;  Hans  Krausmeyer, 
Harry  Schultz;  Caroline.  Mildred  Boyd;  Julius 
Kuchendorf,  Ferdinand  Schumann  Heink;  Sergeant  of 
Police.  Tom  Wilson;  Judge  Coronelli,  Del  Henderson; 
Mr.  Kuchendcxrf.  Russtll  Powell;  Munich  Cab  Driver, 
Otto  H.  Fries;  Paris  Cab  Driver,  Billy  Bevan;  Crook, 
Mike  Donlin. 

"ROMANCE  OF  THE  UNDERWORLD"— 

Fox. — From  the  stage  play  by  Paul  Armstrong. 
Adapted  by  Sidney  Lanfield  and  Douglas  Doty. 
Directed  by  Irving  Cummings.  Photography  by 
Conrad  Wells.  The  cast :  Judith  Andrews.  Mary 
Astor;  Derby  Dan  Manning,  Ben  Bard;  Edii'in  Burke, 
Robert  Elliott;  Stephen  Ransome.  John  Boles;  Cham- 
pagne Joe.  Oscar  Apfel;  Blondy  Nell,  Helen  Lynch; 
Asa  Jenks.  William  H.  Tooker. 

"SCARLET  SEAS '—First  National.— From 
the  story  by  W.  Scott  Darling.  Scenario  by  Bradley 
King.  Directed  by  John  Francis  Dillon.  The  cast: 
Donkiyi.  Richard  Barthelmess;  Rose,  Betty  Compson; 
Margaret,  Loretta  Young;  Johnson.  James  Bradbury, 
Sr.;  Toomey.  Jack  Curtis;  Capi.  Barbour,  Knute 
Erickson. 

"SHAKEDOWN.  THE"  —  Universal.  —  From 
the  story  by  Charles  A.  Logue.  Adapted  by  Charles 
A.  Logue.  Directed  by  William  Wyler.  The  cast: 
Marjorie.  Barbara  Kent;  Dave  Hall,  James  Murray; 
Bouncer.  Harry  Gribbon;  Manager,  Wheeler  Oak- 
man:  Salesman.  Jack  Raymond;  Clem,  Jackie  Hanlon; 
Battling  Roff,  George  Kosaraaros. 

■  SILENT     SHELDON  "— Rayart.— From     the 

story  by  Pierre  Conderc.  Continuity  by  Pierre 
Conderc.  Directed  by  Harry  Webb.  Photography 
by  William  Thornly.  The  cast:  Jack  Sheldon,  Jack 
Perrin;  Ivory,  his  Valet.  Martin  Turner;  Rex.  his  Dog, 
By  Himself;  Starlight,  his  Horse,  by  Himself;  Mary 
Watkins,  Josephine  Hill;  Her  Father.  Whitehorse; 
Bill  Fadden,  Leonard  Chaplan;  Joe  Phillips,  Lew 
Meehan;  The  Sheriff.  Robert  MacFarland. 


"SINNERS"  PARADE"— Coli;mbia.— From  the 
story  by  David  Lewis.  Adapted  by  Beatrice  Van. 
Directed  by  John  G.  Adolfi.  Photography  by  James 
Van  Trees.  The  cast:  .4/  Morton,  Victor  Varconi; 
Mary  Tracy,  Dorothy  Revier;  Bill  Adams,  John 
Patrick;  Connie  Adams,  Edna  Marion;  Sadie,  Mar- 
jorie Bonner;  Mrs.  Adams,  Clarissa  Selwynnc; 
Chauffeur,  Jack  Mower. 

"SINS  OF  THE  FATHERS"— Par  amount.— 
From  the  story  by  Norman  Burnstine.  Adapted  by 
E.  Lloyd  Sheldon.  Directed  by  Ludwig  Berger.  The 
cast:  Wilhelm  Spengler,  Emil  Jannings;  Gretla.  Ruth 
Chatterton;  Totn  Spengler,  Barry  Norton;  Mary 
Spengler.  Jean  Arthur;  Otto.  Jack  Luden;  Mother 
Spengler.  ZaSu  Pitts;  Bill,  Matthew  Betz;  The  HtRh- 
Jacker,  Harry  Cording;  The  Count,  Arthur  Housman; 
The  Eye  Specialist,  Frank  Reicher. 

"SIOUX  BLOOD"— M.-G.-M.— From  the  story 
by  Houston  Branch  and  Harry  Sinclair  Drago. 
Scenario  by  George  C.  Hull.  Directed  bv  John 
Waters.  The  cast:  Flood,  Tim  McCoy;  IVhite  Eagle. 
Robert  Frazer;  Barbara  Ingram,  Marion  Douglas;  Mr. 
Ingram.  Clarence  Geldert;  Crazy  Wolf,  Chief  Big 
Tree;  Cheyenne  Jones,  Sidney  Bracy. 

"SOMEONE  TO  LOVE"— Paramount.— From 
the  story  by  Alice  Duer  Miller.  Adapted  by  Ray 
Harris.  Directed  by  F.  Richard  Jones.  The  cast: 
William  Shelby.  Charles  Buddy  Rogers;  Joan  Ken- 
dricks.  Mary  Brian;  Aubrey  Weems.  William  Austin; 
Michael  Casey.  Jack  Oakie;  Mr.  Kendricks.  James 
Kirkwood;  Miss  Hayes,  Mary  Alden;  Sim?nons, 
Frank  Reicher. 

"SOUTH  OF  PANAMA"  —  Chesterfield.  — 
From  the  ston,'  by  L.  A.  Young.  Adapted  bv  Arthur 
Hoerl.  Directed  by  Bernard  F.  McEveety.  The 
cast:  Carmelita.  Carmelita  Geraghty;  Emilio  Cer- 
vaTites.  Edouardo  Raquello;  Dick  Lewis.  Lewis 
Sargent;  ".4c*'"  Carney,  Philo  McCullough;  "Palsy." 
Marie  Messinger;  "Red"  Hearn,  Henry  Arras; 
Presidenle  Laredon.  Carlton  King;  Garcia,  Joe  Burke; 
Capt.  of  Guard,  Fred  Walton. 

"VIKING.  THE"  —  Technicolor-M.-G.-M.  — 
From  the  novel  "The  Thrall  of  Leif  the  Lucky"  by 
Ottilie  A.  Liljencrantz.  Scenario  by  Jack  Cunning- 
ham. Directed  by  R.  William  Neill.  Photography 
by  George  Cave.  The  cast:  Leif  Ericsson,  Donald 
Crisp;  Helga,  Pauline  Starke:  Ahvin.  Le  Roy  Mason; 
Eric  the  Red.  Anders  .Randolf;  5(gwrd,|  Richard  Alex- 
ander; Egil.  Harr>'  Lewis  Woods;  Kark,  Albert 
MacQuarrie;  King  Olaf,  Roy  Stewart;  Odd,  Torben 
Meyer;  Lady  Editha,  Claire  McDowell;  Thorhild. 
Julia  Swayne  Gordon. 


Brickbats  and  Bouquets 


I  COXTIXUED  FROM  PACE  8  ] 


The  Weighty  Question 

Omaha,  Neb. 
In  reference  to  Lucile  Boyd's  letter  which 
appeared  in  the  November  Photoplay:  She 
tells  the  whole  world  that  she  thinks  the  stars 
should  put  on  some  weight.  I  agree  with  her — 
almost.  She  gave  Molly  O'Day  as  an  example. 
Miss  O'Day  has  always  been  one  of  my 
favorite  stars,  but  I'll  have  to  admit  that  she 
was  much  too  hefty  in  her  latest  picture.  Her 
sister,  Sally  O'Neil  is  too  thin.  Two  stars  who 
are  just  about  right  are  Renee  Adoree  and 
Clara  Bow.  Billie  Dove  is  the  most  beautiful 
girl  on  the  screen,  but  she  is  also  a  little  too 
thin.  Ruth  Taylor  is  absolutely  scrawny, 
and  I  can't  stand  her.  From  my  experience,  I 
find  men  prefer  a  girl  who  is  at  least  pleasantly 
plump.  Georgiaxa  Rjbal. 

Those  "Cinema  Art"  Theaters 

Philadelphia,  Penna. 

Recently  there  opened  in  this  city,  one  of  the 
Motion  Picture  Guild's  Little  Theaters,  cater- 
ing to  the  "minority  taste."  Its  first  picture 
was  "Siegfried."  The  local  critics  praised  it 
to  the  sky.  It  was  with  the  anticipation  of 
viewing  a  wonderful  picture  that  I  went  to  see 
it.  But  as  the  picture  unfolded,  I  reaUzed  that 
I  had  been  fooled.  The  beautiful  sets  were 
made  ugly  by  crude  lighting  and  mediocre 
acting.  If  this  is  beauty  and  art,  give  me  the 
American  films  with  all  their  gaudiness.  They 
may  be  full  of  gilt  bathrooms  and  beautiful 
but  dumb  stars,  but  nine-tenths  of  them  are 
better  than  these  so-called  artistic  films. 

The  Little  Theater  offers,  as  coming  attrac- 
tions, such  films  as  Xazimova  in   "Salome," 


which  I  saw  at  a  cheap  nickelodeon  about  seven 
years  ago,  and  Emil  Jannings  in  "Tartuffe," 
which  was  severely  criticized  by  Photoplay 
several  months  ago. 

Let  the  Motion  Picture  Guild  continue  its 
work  of  "saving"  the  movies,  but  give  me 
Photoplay's  "Six  Best  of  the  Month"  and 
I  shall  not  want  for  finer  or  better  entertain- 
ment. W.  W.  S. 

Harsh  Words  for  Von 

Salem,  Oregon. 
After  witnessing  "The  Wedding  March" — 
"Sole  Creation  of  Eric  vonStroheim" — I  must 
say,  if  this  is  Art,  I'm  Conrad  Nagel.  E.xactly 
what  is  supposed  to  be  the  "message"  of  such 
nauseous  slush?  One  would  think  it  must  have 
been  penned  by  Jim  Tully;  but  no,  the  noble 
Von  takes  sole  credit.  It  is  an  insult  to  the 
intelligence  of  any  decent  person  to  have  been 
inveigled  into  paying  fifty  cents  for  the  privi- 
lege of  spending' two  hours  in  a  theater  where 
such  an  orgy  of  bestiahty  is  presented. 

Mrs.  S.  L.  Peters. 

The  Demon  "Kiddie" 

Los  Angeles,  Calif. 
Judging  from  all  indications,  as  proffered  by 
current  screen  productions,  that  pest  of  all 
modern  entertainment — the  Kiddie — is  still 
with  us.  We  go  to  a  movie  at  night  seeking 
relaxation  and  find  ourselves  face  to  face  with 
a  Kiddie  Revue!  And  what  artificial  lumps 
of  humanity  these  kiddies  are,  with  their 
skinny  shanks  and  frizzled  heads.  What  shrill, 
piping  little  voices!  Can't  something  be  done 
to  those  females  who  push  their  child  prodigies 
into  the  limelight?  Mrs.  R.  C.  Fisher. 


BUY 

CHRISTMAS 

SEALS 

"W70ULD  you  buy  Christ- 
^^  mas  Seals  if  you  knew 
they  had  helped  to  reduce  the 
tuberculosis  death-rate?  In 
the  past  twenty  years  the 
death-rate  has  been  cut  in 
half — a  saving  of  more  than 
125,000  lives  in  the  year 
1928  alone. 

"Buy  Christmas  Seals,"  for 
they  are  fighting  tuberculosis 
every  day  of  the  year. 

Christmas  Seals  give  pro- 
tection to  your  friends,  to 
your   family  —  and   to   you! 

The  National,  State,  and  Local  Tuberculoeis 
Asaociationa  of  the  United  States 


Kissable 

Jjps 


Lips  that   tantalize  ran  be  yours  in  two  months,      Pertertly  shaped 
d   without  cost  or  diHcomfort.       M.   Trilety's  new  lipshnper  hns  b'ca 
UAod  with  miraculous  ro.xulte,  bjr  thouBAnde  of  men,    women    and  (iris. 
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When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


126 


Photoplay  Magazine — Advertising  Section 


^  this  he  Topical  American  Girl  i 


? 


SMART  Set  is  trying  to  find  the  girl  who  has 
all  the  characteristics  which  justify 
her  to  be  known  as  the  Typical  American 
Girl. 

What  are  these  characteristics?  You 
American  girls — tell  us  the  requirements 
necessary  for  a  girl  to  be  typical  of  your  sex. 


The  only  conditions  are  that  she  be  between 
the  ages  of  18  to  30  and  unmarried. 

Smart  Set  will  pay  $100  in  cash  prizes 
for  the  best  written  descriptions  of  the  Typical 
American  Girl.  Just  a  letter  will  do.  It  is 
not  a  beauty  contest.  Full  details  are 
printed  in  Smart  Set. 


Start  Reading  SMART  SET  Now 

The  Smart  Young  Woman^s  Magazine 


EVERY  girl  wants  personality, 
beauty  and  popularity.  Every 
girl  wants  a  successful  career  and  a 
successful  marriage.  Smart  Set  helps 
her  attain  these. 

In  Smart  Set — famous  beauties  tell 
you  their  beauty  secrets  .  .  .  mem- 
bers of  the  "400"  tell  you  how  to  ac- 
quire the  social  graces  .  .  .  famous 
personalities  tell  you  how  to  acquire 
personality  and  popularity  ....  famous 
authorities  tell  you  how  to  be  happy  in 
love  and  marriage  .  .  .  outstanding 
successful  women  tell  you  how  to 
succeed  in  your  career.    And  you  are 


also  shown  the  newest  fads  and  fash- 
ions purchasable  in  the  smart  shops 
of  your  own  town. 

In  addition  to  these  and  numerous 
other  helpful  features,  Smart  Set 
prints  a  wealth  of  fascinating,  clean, 
wholesome  fiction. 

You  will  be  delighted  with  Smart 
Set.    Start  reading  it  today. 


January 


Smart  Set 

for  the  smart  young  woman 

OUT  Now 


Every  advertisement  in  PHOTOPLAT  MAGAZINE  la  guaranteed. 


METRO-Goldwyn-Mayer  gave  you 
"THE  Big  Parade"  and  "Ben-Hur." 
NOW  comes  the  mightiest  of  all! 
THE  greatest  romance  of  all  time 
GET  ready  for  your  biggest  thrill! 
THE  Epic  of  the  Klondike  Gold  Rush! 

SOUND  OR  SILENT 

If  your  theatre  is  equipped  for  Sound 

Pictures,  you  can  hear  "The  Trail  of 

'98"  in  Metro  Movietone. 


METRO-GOLDW 


^:^j^Jt^'' 


I 


/■■% 


CLARENCE  BROWN'S 

Production  based 
on  the  norel  by 

Robert  W.  Service 

Tt'ilh 

DOLORES    DEL  RIO 

RALPH  FORBES 

atid 
KARL   DANE 


Adaptation  by  Benjamin  GlaZBT 

Continuity  by  Benjamin  Glazer  and. 

Waldemar  Young 

Titles  by  Joe  Farnham 

Directed  by  Clarence  Brown 


^ta. 


Fighting   the  perilous  White  Horse 

Rapids    is    the  biggest    thrill    you've 

ever  had. 


The  desperate  struggle  to  cross  the 

Chilkoot  pass  is  shown  vividly  together 

vtrith  the  gigantic  snow  slide  engulfing 

hundreds! 


y 


The  burning  of  Dawson  City,  the 
screen's  greatest  spectacle  to  date! 


AYER 


"More   stars   than   there   are   in 


Heaven" 


\¥ill  it  fade  ?      Will  it  shrink  ? 


Let  the  saleswcmaii  in  the  smart 
shcp  tell  yen  Tvhy  this  care  is  safe 


Whenever  you  buy  anything  especially 
delicate  or  costly — a  piece  of  cobwebby 
lingerie,  or  a  gay,  fine  sweater — ask  the 
saleswoman  how  to  iiash  it. 

The  two  important  precautions  she 
will  advise  are  these:  "Use  lukewarm 
water"  and  "Use  Ivory  Soap."  (Among 
thousands  of  salespeople  and  buyers  in 
leading  shops  of  30  cities,  unprejudiced 
inquiry  reveals  that  Ivory  is  outstand- 
ingly first  choice  by  far  as  the  safest 
soap  for  silks  and  woolens.) 

Let  several  examples  of  actual  recom- 
mendations given  recently  to  customers 
in  hundreds  of  the  finest  and  largest 


stores  of  the  country  tell  you  why  sales- 
people everywhere  advise  Ivory: 

Their  own  words 

For  silk  underwear:  "Use  Ivory  Flakes. 
It  is  very  mild  and  won't  fade  the  gar- 
ment. Unfortunately  some  other  soaps 
cut  and  rot  silk  in  time."  {Chicago — a 
leading  department  store) 

For  printed  frocks:  "Ivory  is  the 
purest  soap  you  can  buy  and  if  I  were 
you,  I  shouldn't  take  a  chance  with 
anything  else."  (Boston) 

For  fragile  sweaters:"  Ivory  is  so  mild 
it    cannot  harm   fabrics."    {New  York) 


Naturally  a  soap  that  is  used  to  bathe 
tiny  babies  in  leading  hospitals  is  extra 
safe  for  fine  silks  and  woolens  .  .  .  So — • 
unless  a  fabric  will  run  or  shrink  in  pure 
water  alone,  salespeople  say  with  con- 
fidence, "You  can  wash  it  safely  with 

°'"^'  PROCTER  &  GAMBLE 

FREE  !  A  little  book  "Thistledown 
Treasures — their  selection  and  care, "  an- 
swers such  questions  as:  Can  it  be  washed? 
Will  it  shrink?  AVill  it  fade?  How  can  I 
whiten  yellowed  silk  and  wool?  Simply  send 
a  post  card  to  Winifred  S.  Carter,  Dept. 
VV-19,  P.  O.  Box  1801,  Cincinnati,  Ohio. 


Among  salespeople  in  the  finest 
stores  of  30  leading  cities.  Ivory 
is  overwhelmingly  first  choice  as 
the  safest  soap  for  fine  silks 
and  woolens. 


IVORY 


qg^Vioo  %    pu RE 


C  1929.  p.  &  G.  Co. 


KIND     TO     EVERYTHING     IT    TOUCHES 


'■Ihe  ISlational  (^titde  to  Kjviotton  'ftctures 


hat  Are  Your  Cg 

This  Cover  Drawing  is  a 
Color  Chart  For  Clothes 

See  Page  42 


"Going  Hollywood"- M^^ 

The  Town  Does  To  People 


a 


©1929,  C.C.Co. 


What  is  the  difference  between  Baby  Ruth 
and  candy  costing  a  dollar  a  pound?  It 
isn't  in  quality;  it  isn't  in  purity;  it  isn't 
in  taste.  For  in  Baby  Ruth  you  will  enjoy 
the  purest  chocolate  from  sunny  tropical 
plantations ;  the  sweetest  golden  nuts, 
hand-picked  for  plump- 
ness; and  like  delicacies 
combined  in  rare  flavor. 


In  this  convenient  individual 
packet,  or  the  one  pound 
Family  Box  for  home  use 


One  great  difference  is  that  there  are  no 
gilt  ribbons,  no  fancy  boxes.  That  is  one 
reason  why  we  can  make  Baby  Ruth  so 
generously  good  for  only  5c.  So  if  you  buy 
candy  for  its  delicious,  tempting  refresh- 
ment, join  the  millions  who  daily  prefer 


CURTISS 

CANDY    COMPANY.    CHICAGO 

OTTO  SCHNERING,  President 


Baby  Ruth  to  all  other  can- 
dies. Eatitasitisorsliced. 
Treat  yourself  today! 


Photoplay  Magazine — Advertising  Section 


Vink 
Tooth  Brush  ? 


A  LITTLE  tinge  of  "pink"  upon  a 
tooth  brush  may  be  a  trivial  and 
unimportant  thing.  But  more  hkely  it 
is  a  pretty  broad  hint  that  somewhere 
in  your  gum  wall  is  a  tender,  spongy 
spot  ,  .  .  one  which  you  can  quickly 
restore  to  normal  with  Ipana  and  mas- 
sage ...  or  one  which,  if  negleaed, 
could  easily  result  in  more  serious  and 
more  stubborn  troubles. 

*  *  * 
One  great  element  present  in  the  lives 
of  all  of  us  is  having  a  bad  effect  upon 
our  gums.  It  is  this  soft  modern  food 
we  eat,  fibreless,  robbed  of  roughage, 
creamy,  and  all  too  easy  to  eat. 


ever  neai 

Start  with  Ipana 


today! 


When 


It  does  not  give  to  the  gums  the 
stimulation  they  need  to  remain  in 
health.  It  causes  them  to  grow  flabby 
and  soft  ...  to  bleed  easily. 

How  Ipana  and  Massage 
restore  the  gums  to  health 

In  half  a  minute,  every  time  you  brush 
your  teeth,  you  can  remedy  the  damage 
that  your  all  too  soft  diet  is  doing  to 
your  gums. 

For  a  light  massage  with  the  finger  or 
the  brush  will  restore  to  your  gums  the 
stimulation  which  they  need  so  much. 
Thousands  of  dentists  recommend  it, 
for  they  know  the  good  it  does. 

Thousands  of  them,  too,  recommend 
that  the  massage  be  effected  with  Ipana 
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content  of  ziratol  (a  recognized  anti- 
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as  important  as  the  massage.  It  will 
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The  coupon  oflfers  a  10-day  sample, 
gladly  sent.  But  the  better  way  is  to  get  a 
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today.  Start  to  use  it  tonight.  Brush 
your  teeth  and  gums  with  it,  faithfully, 
twice  a  day,  for  one  month. 

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pleasant  dentifrice  —  more  than  a  good 
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will  come  a  sense  of  oral  cleanliness 
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75  West  Street.  New  York.  N.  Y. 

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PASTE.  Enclosed  is  a  two-cent  stamp  to  cover  partly 
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Addrtsi- 


City. 


^  .^.:^-*i--rvrM*r'jvrKE«^%j^t^  i^  ?^  r 


.  Stau 


61929 


4 


Photoplay  Magazine — Advertising  Section 


PARAMOUNT 

takes  an  easy  lead 
ill  talking  pictures" 


"THE  CANARY 
MURDER  CASE" 


Short  Fea- 
turesProgram 
consists  of  13 
Paramount- 
Christie  short 
plays,  28 
Paramount 


"INTER- 
FERENCE' 


^    So    stated   the    New  York 
Morning    "World"    on    the 
presentation  at  the  Criterion 
Theatre    of   "Interference", 
Paramount's  first  All-Talking 
Picture.  And  public  and  crit- 
ics from  coast 
to  coast  have 
echoed    and 
re-echoed 
Paramount's 
triumph    in 
this  new  form 

of  entertainment!  But  great 
as  "Interference"  is,  it  is  only 
a  hint  of  the  amazing  Para- 
mount Talking  Pictures  that 
are  coming  to  you.  ^  Between 
now  and  July  1,  1929,  Para- 
mount will  present  22  ALL- 
TALKING  Pictures  with  play- 
ers selected  from  the  cream 

of    Broadway 

talen  t    and 

Paramount's 

own    great 

stars.  In  every 

particular — 

in   story,    in 

casting,  and 
in  direction,  they  are  Para- 
mount—commanding   all    the  PAHAMOUNT  FAMOUS  LASKY  CORP.,  ADOLPH  ZUKOR,  PRES..  PARAMOUNT  BUILDING,  N.  Y.  C. 

Bveiy  advcrtisemcDt  in  rilOTorl.AY  MAGAZINE  Is  guaranteed. 


resources  of 
the  greatest 
organization 
in  motion  pic- 
tures. Today, 
as  for  16  years, 
only  Para- 
mount will  ever  surpass 
Paramount!  ^  In  addition. 
Paramount  presents  17  part 
talking,  singing  and  sound 
hits.  ^  Many  of  these  sound 
pictures  will 
have  "silent" 
versions  as 
well,  so  if  the 
theatre  you 
now  attend  is 
not  equipped 
for  sound, 
you  will  still  be  able  to  see  and 
enjoy  these  great  Paramount 
Pictures.     ^  Paramount's 


JEANNE 

EAGELS 

*THE  LETTER' 


Talking  and  Singing  Acts, 
and  Paramount  Sona 
Cartoons  and  "Famous  Com- 
posers" Series.  ^  Soon,  the 
news  reel  that  you  all  know 
as  the  best  and  most  timely 
will  be  in  sound,  and  when 
you  hear  Paramount  Sound 
News  you  will  realize  that 
here,  too.  Paramount  is  su- 
preme. ^  No  longer  do 
talking  pic- 
tures  attract 
on  novelty 
alone.  You 
demand  qual- 
ity and  Para- 
mount sup- 
plies it.  q  "If  it's  a  Para- 
mount  Picture  it's  the  best 
show  in  town  "! 


"ARIE'S  IRISH 
ROSE" 


"THE 
DOCTOR'S 
SECRET" 


zraramount 


The  World's   Leading   Motion   Picture   Publication 


FREDERICK    JAMES    SHITB 

HANAOINQ  EDIT08 


HARK   LAICKIN 

WBS'n-:RN    KIiITOR 


Contents 


M-  !  ■' 


Vol.  XXXV 


^JAMES  R.  Quirk 

=  LUlfG'R-'-A'NiEl-P'tJBLIbHLR    


For 

February 

1929 


No.  3 


=«&> 


The  Hiffh-Liffhts  of  This  Issue 


ign-i.ig 


Cover  Design  Charles  Sheldon 

Estelle  Taylor — Pjiinted  from  Life 
As  We  Go  to  Press  6 

Last  Minute  News  from  East  and  West 
Brief  Reviews  of  Current  Pictures  8 

A  Guide  to  Your  Evening's  Entertainment 
Brickbats  and  Bouquets  10 

The  Voice  of  the  Fan 

Sweets  for  Valentine's  Day  13 

Photoplay's  Cooli  Book  Tells  You  How  to  Prepare 
Them 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck     16 
Photoplay's  Personal  Service  Department 
Close-Ups  and  Long  Shots       James  R.  Quirk    27 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

Co-Stars  for  Life  29 

The  Scenario  of  the  Dolores  Costello-John  Barry- 
more  Romance 

Going  Hollywood  Ruth  Waterbury    30 

What  Happens  to  People  in  the  Land  of  the  Cinema 
Something  About  Myself 

As  told  to  Katherine  Albert    32 

Beginning  the  Life  Story  of  Nils  Asther 

The  Holy  Racketeers  Leonard  Hall    35 

A  Cross-Cut  Picture  of  the  Censorial  Mind 
The  Hot  Baby  of  Hollywood 

Katherine  Albert  36 

Otherwise  Lupe  Velez 
The  Studio  Murder  Mystery     The  Edingtons    38 

More  Confessions  in   this   Baffling   Murder   Serial. 
Photoplay  Offers  $3,000  for  Solutions  of  This  Crime 

What  Are  Your  Correct  Colors? 

Laurene  Hempstead     42 

The  First  of  a  Series  of  Articles  Telling  How  to  Add 
to  Your  Own  Good  Looks  Through  Correct  Use  of 
Colors 


The  Politest  Man  in  Hollywood  (Fiction  Story) 
Agnes  Christine  Johnston 

A  Different  Sort  of  Off-Screen  Romance  of  a  Screen 
Personality 

Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

Not  Like  Dad  Eloise  Bradley 

The  Story  of  Douglas  Fa'rbanks,  Jr.,  Is  One  of  Great 
Love  and  Little  Understanding 

The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

The  Stars'  Mad  Night  Life  Ruth  M.  Tildesley 

Expose  of  What  Goes  On  in  the  Gilded  Palaces  of 
Hollywood 

It  Gets  a  Guy  Sore  (Fiction  Story) 

Stewart  Robertson 

In  Which  Mr.  Guffey's  Dream  Girl  Castle  Tumbles 
Our  Own  Baby  Stars 

Photoplay  Picks  Its  1929  Celluloid  Prospects 

Diet  for  Health  and  Beauty 

Dr.  H.  B.  K.  Willis 

Have  You  a  Problem  of  Diet?     Let  Dr.  Willis  of 
Photoplay  Be  Your  Adviser 

Your  Clothes  Come  from  Hollywood 

Lois  Shirley 
The  Influence  of  the  Screen  Creations 

Speech  Is  Golden 

The  Talkies  Are  Bringing  Old  Favorites  Back 

Amateur  Movies 

Frederick  James  Smith 

Doings  of  the  Non-Professional  Cinematographers 

Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film 
Folk 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


44 


46 


50 


52 


64 


66 


68 


69 


70 


72 


74 


99 


134 


A  complete  list  of  all  photoplays   reviewed   in  the   Shadow   Stage  this   issue  will  be  found  on   page  14 


«4?= 


=<?» 


Published  monthly  by  the  Photoplay  Publishing  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 

The  International  Newa  Company.  Ltd..  Dlatrlbutlng  Agents,  5  Bream's  Building.  London.  Kngland 

James  R.  Quirk,  President  Robert  M.  Eastman,  Vice-President  Kathryn  Doui;iiekty.  Secretary  and  Treasurer 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies.  Mexico  and  Cuba:  $3.00  Canada:  $.3. .TO  to  foreicn  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-clasii  matter  April  24.  1912.  at  the  Postodlce  at  Chicago.  III.,  under  the  Act  or  March  3.  1879. 

Copyright.  1929.  by  the  Photoput  PnBLismNo  Company.  Chicago. 


As  We  Go  to  Press 


JOHN  GILBERT  will  continue  as  a  star 
for  M.-G.-M.  at  one  of  the  record  salaries 
of  Hollywood.  It's  said  to  be  more  than 
$15,000  per  week.  Gilbert's  re-signed 
despite  persistent  rumors  that  he  was  going 
to  shift  to  United  Artists.  Peace  has  been 
made  and  Gilbert,  now  at  work  on  an 
African  adventure  yam,  "Thirst,"  will 
continue  at  the  Culver  City  studios. 

MAX  REINHARDT,  the  famous  German 
stage  producer,  is  here,  to  direct 
Lillian  Gish  in  an  original  story  by  Hugo  von 
Hofmannsthal.  Max  goes  to  work  imme- 
diately on  the  United  Artists  lot. 

"TTELL'S  ANGELS,"  now  in  Millionaire 
-TXproducer  Howard  Hughes'  third  mil- 
lion, actually  is  nearing  completion  after  two 
years.  Hughes  is  reported  to  have  pur- 
chased the  screen  rights  to  the  successful 
Broadway  newspaper  play,  "The  Front 
Page,"  for  $125,000. 


NILS  ASTHER  is  that  way  about 
Mary  Nolan.  Their  engage- 
ment was  reported  once  before, 
when  Nils  first  came  over.  Asther's 
trip  to  Sweden  for  the  hoUdays  was 
postponed  because  of  an  attack 
of  flu. 

SANTA  CLAUS  brought  a  lot  of 
things  to  Baclanova.  First,  she 
is  being  starred  by  Paramount,  her 
initial  vehicle  being  a  100  per  cent 
talkie  called  "The  Woman  Who 
Needed  Killing."  Second,  her  di- 
vorce decree  became  final — and  she 
is  now  free  to  wed  Nicholas  Sous- 
sanin. 

GARY  COOPER  has  purchased  a 
dude  ranch  in  Montana.  He'll 
spend  his  vacations  there.  Imagine 
Lupe  Velez  on  a  ranch ! 

BETTY  BRONSON  has  been 
seen  places  with  Theodore 
Young,  a  handsome  South  American 
millionaire.  Since  she  rarely  goes 
out  unchaperoned,  this  looks  se- 
rious. 

BELLE  BENNETT  is  a  grand- 
mother— almost.    Her  adopted 
son  is  the  proud  father  of  a  baby  boy. 

TOM  MIX  is  at  work  on  his  last 
film  for  FBO.    He  then  goes  on  a 
ten  weeks  vaudeville  tour. 

JUST  as  Hollywood  was  whispering 
that  Lily  Damita's  contract  would 
not  be  renewed,  Sam  Goldwyn 
announced  the  signing  of  a  new  five- 
year  arrangement.  Sam  still  be- 
lieves in  the  silent  drama. 

EVAVON  BERNE  reached 
Vienna  in  time  to  sign  a  starring 
contract  for  UFA  at  1500  marks  a 
week.  Let's  see,  that's  about  $300 
a  week,  more  than  Hollywood  paid 
her. 

THE  gold  coast  main  stem,  Hol- 
lywood Boulevard,  had  150 
electrically  lighted  Christmas  trees 
for  the  holiday.    Cost :  $15,000. 

THEODORE  ROBERTS,  whom 
years  ago  Photoplay  chris- 
tened the  Duke  of  HoUywood  and 
the  Grand  Old  Man  of  the  Films, 


Last  Minute 

NEWS 

from 

East  and  West 


has  passed  on.  He  was  a  victim  of  the 
influenza  epidemic  which  has  been  sweep- 
ing the  coast.  He  had  just  finished 
his  first  talking  picture.  Roberts  was  a 
great  actor  and  a  splendid  character.  We 
shall  miss  him. 


POLA  NEGRI  has  a  new  European  pro- 
ducing company  headed  by  Edwin 
Miles  Fadman  and  Charles  Jourjon.  She 
will  make  two  films  a  year  and,  it  is  said, 
United  Artists  wiU  release  her  productions 
over  here. 

RELEASED  by  Paramount,  Dita  Parlo  is 
returning  to  Berlin. 

PLANS  for  the  production  of  "Evange- 
line" go  right  ahead,  despite  Dolores  del 
Rio's  prostration  at  the  death  of  her  divorced 
husband.  Director  Edwin  Carewe  an- 
nounces that  there  will  be  no  delays.  Alec 
B.  Francis  has  been  cast  for  the  role  of 
Father  Felician. 

AL  JOLSON'S  nejrt  is  to  be  called 
"Mammy."  Julian  Josephson,  who 
used  to  do  Charlie  Ray's  scripts,  is  writing 
the  continuity  and  dialogue. 


WHAT'STHIS?  "TheCommand 
to  Love,"  reported  to  have 
been  barred  by  Deacon  Hays,  is  to 
be  produced  by  WiUiam  Fox.  Barry 
Norton  will  play  the  young  diplomat 
whose  necking  is  all  done  for  his 
coimtry's  sake. 

CECIL  DE  MILLE  has  selected 
Carol  Lombard  for  a  leading  role 
in  his  first  M.-G.-M.  film,  "Dyna- 
mite." Miss  Lombard  is  a  graduate 
of  the  Mack  Sennett  forces.  Conrad 
Nagel  will  have  the  chief  male  role. 

HAROLD  LLOYD  has  selected 
Jean  Arthur  as  leading  woman 
in  his  new  talking  comedy,  "TNT." 

THE  holiday  studio  depression 
has  settled  upon  HoUywood. 
The  Warners  Studio  reopens  after 
the  New  Year. 

INA  CLAIRE  starts  work  on  her 
first  Pathe  talker,  "The  Infinite 
Variety,"  on  Feb.  1. 

\KJJLLUM   FOX   has  renewed 
V"  his  contract  with  June  Colly  er, 
who  spent  the  holidays  with  her 
parents  in  New  York. 

THE  Warners  have  signed  Betty 
Compson  for  the  leading  role  in 
an  all-talkie  version  of  "The  Time, 
The  Place  and  The  Girl." 

GARY  COOPER  is  in  the  cast  of 
Emil  Jannings'  new  film,  tem- 
porarily called,  "A  Tale  of  the 
Alps." 


P&A 


She  tried  to  tell  New  York  that  she  was 
Miss  Alice  Smith.  But  the  photog- 
raphers knew  better  and  snapped  this 
picture  of  Greta  Garbo  just  before  she 
sailed  for  Sweden.  Greta  bought  a  one- 
way ticket  and  a  non-return  passport, 
which  is  one  way  of  burning  up  her  public 


N 


ANCY   DREXEL  has  left  the 
Fox  forces  to  free  lance. 


PHYLLIS    HAVER    has    joined 
Metro-Goldwyn-Mayer,  shifting 
from  Pathe. 

HAVING  completed  Doug  Fair- 
banks' "The  Iron  Mask," 
Director  Allan  Dwan  is  planning  a 
vacation  in  Eiu'ope. 

BEBE  DANIELS,  having  severed 
her  long  arrangement  with 
Paramount,  has  not  yet  signed  with 
anyone.  "One  thing  is  certain," 
she  says,  "I  will  do  no  more  com- 
edies. It's  drama  for  me  in  the 
future." 


Photoplay  Magazine — Advkrtising  Section 


DoritRayMeaCent 
If  I  Carit  Give\&u 

a  Magnetic  Personality 

-5  Days  FREE  Proof! 

No  matter  how  lacking  you  are  in  marvelous   personal    force,   released 

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ter  how  colorless,  timid,  unsuccess-  amazingly   clear-as-crystal,   scientific 

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GUARANTEE  to  so  magnetize  your  lool^s.     More   valuable   than   money. 


personality  that  your  whole  life  will 
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I  can  give  you  poise  that  ban- 
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the  proof — absolutely 
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What  is  that  magnetic, 
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woman — forever,  irre- 
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stranpe,  never-failinp:  spark 
that  awakens  love?  What  is 
it,  in  man  or  woman,  that 
seems  to  draw  and  fascinate 
— the  hypnotic  power  that 
no  one  can  resist? 

You  have  it.  Everyone 
has  it.  But  do  you  use  itt 


For  without  it  a  salesman  is  banc 
cuffed !  Without  it  a  business  man 
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dience spellbound 
without  this  supreme- 
ly influential  magnetic 
force ! 

Personal  Magnet- 
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derful its  results !  No 
long  study  or  incon- 
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slightest  self  -  denial. 
Just  a  simple,  clear, 
age-old  principle  that 
taps  the  vast  thought 
and  power  resources 
within  you,  releases 
the  full  sweep  of  your 
magnetic  potentiali- 
ties and  makes  you 
almost  a  new  person 
from  what  you  were 


your  personality,  if  you  do  not  find    before ! 

yourself    making    new    friends    with         Personal    Magnetism   is   not   hypnotism. 

ease,  if  you  do  not  discover  yourself     Hypnotism  deadens^    Magnetism  awakens. 


uplifts.      Personal    Magnetism    is 

_    -  not  electricity.      It    is    like    electricity    in 

larity,  business  success  and  personal     one   way — wiiile   you   cannot   see  jt,   you 


already  on  the  way  to  social  popu- 


leadership — just  say  so!  Tell  me 
my  principle  of  personal  magnetism 
can't  do  every  single  thing  that  I 
said  it  would  do.  And  you  won't 
owe  me  one  penny ! 


can  observe  its  startling  effects.  For  the 
moment  you  release  your  Personal  Mag- 
netism }'OU  feel  a  new  surge  of  power 
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most overnight  the  confident,  dominant, 
successful  personality  you  were  intended 
to  be — so  fascinating  that  people  are  drawn 
to  you  as  irresistibly  as  steel  is  drawn 
to  a  magnet ! 


What  is  Personal  Magnetism? 

What  is  this  marvelous  force  that 
raises  the  sick  to  glowing,  vibrant 
health,  the  timid  to  a  new,  confident 
personality,  the  unsuccessful  to  po- 
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power  ? 

You  have  it — everyone  has  it — 
hut   not    one   person   in    a    thousand     gold  embossed.     Its  scope   is  as  broad  as 

knows  hozv  to  use  it!  It  is  not  a  fad  •'/'^  '''^'^\/'.^''■,^^.%^.  Magnetism,"  "The 

.,  T.     •         •        1  Magnetic    Voice,        Physical    Magnetism, 

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yourself — your    manner — your    own  "Rapid     Magnetic    Advancement,"     "The 


The  Facts  are  Free 

The  fundamental  principles  of  Personal 
Magnetism  have  been  put  into  an  extra 
large  volume  under  the  title  of  "Instan- 
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in  beautiful  dark  burgundy,  with  the  title 


Magnetic  Mind,"  and  "Magnetic  Healing," 
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You  can  sway  and 


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Today 

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Dept.  9-B,  MERIDEN,  CONN. 

RALSTON  UNIVERSITY  PRESS, 
Dept.   9-B,   Meriden,  Conn. 

.Ml  risht — I'll  be  the  judge.  You  may  send  me 
the  volume  "Instantaneous  Personal  MaRnetism" 
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special  low  price  of  only  $3.00  or  return  the  book 
without  cost  or  obligation. 


What  Others 
Say! 


'^^as  been  worth  ten 
thousand  dollars  a 
year." 

"I  regard  it  as  the 
bigtjest  and  best  invest- 
ment  a  man  could 
mal;e.  Itealized  the  ex- 
^pciiencf  of  entering  a 
*new  realm  of  life." 

"Certainly  wonderful; 
like  w^ilking  up  a  stair- 
way to  a  higher  life." 

"Have  examined 
'Personal  Magnetism' 
and  am  a.stonished  how 
dormant  my  faculties 
were  in  that  direction." 

"I  am  glad  that  I 
dared    to    buy   the 

books." 

"The  Personal  Mag- 
n  e  t  i  s  m  books  have 
raised  me  from  iKJvi-rty 
to  my  present  position." 

"I  would  not  part 
with  them  for  an^  sum 
of  money." 

"One  of  the  greatest 
books  I  have  ever  seen 
—the  greatest  in  exist- 
ence." 

"Made  me  a  succes.s 
— financially,  socially' 
and    morally." 


Name 


Addr. 


City State. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  M.VGAZIXE. 


Brief  Reviews  of 

Current  Pictures 


^Indicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


ADORATION — First  National. — Concerning  the 

post-revolution  romance  of  a  Romanofif  prince  and 
princess.    Ornamented  by  Billie  Dove.      (Jan.) 

*AIR  CIRCUS,  THE— Fox.— Collegiate  stuff  in 
an  aviation  training  school.     Good.     (November.) 

AIR  LEGION,  THE— FBC— Story  about  the 
air  mail  service  that  has  nothing  but  a  good  idea  to 
recommend  it.  (Dec.) 

AIR  MAIL  PILOT,  THE— Superlative.— Another 
air  mail  story  which  breaks  all  the  rules  of  aviation. 
(Dec.) 

ALIAS  JIMMY  VALENTINE— Metro-Goldwyn- 
Mayer. — The  old  favorite,  revived  with  William 
Haines.     Good.     (Od.) 

AMAZING  VAGABOND,  THE- FBO.— Not  so 
amazing.  Just  the  usual  stunts,  on  land  and  in  the 
air.     (Jan.) 

ANNAPOLIS  —  Pathe.  —  Pleasant  romance  and 
drama  among  the  admirals  of  the  future.   (November.) 

AVALANCHE— Paramount.— High-class  Western 
with  Jack  Holt  and  Baclanova — the  picture  thief! 
(Jatt.) 

AVENGING  RIDER,  THE— FBO.  —  Simple- 
minded  Western  mystery  story.     (Jan.) 

AWAKENING,  TITE  —  United  Artists.  —  First 
starring  picture  of  Vilma  Banky  and  Walter  Byron. 
He's  a  nice  looking  lad.  A  "Marie-Odile"  plot. 
iNovember.) 

BABY  CYCLONE,  THE  —  Metro-Goldwyn- 
Mayer. — All  right,  if  you  like  Pekinese  pups. 
(September.) 

BANTAM  COWBOY,  THE— FBO.— Only  good 
because  Buzz  Barton  is  in  it.     (Oct.) 

*BARKER,  THE— First  National.- Human  and 
humorous  story  of  circus  life.  With  Milton  Sills.  See 
it.      (September.) 

BATTLE  OF  THE  SEXES,  THE— United  Artists. 
— How  a  happy  home  is  wrecked  by  a  blonde. 
Sophisticated  drama.     (September.) 

BEAUTIFUL      BUT      DUMB— TifTany-Stahl.— 

Patsy  Ruth  Miller  in  gay  comedy.       (Oct.) 

BEGGARS  OF  LIFE— Paramount.— The  low- 
down  on  hoboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  song  I  (Dec.) 

♦BELLAMY  TRIAL,  THE  —  Metro-Goldwyn- 
Mayer. — Tlie  audience  is  admitted  to  the  court  room 
of  the  most  thrilling  murder  mystery  of  the  year. 
(August.) 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  who's  got  the  emerald?     (November.) 

BIG  HOP,  THE— Buck  Jones.— Mr.  Jones  crosses 
the  Pacific.    A  good  film.     (Oct.) 

BIG  KILLING,  THE— Paramount.— Wallace 
Beery  and  Raymond  Hatton  become  all  tangled  up 
in  a  Kentucky  feud.     (August.) 

BIT  OF  HEAVEN,  A— Excellent.— Broadway  vs. 
Park  Avenue.    A  good  performance  by  Lila  Lee.  (Oct.) 

BITTER  SWEETS— Peerless.-Fun  in  the  life  of 

a  girl  detective.    (Dec.) 

BLACK  ACE,  THE— Pathe.— So-so  Western  that 
will  fill  in  a  blank  evening.     (Jan.) 

BLACK  BUTTERFLIES— Quality.— Exposing  the 
wicked  ways  of  thi.-  fake  Bohemians.     (November.) 

BRANDED  MAN,  THE— Rayart.— The  best 
part  of  tliis  domestic  opera  is  the  titles.  Why  not  do 
your  reading  at  home?     (August.) 

BROADWAY  DADDIES  —  Columbia.— Trite 
story  but  well  acted.     (Oct.) 

BROKEN  MASK,  THE— Anchor.— Ugly  story 
of  revenge  but  well  told  and  acted.      (September.) 

BROTHERLY  LOVE  —  Metro-GoIdw>-n-Mayer. 
— Messrs.  Dane  and  Arthur  in  burlesque  prison  re- 
form. The  big  moment  is  a  football  game  between 
two  rival  penitentiaries.     (November.) 

BURNING  BRIDGES  —  Pathe.—  Better-  than  - 
usual  Western,  with  that  good  hombre,  Harry  Carey, 
in  a  dual  role.  (Dec.) 

BURNING  GOLD— Elbee.— A  story  of  dirty 
deeds  in  the  oil  fields.     (August.) 


BURNING  THE  WIND— Universal.— One  of 
Hoot  Gibson's  lapses.    (Oct.) 

BUSHRANGER,THE— Metro-Goldwyn-Mayer.— 
Tim  McCoy  goes  to  Australia  and  plays  some  rousing 
tunes,  on  the  boomerang.      (August.) 

BUTTER  AND  EGG  MAN,  THE— First  Na- 
tional.— The  amusing  adventures  of  a  country  lad 
(Jack  Mulhall)  who  becomes  an  "angel"  on  Broad- 
way.   (August.) 

CAMERAMAN,  THE— Metro-Goldwyn-Mayer. 
— Buster  Keaton  redeems  himself  in  this  one.  Lots  of 
laughs.     (Oct.) 

CAPTAIN  CARELESS— FBO.— You'll  like  Bob 
Steele.     (Oct.) 

CAPTAIN  SWAGGER— Pathe.— Good  comedy 
in  which  Rod  La  Rocque,  as  a  naughty  aviator,  is  per- 
suasively reformed  by  Sue  Carol.     (November.) 

*CARDBOARD  LOVER,  THE— Metro-Gold wjn- 
Mayer. — Snappy  Frencli  farce  comedy  with  Marion 
Davies — also  Jetta  Goudal  and  Nils  Asther.  Sophis- 
ticated and  charming.     (Oct.) 

CAUGHT  IN  THE  FOG— Warners.— The  plot 
gets  lost  in  the  fog,  too.     (August.) 


Pictu  res   You 
Should  Not  Miss 

"7tli  Heaven" 
"The  Singing  Fool" 
"The  Divine  Lady" 

"Interference" 
"Mother  Knows  Best" 

"Street  Angel" 

"The  Patriot" 

"Four  Devils" 

"Wings" 

"The  Godless  Girl" 

As  a  service  to  its  readers,  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


CAVALIER,  THE— Tiffany-Stahl.— Richard  Tal- 
madge  in  some  imitations  of  Douglas  Fairbanks. 
Uaii.) 

CELEBRITY— Pathe.— A  prize-fighter  gets  cul- 
ture.    Meaning  Mr.  Tunney?     (Oct.) 

CHARGE  OF  THE  GAUCHOS  —  FBO.— How 
the  Argentine  Republic  got  that  way.  With  Francis 
X.  Bushman.  (Dec) 

CHEYENNE— First  National.— Ken  Maynard  in 
one  particularly  swell  Western.  (Dec.) 


CHICKEN  A  LA  KING— Fox.— More  lessons  In 
gold-digping.  Funny,  but  rough  in  spots.  With 
Nancy  Carroll  and  Ford  Sterling.     (August.) 

CIRCUS  KID,  THE— FBO.— You  can  sleep 
through  it.     (Dec.) 

CITY  OF  PURPLE  DREAMS,  THE  —  Rayart — 
Story  of  wheat  pits  of  Chicago.  Top  heavy  with 
drama.     (Jan.) 

CLEARING    THE    TRAIL— Universal.— Again 

saving  the  old  ranch.      (Oct.) 

CLOUD  DODGER.  THE— Universal.— A  battle 
in  the  air  for  a  dizzy  blondel     (Oct.) 

CODE  OF  THE  AIR— Bischoff.— More  air  stuff. 
Good  adventure  story.    (Oct.) 

CODE  OF  THE  SCARLET— First  National.— 
Ken  Maynard  gets  his  man.  Good  out-door  story. 
(September.) 

COME  AND  GET  IT— FBO.— Contains,  among 
other  things,  a  good  boxing  match.  (Dec.) 

COMPANIONATE  MARRIAGE  —  Gotham.— 
Lots  of  propaganda.  With  such  a  live  topic,  this 
should  have  been  a  better  picture.     (Oct.) 

"COSSACKS,  THE  —  Metro-Goldwyn-Mayer.— 
Love,  sport  and  murder  among  the  cowboys  of 
Russia.    Jack  Gilbert  is  the  lure.     (August.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  (Dec.) 

COWBOY  KID,  THE— Fox.— A  Western  for  the 
simple-minded.     (September.) 

♦CRAIG'S  WIFE— Pathe.— Splendid  drama  with 
Irene  Rich  as  the  too  perfect  wife.     (September.) 

CRASH,  THE — First  National. — Not  an  under- 
world melodrama,  but  a  swell  thriller  with  a  good  per- 
formance by  Milton  Sills  and  a  rousing  train  wreck. 
(November.) 

CROOKS  CAN'T  WIN— FBO;— Good  celluloid 
gone  haywire.  Will  someone  please  stop  the  film 
crime  wave?    (August.) 

DANGER  STREET— FBO.— A  rich  bachelor, 
disappointed  in  love,  drowns  his  grief  in  a  gang  war. 
Well,  that's  one  way  to  forget.     (November.) 

DAWN — Herbert  Wilcox. — An  English  production 
that  gives  a  fair  and  impartial  presentation  of  the 
Edith  Cavell  case.    (.August.) 

DEMON  RIDER.  THE— Davis.— Just  a  West- 
ern.    (Dec.) 

DESERT  BRIDE,  THE  —  Columbia.  —  Betty 
Corapson,  as  a  Parisian  beauty,  raises  havoc  in  the 
Foreign  Legion.     (.August.) 

DEVIL'S  TRADEMARK,  THE— FBO.— Aggra- 
vating bunk.     (September.) 

■►DIVINE  LADY,  THE — First  National. — The  old 
dirt  about  Lady  Hamilton  and  Lord  Nelson,  told  in 
romantic  fashion.  Pictorially  beautiful,  thanks  to  the 
lovely  face  of  Corinne  Griffith.     (Dec.) 

DIVINE      SINNER.      THE— Rayart.— Austrian 
drama  with  daring  but  grown-up  theme.      (Oct.) 
DOGENTLEMENSNORE?- Roach-M.-G.-M.— 

A  short  farce  turned  into  a  panic  by  the  appearance 
of  a  real,  live  -gorilla.     (August.) 

*D0CKS  of  new  YORK,  THE— Paramount.— 
A  drama  of  two  derelicts,  powerful,  dramatic  and 
stirring.  Superbly  acted  by  George  Bancroft  and 
Betty  Compson.  Worthwhile  adult  entertainment. 
(November.) 

DOG  JUSTICE — FBO. — But  the  story  is  a  cruel 
injustice  to  Ranger,  the  canine  star.     (August.) 

DOG  LAW — FBO. — Giving  Ranger  a  good  break. 
(November.) 

DO  YOUR  DUTY— First  National.— Charlie 
Murray  plays  his  piece  about  the  honest  traffic  cop 
and  the  crooks.    Not  so  hot.  (Dec.) 

DRIFTWOOD — Columbia.— Looks  like  a  tenth 
carbon  copy  of  "Sadie  Thompson."    (Jan.) 

*DRY  MARTINI— Fox.— Sophisticated  comedy 
among  the  American  dry  law  ex-patriots  of  the  RitJ 
bar  in  Paris-.     Naughty  but  neat.     (November.) 

DUGAN  OF  THE  DUGOUTS— Anchor.— Gag- 
ging the  Great  War  again.     (September.) 
[  CONTINUED  ON  PAGE   14  ) 


Photoplay  Magazine— Advertising  Section 


CVLRYBODiy> 

FIRST ALL-Talking    ^^WM 
FARCE'COAitDY/^  1^  A 


i'- 


TALK// 


There's  a  thrill  a  minute  in 
the  action  and  a  laugh  every 
other  second  in  the  side- 
splitting dialog  written  by 
Frederick  H.  Brennan  and 
Harlan  Thompson! 

WILLIAM  FOX,  in  this  newest 
Movietone  Feature,  introduces  a 
new  technique  on  the  screen 
...  don't  miss  this  all- 
talking  farce  comedy  when 
it  conies  to  your  favorite 
motion  picture  theater! 


Qhe 
GHOST 
TALKS 

and  so 
does  the 
Screen 
in  this 


latest^ 


MOVIETONE 


Directed  in  dialog  by 


with 


Charles  Eaton        Helen  TweIveD*ees        Earle  Fox        Caniiel  ITIyers 


*r~':}<y'^i^^m^^m-^-:^m^^'-:>:«' 


When  you  writ©  to  acKertisera  please  mention  PHOTOPLAY  MAOAZINK 


j^rickb 


Three  prizes 

are  given  every  month 

for  the  best  letters'^ 

$25,  $10  and  $5 


Bouquets 

The  REAL  CRITICS, 

the  FANS. 
GIVE  THEIR  VIEWS 


The  Monthly  Barometer 

npHE  novelty  of  the  "talkies"  has  worn  off. 
-'■  Photoplay's  readers  are  now  asking  for 
more  than  mere  sound;  they  want  the  same 
standard  of  acting,  photography,  direction  and 
settings  that  they  have  been  getting  in  the 
silent  movies.  A  large  order  for  a  new  inven- 
tion! 

"Our  Dancing  Daughters"  is  the  picture  of 
the  month.  It  is  going  big  with  the  younger 
generation — and  with  the  younger  mothers 
who  share  their  children's  amusements.  On 
the  crest  of  its  popularity,  Joan  Crawford 
becomes  the  most-discussed  star  of  the  month. 

According  to  letters  received  by  Photoplay, 
John  Gilbert,  Nils  Asther  and  Gary  Cooper  are 
the  three  kings  of  the  hour,  with  Richard 
Arlen,  "Buddy"  Rogers  and  John  Mack 
Brown  running  a  close  race.  Among  the  girls, 
Clara  Bow,  Greta  Garbo  and  Colleen  Moore 
are  the  three  queens. 

Brickbats  for  underworld  melodramas! 
Enough  is  enough.  And  brickbats,  too,  for 
slapstick  comedies  and  Westerns.  But 
bouquets  for  romances,  mystery  stories  and 
stories  about  modern  young  people. 

This  is  your  department  of  criticism.  What 
have  you  to  say? 

$25.00  Letter 

New  Orleans,  La. 

I  have  lived  most  of  my  life  in  the  rural 
districts  of  a  state  that  is  notably  narrow- 
minded.  As  a  youth,  it  was  instilled  in  me 
that  moving  pictures  were  fundamentally  bad, 
that  I  was  endangering  my  immortal  soul  to 
attend  such  orgies  of  human  indecency.  So, 
of  course,  I  reached  my  late  'teens  with  the 
utmost  horror  and  distaste  for  such  forms  of 
amusement,  distaste  of  something  of  which 
I  knew  nothing,  e.xcept  from  people  who  knew 
really  less  than  myself. 

I  had  the  good  fortune  to  make  a  trip  out 
West  and,  without  guardians  or  authorities  to 
watch  me,  of  course  I  decided  to  see  one  of 
those  awful  things  called  movies.  So  one  night 
I  screwed  up  my  courage  and  timidly  walked 
up  to  the  window  of  a  theater  and  asked  for  a 
"first  row"  ticket,  thinking  I  was  doing  quite 
the  high-brow,  society  thing,  not  realizing  that 
the  general  admission  gave  me  my  choice  of 
seats. 

The  picture  was  "The  Old  Nest"  and  I  shall 
never  forget  it.  During  that  two  hours  of  en- 
tertainment, I  e-xperienced  more  emotion  than 

10 


The  readers  of  PHOTOPLAY  are  in- 
vited to  write  to  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. 


I  had  during  all  the  previous  years  of  my  ex- 
istence, and  I  left  that  little  theater  sold  to 
moving  pictures.  Since  that  day  I  have  seen 
hundreds  of  pictures,  some  good  and  some  bad, 
but  I  am  still  in  love  with  them  as  the  best 
means  of  expressing  the  emotions  and  dreams 
of  the  common  folk  of  the  world.  I  am  beyond 
the  influence  of  that  country  district  in  which 
I  was  reared  and  hence  I  do  not  hear  the  con- 
demnation that  would  be  mine  if  I  stUl  resided 
there.  I  only  wish  that  those  good  folks  back 
there  could  have  brought  home  to  them  the 
wonderful  power  of  the  motion  picture. 

T.  E.  WiNBORN,  Jr. 


,00  Letter 


Homestead,  Pa. 

I  wonder  what  some  producers  think  of  the 
movie-going  public.  Or  do  they  think  of  them 
at  all?  And  why  in  the  name  of  all  that  is 
good,  bad  and  indifferent  does  the  old-fashioned 
girl  have  to  be  a  dumbbell  and  the  modern  girl 
a  damfool?  I  did  not  realize  that  the  only  dis- 
tinction between  the  antiquated  and  the 
modern  was  the  length  of  hair,  absence  of  dress, 
the  puffing  cigarette  and  the  coming  home  with 
the  milk  man. 

I  have  always  thought  that  a  modernistic 
trend  was  dependent  more  upon  progressive- 
ness,  broadness  of  vision  and  a  generous  use  of 
gray  matter.  But  I  have  made  the  discovery, 
in  the  movies,  that  all  of  my  youthful  struggles 
and  efforts  to  get  a  grip  upon  the  ladder  of  life 
are  in  vain  because — assuming  the  same  dis- 


tinction is  applied  to  the  male  sex — I  am  al- 
ready exiled  to  the  antiques  unless  I  become 
a  gin-guzzling  ninny. 

After  a  lot  of  pictures  about  so-called 
modern  youths,  is  it  any  wonder  "Our  Dancing 
Daughters"  is  such  a  success.  The  girls  are 
human;  they  have  dreams,  hopes  and  ideals. 
They  give  you  something  to  think  about.  I 
felt  as  though  I  wanted  to  grasp  the  hand  of 
Joan  Crawford  and  say,  "Well  done,  old  girl. 
You  are  doing  your  best  to  give  life  a  square 
deal."  Joseph  M.  Rhodes. 

$5.00  Letter 

Enid,  Okla. 

Photoplay  is  a  gloom-chaser.    Here's  how! 

The  scene  was  a  desolate  railway  station, 
several  miles  from  Nowhere.  The  atmosphere, 
inside  and  out,  was  damp  and  cold,  as  the  Time 
was  December  24,  1927.  The  characters  were 
ten  silent  figures  (ages  ranging  from  eighteen  to 
sixty-five),  huddled  around  a  wood  stove, 
suddenly  planted  there  because  of  the  derail- 
ment of  the  train  that  was  to  take  them  home 
for  Christmas. 

What  would  liven  up  this  group,  make  them 
forget  their  little  tragedy,  and  interest  each  of 
them? 

A  college  youth,  with  exploring  eyes,  spied  a 
gaily  decorated  magazine  beneath  the  strap  of 
a  travelling  bag,  and  with  eagerness  brought  to 
light  Photoplay.  He  was  soon  showing  the 
illustrations,  calling  forth  comments  on  each 
favorite  star,  film  criticisms,  new  develop- 
ments, etc.  One  teary-eyed  young  lady  forgot 
herself  to  the  extent  that  she  entertained  them 
by  mimicking  the  famous  stars. 

The  air  was  full  of  vital,  hiunan  interest,  for, 
truly,  they  had  found  a  universal  subject,  in- 
teresting to  everyone  at  all  times.  It  saved  the 
spirits  and  dispositions  of  the  holidayers. 
Conversation  is  not  a  lost  art  when  Photoplay 
is  the  subject.  Jackie  Dunning. 

Justice  for  Foreigners 

PhiUppine  Islands. 
I  cannot  see  why  foreign  players  should  not 
get  their  chance.  The  reason  why  the  movies 
continue  to  import  foreign  talent  is  because 
they  stand  in  need  of  something  that  they 
cannot  find  in  Hollywood,  to  supply  the  pubhc 
demand  for  new  types  of  faces  and  different 
methods  of  acting. 

Miss  Trini  De  Perez. 
[  continued  on  page  94  ] 


Photoplay  Magazine — Advertising  Section 


I  1 


m 


^  IGuaraivteeNewHair 

in  These  Three  Places 


o 


\> 


oN 


T^    PAY    IVff 


I! 


ARE  you  sincerely  anxious  to  be  done 
with  dandruff,  itchy  scalp,  falling 
hair  and  baldness?  Do  you  really  want 
to  grow  new  hair? 

Perhaps  you've  already  tried  hard  to 
overcome  these  afflictions.  Perhaps  you've 
put  faith  in  barbershop  "tips,"  and  used 
all  kinds  of  salves,  massages,  tonics,  all 
with  the  same  results  .  .  .  lots  of  trouble 
and  expense  but  no  relief! 

Now,  consider  what  /  offer  you.  And 
figure  out  for  yourself  what  a  handsome 
proposition  it  is.  I  GUARANTEE  to 
grow  new  hair  on  your  head — on  the  top, 
front  or  temples — IN  30  DAYS  ...  or 
not  one  red  penny  of  cost  to  you. 

Isn't  that  a  different  story  from  those  you've 
heard  before?  I  don't  say,  "try  my  wonderful 
remedy — it  grows  hair!"  I  say,  and  I  put  it  in 
•writing,  "I  GUARANTEE  to  grow  hair  ...  or 
no  cost!" 

My  Method  Is  Unique! 

Naturally,  you  say  to  yourself,  "How  can  any- 
one make  such  a  guarantee?  It's  hard  to  grow 
hair.  I  know,  for  I've  tried  a  lot  of  things  and 
failed." 

Ah,  that's  exactly  the  reason  thousands  who 
formerly  suffered  from  scalp  troubles  bless  the 
day  they  heard  of  me.  For  my  treatment  is  based 
on  science,  on  years  and  years  of  research.  I  studied 
scalps,  not  how  to  sell  treatments.  And  I  found, 
as  did  leading  dermatologists,  that  ordinary  surface 
treatments  of  the  scalp  are  futile.  Baldness  begins 
at  the  ROOTS.  If  roots  are  dead,  nothing  can  grow 
new  hair.  But  in  most  cases,  roots  are  only  sleepitig, 
waiting  for  the  right  treatment  to  bring  them  back 
to  healthy,  normal  life. 

I  Reach  the  Roots 

Now,  I  leave  it  to  you.  How  can  ordinary  treat- 
ments penetrate  to  the  roots  of  your  hair?  How  can 
ordinary  tonics  or  salves  remove  the  real  cause  of 
baldness? 

My  treatment  goes  below  the  scalp,  right  down 
to  the  hair  roots,  awakening  them  to  new  action. 
My  treatment  works  surely  and  quickly,  all  the 
while  stimulating  the  tiny  blood  vessels  around  the 
roots  to  new  life  and  action.  And  with  just  the 
mere  investment  of  a  few  minutes  a  day,  thousands 
get  these  results  from  my  treatment  ...  or  they 
never  pay  a  cent ! 


FRONT 

ITere  tliinniiiK  hair  does  great- 
est dania;;r  tn  your  appear- 
ance. Dnn't  wait  till  forelock 
disappears  cntirelv.  ACT 
NOW    to  foiej-taU   baldnessl 


TOP 


Most  baldness  begins  here. 
Is  this  YOT'R  thinnest  spot? 
Decide  today  to  net  that  hair 
hack  and   MOREl 


TEMPLES 

Thinner  and  thinner  on  each  side 
until  tht-y  meet  and  forelock  too 
aoL's.  Danthuir  and  itchy  scalp 
art-  I'oriuniin  In  rli^  sc  cases.  Whv 
Miller  a  Iilrlime  ot  ic;;i-cty  ^lAiL 
THi:    COUPON    TODAYI 


^'^^r. 


I  Welcome  Investigation 

Do  you  want  absolute  proof  of  the  true 
causes  and  proper  treatment  of  baldness? 
Consult  your  family  physician.  Or  look 
up  medical  reference  books. 

Do  you  want  positive  proof  that  I  can 
and  do  apply  these  accepted  scientific 
principles?  I  offer  you  the  best  proof  of 
all  .  .  .  my  personal  guarantee,  backed 
up  by  the  Merke  Institute,  Fifth  Avenue, 
New  York. 

A  Square  Deal  Guaranteed! 
Others    may    make    rosy    but    flimsy    promises. 
I  could  do   that  tool      But  I  don't.     I   couldn't 
afford    to.    for   every   statement    I    make    is  guar- 
anteed   by    the    Merke    Institute.       This 
scalp     research     bureau,     established     13 
years,  is  known  to  thousands  from  Coast 
to   Coast.      It   has   a   reputation    to   keep 
up.      It   \youldn't   dare   to   back   me  if  I 
didn't    tell    the   truth.     So   when   I   guar- 
antee   to   grow    hair    or    not   a   penny   of 
cost,   you're  absolutely   sure  of  a   square 
deal. 


Why  Suffer  Years  of  Regret? 

Before  }ou  turn  this  page  take  a 
look  in  the  mirror  at  those  thin  spots 
on  your  head!  Think  how  you'll  look 
when  {i/l  \nur  hair  is  gone.  Consider 
how  much  prestige  and  attractiveness 
you'll  lose,  'Then  decide  to  act  al  once! 
Right  now.  tear  out  the  coupon  shown 
below  and  mail  it  in  for  the  FREE 
booklet  giving  my  complete  story.  In 
it  you'll  find,  not  mere  theories,  but 
scientific  FACTS,  and  the  details  of 
my  "hair  grown  or  no  pay"  offer. 
My  treatment  can  be  u^ed  in  any 
home  where  there  is  electricity.  Send 
the  coupon  XOW!  And  by  return 
mail  the  booklet  is  yours  without  the 
slightest  obligation.  Allied  Merke 
Institutes,  Inc..  Dept.  392.  512 
Fifth   Avenue,   New   York   City. 


DANGER:  One,  two,  thrct — BATJJt  And 
perhaps  total  baldness,  say  lending  dermatolo- 
yists,  if  you  Hf elect  any  one  of  the  three 
places  shown  above.  But  so  (n'a dually  does 
hair  deimrt.  so  insidiously  does  baldness  creep 
up  on  the  averaKc  man,  thai  thousjinds  fail  tn 
heed  the  warniUKs.  But  there  is  hope  for 
everyone,  no  matter  how  thin  tlie  hair.  Head 
my  messaite  to  men  Krowing  bald.  Study  my 
t-uarantce.      Then    ACT! 


Allied    Merke    Institutes,    Inc.. 

Dept.   392.    512    Fifth    Ave..    New   York   City. 

rieasL-  >end  me — without  cost  or  obhcation 
—in  r'iain  wrapper,  copy  of  your  book.  "The 
New  Way  to  Orow  Hair,"  describing  the 
Merke   System. 


City 


(My   age   is. 


When  you  write  to  advcrtisera  please  mention  PHOTOPLAY  MAOAZINB. 


12 


Photoplay  Magazine — Advertising  Section 


See  a«c^  Hear. 

Vitaphones 

Supreme  Dramatic  Triumph 

DOLOIIES  COSTELLO 

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Pictures!  Awe-inspiring — heart- 
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hear  "NOAH'S  ARK" 


NEEHED-KERFECTED- 

Given  to  theWorld  by  WarnehBhos. 

Vitaphone  is  a  scientific  achievement — farTeaching  in  its 
influence  on  the  human  family.  It  immeasurably  widens  the 
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Through  Vitaphone,  the  foremost  entertainers  of  the  age 
re-live  before  you  —  they  act,  talk,  sing  and  play — like 
human  beings  in  the  flesh! 

Remember — Warner  Bros,  pioneered  the  talking  picture. 
Warner  Bros,  perfected  the  talking  picture.  Warner  Bros. 
Vitaphone  has  PROVED  its  nation'wide  success  and  tri' 
umph  in  hundreds  of  leading  theatres  from  Coast  to  Coast. 

Make  no  mistake.  See  and  hear  Warner  Bros.  Vitaphone.  It 
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IF    ITS    NOT    A    WARNER.    PICTU  R.E...ITS    NOT  VITAPHONE 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  la  guaranteed. 


WEETS 

for 

valentine's 
Day 

Two  good  recipes  for 

cakes  which  will  add 

a  festive  touch  to  your 

party 


THE  recipe  I  have  selected  from  Photoplay's  Cook  Book 
this  month  is  an  ideal  dessert  for  Valentine  luncheons 
or  afternoon  parties. 

It  is  a  sweet  strawberry  cake  and  Sue  Carol  contributed  the 
recipe  to  the  Cook  Book. 

If  strawberries  in  February  sound  like  an  extravagance, 
you  may  substitute  canned  strawberries,  which  are  often 
better  than  the  early  fresh  berries.  This  recipe  is  noi  a  short- 
cake and  it  is  not  expensive  to  make. 

Take  one  cupful  of  sugar,  sifted,  and  one  large  tablespoon 
of  butter  and  cream  together  until  smooth.  Beat  three  eggs 
very  light  and  add.  Mix  in  ?|  cup  of  milk.  Then  sift  together 
two  cups  of  flour — scant  measurement — and  a  heaping  table- 
spoon of  baking  powder,  and  add  to  the  dough.  Bake  in  deep 
tin  plates  or  pie  pans  which  have  been  buttered.  This  quantity 
will  fill  three  or  four  plates. 

For  the  filling,  mash  three  pints  of  strawberries  with  a  cup  of 
sugar  and  spread  the  fruit  between  the  layers  of  the  cake.  To 
give  the  cake  a  Valentine  appearance,  save  out  some  of  the 


..^=^ 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 
Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  150  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


A  girl  with  a  heart — Leila  Hyams  dresses  up  as  her 
idea  of  an  old-fashioned  Valentine 


largest  and  finest  of  the  berries  and  cover  the  top  of  the  cake 
with  a  meringue  made  of  the  white  of  an  egg,  beaten  very  stiff, 
mixed  with  a  tablespoon  of  powdered  sugar. 

Then  arrange  the  berries  in  the  outline  of  a  heart  on  the 
meringue. 

Or,  if  you  prefer,  you  may  cover  the  cake  with  whipped 
cream,  to  which  has  been  added  a  tablespoon  of  sugar.  If  you 
use  the  preserved  berries,  you  may  decorate  the  meringue  with 
candied  berries  or  red  candy  hearts. 

IF  you  want  to  serve  individual  cakes  which  may  be  made  in 
heart-shape  tins,  you  will  find  something  different  in  Patsy 
Ruth  Miller's  recipe  for  Date  Torte. 

Here  is  Miss  Miller's  contribution  to  the  Photoplay  Cook 
Book: 


2  eggs 

1}4  cup  sugar 

3  tablespoons  bread  crumbs 


V^  teaspoon  baking  powder 
J^  package  of  dates 
1  cup  nut  meats 


Be  sure  to  write  name  and  address  plainly. 
You  may  send  either  stamps  or  coin. 


Beat  the  eggs  slightly  and  add  the  sugar  sifted  together  with 
the  baking  powder.  Stir  in  the  bread  crumbs,  which  should  be 
dry  and  fine.  Mix  well.  Add  the  dates,  which  have  been 
stoned,  and  then  the  nut  meats.  Place  in  greased  muffin  tins 
and  bake  in  a  slow  oven  for  thirty  or  forty  minutes.  Serve 
them  with  whipped  cream. 

You  will  notice,  of  course,  that  for  a  sweet,  this  is  not  par- 
ticularly fattening,  and  the  presence  of  the  dates  and  nut 
meats  gives  this  recipe  good  food  value. 

Of  course,  you  will  find  more  delicious  recipes  for  parties 
among  the  one  hundred  and  fifty  favorite  dishes  of  the  stars 
in  Photoplay's  Cook  Book.  .\nd  you  may  have  them  all  by 
filling  out  the  coupon  and  sending  twenty-five  cents.  You  will 
find  the  book  a  valuable  addition  to  your  Cook  Book  shelf  and 
a  convenient  friend  to  have  in  the  house  when  you  want  to 
serve  something  distinctive  and  different  for  your  friends. 

Carolyn  Van  Wyck. 

13 


Photoplay  Magazine — Advertising  Section 


l\ 


V 


■t 


Rotwi 


Fashion  decrees  that  the  figure  be 
slender  and  graceful.  Women  who  are 
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The  Frances  Jordan  stimulates  the 
circulation  and  the  fat  spots  are  ab- 
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tones  up  the  nerves. 

This  remarkable  Frances  Jordan 
originally  sold  for  $15.00.  Very  large 
sales  now  permit  us  to  sell  direct  to  you 
for  $5.00.  Act  today!  Send  $5.00  in 
cash,  money  order  or  check.  Satisfac- 
rion  guaranteed  or 
money  refunded. 


Ireducer 

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yet  KILLS  the  most  PERNICIOUS  GERMS 
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This  special  offer  is  made  as  a  trial  sub- 
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PHOTOPLAY  MAGAZINE 

750  N.  Michigan  Ave-  CHICAGO 


Brief  Reviews  of  Current  Pictures 

[  CONTINUED  FROM  PAGE  8  1 


DUTY'S  REWARD— Elbee.— More  cops,  crooked 
politics,  etc.    {Dec.) 

END  OF  ST.  PETERSBURG,  THE— Sovkinc— 
What  the  Soviet  wants  >'0U  to  believe.  St.  Peters- 
burg destroyed  by  trick  camera  angles.     (August,) 

EXCESS  BAGGAGE— Metro-Goldwyn-Mayer.— 
Vivid  and  realistic  picture  of  stage  life.  See  it. 
(August.) 

FAMILY    PICNIC,     THE  — Fox- Movietone.— 

Pioneer  all-talking  comedy.     See  it  and  write  your 
own  remedy.     (September.) 

FANGS  OF  FATE— Pathe.— Klondike,  the  dog 
growls  through  an  old  story.     (September.) 

FAZIL — Fox. — Proving  the  sheiks  make  bad 
husbands.  Torrid  necking  in  the  desert.  Not  for 
the  kindergarten  class.     (August.) 

FIGHTIN'  REDHEAD,  THE— FBO.— Buzz  Bar- 
ton eats  up  the  Western  scenery.     (September.) 

FIRST  KISS,  THE— Paramount.— Young  love, 
played  by  Fay  Wray  and  Gary  Cooper  and  set  in  a 
deep  sea  background.     (November.) 

FLEET'S  IN,  THE— Paramount.— Clara  Bow 
among  the  sailors.  Of  course,  you  won't  miss  it. 
(November.) 

FLEETWING— Fox.— A  story  of  Araby,  a  girl, 
a  sheik  and  a  horse.     (September.) 

FORBIDDEN  LOVE— Pathe.— English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damita.     ( Dec.) 

♦FORGOTTEN  FACES— Paramount.— Under- 
world story  of  regeneration  and  sacrifice.  Fine  story, 
fine  acting,  and  100  per  cent  entertainment.    (Sept.) 

*FOUR  DEVILS— Fox.— Dramatic  and  beautifully 
presented  story  of  Continental  Circus  life,  with  great 
performances  by  Janet  Gaynor,  Ctiarles  Morton  and 
Barry  Norton.     You'll  want  to  see  it.     (Dec.) 

*FOURWALLS— Metro-Goldwyn-Mayer.— Story 
of  Jewish  gangster,  splendidly  played  by  John  Gilbert. 
Don't  miss  it.      (September.) 

FURY  OF  THE  WILD— FBO.— More  real  meat 
for  Ranger.     (November.) 

GANG  WAR— FBO.— Yep,  bootleggers  and  crooks 
again.     (September.) 

GATE  CRASHER,  THE— Universal.— Glenn  Try- 
on  in  a  hit-and-miss  comedy.     (September .) 

GEORGE  BERNARD  SHAW— Fox-Movietone.— 
Mr.  Shaw  entertains  his  public  with  an  imitation  of 
Mussolini.    It's  a  wow.     (September.) 


GERALDINE — Pathe. — Light  and  amusing  com- 
edy with  Marion  Nixon  and  Eddie  Quillan.    (Jan.) 

GIRL  HE  DIDN'T  BUY,  THE— Peerless.— Light 
story  of  a  Broadway  love  affair  with  an  original  twist 
to  the  plot.     (August.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 

little  slow  but  pleasant  enough.     Sally  O'Neil  wears 
her  one  expression.     (Dec.) 


GOLDEN     SHACKLES- 

see  the  picture  for  the  plot. 


-Peerless. — You 
(August.) 


can't 


GRAIN  OF  DUST,  THE— Tiffany-Stahl.— Inter- 
esting drama  based  on  the  David  Graham  Phillips 
novel,  with  the  grief  rather  heavily  stressed.    (Nov.) 

GREASED  LIGHTNING  —  Universal.  —  Dumb 
Western.     (September.) 

GREEN    GRASS   WIDOWS— Tiffany-Stahl.    — 

Walter  Hagen  in  a  goofy  golf  story.    He  should  know 
better.     (September.) 

GUARDIANS  OF  THE  WILD— Universal.— 
Too  bad  that  Rex,  the  wonder  horse,  can't  write  his 
own  stories  and  put  some  horse-sense  into  them. 
(November.) 

GYPSY  OF  THE  NORTH— Rayart.— A  better 
than  usual  melodrama  of  the  Northern  mining 
camps.    (August.) 

HALF  A  BRIDE— Paramount.— Wherein  a  bride 
is  cast  away  on  a  desert  island  with  the  wrong  man. 

(August.) 

HANGMAN'S  HOUSE— Fox.— A  good  drama  of 
Ireland,  with  some  splendid  backgrounds,  a  fine 
horse  race  and  an  excellent  performance  by  Victor 
McLaglen.    (August.) 

HAPPINESS  AHEAD— First  National.— What 
might  have  been  merely  tawdry  melodrama  is  turned 
into  fine  entertainment  by  the  splendid  acting  of 
Colleen  Moore,  Edmund  Lowe  and  Lilyan  Tash- 
man.    (August.) 

HARVEST  OF  HATE,  THE— Universal.— In 
which  the  great  talents  of  Rex,  the  wild  horse,  are 
ignored  to  make  footage  for  a  trite  romance.    (Jan.) 

HAUNTED  HOUSE,  THE— First  National.— 
Too  much  Chester  Conklin  and  not  enough  mystery. 
(November.) 

HEAD  MAN,  THE— First  National.— What 
happened  in  a  small  town  when  the  Ladies' Auxiliary 
drank  too  much  lemonade.     (August.) 

HEAD  OF  THE  FAMILY,  THE— Gotham.— 
Rather  cuckoo  farce.      (Jan.) 

[  CONTINUED  ON  PAGE   118  1 


Photoplays  Reviewed  in  the   Shadow   Stage   This  Issue 

Save  this  magazine — Refer  to  the  criticisms  before  you  pic\  out 
your  evenings  entertainment.     Ma\e  this  your  reference  list. 


Page 

A  Lady  of  Chance— M.-G.-M 76 

A  Man's  Man— M.-G.-M 104 

Apache,  The — Columbia 104 

Behind  the  German  Lines — UFA-Para- 

mount 76 

Black  Birds  of  Fiji — Australasian 76 

Blow  for  Blow — Universal 104 

Canary  Murder  Case,  The — Paramount  54 

Captain  Lash — Fo.x 56 

Case  of  Lena  Smith,  The — Paramount.   54 

Domestic  Meddlers— Tiffany-Stahl 104 

Dream  of  Love — M.-G.-M 56 

Eva  and  the  Grasshopper — UFA 103 

Flyin'  Buckaroo,  The — Pathe 103 

Flying  Fleet,  The— M.-G.-M 52 

Ghost  Talks,  The— Fox 56 

Gun  Runner,  The— Tiffany-Stahl 104 

House  6f  Shame,  The — Chesterfield. ...   76 

Huntingtower — Paramount 104 

In  Old  Arizona — Fox 52 

Iron  Mask,  The — United  Artists 53 

Jazz  Age,  The— FBO 103 

Jeanne    D'Arc — Societe    Generale    de 

Films 52 

Lady  of  the  Pavements — United  Artists  55 

Last  Warning,  The — Universal 76 

Linda — Mrs.  Wallace  Reid  Production.   76 

Lion's  Roar,  The — Educational 56 

Lookout  Girl,  The— Quality 104 

Marquis  Preferred — Paramount 76 


Page 
MataHari;  The  Red  Dancer — Nation- 
al-Big Three  Production 76 

Naughty  Duchess,  The — Tiffany-Stahl .   76 

Noisy  Neighbors — Pathe 104 

Office  Scandal,  The— Pathe 104 

One  Man  Dog,  The— FBO 103 

Pace  That  Kills,  The— True  Life 76 

Phipps— M.-G.-M 56 

Rainbow,  The— Tiffany-Stahl 104 

Redskin — Paramount 55 

Restless  Youth — Columbia 103 

Seven  Footprints  to  Satan — First  Na- 
tional    76 

Shady  Lady,  The— Pathe 55 

Shopworn  Angel,  The — Paramount. .  .    103 

Silent  Sentinel,  The — Chesterfield 76 

Small  Town  Sinners — Hugo  Brahn ....  104 

Somme,  The — New  Era 103 

Speed  Classic,  The — Excellent 103 

Stool  Pigeon — Columbia 104 

Synthetic  Sin — First  National 55 

That  Party  in  Person — Paramount. ...   56 

Three  Week-ends — Paramount 55 

Tracked— FBO 76 

Tyrant  of  Red  Gulch— FBO 76 

Uneasy  Money — Fox-Europa 76 

Veiled  Woman,  The — Fox 76 

Wages  of  Conscience — Superlative 76 

What  a  Night — Paramount 76 

Wolf  of  Wall  Street,  The— Paramount . .   55 


Every  advertisement  In  PHOTOrLAT  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


A  NEW  HIT 

FOR  THE  XEW  YEAR ! 


New  York  has  a  new  thrill 


.  You'll  have  it  soon! 

THE 


Twice  a  day— every  day— at  S2.00  per  seat, 
BARKER"  is  making  film  history. 

As  one  man  twenty  famous  critics  declared —"The  picture 
ii.there!"  .  .  . 

And  since  then  Broadway's  been  a  one-way  street— all 
Manhattan  headed  for  this  First  National  Special  from  a 
famous  stage-hit. 

'''Have  your  money  ready"  the  day  it  plays  your  town! 


brcadwai^  sends  you  iff  laiesi^loosensaMcn- 

ir[h<e  l&y^lRIKIEIR 


SHE   POSITIVELY 
DANCES  TODAY! 

".And  when  she  dances,  folke.  she 
DiakcB  old  men  young  and  young 
mm  old.  She's  ju&t  one  of  the 
scores  of  big  feature  atlrarlions 
of  the  Carnival  . .  .You  can't  afford 
loiiniHS  it.  folks!  — VOU  CANT 
VFfORH  T"i  MI^S  IT!  ' 


In  New  York  »  In  Los  Angeles 

Every  Paper  —  Every  Critic 

joined  in  iiiis 

ALPHABET  of  ACCLAIM 


Marvelous  job 

Nothingundoneorov- 
erdone 

One  of  the  year's  win- 
ners 

Pleasure  to  watch 

Quite  credibly  tougl 

Real  thing 

Sizzling  entertain- 
ment 

The  picture  is  there! 

Uniformly  high  merit 

Vital 

Wholly  intriguing 


Acting  marvelous 

Best  since  "The  Sea 
Hawk" 

Completely  engros- 
sing 

Daring 

Excellent 

rine 

Gets"  you 

House  in  uproars 

Intensely  interesting 

Joy  to  behold 

Knockout  cast 

Loud  praises 


GEORGE    FITZM.%VRICE    Produolion 

From  the  play  by  Kenyan  ?iichotion.  Slage  Pnxluc- 

lion  by  Chariei  L  Wagner.  Adaplation  by  Benjamin 

Clazer.  Presented  by  KiLhard  A.  RosKtand, 


She- 

hired  another  wo- 
man lo  win  the  Love 
of  the  man  she  fear- 
ed! You'll  gasp  at 
the  strange  secret 
drama  that  seethes 
sinisterly  behind 
the  gaudy  glamor  of 
the  Midway.  "Be- 
hind-the-tent  stuff 
is  the  intimate  sort 
that  'gets'  you,"  said 
Pi.  y.  Daily  News. 


FIRST  NATIONAL'S   FIRST  ^fef/Ai^PICTURE 

Evening    World! 


Broadway" — said 


When  you  write  to  advertisers  ricaso  mention  pnoTOPLAT  MAGAZINE. 


Even  the  prettiest  girl  will 
look  plain  if  she  thinks  of 
herself  as  an  ugly  duckling 
— and  doesn't  try  to  do  any- 
thing about  it.  As  witness 
Marion  Nixon  in  "Geral- 
dine,"  before  she  learns  to 
cultivate    her    good    points 


Friendly 

Advice 

from 

Carolyn 

Van  Wyck 

on 

Girls' 


Problems 


The  result  of  the  threeC's — 
clothes,  care  and  cosmetics. 
And  there  is  no  reason, 
these  days,  why  any  girl 
can't  have  wavy  hair  and  a 
good  complexion.  Being  at- 
tractive, after  all,  is  merely 
a  matter  of  common  sense 


DEAR  CAROLYN  VAN  WYCK: 
I  suppose  a  sensible  person  would  say 
that  I  haven't  any  right  to  bother  you! 
A  sensible  person  would  say  that  I  haven't  any 
problem  at  all.  For  I'm  healthy,  and  I  have  a 
good  brain,  and  I  have  a  job  (I'm  a  private 
secretary)  that's  above  the  average. 

But,  oh,  Carolyn  Van  Wyck — who  expects 
a  girl  of  twenty-one  to  be  sensible?  And  I'm 
twenty-one — and,  to  me,  my  case  seems  seri- 
ous! 

You  see,  Miss  Van  Wyck,  I'm  plain.  Not 
ugly,  not  the  sort  of  a  person  to  inspire  con- 
tempt or  distaste — just  the  sort  of  person  who 
doesn't  register!  In  an  office  crowded  with 
eligible  men,  I  pass  unnoticed.  I  lunch  by 
myself,  I'm  never  escorted  to  my  home — I'm 
never  asked  to  go  to  a  theater  or  a  night  club. 
Nobody  even  tries  to  kiss  me  in  a  dark  corner. 
Perhaps  none  of  the  corners,  in  our  office,  are 
dark  enough! 

My  hair — it  is  nondescript  in  shade,  and  as 
straight  as  the  proverbial  stick.  My  eyes  are 
not  bad  (they're  my  best  feature)  but  the 
blue  grey  of  them  is  spoiled  by  a  sandy  fringe  of 
lashes.  What  if  the  lashes  are  thick?  Nobody'd 
know,  from  their  color,  that  I  had  any.  My 
mouth — like  my  lashes — is  too  pale.  And  my 
skin  adds  to  the  generally  drab  effect. 

I  don't  know  why  my  shoulders  droop  more 
than  the  shoulders  of  other  girls — why  my 
hps  curve  down  instead  of  up.  And  I  don't 
know  what's  wrong  with  my  figure.  Plenty 
of  popular  girls  are  as  thin  as  I — and  they're 
called  slender,  whereas  I'm  labeled  "Skinny." 

Oh,  I'm  as  unattractive  as  they  come! 
That's  my  problem,  Carolyn  Van  Wyck.  And 
I'm  lonely  for  the  hfe  and  fun  and  romance 
that  belong  to  a  girl  of  my  age.  And  my  un- 
attractiveness  is  keeping  the  life  and  fun  and 
romance  away  from  me!  I've  never  had  a 
beau — not  one.  Probably  when  I'm  forty-one 
I'll  be  telling  the  same  story. 

I  don't  suppose  you  can  help  me.  Miss  Van 
Wyck.     But  if  you  only  could ! 

Dora  L. 

DORA,  Dora!  I  wonder  if  you  realize  how 
much  I — or  any  other  sensible  woman  with 
a  word  of  advice  to  offer — can  help  you?  I 
wonder  if  you  realize  that  it  is  the  essentially 
sensible  person  who  would  most  readily  agree 
with  you  that  you  have  a  problem — and  would 
help  you  to  solve  it! 

16 


For  being  attractive,  these  days,  is  a  matter 
of  common  sense.    It's  foolish  to  be  plain. 

I  wish  that  you  had  been  with  me,  a  few 
nights  ago,  when  I  went  to  my  favorite  picture 
theater  and  saw  there  Marion  Ni.xon  in 
"Geraldine. "  It's  a  picture  that  you  ought  to 
see,  Dora;  it  might  give  you  some  ideas.  For 
it  tells  the  ugly  duckling  story  in  a  new  way. 
Geraldine  isn't  a  pretty  girl  in  the  beginning  of 
the  picture — you  can  judge  for  yourself  from 
the  portrait  that's  printed  on  this  page.  But 
at  the  end  of  the  story — well,  we've  printed  a 
second  picture!  Look  at  that,  and  make  your 
own  decision ! 


How  to  Look  Better 
Than  You  Really  Are 

Is  This  Month's  Problem 

HTHERE'S  no  girl,  no  matter  how 
lovely  she  may  be,  who  couldn't 
look  better.  Cleopatra  would  have 
been  improved  if  she  could  have  wan- 
dered through  the  mazes  of  a  modern 
beauty  shop — Helen  of  Troy  would 
have  thrilled  to,  and  profited  by,  a 
cosmetic  counter! 

Perhaps  I  can  help  you  to  look  bet- 
ter. Perhaps  the  advice  that  I  can  give 
will  put  you  a  step  farther  on  the  ladder 
that  reaches  toward  charm  and  social 
success.  Doubtless  you  can  work  out 
your  own  problem  —  be  it  health, 
happiness  or  beauty.  But  remember, 
if  you  can  not,  that  letters  sent  to  me — • 
letters  enclosing  stamped  envelopes — 
will  be  answered  immediately.  And 
that  those  without  postage  will  be  an- 
swered in  the  magazine,  as  soon  as  pub- 
lication dates  permit. 

Complexion?  Is  your  problerai  a 
facial  one?  If  so,  send  a  stamped  en- 
velope and  you  will  receive  informa- 
tion regarding  the  care  of  the  skin.  For 
ten  cents  you  will  receive  miy  booklet 
on  safe  and  sane  reducing  methods. 
Write  to  me  in  care  of  PHOTOPLAY 
Magazine,  221  West  57th  Street,  New 
York.  CAROLYN  VAN  WYCK. 


A  marcel,  a  facial,  a  little  carefully  applied 
make-up.    They  have  done  a  lot  for  Geraldine. 

Look  at  yourself  in  the  mirror,  Dora.  And 
ask  yourself  what  they  can  do  for  you! 

Your  hair — for  instance.  It  sounds  like  the 
sort  of  hair  that  a  permanent  wave  would  help 
mightily.  And,  incidentally,  a  good  permanent 
tends  to  make  the  hair  seem  more  colorful  and 
alive — as  well  as  much  more  curly.  And  your 
eyes — make  the  most  of  them  by  using  mas- 
cara and  an  eyebrow  pencil  on  those  sandy, 
but  luckily,  thick  lashes.  You'll  not  have  to 
look  theatrical — lashes  and  brows  can  be 
darkened  cleverly  and  naturally.  The  pale 
mouth  will  glow  under  the  touch  of  a  lipstick. 
Try  the  lipstick  color  on  the  back  of  your 
hand  to  get  the  tint  that  best  blends  with 
your  skin.  And,  speaking  of  skin — how  about 
a  touch  of  rouge?  Just  a  touch — for  too  pink 
cheeks  are  not  smart  nowadays. 

I  can  tell  you,  Dora,  why  your  shoulders 
droop — why  your  mouth  goes  down.  It's  be- 
cause you  have  an  inferiority  complex.  You 
know  that  you're  clever — and  yet  you  are 
ready  to  admit  defeat  in  a  game  at  which  many 
far  from  clever  girls  excel.  You're  ready  to 
say  that  you  are  a  social  failure — to  tell  the 
world  that  men  have  no  interest  in  you. 

TT'S  stupid — it's  Victorian — to  think  that  a 
-•-plain  girl  can  not  be  made  into  a  nearly  pretty 
girl.  Or — for  that  matter — into  a  more  than 
pretty  girl!  A  plain  girl — if  she  has  brains — if 
she  will  consider  herself  as  an  indi\'idual  rather 
than  as  a  member  of  an  undesired  group — can 
do  wonders  with  herself.  Indi\-iduality  and 
personality  can  spell  popularity  in  letters  a 
foot  high.    They  can  go  beyond  beauty. 

Clothes,  nowadays,  are  far  from  standard- 
ized. The  stout  girl  can  find  styles  that  make 
her  seem  slender — the  slim  girl,  even  though 
she's  as  thin,  Dora,  as  you  are — can  wear 
picture  frocks  that  give  curves  where  only 
angles  have  grown.  Materials  and  colors  make 
a  vast  difference,  too.    Remember  that. 

I've  never  seen  a  girl  in  my  life,  Dora — 
(and  my  life  is  lived  in  a  great  city,  in  which 
there  are  all  kinds  and  varieties  of  girls) — 
who  couldn't  be  improved  upon.  And,  usually, 
by  simple  things.  By  making  use  of  the  three 
little  c's — ^clothes,  care  and  cosmetics.  The 
three  little  c's  that — taken  together — make  the 
capital  C  that  is  called  Charm. 

[  CONTINUED  ON  PAGE  92  ] 


Photoplay  Magazine — Advertising  Section 

WILLIAM  HAINES  in 

ALIAS  JIMMY  VALENTINE 

with. 

LIONEL  BARRYMORE-KARL  DANE -LEILA  HYAMS 


A  Jack  Conway  Production 

From  the  play  by 

Paul  Armstrong 

Adaptation  by  A.  P.  Younger 

Continuity  by 

Sara  Y.  Mason 

Titles  by  Joe  Farnham 


fiJ    II 


17 


< 


JIMMY  GETS 

THE  THIRD  DEGREE 


Slowly  .  .  .  silently  .  .  .  ominously  .  .  .  the  great  steel 
door  swung  shut,  locking  within  that  airless  vault  a 
helpless  little  child — the  sister  of  the  girl  he  loved. . . 

He  had  endured  the  third  degree — could  he  stand 
that  pitiful  appeal?  To  "crack"  the  safe  was  a  con- 
fession— not  to,  was  —  murder!  What  did  "Jimmy 
Valentine"  decide? 

It's  an  evening  you'll  remember  all  your  life.  A 
smash   hit  on   Broadway  at  $2  admission     .    .    . 

acclaimed  the  perfected  dia- 
logue accompaniment.  You'll 
have  all  the  same  thrills 
when  your  local  theatre  shows 
this  record-breaking  Metro- 
Goldwyn-Mayer  film,'  either 
silent  or  with  dialogue. 


\  THE  CONSPIRATORS 

WILLIAM  HAINES-KARL  DANE-TULLV  MARSHALL 


o4  METRO-GOLD 

"More  stars  than  there  are  in  Heaven" 


-^*-•. 


WILLIAM  HAINES  WITH 
LOVELY  LEILA    HYAMS 

It's  in  our  safe — $501 

Have  you  the  right  combination? 

Answer  these  simple  questions 

and  win  the  prize! 

Come  all  you  safe-crackers  with  bright  ideas! 
There's  $50  and  a  valuable  prize  waiting  for 
you  in  the  M-G-M  safe!  The  best  set  of  answers 
to  these  five  questions  turns  the  trick.  Read 
the  rules  below  and  send  in  your  safe-cracking 
answers. 

To  the  man  winning  the  contest,  William 
Haines  will  give  $50.00  and  the  electric  flash 
lamp  he  uses  in  "Alias  Jimmy  Valentine".  To 
the  woman,  Leila  Hyams  will  send  $50.00  and 
the  beautiful  handbag  she  carries  in  the  same 
picture.  The  next  fifty  lucky  ones  will  receive 
my  favorite  photograph  specially  autographed  by 
Yours  cordially 

1 — Name  the  six  popular  young  players  who 
appear  in  "Our  Dancing  Daughters." 

2 — Which  do  you  prefer — Sound  or  Silent 
movies?  Give  your  reasons  within  75  words, 

3 — What  popular  murder  story  listed  as  a  best 
seller  novel  and  serial  story  last  year  has 
been  made  into  a  talking  picture  by  M-G-M? 

4 — Name  the  Indian  Chief  in  an  M-G-M 
western  who  posed  for  the  head  on  the 
Buffalo  nickel. 

5 — Who  is  directing  the  first  all  Negro  feature 
planned  as  an  epic  production  of  the  col- 
ored race? 

Write  your  answers  on  one  side  of  a  single  slieet  of  paper 
and  mail  to  3rd  Floor,  1^40  Broadway,  Neiv  York. 
All  answets  must  be  received  by  Februar>'  15th.  Winners* 
names  will  be  published  in  a  later  issue  of  this  magazine. 

Note: — If  you  do  not  attend  the  pictures  yourself  you 

may   question   yout   friends   or   consult    motion    picture 

ma^aiines.  In  event  of  tics,  each  tying  contestant  will  be 

awatdcd  a  prize  identical  in  chatacter  with  that  tied  for. 

Winners  of 

The  William  Haines  Contest  of  October 

Mr.  A.  Humphrey  Mrs.  John  Maloney 

Redwood  City,  California      Racine,  Wisconsin 

IVI AYER  PICTURE 
It's  Great  vAth  Dialogue  or  Silent! 


When  jou  m-lte  to  adverUscrs  please  mention  PHOTOPLAY  MAOAZINH. 


Photoplay  Magazine — Advertisino  Sec  i  ion 


JOHN    BARRYMORE 

« 

CORNELIUS 
YANDERBILT,  J  R, 

• 

F.   SCOTT 
flTZOERALD 


F.   SCOTT  FITZGERALD 

— because,  as  the  most  brilliant  of  America's 
younger  novelists,  he  was  the  first  to  discover 
and  portray  an  enchanting  new  type  of  American 
girl.  Because,  at  the  age  of  23.  he  woke  up  to 
find  himself  famous  as  the  author  of  "This  Side 
of  Paradise."  Because  no  other  man  of  his  time 
writes  so  sympathetically,  skilfully,  and  fascinat- 
ingly about  women. 


JOHN    BARRYMOKi: 

— because,  being  a  member  ot 
the  most  distinguished  theatrical 
family  in  America,  he  has  been 
associated  with  the  most  beau- 
tiful women  in  the  arts.  Because 
in  his  choice  of  motion  picture 
heroines  he  has  set  a  new — and 
different — standard  of  feminine 
loveliness.  Because  he  is  him- 
self the  most  romantic  figure  on 
the  stage  today. 


CORNELIUS   VANDERBILT,  JR. 

— because  he  is  the  fourth  Cornelius  Vander- 
bilt  in  one  of  America's  oldest  and  most 
distinguished  families.  Because  he  has  struck 
out  for  himself  and  achieved  an  independent 
career,  and  as  a  journalist  is  familiar  with 
people  everywhere.  Because  he  has  driven 
across  America  twenty-three  times  and  his 
hobby  is  remote  places  and  interesting  types. 


'&s  clioos&  tko 


TWELVE      MOST     BEAUTIFUL      W  O  M  E  IM 

iis'utcj  ^^Woodmrfj   (Jucicil  ^odp 


Who  are  ther^'a/ Woodbury  beau  ties? 

Hundreds  of  women  have  written 
us  every  year  that  they  owe  the  fine, 
clear  beauty  of  their  skin  to  faithful 
use  of  this  famous  complexion  soap. 
But  we  longed  to  meet  them  face 
to  face! 

So  we  called  on  them — in  big  cities, 
in  little  villages — we  called  on  Wood- 
bury beauties  in  each  of  the  forty- 
eight  states. 

Even  we  were  amazed,  astonished 
at  the  hundreds  of  lovely,  attractive 
faces  we  saw.  We  asked  for  their 
photographs  that  their  loveliness 

Copyright  1929,  by  The  Andrew  Jenreoa  Co. 


might   be  judged   and   published   to 
the  world! 

But  when  we  came  to  choose  from 
literally  heaps  of  the  charming  por- 
traits they  gave  us  we  were  bewil- 
dered. It  was  impossible  to  decide 
which  were  the  loveliest. 

So  we  asked  three  distinguished 
American  men,  known  for  their  deep 
appreciation  and  knowledge  of  beauty, 
to  choose  for  us.  We  asked  Cornelius 
Vanderbilt,  Jr.,  John  Barrymore,  and 
F.  Scott  Fitzgerald  to  select  from 
among  all  these  Woodbury  beauties 
the  loveliest  of  each  type. 


The  judges  are  choosing.  The  twelve 
most  beautiful  Woodbury  users  will 
be  published  in  a  series— the  loveliest 
debutante,  the  most  radiant  out-of- 
doors  girl,  the  loveliest  mother,  the 
youngest  grandmother — all  will  ap- 
pear in  these  pages. 

And  all  these  beautiful  women  are 
keeping  the  fresh,  clear  texture  of 
their  skin  by  constant  use  of  Wood- 
bury's Facial  Soap. 

Watch  for  them  each  month.  Who 
will  be  the  first  Woodbury  beauty? 
She  will  be  shown  in  March. 

The  Andrew  Jergens  Company 


Erery  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Autrey 


^^OME  shifting  style  and  changing  personahties,    Mary  Astor,  for 
^^  \  instance.  Once  she  was  an  unsophisticated  beauty  and  content 
\^_y  merely  to  lend  pictorial  appeal  to  the  screen.     The  men  stars 
selected  her  for  their  leading  woman,  confident  that  no  burst  of  fire- 
works from  Mary  would  spoil  their   best  scenes.     Now  Mary  has 
acquired  a  livelier  personality,  and  you  will  find  her  where  the  bullets 
fly  thickest  and  fastest  in  "A  Romance  of  the  Underworld."    Check 
up  another  victory  for  marriage.    Since  Mary  married  Kenneth  Hawks, 
a  smart  young  supervisor,  her  acting  has  taken  on  new  interest 


S*BLS»*'7>' 


■^'■^iffl^f'^1 


,w^' 


\ 


'•¥^■ 


Ruth  Harriet  Louise 


C  I    HE  talkies  are  making  'em  and  breaking  em.    The  demand  is  for  new  voices,  not  new  faces. 

/      Leila  Hyams  spoke  her  piece  so  prettily  in  "Alias  Jimmy  Valentine,"  that  Metro-Goldwyn 

invited  her  to  sign  a  contract.    Leila  was  a  far-seeing  child  when  she  selected  the  vaudeville 

team  of  Hyams  and  Mclntyre  for  her  parents.    As  a  youngster  she  played  on  the  stage,  just  by 

way  of  helping  MaEnma  and  Papa 


Lansins  Brown 


CJ    1ERY  rare  photograph  of  Alice  White.    And  why?    Because,  dear  children,  Alice  is  not  posed 

1/ in  her  usual  lingerie  nor  yet  in  her  bathing  suit.    Alice  is  one  of  those  girls  whose  gay  cinematic 

doings  keep  the  high-school  boys  and  girls  from  concentrating  on  their  geometry.    Has  she  it? 

Yes,  and  also  dem  and  dose.    She's  one  of 'those  flaming  stars  who  upset  the  careful  calculations  of 

movie  astronomers 


Richee 


^T  /HOLLYWOOD'S  hot  spot.    The  Menace  from  Mexico.    California's  tropical  storm. 

(yji  Ask  Gary  Cooper.    Lupe  Velez  is  his  leading  woman  in  "The  Wolf  Song,"  and  Gary 

never  has  been  so  interested  in  a  picture.    Lupe  has  had  other  crushes  but,  at  the  moment 

of  leaping  to  press.  This  One  Was  Different.    Anyway  Gary,  who  might  have. been  broken-hearted 

when  Evelyn  Brent  married  Harry  Edwards,  has  decided  that  life  isn't  so  tough  after  all 


Kahle 


(TT^   /*0  microphonobia  for  Madge.    While  some  of  the  more  lofty  stars  are  thinking  of  retiring 

j_/ V     to  little  ivy -covered  cottages  in  Mesopotamia  or  Forgetting  It  All  in  the  South  Sea  Islands, 

X^_^  Madge  Bellamy  goes  ahead  serene  in  the  confidence  that  she  successfully  passed  her 

talkie  test  in  "Mother  Knows  Best."    Her  next  picture  is  "Exiles,"  and  it  will  be  what  William  de 

MiUe  aptly  calls  a  "chinema" 


Bull 


/^  lONEL  BARRYMORE'S  career  is  almost  a  history  of  movie  acting.    He  was  a  member 

I     of  the  old  GrifBth-Biograph  Company  and  the  first  stage  player  of  standing  to  "disgrace" 

^^^_^  himself  by  acting  for  the  camera.    Mr.  Barrymore  enjoyed  a  brief  stardom,  slipped  into 

character  parts  and  then  the  talkies  again  raised  him  to  prominence.    Now  he  has  been  made  a 

director  and  his  first  assignment  is  the  dialogue  version  of  "Madame  X" 


Clke 

G<DXrAIR.IE) 


For  women 
who  strike  the 
happy  medium  in 
avoirdupois  .  .  .women 
who  are  neither  exception- 
ally slender  nor  yet  stout  .  . , 
Gossard  has  created   this  new 
combination.  So  designed  that  it 
follows  Nature's  own  beauty  curves, 
it   softly   supports  the  bust  .  .  . 
smoothes  the  waistline  .  .  .  gives 
the  much  desired  flat  backline  . . . 
outlines  a  graceful  hip  curve  by 
means   of  wide   elastic   inserts. 
Because  the  entire  garment,even 
to  the  adjustable  and  detachable 
shoulder  straps,  follows  the 
natural  figure  curves,  you  will 
find  new  supported  ease,  new 
smartness  of  line  the  moment 
you  try  it  on.  Design  3697,  S5 


THE  H.  W.  GOSSARD  CO.,  Chicago,  New  York,  San  Francisco,  Dallas,  Atlanta,  London,  Toronto,   Sydney,  Buenoa  Aires 

Division  o/  Asiociated  Apparel  Industries,  Inc. 


HOW  HOIiI.Y\¥OOD^ 
RE-IVEWS 

IT!ii  :tiili>io!v-dollar 

1VARDR<»BE$ 


Greatest  Groups 
of  Fashion  Experts — 

Every  great  Movie  Studio  .  .  . 
All  New  York  Musical  Shows . . . 
Famous  Dressmakers.. . Buyers 
for  1 12  great  department  stores 
— tell  how  they  keep  beautiful 
clothes  like  new  Twice  As  Long. 


Million-Dollar- 

Wardrobe  Test 

shuwii  Lux  most  econom- 
ical! (Above)  Wardrobe 
mistress  and  costume  di- 
rector. "Lux  saves  clothes 
and  monev,"  they  find. 


Aileen  Pringle  in  Hollywood's  most  expensive  tjown  —  of  thiffon  tissue 
embroidered  in  crystals,  viorn  in  "A  Single  Man." 


"WrOW  Hollywood  tells  its  very 
own  secret  of  caring  for  lovely 
clothes! 

Tells  how  the  beautiful  fashions 
worn  in  big  pictures  are  kept  so 
bewitchingly  fresh  and  so  new  look- 
ing, despite  the  hardest  of  wear! 

The  movies  made  many  tests  of 
the  different  methods  of  cleansing 
— and  they  discovered  this  amaz- 
ing fact: 

"The  original  beauty  of  modern 
fabrics,  whether  fragile  or  of  sub- 
stantial weave,  can  actually  be  Re- 
Newed  again  and  again  with  Lux 
— and  with  Lux  they  last  twice  as 
long!"    Now  every  great  studio  in 


Hollywood  uses  Lux  —  to  double 
the  life  of  beautiful  clothes! 

And  other  leading  fashion  au- 
thorities —  New  York's  gorgeous 
musical  shows,  the  buyers  for  lead- 
ing department  stores  (92'.c  of  all 
interviewed),  famous  dressmakers 
— also  find: 

"Lux  keeps  fine  things,  from  chif- 
fons to  woolens,  beautifully  new — 
twice  as  long!" 

Here  is  experience  to  help  every 
woman!  Using  pure,  bland  Lux  to 
cleanse  all  your  own  precious 
things  you  too,  can  keep  them 
adorably  new— much,  much  longer ! 
Lever  Bros.  Co.,  Cambridge,  Mass. 


The     National     Guide     to     Motion     Picture 


[TRADB  mark! 


February,  1929 


Close-Ups  and  Long-Shots 


By  James  R.  Quirk 


THERE    is    a    very    interesting 
article   elsewhere   in   this   issue 
which  bears  the  significant  title 
of  "Going  Hollywood." 

One  phase  of  it  was  neglected. 
It  seems  that  organizations  and 
institutions  can  go  Hollywood  also — 
our  favorite  institution  of  higher 
learning,  The  Academy  of  Motion 
Picture  Arts  and  Sciences,  for  instance. 
The  Academy  doesn't  get  much  publicity, 
but  no  one  can  accuse  Photoplay  of  neglecting 
it.  We  recognize  it  definitely  as  a  grand  idea. 
But,  sad  to  say,  a  grand  idea  gone  Hollywood. 

'\/"0U  may  or  may  not  have  heard  the  latest. 
■^  Now,  dear  friends,  the  august  Academy, 
which  may  in  years — let's  say,  a  thousand 
years — rival  the  French  Academy  of  Arts  and 
Sciences,  is  very  unhappy  about  the  way 
motion  picture  publications  are  treating  their 
dear  ones. 

But,  strangely  enough,  it  wasn't  until 
naughty  words  were  said  about  the  leaders  of 
the  Academy  that  they  were  driven  to  such  a 
white  heat  of  anger  (in  Hollywood  it  is  called 
passion)  that  they  are  planning  to  start  their 
own  fan  magazine  for  the  purpose  of  TELLING 
THE  TRUTH  ABOUT  MOTION  PICTURE 
PEOPLE. 

Lordy,  lordy. 

•T^HE  talking  pictures  have  already  accom- 

■*-  plished  one  stupendous  and  invaluable  feat. 

They    have    completely    smashed    what    is 


'temperament"  in  the 


drolly  called 
studios. 

No  longer  can  Fifi  Fromage  tear 
the  set  down  and  begin  throwing  the 
pieces  at  her  director.  In  the  micro- 
phone such  a  display  of  childish 
insanity  would  sound  like  the  second 
battle  of  the  Marne. 

Even  such  a  gesture  of  annoyance 
as  leg-slapping  is  out.  One  day  at  Paramount, 
while  a  talking  scene  was  on,  Clive  Brook 
smacked  his  leg,  and  the  resulting  noise  came 
over  like  the  explosion  of  a  Big  Bertha. 

Whatever  else  the  talkies  have  done,  they 
have  piped  down  the  pettish  and  petulant. 

A  CHARMING  English  novelist,  named 
■^  ^-William  J.  Locke,  is  now  plunging  about 
the  Hollywood  jungles. 

A  few  days  after  he  arrived  in  this  country, 
Ray  Long,  editor  of  Cosmopolitan,  gave  a  lunch 
in  his  honor  at  the  Metropolitan  Club. 

I  sat  across  from  Mr.  Locke  at  the  festive 
board,  and  I  could  not  take  my  eyes  from  him. 
He  is  tall,  and  grey,  and  lean — a  perfect  portrait 
of  a  gentleman  and  a  scholar. 

And,  across  the  table,  he  looked  so  gentle  and 
so  wistful.  I  felt  sorry  for  him.  He  seemed  so 
ill  fitted  to  be  hurled  into  Hollywood.  He 
looked  tired.  It  was  like  tossing  an  untrained 
boy  into  a  trench  before  he  was  well  acquainted 
with  the  business  end  of  a  rifle  and  how  soon 
to  toss  a  hand  grenade  after  pulling  out  the  pin. 
He  seemed  temperamentally  unprepared  for  the 
speed  and  brusqueness  of  American  life. 

S7 


Now  I  think  of  Locke,  grinding  and  perhaps  being 
ground  out  there  in  the  mills  of  the  movies,  which 
grind  fast  and  exceeding  small.  If  they  understand 
him,  and  inspire  him,  and  know  what  to  do  with  his 
product  after  it  is  written,  and  convey  to  the  screen 
the  beauty  and  romance  in  his  fine  mind,  I  shall  be 
grateful  to  Hollywood.  Meanwhile,  I  watch  and  pray. 
A  few  days  after  arriving  in  Hollywood  he  wrote  a 
charming  little  piece  about  the  studios  and  the  colony. 
I  wonder  what  he'll  write  about  Hollywood  after  he 
emerges  from  the  marshes,  a  little  greyer  and  a  little 
leaner.  Whatever  it  is,  you  may  be  assured  that  it  will 
be  civilized  and  charming. 

THE  Singing  Fool,"  Al  Jolson's  Vitaphone  storm 
of  sobs,  had  just  ended  its  first  showing  at  the 
Regal  Theater  in  London. 

Twenty-five  hundred  people  had  not  even  blown 
their  noses,  wiped  their  eyes  and  reached  for  their  hats 
when  400  pretty  girls  streamed  down  the  aisles  carrying 
champagne,  sandwiches  and  cigars. 

A  trailer  flashed  on  the  screen.     "The  management 
will  be  honored  if  you 
will    remain    and    take 
wine  with  us,"  it  said. 

Ah,  these  foreigners! 
Here  in  the  Benighted 
States  we  don't  even 
get  dry  hankies!  I  pass 
on  this  hunch  to  the 
Messrs.  Warner  as  hot 
publicity. 


THE  talking  photo- 
play can  be  cen- 
sored. The  Pennsyl- 
vania State  Censors 
say  so,  and  so  it  must 
be  true.  Censors  are 
infallible. 

In  1915  The  United 
States  Supreme  Court, 
in  a  war-time  discus- 
sion, upheld  the  right 
of  film  censorship  under 
certain  conditions. 

Blue-noses  at- 
tempted to  jam  censor- 
ship through  30  states, 
and  they  succeeded  in 
seven.  Thirty  cities 
decree  it  by  municipal 
action.  The  Shock 
Battalions  of  the 
Righteous  have  made 
seven  crashing  attacks 
on  Congress  in  behalf 
of  national  censorship, 
and  their  riddled  lines 
are  ever  re-forming  for 
new  assaults. 


AND  now  we  face  another  attack  upon  the  con- 
..stitutional  Bill  of  Rights,  already  staggering  and 
almost  out  on  its  feet. 

"Congress  shall  make  no  law  abridging  freedom  of 
speech  or  of  the  press." 

There  it  is,  standing  gallantly  but  groggily  in  the  face 
of  a  hundred  bitter  assaults. 

Let  us  hear  what  the  Supreme  Court  has  to  say  about 
the  right  of  free  speech  from  the  screens  of  the  Republic. 

The  battle  will  be  joined,  and  soon. 

YOU  should  see  the  Little  Carnegie  Playhouse, 
located  in  a  hoity  toity  section  of  New  York  City. 
It  has  a  card  room  where  patrons  may  bridge  and 
pinochle  the  happy  hours  away.  There  is  a  dance 
floor,  with  a  radio  always  hitting  on  12.  There  is  a  ping- 
pong  arena  for  those  hot  blooded  youths  who  go  in 
for  the  more  violent  forms  of  manly  sport  and  exercise. 
It  is  rumored  that  there  is  also  an  auditorium 
wherein  the  more  artistic  types  of  photoplays  are  ex- 
hibited. But  I  wouldn't  know  about  that.  I  can't 
seem  to  get  past  the  pinochle  salon. 


A,' 


"It  takes  the  patience  of  a  lacemaker  and  the 
courage  of  a  trans-Atlantic  flier  to  become  a 
successful  Hollywood  extra  at  this  time.  If  you 
possess  these  qualities,  and  enough  money  to  keep 
you  for  six  months,  try  it  out.  You  will  find,  at 
the  end  of  that  time,  that  you  have  changed  your 
mind." — Florence  Vidor,  motion  picture  star 


BED  time  story 
.for  tiny  tots. 

Once  upon  a  couple 
of  times  there  were  two 
British  actors  who 
didn't  amount  to  a  row 
of  used  razor  blades. 
Packing  their  tooth- 
brushes and  pinkspats, 
they  emigrated  to 
America  to  fight  Red 
Indians  and  dig  gold 
on  Broadway. 

One  was  a  Scotch 
comic  named  Ernest 
Torrence — the  other  a 
little  cockney  funny 
man  called  George  K. 
Arthur. 

BOTH  fell  into  the 
films  and  fortune. 
Not  long  ago  they  ad- 
dressed a  great  London 
audience,  via  Movie- 
tone, in  a  mighty 
English  picture  house. 

Rich  and  famous  on 
America's  golden  coast, 
it  was  their  first  suc- 
cessful appearance  in 
their  homeland,  and  it 
was  made  on  a  shadow 
stage! 

In  spite  of  our  mod- 
ern over-civilization, 
Romance  lives,  and 
reigns ! 


&ft 


Co-Stars  for  Life 


HERE  is  the  kiss  that  started  the  romance.  You 
remember  it,  of  course,  in  "The  Sea  Beast."  And 
here  is  the  scenario  of  the  Dolores  Costello-John 
Barrymore  romance. 

In  1925,  Barr>-more  went  to  Hollywood.  He  was  the  great 
Hcimlet   of    the    stage. 

Temperamental,  hard-to-please,  the  youngest  of  the  great 
Barr\'mores. 

No  wonder  the  movie  producers  couldn't  find  a  leading 
woman  for  this  important  personage. 

.\nd  then  he  discovered  his  own  leading  woman — a  fragile, 
sympathetic  girl  who  was  playing  a  "bit"  in  another  picture. 
He  didn't  know  then  that  she  was  Dolores  Costello,  daughter 
of  Maurice  Costello,  who  had  been  something  of  a  John  Barr_\- 
more  himself  in  the  early  movies. 

A  charming  start  for  a  romance.  Although  Dolores  was  a 
member  of  one  of  the  First  Families  of  the  I"'ilms,  her  beginnings 
in  Hollywood  had  been  humble.  She  and  her  sister,  Helene, 
had  left  the  chorus  of  George  White's  "Scandals"  to  sign  a 
contract  with  Warner  Brothers.  But  she  had  failed  to  create 
any  great  furore  in  the  studio. 

To  be  selected  by  Barrymore  as  his  leading  woman  meant 
a  short  cut  to  success. 

But  it  wouldn't  have  been  a  real  romance  if  all  had  gone  well. 
Costello,  pcre,  resented  Mr.  Barrymore's  attentions  to  his 
daughters. 

John,  unfortunately,  was  married.  Mrs.  Costello  approved. 
Result:  a  divorce  in  the  Costello  family. 

Still  another  divorce  was  needed  to  pave  the  way  for  the 


marriage.  Last  August,  Michael  Strange  fooled  the  news- 
papers, Broadway,  Hollywood  and  the  rest  of  the  world  by 
filing  suit  in  Kingston,  N.  Y.,  for  a  divorce.  The  papers  were 
in  behalf  of  Mrs.  Blanche  Blythe  versus  John  Blythe.  Mrs. 
Blythe  was  awarded  the  decree  and  the  custody  of  a  daughter, 
Diana  Joan. 

Listen  closely,  because  this  is  complicated.  The  former 
Mrs.  Barrymore  was  Blanche  Oelrichs  Thomas,  daughter  of 
Charles  M.  Oelrichs  of  Newport  and  e.x-wife  of  Leonard 
Thomas.     She  writes  under  the  name  of  Michael  Strange. 

Barrymore  is  John  Blythe,  although  the  family  hasn't  used 
the  name  in  two  generations.  No  wonder  the  news  sleuths 
were  baffled. 

AND  now  for  the  wedding.  It  was  a  quiet  affair  at  the 
bride's  home  in  Beverly  Hills. 

There  were  more  reporters  and  photographers  than  guests. 

Brother  Lionel  was  best  man.  Sister  Helene  was  the 
bridesmaid. 

From  the  East,  Ethel  Barrymore  sent  her  blessings  and  her 
verdict  that  Dolores  is  a  "darling." 

From  Cannes,  France,  Michael  Strange,  the  ex-wife,  wished 
the  couple  hafjpiness. 

The  bride  wore  a  wedding  gown  of  cream  lace  over  a 
bisque  slip  and  at  her  shoulder,  a  diamond  bar  pin  held  a 
shower  of  lilies-of-t he-valley. 

What  the  bridegroom  wore  is  not  important.  For  the  first 
time  in  the  history  of  the  theater,  a  Barrymore  played  a 
secondary  role. 

29 


Jaime  and  Dolores  del  Rio  lived 
in  a  world  of  romance  and 
flowers.  They  had  love;  they 
had  money.  But  Dolores  wanted 
fame — and  she  achieved  it.  And 
then  Jaime  died,  thousands  of 
miles  from  his  wife  and  his 
home.  Another  tragedy  was 
checked  up  to  "Going  Holly- 
wood" 


THE  day  before  he  died  in 
Berlin,  Germany,  Jaime  del 
Rio,  divorced  husband  of  the 
beautiful,  dark  Dolores,  asked 
to  be  buried  with  his  wedding  ring  on. 

The  young   Mexican  banker  and 
sportsman  was  only  thirty-three.  He 
was  sinking  rapidly  because  of  the  blood 
poisoning  that  had  set  in  following  a  slight 
operation  for  a  boil. 

He  was  a  foreigner  in  a  strange  land.  He 
had  only  a  few  friends  beside  him:  Father 
Moreno,  the  family  priest  of  the  del  Rio's, 
who  had  come  all  the  way  from  Spain;  Paul 
Mooney,  Fred  Stein  and  Curtis  Melnitz, 
personal  friends,  and  the  physician  who  sat 
with  his  quiet  finger  on  Jaime's  fluttering  pulse. 
But  Jaime  was  neither  lonely  nor  afraid. 

Lying  there,  thousands  of  miles  from  home,  in  the 
valley  of  the  shadow  of  death,  he  was  closer  to  his 
beloved  wife  than  he  had  ever  been  beneath  the 
golden  sun  of  Hollywood. 

Dolores'  many  cablegrams  lay  where  his  dimming 
eyes  could  see  them.  The  next-to-the-last  one  said: 
"Darling,  you  must  get  well  because  of  my  love  for 
you."  But  the  one  that  came  at  the  final  moment 
was  the  briefest  and  most  expressive  of  all.  It 
whispered  the  only  words  that  are  ever  truly  im- 
portant to  any  man  or  woman,  "I  love  you." 

And  it  may  well  be  that  dying,  with  a  smile  on  his 
lips,  was  a  much  easier  thing  for  Jaime  del  Rio  than 
living  with  sorrow  will  be  for  Dolores. 

For  if  ever  a  girl  paid  the  price  of  going  Hollywood 
Dolores  del  Rio  is  paying  it  now.  Do  not  misunder- 
stand.    This  is  no  attack  against  a  heartbroken  star. 

It  is  a  little  too  much  to  ask  that,  when  a  girl, 
beautiful,  young  and  vital,  is  shown  all  the  kingdoms 


What  Happens 
Garden  of 


of  the  world  that  she  should  have  the  wisdom  to 
withhold  her  hand  from  grasping  them.  The 
malady  that  attacked  Dolores  del  Rio  was 
simply  that  which  attacks  so  many  people  of  the 
film  colony.  It  is  the  sickness  of  excessive,  over- 
powering, devastating  ambition.  It  is  "going 
Hollywood." 

SINCE  the  world  began  men  and  women  have 
sacrificed,  have  suffered,  have  endured  all 
things  for  love.  But  in  Hollywood  love  is  a 
bauble  to  be  retained  as  long  as  usable  and  then 
to  be  scrapped  when  it  gets  in  the  way  of  either 
ambition  or  pleasure. 

The  case  of  Jaime  and  Dolores  del  Rio 
is  a  perfect  example. 

I  shall  never  forget  meeting  Dolores 

shortly    after    she    first    arrived    in 

Hollywood.     I  expect  I  shall  never 

again    see    anyone    at    once    so 

beautiful,   so  vibrant,   so  young 


Mae  Murray  was  queen  of  the 
studio.  Her  word  was  law;  her 
wish  was  a  command.  But  she 
forgot  her  old  friends.  Today, 
she  is  not  in  pictures.  Vaudeville 
is  her  meal  ticket 


A  simple  American  lad 
and  an  exotic  Polish 
actress — both  victims  of 
Phantasia  Hollywoodii. 
Charles  Ray  wanted  to 
be  more  than  an  actor. 
He  wanted  to  be  pro- 
ducer,directorandwriter. 
Pola  Negri  forgot  to  be 
an  actress.  She  played 
her  best  scenes  out  of 
range  of  the  camera. 
She  was  at  the  mercy  of 
small  whims  and  vani- 
ties. And  so  two  talented 
persons  were  lost  to  the 
screen 


W^olhwood  R 


By 
uthWaterbury 


to  People  in  the 
Satisfaction 


and  eager.  Her  skin  was  golden  as  honey  in  those 
days,  her  lips  were  pink  carnations  and  her  eyes  were 
as  soft  and  exquisite  as  a  young  doe's. 

Dolores,  a  young  society  woman,  had  been  dis- 
covered in  Mexico  City  by  Edwin  Carewe.  Carewe 
had  brought  her  to  Hollywood.  He  told  her  she  could 
become  a  great  actress,  a  greater  star.  He  painted 
before  her  deep  brown  eyes  an  iridescent  future.  He 
laid  out  before  her  the  kingdoms  of  the  world. 

THERE,  at  the  beginning,  Dolores  was  still  the 
young' wife  of  a  handsome  Mexican  society  man. 
Mr.  Carewe  was  simply  her  director.  She  clung  to 
Jaime,  her  husband.  She  deferred  to  Jaime.  And 
naturally  Jaime,  who  adored  Dolores,  adored  that. 

It  is  violating  no  secret  now  to  say  that,  at  first, 
Dolores  was  no  particular  hit.  She  was  an  inexpe- 
rienced beauty  in  a  town  where  beauty  is  a  common 
commodity.  But  Carewe  handled  her  adroitly  and 
Dolores  worked  and  studied  like  fury.  She  made  four 
ditTerent  pictures  without  anyone  knowing  about  it 
except  the  companies  that  paid  her  her  salary. 

Then  came  "What  Price  Glory."  Ah,  marvelous, 
wonderful  fortune  to  cast  her  for  the  most  coveted 
part  of  the  year!  So  Dolores  must  have  thought. 
So  any  girl  would  have  thought.  So  probably  the 
worshipping  Jaime  thought.     Yet  that  was  the  be- 


Mauritz  Stiller,  the  great  Swedish  director,  and 
Greta  Garbo,  his  shy  young  discovery,  arrive  in  this 
country.  All  that  was  back  in  1925.  Today  Stiller 
is  dead.  He  died  a  lonely,  defeated,  heart-broken 
man,  an  exile  from  the  city  that  made  Greta 
famous 


ginning  of  the  del  Rio  tragedy. 
Hollywood. 


With  that  part  Dolores  started  going 


MOST  tragedies  have  their  root  in  small,  trivial  misunderstandings. 
So  it  was  with  Dolores  and  Jaime.  One  day,  during  a  tense,  impor- 
tant scene,  when  the  nerves  of  everyone  were  on  edge,  Jaime  del  Rio  was 
asked  to  leave  the  set.  Now  Hollywood  understands  a  situation  like 
that.  In  the  midst  of  work,  anyone — even  a  near  and  dear  relative — 
is  merelv  an  outsider.  Mothers,  husbands,  fathers  and  children  may 
be  ordered  from  the  set,  and  no  slight  or  rudeness  is  implied. 

But  Jaime  del   Rio,   the  sensitive,   aristocratic  gentleman,   didn't 
understand.     To  him,   this  everyday  studio  regulation  was  a  cruel 
and  sinister  thrust.    It  meant  that  he  was  pushed  out  of  Dolores'  life — 
relegated  to  the  role  of  being  only  her  husband. 
I  believe  Dolores  couldn't  help  going  Holly- 
wood.   I  believe  that  no  girl  in  the  position  that 
Dolores  was  placed  in  could  have  helped  it. 
There  was  too  much  to  resist. 
First  of  all,  there  was  work. 
No  one  who  had  not  lived  in  Hollywood  has 
any  conception  of  how  the  film  people  work. 
.\nd  I  mean  work,  plain  unremitting  toil  for 
hours  and  hours  on  end.    Except  where  most  of 
us  work  with  a  Combination  of  the  mental  and 
physical,  the  players  of  Hollywood  work  with 
mind,  body  and  emotions. 

The  average  .American  works  from  nine  to  five 
and  calls  it  a  day. 

Corinne  Griflith  is  often  called  the  most 
independent  star  in  the  business  because  she 
insists  upon  quitting  [CONTINUTED  ON  page  104) 


And  Nazimova, 
one  of  the  first 
great  players  to 
blaze  across  the 
screen.  Her  salary 
was  enormous. 
Her  popularity  was 
unquestioned.  She 
was  an  artist  — 
until  she  "went 
Hollywood."  To- 
day she  is  playing 
second  fiddle  to  a 
lesser  actress  at  a 
Fourteenth  Street 
Theater  in  New 
York 


.-'7 


( ( 


omething  About 

Myse/f 

A  Life  Story,  to  be  vital,  must 
deal  with  emotions" 


As    told  to    Kathertne   Albert 

by  Nils  Asther 


CHAPTER  I. 

IT  is  a  difficult  task  for  me,  Nils  Asther,  to  tell  the  story  of 
my  life. 
I  am  not  a  pleasant  person.  I  am  not  gay  and  amusing 
and  social.  I  am  ingrown,  introspective,  analytical.  To 
speak  of  things  that  affect  me  deeply  and  to  speak  of  them 
honestly  is  a  burden. 

Tragedy  plays  a  subtle,  personal  part  in  the  drama  of  one's 
life.  It  should  not  be  mentioned.  One  may  chat  with  friends 
and  speak  many  words  that  mean  nothing,  one  may  recount 


This  photograph  of  Nils  Asther  was  taken  in  his 
European  home  after  he  had  made  his  first  suc- 
cess in  the  movies.   Yes,  they  have  comic  supple- 
ments in  Sweden 


amusing  or  dramatic  incidents  in  which  the  "  I  "plays  the  central 
figure,  but  a  life  story  is  more  than  a  series  of  events.  It  is 
more  than  "and  then  I  arrived  in  Germany"  or  "I  left  Guten- 
berg to  go  to  Russia" — hke  an  illustrated  travelogue.  Places 
and  time  are  inconsequential. 

A  LIFE  story,  to  be  real  and  vital,  must  deal  with  emo- 
tions, and  how  does  one  speak  of  emotion? 

When  I  was  married,  my  wife  said  to  me,  "Surely  j'ou  do  not 
love  me.  I  tell  you  twenty  times  each  day  that  I  am  yours 
completely.  I  speak  that  my  heart  belongs  only  to  you.  And 
you  are  silent.  You  cannot  say 'I  love  you.'  Why  do  you  not 
tell  me  these  things?" 

I  could  not  speak  of  these  things,  since  love  is  a  deep  emotion 
and  since,  once  the  words  were  out,  the  emotion  no  longer 
belonged  to  me.  Something  had  fled  from  me  when  I  formed 
the  syUables  on  my  tongue. 

Yet  these  inner  workings  of  the  heart  are  more  strange  and 
vital  than  any  chain  of  events,  no  matter  how  spectacular,  that 
might  occur  in  the  life  span  of  an  entity.  These  make  up  the 
panorama  of  living  and  if  I  am  to  tell  honestly  what  has  hap- 
pened to  me  during  the  27  years  that  I  have  been  a  part  of  this 
"discreditable  episode  on  one  of  the  minor  planets"  I  must 
speak  frankly,  I  must  discuss  what  I  have  never  discussed 
before. 

One  question  occurs  to  me  again  and  again.  One  word,  the 
ruling  question  of  my  life,  "Why?"  I  ask  myself  a  thousand 
times  and  I  find  no  answer. 

When  I  was  a  child  I  was  given  a  watch.  My  joy  lay  not 
in  the  bit  of  metal  and  glass  that  I  held  in  my  hand  but  in 
finding  the  inner  mysteries  of  the  strange,  rhythmic,  "tick- 
tick."  I  tore  it  apart  and  discovered  bits  of  wire  and  tiny 
bolts  that  had  no  meaning  and  that  were  useless  after  they  had 
been  unchained  from  their  prison.  I  could  not  put  them  all 
back  into  the  case  and  the  time-piece  was  ruined. 

And  thus,  after  I  have  torn  myself  apart  for  analysis,  I  find 
that  I  know  no  more  and  am  no  better  off  than  I  was  before 
and  yet  I  continue  to  question,  an  incessant  "why?"  still  rings 
in  my  ears. 

What  manner  of  man  am  I?    To  what  end  am  I  living? 

I  WAS  born  with  this  absorbing  curiosity,  but  the  introspec- 
tive and  analytical  tendencies  came  as  a  result  of  the  events 
of  my  childhood. 

Again  I  repeat  the  difliculty  of  speaking  of  them.  They  were 
tragic  to  me.  My  dreams  at  night  are  still  haunted  by  intan- 
gible, disturbing,  muddled  thoughts  of  those  bitter  days.  Yet 
who  am  I  to  call  them  tragic?  Who  am  I  to  say  that  I  was  un- 
happy when  there  are  men  who  have  been  through  wars,  when 
there  are  women  who  have  borne  children  and  have  lost  them 
in  death? 

Certainly  there  is  no  one  capable  of  measuring  the  unhappi- 


'I  am  not  a  pleasant  person.     I  am  not  gay  and  amusing  and  social.     I  am  ingrown,  introspective, 
analytical.     To  speak  of  things  that  affect  me  deeply  is  a  burden" 


ness  of  another  soul.  I  am  happy  when  others  would  be  most 
uncomfortable,  tortured  when  others  would  be  most  happy. 
What  to  one  nature  may  be  a  momentary  annoyance  is  black 
despair  to  another. 

"There  is  no  mystery  so  great  as  misery." 

When  outwardly  one  appears  the  most  gay  there  may  be  the 
lurking  demon  of  doubt,  the  grim  neurasthenia  of  the  heart. 
Yet  tragedy  is  of  the  mind.  One's  life  is  of  the  mind.  The  only 
realities  are  the  unrealities. 

MY  father  was  of  the  aristocratic  house  of  Asther,  high 
bourgeoisie.  He  owned  lands  and  factories  and  newspapers 
in  and  around  Malmo,  Sweden,  where  I  was  born.  He  had  been 
married  to  a  beautiful  society  woman,  who  had  borne  him  a  son 
— a  son  who  delighted  him,  a  boy  whom  he  could  take  to  his 
heart.  My  half-brother  filled  my  father's  life  as  I,  a  sickly, 
melancholy  lad,  could  never  do.  My  father  wanted  to  do  the 
best  thing  for  me.  He  wanted  to  give  me  the  advantage  of 
going  into  his  business  and  becoming  a  respectable  member  of 
society.  His  lack  of  understanding  was  not  from  the  heart, 
certainly.  His  intentions  were  of  the  best,  but  I  still  shudder, 
when  I  remember  how  my  body  trembled  when  I  heard  his  step 
in  the  hall  and  knew  that  he  would  question  me  about  the 
things  I  had  done  during  the  day. 

A  stern.  Continental  parent 
he  was,  who  could  not  under- 
stand my  stupidities.  IMy  mother 
— ah,  she  was  the  soul  of  gentle- 
ness and  sweetness.  She  was  of 
a  social  station  beneath  m\- 
father,  the  daughter  of  a  high 
school  teacher,  and  the  house 
became  divided  against  itself. 

It  was  then  that  I  became  in- 
grown and  bitter,  so  introspec- 
tive that  in  later  years  when  I 
found  myself  again  miserable 
and  unhappy  my  closest  friends, 
Augusta  Lindberg  and  Djalmar 


Bergman,  of  whom  I  shall  speak  at  length  later  on,  did  not 
dare  to  come  to  me  and  question  me  and  offer  their  help. 

Vague,  childish  misery.  My  mother  weeping  alone  in  a  great 
room.  My  heart  torn  with  sorrow  at  the  sight  of  her.  The 
color  of  an  autumn  sky.    The  strange  philosophies  of  books. 

My  father  kept  us  waiting  at  dinner  time.  He  and  my 
brother  were  always  on  their  yachts  and  did  not  realize  the 
flight  of  time.  So  my  mother  and  I  lived  to  ourselves  and  I  was 
keenly  aware  of  the  distinction  made  between  me  and  my 
brother. 

Christmas  is  supposedly  a  happy  time.  It  is  still  like  a  night- 
mare to  me.  ]\Iy  grandfather  always  arrived  and  gave  my 
brother  money  amounting  to  the  sum  of  ten  dollars,  perhaps.* 
Later  in  the  day  he  would  see  me.  I  would  be  given  five  dollars. 
This  was  as  it  should  have  been;  I  was  younger.  But  I  was 
sensitive  at  the  distinction. 

IW.\S  not  supposed  to  know  the  difference  but,  boy-like,  my 
brother  could  not  resist  the  temptation  of  saying,  "See  what 


my  grandfather  has  given  me. 
What  did  he  give  you?" 

And  I  could  not  answer, 
knife  in  mv  heart. 


See  how  much  money  I  have. 


T3ECAUSE  he  is  one  of  the  coming 
'-^  young  men  of  the  screen,  Photoplay 
presents  the  Story  of  Nils  Asther.  It  is 
honestly  and  seriously  written.  As  Mr. 
Asther  says,  "A  Life  Story  is  more  than 
a  series  of  events.  .  .  .  The  inner  work- 
ings of  the  heart  are  more  strange  than 
any  chain  of  events  ....  1  must  speak 
frankly,  I  must  discuss  what  1  have  never 
discussed  before." 


I  could  only  feel  the  thrust  of  the 
Then  I  would  find  my  mother  and  she 
would  comfort  me. 

I  had  no  friends  at  school.  I 
was  always  sickly  and  morose. 
I'm  sure  that  I  was  an  unattrac- 
tive little  boy  who  did  not  invite 
companionship  from  the  other 
students.  The  books  I  read 
were  much  too  old  for  me,  books 
of  heavy  psychological  fiction 
and  strange  philosophical  works. 
I'm  sure  I  did  not  understand 
them,  yet  at  the  time  they  seemed 
to  satisfy  me.  Immature  as  I 
was,  the  thought  poems  of  those 
great  minds  must  have  seeped 

[continued  on  p.\ge  138  ] 

.J3 


rWO  more  twin  profiles — Joan  Crawford  and  Pauline  Frederick. 
Will  some  bright  producer  please  cast  them  together  in  a  mother 
and  daughter  drama?     What  a  picture  that  would  be!     Now  for 
the  statistics:    Joan  is  one-half  inch  taller  than  Miss  Frederick  and  a 
few  pounds  lighter.  And — you  may  not  believe  it — there    is  twenty 

years  difference  in  their  ages 


^  Holy  Racketeers 


Close- Ups  and  Flashes  of  the  Motion  Picture 
Censorial  Mind  in  Action 


THE  mighty  mass  of  photoplay  fans  are  un- 
acquainted, perhaps,  with  the  little  band  of 
zealots  who  stand  at  the  doors  of  the  Capitol 
at  Washington,  year  after  year,  demanding 
federal  censorship  of  the  motion  picture. 

Meet  them  socially!    Censors — fans!  Fans,  mitt 
the  censors! 

Their  leader  is  The  Rev.  William  Sheafe  Chase, 
D.D.,  an  Episcopal  cleric  of  Brooklyn,  N.  Y.  He  calls  his  in- 
finitesimal army  The  Federal  Motion  Picture  Council  inAmerica. 
The  Canon  mobilized  his  Heavenly  shock  troops  in  Wash- 
ington on  Nov.  26,  and  I  was  privileged  to  sit  in  a  safe  dugout 
amid  the  rockets'  pale  pink  glare  and  the  bombs  popping  faintly 
in  air. 

Here,  then,  is  a  series  of  flashes  of  the  censorial  type  of  mind 
in  action.  They  are  written  in  sorrow  and  not  in  anger.  There 
is  something  infinitely  pathetic,  as  well  as  ironically  humorous, 
in  the  labors  of  these  old  guerillas  who  battle  in  and  out  of 
season  to  impose  upon  the  many  the  will  of  the  few. 

SCENE — the  Garden  Room  of  the  sumptuous  Mayflower 
Hotel  in  Washington,  a  large,  rococo  place  that  often  is 
horrid  with  the  tooting  of  such  unholy  classics  as  "Momma 
Loves  Poppa,"  and  the  shuffle  of  dancing  feet. 

On  the  platform,  to  the  right  of  the  presiding  officer,  sits  the 
good  Canon  Chase  himself — a  grey  little  man  in  clerical  duds, 
w  ith  a  dispirited  white  moustache  and  a  bald  head  that  gleams. 

In  the  chair — The  Rev.  J.  J.  Claudy,  Doctor  of  Divinity,  an 
impressive  looking  gentleman  of  the  cloth. 

Below,  the  faithful,  comprising  nothing  less  than  the  SLsth 
.\nnual  Motion 
Picture  Confer- 
ence under  the 
auspices  of  The 
Federal  Motion 
Picture  Council  in 
America,  Inc. 

What  a  hoity- 
toity  title  for  such 
a  tiny  flock!  There 
c  m't  be  more  than 
forty  of-  the  con- 
ferees, with  a  scant 
half  dozen  of  the 
male  gender. 

Something  is 
terribly,  tragically 
wrong  with  these 
holy  shock  troops. 
What  can  it  be? 

Ah,  I  have  it! 

They  are  com- 
pletely devoid  of 
youth!  Middle  life 
— old  age — hard, 
set  faces  and  sus- 
picious, darting 
eyes. 

But  not  one 
shining  face — not 
one  young,  hearty 
voice  to  speak  out 
loud  and  strong  in 
the  name  of  those 
millions  of  happy 
>'oungsters  of  the 
republic  who  find 


By 

L,eonard 

Hall 


so  much  joy  in  the  play  world  of  the  films.  That's 
it.  There  isn't  a  grin  in  a  carload  of  these  holy 
racketeers. 

I  am  the  youngest  person  present.  But  of  course 
I  am  only  an  unregenerate  reporter,  and  appro.x- 
imately  as  welcome  as  a  guffawing  hyena. 

Behind  the  active  ringsiders,  and  clinging  to  the 
room's  fringes,  other  ladies  and  gentlemen,  out- 
numbering the  mob.  I  suspect  them.  Most  of  them  are 
lamentable  spies.  I  recognize  writers  for  the  trade  press — 
representatives  of  the  great  industry  that  is  under  the  gunfire 
of  the  godly. 

We  agents  look  at  each  other  sidewise,  and  say  "Sh!" 
They  watch — they  listen — they  take  notes. 
Now  the  conference  that  is  to  shake  the  world  and  save  our 
youth  is  about  to  begin. 

The  chairman  clears  his  throat.     The  brethren  and  sistren 
perch  on  the  edges  of  their  chairs. 

THERE  is  a  prayer,  and  a  quavering  hymn. 
The  Rev.  C.  G.Twombly,D.D.,  arises  in  his  place  and  comes 
to  the  rostrum. 

He  is  a  handsome  chap,  and  he  carries  an  imposing  sheaf 
of  what  is  no  doubt  damning  documentary  evidence. 

I  look  at  the  printed  program.    His  subject  is  "The  Moving 
Picture  Menace." 

It  is  evident  at  once  that  Dr.  Twombly  has  a  Wide  Vision 
of  Service. 

"Forty-five  million   children  see  movies  every  week,"  he 
announces.    Then  he  berates  his  brethren  of  the  cloth  for  not 

attending  also, 
in  order  to  keep 
close  tab  on  the 
machinations  of 
Satan  in  Celluloid. 
"Nothing  is  too 
bad  for  me  to 
see!"  he  shouts. 

There  is  an  ap- 
pro ving  cluck- 
cluck-clucking 
from  the  sisters  in 
the  seats. 


"Wl'; 


Illustrated  by 

Rollin  Kirby 


And  it  sounds  just  like 
a  one-man  band,  too. 


[AT  are 
,e  going 
to  do  to  save  our 
young  peoiile  from 
the  evils  of  motion 
pictures?  "  he  asks. 

No  answer  is 
forthcoming.  Dr. 
Twombly  plunges 
into  the  horrid  de- 
tails of  certain  in- 
iquitous  films 
before  which  he 
has  sat  in  the  per- 
formance of  his 
high  calling  as 
guardian  of  .Amer- 
ican vouth. 

In'Mr.  Griffith's 
"  Battle  of  the 
Sexes"  Miss  Phyl- 

[  CONTINUED  ON 

PAGE  136] 


^The  Hot  Baby 

of  Hollywood 

otherwise  Lupe  Velez 


By    K  ath  e  1-  i  n  e   Albert 


ONCE,  when  Lupe  Velez  was  a  child,  she  took  the  jewels 
from  the  altar  in  the  house  to  twine  in  her  hair.    Con- 
sternation reigned  when  her  parents  discovered  this. 
"  My  Lupe  is  full  of  pep,"  said  her  father. 
"  My  Lupe  is  full  of  hell,"  said  her  mother. 
Lupe  is  full  of  hell  and  fire  and  earth  and  storm  and  sea.  She 
is  breathless  and  exciting  and  young.    As  simple  as  a  nursery 
rhyme,  as  vital  as  passion. 


She  was  born  in  a  house  not  far  from  Mexico  City  where  her 
father  was  a  colonel  in  the  army  and  secretary  to  the  governor. 
It  was  a  big  house  with  many  servants,  whose  chief  duty 
seemed  to  be  to  sit  on  the  roof  and  watch  Lupe  give  imitations 
of  the  famous  actresses  of  the  day. 

The  beds  were  ripped  apart  so  that  Lupe  could  stuff  herself 

with  pillows  and  drape  herself  with  sheets.    It  was  a  one  girl 

show.    Lupe  would  have  it  no  other  way.    The  servants  and 

her  sisters  were  the  audience.    Lupe  was 

the  star. 

It  was  trying  enough  for  the  family  to 
have  the  house  thrown  into  disorder  be- 
cause Lupe  felt  called  upon  to  give 
amateur  theatricals  on  the  roof,  but  when 
she  was  eleven  or  twelve  years  old,  other 
difficulties  presented  themselves.  Even 
at  that  tender  age  Lupe  had  sex  appeal 
and  no  race  is  as  quick  to  recognize  this 
quality  as  the  Mexican. 

THE  house  was  surrounded  by  boys  of 
all  ages,  who  whistled  in  various  keys. 
For  Lupe  these  young  swains  were  simply 
a  means  to  an  end.  She  had  an  absorbing 
curiosity  about  motion  picture  stars  and 
she  discovered,  young  as  she  was,  that 
her  kisses  were  marketable.  She  would 
bestow  a  chaste  salute  on  a  masculine 
cheek  in  exchange  for  a  picture  of  a  star 
or  a  colored  ribbon  to  wind  in  her  dark 
braids. 

Thus  men  became  to  her  tools  to  gain 
the  things  she  wanted,  and  the  house  was 
besieged  by  them.  Her  more  placid  sis- 
ter, Josephine,  became  her  messenger. 
She  carried  notes  between  Lupe  and  the 
boys,  and  Lupe's  keen  little  ears  soon 
learned  the  different  whistles  of  her  young 
lovers.  Josephine  was  sent  out  to  deliver 
the  proper  hU]cl  doitx  for  each  knight. 

During  the  short  space  of  time  that  I 
talked  to  Lupe  I  developed  a  deep  sym- 
pathy for  her  mother  who,  at  last,  decided 
that  it  was  impossible  to  keep  her  in  the 


Lupe  Velez  arrived  in  Hollywood 
with  one  dollar,  a  few  words  of 
English  and  a  Mexican  hairless  dog. 
Oddly  enough,  she  did  not  want  to 
go  in  to  pictures.  "I  knew  that  I  was 
too  ugly,"  she  explains.  The  pro- 
ducers disagreed  with  her,  and  her 
success  was  one  of  the  quickest  on 
record 


Some  high- 
spots  in  the  life 
of  Lupe,  who 
captures  the 
boys  and  gives 
the  girls  some- 
thing to  talk 
about 


house  any  longer.  Living  with  a  cyclonic 
force  must  be  harrowing,  so  Lupe  and  her 
messenger-sister,  Josephine,  were  shipped 
away  to  a  convent — Lady  of  the  Lake — in 
San  Antonio,  Texas. 

HERE  she  met  American  girls  who 
taught  her — as  much  as  Lupe  can  be 
taught — to  sing  American  songs  and  to  do 
the  shimmy,  the  forerunner  of  the  Charles- 
ton and  the  Black  Bottom. 

As  she  had  been  a  trial  to  her  family,  so 
she  became  a  trial  to  the  nuns.  She  ap- 
peared in  school  theatricals.  She  recited 
little  verses  about  birds  and  bees  and 
flowers  and  when  there  was  only  a  mild 
ripple  of  applause,  Lupe  resorted  to  that 
quaint  old  army  custom,  technically  known 
as  the  razzberry,  to  express  her  disap- 
proval. It  threw  the  girls  into  hysterics, 
but  the  mild  and  gentle  nuns,  who  did  not 
understand  it,  let  her  go  unscolded. 

And  then  came  tragic  news.  The  revo- 
lution flourished  in  Mexico.  Her  father 
was  shot  through  the  lungs!  The  girls 
must  go  home  immediately. 

LUPE  found  herself  on  a  train  speeding 
back  to  her  native  land.  Because  she 
was  the  younger,  she  must  sleep  in  the  upper 
berth,  her  sister  in  the  lower.  This  was 
not  for  Lupe.  A  calm,  sane  upper  berth, 
when  on  up  ahead  was  a  large,  pulsing,  ex- 
citing locomotive! 

At  the  next  stop  Lupe  left  her  own  coach 
and  climbed  into  the  cab  of  the  engine  to 
discover  a  hard-boiled  engineer  who  simply 
could  not  be  bothered  with  Mexican  girls. 

"He  would  not  let  me  stay  in  the  en- 
gine," said  Lupe,  "but  I  knew  that  I  was 
to  stay,  so  I  just  gave  him  dis  .  .  ." 

"Dis"  is  a  plaintive  look  with  the  eyes 
opened  wide  and  the  lips  drawn  into  a 
provocative        [  continued  on  page  141  ] 


Said  the  wife  of  an  English  novel- 
ist, "Oh,  yes,  my  deah,  Lupe  Velez. 
A  very  noisy  young  person."  But 
Hollywood  likes  her,  because  Holly- 
Wood  likes  anyone  who  is  young, 
exciting,  vital  and  interesting. 
And,  in  this,  Hollywood  is  not  so 
very  different  from  your  own  home 
town 


37 


The  Studi^^i 

My 


Illustrated 

by 

C.    A.    BRYSON 


By 
The  EDINGTONS 


The  Los  Aiigclcs  police  department,  lieadcd  by  Chief 
Detective  Smith,  is  baffled  by  a  startling  murder.  Divighl 
Hardell,  one  oj  the  leading  players  of  the  Superior  Films 
Company,  is  found  dead  on  Stage  Six,  following  a  hard 
night's  work  on  close-ups  alone  under  the  direction  of  Franz 
Seibert,  Superior's  ace  foreign  director.  A  blood-stained 
rapier  lays  beside  the  body,  still  garbed  in  the  costume  of 
HardeU's  last  screen  role. 

Investigation  centers  around  four  people.  It  develops  that 
Hardell  left  the  studio  in  Director  Seibert's  car  at  12:17 
A .  M.  Hardell  apparently  found  his  ivay  hack,  through  the 
studio's  guarded  gate,  without  being  observed.  In  the  studio 
at  the  time  were  Seibert's  assistant,  Billy  West,  and  Yvonne 
Beaumont,  a  French  actress.  Both  were  on  mysterious 
errands  outside  their  studio  work.  Detective  Smith's  in- 
vestigation hints  of  another  murder  observer  or  participant — 
a  mysterious  woman.  This  may  be  Beth  MacDougal, 
daughter  of  tlie  studio  gateman  and,  of  course,  MacDougal 
himself  may  be  involved  in  the  crime. 

As  the  hunt  tightens,  young  West  confesses  to  the  crime 
and  Miss  Beaumont,  who  is  in  love  with  West,  confesses  that 
she  came  to  the  studio  to  recover  some  letters  from  the  mur- 
dered man,  Hardell. 

There  is  the  mystery  to  date.  HardeU's  record  is  a  bad 
one.  He  appears  to  have  been  a  scoundrel  in  private  as  well 
as  in  his  make-believe  life.  Women  were  his  victims  and  it 
seems  highly  possible  that  the  murder  centers  around  a 
broken  heart. 

Still —  Go  on  with  the  story  and,  remember,  that  $3,000  in 
prizes  go  to  the  shrewd  amateur  detectives  who  beat  the  Los  A  ngcles 
police  in  solving  this  sensational  crime. 


YVON 


"VONNE  .  .  .  stop!" 

'No,  Billee!    I  will  not  stop!    I..." 
Jut  West  turned  to  Smith,  crying: 
"She's  only  trying  to  Save  me!    Don't  listen  to  her! 
Go  on  .  .  .  ask  me  questions  .  .  .  try  to  prove  it !    I  went  on 
that  set  last  night,  and  you'll  find  my  fingerprints  to  prove  it!" 
"Which  reminds  me.    You  have  on  rubber-heeled  shoes.  Just 
what  I  am  looking  for.    Did  you  wear  those  shoes  last  night?  " 
."Yes." 

Smith  walked  over  to  Rosenthal's  desk.  From  the  pile  of 
papers — the  time  sheet,  the  tape  from  Lannigan's  clock,  and  a 
few  miscellaneous  articles — he  pulled  a  folded  paper.  Opening 
it,  he  revealed  that  it  was  smeared  with  rusty-red  stain. 

"npAKE  off  your  shoe,  West,"  he  said  then.     Awkwardly, 
JL  flushing   miserably   because   of   his    bound    wrists,    the 
prisoner  bent  to  obey  him.    Yvonne  went  to  him  swiftly. 

"No  .  .  .  dear  .  .  ."  She  stood  back,  and  the  sound  of  a 
sob  came  from  her.  Smith  watched  them  both  with  cool  indiffer- 
ence. When  the  shoe  was  off,  he  took  it,  and  with  his  pen  knife 
he  dug  out  adeposit  in  the  nail  holes  in  the  heel.  This  besmeared 
beside  theother  stain  on  the  paper,  and  held  it  out  for  them  to  see. 
"Matches  up,  eh?  A  laboratory  test  will  prove  it.  You  must 
have  stood  by  HardeU's  body  quite  some  time.  West,  to  let  his 
bloodget  into  your  shoes  like  that  .  .  .  and  to  leave  the  remark- 

38 


ably  clear  trail  across  the  floor,"  he  said  quietly.  "I  was  going 
to  question  )'ou  carefully  as  to  your  actions  on  the  lot  last  night, 
but  )'ou  have  saved  me  the  trouble  for  the  present  .  .  .  your 
confession,  and  this  .  .  .  rather,"  and  he  pointed  to  the  paper. 
Yvonne  put  her  hands  to  her  face,  and  moaned: 
"Billee!    Billee!" 

THE  president  of  Superior  Films  stared  at  him  in  horror. 
"Have  you  anything  to  add  to  your  confession?"  said 
Smith  addressing  West. 

He  drew  the  back  of  his  hand  across  his  forehead  in  a  dazed 
way,  before  he  answered.  Once  he  opened  his  lips,  as  though 
to  ask  a  question.    But  he  did  not.     Finally  he  said: 

"No.    That  .  .   .  is  .   .  .  all." 

Yvonne  was  pounding  the  back  of  a  chair  with  tight  clenched 
fists. 

"Oh  .  .  .  you  are  .  .  .  crazee!  Crazee  ...  all  of  you!" 
she  sobbed  furiously. 

Clancy,  coming  in,  stood  a  moment,  his  cheeks  puffed  out  in 
surprise,  at  this  exhibition.  Smith  brought  him  sharply  to 
attention. 

"Did  you  check  up  on  Seibert's  story?" 

"Sure,  chief.  His  chauffeur  says  he  came  in  all  right  like  he 
said,  and  spoke  to  him.  Says  when  he  went  up  to  bed,  Seibert 
had  his  light  on,  and  was  sittin'  by  his  window  readin'.  That 
was  about  an  hour  and  a  half  .  .  .  maybe  two  hours,  later." 
Clancy  stopped,  and  looked  at  West,  and  the  handcuff's. 

"Didn't  take  you  long,  did  it,  chief?"  he  asked  significantly, 
a  grin  spreading  over  his  face. 


More  confes- 
sions tangle 
this  weird  mys- 
tery of  a  Holly- 
wood  Studio. 
Who  is  guilty? 
You  can  help 
find  the  mur- 
derer and  win 
$3,000 


Yvonne  Beaumont  sud- 
denly faced  the  room. 
"Ladies  .  .  .  gentlemen  .  .  . 
will  you  hear  me?  I  have 
.  .  .  sometheeng  to  tell 
you!"  The  beautiful  girl 
looked  bravely  at  her  audi- 
ence. "First  I  tell  you 
that  I  have  had  ze  .  .  . 
what  you  say  .  .  .  affair 
wiz  Mr.  Harden !  I  did  not 
loff  heem.  I  am  ze  flirt, 
oui.  Pretty  soon  I  am 
afraid!  He  make  me  scare. 
He  say  he  will  show  some 
silly  letters  to  my  Billee! 
I  am  .  .  .  wild  .  .  .  it  ees 
zen  that  Yvonne  becomes 
...  a  murderess!" 


"He  has  confessed,"  said  Smith  tersely. 

"Huh!"  grunted  Clancy.  Even  in  his  most  sanguine 
moment,  he  had  not  hoped  for  such  an  easy  capture.  He  stood, 
slowly  sizing  up  the  man  in  handcuffs.  The  victorious  in- 
solence in  his  face  made  West  long  to  get  up  and  punch  it.  He 
made  no  effort  to  hide  his  desire,  and  Clancy,  well  trained  in  the 
meaning  of  such  looks,  deliberately  fanned  it  into  an  outburst. 

"  Huh!  A  boob  amateur  tryin'  to  put  one  over  on  a  guy  that 
stole  his  sweetie! "  he  sneered.  West  lurched  at  him,  his  hand- 
cuffed hands  raised.  If  he  thought  Clancy  was  to  be  taken 
unawares,  he  was  mistaken.  The  sergeant  of  police  had  turned 
his  back  squarely  upon  him,  but  now  he  wheeled  on  the  instant, 
his  fist  swinging  out  unerringly.  West  was  slammed  into  a 
chair  back  of  him. 

"None  of  that  stuff!"  he  hissed.  "You're  goin'  with  me,  and 
you're  goin'  quiet ! "  Wrapping  a  hand  hardened  to  such  prac- 
tice in  the  back  of  West's  collar,  he  hauled  him  upright. 

"  Listen,  you  damn  murderer!  Try  that  again  and  I'll  smack 
your  chin  back  so  far  you  can  use  it  for  a  collar  button!" 

"/'^L.'\NCY!"  The  captain  of  detectives  looked  meaningly 
V.-'at  his  sergeant. 

"  No  little  squirt  of  a  crook  can  act  up  with  me,  and  get  away 
with  it!"  retorted  Clancy  belligerently.  He  turned  back  to 
West,  and  thrust  his  big  paw  down  his  collar. 

"Come  on,  you  .  .  ." 

There  was  a  flash  of  steel,  and  the  boy's  hands  swung  up  and 
down.    His  eyes,  suddenly  a  black  blaze,  leaped  to  Smith's. 

"Take  these  damn  things  off  me,  or  I'll  wreck  the  place!"  he 


roared.  "Pretty  soft  for  you!  Out  here  one  day,  and  the  best 
you  can  do  is  pick  on  a  girl!  Somebody  tells  you  a  lot  of  rot, 
and  you  start  right  in  throwing  dirt  on  her  name!  That's  a  hell 
of  a  way  to  catch  a  murderer!  You  knew  damn  well  I'd  confess 
to  it!  All  right.  I  did.  But  that  doesn't  give  you  the  right  to 
put  a  filthy  tub  of  guts  like  this  over  me!  You  take  off  these 
handcuffs,  and  you  do  it  damn  quick!  I'll  go  to  jail,  but  I'll  go 
like  a  gentleman!  I'll  go  when  you  send  a  man  with  a  decent 
tongue  in  his  head.  .  .  ." 

"/'^LANCY,  you  can  step  over  to  the  hospital  and  get  the 
V— 'nurse  to  fi.x  you  up,"  said  Captain  of  Detectives  Smith 
at  this  point.  Astonishingly  speedy  had  been  his  seizure  of  his 
sergeant  of  police  when  West's  manacled  hands  had  swung 
down  on  his  head.  Astonishingly  steely  was  the  grip  that 
kept  the  frothing  Clancy  from  leaping  at  West's  throat.  There 
was  an  instant  in  which  Clancy  hesitated,  his  hands  curled  and 
quivering  with  the  intent  .  .  .  and  then  he  touched  his  cap, 
and  stepped  into  the  hall.  .  .  . 

"Tell  Ryan  to  come  in,"  called  Smith  after  him. 
"Ryan,  this  is  Mr.  West.    Take  him  down  and  lock  him  up. 
There's  no  need  to  call  attention  to  yourselves.    Perhaps  Mr. 
West  will  drive  you  in." 

"Right,  sir,"  .  .  .  and  to  West,  ".Are  you  ready?" 
Yvonne,  shrinking  back  in  her  [chair,   looked   out   at   him 
with  eyes  in  which  contempt  and  loathing  burned. 

"You  know  he  did  not  do  eet!"  she  said  in  a  low,  tense 
voice.  "You  are  a  weecked  ...  a  bad  ...  a  terrible  .  .  . 
man!    God  will  puneesh  you  one  day!    I  say  eet!" 


/WENT  to  Beth  MacDougal  in  the  hospital,"  explained  Detective 
Clancy.  "The  kid  didn't  know  her  father  has  confessed,  see?  She 
looks  at  me  like  a  scared  rabbit.  Well,  then  I  springs  the  dope  about 
her  dad  to  her.  And,  say,  that  kid  never  had  a  ghost  of  an  idea  her  dad 
was  goin'  to  confess  to  the  murder!  No  siree!  The  kid  was  good  and  sick. 
'They'll  hang  my  Daddy!  They'll  hang  him!' she  kept  repeating.  'Oh, 
my  God  .  .  .  what  did  I  ever  do  it  for?'  " 


40 


$3,000  in  Prizes  for  Detective  Skill  in 
Solving  this  Baffling  Murder 


She  looked,  and  spoke  words,  like  a  child,  but  her  voice  was 
rough  with  passion.  Her  eyes  accused  him  in  a  way  that 
threatened  to  break  through  his  composure. 

"I  do  not  kno-w  anything  about  this  case  .  .  .  yet  .  .  ."  said 
the  detective. 

"  Veil,  I  should  tink  it  vould  be  all  offer,  vid  poor  West's  con- 
fession! Ach,  that  boy!  I  cannot  bclieff  it!"  Rosenthal  sighed. 
.Surreptitiously  he  took  out  his  voluminous  handkerchief.  Then 
quite  frankly  he  wiped  his  eyes. 

CH.XPTER  XI. 

THE  coroner's  inquest  over  the  body  of  Dwight  Hardell  has 
gone  down  in  newspaperdom  as  the  tenth  wonder  of  the 
world.  The  sob  sisters  who  handled  it  were  reduced  to  a  state  of 
imbecilic  into.xication  from  sheer  excitement.  They  found  them- 
selves beggared  of  adjectives  in  the  first  round.  Such  a  thing,  as 
you  probably  know,  seldom  happens  to  sob  sisters.  The  newsies 
for  once  did  not  have  time  to  scream  their  extras.  The  papers 
were  snatched  away  from  them  faster  than  they  could  hand 
them  out.  Black  headlines  fought  with  bursting  columns  on 
the  front  pages.    We  herewith  reprint  as  follows: 

THREE  CONFESS  TO  SLAYING  OF  ACTOR! 
All  picturedom  predicted  to  be  involved  in  mysteri- 
ous crime.      Was  fiendish  deed  mob  attack  or  smoke 
screen  thrown  up  by  motion  picture  magnate  of  Superior 
Films  to  conceal  truth  which  is  too  frightful  to  reveal? 

And  more.  Head  writers  let  space  and  type  go 
to  the  devil,  and  strung  their  lines  halfway  down 
the  front  page.  Sob  sisters  wallowed  in  exagger- 
ated exj^ressions,  as  follows: 

"What  threatens  to  be  the  most  sweeping  ex- 
pose of  picturedom,  was  begun  today  with  the 
coroner's  inquest  over  the  body  of  Dwight 
Hardell.  Startling  enough  in  itself  is  the  murder 
of  the  well-known  actor  .  .  .  startling  and  fiend- 
ishly brutal!" 

"Lying  stark  and  cold  in  the  satin  and  laces  of 
his  period  costume,  his  white  wig  not  whiter  than 
his  dead  face,  his  hand  still  grasping  the  glittering 
duelling  weapon  with  which  he  tried  to  defend 
himself  .  .  .   that  is  the  way  Dwight  Hardell  was 
found  yesterday  morning  by  an  office  boy  on  the 
Superior  Films  lot!     Mysterious  and  uncanny  is  the  fact 
that  he  was  lying  in  the  exact  position  in  which  a  dummy  of 
himself  had  been  arranged  the  night  before,  for  a  dissolve 
shot!    Mysterious  and  uncanny  is  the  collection  of  clues  dis- 
covered by  Captain  of  Detectives  Smith  .  .  .  not  one  of  which 
bears  out  another!" 

ST.XRTLING  also,  the  confession  of  William  West,  an  assist- 
ant directorof  Superior  Films,  to  the  murder!  His  shoes  were 
found  to  be  the  same  which  had  made  a  bloody  trail  across  the 
stage  .  .  .  but  .  .  .  the  fingerprints  which  were  found  on  the 
canvas  door  of  the  set  were  a  woman's!  A  woman's  voice  also, 
that  sent  out  the  scream  in  dead  of  night,  which  night  watch- 
man Lannigan  took,  and  rightly,  for  a  banshee  .  .  .  wailing  the 
passing  of  the  dead!  A  woman's  hand  who  wrote  the  'death 
note,'  found  in  Hardell's  room,  that  stated,  '  I  shall  end  every- 
thing between  us  .  .  .  tonight!'  The  'death  note'  was 
written  by  Yvonne  Beaumont,  a  Superior  Films  star!  The 
murder-confession  was  made  by  William  West,  known  to  be 
madly  in  love  with  the  beautiful  French  actress  .  .  .  and  from 
there  the  answer  is  simple.  He  confessed  to  shield  her  .  .  .  but 
not  so  simple,  after  all,  for  an  unknown  woman  enters  into  the 
case!  The  bloody  fingerprints  were  not  made  by  Miss  Beau- 
mont! Who,  then,  is  this  second  woman?  The  night 
gateman  at  Superior  Films  says  he  marked  both  Miss  Beau- 
mont and  Mr.  West  in  on  the  night  of  the  murder,  but  he  denies 
admitting  any  other  person  except  the  murdered  man  and  his 
director,  Franz  Seibert!" 


V./y.^'V***** 


Chief  of  Detectives  Smith 
faced  the  police  chief. 
"This  is  murder  de  luxe! 
It's  the  prettiest  murder 
I  ever  saw!  In  some  ways 
it  looks  like  the  work  of  a 
silly  kid  ...  In  some 
ways  it  looks  like  —  the 
work  of  a  fiend!" 


So  man)'  and  so  bewilder- 
ing are  the  mysterious  angles 
of  this  crime  that  it  is  diffi- 
cult w'hich  thread  in  the 
tangled  maze  to  follow. 

Here  is  a  stiff  one  for  amateur  sleuths.  .  .  .  "Dwight  Hardell 
was  marked  out  by  the  gateman  at  12:17  ...  he  did  not 
return  .  .  .  he  was  found  dead  on  Stage  Six  the  next  morning. 
Are  Lannigan  and  MacDougal,  the  watchman  and  gateman 
respectively,  in  a  conspiracy  to  shield  somebody,  and  is  the 
time  of  Hardell's  departure,  as  given  by  MacDougal  .  .  . 
erroneous?  And  where  does  Franz  Seibert  come  into  this,  for 
he  also  states  he  left  the  lot  with  Hardell  at  12:17  A.  M.!" 

"CTARTLING  and  bewildering  enough  are  all  these  things, 
Obut  it  is  predicted  things  more  startling  are  yet  to  come, 
and  that  the  history  of  some  of  the  most  famous  people  in 
pictures  will  be  made  public  before  the  truth  of  this  strange 
crime  is  uncovered!" 

"It  is  common  gossip  that  Seibert  is  working  with  .Abraham 
Rosenthal  to  cover  up  the  actual  truth  of  the  case,  and  that 
every  attempt  is  being  made  to  mxstify  the  police  and  the 
public,  in  order  that  their  minds      [  continued  o.\  page  78  ] 


Complete  Rules  for  Studio  Murder  Mystery  on   Page  78 


What  AreYoUR 
Correct  Colors? 


"DEGINNING  with  this  issue,  Photoplay  will  have  four  covers 
^thal  will  also  be  color  charts  jor  the  jour  different  types  of 
feminine  beauty:  brunette,  blonde,  red-haired  and  brown-haired. 
Each  month  there  will  be  a  color  analysis  for  the  various  types. 
Miss  Latirene  Hempstead,  who  will  write  these  articles,  is  an 
expert  in  color  and  a  member  ofthestaJfofWouEN's  Wear  Daily, 
an  authoritative  New  York  fashion  publication. 

Beauty  experts  say  that  American  women  too  often  sacrifice  their 
own  beauty  to  follow  an  arbitrary  fashion  in  color.  The  best 
designers,  too,  are  trying  to  make  women  choose  colors  to  conform 
with  their  own  coloring,  not  a  fashion  whim.  These  articles,  with 
the  covers,  will  help  you  immeasurably  in  adding  to  your  own 
good  looks,  through  the  correct  use  of  color. 


I 


LIKE  you  in   black,"  said  the  gallant  and  discerning 
young  man.     "It  makes  you  stand  out." 

The  you  was  a  blonde  with  a  fair  skin  and  light  yellow 
hair.     She  wore  a  lustrous  black  velvet  gown  which  made 


BEFORE  you  select 
the  colors  for  your 
costume,  first  find  the 
colors  for  your  make-up. 
To  do  this,  you  must 
make  an  impartial  study 
of  the  actual  pigmenta- 
tion of  your  skin.  Are 
your  lips  and  cheeks 
red-orange  or  red-violet? 
If  you  are  a  brunette, 
you  probably  have  the 
warm  coloring.  There- 
fore, select  a  rouge  and 
lipstick  containing 
orange  that  will  increase 
the  color  without  alter- 
ing it.  If  you  are  a 
blonde,  select  a  red- 
violet  make-up.  In 
choosing  powder,  match 
the  natural  skin  areas  of 
your  forehead  and  neck. 
You  will  probably  need 
two  different  sets  of 
make-up  —  one  for  your 
summer  tan  and  one  for 
your  paler  winter  com- 
plexion. Read  this  ar- 
ticle and  learn  how  to 
make  the  most  of  your 
skin. 


her  skin  seem  a  pearly  white,  with  undertones  of  warm  rose 
beneath.  A  dull,  flat  black  would  have  made  this  same  fragile 
complexion  seem  pale  and  uninteresting.  In  contrast  to  the 
black,  her  hair  was  a  shining  living  gold;  yet  this  same  hair 
might  have  seemed  faded,  dingy  and  characterless  if  its  owner 
had  doomed  it  to  insignificance  by  wearing  a  vivid  yellow  or 
orange. 

EVERY  girl,  every  woman,  holds  it  in  her  power  to  make  her 
best  features  more  evident,  to  make  undesirable  traits 
less  conspicuous,  by  wise  selection  of  colors  used  in  her 
costumes.  Her  home,  which  should  be  the  background,  the 
setting  for  her  personality,  may  also  be  made  more  effective, 
more  inviting,  and  even  more  comfortable,  by  means  of  wisely 
chosen  colors. 

Women  are  realizing  more  and  more  that,  by  surrounding 
themselves  with  harmonious  colors,  they  may  achieve  greater 
happiness  and  comfort.  Color  has  entered  the  kitchen  and  the 
bathroom — two  rooms  formerly  doomed  to  remain  white. 
There  is  color,  too,  in  sheets,  table-linen  and  all  the  accessories 
of  the  household.  For  color  has  a  decided  effect  upon  the 
emotions.  It  is  as  powerful  a  force  as  music,  and  its  use  is  more 
extended  for  one  ma)'  always  be  surrounded  by  color,  at  any 
time  and  in  any  place. 

Psychologists  have  found  that  each  color  affects  the  emotions 
in  a  different  manner.  You  are  not  the  same  individual  in  a 
blue  dress  that  you  are  in  a  red  one.  You  not  only  feel  differ- 
ently, but  you  act  differently.  And  oh,  how  different  you  look 
to  your  friends!  Not  only  will  your  appearance  be  changed, 
but  the  emotions  of  those  who  see  you  will  be  affected  by  the 
color  you  wear. 

No  two  persons  react  in  exactly  the  same  way  to  color.  One 
may  like  green  because  the  girl  he  loves  looks  well  in  it ;  another 
may  abhor  it  because  a  disliked  and  feared  maiden  aunt  habit- 
ually wears  it.  According  to  scientific  experiments,  most 
humans  react  most  pleasantly  to  blue  and  to  red.  Men,  con- 
trary to  general  belief,  show  slightly  greater  preference  for 
blue  than  for  red;  while  most  women  choose  red  first,  blue 
being  less  favored. 

IN  selecting  your  correct  color,  remember  that  your  face 
should  be  the  center  of  interest,  the  most  important  considera- 
tion in  the  composition  created  by  the  costume  and  the  wearer. 
The  costume  should  be  the  background  and,  rather  than  think- 
ing first  about  the  costume,  one's  attention  should  be  focused 
on  the  individual  herself,  upon  her  face,  which  best  expresses 
her  personality.  The  costume  should  increase  the  attractiveness 
of  one's  own  coloring,  and  not  introduce  powerful  colors  which 
overwhelm  those  of  the  individual. 

Naturally  you  will  wish  to  select  colors  for  your  costume 
and  your  home  that  will  make  your  skin  clearer,  make  your 
eves  seem  deeper,  larger  and  more  expressive,  and  bring  out  all 
the  color  and  lustre  of  your  hair.  To  do  this,  you  must  make  a 
careful  study  of  the  actual  pigmentation  of  your  skin,  hair 
and  eyes.  Most  women  classify  themselves  as  blondes,  bru- 
nettes, redheads  or  "in-betweens,"  without  taking  the  trouble 
to  analyze  their  actual  coloring. 

So  let  us  first  consider  the  skin:  The  actual  pigmentation 
of  the  skin,  such  as  found  in  the  neck  or  the  forehead,  is  not 
white,  neither  is  it  pink.  It  is  really  orange  in  tone,  a  pale, 
light  orange,  much  less  bright  than  the  fruit  from  which  it  takes 
its  name,  but  clearly  of  the  same  hue.  Its  tone  varies  greatly 
in  individuals,  ranging  from  a  yellow  to  a  red  orange. 

The  flesh  tones  found  in  lips  and  cheeks  also  vary  decidedly. 
They  are  seldom  pure  red,  as  they  are  usually  described,  but 


42- 


By 

Laurene 
Hempstead 

How  you 
may  become 
happier  and 
more  attrac- 
tive, by  ana- 
lyzing your 
coloring  and 
finding  your 
proper  har- 
monies 


xi.v>8 


either  red-orange  or  red-violet. 
Most  so-called  brunettes  possess 
the  warm,  or  red-orange,  coloring. 
Blondes  have  cooler  red-violet  col- 
oring. 

The  coloring  of  the  individual 
also  changes  according  to  health 
and  the  seasons  of  the  year. 
Therefore  a  color  which  is  becoming  during  the  winter  or  early 
spring  months  may  be  decidedly  unsuitable  in  the  summer 
when  the  skin  is  tanned.  Bear  this  in  mind!  Don't  go  through 
life  wearing  pale  blue  because  you  looked  well  in  it  when  you 
were  a  child,  or  pale  orchid  because  it  went  well  with  your 
winter  pallor. 

Before  you  choose  the  color  of  your  costume,  you  must  find 
a  suitable  make-up.  The  object  of  rouge  and  lipstick  is,  not  to 
change  the  natural  color,  but  to  increase  it  without  altering  its 
tone.  Thus  if  you  have  a  red-violet  coloring,  a  vivid  orange 
rouge  will  not  only  fairly  shriek  its  presence  but  will  give  you  a 
harsh,  hard  look  and  usually  clash  with  the  color  of  your  hair 
and  eyes. 

Powder  should  always  match  the  natural  background  of  the 
skin,  which  may  be  found  on  the  neck  and  forehead.  Remember 
that  powder  is  not  designed  to  change  the  natural  color,  but  to 
give  a  soft  velvety  finish  and  to  remove  shine  and  other  im- 
perfections. 

Now  for  the  selection  of  color  for  your  clothes:  Here,  briefly 
are  some  important  points  to  remember: 

COLORS  may  change  the  face  by  two  methods;  that  of 
reflection  and  that  of  contrast.  A  red  tone  may  reflect  red 
light,  or  it  may  cause  to  appear  an  entirely  opposite  color, 
known  as  a  complementary  color. 

If  the  fabric  of  your  dress  has  a  shiny  surface,  or  if  your  skin 
is  smooth  and  clear,  reflection  will  occur.     If  the  fabric  is  an 
intensely  vivid  color,  it  courts  the  complementary  shadows. 
There  is  a  scientific  reason  for  this.    Intense  colors  fatigue 


If  you  are  a  brunette,  save  Photoplay's  cover  as  a  color  chart  for  selecting 
your  clothes.  And  save  this  Iceyed  chart  as  a  guide  to  the  colors.  1.  Softened, 
slightly  neutralized  yellow-orange.  2.  Dark,  slightly  neutralized  red-orange. 
3.  Light  value  of  soft  red-orange.  4.  Grayed  green  with  slightly  yellow-green 
tinge.  5.  Softened  orange  of  medium  value.  6.  Red  with  only  a  tinge  of 
orange.  7  Dark,  slightly  grayed  green.  8.  Pale  tint  of  red  orange.  9.  Bright 
red  orange.    10.  Red,  very  slightly  softened 


the  observer's  eye,  causing  it  to  see  a  directly  opposite  color 
on  the  adjoining  surface.  Furthermore,  intense  colors  decrease 
the  color  in  the  face  because  they  subdue  the  delicate  flesh  tints 
by  their  own  greater  strength. 

P.\RTL\LLY  neutralized  colors  are  therefore  more  becoming, 
more  easily  worn,  than  full  intense  ones.  Not  one  out  of  ten 
women  should  wear  large  areas  of  intense  color,  and  probably 
not  one  out  of  a  hundred  looks  as  well  in  them  as  in  colors  of 
softer,  less  vivid,  character. 

The  average  woman  would  do  well  to  avoid  both  the  very 
brilliant  and  the  completely  neutral.  Grays,  neutral  tans  and 
beiges  are  particularly  trying  to  persons  who  have  become  gray 
or  whose  coloring  has  been  dimmed  by  ill-health  or  age.  Warm 
rosy  beiges,  rosy  grays  or  grays  with  a  definitely  blue  cast  are 
more  becoming  because  they  give  an  appearance  of  life  and 
vitality  to  the  skin. 

Those  with  neutral  coloring  who  attempt  vivid  reds  to  give 
color  to  their  appearance,  defeat  their  own  purpose.  They 
make  the  pale  person  seem  entirely  colorless.  Estelle  Taylor, 
whose  portrait  is  on  the  color  chart  for  this  month,  is  one  of  the 
fortunate  women  who  can  wear  brilliant  reds.  She  has  a  force- 
ful personalit.\-,  a  clear  skin  and  vivid  coloring. 

Extremely  dark  colors  absorb  color  from  surrounding  sur- 
faces. If  your  coloring  is  too  vivid,  if  you  are  inclined  to  be 
florid,  black  or  dark  colors  will  subdue  and  clarify  your  skin. 
Black  velvet,  because  of  its  flattering  lustre,  not  only  brings 
out  the  whiteness  of  your  comple.xion  but  does  not  absorb  the 
personal  coloring.  [  continued  on  page  81  ] 

J^3 


"It  seems  that  it  appealed  to 
Jack's  peculiar  sense  of  humor  to 
take  Effie  around  and  introduce 
her  to  everyone,  whispering  the 
news  that  she  was  the  daughter  of 
a  Scotch  toffee  king,  whose  father 
was  just  aching  to  spend  a  million 
pounds  to  put  her  in  the  movies. 
No  wonder  she  was  popular!" 


By 

Agnes 
Christine 
Johnston 


Illustrated  by 

R.  Van  Buren 


oliteS^'Mjn 


YOU'LL  probably  say  I'm  all  hay-wire,  but  I  tell  you 
the  politest  man  in  Hollywood  is  Jack.  Arden."  Ann 
Sutherland  tossed  her  pretty  blonde  bob  and  smiled 
at  the  incredulity  that  greeted  her  statement.  As 
usual,  everybody  stopped  to  listen  to  Ann.  She  was  one  of  the 
few  women,  clever  enough  to  be  both  a  wife  and  mother,  and 
at  the  same  time  gain  entree  into  the  most  exclusive  circles  in 
Filmdom — all  on  a  press  agent's  salary. 

It  was  the  hour  when  most  Hollywood  discussions  take  place 
— the  uncertain  interlude  between  the  time  when  guests  are 
invited  to  a  dinner  party  and  the  time  the  last  one  really  arrives. 
Cocktails — candle-light,  the  hostess,  cool  and  gracious,  knowing 
her  wise  cook  will  not  put  the  filets  on  to  broil  until  a  quarter  of 
nine  at  the  earliest;  the  guests  wandering  in,  one  by  one,  with 
plenty  of  space  between  introductions  for  talk. 

Prince  Parmenati  had  started  the  argument  by  affirming  that 
American  men  were  completely  devoid  of  gallantry  and  he  had 
been  backed  up  by  the  foreign  contingent,  ever  present,  these 
days,  at  all  elite  social  functions.  The  Americans  in  the  room, 
subconsciously  resenting  the  foreign  invasion  anyway,  because 
it  touched  their  pocket-books,  were  a  little  abashed  and  ill  at 

u 


ease  in  combating  the  Prince's  monocled  self-assertiveness.  .\ 
tinge  of  ill-humor  was  creeping  into  the  sallies  on  both  sides, 
when  Ann's  remark,  as  Ann's  remarks  have  a  habit  of  doing, 
exploded  the  strain  in  a  burst  of  laughter. 

"Why  Ann,  you  goose!"  exclained  Margalo  Thompson,  the 
hostess,  "Jack  Arden's  the  rudest  man  in  Hollywood,  or  any- 
where else  for  that  matter.  Just  because  he's  a  big  star,  he 
seems  to  think  he  doesn't  have  to  bother  about  being  polite. 
You  know  he  never  remembers  anybody's  name  or  whether 
he's  been  introduced  to  you  before.  He  never  arrives  any- 
where on  time  or  even  arrives  at  all,  if  he  doesn't  feel  like  it. 
Why  he  was  due  here  tonight  and  I  was  about  to  order  his 
favorite  dessert,  when  I  happened  to  read  in  Louella  Parson's 
column  that  he'd  gone  to  Lake  Tahoe  on  location.  There'd 
have  been  thirteen  at  the  table  if  the  Prince  hadn't  so  kindly 
come  to  our  rescue."  She  flashed  a  smile  at  the  foreigner,  who 
bowed  gracefully. 

"Nevertheless,"  affirmed  Ann,  "Jack  is  responsible  for  the 
most  perfect  act  of  politeness  I've  heard  of  for  many  a  moon." 

"And  who  told  you  this,  my  pretty  one?"  asked  the  Prince. 

"Effie,  my  nursemaid." 


In    wh  ic  h   a 

Scotch  Cinder- 
ella buys  her 
ticket  to  the 
ball.  A  differ- 
ent sort  of  off- 
screen  ro- 
mance  — told 
by  a  woman 
who  knows 
her  movies 


ollywood 


There  was  another  roar  of  laughter  and  the  men  exchanged 
glances. 

"Oh  no,  it's  not  what  you  think,"  put  in  Ann  quickly.  "If 
you  could  have  seen  Eflie  with  her  prim  little  Scotch  face,  you'd 
know  Jack  Arden  would  never  have  looked  at  her  twice  or  even 
half  a  time,  if  she  hadn't — "  Ann  paused  and  looked  around 
provocatively. 

"/'"^ O  on,  Ann,"  said  Margalo.  "Don't  be  so  tight.  You've 
VJgot  us  all  worked  up  and  I  know  dinner  won't  be  ready 
for  half  an  hour." 

This  was  a  lie,  for  it  was  already  nine  o'clock,  but  King  Vidor 
and  Eleanor  Boardman  had  not  yet  arrived  and  Margalo  saw 
a  chance  to  bridge  a  hungry  wait. 

"Well,"  said  Ann,  "Effie  was  one  of  the  thousand  and  one 
movie  struck  girls  who  descend  on  Hollywood  each  year.  But 
with  a  difference.  She  did  not  want  to  go  into  pictures.  Some- 
how that  keen  little  Scotch  brain  of  hers  realized  that  her  plain 
face,  pale  gray  eyes,  and  too  plump  figure,  that  could  never 
resist  American  cream  and  butter  long  enough  to  reduce,  were 
not  even  extra  material. 


"  It  was  enough  for  her  to  be  in  the  same  city,  tread  the  same 
sidewalks,  breathe  the  same  air  as  her  idols.  She  could  hav^e 
made  twice  the  salary  with  a  millionaire's  family  in  Pasadena, 
but  she  took  the  job  with  us  just  because,  when  I  was  interview- 
ing her,  cook  brought  me  a  message  to  see  Conrad  Nagel  about 
some  work  at  the  studio. 

"You  may  remember  how  I  used  to  boast  that  I  had  found 
the  perfect  nursemaid.  Besides  taking  such  good  care  of  the 
children,  Effie  was  always  ready  to  help  with  the  other  work  and 
when  I  entertained  anyone  connected  with  pictures,  she  begged 
me  to  let  her  wait  on  the  table.  She  wouldn't  let  me  pay  her 
extra  for  it,  either,  and  once  when  I  protested,  because  she'd 
been  up  late  with  the  baby  the  night  before,  she  declared 
vehemently, 

"  'Oh,  Ma'am,  I  wouldn't  miss  it  for  anything.  It's  a  pleas- 
ure to  wait  on  such  people — coming  so  close  to  them  as  I  do 
when  I  pass  the  vegetables.' 

"When  I  think  how  much  pictures  meant  to  Efl5e,  it  makes 
me  realize  that  there's  something  in  them  that's  bigger  than 
any  of  us.  She  had  worked  her  way  over  from  Scotland.  Then 
all  the  way  across  the  United  States,  [  continued  on  page  108  ] 

\J^5 


bssip  of  AW 


ByCzl 


Stealing  another  style  from  the  boys — 
Josephine  Dunn  wears  a  hat  copied  from  a 
football  head-guard.  It  can  be  worn  for 
football  games,  aviation  or  very  brisk 
motoring.  One  of  the  inevitable  results  of 
California's  season  on  the  gridiron 


The  loves  of  Hollywood  are  nice. 
They  rush  from  ice  to  fire  to  ice. 
In  fact,  they  turn  so  soon  to  rubble 
They  do  not  seem  quite  worth  the  trouble. 

THE  marriage  of  Evelyn  Brent  and  Harry  Edwards  has 
caused  a  ripple  of  comment  on  Hollywood's  untroubled  seas. 
It  was  sudden.  It  was  unexpected.  Nobody,  except  one  dear 
friend,  had  an  inkling  that  it  was  to  take  place.  Evelyn  tried 
to  keep  it  quiet. 

Everybody  thought  that  Evelyn  Brent  and  Gary  Cooper 
were  going  to  be  married,  in  spite  of  the  fact  that  Evelyn  stoutly 
denied  a  rumored  engagement. 

The  fact  remains  that  she  looks  radiantly  happy,  and  Mr. 
Edwards  isn't  pulling  a  long  face. 

FOR  the  first  time  in  her  short  sojourn  in  Hollywood  it  seems 
that  Lupe  Velez  has  fallen  in  love.  Oh,  there  have  been 
many  men  in  her  life  so  far,  men  who  have  taken  her  places  and 
sent  her  flowers  but  now  it  appears  that  Gary  Cooper  is  the 
heavy  flame. 

Gary  is  just  a  poor  boy  trying  to  get  along.  He's  the  young- 
est one  of  the  men  with  whom  Lupe  has  gone  and  certainly  he 
is  unable  to  send  her  orchids  three  times  a  day,  which  leads 
Hollywood  to  believe  that  it's  the  Real  Thing. 

nPRAGEDY  among  the  premiere-goers  of  Hollywood. 
Also  proof  that  not  every  luxurious  limousine  is  paid  for. 
Many  times  the  title  is  held  by  a  finance  company. 

Therefore,  one  cannot  blame  the  elegantly  costumed 
starter  in  front  of  the  great  theater  who  bellowed  forth  at 
the  last  premiere: 

"Car  belonging  to — to  the  Pacific  Finance  Company!" 

■4& 


And  still  another 
reason  why  sports 
are  popular:  Joan 
Crawford  in  a  sport 
coat  designed  by 
the  inventive  Mr. 
Howard  Greer.  It 
is  made  of  alter- 
nating horizontal 
stripes  of  two- 
toned  caracul. 
With  it,  Joan  wears 
a  scarf  of  blue  wool 
tomatchthe 
lining 


HERE'S  a  story  that  will  break  the  hearts  of  Chicagoans. 
Greta  Garbo  arrived  there  one  windy,  snowy  morning  on 
her  way  to  Sweden.  All  the  hotels  were  filled  up  and  there 
were  no  rooms  for  Greta.  Colonel  Tim  McCoy  found  her 
sitting  forlornly  in  a  taxicab,  enjoying  one  big  cry.  The  gallant 
Colonel  hunted  up  a  room  for  Greta,  arranged  for  reserva- 
tions on  a  New  York  train  and  enlivened  the  trip  for  her  by 
telling  her  of  his  adventures  among  the  Indians  and  cowboys. 

WHEN  Greta  arrived  in  New  York,  she  spent  one  night 
in  a  hotel,  registered  under  the  name  of  Miss  Alice  Smith. 
Then  she  departed  for  Greenwich,  Conn.,  to  stay  with  friends, 
where  she  was  inaccessible  to  reporters,  publicity  men  or  repre- 
sentatives of  M.-G.-M. 

Everyone  says  confidently  that  Greta  will  return.  But  no 
one  has  any  definite  promises  from  the  lady  herself.  She  sailed 
on  a  one-way  passport  and,  on  the  same  boat,  was  Nils  Asther. 
Yes,  it's  something  of  a  romance  and  they  say  that  Greta  and 
Nils,  banking  on  their  European  popularity,  may  remain  in 
Sweden  and  make  pictures  together. 

"DUT  all  Greta  has  to  say  about  their  European  plans  is 
■^simply  this:  "Ven  ve  get  back  home,  Nils  vill  eat  himself 
to  death,  and  I  vill  sleep  myself  to  death." 

WHAT'S  this  I  hear?    Can  it  be  that  Norma  Talmadge  and 
Eugene  O'Brien  are  to  be  reunited  in  pictures?    As  you 
know,  Eugene  and  Norma  have  not  appeared  together  for 


Th  Studios 


York 


Murder  in  the 
swamps  to  make  a 
sport  costume  for 
Leila  Hyams.  Leila 
is  wearing  alligator 
skin  shoes,  belt  and 
purse.  Also — what 
is  a  new  trick — an 
alligator  scarf  and 
alligator  trimming 
on  her  felt  hat.  It 
serves  thealligators 
right ;  they're  of  no 
value  when  alive, 
anyway 


several  seasons,  although  they  were  a  popular  team  not  so  many 
years  ago.  And  now,  they  say,  Norma  will  summon  Eugene 
from  retirement  and  the  two  will  play  in  one  of  those  sweet  and 
sentimental  romances  that  made  them  famous.  Which  would 
indicate  that  Norma  is  tired  of  the  hot  stuff. 

Incidentally,  Norma  sneaked  off  to  Europe  to  visit  her  sister, 
Constance,  on  the  Riviera.  And  Gilbert  Roland  showed  up 
in  Europe  at  that  same  time. 

SO  much  has  been  said  about  Valentino's  home,  "Falcon's 
Lair,"  being  haunted,  that  S.  George  UUman,  formerly 
Rudy's  manager,  went  on  a  spook-hunting  tour,  the  idea  being 
to  intercept  ghosts  (if  any)  in  this  beautiful  home  that  keeps  a 
lonely  vigil  high  up  on  a  ridge  back  of  Beverly  Hills. 

Ullman's  psyphic  investigations  covered  two  nights.  The 
first  night,  armed  with  nothing  but  a  firm  determination 
to  stay  awake,  he  occupied  a  chair  in  Rudy's  bedroom,  hop- 
ing that  Rudy  would  return  and  have  a  little  chat  with  him. 
About  two  o'clock  in  the  morning,  however,  he  went  sound 
asleep  and  awakened  with  the  sun  shining  in  his  face,  his  only 
reward  a  stiff  neck.  He  was  greatly  disappointed,  naturally,  so 
the  following  night  he  tried  again,  and  managed  to  keep  awake. 

"Imagine  my  disappointment,"  said  he,  "when  Rudy 
not  only  did  not  show  up,  but  did  not  even  send  word — 
Rudy  nor  any  other  spook. 

"There  wasn't  a  rap  or  a  knock  or  a  lipping  table  or  a 
teetering  chair.  No  supernatural  phenomenon  of  any  sort 
materialized." 


Mary  Pickford's  bob  started  out  cautiously 
at  shoulder  length.  It  was  a  "compromise 
cut."  But  continual  snipping  reduced  it 
to  this.  Here  is  the  bob  you  will  see  in 
Mary's  first  talkie,  "Coquette,"  the  story 
of  a  very  modern  girl 


ADOLPHE  MENJOU  plans  definitely  on  making 
pictures  abroad.    He  is  so  definite,  in  fact,  that  the 
beautiful  home,  built  not  long  ago  for  his  bride,  is  for 
sale.     If  you  have  890,000  lying  around  loose  you  can 
have  the  thrill  of  owning  the  house  once  graced  by 
Menjou  and  Carver. 

I  saw  a  Russian  movie, 

So  cheery,  gay  and  Red. 
I  couldn't  wait  till  I  got  home 

To  kick  my  grandma  dead. 

MANY  a  merrie  quip  was  bandied  about  by  the  British 
editors  who  recently  visited  Hollywood,  en  masse.  For 
instance,  a  newspaper  photographer  placed  Charlie  Chaplin 
next  to  W.  J.  T.  Collins,  of  the  South  Wales  Argus,  the  idea 
being  to  make  a  most  distinguished  picture.  When  the  ordeal 
was  over,  the  editor  turned  to  the  comedian  and  asked,  "  I  say, 
would  you  mind  telling  me  your  name?"  Charlie  looked  a  bit 
embarrassed  and  finally  confessed  that  his  name  was  Chaplin. 
"My  gawd!"  exclaimed  the  astounded  .■\ustralian,  "I  thought 
you  wore  a  mustache!" 

JOHN  B.\RRYMORE  was  introduced  to  Alan  Pitt  Robbins. 
parliamentary  reporter  of  the  London  Titncs.  Very  gravely 
the  Barrymorc  took  the  Robbins  hand  and  remarked,  "What  a 
name,  what  a  name!'' 

H.  Bancroft  Livingstone,  acting  British  consul  at  Los 
Angeles,  sat  on  a  sofa  in  a  studio  dressing  room  for  half  an  hour 
with  D.  W.  GriflUh,  talking  profcmndly  of  this  and  that,  and 
when  GritVith  had  gone,  the  consul  asked :     "  Who  was  that?" 

"D.  W.  Griffith,"  someone  told  him. 

"He  never  told  me,"  said  the  consul  sadly. 

47 


International  Newsreel 

The  surprise  marriage  of  the  season — Evelyn 
Brent  and  Harry  Edwards.  They  staged  an 
elopement  to  Tia  Juana,  Mexico,  thereby  cheat- 
ing their  friends  out  of  a  big  wedding  and  cele- 
bration. Mr.  Edwards  is  a  film  director,  and  so 
he  knows  a  good  actress  when  he  sees  one 


Not  just  a  publicity  picture  nor  a  search  for  the 
Lost  Chord.  Jeanette  Loff  really  can  play  the 
organ.  She  used  to  furnish  the  incidental 
music  to  pictures  in  movie  theaters  up  in  Oregon. 
And  now  Jeanette  supplies  the  inspiration  for 
her  fellow  members  of  the  Musicians'  Union 


LOOSE  talk:  Colleen  Mooie  is  going  to  make  a  talkie  and 
then  retire  from  the  screen.  Anyway  that's  the  story.  And 
Vilma  Banky  may  retire  temporarily,  for  a  very  interesting 
reason.  How  shall  we  go  about  telling  Doug  Fairbanks,  Jr., 
that  he  would  look  better  with  a  hair  cut?  Lilyan  Tashman, 
once  a  darned  good  show  girl  in  New  York,  has  gone  ritzy. 
Maria  Corda,  who  was  forgotten  for  awhile  after  she  was  not-so- 
hot  in  "Helen  of  Troy,"  was  welcomed  back  to  the  First 
Nation  al  Studio  with  flowers  and  cheers.  For  why?  The  news- 
papers had  it  that  Joan  Crawford  was  on  board  the  Celtic  when 
that  ship  went  on  the  rocks  off  the  Irish  coast.  But  calm  down, 
it  was  another  Miss  Crawford. 

'T^HE  sequel  to  the  button-maker's  story  has  just  come 
-*■  to  light. 

As  we  all  know,  according  to  humorists  and  disgruntled 
authors,  all  motion  picture  producers  were  once  pants 
pressers  or  button-makers. 

David  Selznick,  Paramount  producer,  stepped  into  a 
tailoring  establishment  on  the  boulevard  to  order  a  suit. 
He  fretted  about  while  the  minutes  sped  and  finally  said : 

"I  can't  wait  longer.  Send  a  man  down  to  the  studio  to 
take  my  measurements." 

"Sorry,  Mr.  Selznick,  ve  can't  do  that.  Ve  lost  two 
fitters  out  at  Metro-Goldwyn-Mayer  vhen  they  vent  out  to  fit 
Mr.  Thalberg." 

ONE  of  the  wisest  little  gals  in  the  business  is  Camilla  Horn. 
Every  week  she  puts  a  large  chunk  of  her  salary  in  a  nice, 
sturdy  German  sock.  She  is  living  at  the  beach  in  a  house  that 
rents  for  $100.  She  has  but  one  servant,  a  German  maid,  and 
although  she  always  looks  smart  she  does  not  spend  lavish 
amounts  of  money  on  her  clothes.  If  she  goes  back  to  Ger- 
many, it  will  be  to  live  in  a  castle — not  an  air  castle,  either — on 
the  Rhine. 


THREE  years  ago  the  midget,  little  Billy,  played  the 
Orpheum  in  Los  Angeles.  His  dresser  was  a  tall,  good  look- 
ing young  fellow  drawing  a  salary  of  $25  a  week.  The  lad  used 
to  pick  up  an  extra  dollar  or  so  by  running  errands  for  the  rest  of 
the  actors  on  the  bill. 

One  day  he  said,  "I  think  I'll  stay  in  California  and  try  my 
luck  at  pictures." 

The  boy  was  Charles  Farrell. 

'pjERE  are  a  couple  of  new  o.ies  to  add  to  your  dictionary 
of  talkie  slang :  Wild  shot^a  scene  that  is  silent.  Play 
back — the  voice  test  without  pictures. 

THE  talkies  are  making  strange  stars.  Just  now  there  is  a 
scheme  on  foot  to  make  a  big  picture  starring  plain,  fat, 
elderly  Schumann-Heink.  Mary  Pickford  is  all  for  making  it  a 
story  of  the  grand  old  lady's  own  life.  Mary  and  Madame  got 
so  worked  up  over  it  at  a  recent  reception  at  Pickfair  that  they 
sobbed  on  each  other's  shoulders. 

Warner  Brothers  have  a  contract  with  Schumann-Heink 
to  make  eight  song  subjects  for  $5,000.  But  the  contract  has 
been  rewritten  so  that  Madame  will  make  only  one — and  get 
$3,500. 

AS  for  Mary  Pickford,  she  is  frankly  worried  about  finding 
an  ending  for  "  Coquette."  In  the  play,  the  girl  commits 
suicide.  Mary  feels  that  this  is  laying  on  the  tragedy  pretty 
thick  for  her  public.  So  there  probably  will  be  two  endings,  one 
for  the  big  cities  and  one  for  the  small  towns. 

WHEN  Ruth  Elder  left  Paramount  she  did  not  sink  into 
oblivion.  Instead  she  went  out  and  got  herself  a  job  as 
Hoot  Gibson's  leading  lady.  She's  determined  to  whip  this 
movie  game. 


Helpful  hint  to  housewives:  How  to  slice  onions 
without  getting  red  eyes — as  demonstrated  by 
Raquel  Torres.  Get  a  pair  of  aviation  goggles 
and  avoid  the  tears  that  often  spoil  all  the  fun 
of  a  steak-with-onions  dinner.  Things  like  this 
sometimes  keep  homes  from  breaking  up 


"Bubbles"  Stieffel  and  Reginald  Denny  had  a 
formal  wedding.  The  bride,  whom  you  know 
on  the  screen  as  Betsy  Lee,  wore  a  gown  of  white 
tulle,  with  a  bit  of  real  lace  forming  a  cap  effect 
to  hold  the  veil.  The  ribbon  chin  strap  was  held 
in  place  by  sprays  of  real  orange  blossoms 


It  appears  that  Ruth  and  the  western  star  are  that  way  over 
each  other  both  on  and  off  the  screen.  Hoot  leaves  his  spurs  at 
home  and  takes  Ruth  to  Mayfair  and  other  select  gathering 
places. 

IN  again,  out  again,  in  again  for  Esther  Ralston.  First  it  was 
announced  that  Paramount  would  renew  its  contract  with 
Esther.  And  then  negotiations  were  all  off.  A  week  later,  Emil 
Jannings  selected  her  as  leading  woman  in  his  new  picture. 

And  Robert  Castle  also  has  Jannings  to  thank  for  a  job. 
Castle,  whose  real  name  is  Fred  Sand,  was  brought  over  from 
Vienna  to  be  Clara  Bow's  leading  man.  But  the  lad  was  too 
tall  and  so  he  loafed  around  the  Paramount  Studio  for  months, 
before  Jannings  saw  him  and  gave  him  work. 

It's  a  habit  Jannings  has,  of  rescuing  players  from  idleness. 
Florence  Vidor's  contract  had  expired  when  Jannings  gave  her 
the  lead  in  "The  Patriot,"  thereby  boosting  Florence's  cause. 
And  Ruth  Chatterton  had  retired  from  the  stage  when  Jannings 
gave  her  a  start  in  pictures  in  "The  Sins  of  the  Fathers." 

THE  publicity  department  at  First  National  sent  out  an 
announcement  that  Ann  Schaeffer,  a  character  woman,  h.is 
been  given  a  role  in  Corinne  Griffith's  picture  "Saturday's 
Children."  Behind  this  announcement  lies  a  heart  throb  stor>-. 
Years  ago  a  pretty  young  girl  was  given  a  small  bit  at  the  old 
X'itagraph  Studios.  One  of  the  stars  felt  sorry  for  the  child 
and  showed  her  the  rudiments  of  a  screen  make-up.  The  un- 
known girl  was  Corinne  Griffith.  The  great  star  was  Ann 
Schaeffer. 

NOT  very  long  ago  one  of  those  lovely  friends  found  Johnny 
Mack  Brown  and  said  with  a  niy-my-you-don't-look-so- 
well  expression,  "Well,  Johnny,  my  boy,  the  talkies  will  leave 
you  high  and  dry.  That  southern  accent  of  yours  will  ruin  you." 


Johnny  felt  pretty  bad  about  it.  Now  he's  playing  the  lead 
with  Mary  Pickford.  He  was  chosen  simply  because  of  the 
southern  accent. 

As  a  matter  of  fact,  he  is  not  the  exact  type  for  the  lead  in 
"Coquette,"  but  he  makes  his  "r's"  sound  like  "a's"  and  his 
"g's"  like  nothing. 


M 


ORE  new  talkie  similes: 
on  a  sound-proof  stage." 


"As  welcome  as  hay-fever 


LORD  ALLENBY,  the  hero  of  Jerusalem  during  the  World 
War,  visited  Hollywood  rccentl\-.  And  here's  a  nice  storx 
that  shows  the  modesty  of  real  heroes. 

Speaking  with  one  of  his  friends,  he  said,  "Ah,  you  know, 
they're  remarkable,  these  cinema  stars.  Really  wonderful.  1 
mean  .  .  .  Mr.  Chaplin,  and  Mr.  and  Mrs.  Fairbanks,  you 
know.    Really  wonderful  people." 

Amazed  at  the  praise  from  this  man,  the  friend  commented, 
"Why,  yes.  I  suppose  they're  quite  fine  people.  But  how  do 
you  mean,  so  wonderful?" 

"  Why,  just  imagine!  These  famous,  great  people,  these  Fair- 
bankses  and  Chaplins,  who  are  known  all  over  the  world, 
bothering  themselves  to  be  nice  to  me  .  .  .  talking  to  ordinary 
folks  just  as  though  they  were  one  of  us!" 

PROOF  that  Hollywood  is  getting  to  be  a  city.     The  con- 
versation takes  place  between  Raymond  Hatton  and  his  new 
director,  Paul  Stein,  whom  he  had  never  met  before. 
Mr.  Stein:     "Do  you  live  in  Hollvwood?" 
Mr.Hatton:     "Ycs;doyou?" 

Mr. Stein:  "I'll  be  glad  to  take  you  home.   Where  do  \ou  live?" 
Mr.Hatton:    "  1356  Juniper  Street." 

Mr.  Stein:  "  So  you're  the  neighbor  with  the  loud  radio  and 
the  dog  that  barks  all  night!    I  live  at  1.557  Juniper!" 

[  CONTINTED  ON  P.\GF,  82  ] 

i9 


^^ 


ot  Like 


"I  never  can  hope  to  do  the  type  of  thing 
Dad  does.  I  have  neither  the  physical 
energy  nor  the  dominance.  I  don't  look  like 
him.  I  don't  think  like  him.  I  love  him 
devotedly,  yet  we  are  often  constrained  with 
each  other" 

m 


Dad 


Douglas  Fairbanks,  Jr.,  plays 
L'Aiglon  to  his  father's 
Napoleon.  A  story  of  great 
love  and  little  understanding 

By 
Eloise  Bradley 


DOUGLAS  FAIRBANKS,  JR.,  slept  all  night  on  a  park  bench- 
just  to  see  what  it  was  like! 
He  set  up  pins  in  a  bowling  alley  and  jerked  sodas  behind  a 
drug  store  counter — all  for  the  experience.     But  his  reputation 
in  Hollywood  is  that  of  being  high  hat.    He  cannot  cope  with  the  back- 
slapping,  ready  democracy  of  the  film  colony. 

He  is  morbid,  philosophic,  poetic,  and  his  ambition  is  to  have  it  said 
of  him  when  he  dies,  "He  was  a  great  artist." 
To  him  the  only  realities  are  the  unrealities. 
This,  you  see,  is  the  artist's  viewpoint. 

Now  contemplate  his  famous  father,  the  Ambassador  of  Optimism,  the 
Man  of  Deeds.  Doug,  the  elder,  has  a  gift  for  assembling,  for  gathering 
together  men  with  fine  minds  and  for  getting  the  best  out  of  them.  He 
gives  promise  of  being  a  producer,  a  doer,  and  like  men  of  this  rugged, 
virile  type,  is  ashamed  of  sentimental  emotions,  the  same  sentimental 
emotions  that  come  under  young  Doug's  keen  analysis. 

Once  the  father  and  son  were  at  the  same  gathering.  There  was  an 
elderly  lady  sitting  in  the  corner  alone.  Doug,  Sr.,  went  over  to  her  and 
asked  her  to  dance. 

DOUG,  JR.,  sitting  apart  in  a  speculative  mood,  thought  it  quite  splen- 
did of  his  father  and  smiled  at  him  across  the  room.  The  older  man 
frowned  and  blushed.  He  was  ashamed  that  his  son  had  discovered  him 
in  a  generous  moment. 

They  are  rather  pitiful  together,  father  and  son.  They  have  a  great 
love,  but  little  real  understanding. 

"I  have  been  both  helped  and  handicapped  by  a  famous  father,"  said 
the  boy.  "He  has  given  me  a  fine  inheritance,  but  the  situation  has  left 
me  protected  yet  not  protected.  I  feel  as  if  a  wall  were  around  me.  I 
can  just  see  over  the  top. 

"When  I  first  started  in  pictures  they  played  me  to  look  just  like  Dad. 
They  were  trading  on  his  name  and  I  resented  that.  I  was  never  given 
credit  for  being  an  individual,  yet  I  never  can  hope  to  do  the  type  of 
thing  that  Dad  does.  I  have  neither  the  physical  energy  nor  the 
dominance. 

"I  don't  look  like  him.  I  don't  think  hke  him.  I  love  him  devotedly, 
yet  we  are  often  constrained  with  each  other. 

"He  is  embarrassed  when  I  thank  him  for  anything  he  has  done  for 
me.  At  Christmas  time  he  runs  out  of  the  room  when  I  tell  him  that  I 
appreciate  my  gifts,  and  whenever  I  do  anything  that  he's  proud  of,  he 
just  gives  me  a  friendly  little  shove  and  mumbles  something  about  my 
being  a  good  kid." 

Upon  Doug,  Jr.'s,  artistic  life  the  influence  of  John  Barrymore  has 
been  greater  than  that  of  his  father.    He  is      [  continued  on  page  90  ] 


Manatt 


/LATEST    photograph    of    Our    Weakness.      Greta    Garbo    in    a 
^    Javanese  bridal  gown.     Greta  wears  this  costume  in  the  last 
_  V^  picture  she  made  in  this  country  before  departing  for  that  too- 
distant  Sweden,    And  we  won't  have  one  happy  moment  until  she 
returns. 


61 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


The 


JOAN  OF  ARC—Societe  Generate  de  Films 

THIS  film  has  been  shown  in  France,  Germany  and  Den- 
mark but  barred  by  the  British  censor.  It  is  too  stark 
and  realistic  for  general  release  here — and  yet  it  is  one  of  the 
significant  milestones  of  film  progress. 

"Joan  of  Arc"  does  not  relate  the  whole  story  of  the  Maid 
of  Orleans.  It  concerns  itself  only  with  her  last  hours — of 
her  trial,  her  recantation,  her  death  at  the  stake.  Back- 
grounds are  almost  completely  dispensed  with  and  the  tragic 
panorama  of  history  is  told  entirely  in  close-ups.  The  per- 
formance of  Mile.  Falconetti  as  Joan  is  one  of  those  rare  and 
beautiful  things  of  the  films,  a  magnificent  rendering  of  an 
overwhelming  role. 

"Joan  of  Arc"  is  for  serious  observers  of  the  screen. 
Carl  Dreyer,  the  director,  will  bear  watching.  He  has  cine- 
matic genius. 


THE  FLYING  FLEET~M.-G.-M. 

THIS  picture  seems  to  be  the  "ace  of  the  air  epics." 
There's  no  movie  plot,  no  "situations,"  no  "props." 
Based  on  an  episode  lifted  from  naval  life,  the  story  glorifies 
young  American  manhood.  The  story  opens  with  six  mid- 
shipmen being  graduated  at  AnnapoHs.  The  San  Diego  flying 
base  tests  eliminate  three.  Weeks  of  gruelling  air  training 
follow  at  Pensacola;  one  crashes,  and  the  remaining  two, 
now  full-fledged  sea  hawks,  prepare  in  San  Diego  for  the 
first  Honolulu  flight.  A  "splashing"  climax  is  reached  when 
the  giant  hydroplane  volplanes  into  the  sea. 

Ramon  Novarro,  Gardner  James,  Ralph  Graves  and 
Carroll  Nye  each  have  probably  the  most  quietly  dramatic 
but  most  strenuous  roles  of  their  respective  careers.  George 
Hill,  the  director,  has  done  well. 


Shadow 
Stage 

(REG.  U,  3.  PAT.  OFK.)     M  ^ 

A  Review  of  the  New  Pictures 


IN  OLD  ARIZONA— Fox 

THIS  picture  makes  the  most  effective  and  intelligent  use 
of  sound  and  conversation  yet  displayed.  It  points  the 
way  to  bigger  and  better  talkies.  The  Fox  Movietoners 
have  learned  how  to  blend  sound,  conversation,  laughter  and 
music  to  produce  dramatic  effect.  A  braying  donkey,  for 
instance,  furnishes  a  novel  obligato  to  vital  conversation, 
and  clattering  hoofs,  cracking  whips  and  rattling  vehicles 
combine  in  a  symphony  that  pleases  the  eye  and  the  ear. 

Raoul  Walsh  started  to  direct  this  but  a  jackrabbit 
jumped  in  his  eye  and  Irving  Cummings  had  to  finish  it. 
Both  deserve  much  credit.  Except  for  one  scene,  the  story 
flows  with  fluid  smoothness.  The  dramatic  significance  of 
one  of  the  most  important  scenes  is  marred,  however,  be- 
cause a  director  could  not  resist  moving  his  camera  to  get  a 
different  angle. 

The  outstanding  performance  is  given  by  Warner  Baxter 
as  the  singing,  laughing  Cisco  Kid,  a  fascinating  and  gallant 
bandit.  Dorothy  Burgess,  who  comes  to  the  screen  from  the 
stage,  brings  an  excellent  voice  and  a  film  personality  that 
promise  much  if  she  holds  the  pace  of  this  Mexican  temptress 
who  plays  with  the  hearts  of  a  soldier  and  a  bandit. 

The  picture  is  based  on  the  O.  Henry  story,  "A  CabaUero's 
Way,"  and  it  tells  how  a  sure-shooting,  lady-loving  army 
sergeant  and  two  soldiers  are  sent  into  a  section  of  the 
frontier  West  to  "get"  a  bandit  who  is  terrorizing  the 
countryside.  Edmund  Lowe  gives  a  neat  and  What-Price 
Gloryish  performance  as  the  sergeant.  The  ending  of  the 
story  preserves  all  of  the  O.  Henry  artistry  and  throughout 
it  has  a  flavor  that  stamps  it  as  exceptional  entertainment. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 

IN  OLD  ARIZONA  THE  IRON  MASK 

JOAN  OF  ARC  THE  FLYING  FLEET 

THE  CANARY  MURDER  CASE 

THE  CASE  OF  LENA  SMITH 

The  Best  Performances  of  the  Month 

Mile.  Falconetti  in  "Joan  of  Arc" 

Lupe  Velez  in  "Lady  of  the  Pavements" 

William  Powell  in  "The  Canary  Murder  Case" 

Esther  Ralston  in  "The  Case  of  Lena  Smith" 

Doug  Fairbanks  in  "The  Iron  Mask" 

Warner  Baxter  in  "In  Old  Arizona" 

Dorothy  Burgess  in  "In  Old  Arizona" 

Phyllis  Haver  in  "The  Shady  Lady" 

Casts  of  all  photoplays  revieived  will  he  found  en  page  134 


THE  IRON  MASK— United  Artists 

ACTION,  action,  action — more  action!  That  tells  the 
story.  It  is  adroit.  It  is  imaginative.  It  is  resplendent. 
Sets  are  marvelous,  crowds  give  great  mass  movement. 
There  is  the  characteristic  Fairbanks  breadth  and  sweep  and 
stunts.    And  it  is  his  best  job  of  story-telling. 

The  story  begins  some  years  after  the  close  of  "The  Three 
Musketeers."  These  rollicking  adventurers  come  back,  and 
with  them  D'Arlagnan,  also  the  crafty  Richelieu,  and  Con- 
slance,  the  beautiful  lady  in  waiting  to  the  Queen.  And 
Milady  De  Winter — that  gorgeous  role  which  made  Barbara 
La  Marr  famous — played  by  Dorothy  Revier,  who  makes  a 
splendid  and  vicious  De  Winter. 

The  story  has  to  do  with  Cardinal  Richelieu's  misguided 
efforts  to  protect  France  by  banishing  one  of  the  twin  sons 
of  King  Louis  XIII .  He  fears  that  two  kings  on  the  throne 
may  precipitate  revolution.  In  trying  to  dispose  of  Con- 
stance, who  knows  twin  sons  were  born,  Richelieu  brings  upon 
himself  the  wrath  of  D'.lrtagnan  andthe  Three  Musketeers. 
The  Cardinal  finally  forces  the  separation  of  the  Musketeers, 
but  they  foregather  twenty  years  later  and  save  the  ruling 
king  from  his  scapegoat  twin  brother  who  attempts  to  usurp 
the  throne.  In  this  adventure  they  lose  their  lives — even 
D'Artagnan — butnotuntilthey  thwart  the  banished  brother's 
murderous  scheme  and  make  him  prisoner  for  life  as  "The 
Man  In  the  Iron  Mask." 

Young  William  Bakewell  does  the  dual  role  of  the  twins. 
Loud  cheers,  please.  Others  of  the  original  cast  do  well. 
Fairbanks  gives  us  D'.Artagnan  artistically  done,  particularly 
the  aged  D'Artagnan.     Don't  miss  it. 


THE  CANARY  MURDER  CASE— Paramount 

T)HILO  V.ANCE,  Sherlock  Holmes'  logical  successor,  was  a 
^  happy  choice  for  William  Powell's  first  starring  character- 
ization. The  well  knit  story  lends  itself  perfectly  to  e.xciting 
screen  entertainment.  It  is  a  relief  to  see  a  good,  honest  murder 
built  with  the  precision  of  a  mathematical  proljlem.  There  is 
no  court  room  scene.  There  are  no  gag  reporters.  Praise 
the  Muses!     It's  a  well  constructed  yarn  of  the  old  school. 

Director  Mai  St.  Clair  had  a  job  when  he  undertook  to 
identify  so  many  principal  characters.  One  of  the  most  in- 
triguing moments  is  when  Philo  Vtincc  plays  a  friendly  game 
of  poker  to  determine  the  psychological  reaction  of  each 
suspect. 

William  Powell  is  superb.  The  rest  of  the  players,  includ- 
ing Louise  Brooks,  Jean  Arthur,  James  Hail,  Charles  Lane, 
Clustav  Von  Seyffertitz  and  many  others,  win  credit. 


THE  CASE  OF  LENA  SMITH— Paramount 

THIS  is  Paramount's  answer  to  the  cry,  "Please,  Mister 
Producer,  send  us  a  good  picture  that  doesn't  talk."  For 
that  reason  alone  you  should  see  it.  It's  unconventional, 
much  is  left  to  the  imagination  and  the  seams  and  raw  edges 
of  life  show  through. 

A  peasant  girl  goes  from  her  native  village  to  Vienna  be- 
cause she  wants  pretty  clothes.  She  secretly  marries  a 
profligate  army  officer,  bears  him  a  child,  becomes  a  servant 
in  the  home  of  his  imperialistic  and  uncompromising  father, 
provokes  the  father's  wrath  and  eventually  exposes  him  as  a 
tyrant  because  he  attempts  to  take  her  child. 

As  the  adventuring  peasant  girl,  Esther  Ralston  is  superb. 
Gustav  Von  SeyfTertitz  is  admirable  as  the  father,  and  Fred 
Kohler  is  fine  as  the  spurned  village  lover. 

63 


Watch  Photoplay's  New  Sound  Reviews 


LADY 
OF  THE 
PAVEMENTS 
— United 
Artists 


THREE 
WEEK-ENDS 
— Paramount 


HONORS  for  Lupe  Velez!  This  startling  personality  with 
the  emotional  mechanism  of  a  great  actress  75  the  picture. 
In  this  slight  story,  concerning  the  French  Court,  revenge  and 
diplomacy,  D.  VV.  Griffith  misses  many  chances  for  that  fine 
poignancy  which  characterized  his  earlier  work.  Jetta  Goudal 
is  as  strangely  fascinating  as  ever,  William  Boyd  is  pale,  but 
Lupe  gives  a  magnificent  performance. 


CLARA  BOW  gives  a  lively  humor  to  this  weak  little  yarn  of 
a  cabaret  girl  who  falls  in  love  with  a  handsome  young  chap. 
She  thinks  he  is  a  millionaire,  but  he  turns  out  to  be  just  an 
everyday  insurance  agent.  The  story  lets  Clara  appear  in 
cabaret  scanties,  in  step-ins  and  in  snug  bathing  garb.  And 
she  gives  a  brisk  and  hearty  performance.  Nevertheless,  the 
film  isn't  Clara  at  her  best. 


REDSKIN— 
Paramount 


THE  SHADY 

LADY— 

Pothe 


THE  story  opens  in  a  government  Indian  school.  If,  from 
that,  one  can't  tell  how  it  is  going  to  end  your  head  is  as 
empty  as  the  Grand  Canyon.  The  hero,  Richard  Dix,  is  not 
accepted  by  the  whites.  His  tribe  renounces  him,  but  he  wins 
the  girl.  Not  even  the  magnificent  color  sequences,  nor  the 
fact  that  oil  gushes  from  volcanic  rock  for  the  first  time  in 
history  saves  "  Redskin  "  from  mediocrity. 


IF  this  story  were  as  good  as  the  work  of  the  players,  it  would 
be  one  of  the  best  of  the  month.  An  American  girl,  involved 
in  a  murder  case,  flees  to  Havana  and  becomes  entangled  with 
two  ruthless  gunrunners.  Phyllis  Haver,  as  the  girl,  gives  a 
cool,  poised  characterization.  Robert  Armstrong  and  Louis 
Wolheim,  gunrunners,  are  forceful  and  delightful.  Some 
mystery  and  much  keen  comedy. 


SYNTHETIC 

SIN— 

First  National 


AFTER  such  a  beautiful  production  as  "Lilac  Time"  and 
such  an  amusing  yarn  as  "Oh  Kay,"  Colleen  Moore's  new- 
est effort  falls  flat.  It  concerns  a  nice  girl  who,  in  order  to 
become  a  great  actress,  goes  to  New  York  and  to  sin.  It's  a  gag 
picture,  with  Colleen  performing  her  usual  antics  and  perform- 
ing them  unusually  well.  But  antics  alone  don't  make  a  pic- 
ture.   For  Moore  fans  only.    Antonio  Moreno  has  the  lead. 

54 


^■i 

1 

m                  ^^mKK^-^'       '•'"'J 

1*' 

WmL^^m.m  I 

'            0" 

THE  WOLF 
OF  WALL 
STREET— 
Paramount 


THE  moral  is:  Don't  buy  Rocky  Mountain  Copper  unless 
you're  sure  that  the  wall  street  wolf  is  entangled  in  matri- 
monial difficulties.  You've  guessed  it.  It's  about  a  financial 
genius  who  watches  tickers  and  takes  suckers'  money  and 
doesn't  care.  It's  a  disappointment  after  the  fine  work  done  by 
George  Bancroft  in  other,  and  more  virile,  pictures.  Baclanova, 
too,  has  little  chance  to  show  her  talents. 


for  the   Latest  Talkie   Developments 


CAPTAIN 

LASH— 

Fox 


DREAM 
OF  LOVE- 
M.-G.-M. 


THEY'VE  achieved  the  realism  they  apparently  were  striv- 
ing for,  in  this  futile  story  of  stokers  and  waterfront  women, 
but  a  little  of  Victor  McLaglen's  ribaldry  goes  a  long  way. 

In  the  stokehole,  he  moons  over  a  "  loidy  "  three  decks  above, 
but  finds  she's  a  crook,  decides  to  forget  her,  and  goes  back  to 
Singapore  Sal. 

Clyde  Cooke,  as  the  hero-worshipping  satellite,  is  the 
comedy  relief. 

You  will  find  that  this  picture  will  look  to  you  strangely 
reminiscent  of  "Docks  of  New  York,"  without  its  artistic 
depth. 


ADRIENNE  LECOUVREUR"  adapted  in  semi-modern 
style.  Just  another  variation  of  the  prince  who  loves  a 
poor  girl  but  can't  marry  her  because  of  his  blue  blood. 
Perhaps  some  day  one  of  these  princes  may  show  less  control 
and  marry  the  girl.  The  story  becomes  a  parade  of  stuffed 
uniforms,  hundreds  of  extras  as  nobles,  peasants,  gypsies  and 
plotters. 

Joan  Crawford  is  Adricnue.  She  should  be  cast  in  brisk 
modern  roles. 

Nils  Asther  is  the  prince. 

The  picture  is  as  phony  as  they  come. 


[  Additional  reviews  of  latest  pictures  on  page  76  ] 


Sound  Pictures 


THE  GHOST 

TALKS— 

Fox 


THAT  PARTY 
IN  PERSON— 
Paramount 


FOX 'S  first  all-talking,  feature  length  farce-comedy  introduces 
the  stage  favorites,  Helen  Twelvetrees  and  Charles  Eaton. 
The  story  is  cleverly  built  around  the  comic  antics  of  a  corre- 
spondence school  detective  and  is  splendid  for  its  entertaining 
dialogue. 

Eaton  is  the  amateur  detective  and  his  voice  fits  the  blank 
face  perfectly.  Helen  has  to  "lisp,"  so  hers  is  hardly  a  fair 
voice  test. 

Carmel  Myers  has  only  a  bit,  but  the  charm  of  her  speak- 
ing voice  is  apparent. 

Plenty  of  laughs. 

THE  LION'S  ROAR— Educational 

IF  you  like  Mack  Sennett  comedies,  you'll  like  this  one  better 
with  sound — and  talking. 

Now  you  wiU  hear  the  shrieks  of  the  beautiful  heroine  as 
she  flees  from  the  roaring  lion,  and  the  swish  of  the  custard 
pie  as  it  plops  the  unhappy  saxophone  player  squarely  between 
the  eyes. 

It's  the  same  Sennett  comedy  formula,  this  time  with  the 
stalking  lion  to  help  provide  the  noise. 


EDDIE  CANTOR  seems  a  real  bet  for  the  cinema.    Indeed, 
he  appears  to  be  the  only  possible  contender  to  Al  Jolson 
anywhere  on  the  horizon. 

In  "That  Party  in  Person"  he  does  a  brisk  turn,  several 
nervous  songs  and  gets  neat  assistance  from  a  cute  trick,  one 
Bobbie  Arnst. 

Cantor  is  going  to  do  more  talkies,  we  hope.  His  style  is 
exactly  suited  to  the  sound  films. 

PHIPPS—M.-G.-M. 

A  SHORT  talkie  of  a  spendthrift  British  lady,  her  husband 
and  the  butler,  who  offers  to  provide  his  employer  with  the 
necessary  divorce  evidence.  These  three  compose  the  en- 
tire cast. 

Lowell  Sherman  is  the  suave  butler  and  the  other  two  roles 
are  placed  in  the  hands  of  Cyril  Chadwick  and  Betty  Fran- 
cisco. 

This  sketch  has  no  particular  American  movie  appeal.  But 
you'll  see  a  lot  more  of  these  experimental  bits  while  the 
movie  moguls  monkey  with  their  bright  new  plaything,  the 
talkie. 

65 


IRTH 


Six  authors  in  search 
of  Inspiration.  It's  a 
great  Hfe.  If  the  pic- 
ture is  good,  the  direc- 
tor gets  the  credit.  If 
it's  bad,  the  story  is  to 
blame 


Waldemar  Young  used  to 
be  a  newspaper  man 
himself.  So,  in  his  office, 
he  must  catch  the  city 
rooni  atmosphere  before 
he  can  write.  This  may 
easily  be  achieved,  even 
by  the  amateur,  by 
throwing  newspapers, 
matches  and  cigarette 
stubs  on  the  floor.  Mr. 
Young  is  plotting  hor- 
rible doings  for  Lon 
Chaney  in  "Where  East 
Is  East" 


W^ 


Dorothy  Farnum,  spe- 
cialist in  romantic 
dramas,  must  Throw 
Herself  Into  the  Mood. 
Nothing  helps  a  Mood  so 
much  as  a  chaise  longue 
and  a  luxurious  negligee. 
And,  of  course,  Music. 
When  writing  love  scenes. 
Miss  Farnum  plays  "Kiss 
Me  Again."  And  again 
and  again 

Helping  Mamma  —  Agnes 
Christine  Johnson  and  Her 
Gang.  Ladies  who  would  "do 
big  things  if  it  weren't  for  the 
children,"  please  take  notice. 
Mrs.  Frank  Dazey,  one  of  the 
most  successful  script  writers, 
works  in  the  nursery.  If  you 
look  elsewhere  in  this  issue, 
you'll  find  a  charming  short 
story  by  Miss  Johnson 


of  a 

Notion 


Showing  the  devastating  effect  of  Gilbert 
Garbo  subtitles  on  Miss  Ruth  Cummings. 
When  Miss  Cummings  wants  to  think  of 
something  sweet  for  John  to  murmur  to 
Greta,  she  orders  up  a  flock  of  chocolate  sodas 
from  the  studio  lunch  room.  Miss  Cum- 
mings wrote  the  titles  for  "A  Woman  of 
Affairs,"  and  after  she  finished,  there  wasn't 
a  spoonful  of  chocolate  ice  cream  left  in 
Southern  California 


Thewhole  M.-G.-M.  Studio 
was  once  thrown  into  a 
panic  because  one  of  Joseph 
W.  Farnham's  cleverest 
subtitles  was  sent  to  the 
laundry  by  mistake.  Mr. 
Farnham  asks  for  no  office, 
no  typewriter,  no  station- 
ery. Give  him  a  sharp  pencil 
and  a  clean  cuff  and  he's 
ready  to  go  to  work 


Give  'em  noise.  Give  'em 
excitement.  Byron  Morgan, 
author  of  college  stories, 
works  with  sound  effects. 
Mr.  Morgan  supplies  the 
words;  Ann  Price  and  Ray 
Doyle,  two  fellow  writers, 
contribute  the  music.  When 
this  boy  gets  to  work,  the 
neighbors  for  five  miles 
around   close   the  windows 


57 


Unfortunate    occurrence    when    a    talking 

picture  "voice  double"  consents  to  make  a 

personal  appearance  at  a  movie  theater 


Take  Your  Choice 

Bemoan  the  lot  of  Canon  Chase, 
Who  thinks  that  films  will  rot  the  racel 
We  hear  him  try,  with  godly  glee. 
To  scream  them  into  purity. 
While  all  the  lovely  movie  ladies 
Still  lead  us  liappily  to  Hadesl 
We  face  the  issue  full  o^  fear, 
And  yet  the  public's  choice  is  clear — 
Miss  Alice  White  in  scant  apparel, 
Or  Bull  Montana  in  a  barrel! 


The  Gag  of  the  Month  Club 

The  cashier  of  a  small  movie  house  is  selling  tickets  ai;  a  pal 
looks  on. 

A  customer  buys  a  quarter  ducat,  lays  down  a  half  dollar  and 
walks  away  leaving  his  change. 

"Does  that  often  happen?"  asks  the  cashier's  friend. 

"Very  often,"  replies  the  ticket  seller. 

"What  do  you  do  in  a  case  like  that?" 

"Oh,"  says  the  man  in  the  wicket,  "I  always  rap  on  the  window 
with  a  spongi !" 

For  this  Variety  gets  the  crepe  de  chine  ear  muffs  offered  for 
February. 


Snickers,  Snorts  and  Snores 

Paul  Whiteman  is  to  get  $500,000  for  a  talking  picture  .  .  . 
That  is  approximately  $1,000  a  pound  for  Oom  Paul,  on  the 
hoof,  F.  O.  B.  Broadway  .  .  .  Describing  a  Hollywood  pro- 
ducer, a  mad  wag  says  .  .  .  "He's  a  great  little  guy  .  .  .  Got 
a  heart  as  big  as  his  nose."  .  .  .  Ireland  is  to  have  its  own 
film  producing  company,  reports  Washington  ...  It  is  re- 
ported that  Patrick  J.  O'Zukor  and  Michael  O'Laemmle  are 
interested  .  .  .  Paramount  is  making  talkies  at  Astoria,  Long 
Island  .  .  .  Paramount's  resulting  slogan  .  .  .  "Astoria  Pic- 
tures— Babies  Cry  at  Them"  ...  A  film  critic  calls  her 
"Dolores  Dull  Rio"  .  .  .  My  one  line  review  of  Norma  Tal- 
madge's  latest  film,  thanks  to  the  theme  song  .  .  .  "Woman 
Disputed,  I  Hate  You"  .  .  .  How  they  make  a  movie  master 
of  ceremonies,  according  to  Carl  West  of  Detroit  ...  If  a 

58 


EELING 


OUND 


W  I 


th 


Leonard  Hall 


well-dressed,  curly-haired  pretty  boy  comes  to  town,  they 
throw  a  stick  at  him  ...  If  he  catches  it,  he's  a  master  of 
ceremonies  .  .  .  Warner  Brothers  finishes  a  talking  picture 
in  three  languages  .  .  .  This  is  probably  it  .  .  .  "Willst  du 
ein  trink  haben?"— "Qui!"— "Try  and  get  it!"  ...  Ah  well, 
money  makes  the  Metro-Goldwyn-Mayergo! 


"Broadway  Melody" 

"While  working  in  'Broadway  Melody,'  Anita  Page  had  an 
attack  of  hysterics  on  the  set,  followed  by  a  nervous  collapse,  and 
had  to  be  taken  home." — News  note. 

My  guess  is  that  the  studio  fiddler  began  it  all  by  playing 
"Sonny  Boy." 

Getting  Personal 

John  Barrymore  gave  his  age  to  the  license  clerk  as  41  .  .  . 
The  book  says  he  was  born  Feb.  15,  1882  .  .  .  Try  that  on 
your  abacus  .  .  .  Denying  a  line  here  last  month,  Neil  Ham- 
ilton's secretary  says  the  actor  doesn't  even  know  Mary 
Nolan  .  .  .  Well,  tough  luck,  Neil,  say  we  .  .  .  Cupid  has  the 
flu  in  Hollywood,  and  all  we  have  to  whisper  is  that  Gary 
Cooper  and  Lupe  Velez  and  Bert  Lytell  and  Claire  Windsor 
are  seen  together  at  some  of  the  best  soda  fountains  this 
winter  .  .  .  Jackie  Coogan,  at  $3,000  a  week,  was  not  a  hit  in 
London  .  .  .  And  neither  was  his  old  man  .  .  .  Talkie  actors 
say  that  "Mike  Fright"  is  worse  than  "Kleig  Eyes"  .  .  . 
Dorothy  Sebastian's  nickname  is  "Alabam"  .  .  .  Lillian  Gish 
mi.xes  only  one  cocktail  at  a  time,  using  an  ordinary  tumbler 
and  a  tea  spoon  .  .  .  She  doesn't  drink,  the  cocktail  being  for 
the  boy  friend  .  .  .  Incidentally,  Lil,  since  her  return  from 
Germany,  has  been  wearing  fifty  pounds  of  ice  on  her  left  hand 
...  Go  on  and  guess  .  .  .  Phyllis  Haver  cleaned  up  on 
Mexican  Seaboard  Stock  .  .  .  Bought  at  26  and  sold  in  the 
upper  sixties  .  .  .  Stocks  and  Blondes,  to  steal  a  movie  title 
.  .  .  Incidentally  Phyllis,  when  she  likes  anyone,  always  says 
"He's  a  honey!"  .  .  '.  There  are  8,000  male  actors  (?)  in  Holly- 
wood, and  only  25  are  blondes  ...  Of  these,  12  are  leading 
men  and  13  are  extras  .  .  .  Bleach  and  go  west,  young  man! 
....  "Sonny  Boy"  has  been  recorded  55  times  as  we  go  to 
press  .  .  .  My  God,  is  that  all?  .  .  .  Miss  Margaret  Johnson, 
17,  of  224  West  Brown  Street,  Morristown,  Pa.,  spent  $40 
trying  to  long-distance  her  idol,  Clara  Bow,  in  Hollywood  .  .  . 
Miss  Bow  was  on  location  at  the  time  .  .  .  That's  plumb  dis- 
couragin'  .  .  .  Carmel  Myers,  the  Rose  of  Sharon,  has  written 
the  words  of  a  pop  ballad  called  "Everything  That's  Nice  to 
Me"  .  .  .  Published  by  Mills  .  .  .  Lupe  Velez  laid  down  $100 
for  three  pairs  of  evening  slippers  a  while  back  .  .  .  Ruby 
and  diamond  heel  sort  ...  A  movie  elephant  in  Hollywood 
gets  $150  a  day  and  $1.50  in  India  .  .  .  But  what  fun  can  an 
elephant  have  in  India? 


Ruth  Harriet  Louise 


/NTRODUCING  a  girl  named  Dorothy  Penelope  Jones,  who  is  fifty  per  cent  pure 
American     Dorothy  is  half  Cherokee  Indian  and  Jones  is  an  old  tribal  name.    The 
movies  have  re-christened  her  Dorothy  Jams,  and  it  is  under  that  name  you  will 
find  her  in  the  cast  of  "The  Pagan."     Incidentally,  she  is  one  of  the  smallest  girls  in 
pictures   being  only  four  feet,  eleven  inches  tall  and  weighing  ninety-four  pounds 


Costumes  with  the 


Hollywood  chal- 
lenges Paris  to 
create  a  more  inter- 
esting collection  of 
gowns 


Joan  Crawford  in  a 
sedate  mood  that  was 
evoked  by  this  charm' 
ing  and  conservative 
dress  by  Howard 
Greer.  It  is  of  black 
moire  and  it  has  a 
molded  hip  Hne,  only 
broken  by  a  bow  on 
the  left  side.  With 
this  formal  gown,  Miss 
Crawford  wears  no 
jewels  except  a  pair  of 
crystal  bracelets 


This  dress  is  printed 
white  velvet  and  it 
has  a  scarf  caught 
on  the  right  shoulder 
with  a  bunch  of  camel- 
lias. The  neckline  is 
high  in  the  front  and 
low  in  the  back,  which 
is  a  habit  of  evening 
gowns  these  days 


A  really  stellar  evening  gown. 
Adrian,  its  creator,  has  named  it 
"Nordic  Night."  The  sequins  and 
crystal  beads,  embroidered  on  the 
white  souffle  background,  rep- 
resent icicles.  The  gown  has  a 
long  narrow  panel  in  the  back, 
falling  in  train  effect.  Rhinestone 
slipper  buckles  and  diamond  brace- 
lets add  to  the  glittering  ensemble 


Dramatic 
Instinct 


* 


J 


A  dress  for  a  mystery  play,  designed  by 
Adrian.  Just  the  thing  to  wear  if  you  are 
going  to  steal  the  letters.  Adrian  calls  it 
"The  Toga,"  in  deference  to  the  Romans. 
It  is  fashioned  of  rayon  velvet  and  the 
whole  secret  of  its  success  is  in  its  artful 
draping  and  the  long,  flowing  scarf  which 
extends  from  the  elbow  to  the  hemline 


This  is  the  evening  coat  that  Miss  Craw- 
ford wears  with  "Nordic  Night."  The 
coat  is  of  white  satin  with  a  huge  stand-up 
collar  and  wide  cuffs  of  white  fox  fur. 
The  circular  skirt  is  embroidered  with  a 
particularly  beautiful  design  in  silver.  The 
coat,  too,  has  a  sweeping  panel  in  the 
back  to  synchronize,  as  it  were,  with  the 
tram  of  the  gown 


Not  all  of  Hollywood's 
frocks  are  beyond  the 
purse  or  the  person- 
ality of  the  average 
girl.  Some  of  the  best 
movie  designs  are  both 
youthful  and  simple; 
as  witness,  this  sport 
costume  by  Greer.  It 
is  a  light  grey  camel's 
hair  with  an  upside- 
down  fleur-de-lis  pat- 
tern of  red  jersey  that 
edges  the  jumper  and 
forms  a  panel  design 
on  the  front  of  the 
skirt 


Photos  by 

Ruth  Harriet 

Louise 


J?  IW 


Richce 


yQAN  this  be  Ruth  Taylor?  And  can  it  be  that  she  is  wearing  a  costume  left  by 
/  Pola  Negri  on  her  departure  for  Europe?  And  the  futuristic  background,  what  do 
V^'  you  make  of  that,  Watson?  Ruth  is  getting  into  the  atmosphere  of  her  new  picture, 
"Young  Sinners,"  which  relates  the  romance,  joys  and  piquant  problems  of  one  of  those 

ultra-modern  girls 


list  a 


Hollywood  Day 


Herb  writes  a  letter  to  the  editor 


and  tells  how  hard  a  journalist 
has  to  work  when  he's  tracking 


with 

Herb  Howe 


down  news 


Hollywood,  Calif. 

DEAR  Jiu: 
You  ask  me  for  a  little  dirt — well,  I'm  surprised! 
You  know  very  well  that  Greta  Garbo  and  I  are  the 
most  aloof  people  in  Hollywood  (though  not  aloofing 
,'cther,  I  regret  to  say),  unless  you  count  Texas  Guinan, 
ose  aloofness  on  her  last  visit  was  not  altogether  her  fault. 
,  !;ese  Hollywood  hi-hat  hicks! 

I  regret  to  say  that  I  have  been  stepping  out  from  my  monas- 
!  ic  seclusion  considerably  this  month,  but  I  console  myself  with 
llie  thought  that  some  of  our  greatest  saints  made  whoopee 
when  }'oung. 

My  record  this  month  looks  like  the  fliary  of  flaming  youth 
or  Fannie  Ward's. 
For  instance,  I  *  *  * 

Well,  naturally,  Jim,  I  can't  very  well  prove  it  if  you  are 
LMiiig   to  substitute  asterisks  for  the  hottest  stuff.     I  think 


it  a  great  mistake  to  make  Photoplay  a  family 
magazine.     Indeed,  I  shall  ignore  the  policy 
and  go  right  ahead.     After  all,  it  may  be  an 
e.\am[)lc  toother  boys. 
I  spent  the  first  week  of  the  month  at  Warner  Gland's  beach 

house  getting  in   condition.     The   Warner  Olands   are   firm 

Buddhists,  like  myself. 

That  is,  they  believe  in  sitting  and  meditating  on  the  sands, 

with  now  and  then  a  dash  indoors  for  a  helping  from  Prahedis, 

Mexican  culinary  genius. 

OUR  discourses  are  always  philosophical.  The  only  person- 
ality to  enter  in  was  Nils  Asther.  I  could  discount  some  of 
Warner's  enthusiasm  for  Nils  because  they  are  both  Swedes 
and  like  the  same  punch,  which  is  the  greatest  bond  of  brother- 
hood. But  Edith  Oland  is  an  impartial  critic  and  artist  in  her 
own  right,  and  she  says  Nils  is  the  most  charming,  cultivated 
and  talented  young  man  she  has  observed  during  her  years  in 
Hollywood. 

Likewise,  our  girl  friend,  the  authoritative  Pringle,  thinks  him 
interesting,  "though  an  actor."        [  coxtixued  ox  page  132  ] 


"I  sometimes  wonder  if  fans  would  envy 
us  magazine  writers  our  fabulous  sal- 
aries if  they  knew  how  hard  we  have  to 
work.  Some  days  I  lunch  with  three 
or  four  stars,  dine  with  as  many  more, 
and  see  previews  of  silent  and  talkie 
pictures" 


':f-,< 


Illustrated  by 

Ken  Chamberlain 


!<  ■'    i 


/'">"■,  "«J>7 


0^^C< 


J^t/-/ 


K,  i^  f~itm^/4vtl. 


The  Stars'  Mad 

Horrible  expose  of  what  goes  on  in 
the  Gilded  Palaces  of  Hollywood 


The  Gleasons — Lucille,  James  and  Russel — used  to  be  respectable 

stage  folk.  Now  that  they  live  in  Hollywood  "Murder"  is  merely 

a  game — a  pastime  to  while  away  an  evening.   The  Academy 

of  Arts  and  Sciences  tried  to  have  this  picture  suppressed 


SODOM  and  Gomorrah  in  (heir 
wildest  days  were  so  many  Podunks 
to  Hollywood  on  an  off  night. 
Rome  just  before  it  faw  down, 
compared  to  the  film  colony,  was  a  tiddle- 
dy-wink  tournament  for  deaf  mutes. 

How  the  stars  do  go  on! 

The  rage  for  playing  wild  games  has 
hit  Hollywood  between  the  eyes,  and  all 
is  confusion. 

Movie  actors,  dizzy  with  draughts  of 
pineapple  juice,  stagger  from  bungalow 
to  bungalow  on  progressive  backgammon 
jags.  Game-leggers  are  peddling  jack- 
straws  to  the  girls.  It  is  reported  that 
Deacon  Will  Hays  has  banned  the  game 
of  "consequences,"  and  that  the  morality 
of  checkers  and  dominoes  is  under  dis- 
cussion by  the  Motion  Picture  Academy 
of  Arts  and  Sciences. 

Go  for  a  ride  to  the  beach  with  film 
players  and  what  do  they  do?  Add  up 
automobile  license  numbers,  with  the 
quickest  adder  winning.  At  the  moment 
of  going  to  press  Clive  Brook  is  champ, 
with  Neil  Hamilton  and  Louise  Fazenda 
in  the  money. 

Jimmy  Gleason  and  his  wife,  Lucille 
Webster,  introduced  the  game  of 
"murder"  to  Hollywood.  The  Gleasons, 
the  Robert  Armstrongs,  Vera  Reynolds, 
Daphne  Pollard  and  her  husband  are 
among  its  best  addicts. 


Scandalous  diversion 
at  the  beach  home  of 
Louise  Fazenda. 
Louise  and  her  guests 
play  a  wild  game 
called  "All  Fall 
Down."  You,  too, 
played  it  in  your  flam- 
ing kindergarten  days 
under  the  name  of 
"Statue" 


Sinister     Oriental     doings    at     the    home 
of  Jacqueline  Logan.     Jackie  has  a  set  of 
Chi   Chi  sticks  and  —  don't   tell    the   re- 
formers— it's  a  fortune-telling  game 


64 


Night 

By 
Ruth  M.  Tildesley 


One  of  the  group  is  appointed  District  Attor- 
ney. The  rest  are  witnesses  until  they  fail  to 
testify  correctly,  whereupon  they  join  the 
prosecutor. 


SUPPOSE  the  company  decides  to  murder  Will 
Hays.  The  District  Attorney  announces  that 
Will  Hays'  body  has  been  found  in  the  Chinese 
Theater  at  ten  o'clock  in  the  morning.  James 
Gleason,  as  district  attorney,  turns  to  the  first 
witness:  "Mrs.  Armstrong,  at  ten  o'clock  this 
morning,  you  were  observed  leaving  the  Chinese 
Theater.  Will  you  kindly  explain  your  business  there  and  what 
you  saw?" 

Whatever  Mrs.  Armstrong  says  is  thereupon  the  truth  and 
must  not  be  varied  from  by  any  other  witness.  If  she  declares 
that  she  saw  Vera  Reynolds  running  out  of  the  stage  door  with 
a  gun  at  five  minutes  to  ten,  and  that  Mrs.  Gleason  delayed  the 
witness  in  the  lobby  to  ask  if  her  hat  was  on  straight,  exactly 
that  testimony  must  be  repeated  arjd  adhered  to  by  everyone. 
You  can't  omit  that  you  came  to  town  to  buy  a  paper,  if  some- 
one has  stated  that  as  your  purpose  in  coming.  The  idea  is  to 
evolve  a  definite  plot  to  murder  Mr.  Hays  and  to  link  another 


Colleen  Moore  runs  wild  at  the  studio  and  plays  "Spin  the  Platter."  The 
abandoned  youths  whom  she  has  led  astray  are  Mervyn  Le  Roy,  her 
director;  Cleve  Moore,  her  brother,  and  Jack  Stone,  her  cousin.  Whoopee! 


Vera  Reynolds  and  Mr.  and  Mrs.  Robert  Armstrong  act 

outawordof  three'syllables.   It's  "Paradise"(Pair-o'-Dice). 

Charades  is  one  of  the  games  that  gives  Hollywood  the 

reputation  of  being  another  Monte  Carlo 


witness  with  the  slaying,  while  clearing  your  own  skirts  of  the 
crime. 

Vera,  for  example,  having  heard  Mrs.  Armstrong  picture  her 
as  running  out  of  the  stage  door  with  the  gun,  testifies  that  she 
did  so  run,  but  that  two  minutes  before  she  was  seen  by  Mrs. 
Armstrong,  JMr.  Armstrong  had  dashed  up  to  her  in  the  green- 
room of  the  theater  and  thrust  the  smoking  gun  into  her  hand, 
crying:  "For  heaven's  sake.  Vera,  take  this  and  get  out  of 
here!"  after  which  it  is  up  to  Robert  Armstrong  to  remember 
the  exact  quotation  and  sequence  of  events  and  to  explain  what 
he  was  doing  with  the  weapon. 

One  of  the  chief  crazes  of  the 
season  is  ping-pong.  Gloria 
Swanson  has  an  elaborate  ping- 
pong  set.  Irene  Rich  has  turned 
her  poolroom  into  a  ping-pong 
room  and  almost  every  beach  cot- 
tage contains  special  boards  to  be 
placed  on  the  necessarily  small 
dining  tables  so  that  guests  may 
enjoy  the  game. 


THE  other  day  I  walked  in 
on  Richard  Dix  and  Gregory 
LaCava  walloping  the  little  ball 
across  the  net,  excitement  having 
been  added  to  an  already  lively 
contest  by  a  wager  of  a  hundred 
dollars  a  game.  Most  of  the  sport- 
ing set  bet  on  this  pastime  but 
usually  the  stakes  are  lower. 

Volley  ballon  the  sand  intrigues 
the  happily  married,  for  some 
reason.  Wives  range  themselves 
on  one  side  of  the  net,  husbands 
on  the  other,  and  you'd  be  sur- 
prised how  often  the  wives  win! 
There's  a  catch  to  that,  though. 
The  sand  is  a  handicap  to  heavier 
players  and  all  the  wives  are  slim. 
The  Clive  Brooks,  the  Elmer 
Cliftons,  the  Xeil  Hamiltons.  the 

[  CONTINUED  ON  PAGE  127  ] 

65 


t  Gets  A 


In  which  Mr.  Stan 
Guffey's  theme  song 
to  his  Dream  Girl 
runs  into  a  mess  of 
static.  And  the 
moral  of  the  story  is: 
It's  better  to  worship 
'em  from  a  distance 


A  SLIM  ribbon  of  orange-colored  light  pene- 
trated  the  lavender  dimness  of  the  Bijou 
Theater  and  caught  the  tuxedoed  figure  of 
Mr.  Stanley  Guffey  as  it  emerged  from  the 
wings.    Mr.  Guffey's  subsequent  progress  to  his  throne 
before  the  massive  horseshoe  organ  was  a  triumph  of 
elegant  ease. 

Smoothing  his  well  shellacked  curls  and  smiling 
with  the  tolerant  ennui  of  a  popular  idol,  he  finally 
reached  the  center  of  the  orchestra  pit,  whereupon  he  negoti- 
ated a  hip  rolling  bow,  oscillating  from  north-east  to  north- 
west with  admirable  precision. 

Then,  before  the  crackle  of  applause  died  away,  he  sank 
abruptly  into  his  cushioned  seat  and  attacked  the  organ  with 
the  affectionate  ferocity  of  the  true  artist.  Newsreel  and 
comedy  flowed  along  to  a  deftly  arranged  medley,  but  Mr. 
Guffey,  who  was  a  pint-size  gentleman  liberally  bespattered 
with  freckles,  cocked  a  disdainful  eye  at  the  screen  until  the 
gymnastic  humor  faded  out.  A  moment  later  his  veneer  of 
boredom  disappeared  as  the  preliminary  announcement  of  the 
feature  advised  a  gaping  public  that  Dora  Delura  in  "Loose 
But  Lucid,"  would  provide  the  thrill  of  the  evening. 

For  the  ne.xt  hour  and  twenty  minutes  Mr.  Guffey  labored, 
and  brought  forth  a  masterpiece  of  accompaniment.  Though 
Miss  Delura's  pictures  bore  various  titles,  she  had  but  one 
story — a  curious  tangle  of  vice  and  virginity,  crowned  by  a 
chiffon-blurred  closeup  beneath  a  cloud  of  apple  blossoms — 
therefore  the  little  musician  found  no  difficulty  in  keeping  step 
with  her  progress. 

DOR.\  DELUR.\!  Two  years  of  worship  had  resulted  in 
Mr.  Guffey  knowing  her  better  than  his  own  relatives.  The 
slightest  quiver  of  mouth  or  eye  seemed  meant  for  him  alone, 
and  sometimes,  with  the  house  two-thirds  empty  at  a  matinee, 
a  close  observer  could  have  heard  him  relieving  his  overstuffed 
heart  with  endearing  phrases. 

"I  was  reading  about  you  today,  honey,"  he  muttered,  "and 
1  know  you  got  no  time  for  them  celluloid  cavaliers.    '  The  Nun 

66 


of  Hollywood,'  the  story  called  you,  'aloof  and  serene,  like 
moonlight  on  the  ocean.'  Imagine  them  writers  being  lucky 
enough  to  meet  you!  'An  orchid  swaying  on  its  stalk,'  says 
another  one,  and  he's  right,  but  maybe  you're  lonesome  like  me, 
Dora.  Two  thousand  miles  between  us,"  said  Mr.  Guffey 
plaintively.    ''It  certainly  gets  a  guy  sore." 

THEN  he  perked  up,  grinned  jauntily  and  ushered  out  the 
final  clinch  with  a  wistful  melody.  He'd  almost  forgotten! 
That  very  morning  he  had  been  presented  with  a  five  thousand 
dollar  check,  bequeathed  by  a  vaguely  remembered  uncle,  along 
with  sundry  admonitions  as  to  his  conduct.  To  do  him  credit, 
Mr.  Guffey's  first  thought  had  been  to  buy  a  small  interest  in 
the  Bijou,  but  now  he  realized  that  distance  need  bother  him 
no  longer. 

"It's  two  months  since  Dora  was  here,"  he  told  himself, 
watching  the  audience  struggling  in  the  aisles  during  the  brief 
intermission,  "and  after  this  week  I'll  have  to  wait  just  as  long 
before  I  see  her  again.  Wh}'  shouldn't  I  breeze  out  to  take  a  peek 
ather?  Andbythesuffering  Moses,"  saidMr.  Guffey,  plunging 
into  the  Grand  March  from  ".'\ida,"  "I  will;  Viola  or  no  Viola." 

After  the  last  show  he  ambled  briskly  through  the  lobby, 
endeavoring  to  skirt  the  ticket  seller's  booth  in  the  center,  when 
a  small  brunette  of  streamline  tendencies  slipped  through  the 
door  and  hailed  him.  "Slow  up,"  said  the  damsel,  "and  you 
can  take  me  home." 

Mr.  Guffey  quailed.  Just  because  he'd  taken  Viola  out  a  few 
times  and  whispered  a  few  carefully  memorized  subtitles,  she 
had  begun  to  think  herself  capable  of  putting  up  the  "No 


s 


ore 


By  Stewart  Robertson 


The  door  was  jerked 
open  and  the  irritable 
Mr.  Garvin  inserted  his 
head.  ''Hey!''  he 
shouted,  "I'm  sending 
in  a  sobbie  from  the 
Kalamazoo  'Gazette.' 
Give  her  the  I-Hate- 
Men  stuff."  "Shoot 
her  in,"  ordered  Dora, 
"but  I  won't  spare 
much  of  my  time,  be- 
cause I'm  too  inter- 
ested in  Stan,  here" 


remarks. 


Trespassing"  sign.  However,  when  a  man  has  acquired  five 
thousand  dollars,  it  behooves  him  to  cultivate  a  little  will  power 
and  become  the  master  of  his  fate,  so  Mr.  Guffeygritted  his  teeth. 

"Oh,  hello,"  he  said  airily,  "I  wanted  to  say  goodbye  to  you, 
anyway,  before  I  grab  the  train  to  California." 

"Don't  kid  me,"  begged  the  lady,  beginning  to  giggle. 

"Gravity  Falls,"  stated  Mr.  Guffey,  with  a  comprehensive 
gesture  toward  the  Public  Square,  "is  beginning  to  stifle  me. 
Thirty-five  thousand,  and  everyone  knowing  the  other's 
laundry  mark.  No  class  at  all,  and  besides,  there's  good  reason 
for  my  holiday."  He  proceeded  to  tell  her  about  his  sudden 
wealth,  looking  everywhere  but  directly  at  her. 

Viola  regarded  him  with  the  proprietary  eye  of  a  first  mort- 
gagee. "That's  a  swell  way  to  mourn,  going  to  Hollywood," 
she  told  him,  sniffing  contemptuously.  "You  and  your  five 
thousand!  If  you  had  any  imagination,  you'd  think  of  a  few 
things  you  could  do  with  it  here." 

"I  hadn't  seen  this  uncle  since  I  was  about  si.\,"  said  Mr. 
Guffey  defensively,  "and  the  chances  are  he'd  approve  of  me 
trying  to  learn  something  more  about  the  business  I'm  in." 

BUSINESS!  You  know  doggone  well  \-ou're  going  out  there 
to  gape  at  that  Delura  thing.  How  do  you  figure  to  meet 
her — get  hit  by  her  Rolls-Royce?"  \'iola  giggled  e.xasperat- 
ingly.  "No  joking,  Stan,  do  you  really  think  she'll  look  at  a 
mere  key  tickler  like  you?'' 

"Why  not?"  countered  the  long  distance  lover.  "We're  both 
in  the  same  game.  Besides,  she  leads  a  pretty  lonesome  life, 
from  all  accounts." 


"Boloney,"  said  Viola. 
"  Now  listen,"  bawled  Mr. 
Guffey,  putting  on  a  few  pounds 
pressure,  "lay  off  them  small  time 
Dora's  a  lady,  and  it  wouldn't  do  you  no  harm  to 
copy  some  of  her  mannerisms.  Furthermore,  her  voice  is  soft 
and  velvety  to  go  with  them,  so  I've  read." 

".Anything  she  does  is  poison  to  me!"  screeched  his  jealous 
companion.  ".\11  right,  Don  Juan,  gallop  out  to  your  siren  of 
the  shadows.    I'll  bet  she  purrs  like  the  rest  of  the  cats." 

They  walked  along  until  the  girl's  house  loomed  ahead,  and 
then,  drawing  him  under  a  sycamore,  she  raised  her  face  to  his. 
"Stan,"  she  said  coaxingly,  "tell  me  something  nice." 

CERT.\INLY,"  said  Mr.  Guffey  cruelly.  "You  got  very 
pretty  hair,  Viola — and  if  a  beauty  doctor  worked  on  you 
for  twenty  years  you  might  be  a  tenth  as  beautiful  as  Dora." 

The  little  ticket  seller's  mouth  worked  strangely,  then 
leveled  into  a  thin  line. 

"Goodbye,"  she  snapped,  "and  don't  wear  that  cerise  and 
green  tie  when  you  meet  my  rival.  It  might  make  her  eyes 
goggle  even  worse." 

"Don't  take  it  too  hard,"  admonished  the  cocky  organist. 
"You  know  she  isn't  a  real  rival.  I  couldn't  marry  a  queen  like 
Dora,  but  I  just  want  to  look  at  her,  that's  all.  Then  I'll  come 
back,  and  maybe  get  engaged  to  you." 

Viola  reached  her  front  gate  and  edged  inside  the  protection 
of  its  whitewashed  pickets.  "Yeah?  "  she  drawled,  "aren't  \ou 
noble?  Well,  take  care  you  haven't  got  a  rival  yourself, 
dearie,"  and  leaning  over,  she  slapped  the  callow  face  of  iSIr. 
Guffey  until  his  freckles  were  swamped  in  a  hectic  flush. 

The  assaulted  gentleman  watched  her  run  into  the  house, 
then  he  shambled  down  the  street  rubbing  his  stinging  cheek. 
"I  wonder  what  she  meant  by  that  last  crack,"  he  muttered. 
"She's  just  like  all  the  dames — trying  to  be  cagey  and 
mysterious  so  as  to  get  a  guy  sore."  [  co.xtinued  on  page  113] 

67 


OurO 


wn 


Photoplay  picks  its  own 
big  Hollywood  celluloid 
prospects — and  gives  mere 
men  a  break.  Here  are 
the  bright  girls  and  boys 
likely  to  achieve  film  suc- 
cess in  1929 


JQaby 

Stars 


Anita  Page 
Already   a    hit    but   over- 
shadowed by  Metro 'sdanc- 
ing  daughter,  Joan  Craw- 
ford 


Jeanette  Loff 

In  *'AnnapoIis"  and  other 

films.   An  American  Vilma 

Banky 


Barry  Norton 

Riding  to  success  since  his 

Mother's    Boy    in    "What 

Price  Glory" 


Eddie  Quillan 

The  comedy  relief  of  Cecil 

De    Mille's    "The    Godless 

Girl" 


Nancy  Drexel 

The    other     pretty     little 

aerialist  in  Murnau's 

"Four  Devils'* 


Raquel  Torres 

Phillips  Holmes 

Hugh    Allen 

Yola  d'Avril 

The    tropical    charmer   of 

"White    Shadows    of    the 

South  Seas" 

Taylor  Holmes'  Princeton 

son  makes  good  in 

"Varsity" 

Here's  a  real  bet.    He's  the 

lad  who  ran  away  with 

**Annapolis" 

The  IT  girl  in  the  inn  of 

"The  Awakening."      Just 

needs  a  chance 

Loretta  Young 

She's    the   gal    who    broke 

Lon's    heart    in    "Laugh, 

Clown,  Laugh" 

68  2 


David  Rollins 

Several    hits,    including   a 
real  one  in   "The   Air 

Circus" 


Jack  Stone 

Cousin   of   Colleen    Moore 

and  the  scared  aviator  of 

"Lilac  Time" 


Sharon  Lynn 

The  girl   who  led  Conrad 

Nagel  astray  in  "Red 

Wine" 


Diet 

Health 

and 

Beauty 


By 

Dr.  H.  B.K.Willis 


for 


Dr.  H.  B.  K.  Willis  is  one  of  the  foremost  physicians  of  Los 
Angeles  and  among  his  patients  are  the  leading  film  stars. 
Dr.  Willis  has  made  a  complete  study  of  diet — the  chief  prob- 
lem of  the  stars 


The  famous  physician   will   contribute  regularly  to 
Photoplay  and  he  will  answer  your  personal  letters 


DUE  to  the  ever-increasing  appeal  of  diet  as  a  means  of 
gaining  individual  well-being  the  grand  old  American 
public,  from  llapper  to  philosopher,  is  eating  its  way 
into  as  well  as  out  of  health.  Food  has  attained  a  new 
footing.  Time  was  when  feasting  instead  of  fasting  was 
fashionable. 

Calorie  consciousness  is  fast  supplanting  gluttony,  but  it 
was  not  so  long  ago  that  we  were  dubbed  a  nation  of  gluttons 
by  physicians  who  charged  us  with  digging  our  graves  with  our 
teeth. 

But,  unfortunately,  the  pendulum  seems  to  be  swinging  too 
far  in  the  other  direction,  because  the  enthusiasm,  which  is  an 
American  characteristic,  is  leading  countless  thousands  into 
dietetic  errors  inspired  by  the  mandates  of  well-meaning  but 
misguided  food  faddists. 

For  example,  where,  a  few  years  ago,  Americans  were  as  over- 
starched  as  Father's  dress-shirt,  the  average  individual,  accord- 
ing to  statistics,  is  not  eating  enough  sugar  today. 

We  were  once  a  nation  of  mighty  meat-eaters.  Today  meat 
is  anathema  to  too  many  who 

need  it.    As  for  fat,  the  popular  

opinion  seems  to  be  that  all  this 
dietetic  necessity  is  good  for  is 
the  manufacture  of  soap. 

But  nationally  we  are  strong 
for  vitamins.  One  may  not 
know  what  they  are  but  they 
have  been  publicized  as  mir- 
acle-workers and  the  word  is 
mouth-filling,  even  though  the 
vitamins  themselves  may  not 
be. 

Ninety-nine  per  cent  of  the 
patients  who  come  into  my 
office  are  there  in  search  of  a 
diet  which  will  banish  pills  and 
doctor's  bills. 


HAVE  you  a  problem  of  diet? 
Let  Dr.  Willis  of  Photoplay 
be  your  adviser.  Write  to  him 
in  care  of  Photoplay,  816  Taft 
Building,  Hollywood,  Calif.,  and 
be  sure  to  enclose  a  stamp  for 
reply.  Dr.  Willis  will  give  your 
question   his   personal   attention 


Grandpa  wants  one  to  cure  his  rheumatism.  Grandma  and 
Mother  are  equally  desirous  for  one  which  will  convert  their 
stylish  stouts  into  svelte  sixteen  sizes.  Dad  demands  a  diet 
which  will  chase  the  spots  from  before  his  eyes  and  make  high 
blood  pressure  become  a  forgotten  fear.  Sister  wants  to  eat 
to  stay  thin  or  gain  her  a  skin  someone  loves  to  touch.  Brother 
wants  a  menu  which  will  make  halitosis  impossible  or  give  him 
a  complexion  as  free  from  comedones  as  the  face  of  the  collar 
ad  model. 

IT  is  an  absolute  fact  that  too  many  laymen  utterly  and  com- 
pletely believe  that  diet  is  the  key  to  health  and  happiness  and 
that  therein  lies  the  panacea  for  all  the  ills  to  which  the  f5esh 
is  heir.  Unfortunately  they  are  not  entirely  right,  although  it  is 
fortunate  that  today  the  majority  eat  to  live  and  not  live  to  eat. 
Having  the  interest  of  its  vast  army  of  readers  at  heart  and 
believing  that  they  will  welcome  personally  conducted  dietetic 
excursions.  Photoplay  adds  another  innovation  to  its  table  of 
contents   by   giving  me   the  opportunity  of  expounding  my 

beliefs  as  to  safe  and  sane  eat- 
ing, the  value  of  a  proper  diet 
in  health  and  disease. 

The  subject  will  be  handled 
along  broad,  general  lines  in 
the  articles  to  be  printed,  and 
individual  cases  will  be  con- 
sidered by  the  question  box 
method  and  private  communi- 
cations to  such  persons  as  may 
desire  them. 

In  many,  many  cases  diet  is 
but  an  adjunct  to  the  adequate 
treatment  of  disease,  and, 
hence,  diet  will  not  be  upheld 
by  the  writer  as  a  substitute 
for  properly  indicated  medical 

[  CONTINUED  ON  PAGE  90  ] 


6.9 


Tour  Clothes  Ci 


Six  years  ago  Adrian  designed  this  bouffant  costume  for  Lea  trice 
Joy.   "No  woman  would  wear  a  gown  like  that,"  cried  the  pro- 
ducers.   Today  half  the  evening  gowns  are  a  modified  version 
of  this  picturesque  robe-de-style 


THE  Rue  de  la  Paix  or  Hollywood 
Boulevard — which? 
Do  such  famous  authorities  as 
Patou,     Lelong,     Molyneux     and 
Worth  tell  you  what  to  wear  or  have  you 
felt  the  influence  of  the  more  unfamiliar 
names  of  Adrian,  Greer,  Ree  and  Banton? 

It  is  my  duty,  my  good  woman,  to  tell 
you  that  you  are  copying  fashions  worn 
by  the  screen  stars  and  not  those  chosen 
by  French  gals  who  seem  to  have  nothing 
to  do  but  pose  for  their  pictures  at  the 
race  tracks  at  Deauville. 

Hollywood  is  the  broadcasting  agency 
for  fashion! 

Hollywood  creates  the  modes  of  the 
world ! 

You  are  wearing  photographic  clothes! 

Many  of  the  designers  go  to  Paris 
3'early  for  ideas,  but  it  is  only  the  general 
feeling  of  line  and  the  new  materials  that 
they  bring  back.  These  are  sifted  through 
the  studio  mill  and  are  sent  to  you  at  once 
to  copy. 

And  did  you  know  that  many  of  these 
fads  are  introduced  to  hide  defects  in  the 
stars' figures? 

Historians  tell  us  that  the  side  saddle 

70 


Because  Greta  Garbo  has  a  long 
neck.  Max  Ree  put  a  ruff  on  her 
collar  in  "The  Torrent."  The  wide 
Garbo  collar  was  evolved  from  this, 
and  it  is  a  world-wide  fashion 


ome 


How  the  cre- 

screen  influ- 

rectly  than 

By 
Lois  Shirley 


came  into  vogue  because  Queen  Elizabeth 
could  not  ride  astride. 

The  Garbo  collar  was  created  because  a 
gauche,  awkward  Swedish  girl  had  a  long 
neck  and  an  unhappy  manner  of  carrying 
her  head. 

THE  wide  strip  of  material  that  extends 
directly  down  the  spine  of  every  Mae 
Murray  decollette  gown  is  to  conceal  a 
scar  on  the  erstwhile  star's  back. 

Tight  fitting,  hair  line  skuU  caps  are 
worn  to  cover  the  fact  that  many  stars 
have  heads  too  big  for  their  bodies. 

As  the  pearl,  with  its  moonlike  beauty, 
is  caused  by  an  irritation,  so  many  of  the 
loveliest  lines  ever  worn  by  women  are  an 
effort  on  the  part  of  the  designers  to  con- 
ceal that  which  is  not  beautiful. 

You  will  never  see  Florence  Vidor  who 
is,  by  popular  vote  among  the  fashion 
dictators,  the  best  gowned  woman  on  the 
screen,  wearing  a  brimless  hat.  Her  face 
is  long  and  thin  and  her  jaw  broad. 

It  is  the  job  of  the  designer  to  know  his 

star  as  he  knows  his  scissors  and  to  make 

her  the  loveliest,  most  ravishing,  most 

beautiful    woman    possible.       For    the 

flicker  favorites  are  even  as 

you    and    I,    my    dear,    and 

there  are  bow  legs  and  broad 

hips  in  Hollywood  although 

the  rest  of  the  world  never 

guesses  it.    Clever  costuming 

conceals  them. 


A  RADICAL  change  has 
come  to  the  screen  in 
the  last  few  years.  It  is  due  to 
the  efforts  of  such  designers 
as  Max  Ree,  Howard  Greer, 
Travis  Banton,  Sophie  Wach- 
ner  and  Gilbert  Clark.  These 
people  have  banded  together 
to  set  aside  the  old  school  of 
motion  picture  dressing;  to 
make  women  as  smartly 
gowned  on  the  screen  as  they 
would  be  in  a  civilized  drawing 
room ;  to  eliminate  the  symbol 
of  the  vamp,  a  figure-fitting 
black  velvet  gown  with  high 
collar,  long  sleeves  and  a  slit 
to  the  thigh.  They  have  also 
removed  the  taboos  of  the 
camera. 

It  used  to  be  that  everv- 


^from  Hollywood 


ations  you  see  on  the 
ence  you  more  di- 
Paris  fashions 


body  from  the  office  boy  to  the  president  had  to  O.  K.  a  dress. 
Camera  men  complained  of  color.  White  was  not  admitted  on 
the  set  until  Travis  Banton  gowned  Pola  Negri  in  white,  a 
color  that  she  loves  more  than  all  others,  and  because  Pola 
was  a  star  with  authority  the  camera  man  had  to  figure  out  a 
way  of  photographing  it. 

THE  producer  still  attempts  to  put  his  finger  in  the  dress- 
maker's pie,  insisting  that  the  star  should  be  gowned  in 
"something  like  my  wife  wears,  this  clingy  material  with 
shiny  stuff  here."  But  he  invariably  discovers  the  error  of  his 
ways. 

There  is  but  one  thing  to  consider  when  you're  copying 
screen  clothes.     Separate  in  your  mind  the  gowns  that  are 
made  for  a  character  and  those  that  are  built  for  style  only. 
I  cite  Ma,x  Ree  and  the  Freudian  svmbols  that  he  has 


Adrian  may  not  be  as 
well-known  to  you  as 
the  Paris  authorities. 
But  the  clothes  he  de- 
signs for  the  stars  are 
the  ones  you  envy — and 
copy 


Greer's  shop  in  Holly- 
wood is  a  style  center. 
Here  the  stars  order  the 
personal  wardrobes  that 
make  them  the  best- 
dressed  women  in  the 
world 


evolved  as  an  e.xample.  In  "The  Wedding  March" 
ZaSu  Pitts  plays  the  role  of  a  woman  with  a  suppressed 
desire.  Against  her  own  subconscious,  her  body  is 
ruled  by  her  brain.  Therefore  Ree  put  her  in  form- 
fitting  gowns  with  the  lines  running  to  her  head,  and 
set  her  face,  flowerlike,  in  a  collar.  In  the  same  pro- 
duction Maud  George  plays  the  role  of  a  smart,  but 
untidy  woman.  Ree  chose  a  negligee  trimmed  with 
unruly  feathers,  rather  than  sleek  fur,  in  order  to 
establish  a  character  properly. 

This  is  the  film  designer's  only  limitation. 

IT  was  Ree,  by  the  way,  who  originated  the  Garbo 
collar.  He  gowned  the  star  in  her  first  .American  pic- 
ture, "The  Torrent,"  and  the  fur  coat  she  wore  in  that 
with  the  enormous  collar  was  made  to  conceal  her 
long  neck  and  to  help  her  carry  her  head  better.  It 
served  the  same  purpose  as  the  head  rest  used  by  old- 
fashioned  photographers.  It  was  copied  throlighout 
the  world  and  even  introduced  in  a  Paris  opening 
after  it  had  been  worn  by  Garbo! 

In  the  matter  of  color  the  designer  is  hindered  only 
by  the  star  herself.  Dorothy  Cummings  had  a  fainting 
spell  at  the  sight  of  agreenfrockmadcforherto  wcarin 
a  ]iicture.  Esther  Ralston  says,  "I  know  that  a  light 
will  fall  on  me  or  the  film  will  catch  fire  if  I  apjiear  in  a 
yellow  dress."    Yet  yellow  is  most  becoming  to  her. 

Sophie  Wachner  tells  this  one  on  Mary  Astor.  She 
had  an  aversion  to  blue  and  would  not  have  a  frock  of 
that  shade  until  one  day 
she  surprised  Miss  Wachner 
by  requesting  a  blue  dress. 
It  was  because  Kenneth 
Hawks,  her  fiance  at  the 
time,  now  her  husband, 
liked  it. 

The  pioneer  in  establish- 
ing Hollywood  as  a  style 
center  is  Peggy  Hamil- 
ton. Still  in  her  teens,  she 
undertook  the  costume  de- 
partment at  the  old  Triangle 
Studio  and  dressed  Gloria 

[  CONTINUED  ON  P.\GE  130  J 

71 


Peggy  Hamilton, 
pioneer  studio  de- 
signer, dressed  Gloria 
Swanson  for  her  first 
big  role.  The  cos- 
tumes were  made 
over  from  Miss  Ham- 
ilton's own  frocks. 
Miss  Hamilton  be- 
lieves in  ''show 
styles,"  as  you  can 
see  by  this  lace  negli- 
gee, trimmed  with 
mirrors    and    ostrich 


speech  is 

Some  stars  who  passed 
the  voice  test  and 
made  big  come-backs 
when  the  silent  drama 
broke  into  noise 


Lois  Wilson,  for  instance.  Lois  failed 
to  get  a  break  after  ending  her  contract 
with  Paramount.  The  smart  girl  studied 
voice  training  and  went  on  the  stage  in 
Los  Angeles,  thereby  talking  herself  into 
the  talkies 


Antonio  Moreno  had  been  doing  a  quiet  fade- 
out  until  First  National  discovered  that  he 
has  been  suppressing  a  splendid  speaking 
voice  all  these  years.  You'll  see  him  again 
in  "Synthetic  Sin,"  Colleen  Moore's  first 
chatter  film 


A  star  who  was  gone  but  never  forgotten. 
Pauline  Frederick  left  Hollywood,  more  in 
sorrow  than  in  anger,  and  toured  the 
world.  Thanks  to  the  talkies,  this  beauti- 
ful woman  is  back  on  the  screen.  She  made 
a  triumphant  return  in  "On  Trial,"  and 
Warner  Brothers  will  present  her  in  a 
whole  series  of  Vitaphone  dramas 


72 


Golden 


And  Mildred  Har- 
ris. Mildred  was 
off  again,  on 
again.  Sometimes 
in  vaudeville; 
sometimes  in  a 
quicliie.  But  Mil- 
dred can  sing  and 
she  can  speak 
lines.  So  she 
made  her  come- 
back in  "Melody 
of  Love" 


Remember  Bessie  Bar- 
riscale?  Bessie  was  once 
a  big  star,  but  she  left 
the  screen  for  the  stage. 
And  it  was  "Goodbye 
Forever."  But,  in  the 
search  for  movie  person- 
alities with  voices,  Bessie 
was  called  back  to  Holly- 
wood and  given  a  part  in 
Pathe's  "Show  Folks" 


Robert  Elliott  left  pic- 
tures years  ago  to  return 
to  the  stage,  because  he 
wasn't  pretty  enough 
for  a  dumb  hero.  Now 
he's  tearing  out  swell 
performances  for  Fox- 
Movietone 


Rescued  from  vaudeville — Bessie 
Love.  Bessie  can  dance,  sing, 
talk  and  play  the  uke.  Those 
who  have  seen  her  in  "Broad- 
way Nrelody"  say  that  she  is  the 
Marilyn  Miller  of  the  talkies. 
Very  nice  for  Bessie— and  very 
nice  for  audiences 


73 


Amateur  Movies 


By  Frederick  James  Smith 


MOVIE  amateurs  still 
have  two  and  a  half 
months  to  complete 
their  contest  films. 

Photoplay's  $2,000  contest 
closes  definitely  at  midnight  on 
March  31st.  There  will  be  no 
extension  of  the  time  limit. 

From  amateurs  in  all  parts 
of  America  come  reports  of 
contest  plans.  The  Flower 
City  Amateur  jMovie  Club  of 
Rochester,  N.  Y.,  is  at  work  on 
a  400  foot  16  mm.  film,  bearing 
the  working  title  of  "Dead  or 
.Alive,"  for  the  Photoplay 
contest.  The  story  deals  with 
an  underworld  gang  and,  for 
the  numerous  interiors,  the 
Flower  City  Club  is  attempting 
some  new  departuresinlighting. 

Work  is  progressing  rapidly 
on  the  contest  contribution  of 
the  Foto-Cine  Productions  of 
Stockton,  Calif.  This  is  called 
■'Three  Episodes."  Sundays 
are  devoted  entirely  to  produc- 
tion work  by  the  entire  club. 

Many  other  contest  films  are 
under  way.  Photoplay's  sec- 
ond contest  already  bears  the 
imprint  of  widespread  inter- 
national interest. 


Russell  Ervin,  Jr.,  winner  of  last  year's  PHOTOPLAY 

contest,  is  now  a  Fo.x- Movietone  veteran.     Here 

he  is  with  Director  Marcel  Silver 


FEBRU.\RY  is  a  month  of  outdoor  action — a  month  of 
tobogganing,  skiing,  skating,  snow-shoeing,  snowballing, 
ice-boating  and  similar  sports,  writes  W.  A.  Shoemanker,  editor 
of  the  Eastman  Cine-Kodak  News  in  personally  advising 
Photoplay  readers.  It 
offers  untold  possibilities 
to  the  movie  maker — pos- 
sibilities that  should  not 
be  overlooked,  for  these 
sports  are  at  their  height 
in  February. 

You  will  take  advantage 
of  February's  outdoor 
action,  of  course.  But  be 
careful!  February  light  is 
fickle  and  unless  you  are 
careful  under-exposure 
may  ruin  your  pictures. 
The  light  may  seem  to  be 
brighter  in  February  than 
it  was  in  December  and 
January,  but — photo- 
graphically at  least  —  it 
isn't.  The  wise  movie 
maker  will  strive  to  avoid 
under-exposure.  Perhaps 
the  best  way  to  avoid  this 
bug-bear  of  winter  pictures 
is  to  follow  these  lighting 
suggestions: 

For  sea,  sky  and  snow 
scenes,  distant  mountains 
and  landscapes,  or  for  wide 
expanses  of  snow,  f.ll  in 
bright  sun,  f.8  if  clouds 
partially  obscure  the  sun, 
and  f.5.6  or  f.6.5  if  the  dav 


is  cloudy  or  dull.  For  open 
landscapes  where  there  is 
no  heavy  shade,  f.8  in  bright 
sun,  f.5.6  or  f.6.5  if  light  clouds 
obscure  the  sun,  and  f  .4  on  dull 
or  cloudy  days.  For  street 
scenes  or  groups  where  part  of 
the  light  is  obscured  by  houses 
or  trees,  f.5.6  or  f.6.5  in  bright 
sun,  f.4  with  light  clouds  over 
the  sun,  and  f  .3.5  on  dull  days. 
For  scenes  on  shady  sides  of 
streets,  f.4  in  bright  sun,  and 
f.3.S  if  light  clouds  partially 
obscure  the  sun.  On  dark,  dull 
days,  such  scenes  should  not 
be  attempted  with  the  f.6.Sor 
f.3.5  lens.  These  scenes  are 
easily  within  the  scope  of  the 
f.1.9  lens,  however. 

THE  Motion  Picture  Club  of 
New  Haven,  Conn.,  closes 
an  interesting  club  competition 
for  16  mm.  films  on  January 
31st.     Attractive  awards  are 
being  made  for  the  best  scenics, 
pictures  of  children,  trick  films, 
current    event    shots,     travel 
views,  short  narrative  produc- 
tions, features  and  color  films. 
Fifty  amateurs  in  Erie,  Pa., 
have  organized  a  movie  club. 
"The  Fast  Male,"  the  ama- 
teur production  of  the  Stanford  Studios,  the  movie  club  of 
Stanford  University,  had  its  premiere  in  the  Stanford  assembly 
haU  at  Palo  Alto,  Calif.,  on  January  9th. 

The  Herald  Cinema  Critics  Club  of  Syracuse,  N.  Y.,  is  making 
an  amateur  film,  "Touchdown," 
written  by  Douglas  Thompson  and  the 
winning  scenario  in  a  contest  open  to 
Syracuse  high  school  students.  The 
club  has  the  benefit  of  advice  from 
Chester  B.  Behn,  dramatic  editor  of 
The  Syracuse  Herald. 

The  drama  class  of  the  Newport 
News  High  School  of  Newport  News, 
Va.,  is  starting  its 
third  amateur  photo- 
play. Its  first  film, 
"Heroes  All,"  landed 
prominently  in 
Photoplay's  first 
contest.  Amateur 

movies  are  now  a  defi- 
nite part  of  the  work 
of  the  drama  class. 


THE  incandescent 
lights  pictured  in 
the  special  Christmas 
tree  shots  of  home 
movie  making  in  the 
January  Photoplay 
attracted  so  many  in- 
quiries that  we  are 
going  to  tell  you  ex- 
actly how  to  make 
these  lights  yourself. 
[  continued 
on  page  100  ] 


Mrs.  Coolidge,  an  amateur  movie  enthusiast,  used  a  Cine- 
Kodak  to  film  the  President  on  their  Virginia  vacation 


n 


Photoplay  Magazine — Advertising  Section 


75 


"I  picked  it  lip  at  Malta"  Mrs, 
helm  says  oj  the  embroidery  iti 
her  frock,  a  symphony  of  all  the 
gorgeous  hues  that  suit  her  beauty. 
It  was  made  up  after  her  oivfi 
design,  like  the  highn' ay  man's 
coat  worn  with  the  Reboux  tri- 
come  of  the  larger  portrait. 


"It'umen  are  loveliest  in  evening 
dress,"  says  Mrs.  Iselin.  This 
Lanvin  creation  of  antique  green 
brocade  and  silver  lace  reveals 
the  ivory  beauty  of  her  neck  and 
arms.  A  magenta  girdle  and 
green  slippers  uith  magenta 
heels  complete  her  ensemble. 


Mrs.  Adrian  Iselin  11  is  the  wije  oJ  the  internationally  distinguished 
yachtsman^  Beauty,  charm,  chic,  a  merry  wit  and  many  brilliant 
talents  make  her  one  of  the  s?nartesi  and  best-liked  women  in  Netv  York. 


A-  LOVCLY  skin  is  essential  to   C/?/o    s^ys 
Mcx.   Adrian    Ixelin    ii 


MRS.  ISELIN'S  BEAUTY  recalls 
the  gorgeous  Renaissance.  She  has 
burnished  copper  hair  and  wonderful 
green  eyes  like  precious  jewels.  Her  per- 
fect skin  is  white  and  smooth  as  ivory. 

Tall,  slender,  graceful  in  every  gesture, 
Mrs.  Iselin  is  famous  for  her  chic. 

Color  is  her  hobby.  Color  can  make  or 
mar  a  woman's  beauty.  For  her  own 
auburn  type  she  chooses  tawny  browns 
and  tans,  yellows  and  greens. 

"  Nowadays  to  be  perfectly  groomed  is 
all-important,"  says  Mrs.  Iselin.  "Fas- 
tidious women  follow  a  daily  regime. 

"Pond's  complete  Method  makes  this 
daily  treatment  simple  and  practical. 

"The  Cold  Cream  has  always  been  my 
standby.  Now  the  new  Tissues  are  ex- 
quisite for  removing  cold  cream.  The 
delicious  Freshener  keeps  your  skin  firm 
and  young.  The  Vanishing  Cream  is  a 
delightful  powder  base." 


Mrs.  Iselin's  dressing  Inble  with  special  green 
l^lass  gift  jars  made  by  Pond's  to  hold  the  Two 
Creams  and  Freshener  Jor  her  daily  rlgime. 


In  the  familiar  containers— Pond's  four  Jamous 
products,  Txi-o  Creams.  Tissues,  Freshener,  -.ihich 
beautiful  women  use  daily  to  keep  their  skin  lovely. 
you  write  to  advertisers  please  mention  PHOTOPLAY  M.VGAZI.NE. 


Thousands  of  chic  and  beautiful  women 
follow  Pond's  Method  thus: 

AMPLY  APPLY  the  light,  pure  Cold 
L  Cream  over  face  and  neck, morning, 
night  and  always  after  exposure.  Use  firm, 
upward  strokes,  letting  the  penetrating 
oils  sink  deep  into  the  pores. 

Wipe  away  the  cream  with  the  Cleans- 
ing Tissues — ample,  soft,  absorbent. 

For  a  bracing  effect — the  tonic  Fresh- 
ener closes  the  pores,  tones,  invigorates. 

Finish  with  a  whisk  of  Vanishing 
Cream  to  make  your  powder  cling. 

Try  Pond's  Method  for  a  week! 

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The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  55  ] 


BEHIND  THE  GERMAN  LINES— 
UFA-Paramount 

nPEN  years  after  the  holocaust,  the  Germans 
•'-  rush  in  with  their  film  version  of  the  Great 
War.  Excellent  war-time  shots  of  rulers  and 
battles  are  offset  by  a  lot  of  studio  stuff  that 
doesn't  mean  much,  and  the  narrative  is  slowed 
by  scores  of  very  clever  but  over-used  maps  of 
the  fronts. 

A  LADY  OF  CHANCE— M.-G.-M. 

""PHIS  is  a  story  of  self-sacrifice  and  regenera- 
■*■  tion.  Robert  Z.  Leonard's  direction  tops 
each  tear  with  a  chuckle.  Norma  Shearer 
plays  Dolly,  a  golddigger  with  an  angel  face  and 
a  steady  nerve,  who  plays  hide-and-seek  with 
the  law.  Shadowed  by  detectives,  she  marries 
a  trusting  country  boy,  beheving  him  a  million- 
aire. The  drama  which  ensues  is  fresh  and 
original.  John  Mack  Brown  is  effectively 
natural  and  Lowell  Sherman  is  at  his  best. 

UNEASY  MONEY— Fox-Europa 

npHE  newest  novelty  from  Germany  takes  a 
•*■  10-mark  bank  note  on  its  travels  through 
thi.';  vale  of  jeers.  It  begins  in  the  pay  envelope 
of  our  own  blonde  Wary  Nolan,  and  travels 
from  the  castle  to  tlie  gutter  and  back  again. 
We  leave  the  10  marks  long  enough  to  follow 
Mary  through  a  virginal  love  affair,  the  maul- 
ing hands  of  perspiring  papas,  and  to  happiness 
at  last.  Mary's  work  is  better  than  anything 
she  has  done  in  Hollywood.  This  is  at  least  a 
different  picture,  well  directed  and  acted. 
Take  a  look  if  it  comes  to  your  Little  Theatre. 

MARQUIS  PREFERRED— Paramount 

■XyTENJOU  fans  can  cheer  over  this  one. 
•'■ '-"-Adolphe  is  a  sophisticated  and  charming 
Marquis  deluged  with  debts.  His  tastes  in 
Uquor  and  women  are  discriminating.  There 
are  two  women — an  American  heiress  and  her 
companion.  Does  he  marry  the  heiress?  And 
how!  Then  he  presents  his  debts  to  her  father, 
his  title  to  the  heiress  and  his  love  to  her  com- 
panion. He  gets  a  job  and  a  divorce  and  mar- 
ries the  companion.    Frothy,  amusing. 

MATA  HARI:  THE  RED  DANCER— 

National-Big  Three  Production 

'  I  'HIS  is  a  German-made  film  with  nothing  to 
-'-  merit  its  importation.  The  story  is  tedious 
and  disjointed  but,  in  the  confusion  of  detail, 
we  gather  that  the  dancer,  Mula  Hari,  was  an 
international  spy  who  mi.xed  her  politics  and 
men  so  unwisely  as  to  have  her  lover  thrown 
in  prison  and  herself  executed. 

TYRANT  OF  RED  GULCH— FBO 

TpHERE'S  nothing  Western  about  this  one 
■*•  but  the  title.  And  perhaps  Tom  Tyler's 
pants.  That's  grand!  The  less  Western  a 
Western  is,  the  better  we  like  it.  In  a  worthy 
effort  to  be  original,  the  writer  threw  in  two 
mystery  men,  a  small  boy,  a  flock  of  Russians, 
and  an  idiot.    A  badly  bent  story. 

SEVEN  FOOTPRINTS  TO  SATAN— 
First  National 

"Y^OU  won't  get  very  excited  over  this  so- 
-'■  called  mystery  story  because  you  feel  down 
underneath  that  it  will  turn  out  to  be  a  dream. 
The  denouement  is  not  quite  as  bad  as  that — 
but  almost.  There  are  gorillas  and  dwarfs  and 
weird  characters  who  strut  through  the  pic- 
ture ineffectually.  Thelma  Todd  manages  to 
look  both  beautiful  and  frightened  while 
Creighton  Hale  makes  his  knees  stutter.  It's 
a  hodge  podge. 

76 


BLACK  BIRDS  OF  FIJI— Australasian     THE  HOUSE  OF  SHAME— Chesterfield 

A  NOTHER  South  Sea  Island  picture  made 
■''•in  the  land  of  missionaries,  head  hunters 
and  half-castes.  Edith  Roberts  is  again  the 
island  girl  but  this  time  she  wins  her  man  when 
it  is  discovered  that  she  isn't  a  halt-breed  after 
all.    Edmund  Burns  persists  in  being  the  hero. 

THE  VEILED  WOMAN— Fox 

"KJOT  good,  not  bad;  the  most  interesting 
•'-^  feature  being  its  array  of  foreign  faces, 
which  includes  Lia  Tora,  a  Brazilian  dancer; 
Paul  \'incenti,  a  Hungarian,  and  Ivan  Lebe- 
deff,  a  Russian.     The  captivating  Lia's  hus- 


International  Newsreel 

Camilla  Horn's  new  head-dress — 
three  crullers,  rampant,  over  the 
ear.  The  top  of  the  hair  is  worn 
slick  and  smooth  and  the  effect  is 
that  of  the  "buns"  of  hair  worn 
by  little  girls  ages  and  ages  ago 


band  wrote  the  script  but  he  didn't  do  right  by 
the  "little  woman,"  for  it's  a  trite  tale.  A 
coiffure  model  becomes  a  lure  in  a  gambling 
house  all  for  love  of  an  invalid  father. 

WHAT  A  NIGHT— Paramount 

A  NOTHER  newspaper  story,  much  more 
-*»-gaggy  than  the  others  have  been.  Bebe 
Daniels  plays  the  role  of  a  dumb  cub  reporter 
who  succeeds,  of  course,  in  getting  the  big 
scoop.  This  is  poor  material,  badly  strung 
together.  Bebe  Daniels,  herself,  seemed  to 
feel  the  inferiority  of  the  script. 

THE  NAUGHTY  DUCHESS— 
Tiffany-Stahl 

•T^HE  title  pleasantly  suggests  sophisticated 
■*■  French  farce  but,  despite  an  intriguing 
opening,  this  picture  turns  out  to  be  neither 
sophisticated  nor  farcical.  Eve  Southern's 
lumbering  efforts  to  be  naughty  offer  an  unin- 
tentional contrast  to  the  polished  smoothness 
of  H.  B.  Warner's  interpretation  of  a  chiv- 
alrous duke  who  lends  the  lady  his  illustrious 
name  for  a  few  hours.  Gertrude  Astor,  as  his 
jilted  fiancee,  is  more  effective  in  two  scenes 
than  Southern  in  five  reels. 


A  "FOUR-SQUARE"  marriage  muddle, 
-*  »■  done  with  surprising  cleverness.  An  un- 
usually modern  finish  gives  a  happy  jolt  to 
what  could  easily  ha\-e  been  just  a  snivelling  tale 
of  a  too-devoted  wife  who  made  the  supreme 
sacrifice  to  save  her  embezzling  husband  from 
jail.  Virginia  Brown  Faire  has  her  most 
effective  role  in  ages,  and  Lloyd  Whitlock  is 
wholly  pleasing  as  the  "hero  of  the  piece." 

WAGES  OF  CONSCIENCE— Superlative 

A  FTER  you  sit  through  five  reels  of  old- 
-'  Mashioned,  maudhn  melodrama  of  a  soul 
struggle  (assuming,  of  course,  that  you  are 
curious  about  the  wages  of  conscience),  all  that 
rewards  your  vigil  are  a  few  Biblical  quotations 
and  a  misspent  e\'ening.  Talk  about  con- 
science! If  the  perpetrators  of  this  mistake- 
about-town  don't  have  a  good,  rousing  attack 
of  conscience,  then — there  ain't  no  justice. 

THE  PACE  THAT  KILLS— 
True-Life 

TF  you  don't  walk  out  on  the  sermon-length 
-'■opening  title,  you  can  probably  stand  the 
rest  of  it.  It's  hot  propaganda  against  the 
narcotic  evil,  authentic  to  the  point  of  gro- 
tesqueness,  and  a  scientific  treatise  for  lecture 
rooms,  not  amusement  houses.  A  dumb 
country  boy  goes  the  dope  route  with  a  flapper 
"snowbird"  in  the  city.  Not  the  least  bit 
entertaining. 

LINDA— Mrs.  Wallace  Reid  Production 

npHIS  story  of  a  mountain  gal  who  marries 
•'•a  man  old  enough  to  be  her  "pappy"  is 
unadulterated  hokum.  Don't  waste  your  time 
on  it  unless  you  like  maudlin  sentimentality. 
Even  such  old  favorites  as  Noah  Beery,  War- 
ner Baxter,  Kate  Price  and  Mitchell  Le^ds 
can't  put  it  over. 

THE  SILENT  SENTINEL— Chesterfield 

npHIS,  boys  and  girls,  is  a  crook  picture! 
-'■  And  the  producers  have  overworked  the 
theory  that  no  modern  movie  is  complete 
without  a  crook.  This  dry  bank  robbery  melo- 
drama is  full  of  crooks.  We  Hke  our  crooks 
either  lusty  knock-down  drag-out,  like  Mr. 
Bancroft,  or  "suave"  underworld  sophisticates 
like,  for  instance,  Bill  Powell.  But  if  you 
don't,  that's  your  business. 

TRACKED— FBO 

A  GORGEOUS  dog  picture  which  does  not 
once  tax  the  credulity  of  the  audience. 
It's  full  of  thrilling,  logical  action  based  on  a 
.  natural  story.  Two  rival  sheepmen  discover 
that  their  flocks  are  slowly  being  slaughtered. 
The  region's  finest  sheep  dog  is  suspected,  but 
finally  proves  his  innocence  by  leading  the 
herders  to  the  real  killer.  It  is  a  perfect  vehicle 
for  His  Prussian  Highness,  Ranger,  who  is 
probably  the  screen's  most  intelligent  German 
Shepherd. 

THE  LAST  WARNING— Universal 

THIS  could  have  been  a  gorgeous  mystery 
story,  but  it's  an  ob\aous  cross  between 
"  The  Phantom  of  theOpera  "  and  "  TheTerror, " 
with  none  of  their  consistency  or  power.  It 
has  a  distinguished  cast,  with  massive  sets  and 
effective,  futuristic  photography,  but  there's 
no  story.  The  title  writer  has  to  explain  a 
thousand  irrelevancies  in  the  last  reel.  Laura 
La  Plante,  however,  handles  the  heavy  dramat- 
ic role  amazingly  well,  even  with  no  script  to 
guide  her. 

[  CONTINUED  ON  PAGE   103  ] 


Photoplay  Magazine — Advertising  Section 


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Both  in  chic  and  jn  comfort  the  Arch  Pre- 
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Its  spirited  styles  for  every  occasion  forecast 
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Its  patented  hidden  comfort  features  —  the 
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body,  every  expression  of  the  face. 

Even  the  method  of  fitting  the  Arch  Preserver 
Shoe  is  different.  Its  exclusive  heel-to-ball 
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The  Studio  Murder  Mystery 


[  CONTINUED  FROM  PAGE  41 


may  be  occupied  with  false  trails!  And  now 
for  the  happenings  in  the  coroner's  room  this 
morning!  Picture  two  young  people — one  a 
beautiful  French  girl,  the  other  a  handsome 
American  lad — each  sitting  in  opposite  sides  of 
the  room.  Dark,  tragic  eyes  meeting  dark 
tragic  eyes  .  .  .  pale  lips  murmuring  sound- 
lessly to  pale  lips  across  the  space.  ..." 

WILLIAM  WEST  and  Yvonne  Beaumont. 
West  under  guard.  Beaumont  accom- 
panied by  her  lawyer. 

The  coroner  was  completing  his  questioning, 
having  taken  the  testimony  of  MacDougal, 
Lannigan,  and  Jimmy  Cairns,  the  office  boy. 
He  had  come  to  the  confession  of  William  West. 
The  lovely  actress  leaned  forward,  her  great 
eyes  dilating  .  .  .  for  .  .  .  what  was  being 
said?  That  the  blood  on  the  stage,  flowing 
from  Hardell's  heart,  and  the  blood  found  on 
the  bottom  of  West's  shoe,  which  he  admits 
havang  worn  the  night  before,  when  he  went  to 
the  lot  to  get  his  script  book  .  .  .  were  the 
same!  A  sob  came  from  the  lovely  throat  of 
Miss  Beaumont,  and  her  little  white  hands 
fluttered  to  her  heart.  Then,  when  it  seemed 
she  would  swoon,  she  had  suddenly  risen  from 
her  seat,  and  her  light  clear  voice  broke 
through  the  stillness. 

"Ladies  .  .  .  gentlemen  .  .  .  will  you  hear 
me?  I  have  .  .  .  sometheeng  to  tell  you! 
Sometheengyou  will  not,  at  first,  believe.  .  .  . 
But  I  will  make  you  see  it!  First,  I  tell  you 
that  I  have  had  ze  .  .  .  what  you  call  .  .  . 
affair,  wiz  Mr.  Hardell!"  At  this  point  the 
beautiful  girl  raised  her  head  and  looked 
bravely  at  her  audience.  "I  will  tell  you,  also, 
it  was  only  what  you  call  ze  .  .  .  flirt  .  .  . 
wiz  me.  Me,  I  did  not  loff  heem  .  .  .  nonl  I 
am  .  .  .  French  ...  I  am  .  .  .  ze  flirt,  oiii! 
I  play  wiz  heem.  For  why?  Because  when 
first  I  come  to  this  contrai  .  .  .  two  years  ago 
...  I  learn  zat  he  eez  one  veree  bad  man !  .  .  . 
He  break  all  the  hearts  of  ze  pretty  ladies !  Me, 
Yvonne,  I  say  to  myself,  'I  will  do  zat  same  to 
heem,  zat  will  be  fun!'  But  I  do  not  know 
how  weecked  he  is!  Pretty  soon  I  am  afraid! 
He  follow  me!    He  make  me  scare!    He  come 


to  my  apartment  in  ze  night,  and  I  will  not 
open  ze  door,  and  he  stand  outside  and  say 
terrible  sings  to  me!  Zen  .  .  ."  she  clasped 
her  hands,  and  her  eyes  went  to  William  West 
across  the  room  .  .  .  her  lovely  little  face 
flushed  and  softened.  .  .  .  "Zen,  I  find  I  am 
...  in  loff!  For  ze  first  time  in  my  Hfe,  I  am 
in  loff!  I  tremble  wiz  fright  that  my  Billee  find 
out  about  what  you  call  'affair'  wiz  Hardell!" 
Everyone  in  the  room  turned  to  look  at  William 
West,  who  sat  clenching  his  hands,  and  looking 
with  all  the  pleading  of  his  heart  at  the  brave 
girl  who  was  giving  her  secret  to  the  world! 

"Zen  Hardell,  he  say  he  has  kept  some  silly 
letters  I  have  written  heem.  He  say  he  will 
show  them  to  Billee!  I  am  .  .  .  wild!  I  cry, 
I  beg,  I  get  mad!  He  only  laugh!  I  have  tell 
Billee  I  have  nevair  before  loffed  a  man!  He 
have  believe  me!  You  comprehend,  good 
people,  what  I  feel?  Zen,  that  night  I  go  out  to 
the  studio  to  get  ze  letters.  Hardell  say  he 
carry  them  always  wiz  heem!  I  write  ze  note, 
and  go  down  to  pin  it  to  his  dressing  table,  zen 
to  steal  my  letters,  and  to  go  away!  But  I 
cannot  find  zem !  Zay  are  not  zere!  I  wait  for 
ze  lights  to  go  out  on  ze  stage,  and  for  him  to 
come  back  to  change  his  clothes.  But  ...  he 
does  not  come!  I  wait  and  wait!  Tomorrow 
he  say  he  will  show  ze  letters  to  Billee!  Zen,  I 
go  to  the  stage.  I  am  afraid  for  Mr.  Seibert  to 
see  me.  He  is  veree  cross  to  be  disturbed.  I 
hide  in  ze  bushes  until  zay  go  away!  And  .  .  . 
D wight  Hardell  does  not  go  to  his  room !  Non  I 
He  goes  away  wiz  Mr.  Seibert.  I  know,  be- 
cause I  hear  heem  talking  together!  I  am 
afraid  to  look,  but  I  hear.  .  .  .  Zen  I  am 
afraid  to  leave,  because  I  see  Billee  coming! 
He  goes  on  the  stage,  and  pretty  soon  he  comes 
out  and  goes  away.  Zen  .  .  .  what  do  you 
sink?  I  see  that  Hardell  coming  back.  What 
for?  Me,  I  do  not  know!  I  only  see  heem 
coming  back!  I  get  up  and  go  quietly  .  .  . 
quietly  .  .  .  after  heem!  I  find  heem  on  the 
set,  practicing  to  fall  .  .  .  but  I  weel  explain! 
When  we  take  ze  dissoh'e  from  ze  dummy  to  ze 
same  place  .  .  .  comprehend?  Mr.  Hardell 
had  to  fall,  when  he  is  killed  by  ze  duel,  inside 
some  lines  made  wiz  chalk,  where  afterwards. 


zay  will  put  ze  dummy!  Ze  day  before  he  was 
— before  I  .  .  .  before  he  was  found  murdered, 
Mr.  Seibert  take  many,  many  times  zat  scene, 
but  it  does  not  suit  heem !  So,  zay  come  back 
zat  night  to  rehearse!  Zay  will  take  it  over 
again  ze  next  day!  Hardell,  he  tell  me  he  come 
back  to  practice  zat  fall  by  heemself.  I  find 
heem  doing  it.  I  say,  'I  have  come  for  my 
letters!'  He  laugh!  I  tell  heem,  over  and 
over,  how  much  I  loff  Billee!  He  laugh!  And 
zen  .  .  ."  for  a  moment  her  eyes  dropped,  and 
she  put  both  white  hands  to  her  cheeks  .  .  . 
"zen  ...  he  forget  heemself!  He  make  .  .  . 
ze  bad  love  to  me!  I  .  .  .  run  .  .  .  but  he  is 
too  strong!  He  catch  me!  I  fight!  I  bite!  I 
keeck!  He  tell  me  he  ...  he  tell  me  zat  to- 
morrow I  will  be  glad  to  say  I  marry  heem!" 
Once  again  the  brave  little  head  was  flung  up, 
and  the  great  dark  eyes  swept  the  room.  There 
were  murmurs  of  sympathy,  and  low-voiced 
e.xpressions  from  the  men  in  the  audience. 

"Ah  .  .  .  good  people  ...  it  ees  zen  that 
Yvonne  .  .  .  becomes  .  .  .  a  murderess!" 
She  swayed.  Her  lawyer  put  out  a  hand  to 
steady  her.  Her  voice,  coming  through  sobs, 
cut  into  the  hearts  of  her  listeners.  .  .  . 

I  MANAGE  to  get  away  for  ze  instant.  I  find 
ze  other  sword !  I  .  .  .  prepare  to  defend  my- 
self. ...  I  tell  heem  I  will  keel  heem  .  .  . 
but  he  laugh!  He  theenks  I  cannot  do  eet  .  .  . 
but  .  .  .  see  ..."  and  she  held  out  her  small 
white  wrist  ...  "I  have  learned  to  fence  in 
Paris.  Feel  .  .  .  M'sieur  .  .  ."  and  she  bent 
to  the  man  nearest  her.  "Is  my  wrist  not 
strong?  Otii!  You  comprehend?  Ah  .  .  . 
always  I  have  been  so  proud  of  ze  fencing!  But 
...  no  more  .  .  .  you  comprehend,  good 
people?  I  .  .  .  keel  him!"  She  slipped  un- 
conscious into  the  arms  of  her  lawyer. 

On  the  heels  of  this  breath-taking  confession, 
when  people  were  still  wiping  their  eyes,  and 
solicitous  hands  were  tending  the  lo\'ely  form 
.  .  .  when  analytical  minds  were  expressing 
the  opinion  that  Hardell  must  have  subcon- 
sciously assumed  the  death  position  he  had 
been  practicing  for  so  long  .  .  .  when  others 

[  CONTINUED  ON  PAGE   122  ] 


Rules  for  Studio  Murder  Mystery  Solutions 

1.  Nineteen  prizes,  totalling  $3,000,  are  offered  for  They  must  be  typewritten  on  one  side  of  a  sheet  of  paper 
the  best  solutions  to  the  thrilling  serial,  "The  Studio  and  contestant's  name  and  address  must  be  typed  on 
Murder  Mystery. "  This  story  will  appear  in  Photoplay  the  upper  left  hand  corner. 

in  eight  installments.  The  first  installment  appeared  in  the  4    -^he  nineteen  prizes  will  be  awarded  as  follows: 

October,  1928,  issue  and  the  concluding  mstailment  wul  First  Prize  $1  000 

appear  in  the  May,  1929,  issue,     .\fter  the  appearance  Second  Prize  ..............  /^    500 

of  the  March,  1929,  number,  on  February  15th,  1929,  Third  prize  ^ ^y. ............ .      350 

solutions  to  the  mystery  may  be  submitted  but   not  Fourth  prize. ................      150 

before  that  date.      All  solutions  must  be  received  by  Five  prizes  of  $100.  .!.'.!... .      500 

Photoplay  before  midnight  of  March  10th,  1929,  to  re-  -pgjj  prizes  of  $50                      ; .      500 

ceive  consideration.  The  final  installments  of  "The  Studio 

Murder  Mystery,"  printed  in  the  April,  1929,  and  May,  In   the  event   that  two  or  more  contestants   tie  for 

1929,   issues,   will  solve  the  mystery.     The  full  list  of  any  award,  duplicate  prizes  will  go  to  each  contestant. 

winners  will  be  announced  as  soon  after  the  close  of  the  5     \\\  solutions   must   be    addressed   to   The    Studio 

contest  as  possible.  Murder  Mystery  Editor,   Photoplay,  221   West  57th 

2.  .Awards  will  be  made  according  to  the  accuracy  of  Street,  New  York,  N.  Y. 

contestants  in  foretelling  the  real  solution  to  "The  Studio  g    jsj^  solutions  will  be  returned  to  contestants.     No 

Murder  Mystery"   as  worked  out  by  the  authors,  the  inquiries  regarding  this  contest  will  be  answered.    Failure 

Edingtons.    Literary  merit  will  not  count.    The  awards  ^Q  f^ij^n  g^^g^y  rule  will  invalidate  vour  solution.     The 

will  be  made  wholly  upon  the  detective  ability  of  con-  contest  is  open  to  evervone  e.xxept  emplovees  of  Photo- 

testants  in  working  out  the  mystery,  explaining  how  the  p^^Y  and  members  of  their  families.     It  is  not  necessary 

crime  was  committed,  giving  the  reasons  and  naming  ^^  [^g  ^j  subscriber  or  even  a  purchaser  of  a  single  copy 

the  real  murderer.  of    Photoplay.      You    can    consult    copies    in    public 

3.  Solutions  must  be  written  in  200    words   or   less,  libraries,  it  you  wish. 


78 


There s  more  toWtsking  the  Face 
than  maivy  women  think 


Unless  you  actually  cleanse  the  skin 
of  powder,  rouge,  dirt  and  impuri- 
ties, your  complexion  will  suffer 
seriously.  Olive  oil,  as  you  use  it  in 
this  facial  soap,  is  the  ideal  means 
of  removing    dirt    and  make-up. 


THE  next  time  you  wash  your  face,  con- 
sider these  facts;  all  day  long  dust  and 
dirt,  oil  secretions,  and  dead  skin  gather  in 
the  fine  pores  that  make  up  your  surface 
complexion.  If  you  add  cream,  powder, 
rouge  — and  only  half  remove  them  by  in- 
correct cleansing  methods  — the  result  is 
blackheads,  pimples,  oiliness,  sallowness  — 
dozens  of  defects  that  may  entirely  be 
avoided  if  you  know  how  to  wash  your  face. 

The  value  ofoltre  oil  in  soap 

How  to  wash  your  face!  That  sounds  so 
simple.  Yet  it  can  be  an  art.  It  can  make  or 
mar  your  beauty.  That  is  why  doctors  and 
beauty  specialists  advise  a  soap  blended  of 
olive  oil— blandest,  gentlest,  yet  most  pen- 
etrating of  all  emollients. 

You  use  it  twice  a  day,  in  the  treatments 
described  below,  and  this  is  what  happens: 
the  olive  oil  works  into  your  pores  and 
gently,  easily  frees  them  of  tiny,  hard  masses 
which  otherwise  become  blackheads  and 
pimples.  It  keeps  the  skin  firm,  stimulated, 
healthy  with  color.  It  leaves  a  satiny  glow, 
an  enviable  smoothness  of  texture  that  typi- 
fies youth. 

You,  yourself,  may  be  abusing  a  naturally 
beautiful  complexion  by  the  wrong  cleans- 
ing methods.  Just  as  a  test,  use  these  simple 
treatments  beginning  tonight,  and  watch  the 
way  your  skin  responds  within  a  short  time. 
There  is  no  doubt  that  your  own  loveliness 
will  surprise  you. 


4217 


ReiailPme 

lOc 


At  night: 

Make  a  rich  lather  of  PalmoHve 
Soap  and  warm  water.  With  both 
hands,  apply  it  to  face  and  throat, 
massaging  gently  with  an  upward 
and  outward  motion,  to  stimulate 
circulation.  Rinse  thoroughly  with 
warm  water  graduated  to  cold  un- 
til you  actually  feel  all  impurities, 
oil  secretions  and  make-up  carried 
away.  Then  dry  the  skin  by  pat- 
ting ir  tenderly  with  a  soft  towel. 


\ 


'm. 


PALMOLIVE  RADIO  HOUR -Broadcast  every  Wednesday  night- 
time; 8:30  to  9:30  p  m.,  central  time  — over  WEAF  and  32 
The  National  Broadcasting  Company 


In  the  morning: 

Repeat  this  treatment  and  add  a 
touch  of  finishing  cream  before 
putting  on  rouge  and  powder. 
That's  all!  A  simple  treatment,  but 
it  must  be  observed  twice  every 
day  to  keep  the  skin  lovely  and 
youthful.  At  10c  Palmolive  is  the 
world's  least  expensive  beauty  for- 
mula. It  costs  so  little,  millions  use 
it  for  the  bath  as  well.  Colgate- 
Palmolive-Peet  Co.,  Chicago,  111. 


from  9:30  to  10:30  p  m.,  eastern 
stations  associated  with 


KEEP       THAT       SCHOOLGIRL       COMPLEXION 


enyon  s  cot 


DORIS  Kenyon  knows  how  well 
color  expresses  personality. 
So  she  chose  Lady  Pepperell 
sheets  of  peach,  as  a  perfect  color- 
keynote  for  her  personality  bed- 
room— they're  an  enchanting  back- 
ground for  her  honeybrown  hair 
and  soft  gray  eyes. 


Pepperell  Manufacturing  Company 
l6o  State  St.,  Boston,  Mass. 
Plcaae  send  me  the  new  booklet,  "Personality 
Bedrooms."    1    am   enclosing  one   dime  —  ten 
cents'  worth  of  stamps  (Canada:  twenty  cents). 

MatTK* , 


Town  and   State 


V.z-zt) 


PERSONALITY 


ITS   KEYNOTE   IS 

COLORED 

1PE1PIP1E1RE1L1L 

SHEETS  atui  PILLOW^  CASES 

Radio  talks  on  Bedroom  Decoration  .  . .  National  Home  Hour  every 
Wednesday  loa.m. . .  Eastern  Standard  Time . . .  WEAF  network. 


You  can  make  your  bedroom  ex- 
press your  personality,  easily  and 
inexpensively,  by  using  Lady  Pep- 
perell sheets  of  the  becoming  color 
that  best  expresses  you — precisely 
as  you  express  yourself  in  choosing 
becoming  clothes. 

In  her  own  laboratories,  Lady 
Pepperell  scientifically  dyes  into 
her  famous  firmly-woven  white 
sheets  lasting  shades  of  Nile,  Maize, 
Blue,  Rose,  Shell  Pink,  Orchid  and 
Peach— all  soft,  and  all  "tub-proof." 

Send  IOC  for  the  fascinating  new 
booklet,  "Personality  Bedrooms." 
It  suggests  dozens  of  workable  plans 
for  bedroom  decoration,  and  shows 
what  colors  are  most  becoming  to 
your  type. 


What  Are  Your  Correct  Colors? 


I  CONTINUED  FROM  PAGE  43  ] 


White  and  light  colors  reflect  light,  there- 
fore they  do  not  lessen  the  personal  col- 
oring of  the  wearer.  Dead  white,  howe\er, 
is  trying  because  it  makes  the  skin  seem  yellow 
by  contrast.  Pale  warm  tones — those  tints 
known  as  off-white — reflect  their  warmth  in  the 
face.  Soft  rose  color  gives  a  soft  glow  to  the  face. 

M.\>ry  women  must  combat  the  handicap  of 
a  yellow  skin.  These  women  should  studi- 
ously avoid  harsh  blues,  particularly  if  their  skin 
is  dark.  Brilliant  blues  throw  their  comple- 
mentary color,  yellow,  into  surrounding  sur- 
faces. So,  if  you  must  wear  the  gayer  blues, 
keep  them  away  from  your  face.  Break  the 
coloring  with  a  coUar  or  scarf  of  a  light  soft 
color,  a  string  of  pearls  or  other  white  beads, 
a  fur  of  dark  or  neutral  color. 

While  vivid  yellow  increases  the  color  tones 
in  the  skin  by  reflection, 
orange  and  red-orange  tend 
to  lighten  the  skin  and  are 
particularly  suitable  to  the 
woman  whose  skin  is  dark 
rather  than  actually  j'ellow. 
Yellow-green  and  green  and 
blue-greens  also  can  be  safely 
recommended  to  the  woman 
who  has  what  is  generally 
called  a  "muddy"  com- 
plexion. 

I  haven't  spoken  as  yet  of 
the  colors  that  should  har- 
monize with  the  hair  and 
eyes,  although  most  women 
usually  dress  for  these  fea- 
tures. In  my  opinion,  the 
pigmentation  of  the  skin 
should  be  the  first  consider- 
ation. However,  the  women 
with  e.xceptionall)'  beautiful 
hair  or  unusually  lovely  eyes 
should  make  the  most  of 
these  good  points.  The 
majority  of  women  howe\'er 
will  find  it  best  to  consider 
the  skin  first. 

Now  for  a  careful  study 
of  your  hair.  Hair  is  usually 
called  blonde,  red,  brown  or 
black.  But  upon  close  in- 
spection, you  will  find  these 
classifications  inaccurate. 


BLONDE  hair  is  usually 
yellow,  sometimes  defi- 
nitely yellow-orange,  some- 
times a  duller,  grayer  tone, 
and  sometimes  even  assum- 
ing a  yellow-green  cast. 

So-called  red-haired 
women  do  not  have  hair 
that  is  actually  red,  but 
really  red-orange. 

Brown-haired  persons 
also  have  red-orange  hair, 
but  so  neutralized  and  sub- 
dued, that  it  appears  brown. 

And  black-haired  people 
are  not  really  black-haired 
at  all.  It  is  red-orange,  so 
dark  that  it  is  called  black. 
But,  in  a  strong  light,  you 
will  see  copper  shades  even 
in  the  darkest  hair.  Some- 
times seemingly  black  hair 
will  be  actually  blue-black, 
having  a  cool  rather  than  a 
warm  coloring. 

The  color  of  the  hair  may 
be  made  to  appear  brighter 
if  colors  opposite  or  com- 
plementary are  worn.  Blonde 
hair  will  become  more  golden 


in  contrast  to  blues  in  the  costume.  Hair  with 
orange  hues  will  be  more  brilliant  when  cool 
colors — greens,  blue  violets,  blues  or  blue- 
greens — are  used. 

Bright  colors,  similar  to  those  in  the  hair, 
make  it  seem  faded  and  dull  by  contrast. 
Bright  orange  wiU  make  blond  hair  seem  pale 
and  lifeless.  Brown  hair  loses  character  when 
darker,  more  reddish  browns  are  worn.  Kven 
bright  so-called  red  hair  may  appear  faded  in 
contrast  to  vivid  warm  colors,  although  it 
usually  clashes  and  takes  on  a  cheap,  artificial 
look. 

Select  colors  which  are  duller  and  less  warm 
than  the  tints  in  your  hair. 

Persons  with  warm,  rich  brown  hair  may 
bring  out  the  golden-red  tints  by  wearing 
lighter,  duller  browns.  If  the  hair  is  dull  or 
rather   grayed   in   coloring,   neutral   colors   or 


:Wi 


^Sw 


m^ 


four 


HERE  are  tour  types 
screen  beauties  that  repre- 
sent  the  four  types  of 
feminine  coloring.  Raquel 
Torres,  brunette;  Esther  Ral- 
ston, blonde;  Janet  Gaynor, 
brown  hair;  Joan  Crawford, 
auburn.  Every  woman  is  a 
variation  of  one  of  these  color- 
ings. By  finding  the  colors  that 
best  suit  your  type  and  by 
choosing  a  harmonious  back- 
ground for  yourself  in  your 
clothes  and  in  your  home, 
you  will  establish  a  happier 
emotional  environment  as 
well  as  making  the  most  of 
your  appearance. 

Do  you  kno\v  that  your  hair 
becomes  brighter  if  contrasted 
with  an  opposite  or  comple- 
mentary color?  Do  you  know 
that  the  correct  shade  of  green 
will  improve  a  yellow  com- 
plexion? Do  you  know  that 
small  areas  of  vivid  coloring — 
in  jewelry,  ornamients  or  trim- 
ming— vastly  increase  the  col- 
or and  depth  of  your  eyes? 

Every  month  PHOTOPLAY 
receives  thousands  of  letters 
asking  "What  is  my  most  be- 
coming color?"  These  articles 
and  color  charts  are  the  answer 
to  the  earnest  inquiries  of 
women  who  want  to  look  their 
best  in  their  clothes  and  who 
want  to  bring  harmony  and 
charm  to  their  personal  sur- 
roundings- 


colors  similar  to  the  hair  should  be  avoided. 
Light  yellow  or  light  brown  hair  appears  to 
poor  advantage  when  placed  near  a  tan  that 
closely  matches  it. 

The  eyes  should  usually  be  the  last  point 
considered,  for  the  skin  and  hair  arc  much  more 
important  in  the  larger  view  one  person  re- 
ceives when  looking  at  another. 

"p  YES  of  the  so-called  blondes  are  usually  cool 
■'—'in  color,  violet,  blue,  blue-green,  green  or 
gray,  while  those  of  the  brunette  are  most  fre- 
quently, warm,  brown  (dark  red-orange).  Hazel 
eyes,  predominantly  warm,  seem  to  combine 
flecks  of  both  warm  and  cool  colors,  apparently 
changing  color  according  to  the  colors  worn 
near  them. 

The  liquid  depths  of  the  eye  act  as  a  mirror 
which  catches  and  reflects  light.  The  color  of 
the  eyes  therefore  may  be 
greatly  intensified  if  a  color 
similar  to  them  is  worn  near 
the  face.  Gray  eyes  may 
become  blue,  green  or  violet 
according  to  the  colors  sur- 
rounding them.  Brown  eyes 
may  appear  dark,  even 
black,  when  dark  colors  arc 
^vorn;  golden  when  yellow 
and  orange  tones  are  near 
them. 

Small  areas  of  vivid  color 
effectively  deepen  the  color 
of  the  eyes  but  large  areas  of 
color  should  be  softer,  other- 
\vi5e  the  eyes  will  appear 
dull  and  faded  by  contrast. 
Complementary  colors  may 
also  increase  the  color  of  the 
eyes.  Yellow,  orange,  red- 
orange  and  red  may  increase 
the  color  of  cool  hued  eyes 
while  cool  colors  tend  to 
emphasize  the  warmth  of 
brown  eyes. 

These  in  general  are  the 
rules  for  color  harmony. 
Now  I  shall  go  into  detail 
about  the  colors  for  bru- 
nettes. 


of 


TTI lERE  are  brunettes  and 
-'■  brunettes,  almost  as 
many  variations  as  there  are 
individuals.  Some  possess 
%ivid  brilliant  warm  color- 
ing; some  subdued  warmth, 
a  more  olive  skin;  others 
have  the  characteristic  dark 
hair  but  a  fair  skin  with  de- 
cidedly cool  feeling.  The 
actual  hue  of  the  flesh  tints 
in  the  first  two  types  are 
wariu,  red-orange,  while 
that  of  the  last  is  red-violet. 
The  first  two  ha\e  warm,  if 
dark  and  subdued  red- 
orange  tints  in  their  hair, 
the  last  has  blue-black  hair. 
Therefore,  be  not  content 
to  call  yourself  a  brunette, 
analyze  your  coloring!  De- 
termine whether  you  are  a 
dark  warm  type  or  a  dark 
cool  t)pe.  If  your  skin  is 
warm,  is  it  vividly ,  x'ibrantly 
glowing  with  color,  or  docs 
it  possess  a  more  subtle,  sub- 
<iued  olive  tone?  Having 
determined  what  your  type 
is,  study  the  color  require- 
ments for  that  tjpe,  mean- 
while   analyzing    yourself, 

[  CONTINUED  ON  P.^CE   106  | 

81 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  49  ] 


DON'T  try  to  steal  scenes  from  Billy 
Haines! 
The  other  day  on  the  set,  Eddie  Nugent 
quite  out-mugged  Billy.  When  they  moved 
into  a  close-up,  Billy  stood  on  the  younger 
actor's  foot.  The  pained  expression  had  no 
part  in  the  action  required. 

pLENN  TRYON  and  a  friend 
^^-'were  returning  from  Tia  Juana 
and  were  forced  to  go  through  the 
usual  procedure  of  walking  the 
chalk  line. 

The  inspection  officer  looked  at 
Glenn  who  made  a  brave  effort  to 
walk  a  straight  line. 

"You  can't  walk  very  well,  can 
you?"  said  the  inspection  officer. 

"No,"  said  Glenn,  "that's  why 
I  brought  my  car." 

(^ORNEUU.S  VANDERBILT,  JR.,  the 
^^-'poor  little  rich  boy  who  lost  his  bankroll 
trying  to  be  a  journalist,  is  out  in  Hollywood 
and  says  he's  going  to  write  stories  for  the 
screen. 

Cheer  up,  this  hardy  industry  has  weath- 
ered worse  blows  than  that. 

A  L  JOLSON  has  been  frantically  search- 
■'••ing  for  a  story  to  live  up  to  the  standard 
set  by  "The  Jazz  Singer"  and  "The  Singing 
Fool." 

Recently  he  took  his  bride  and  went  to 
Lake  Arrowhead  to  think!  It  appears  that 
he  got  a  thought  and  he  was  so  overjoyed 
that  he  could  not  resist  the  temptation  of 
telling  it  to  whatever  audience  presented 
itself.  The  audience  was  Joe  Schenck.  He 
outlined  a  perfect  story  and  did  not  realize 
until  after  he  had  completed  it,  that  he  had 
told  a  grand  yarn  to  a  rival  producer. 


P.  &A. 


Aeroplane  view  of  the  Mecca  of  all  California  tourists,  "Pickfair," 
the  estate  of  Mary  Pickford  and  Douglas  Fairbanks.  The  swim- 
ming pool  is  in  the  foreground.  This  picture  was  taken  on  a 
day  when  there  were  no  crowned  heads  playing  croquet  on  the 

front  lawn 


Just  a  shack,  but  it's  home  to  Charlie  Chaplin.    Chaplin's  estate  in  Beverly 

Hills  adjoins  "Pickfair."    The  oddly  shaped  stretch  of  lawn  is  a  miniature  golf 

course  which  leads  down  to  the  inevitable  swimming  pool  and  bath-house. 

Hey,  Charlie!    Two  fellows  are  walking  on  your  grass! 


ON  "Four  Feathers"  set 
the  other  day  Dick  Arlen 
was  called  upon  to  make  what 
is  technically  known  as  "hot 
love"  to  Fay  Wray.  It  was  a 
tough  spot  for  Dick,  con- 
sidering the  fact  that  Fay's 
husband,  John  Monk  Saun- 
ders, was  standing  by. 

When  the  scene  was  over 
John  said  to  Dick,  "Never 
mind,  I'll  get  even  with  you. 
I'm  writing  the  talking  se- 
quences for  your  ne.xt  picture 
and  all  you'll  say  is  '  Unhuh' 
and'Nunhuh.'  " 

THERE  was  a  time — way 
back  B.  T.  (before  talk- 
ies)— when  you'd  walk  on  a 
set  and  discover  Wally  Beery 
in  his  chair  snoring  melodi- 
ously. An  actress  would  be 
reading  the  latest  thriller  and 
the  extra  people  w'ould  be 
playing  cut-throat  bridge. 

!\'ow  all  is  changed.  The 
day  of  hard  work  is  at  hand. 
The  speakies  have  introduced 
a  ghastly  activity.  Scenes 
are  made  one  right  after 
another.  I  saw  a  whole  short 
subject  taken  in  two  hours 
and  a  half  at  Warners'  the 
other  day.  The  actors  pace 
up  and  down  repeating  their 
lines,  vaudevillians  bestir 
themselves  at  unearthly 
hours    and    directors    walk 

[     CONTINUED   ON   PAGE   86    ] 


Photoplay  Magazine — Advertising  Section  83 

LiqhtaLucktf 
andyotillneverniiss  sweets 
that  make  you  £a€ 


qJ^ 


Instead  of  eating  between  meals . . . 
instead  of  fattening  sweets... beau- 
tiful women  keep  youthful  slender- 
ness  thesedays  by  smoking  Luckies. 
The  smartest  and  loveliest  women 
of  the  modern  stage  take  thismeans 
of  keeping  slender . . .  when  others 
nibble  fattening  sweets,  they  light 
a  Lucky! 

Lucky  Strike  is  a  delightful  blend 
of  the  world's  finest  tobaccos.These 
tobaccos  are  toasted — a  costly  extra 
process  which  develops  and  im- 
proves the  flavor.That's  why  Luckies 
are  a  delightful  alternative  for  fat- 
tening sweets.  That's  why  there's 
real  health  in  Lucky  Strike.  That's 
why  folks  say:  "It's  good  to  smoke 
Luckies." 

For  years  this  has  been  no  secret 
to  those  men  who  keep  fit  and  trim. 
They  know  that  Luckies  do  not  cut 
their  wind  nor  harm  their  physical 
condition.  They  know  that  Lucky 
Strike  is  the  favorite  cigarette  of 
many  prominent  athletes.who  must 
keep  in  good  shape.  They  respect 
the  opinions  of  20,679  physicians 
who  maintain  that  Luckies  are  less 
irritating  to  the  throat  than  other 
cigarettes. 

A  reasonable  proportion  of  sugar  in 
the  diet  is  recommended,  but  the 
authorities  are  overwhelming  that 
too  many  fattening  sweets  are 
harmful  and  that  too  many  such  are 
eaten  by  the  American  people.  So, 
for  moderation's  sake  we  say: — 

"REACH  FOR  A  LUCKY 


Constance  Talmadge^ 

Charming  Mottoa 
Picture  Stat 


«« 


INSTEAD  OF  A  SWEET." 

It's  toasted 

No  Throat  Irritation -No  Cough. 

)  1929,  The  American  Tobacco  Co.,  Manufacturers 


Constance  Talmadge, 


ReacFi  jov  a 

Lucky  instead 

of  a  sweet. 


When  you  Hrito  lo  aJuTtUers  iiloasc  nirntlou  pnoTOPLAT  MAGAZINE. 


84 


Photoplay  Magazine — Advertising  Section 


Joan  Crawford,  fascinat- 
ing Metro -Goldwyn- Mayer 
star,  finds  Lux  Toilet  Soap 
delightful  both  in  this  lovely 
bathroom  and  in  her  special 
dressing  room  on  location. 

7  HAVE  tried  innumerable 
French  soaps,  but  never 
have  I  found  anything  like 
Lux  Toilet  Soap  for  keeping 
myskinfreshandsmooth.And 
'studio  skin  is  the  all- im- 
portant asset  for  the  star  who 
must  face  into  the  glaring 
lights  of  the  close-up." 


When  a  close-up  is  being  taken,  Joan 
Crawford  meets  the  brilliancy  of  the 
newincandescent  "sun-spot  "llghtswith 
perfect  self-confidence  —  because  her 
skin  is  k^pt  beautifully  smooth  with 
Lux  Toilet  Soap. 


"Without  smooth  skin  no  girl 

can  be  lovely^ ' '  say 
39  leading  Hollywood  Directors 

VELVETY  SKIN  is  the  most  precious  charm 
a  girl  can  have.  All  Hollywood  agrees  on  this. 
"People  open  their  hearts  instantly  to  the  love- 
liness of  exquisite  skin.  Every  star  knows  how 
essential  beautiful  smooth  skin  is,"  says  Edward 
Sedgwick,  Metro-Goldwyn-Mayer,  voicing  the 
opinion  of  leading  directors. 

Lux   To  i  1  e  t 


Every  advertisement  In  PHOTOPT-AT  MAGAZINE  Is  suaianteed. 


Photoplay  Magazine — Advektising  Section 


85 


Lacing  the 


cnielest  test  a  skin  can  meet 


How  WELL  they  know  that  the 
skin  must  be  kept  rarely  smooth 
— the  lovely  girls  whose  beauty  stirs 
a  million  hearts  every  time  they  ap- 
pear on  the  screen! 

For  there  is  something  about  lovely 
skin  that  sends  a  ripple  of  emotion 
through  every  heart.  And  for  the 
screen  star,  skin  as  smooth  as  a 
flower-petal  is  a  prime  necessity. 

The  huge  new  incandescent  "sun- 
spot"  lights  pour  down  on  a  star's 


9  out  of  10 
screen  stars  use  Lux  Toilet  Soap 

face  and  shoulders  and  arms  when  a 
close-up  is  being  taken,  and  film 
more  highly  sensitized  than  ever 
would  inevitably  register  every  tini- 
est flaw  in  the  skin  texture. 

Consequently,  of  the  451  impor- 
tant actresses  in  Hollywood,  includ- 
ing all  stars,  442  depend  on  Lux 
Toilet  Soap  to  guard  their  skin.   The 


by  E.  Fryer.  Htjilywood 


Louise  Fazenda.  Warner  Brothers'  star,  in  the  Hollywood  bathroom 
which  sets  off  her  charm  so  well.  "  I  used  to  use  the  fine  French  soaps  but 
now  I  find  that  Lux  Toilet  Soap  gives  the  same  beautiful  smoothness  to 
my  skin.   I  am  devoted  to  it." 


next  time  you  see  your  favorite  screen 
star  in  a  close-up,  remember  that  9 
out  of  10  screen  stars  keep  their  skin 
captivatingly  smooth  with  this  de- 
lightful soap.  It  is  made  by  the 
famous  French  method. 

And  all  the  great  film  studios  have 
made  it  the  official  soap  for  all  dress- 
ing rooms. 

If  you  haven't  discovered  for  your- 
self how  wonderfully  smooth  this 
white,  daintily  fragrant  soap  keeps 
your  skm,  try  it  today.  Use  it  for  the 
bath  and  the  shampoo.  It  lathers 
so  generously,  even  in   hard   water! 


KvELVN  Brent,  popular  Paramount 
star,  says:  "A  star  must  have  a  smooth 
skin.  Lux  Toilet  Soap  is  so  very  pleas- 
ing and  soothing." 


Soap 


Luxury  such  as  you  have  found  only  in  French  soaps 
at  SQ(  and  $\.00  the  cake— now 

When  you  write  to  advertisers  please  fuentlon  PHOTOPLAY  MAGAZINE. 


10 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  82  1 


about  with  troubled  frowns  upon   their  ex- 
ecutive brows. 

The  industry  is  once  again  in  its  infancy. 
Nobody  knows  what  the  talkies  are  about. 
Hollywood  is  besieged  by  Broadway  smart 
boys,  who  are  writing  bright  dialogue. 

Now  Monta  Bell's  bright  girls  and  boys 
Are  making  Eastern  films  with  noise, 
And  Famous  Players  spreads  around 
"All  Pictures  with  Long  Island  Sound." 

THE  other  day  Tom  Moore  had  an  idle 
moment  between  scenes  of  "The  Yellow 
Back,"  when  a  very  enthusiastic  gentleman 
slapped  him  on  the  back  and  shouted,  "Well, 
weU,  well,  hello,  Matt,  old  feUow,  how  are  you? 
You're  looking  well.    Glad  to  see  you  again." 

"But  I'm  not  Matt,"  the  most  famous 
Moore  said,  "I'm  Tom." 

"Oh,  that's  all  right,"  the  gentleman  con- 
tinued, "don't  feel  badly,  old  fellow.  It's 
reaUy  quite  all  right.  One  Moore  is  just  as 
good  as  another.  How  are  you?  You're  look- 
ing well.    Glad  to  see  you." 

THE  ambulance  siren  shrilled 
down  HoUjrwood  Boulevard.  Vil- 
lagers ran  out  on  the  streets.  "Don't 
be  alarmed,"  said  Billy  Haines, 
"somebody  coughed  in  a  talkie 
scene  and  the  director  shot  him." 


"LJOLLYWOOD'S  latest  simile:  Like  the  hush 
-'•  -'-that  comes  just  before  a  talkie  scene  is 
shot. 

STRANGE  as  it  may  seen,  Jimmy  Murray 
is  still  under  contract  to  M.-G.-M.  He 
has  been  a  bad  boy  again  even  after  his  recent 
promise  to  be  good,  so  in  order  to  chastise 
him,  the  studio  has  kept  him  under  contract 
at  a  very  small  salary.  If  he  were  released 
he  would  be  able  to  sign  for  much  more  money 
with  another  concern.  Now  rumor  has  it  that 
M.-G.-M.  will  send  him  to  Germany  to  make 
a  picture. 

•T^^O  of  the  most  eligible  young  women  in 
■'-  Hollywood  arri\'ed  at  the  opening  of 
"Noah's  Ark,"  quite  manless. 

Lily  Damita  and  Camilla  Horn  came 
together  and  found  the  stag  Une  more  than 
attentive. 

TACK  DEMPSEY  has  bought  a  string  of 
J  horses  that  he  intends  to  race  at  Tia  Juana 
this  season. 

Estelle  Taylor,  who  likes  three  regular  meals 
a  day  same  as  any  right  minded  gal,  is  none 
too  hot  about  Jack's  investment. 

IF  producers  were  wise  they  would  insist  that 
a  star's  boy  friend  always  be  allowed  on 
her  set. 


The  other  day  Joan  Crawford  couldn't  cry 
at  all  until  Doug  Jr.,  came  over  and  held  her 
hand  and  looked  sympathetic  or  something. 
That's  what  love  does. 

IT'S  an  old  Hollywood  custom  to 
go  anywhere  the  crowd  goes 
whether  you're  invited  or  not.  The 
other  day  a  well  known  actor  was  at- 
tending a  party. 

He  happened  to  be  standing  near 
Lewis  Stone.  "Well,  well,  it's  nice 
to  see  you.  Stone,"  said  the  actor. 
"Don't  see  you  much  around.  Didn't 
think  you  got  out  much  to  attend 
parties." 

"I  don't,"  said  Lewis,  "it  happens 
that  this  is  my  house  and  I'm  giving 
this  party." 

'Y'OU  may  not  think  it  funny,  but  I  laughed 

-"-  as  if  my  little  heart  would  break  when  I 

learned  that  the  very  suave,  very  British  Mr. 

Clive  Brook  breakfasts  on  sauerkraut  juice. 

'pIVE  feet,  five  inches  seems  to  be  the 
-*-  popular  "stellar  heights"  for  film  stars.  At 
any  rate,  we  find  the  following  "cinema  celebs" 
in  that  class: 

Billie  Dove,  Corinne  Grifiith,  Dorothy  Mac- 
kaill,  Maria  Corda,  Thelma  Todd,  Mary 
Astor,   Madge      [  continued   on   page   96  ] 


"Ole  Man  River — he  don't  plant  'taters,  he  don't  plant  cotton,"  but  he  sure  do  make  a  swell 
background  for  a  movie.  King  Vidor,  knee-deep  in  the  yaller  water,  catches  a  beautiful  and 
sinister  view  of  the  Mississippi  for  a  scene  in  "Hallelujah."  This  is  the  picture  that  has  an 
all-colored  cast,  plus  sound  effects  of  darky  voices  singing  negro  spirituals.  All  of  which  should 
make  it  something  very  much  worth  seeing  and  hearing 


86 


Photoplay  Magazine— Advertising  Section 


87 


Sore  Throat 

breeds  in  crowded,  drafty  places 
Gargle  when  you  get  home 


Listerine  full  strength 

kills  even  typhoid  germs 
in  15  seconds 

A  S  soon  as  nasty  weather  sets    germs — and   sore   throat,   Hke   a 


If  a  tliroat  condition  does  not 
rapidly  yichl  to  this  treatment, 
consult  your  physician.  Lam- 
bert Pharmacai  Company,  St. 
Louis,  Mo.,  U.  S.  A. 


■L  »-  in,  thousands  are  down  with 
sore  throat,  colds,  grippe,  flu,  or 
worse. 

Don't  be  one  of  them.  Gargle 
with  Listerine  full  strength  every 
day — especially  after  exposures 
to  rain,  severe  cold  and  coughing 


cold,  is  caused  by  germs. 

Repeated  tests  show  that  Lis- 
terine kills  even  the  stubborn 
B.  Typhosus  (typhoid)  and  M. 
Aureus  (pus)  germs  in  ISseconds. 

Realizing  Listerine's  power 
you  can  understand  its  efl"e<'live- 


crowds  in  public  places — buses,  ness   against   the   milder  winter 

street    cars    and    movies.       This  complaints     caused     by     germs, 

simple  act  may  spare  you  a  costly  Each    year    increasing    millions 

and  possibly   a   dangerous  siege  rely  on  it 


of  illness. 

Because    Listerine,    full 
strength,     is     powerful     against 

The  saje  antiseptic 


Keep  a  bottle  handy  and  at  the 
first  sign  of  trouble,  gargle  re- 
peatedly. Don't  hesitate  to  use 
it  full  strength.  It  is  entirely 
safe  in  any  body  cavity. 

When  you  write  to  advertisers  please  mention    PHOTOPLAY  MAO 


Fewer  colds 

— 1/  you  do  this 

Millions  of  rolds  stiirl  m  hen  »r«'riiis, 
transferred  from  the  luinds  to  food, 
i-nter  the  niontli.  Tlierefore.  Ix-fore 
f>very  meal,  rinse  y(»iir  liiiii<ls  Mitti  Lis- 
terine. Tliis  efTeetiially  destroys  dis- 
t'ase  fierrns.  Tfiis  simple  ai't  may  save 
you  a  nasty  sie;;e  witti  a  eold.  And  it  is 
espeeially  iinportant  for  mothers  to 
remember    » hen    preparing    children's 

food. 
AZING. 


88 


Photoplay  Magazine — Advertising  Section 


Mild  enough  for  anybody 


Erery  advertisement  In  PHOTOPLAY  MAQAZIN'E  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


89 


What  a  cigarette 
meant  there 

It  took  a  lot  of 

courage,  for  he  was  no  "ladies'  mau," 
and  she  was  the  belle  of  the  town. 

That  awkward,  stammering  proposal... 
interrupted.. .Andnow...wouldshe  never 
come  back?  The  zero  hoxir,  for  a  fact . . . 
the  longest  minutes  of  a  lifetime. 

Like  most  men,  he  lived  through  it,  sus- 
tained by  that  little  friend  in  need . . .  his 
cigarette  ...  the  most  important  cigarette 
he  ever  smoked. 

What  a  cigarette 
means  here 

It  took  a  lot 

of  courage,  likewise,  to  propose  and  go 
through  with  the  idea  behind  Chesterfield. 
It  took  courage,  for  it  meant  less  profit 
per  package  than  is  made  on  any  other 
cigarette.  Into  Chesterfield  we  blended 
the  finest  qualities  of  tobacco  ever  offered 
at  popular  prices— tobacco  selected  re- 
gardless of  cost,  from  all  the  leaf  markets 

of  the  world.  „  ,  ,  .  ,        ■  • 

And  when  Chesterfield  jumped  to  big 
volume  and  continued  steadily  to  grow 
...  we  knew  that  this  cigarette  which  so 
surely  bespeaks  tobacco  quality  to  us  had 
come  equally  to  mean  it  to  you. 


d\i^' 


•rt&* 


-•/U^jA^L*, 


V^^iVCCoCoi 


Xanthi  and  Cavalla,  Smyrna 
and  Samsoun—from  here 
come  the  fragile  tender  Turkish 
tobaccos  for  Chesterfield's  /a- 
mous  blend. 


,  .  .  and  from  Virginia 
and  Carolina  come  the 
famous  "bright "  or"yeU 
tow"  tobaccos:  fromKert' 
tucky  the  rich  mellow 
Burtev  uhich  completes 
this  mild  yet  satisfy- 
ing blend. 


andj;et  THEY  SATISFY 


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90 


Photoplay  Magazine — Advertising  Section 


VALENT1N£ 

a  Meeker  Made 

fine  leather  handbag 

THE  practical  gift  is  the  truly  appropriate 
gift  in  this  swift  moving  age,  for  it  takes 
stouter  fiber  than  "cobwebs  and  gos- 
samer" to  withstand  daily  wear  and  tear  in 
crowded  stores,  street  cars  and  automobiles. 
But  a  gift  that  is  beautiful  as  well  as  practical 
is  indeed  ideal. 

A  Meeker  Made  Art  Leather  Bag  is  the  per- 
fect answer  to  the  modern  Valentine  gift 
problem.  As  beautiful  as  it  is  practical,  it  also 
has  almost  unbelievable  wearing  qualities. 
These  bags — the  products  of  expert  crafts- 
manship— are  made  from  choicest  imported 
steerhide  leather,  tooled,  hand-colored  and 
hand-laced  in  the  shops  of  the  Meeker  Com- 
pany at  Joplin,  Missouri.  They  are  smart  in 
shape  and  design,  and  "right"  with  any  cos- 
tume because  of  their  neutral  tone  and  har- 
monious colorings. 

At  the  better  dealers  everywhere. 

M  MADE  IX 

DISTINCTIVE  LEATHER  GOODS 

handbags . . .  underarms 
.  .  .  vanities  .  .  .  billfolds 

The  MEEKER  COMPANY,  Inc. 
JOPLIN,  MISSOURI 

Largest  manufactur-ers  of  Steerhide  Leather  Goods 
in  the  U.  S.  A. 


Not  Like  Dad 


I  CONTINUED  FROM  PAGE  50  J 


more  the  Barrymore  than  the  Fairbanks  type. 
From  his  father  he  inherits  his  fine  mental 
qualities;  from  his  mother  the  sweetness  and 
gallantry  of  his  nature. 

His  personal  life  has  been  influenced  by  Joan 
Crawford,  whose  name  could  not  possibly  be 
kept  out  of  any  comment  on  young  Doug. 

Each  brings  gifts  to  the  other.  " 

Joan's  life  has  been  one  of  a  bitter  sort  of 
action. 

_  While  Doug  was  sleeping  on  park  benches 
just  to  see  what  it  was  like.  Joan  was  iinding 
any  shelter  that  might  harbor  her. 

On  her  part,  this  was  no  gesture— it  was  born 
of  necessity. 

Doug  is  constantly  on  the  set  with  Joan  when 
he  is  not  working  and  his  gaze  is  always  upon 
her. 

They  have  the  complete  absorption  of  very 
young,  very  intense  lovers.  They  speak  a 
language  of  their  own;  and  by  that  I  do  not 
mean  simply  the  language  of  eyes,  but  a  very 
definite  patois  that  they  have  concocted  for 
their  own  use.  It  serves  the  purpose  of  com- 
pletely e.xcluding  them  from  the  rest  of  the 
world. 

T^OUG  has  brought  to  Joan,  reckless,  waste- 
■'-'ful  Joan,  an  introduction  to  books  that  she 
did  not  know  had  been  written,  a  love  of 
music  where  only  a  jazz  band  was  her  sym- 
phony; and  he  has  shown  her  poetry. 

Doug  has  written  poems — he  may  this  year 
bring  out  a  book  of  them  illustrated  by  him- 
self—but the  best  of  all  are  those  copied  in  a 
firm,  girlish  hand  in  a  Uttle  maroon  colored 


leather  book,  kept  in  the  top  drawer  of  Joan's 
desk. 

They  are  all  dedicated  to,  and  inspired  by 
Joan. 

She  has  brought  gifts  to  Doug.  She  has 
shown  him  the  reality  of  Ufe,  the  grim,  sordid 
misery  of  it.  Young  Doug,  never  having  had 
that  side  of  hfe,  has  known  only  the  misery  of 
the  mind. 

They  are  completely  different— Joan  and 
Doug— just  as  Doug,  Sr.,  and  Jr.,  are'different. 
The  lad  lives  in  the  spirit.  The  others  live  in 
the  world. 

LIKE  all  young  artists,  he  has  moods  of  self- 
doubt. 

"I  have  awful  faults,"  he  said.  "Look! 
Over  there  is  my  ambition  (pointing  to  Joan), 
but  who  am  I  to  have  such  a  one  as  she?  I  look 
at  myself  in  the  mirror  and  know  that  her  love 
for  me  can't  possibly  last. 

"I  adored  her  for  a  long  time  before  I  met 
her,  and  I  always  felt  sorry  for  her,  but  she 
seemed  so  aloof  and  far  away  from  me. 

"I  blame  myself  for  my  faults  and  weak- 
nesses. 

"Perhaps  that  will  teach  me  how  to  li\e 
and  how  to  hold  her.'' 

The  artist  is  invariably  concerned  with  the 
manner  of  living. 

The  man  of  action  is  concerned  with  the 
doing  of  it. 

The  two  tj^pes  can  never  touch. 

Doug,  Sr.,  may  give  his  son  a  friendly  pat 
and  call  him  a  good  kid,  but  he  will  never 
understand  him. 


Diet  for  Health  and  Beauty 


I  CONTINUED  PROM  P.^GE  69  1 


and  surgical  aid.  There  \\-ill  be  no  attempt 
made  to  elevate  the  orange,  the  prune,  the 
raisin  or  raw  rabbit  food  to  precedence  over 
what  experience  has  shown  to  be  of  value  in 
caring  for  the  sick  and  the  well. 

By  way  of  introduction,  we  shall  consider  the 
body  as  a  machine  for  the  sake  of  simpUcity. 
All  machines,  if  they  are  to  run  smoothly  and 
well,  need  fuel,  replacements  and  ^egu'lati^•e 
materials. 

The  food  needs  of  the  body  will  be  discussed 
on  this  basis,  whether  it  be  in  reference  to 
increasing  or  decreasing  weight,  or  in  com- 
batting the  causes  and  effects  of  disease. 

'X'HE  weight  reduction  craze  has  become  a 
■'-  national  problem,  in  fact  a  menace.  It  was 
this  menace  which  awakened  Photoplay  to  the 
necessity  for  combatting  banting  by  those 
who  would  do  themselves  perhaps  life-long 
injury  for  lack  of  proper  super\ision  in  their 
struggle  to  starve  themsehe's  into  figures  like 
those  of  the  stars  of  the  silver  screen.  Tuber- 
culosis, anemia  and  ner\-ous  disorders  have 
been  counted  among  the  tolls  which  voluntary 
starvation  for  a  slender  figure  and  cinema  star- 
dom has  exacted. 

It  is  indeed  too  bad  that  angles  have  sup- 
planted curves  in  the  feminine  figure;  that 
emaciation  has  been  substituted  for  fascina- 
tion; that  shoulder  blades  like  wings  now  stand 
out  where  once  were  dimples  on  the  backs  of 
debutantes. 

Since  Mother's  rations  have  become  as  short 
as  her  dress  one  cannot  be  blamed  for  greeting 


a  buxom,  well-nourished  American  girl  with  a 
Hip!  Hip!  Hurray!  for  one  gets  the  chance  so 
seldom. 

To  teach  Photoplay  readers  w-hat"to  eat  and 
why,  foods  will  first  be  discussed  on  the  basis  of 
the  body  needs  for  foods  rich  in  fuels,  replace- 
ment materials  and  regulative  substances. 
Then  wiU  follow  information  as  to  the  com- 
parative value  of  important  foods  and  food 
groups. 

Next  will  come  diets  and  menus  for  gaining 
and  reducing  weight  as  fixed  by  the  best 
authorities. 

As  the  contemplated  series  gets  under  way 
the_  queries  of  readers  will  bring  up  many  inter- 
esting points  which  will  be  thoroughly  aired  in 
this  column  as  well  as  determining  the  trend 
of  subsequent  articles. 

The  vista  is  a  broad  one  and  no  effort  will  be 
spared  to  make  the  series  interesting,  enter- 
taining and  instructive. 

•X'HE  opening  gun  in  the  series  will  be  pub- 
■*■  lished  next  month  and  will  cover  the 
principles  of  nutrition,  as  it  is  not  much  use  to 
eat  from  the  standpoint  of  diet  unless  one 
knows  for  what  purpose  one  is  eating. 

Then  will  follow  much  of  interest  as  to 
calories,  carbohydrates,  fats,  proteins,  miner- 
als, cellulose,  vitamins,  phosphorus,  iron,  cal- 
cium and  other  elements  of  diet  which  are  still 
just  words  to  so  many. 

Photoplay  wishes  to  teach  its  readers  to 
eat,  to  think  of  what  they  eat  and  to  be  wary 
of  diets  which  will  hurt  their  health. 


There   will   be   another   article  on   diet   by   Dr.   Willis   in 
the    March    PHOTOPLAY 


Every  adverllsemenl   in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


^^  Everything  must  Flatter  us 

^  to  our  Finger  Tips, 


says 


Ethel  Barrymore 


The  appealing  charm  of  Ethel  Barrymore's  dramatic  hands  is  height- 
ened by  the  brilliance  of  the  new  Cutex  Liquid  Polish. 


"Never  fails  to  protect  my  nails,"  says 

Marie  Martin,  a  Winter  Sports  Favorite 


Miss  Marie  Martin,  a  New  York- 
debutante,  is  a  devoted  sports  woman 
who  regularly  has  her  winter  sports 
at  Lake  Placid. 

Miss  Martin  said,  "Of  course,  we 
wear  mittens  at  Placid,  but  the  snow 


soon  wets  through  and  the  nails  get 
simply  frightful,  all  stained  and 
grubby! 

"But  the  new  Cutex  Liquid  Polish 
never  fails  to  protect  my  nails.  A 
thorough  wash,  and  they  shine  forth 
just  as  if  I  had  had  a  brand  new 
manicure.   I  just  adore  it!" 


For  Weil-Groomed  Nails 

— do  these  three  simple  things 

People's  eyes  are  always  on  your  hands. 
This  is  the  way  to  keep  yours  pretty. 

First  —  the  Cuticle  Remover  to 
remove  dead  cuticle,  to  whiten  thenail 
tips,  soften  and  shape  the  cuticlebring- 
ing  out  the  beauty  of  the  half  moons. 

Second  —  the  Polish  Remover  to 
remove  the  old  polish,  followed  by 
flattering  Cutex  Liquid  Polish  that 
sparkles  undimmed  for  a  week. 

Third  —  apply  Cutex  Cuticle 
Cream  or  Cuticle  Oil  around  the 
cuticle  and  under  the  tip  to  keep  the 
cuticle  soft  .  .  .  Cutex  preparations 
35^  each.  Polish  and  Remover  to- 
gether 50(?. 

Northam  Warren,  New  York,  Lon- 
don, Paris. 


The  best  loved  actress  on  the 
American  stage  adds,  "and 
of  all  the  vs^ays  of  grooming 
the  finger  tips  I  find  the  new 
Cutex  Liquid  Polish  the 
most  flattering." 

ETHEL  BARRYMORE  now  crowns 
her  years  of  success  with  a  season 
of  repertory  in  the  new  Ethel  Barrymore 
Theatre,  West  47th  Street,  New  York, 
named  in  her  honor.  To  her  public,  this 
magnificent  actress's  appeal  lies  not  alone 
in  her  great  talent,  but  in  her  velvet  voice 
and  expressive  hands. 

"Today  'all  the  world's  a  stage,'" 
quoted  Ethel  Barrymore  gaily.  Nothing 
in  a  woman's  appearance  escapes  ob- 
servation. The  hands  particularly  must 
contribute. 

"They  must  be  sparkling,"  Miss  Barry- 
more declared.  "I  find  the  new  Cutex 
Liquid  Polish  keeps  my  finger  tips  radi- 
antly crisp — gives  them  just  the  nec- 
essary touch  of  flattering  sparkle ! 

"  I  take  along  the  Cutex  Manicure  Kit 
on  all  my  tours,"  she  added.  For  smooth 
cuticle  and  exquisitely  white  nail  tips 
demand  regular  care  with  Cutex  Cuticle 
Remover  and  Cream.  "Applied  now  and 
then,"  finished  Miss  Barrymore,  "they 
keep  my  shining  nails  ready  for  their  cue ! " 


The  new 

Cutex  Liquid 

Polish 

flatters 

your  nails 


Special  Introductory  Offer — 6^ 


I  enclose  6c  for  the  sample  of  the  new  Cutex 
Liquid  Polish  and  Polish  Remover.  (If  you  live  in 
Canada  address  Post  Office  Box  2054,  Montreal, 
Canada.) 

Northam  Warren,  Dept.  9Q-2 
114  West  17th  Street,  New  York 


When  you  write  to  advertisers  please  mention   PHOT0PL.\Y  M.XG.^ZIXB. 


FOR 

$PRAIN$ 

AND 

BRUISES 


Photoplay  Magazine— Advertising  Section 


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Girls'  Problems 


I  CONTINUED  FROM  PAGE  16  1 


Josephine: 

Lemon  rinse  is  splendid  for  the  hair,  be  it 
blonde  or  brunette. 

B.  P.: 

By  all  means  wear  high  heels,  especially  for 
dress.  They  are  much  prettier,  and  you  are 
not  in_  the  least  above  the  average  height. 
There  is  no  reason  why  you  should  not  wear 
them. 

Bubbles: 

Your  weight  is  just  right,  and  I  should  think 
that  you  would  be  lovely  with  your  hair  worn 
after  the  charming  manner  of  Greta  Garbo.  As 
for  colors,  try  orchid  and  pale  yellow  and  nile 
green  and,  of  course,  lipstick  red. 

M.  L.  P.: 

A  good  lemon  cream  will  be  far  better  for 
your  face  than  the  method  that  you  suggest, 
which  is  harsh  and  will  hurt  the  skin.  I  would 
suggest  that  you  use  powder  in  the  naturelle 
shade,  and  you  will  find  several  good  creams, 
especially  constructed  for  the  removing  of 
freckles,  advertised  in  Photoplay  Magazine. 
You  are  about  seven  pounds  under  weight. 

C.  L.: 

You  should  wear  V-shaped  neck  lines  that 
come  close  to  the  sides  of  the  throat  and  fairly 
low  in  front.  They  will  be  far  more  becoming 
to  you  than  the  round  or  bateau  neck  line. 

Brush  your  hair  regularly  and  it  will  shine 
with  health  rather  than  with  grease.  People  do 
not  brush  their  hair  enough.  Constant  brush- 
ing will  also  bring  out  the  reddish  tint. 

MiCKiE  N. : 

I  should  Hke  you  to  bring  this  item  to  the 
attention  of  your  mother,  for  I  think  she  is 
being  too  strict  with  you.  Her  anxiety  to  keep 
you  away  from  boj's  is  making  you  more 
an.xious  than  you  would  normally  be  to  know 
them.  Ask  your  mother  to  read  this,  and  per- 
haps write  to  me. 

Bernice  : 
Indeed  all  shades  of  brown  will  be  more  be- 


commg  to  you  than  blue  or  black.  And  don't 
neglect  beige  and  African  brown.  These  dull 
shades  will  bring  out  the  brightness  of  your 
eyes  and  hair.  And  always,  to  relieve  your 
brown  costumes,  have  a  touch  of  orange  or 
canary  yellow  or  amber. 

Mary  Anne: 

Why  don't  you  frankly  ask  the  young  man 
k)  tell  you  his  attitude  in  regard  to  yourself? 
The  old  phrase,  "cards  on  the  table,"  is  a  good 
one.  You  are  old  enough  and  have  known  him 
long  enough  to  ask  for  an  e,xplanation  of  his 
curious  conduct. 

Miriam: 

Brush  your  hair  back  from  your  forehead, 
but  from  a  definite  part.  If  you  can  part  it  in 
the  middle  becomingly,  do  so.  Bring  the  ends 
of  your  hair  out  on  the  cheeks  in  long  points. 
That  will  make  your  face  seem  more  slender. 

Irene: 

1  think  that  your  stand  against  petting  is  a 
wise  and  sane  one.  Some  of  the  surface  pop- 
ularity may  not  be  yours,  but  surface  popular- 
ity is  a  passing  thing  and  you  will  come  into 
your  own  in  the  end.  The  worthwhile  boys  will 
be  the  ones  who  care  about  you.  Ideals  are 
more  important  than  flashy  popularity— re- 
member that  always. 

Constance  : 

There  is  no  reason  why  the  nationality  of 
your  friend  should  make  any  difference.  I 
have  known  many  charming  men  of  his 
nationality  who  have  been  accepted  in  the  best 
homes. 

Bernice  C.  C: 

The  exotic  type  is  the  type  that  Greta  Garbo 
represents,  also  Aileen  Pringle  belongs  to  that 
type  and  so  does  Nita  Naldi,  and  Jetta  Goudal. 
As  you  can  see,  all  four  of  these  women  are 
totally  different  in  appearance,  but  they  are 
alike  in  having  an  intangible  and  alluring 
charm.  Being  exotic  is  more  a  question  of 
charm  and  personality  and  allure  than  of  any 
regular  style  of  beauty. 


"Night  stuff"  on  the  Metro-Goldwyn  lot.     Director  Alf  Goulding 

IS  shooting  a  red-hot  fire  scene  for  the  new  Karl  Dane-George  K 

Arthur  picture,  "All  at  Sea."    The  crane  is  probably  to  haul  Big 

Karl  out  of  the  flames 

Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


93 


Below  is  the  famous  [ 
Ingram  Mannequin.  Her 
image  shows  the  : 
spots  most  difficult 
care  for,  and  the  text  tells 
you  how  best  to  do  so!   \-' 


h 


a  nca 


ca/t 


Ithy  skin 
youna 


\ 


THE  Skin  of  Youth  may  be  yours! 
A  clear  complexion  can  be  yours,  a 
soft,  smooth  wrinkleless  skin,  if  you 
will  follow  carefully,  word  for  word, 
the  directions  which  come  with  every 
jar  of  Ingram's  Milkweed  Cream! 

The  secret  is  in  the  "six  stars" — 
shown  in  the  mannequin  above,  and 
explained  point  by  point— in  this  text! 

For  the  slightest  lack  of  perfect 
smoothness— the  slightest  blemish  or 
wrinkle  is  evident  to  every  man  or 
woman  whom  you  meet  —  each  one 
speaks  volumes  about  your  age  and  the 
condition  of  your  skin. 

Ingram's  Milkweed  Cream  protects 
each  of  these  vital  points  and  not  only 


■^  Thread-like  lines  soon  turn  to  furrows 
if  the  skin  on  the  forehead  is  not  kept 
soft  and  supple. 

■^  Tiny  rays  or  puffiness  about  the  eyes 
should  be  watchfully  avoided  if  you 
are  to  look  young  and  fresh. 

>j'  The  curve  of  the  lips — the  expression  of 
your  face — may  so  easily  be  spoiled  by 
lines  at  the  corners  of  the  mouth. 

VV  Nothing  so  quickly  betrays  age  or 
neglect  as  a  wrinkled  neck.  Keep  the 
skin  here  soft,  the  contour  rounded. 

■^  Guard  against  a  "crepey"  throat  if  you 
would  keep  your  youth.  It  is  fright- 
fully ageing  and  unflattering. 

"^f  Many  women  never  feel  right  in  evening 
gowns  beca  use  their  shoulders  are  marred 
with  blemishes  and  coarseness. 


protects  but  ameliorates  their  health.  It 
is  even  slightly  therapeutic  in  its  effects 
—it  does  things  no  other  cream,  how- 
ever expensive,  can  possibly  do.  It 
tonics  your  skin— it  is  excellent  against 
roughness,  redness  and  blemishes.  It 
smooths  away  the  tiny  wrinkles.  It  is 
perfect  against  chapping  and  flaking. 

Ihere  is  room  for  Ingram's  on  your 
dressing  table.  For  Ingram's  is  a  basic 
cream,  excellent  as  a  cleanser,  but  with 
the  added  virtues  of  demonstrable 
benefits  to  the  skins  of  all  women  who 
use  it.  Use  one  jar  of  Ingram's — and 
you  will  find  your  skin  growing  softer, 
more  lovely— with  every  passing  day. 


I N  G  ram's  y\.LlAit^etd  Qjream 


©  p.  F.  I.  Co..  1929 

When  you  write  to  advertisers   please  mention   PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Jong  Hair' 

Is  cxmurxcj  bcick 


PREIDICTX 

Internationally    Famous     Hatr^ 
dreascr,  whose  clientele  includes 
tvotnen  of  smart  society, 
discusses  the  current 
trend  in  hair  combings 


IISTORY     will 
1  repeat  itself," 
declares   Pierre... 
"Longer    gowns,    lar- 
ger hats  are  already  be- 
ing worn  and — naturally — 
longer   hair  is   coming   into 
vogue."  Whether  you  agree  with 
Pierre  or  prefer  the  still  popular 
bobbed  type  of  hairdressing,  your 
charm  of  appearance  will  continue 
to  depend  on  careful  hair  combing. 
For  every  type,  long  or  short, 
there  is  an  ACE  COMB  adapted  tohelp 
you  to  always  look  your  best.  We 
recommend  a  large  8  or  9  inch  Ace 
Comb  to  use  at  home,  morning  and 
nigh  t,aswellasmanysizesand  styles 
of  handy  little  Ace  Purse  Combs  to 
carry  with  you  wherever  you  go. 

ACE 
C€MEJ 

made  of  the  purest  Hard  Rubber,  are  strong, 
durable  and  sanitary.  Even  the  surfaces  between 
the  teeth  are  eiuoothly  finished.  They  cannot 
possibly  pull  out,  break  the  hair  or  injure  the 
6calp.  But  be  aura  to  select  ACE  COMBS. 

AMERICAN    HARD    RUBBER    CO. 
11  Mercer  Street,  New  York,  N.  Y. 


^VHEREVER^youyind 
this  Cabinet  displayed 
there  is  an  assortment 
from  which  to  select  all 
the  ACE  COMBS  you 
need.  Drugpists  and  De- 
partment  stores  every- 
wheresellXCE  COMBS. 


American  Hard  Rubber  Company, 

11  Mercer  Street,  New  York,  N.  Y. 

Enclosed  ia  25  cents  (stamps  preferred) 
for  "CurrenlStyle  in  Hair  Combing"  and 
sample  4  inch  Ace  Comb.  Please  send  to 


Brickbats  and  Bouquets 


[  CONTINUED  FROM  PACE  10  ] 


What  Every  Woman  Knows 

Oakland,  Calif. 
A  motion  picture  of  modern  life  is  the  only 
fashion  book  I  ha\e  used  for  a  long  time.  A 
girl  gets  so  many  ideas  for  new  dresses  after 
seeing  one  of  the  current  movies  that,  if  she 
is  at  all  competent,  she  may  make  similar 
dresses  for  herself.  The  artists  creating  these 
fashions  gi\'e  to  us  the  work  of  long  tedious 
Iiours  for  the  price  of  an  admission  ticket  to  a 
theater. 

Nadeline  L.  Perry. 

Hey,  Miss  Davies! 

Wahoo,  Neb. 
I  salaam  to  IMarion  Davies.  I  saw  her  in 
"The  Patsy."  She's  a  Pickford,  a  Bow,  a  Tal- 
madge  all  in  one.  A  knockout !  Her  imperson- 
ations of  INIae  Murray,  Lillian  Gish  and  Pola 
Negri  were  perfect.    Three  cheers  for  Marion! 

LULA  NfiTHAWAY. 

Cut  the  Bunk 

Kingsport,  Tenn. 

Will  you  permit  me  a  word  relatix'e  to  the 
wild  extravagance  and  distorted  superlati\'es 
employed  in  mo\'ie  advertising?  "A  la\'ish 
spectacle  of  beauty  and  thrills."  "  Stupendous 
production!"  "The  greatest  heart  drama  of 
all  times." 

My  emphasis  is  not  the  vulgarity  of  this 
buncombe,  but  its  inefFectuality.  Would  it 
not  be  good  business  judgment  to  give  people 
a  clue  to  the  character  of  the  picture,  instead  of 
bombarding  them  with  meaningless  catch- 
phrases? 

Paul  N.  Olive. 

Paris  Comes  Second 

Farmington,  Wash. 
On  the  screen  today,  we  have  the  best 
dressed  men  and  women  in  the  world.  Even 
Paris  admits  that  really  tine  dressing  is  seen 
on  the  American  shadow  stage;  that  it  is  not 
only  seen,  but  consistently  appears  in  pictures. 
It  is  not  only  the  so-called  society  picture,  with 


the  gorgeously  gowned  women,  but  pictures 
that  deal  with  every  walk  of  life  reveal  those 
correct  lines  and  general  effects  of  tasteful 
dressing  that  we  all  seek.  The  principle  of 
clothes  adapted  to  personality  is  certainly  well 
employed  in  screen  plays. 

RoMAiNi:  Nicholson. 

Home-made  Movies 

Atlanta,  Ga. 

Brickbats  are  easy  things  to  throw  and  of  all 
the  people  who  throw  them,  how  many  would 
know  how  e\-en  to  try  to  act  before  a  camera? 

My  husband  bought  an  Amateur  Movie 
Camera.  This  delighted  me  because  I  knew 
it  would  be  my  chance  to  see  myself  as  others 
see  me.  I  am  not  camera  shy  and  fully 
believed  that  the  first  hundred  feet  of  fihn  my 
husband  made  of  me  would  be  good.  But 
a  big  disappointment  awaited  me.  Turning 
my  face  from  side  to  side  seemed  to  be  the  only 
action  in  the  whole  film. 

]\Iy  smiles  seemed  artificial.  Everything 
I   did   was  awkward. 

Even  now,  after  making  about  1,500  feet 
of  lilm,  the  results  are  far  from  perfect. 

There  was  a  time  when  I  would  go  to  the 
movies  and  be  terribly  critical  but  now,  after 
my  own  experiences,  I  make  allowances  for  the 
poorest  kind  of  acting. 

Mrs.  Tom  Standring. 

Why  the  Party  Succeeded 

Atlantic  City,  N,  J. 

I  recently  gave  a  large  party  and  it  went 
over,  thanks  to  Photoplay.  It  happened 
that  the  party,  being  a  large  one,  would 
have  been  a  flop  as  I  did  not  know  what 
to  serve. 

A  friend  suggested  the  "Favorite  Recipes 
of  the  Stars."  I  immediately  sent  for  a  copy 
of  Photoplay  Cook  Book  and  I  assure  you 
I  could  have  selected  no  end  of  appetizing 
dishes.  All  the  guests  marvelled  at  the 
dainty  dishes  and,  of  course,  inquired  where 
I  got  them. 

Barbara  Hoblman. 


Name- 


Dick  Barthelmess  is  only  a  number  now.    Here  is  a  Bertillon  photo- 
graph of  him  for  his  new  First  National  picture,  "Weary  River." 
But  when  did  the  muggers  at  Police  headquarters  begin  furnishing 
bear  grease  and  make-up  to  their  subjects? 


Every  adverllsemeni   In  PnOTOPI.AT  MAQAZINE  Is  BUlranteed. 


Photoplay  Magazine — Advertising  Section 


I  i? 


Many  good    things   have  heen 
added  to  yonr  screen  entertain- 
■  ment  hy  the  talking  fihn.  Tliis  mar- 
vel of  modern  scientific  achieve- 
ment has  added  new  punch  to 
many  dramas;  thrills  and  chills 
to  the  spectacles  and  the  mystery 
plays.  flBut,  NOW,  best  of  all,  the 
comedies  talk!  f|For  Educa- 
tional Pictures,  always  the  out- 
standing leaders  where  Short 
Features  are  concerned, 
bring  to  you  through  the 
best  theatres  every- 


where, a  new  laugh  treat. ..short 
comedies  with  talking,  music 
and  all  natural  sound  effects, 
from  start  to  finish.  HI  If  you  have 
not  seen  and  heard  one  of  the 
new  Mack  Sennett  Talking  Com- 

EDIES,  you  have  a  delightful  sur- 
prise in  store  for  you.  If  you 
have  seen  "THE  LlON'S  Roar" 
and  "The  Old  Barn",  you 

watching   now   for   the 
next  one.  And  there  will 
be  a  ne^v  one  every  few 


^ 

^ 


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Gossip  of  All  the  Studios 


1  CONTINUED  FROM  PAGE  86  ] 


'T'HE  scene  is  laid  in  the  steam  room  of  a 
-*■  Hollywood  Turkish  bath.  The  principal 
character  is  Belle  Bennett,  clothed  in  a  sheet 
and  a  forgiving  smile. 

Belle  discovers  a  large  lady  lying  on  the 
next  slab. 

"Why,  Vera,  darling,  how  are  you?  I 
haven't  seen  you  in  so  long!"  says  Belle. 

"No,  lady,  I  ain't  Vera  Gordon.  Lots  of 
people  t'ink  I  am." 

Belle  is  somewhat  squelched.  She  re- 
mains silent  for  some  time  but  at  last  breaks 
down  with,  "You  certainly  do  look  like  her. 
Are  you  in  pictures,  too?" 

"No,  lady,  I  ain't  in  pitchers.  My  hus- 
band, he  runs  a  grocery  store.  I'm  the  meat 
chopper." 

WHILE  the  ilu  epidemic  was  at  its  height. 
Milton  Sills,  making  "The  Comedy  of 
Life,"  walked  on  the  set  and  noted  that  one 
of  the  crew  was  dozing  in  a  chair. 

"Ah,"  said  Milton,  lapsing  into  the  native 
Italian,  "a  little  doke  far  nknle.  eh?" 

"No,"  came  the  response,  "just  old-fash- 
ioned flu." 

TUST  before  he  went  to  New  York  recently, 
William  S.  Hart  disco\'ered  that  his  butler 
had  run  the  grocery  bill  up  to  $,W6,  not 
counting  feed  for  the  horse.  So  he  lired  the 
butler. 

Then  he  got  an  inspiration.  CaUing  the 
butler  back,  he  remarked  laconically,  "Never 
mind,  I'll  fire  you  when  I  get  back  from 
New  York." 

I  CONTINtTED  ON  PACE   102  ] 


Once  again  in  "7th  Heaven."  The  stars 
and  production  chiefs  of  your  favorite 
picture  of  1927  take  time  off  to  admire  the 
Photoplay  Gold  Medal.  They  are  Sol 
Wurzel,  Studio  executive;  Winfield  Shee- 
han,  Production  manager;  Janet  Gaynor, 
Frank  Borzage,  director,  and  Charles 
Farrell 


Bellamy.  Evelyn  Brent,  Slarion  Davies,  Elinor  Faire, 
Louise  Fazenda,  Lillian  Gish,  Jacqueline  Logan,  Virginia 
Pearson,  Marie  Prevost,  Esther  Ralston,  Anita  Stewart, 
Constance  Talmadge,  Estelle  Taylor,  Kathlyn  Williams 
and  Lois  Wilson.  All  of  'em  are  five  feet,'  five  inches 
in  altitude. 

/^.\RROLL  NYE,  who  has  just  completed  his  first 
^—'talking  role  in  "Confession,"  an  M.-G.-M.  sound 
picture,  believes  that  Lionel  Barrymore.  who  makes  his 
directorial  bow  with  this  production,  will  soon  have  a 
position  among  the  foremost  directors  of  the  industry. 
Carroll  says  he  learned  more  little  points  about  acting 
from  Barrymore  in  a  week  than  he  has  absorbed  in  all 
the  rest  of  his  three  years  before  the  camera. 

"In  a  certain  scene."  says  Carroll,  "I  was  'mugging' 
a  girl  when  Barrymore  stopped  me. 

"  'Listen  Carroll,'  he  said,  'you  are  not  a  dirty  dog 
heavy — forget  that  attitude. 
You  are   just  one  of   those 
young  men   who  annoy 
brothers.'  " 

Nye  got  his  point,  and  the 
camera  and  "mike"  did  the 
rest. 


The  talkie  actor 

raved  and  roared 
With  none  to  steer 
him. 
"Hit  me  again !"  the 
patron  cried, 
"I  still  can  hear 
him!" 

96 


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QUESTIONS  e?  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.  It  is 
imperative  that  these  rules  be 
complied  with-in  order  to  insure 
your  receiving  the  information 
you  want.  Address  all  inquiries 
to  Questions  and  Answers. 
Photoplay  Magazine,  221  W. 
57th  St.,  New  York  City. 


Mrs.  M.  B.,  Fort  Smith,  Ark. — Be  fair  to 
the  star  whom  you  accuse  of  being  high-hat. 
Most  people  aren't  e.xtra  cordial  to  persons  who 
are  casually  introduced  to  them  in  restaurants. 
And  Hollywood  is  tilled  with  travelers  who 
want  to  meet  the  stars,  most  of  whom  are,  after 
all,  pretty  busy  with  their  own  affairs.  To  go 
on  with  your  questions;  Mae  Murray  has  a 
son,  nearly  two  years  old.  She's  appearing  in 
vaudeville.  "Submarine"  was  filmed  on  board 
the  U.  S.  S.  Tern  and  also  on  the  Saratoga. 

N.  \V.,  Vanxou\-er,  B.  C. — Let's  straighten 
out  these  romances.  Greta  Garbo  and  John 
Gilbert  aren't  engaged.  Greta  says  that  she 
isn't  going  to  marry.  Her  latest  picture  is  "A 
Woman  of  Affairs,"  and  she  has  light  golden 
brown  hair  and  blue  eyes.  And  Clara  Bow  is 
not  engaged  to  James  Hall.  They  just  happen 
to  play  in  pictures  together. 

Nancy  J.,  Jamestown,  N.  D. — Dorothy 
Mackaill  and  Clive  Brook  both  use  their  real 
names  in  pictures.  Clive  is  thirty-seven  years 
old.  Bebe  Daniels  is  ten  years  younger.  It's 
pronounced  Bee-bee.  And  -Alice  White  is  six- 
years  younger  than  Bebe.    Come  again. 

C.  K.  B.,  Harrisbueg,  Va. — Helen  Foster  is 
twenty-two  years  old  and  five  feet  tall.  She 
weighs  102  pounds.  Write  to  her  at  the 
Universal  Studios,  Universal  City,  California. 

Z.  B.,  Bay  City,  Mich. — Eric  von  Stroheim 
was  born  in  .Austria,  forty-three  years  ago.  Off 
the  screen,  he  is  a  temperamental  but  hard- 
working fellow.  In  1920  he  married  Valeria 
Germondrez,  who  played  small  parts  in  pic- 
tures.   They  have  one  son. 

L.  A.,  Cedar  Vale,  Kan. — Why  this  idea  that 
John  Gilbert  and  .\ileen  Pringle  are  related? 
Here's  the  explanation:  John's  real  name  is 
Pringle,  but  he  has  always  used  his  step- 
father's hame  of  Gilbert.  .Aileen  married  a 
Pringle.  So  it's  just  a  coincidence.  Billie 
Dove  is  just  a  stage  and  screen  name;  she  was 
born  Lillian  Bohny.  William  Haines  was  born 
in  Staunton,  Va.,  and  is  twenty-eight  years  old. 

D.  W.,  Seattle,  Wash. — More  about  their 
real  names:  Ruth  Taylor,  Fay  Wray  and  Jose- 
phine Dunn  all  use  their  original  monickers. 
Josephine  was  born  in  Xew  York  City. 

C.  E.  L.,  Chicago.  III. — Miss  Crawford 
pronounces  it  Joan,  all  in  one  syllable,  not 
"Jo-an." 

W.  T.  S.,  Orange,  N.  J.— Say,  mister,  you're 
prejudiced.  Otherwise  you  would  never  call 
Greta  Garbo  a  "dead-looking  duck."  Do  you 
want  an  irate  public  mobbing  your  house? 
Now  for  the  facts  on  Ihe  giri:  Sally  Phipps  is 
nineteen  years  old  and  she  was  born  in  San 
Francisco.  Her  ne.xt  picture  is  tentatively 
titled  "Headlines."  Constance  Talmadge  is 
twenty-eight  and  Loretta  Young  is  eighteen. 


C.  C.  AND  P.  S.,  New  Orleans,  La.— I  rush 
to  inform  you  that  Farina  is  a  boy;  his  real 
name  is  Allen  Clayton  Hoskins  and  he  was 
born  in  Boston— of  all  places!  Now  will  the 
office  please  go  back  to  work? 

Annette  S.,  Pawtucket,  R.  I. — Dolores 
Costello  is  about  twenty-three  years  old.  She 
has  blue  eyes  and  w-eighs  108  pounds.  Greta 
Garbo  is  five  feet,  si.x  inches  tall  and  weighs  125 
pounds. 


ARE  Joan  Crawford  and 
Douglas  Fairbanks,  Jr.,  mar- 
ried? That  was  the  most  per- 
sistent question  of  the  month. 
Joan  and  Doug  say  "No."  Holly- 
wood says  "Yes."  The  Answer 
Man  refuses  to  take  sides. 

More  about  Nils  Asther.  Nils 
is  twenty-six  years  old,  weighs 
170  pounds  and  is  six  feet,  one- 
half  inch  tall.    Not  married. 

"Buddy"  Rogers  is  twenty- 
four  years  old  and  attended  the 
University  of  Kansas. 

Colleen  Moore's  real  name  is 
Kathleen  Morrison.  She  is 
twenty-six  years  old. 

Davey  Lee,  the  Sonny  Boy 
of  "The  Singing  Fool,"  was  just 
four  years  old  December  29. 
His  next  picture  is  "She  Knew 
Men,"  featuring  Betty  Bron- 
son. 

Photoplay  received  seventy- 
two  letters  in  one  day  asking  if 
Davey  Lee  were  dead.  The 
Answer  Man  is  glad  to  say  that 
Davey  is  alive.  But  where,  why 
and  how  did  the  senseless  rumor 
start?  Will  someone  please  ex- 
plain? 

Clara  Bow's  next  picture  is 
"The  Saturday  Night  Kid." 

John  Mack  Brown  was  born 
in  Alabama.  He's  twenty-four 
years  old  and  married. 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY  ad- 
vises you  to  enclose  twenty-five 
cents  to  cover  the  cost  of  picture 
and  postage.  The  stars,  who  re- 
ceive hundreds  of  such  requests, 
cannot  afford  to  comply  with 
them  unless  you  do  your  share. 


GwEN  W.,  Brooklyn,  N.  Y.— Bodil  Rosing 
is  the  mother  of  Tova  Jansen,  who  is  the  wife  of 
Monte  Blue.  That  makes  her  Monte's  mother- 
in-law. 

T.  M.,  Chicago,  III. — You're  wTong;  apolo- 
gize to  your  friend.  Mary  Pickford  was  mar- 
ried to  Owen  Moore  in  1910  and  divorced  from 
him  in  1920. 

Retha,  Carlsbad,  N.  M.— Flattery  always 
turns  the  trick.  Barry  Norton  is  five  feet, 
eleven  and  one-half  inches  tall.  He  has  dark 
brown  hair  and  dark  brown  eyes. 

Patty  K.,  St.  Paltl,  Minn. — David  Rollins 
is  nineteen  years  old  and  was  born  in  Kansas 
City,  Mo.  He  has  black  hair,  blue  eyes  and  is 
five  feet,  ten  and  one-half  inches  tall.  And  he 
weighs  140  pounds. 

M.  C,  Los  Gatqs,  Calif —Oho!  So  Clara 
Bow's  real  name  is  Quinie  Chamberiin  and  she 
comes  from  your  city.  I  am  sorry,  but  you're 
wrong.  I've  known  Clara  Bow  (and  that's  her 
real  name)  since  she  was  a  little  school  kid  in 
Brooklyn.  Somebody  is  telUng  you  fibs. 
Marguerite  Clark  is  married  to  Lieut.  Palmer- 
son  Williams  and  has  retired  from  the  screen. 
Irene  Castle  is  Mrs.  Frederick  McLaughlin  of 
Chicago ;  she  has  one  daughter.  Jackie  Coogan 
is  over  in  Paris,  playing  in  vaudeville.  Yep, 
Charles  Farrell played  in  "The  Rough  Riders." 
And,  to  go  back  to  Clara,  she  isn't  married. 
The  "  Clara  Bow"  of  Los  Gatos  made  a  mistake 
when  she  claimed  three  husbands. 

Curious  and  Hopeful,  Chicago,  III. — 
That's  the  spirit.  Yes,  it  was  the  same  Shiriey 
Palmer  in  all  three  pictures  you  mention. 
Agnes  Franey  is  seventeen  years  old,  five  feet 
tall  and  weighs  100  pounds.  Her  ne.xt  picture 
is  "The  Queen  of  the  Night  Clubs." 

M.  C,  Vancouver,  B.  C— Help!  Help! 
How  could  Mary  Brian  be  forty-two  years  old? 
Take  a  good  look  at  the  giri.  She's  only 
twenty.  .A  blight  on  all  these  tale-bearers  and 
rumor-slingers  from  Hollywood!  Some  day, 
when  I  am  not  up  to  my  ears  in  w^ork,  I  am 
going  to  make  a  list  of  all  the  funny  stories  con- 
cocted by  so-called  "experts"  on  the  movies. 
Barbara  La  Marr  and  John  Gilbert  appeared 
together  in  "St.  Elmo."  Philippe  de  Lacey  is 
eleven  years  old,  Charles  Morton  is  twenty- 
two  and  James  Hall  is  twenty-eight.  Gilbert 
Roland  has  been  in  moom  pitchers  since  1925. 

Jean  C,  Springfield,  Mo.— Matty  Kemp 
is  a  young  feller  who  seems  to  be  stepping  right 
along.  He  was  born  in  New  York  City,  Sept. 
10,  1909.  Matty  was  reported  engaged  to  Sally 
Filers,  but  something  must  have  happened,  be- 
cause Sally  has  announced  her  engagement  to 
William  Hawks.  He  (Matty,  not  Mr.  Hawks) 
has  brown  hair,  brown  eyes  and  weighs  162 
pounds.    Just  one  inch  less  than  six  feet  tall. 

[  CONTINtlED  ON  PAGE  144  1      ' 
99 


lOO 


Photoplay  Magazine — Advertising  Section 


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Amateur  Movies 


I  CONTIXUED  FROM  PAGE  74  \ 


pi 


Amateur  film  production  is  now  a  regular  part  of  the  year's  work  of 
the  drama  class  of  Newport  News  High  School.     Here  is  the  class  at 
work.  Last  year  this  class  nearly  won  a  prize  in  PHOTOPLAY'S  Amateur 
Movie  Contest  with  "Heroes  All" 


The  lights  were  devised  for  Photoplay  by 
Tommy  Shurgrue  of  the  M.-G.-M.  Culver 
City  studios  electrical  department  and  cost 
very  little. 

Have  a  metal  worker  shape  a  piece  of  light 
galvanized  iron  into  cone  form.  Paint  it  or 
enamel  it  white  inside. 

-■Xt  the  point,  or  apex  of  this  cone,  affix  a 
mogul  socket,  which  will  fit  a  500  watt  incan- 
descent bulb. 

No.  14  heavy  insulated  lamp  cord  should  be 
used. 

-Attach  lamp  cord  to  light  socket. 

TT  is  preferable  to  use  a  floor  socket,  since 
-'■connections  are  better  and  there  is  less  danger 
of  blowing  a  fuse. 

An  ordinary  music  stand  can  be  used  for  a 
standard  or,  better  still,  a  heavier  music  stand 
such  as  is  used  in  orchestras. 

The  cone  should  be  affixed  to  the  tilting  part 
of  the  stand  with  stove  bolts  or  a  couple  of 
rivets. 

In  an  emergency,  iron  wire  can  be  used  to 
hold  the  apparatus  together. 


A^ORE  news  of 
-'■ '■'■Russell  Ervin, 


logue  sequences  of  Alfred  Green's  production, 
"Making  the  Grade,"  with  Lois  Moran  and 
Edmund  Lowe.  Back  with  Delf  again,  he 
assisted  on  "The  Ladies'  Man,"  starring 
Chic  Sale. 

Benjamin  Stoloff,  the  director,  next  drafted 
Ervin  as  an  assistant  on  his  first  dialogue 
picture,  "Mind  Your  Business,"  with  Hugh 
Herbert  and  Ben  Bard. 

"X/TR.  ERVIN  joined  Marcel  SUver,  the 
•'■''■'•veteran  Movietone  director,  and  was  his 
assistant  in  making  Chic  S^e's  "Marching 
On." 

Silver  was  the  man  who  made  the  first  Fox- 
Movietone  subject,  a  series  of  song  sketches 
with  Raquel  Meller,  in  1926. 

Recently,  Mr.  Ervin  has  been  at  work  with 
Mr.  Silver  on  an  18th  century  toyshop 
story  "  Forget  Me  Not,"  featuring  David 
Rollins  and  Nancy  Drexel. 

In  the  course  of  his  activities  up  to  this  time, 

Ervin  has  turned  camera,  assisted  in  sound 

effects  and  the  recording  of  dialogue,  acted  as 

script  clerk  and  as  first  and  second  assistant 

director. 


winner  of  the 
mm.    prize    in 


-Tr., 
35 

Photoplay's  first 
contest  and  now  a 
member  of  the  Fox- 
Movietone  tech- 
nical staff,  will  be 
of  interest  to  our 
readers. 

Mr.  Er\'inisnow 
a  veteran  of  over  six 
months'  e.xperience 
in  professional  film 
making.  He  began 
his  activities  at  the 
Fox  studios  in  New 
York  on  July  2, 
1928.  On  July  15th 
he  arrived  in  Holly- 
wood  and,  since 
that  time,  he  has 
been  busy  at  the 
Fox  coast  studios. 

•\>rR.  ERVIN 
■'■''•'■first  assisted 
Harry  Delf  in 
filming  a  short 
subject,  "Mystery 
Mansion."  Hethen 
worked  on  the  dia- 


&ALVANIZEO  IRON 

CONE,  15'"  MOUTH. 

PAINTED  WHITE 

INSIDE. 


WOOD  BLOCK  RIVETED 

^J^P""  PO    OR-  SCREWED  TO  CONE, 
CONE.  ^      WITH   HOLE  TO  RECEIVE 


50O 
WATT 
BULB. 


,END  OF  MUSIC   RACK. 


MUSIC 

■  HACK 

HEICHTH  ADJUSTABLE 
BY  THUMBSCREW 


You  can  make  your  own  incandes- 
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cost  and  little  labor  by  following 
this  plan 


NOW  home 
talkies! 

The  De  Vry  Cor- 
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nouncing talking 
movies  for  the 
home.  The  outfit 
consists  of  a  De 
Vry  Type  G  16  mm. 
projector  mounted 
upon  the  same  base 
with  a  phonographic 
turn  table,  the  two 
being  connected  by 
a  shaft  which  makes 
them  synchro- 
nous in  opera- 
tion. The  sound  is 
carried,  via  an  elec- 
tric pick-up  device, 
to  your  radio  or 
your  loud  speaker. 

The  films  to  be 
supplied  will  be 
produced  in  the 
same  synchronized 
way  as  with  profes- 
sional talkies.  The 
De  Vry  Corpora- 
tion announces  reg- 
ular releases  of 
talking  films. 


Etery  advertisement   In  PHOTOPLAY  JIAGAZINE  is  gunrantecd. 


Photoplay  Magazine — Advektising  Section  ioi 


Window  shopping  through 
the  world 


Looking  around,  comparing,  deciding  on  colors  and 
flavors  and  textures  and  designs— "shopping"  for  many 
of  us  is  half  the  fun  of  buying  things  and  having  them 
....  Other  people  (more  scientifically  minded)  always 
know  exactly  what  they  want,  and  where  they  want  to 
buy  it. 

But  before  anyone  definitely  can  say  "I  like  that — I'll 
take  it"  in  order  to  spend  money  wisely,  some  "looking 
around"  must  be  done. 

Looking  around  by  reading  the  advertisements  saves 
time  and  trouble  and  money.  For  advertisements  are 
the  shop  windows  of  a  world  of  manufacturers.  You 
don't  need  to  walk  up  Fifth  Avenue  or  past  the  corner 
drug  store  to  see  what  So-and-So  is  offering  in  the  way 
of  silk  stockings,  or  refrigerators,  or  toothpaste,  or 
automobiles,  or  schools  for  young  George,  or  vacations 
for  the  whole  family. 

The  advertisements  picture,  describe,  explain  the  mer- 
chandise and  the  new  ideas  that  are  displayed  and  talked 
about  from  Maine  to  California. 


Read  the  advertisements  because  it 
pays  YOU  to  do  so 


When  you  writ?,  to  adrerttsera   please   raeiKton   PHOTOPr.AT  MAOAZIN*E. 


I02 


Photoplay  Magazine — Advertising  Section 


TTTTTTTTTTTTTTTTT 


1 

1 

1 

J^a 

1 

Wk                 H 

Gossip  of  All  the  Studios 


nere  is  Liyfyeaitiy 


K^liere  is  dyOi 
in  ike  navne 

KLjii^aoelli  *V   Ij'cien 

S/ina  tnere  is  beauty  awaiting  you 
in  ElizaDetn  Amen  s  Venetian  Toilet 
Pre|)arations  whicn  sne  nas  created 
for  cleansing,  toning  ana  nourisning 
every  ty|3e  oi  skin. 


Venetian 
Cleansing  Cream 
Its  pure  and  subtle  oils  melt 
into  the  pores,  gently  re- 
moving all  impurities  and 
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Ardena  %)elva  Cream 

A  delicate  cream  for  sen- 
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ed for  a  full  face,  as  it 
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skin  without  fattening. 

^i,  $2,  ^3,  ^6. 


Venetian 
Ardena  Skin  Tonic 

Stimulates  circulation, 
strengthens  and  whitens  the 
skin,  gives  it  zest  and  fine- 
ness.     85c,  ^2,  ^3.75,  ?9. 

Venetian 
Orange  Skin  Food 

Builds  firm  contours, 
nourishes  the  underlying 
tissues,  renews  tired  cells 
and  banishes  lines  and 
wrinkles. 
^i,  ^1.75,  $2.75,  ^4.25. 


These  and  other  exquisite  items  of 

Elizabeth  Arden's  Venetian  Toilet  Preparations 

are  on  sale  at  the  smartest  shops 

ELIZABETH  ARDEN 

673  Fifth  Avenue,  New  York 

LONDON  MADRID  BERLIN         ROME  PARI 


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i^ifv                                                                                .^f^ff 

I  CONTINUED  FROM  PACE  96  ] 


TMAGINE  the  consternation  of  the  poor 
-•■producer  who  recently  used  in  one  of  his 
pictures  a  boy  in  his  early  teens.  The  boy 
possessed  an  unusually  attractive  boyish  voice 
which  the  producer  thought  would  register  well 
in  a  talking  picture. 

The  silent  version  was  completed,  but  the 
producer  was  held  up  for  some  five  weeks' 
time  while  awaiting  his  sound  apparatus.  To 
his  complete  dismay,  ■  when  the  youngster 
returned  for  the  sound  work,  his  voice  had 
changed  to  a  husky  bass. 

TX  THEN  sound  pictures  were  first  made, 
'^  they  called  'em  "Soundies;"  when  talk- 
ing pictures  came  next,  they  called  'em 
"Talkies;"  and  now  that  we  have  murder 
mystery  pictures,  they  call  'em  "Creepies." 

"N/OU  must  not,  under  any  circumstances, 
•*•  come  to  Hollywood  and  say,  "the  talkies." 
My  word,  no!  The  Academy  of  Motion 
Picture  Arts  and  Sciences  has  ruled  against  it. 
It's  as  uncouth  and  ill-bred  as  saying  "movies" 
instead  of  "motion  pictures."    My  word! 

"D  AMON  NOVARRO  will  keep  his  make- 
■'^up  in  cold  storage  while  in  the  South  Seas 
making  "The  Pagan"  for  M.-G.-M.  He's 
taking  along  a  nifty  little  electric  refrigerator 
so  he  can  keep  the  grease  paint  on  ice.  And 
there  ain't  no  prohibition  in  them  there  South 
Seas! 

EDDIE  NUGENT  tiptoes  in  with 
an  index  finger  at  his  lips, 
"Terrible  murder  afoot,"  says  he, 
"just  heard  them  talking  about 
making  'The  Last  of  Mrs.  Cheyney.' 
Shouldn't  somebody  tell  Lon  about 
that?" 

WHEN  Lupe  Velez  arrived  in  Los  Angeles 
there  was  but  one  dollar  in  her  pocket- 
book.  She  looked  with  longing  at  an  expensive 
limousine  that  whizzed  by  the  depot. 

"In  one  year  I'm  going  to  have  one  like 
that,"  said  Lupe  to  herself. 
She  has  one  exactly  Hke  that. 
"It  isn't  paid  for,"  says  Lupe,  "but  I've 
got  it." 

ANITA  PAGE  wanted  to  find  out  what 
time  she  had  to  report  on  the  set  so  she 
called  the  assistant  director,  whose  name  is 
Sandy  Ross. 

Her  five  year  old  brother,  Moreno,  ."learing 
her  call  for  the  assistant  came  flying  to  his 
mother. 

"Oh,  mama,  hsten,  'Nita  is  caUing  up 
Santa  Claus." 

LEW  CODY  wins  for  gallantry. 
Just   before   the  actor  left  for   Europe 
and  way  points  he  was  at  the  Cotton  Club 
when  a  young  man  approached  and  held  out 
his  hand  in  greeting. 

"Hello,  Lew,"  he  beamed.  "How's  Mabel? 
That's  fine.  Say,  meet  a  friend  of  mine. 
Lew — Mr.  Blank  of  Kansas  City.  Good  scout. 
Drop  in  and  see  him  sometime.  ..." 

Lew  slapped  them  both  on  the  back.  Said 
he  was  glad  to  see  his  friend  again  and  in- 
vited them  both  out  to  the  house. 

When  they  had  gone  Lew  said  to  the  friends 
at  his  table: 

"I  don't  remember  that  man  at  all,  but  he 
must  know  me  awfully  well." 

Later  in  the  evening  the  gentleman  in 
question  found  Lew  in  the  lobby.  "You're 
a  great  guy,  Lew,"  he  said.  "You  don't  know 
me  at  all.  I've  never  seen  you  before.  I 
was  just  trying  to  impress  this  friend  of  mine 
from  out  of  town." 


JERRY  HOFFMAN,  column  con- 
structor for  "Vanity"  paper,  and 
one  of  Hollywood's  favorite  racon- 
teurs, tells  about  meeting  the  actor 
at  a  talkie  review. 

"It's  a  great  picture,"  declared 
Jerry,  amiably,  in  that  quaint  Holly- 
wood fashion. 

"Great?  Don't  I  know  it.  The 
director  has  just  asked  me  to  come 
to  the  studio  in  the  morning  and 
make  a  trailer  taking  six  bows." 

A  RTHUR  CAESAR  was  initiated  to  his 
■**-first  conference. 

He  was  faced  by  a  group  of  long  faced, 
serious  looking  individuals.  Nobody  smiled. 
Nobody  spoke. 

Arthur  entered  and  shouted,  "What!  No 
sound?" 

TTIERE  is  a  very  interesting  rumor  in 
-'-  Hollywood. 

It  seems  that  Warner  Brothers  wanfed 
George  Jessel  to  play  the  title  role  in  "The 
Jazz  Singer"  but  were  unable  to  give  him  the 
money  he  demanded. 

Al  Jolson  agreed  to  do  it  for  a  block  of 
Warner  stock.  He  was  given  the  stock  when 
it  was  selling  at  20.  Now  it  has  gone  up  to 
125  and  Jolson,  so  "they"  say,  has  made  a 
neat  little  pile. 

It  will  buy  Ruby  a  couple  of  bracelets 
anyhow. 

"DERT  LEVY  tells  this  one  on  Gus  Edwards. 
•'-'  "Gus  never  listens  to  a  word  that  is  said. 
He's  always  too  busy,"  says  Bert.  "Every 
time  I  see  him  he  asks,  'How's  the  wife?' 
and  is  talking  to  somebody  else  before  I 
have  a  chance  to  answer.  The  other  day  he 
did  this  once  too  often.  'How's  the  wife?' 
he  asked. 

"  'She's  dead,'  I  answered. 

"'That's  great,'  said  Gus. 

"Five  minutes  later  he  asked  me,  'How's 
the  wife?'  " 

A  RTHUR  CAESAR'S  smart  cracks  are  as 
■'^•popular  along  Hollywood  Boulevard  as 
they  were  on  Broadway.  Caesar,  writing 
talkies  for  Fox,  tells  that  he  mentioned  Achilles 
in  one  scene. 

"Take  it  out,"  said  the  producer,  "it  takes 
up  too  much  footage." 

'  I  'HE  M.-G.-M.  studios  have  a  quaint  custom 
■^  of  putting  the  actresses  on  the  top  floor 
of  the  dressing  room  building  and  the  actors 
on  the  ground  floor. 

On  the  steps  leading  upwards,  this  legend 
is  painted:  "Men  not  allowed  in  ladies'  chess- 
ing  rooms." 

A  certain  well  known  actor  acquired  a  crush 
on  one  of  the  women  stars  during  the  making  of 
a  picture,  and  trained  his  Enghsh  sheep  dog 
to  run  up  the  steps  to  the  ladies'  dressing 
rooms. 

This  necessitated  the  master  going  after 
him,  thus  presenting  an  opportunity  for  a 
chat  with  the  star. 

But  the  crush  is  over  now  and  the  actor  is 
interested  in  no  fair  one.  The  dog,  however, 
having  learned  his  lesson  well,  still  insists  upon 
tearing  up  the  steps,  much  to  the  annoyance 
of  the  actor;  so  the  other  day  the  actor  stood 
at  the  bottom  of  the  stairs  and  shouted, 
"Dumb  dog!  Come  back  here.  Why  do  you 
persist  in  running  away?" 

MY  dears,  another  good  janitor  was  sent 
to  the  dogs  the  other  day  when  "Rivits" 
Jackson,  who  sweeps  up  at  First  National, 
was  given  a  "bit"  by  George  Fitzmaurice  in 
"Stranded  in  Paradise." 


Every  advertlsemcnl  in  PHOTOPLAY  MAGAZINE  Is  guaiactced. 


Photoplay  Magazine — Advertising  Section 


lo- 


The  Shadow  Stage 


I  CONTINUED  FROM  PAGE  76  J 


THE  SHOPWORN  ANGEL— Paramount 

WARTIME  lovesong  in  ultra-modern  jazz 
tempo.  A  blase  show  girl  plays  inspira- 
tion to  a  dumb  doughboy  in  a  Jersey  training 
camp.  Nancy  Carroll,  as  the  merry  magda- 
lene,  makes  naughtiness  so  attractive  that 
we're  with  her,  right  or  wrong.  Paul  Lukas' 
suave  sophistication  and  Gary  Cooper's  charm- 
ing boyishness  are  effective  foils  for  the 
scintillating  Nancy.  An  unexpected  and 
artistic  ending  saves  this  from  the  tawdrincss 
of  the  usual  city-girl,  country-boy  picture. 

THE  JAZZ  AGE—FBO 

"LXEY!  hey!  Also  whoopee!  You  might  as 
-'■  -^well  settle  down  to  a  long  siege  of  pictures 
Uke  "Our  Dancing  Daughters."  As  the  title 
implies,  "The  Jazz  Age''  is  another  e.\pose  of 
the  doings  of  the  wild  young  bloods  of  today. 
Douglas  Fairbanks,  Jr.,  and  Marceline  Day 
are  flaming  youth  at  its  most  flaming,  but  for 
the  most  part  the  picture  is  just  a  bad  imitation. 

RESTLESS  YOUTH— Columbia 

npHIS  story  is  as  familiar  as  the  toothache. 
■'•  A  girl  is  locked  in  a  hotel  room  but  virtue 
triumphs.  The  father  of  her  sweetheart  is  a 
member  of  the  school  board  that  expelled  her. 
He  offers  her  money  if  she  will  gi\e  up  his  son. 
She  attempts  to  kill  the  boy's  love  by  getting 
herself  compromised,  ilarceline  Day  is  good 
but  Ralph  Forbes  gives  a  drab  performaTice. 

THE  ONE  MAN  DOG—FBO 

THIS  dog,  Ranger,  does  everything  but  fry 
the  eggs  and  bacon  for  breakfast.  He  takes 
direction  nicely,  but  the  demands  put  on  him  by 
the  scenario  writer  tax  the  credulity.  The  j'arn 
concerns  two  war  pals  who  get  involved  in 
murders.    If  you  like  dog  stories. 

THE  SPEED  CLASSIC— Excellent 

AN  auto  racing  picture,  just  like  all  the 
other  auto  racing  pictures  since  the  dawn 
of  gasoUne.  The  young  hero  enters  a  race 
which  is  supposed  to  bring  him  wealth,  fame, 
and  love.  Ah,  yes,  even  love.  But  for  some 
irrelevant  reason,  he's  jailed  a  thousand  miles 
from  the  track  at  the  eleventh  hour.  After  he 
wallops  the  Mexican  army,  the  demon  speed 
yanks  himself  the  length  of  Cahfornia  in 
twenty  minutes.    Aren't  movies  wonderful? 

EVA  AND  THE  GRASSHOPPER— UFA 

T_TERE  is  a  real  novelty  in  which  the  human 
^  -'•actors  are  surpassed  by  a  group  of  insects. 
The  human  story  is  of  a  carefree  dancing  girl 
and  her  more  industrious  sister,  with  an  anal- 
ogy shown  in  the  old  fable  of  the  grasshopper 
and  the  ant.  This  picture  was  made  before 
CamiUa  Horn's  American  debut  and  fails  to  do 
her  justice.  If  you  yearn  for  something  differ- 
ent, see  this. 

THE  FLYIN'  BUCKAROO—Pathe 

JUST  another  'U'estern,  with  less  action  than 
usual.  WaUy  Wales  exchanges  his  broncho 
for  an  airplane  in  this  one  and  provides  the 
wanted  thrill  by  jumping  from  the  plane  with 
a  parachute,  landing  right  into  the  bandits' 
lair.    Of  course,  he  captures  them  all. 

THE  SOMME—New  Era 

npHIS  may  be  the  British  conception  of 
•••  pleasant  entertainment,  but  it  isn't  ours. 
The  Somme  campaign  of  1916  is  re-enacted  for 
the  benefit  of  those  still  interested  in  war  pic- 
tures. There  is  no  plot,  no  romance  and  little 
humor;  it  is  grim  warfare  at  its  worst.    A  sin- 


omia 


Famous  for  Low  Altitude  Comfort 

Individualized  Service  Short,  Direct,  Warm- Winter  Wa'y 

Cosmopolitan  Scenes  En  Route 

Only  route  through  the  new  desert-resort-land  of  the  Great 
Southwest.  6l'i  hours  Los  Angeles  -  Chicago.  Shortest 
and   quickest  Chicago -El   Paso,  Phoenix    and   San   Diego. 

Tickets  and  reseruations  at 

Hollywood  Ticket  Office,  6768  Holly  wood  Boulevard.  Phones  Granite  1601-1802 

Los  Angeles  Ticket  OiEce,  212  West  Seventh  Street.  Phone  Metropolitan  2000 

B.  F.  Coons,  General  Agent,  Rock  Island  Lines 

809  'Van  Nuys  Building,  Phone  Trinity  457-1.  Los  Angeles,  Calif. 

Hugh  H.  Gray.  General  Agent  Passenger  Department 

Southern  Pacific  Lines.  165  Broadway,  Phone  Cortland  4800 

or  531  Fifth  Avenue  at  44th  Street.  Phone  Murray  Hill  8400.  New  York  City 

P.  W.  Johnston.  General  Agent,  Passenger  Department.  Rock  Island  Lines 

723  Knickerbocker  Building.  Broadway  and  42nd  Street 

50}  Phones  Wisconsin  2515-6,  New  York  City. 


^^■^L^Vl^ 


The  Comfortable  t.oiv  Attitude  Houte 


VNTieD  you    write  to   advertisers    please   mention  PHOTOPLAY    MAGAZIXB. 


I04 


Photoplay  Magazine — Advertising  Section 


Adds  Glossy  Lustre, 

Leaves  Your  Hair 

Easy  to  Manage 

IF  you  want  to  make  your  hair  .  .  .  easy 
to  manage  .  .  .  and  add  to  its  natural 
gloss  and  1  ustre — t  his  is  very  EASY  to  do. 
Just  put  a  few  drops  of  Glostora  on  the 
bristles  of  your  hair  brush,  and  .  .  . 
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Glostora  simply  makes  your  hair  more 
beautiful  by  enhancing  its  natural  wa\  e 
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and  so  easy  to  manage,  that  it  will  ...stay 
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A  few  drops  of  Glostora  impart  that 
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A  large  bottle  of 
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or  toilet  goods  coun- 
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Try  it! — You  will 
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much  more  beautiful 
your  hair  will  look, 
and  how  easy  it  will 
be  to  manage. 

~Try  It  FREE 

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1276  West  3rd  Street,  Cleveland,  Ohio 
Please  send  me  FREE  a  sample  of  GLOSTORA, 
all  charges  paid. 


Name. 


In  Canada  address  462  Wellinston  St..  Weat,  Toronto.  2.0nt. 


cere  effort  has  been  made  to  give  an  accurate 
version  of  this  famous  campaign,  but  no  ex- 
aggerations were  necessary  to  make  it  a 
gripping,  if  rather  gory,  picture. 

SMALL  TOWN  SINNERS— Hugo  Brahn 

V\  7HILE  this  is  e.xploited  as  a  comedy  of 
**  Germany's  "Main  Street,"  most  of  the 
action  takes  place  in  a  barroom.  .A  dotty 
grandpa  who  goes  about  tearing  up  the  place 
and  an  affair  between  wifey  and  an  inspector 
furnish  the  plot.     IMild. 

THE  LOOKOUT  GIRl^Quality 

nPHE  lady  in  the  case  exacts  a  promise  from 
•*-  her  husband  that  he  will  not  question  her 
about  her  past.  The  reason,  dear  children,  is 
that  the  lady  is  a  crook  who  has  gone  straight. 
The  plot  becomes  qu'te  comphcated  but  clears 
up  in  some  mysterious  fashion  and  everything 
manages  to  be  "hotsy-totsy"  with  JacqueUne 
Logan  safe  in  Ian  Keith's  arms.  Unworthy  of 
your  attention. 

THE  GUN  RUNNER— Tijffany-Stahl 

A  FROTHY  but  picturesque  tale  of  gun- 
-'*■  runners  in  one  of  those  equatorial  repub- 
lics where  the  president  presides  by  the  grace 
of  circumstance  and  a  steel  vest.  Ricardo 
Cortez  is  graceful  in  the  role  of  a  dashing  officer 
detailed  to  wipe  out  a  nest  of  rifle  peddlers.  He 
faUs  in  love  with  the  outlaw's  sister  and,  in  the 
hectic  heat  of  the  tropics,  duty  and  love  battle 
over  his  heroship.     Both  win. 

BLOW  FOR  BLOW— Universal 

npHAT  nonchalant  musketeer  of  the  equine 
•'•  opus,  Hoot  Gibson,  again  glorifies  law  and 
ginger  ale.  This  story  deals  with  a  renegade 
town  where  sheriffs  are  just  so  many  bull's 
eyes.  Hoot  manages  to  confound  his  enemies 
and  win  the  girl,  but  there's  a  surprise  finish 
you'll  enjoy.     A  good  Western. 

A  MAN'S  MAN—M.-G.-M. 

LIVELY  satire  on  Hollywood  life  as  it  isn't. 
William  Haines  plays  the  straight  role,  in- 
terspersed with  his  brash  comedy,  of  a  four- 
flushing  soda  jerker  with  a  penchant  for  an 
elk's  tooth,  a  personality  school  diploma,  and 
a  movie-struck  wife.  With  these  liabilities, 
he  stoops  to  conquer,  but  stoops  too  far.  Jose- 
phine Dunn,  Mae  Busch,  and  Sam  Hardy  all 
give  startlingly  real  characterizations. 

THE  OFFICE  SCANDAL— Pathe 

THIS  comedy  drama,  revealing  actual  news- 
paper life,  is  a  laugh  riot.  Phyllis  Haver  is 
at  her  best  as  a  hard-boiled  little  sob  sister  con- 
stantly at  war  with  the  city  editor,  who  thinks 
girl  reporters  belong  on  the  household  page. 
During  the  journalistic  lull  of  a  sensational 
murder  case,  she  gets  a  down-and-out  but  bril- 
liant newspaperman  a  job  on  her  paper.  Love, 
scoops  and  mystery — and  an  e.xcellent  cast. 


STOOL  PIGEON— Columbia 

A  SIMPLE  but  well-developed  story  of 
•'*■  inter-gang  rule,  with  Olive  Borden  and 
Charles  Delaney  heading  a  prominent  cast. 
Because  a  young  boy  with  a  winning  smile  and 
an  honest  desire  to  go  straight  tries  to  quit  the 
"racket,"  the  gang  hounds  him,  believing  that 
he'll  squeal.  Fast  moving  and  fuU  of  sharp 
suspense. 

DOMESTIC  MEDDLERS— 
Tiffany-Stahl 

"pOR  anyone  who  had  not  already  seen  several 
■'-  thousand  miles  of  triangle  pictures,  this  one 
would  probably  be  vastly  entertaining.  A  self- 
styled  Don  Juan  makes  a  play  for  his  em- 
ployer's beautiful  wife  but  is  repulsed.  Luckily, 
the  lady  loves  her  husband. 

HUNTINGTOWER— Paramount 

TMPORTED  Scotch— the  real  thing!  But 
-'■wait,  we'll  explain.  Paramount  bought  a 
British-made  picture  that's  just  as  Scotch  as  the 
spirit  of  thrift.  Though  it  doesn't  pretend  to 
give  you  a  story,  it  gives  plenty  of  atmosphere. 
Jovial  Sir  Harry  Lauder  had  best  stick  to  High- 
land yodeling.  He  attempts  to  give  himself 
to  the  cinema,  but,  unaccustomed  as  he  is  to 
giving 

NOISY  NEIGHBORS— Pathe 

A  COMBINATION  comedy  and  mystery 
-*»■  play.  Amusing  in  spots  but  you  won't 
laugh  yourself  to  death.  Too  much  shopworn 
slapstick  and  trite  melodrama.  The  story  deals 
with  the  adventures  of  a  cheap  vaudeville 
troupe,  played  by  the  Quillan  family,  who  be- 
come invoh'ed  in  a  Southern  feud.  They  es- 
cape the  feudists  by  means  of  contrivances  used 
in  their  magic  act.     Only  fair. 

THE  APACHE— Columbia 

A  NOTHER  romance  of  two  sweet  kids  in  the 
■**-Latin  Quarter,  The  story  is  poignant  and 
Phil  Rosen's  direction  is  casual  and  easy.  Mar- 
garet Livingston  does  a  really  excellent  piece  of 
screen  work  as  a  dancer  in  an  Apache  cafe. 
Don  Alvarado,  as  a  provincial  youth  gone 
Apache,  and  Philo  McCollough,  the  heavy,  are 
both  good. 

THE  RAINBOW— Tiffany-Stahl 

A  SLICK  crook  stages  a  fake  gold  rush  on 
the  edge  of  Death  Valley.  But  he's  not 
quite  slick  enough  to  escape  the  mob's  fury 
when  they  find  the  gold  pot  is  a  mirage. 
Though  the  theme  isn't  epical,  Reginal  Barker's 
direction  had  made  a  strong  psychological 
drama.  Dorothy  Sebastian,  Sam  Hardy, 
Lawrence  Grey,  and  Har\'ey  Clarke  head  the 
well-chosen  cast  of  this  colorful  picture. 


Going  Hollywood 


[  CONTI.VUED  FROM  PAGE  31 


at  five  daily.  Because  of  the  business  hours 
she  keeps,  they  point  her  out  on  the  lots  as  she 
passes  by.  This  same  idea  cost  Conway  Tearle 
his  position  in  pictures.  Most  stars  accept  the 
inevitable  delays  and  work  from  six  in  the 
morning  till  midnight,  when  need  be.  Some- 
times they  keep  these  hours  for  weeks  at  a 
time,  all  the  while  simulating  death  or  sorrow 
or  fear  or  whatever  the  scenario  demands. 

Mornings,  noons  and  nights  of  make-beUeve; 
physical,  mental  and  emotional  exhaustion 
following  fast  on  the  heels  of  the  exaltation  all 
artists  e.xperience  in  the  actual  creation  of  their 
work.  And  then  by  way  of  rest  a  visit  to  the 
projection  room  to  watch  themselves  twenty 


times  life  size  upon  a  screen,  or  a  swift  glance 
through  a  dozen  magazines  weighted  with  their 
photographs  and  accounts  of  their  most  insig- 
nificant actions. 

Most  players,  directors  and  producers  come 
to  consider  themselves  the  center  of  the  uni- 
verse. So  also  do  the  writers,  the  world 
famous  novelists,  the  celebrated  dramatists, 
who  stay  too  long  among  the  lotus-eaters. 
And,  not  to  be  disloyal  to  the  craft,  so  do 
writers  for  fan  magazines,  ' '  Going  Hollywood 
sweeps  'em  like  a  plague.  It  takes  a  super-man 
or  woman  to  cultivate  enough  philosophy, 
enough  sense  of  humor,  enough  balance  to 
build  up  a  resistance  against  the  infection. 


Every  ailvertisement  in  PHOTOPL.W  M,\G.\ZIN'E  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


105 


What  happened  to  Dolores  del  Rio  has 
happened  to  countless  others.  She  overworked, 
going  through  two  whole  years  without  a  single 
day  of  rest.  She  suffered  the  soul  agonies  of 
"Resurrection."  She  endured  days  in  the 
frozen  North  for  "The  Trail  of  '98^  She 
created  a  vivid,  passionate  "Carmen."  Her 
egotism  grew  as  her  fame  and  salary  increased. 
Her  days  were  a  sort  of  dazed  whirl  but  every- 
one else  she  met  was  in  the  same  whirl.  The 
other  stars,  Carewe,  her  director,  even  the 
sun  and  the  suave  warmth  of  the  climate  titled 
in.  Everything  fitted  in  e.xcept  Jaime.  Jaime 
stayed  outside,  stayed  real. 

DR.  VICTOR  PARKIN,  consulting  psy- 
chiatrist of  the  general  hospital  of  Los 
Angeles,  has  coined  a  name  for  such  a  state  of 
mind.  He  calls  it  "Phantasia  Hollywoodii" 
and  defines  its  reactions  thus: 

"  People  go  to  Hollywood  because  of  a  wish. 
They  long  to  be  something  other  than  what 
they  can  be  in  the  world  of  harsh  reality.  In 
other  words,  it  is  a  flight  from  actuality  that 
sends  them  Hollywood  bound. 

"Then  comes  a  psychic  infection  of  numbers. 
That's  the  worst  of  this  Phantasia.  It's 
catching.  It's  the  contact  of  people  with 
similar  makeups  who  are  constitutionally 
inadequate. 

"They  don't  trade  ideas  as  much  as  they 
exchange  longings. 

"In  their  spare  time  they  develop  fancies. 
What  happens  to  them  isn't  a  form  of  dementia. 
It  is  a  form  of  mental  alienation  in  which  they 
live  in  a  world  of  fantasy.  They  live  in  a  state 
of  mental  exaltation  and  this  gives  rise  to 
grandiose  ideas  in  which  the  individual  tries 
to  delude,  not  only  others,  but  himself  as  well. 
In  this  state  they  are  sincere." 

So  Dolores  del  Rio  was  sincere  in  her  aliena- 
tion from  Jaime.  Their  status  had  completely 
changed.  In  Mexico  City  she  had  been  Jaime 
del  Rio's  wife.  In  Hollywood  Jaime  became 
Dolores  del  Rio's  husband.  The  situation  was 
intolerable  for  both  of  them.  Dolores  believed 
she  was  out  of  love  with  him.  There  was 
propinquity  and  Mr.  Carewe. 

I  fancy  that  Jaime,  with  the  clairvoyance  of 
true  love,  always  knew  that  Dolores  wasn't 
really  out  of  love  for  him.  Certainly  he  never 
ceased  his  love  for  her.  But  because  of  it  he 
violated  his  religion  and  upbringing  and  gave 
her  a  divorce,  since  it  was  the  thing  she  wanted. 

There  had  been  another  love  of  this  calibre 
in  Hollywood,  a  love  a  little  less  conspicuous, 
a  little  less  easy  to  write  about  since  it  never 
reached  the  marriage  state,  the  love  of  Mauritz 
Stiller  for  Greta  Garbo. 

NO  one  knows  the  real  Greta  Garbo.  No 
one  ever  will.  She  is  a  woman  who  walks 
by  herself.  She  is  more  truly  of  the  artist  blood 
than  the  warmly  human  del  Rio,  and  to  that 
extent  she  will  always  be  more  self-sufficient. 
Yet  plainly  Mauritz  Stiller  meant  much  to  her. 

It  was  because  of  Stiller  that  Garbo  origin- 
■  ally  came  here.  He  had  refused  to  sign  a 
contract  with  Metro-Goldwyn-Mayer  unless 
they  also  gave  a  contract  to  his  young  protegee. 
Miss  Garbo.  They  landed  here  together. 
Stiller,  the  great  personality;  Garbo,  a  badly 
dressed,  shy,  gawky  girl. 

Then  Hollywood  got  them. 

Stiller  failed  in  Hollywood.  The  reasons 
aren't  completely  clear.  He  was  a  tempera- 
mental Swede  accustomed  to  authority.  He 
wanted  to  take  time  with  scenes,  to  be  overlord. 
The  Hollywood  film  machine  wouldn't  let  him. 

His  first  American  picture  was  also  Garbo]s 
first.  When  it  was  half  finished,  they  took  it 
away  from  him  and  gave  its  direction  over  to 
Fred  Niblo.  But  they  kept  Garbo.  -They  had 
seen  her  rushes  and  knew  how  pood  she  was. 

Can  you  conceive  how  it  must  have  humil- 
iated Stiller's  haughty  pride  to  dine  nightly 
with  the  girl  he  had  discovered  and  know  she 
was  working  toward  stardom  under  the  direc- 
tion of  another  man  on  a  picture  from  which 
he  had  been  discarded? 

And  because  every  woman  deep  m  her  soul 
wants  to  worship  the  man  she  loves,  wants  to 


<^Z2^  Jar  that  should  be  Jade 
and  wrapped  in  Golden  Covers 


THERE  are  more  comely  bot- 
tles than  this — more  beauti- 
ful jars — jars  flashing  with 
color  and  wrapped  in  ribbons  and  gold! 

But  there  is  no  jar — however  beauti- 
ful, however  costly,  which  holds  a  greater 
beauty  secret  than  this  simple  little  jar 
of  Sal  Hepatica. 

Its  cost  is  trifling  and  its  dress  is  plain. 
Yet  Sal  Hepatica  keeps  pure  the  skin  of 
all  women  who  use  it,  for  it  keeps  them 
free  from  constipation — internally  clean 
by  the  saline  method.  Blemishes  go. 
Dullness  vanishes. 

The  saline  treatment  has  long  been 
famous  for  the  good  it  does  and  the 
beauty  it  brings.  Vichy,  Carlsbad,  Wies- 
baden— are  thronged  each  year  with 
fashionable  women  who  make  regular 
pilgrimages  to  these  natural  "fountains 
of  youth."  Drinking  the  saline  waters, 
their  complexions  are  restored  to  fineness, 
they     find     themselves    fresher  —  better 

At  yntir  drrige^ist's 


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Sal  Hepatica  is  the  American  equiva- 
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Oal  Hepatica,  taken  before  breakfast,  is 
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io6 


Photoplay  Magazine — Advertising  Section 


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look  up  to  him,  can  you  see  how  this  same 
situation  must  ha\'e  humbled  Garbo? 

You  know  what  a  triumph  her  first  picture 
was  and  how,  in  a  day,  her  fame  rushed  round 
the  globe.  And  how  with  each  succeeding 
picture  her  fame  grew  more  vast;  how  she 
e%olved  from  a  gangling  Swede  into  a  sophis- 
ticated enchantress;  how  her  salary  leaped 
from  S200  to  something  close  to  $7,000  a  week. 

Garbo  was  a  success.  Stiller  left  Metro, 
went  to  Paramount.  Everyone  thought  con- 
ditions there  would  be  easier  for  Mm.  But 
something  happened  there,  too.  He  made  a 
picture  with  Pola  Negri,  another  with  Jannings. 
They  were  distinguished  failures. 

Stiller  was  just  as  loquacious  as  Garbo  herself, 
which  means  as  talkative  as  a  bank  vault. 
I  once  asked  a  foreign  star,  who  had  known  him 
in  Germany,  if  she  thought  the  elderly  Stiller 
loved  the  glamorous  Greta. 

"I  believe  he  wakes  mornings  and  goes  to 
sleep  nights  whispering  'Greta  Garbo,  Greta 
Garbo,'  "  she  said. 

Finally  Stiller  sailed  back  to  Sweden,  de- 
feated, alone.  Not  a  word  was  heard  of  him 
until  his  sudden  death  was  announced. 

Now  Garbo  is  rushing  back  to  Sweden  in 
what  looks  close  to  panic  to  visit  Stiller's  grave. 

Staid  citizens  of  middle-class  cities  go  out 
to  the  South  Seas,  forget  their  sane  middle-class 
conventions  and  take  native  wives,  go  native. 

No  less  do  beautiful,  talented  people  on 
encountering  the  siren  quality  of  Hollywood, 
go  Hollywood. 

The  sad  case  of  Pola  Negri  is,  of  course, 
classic.  She  went  so  Hollywood  she  forgot  all 
about  art,  all  about  acting  in  its  realest  sense, 
and  used  the  death  of  a  great  actor  as  the 
vehicle  for  a  cheap  scene  staged  for  a  gullible 
press. 

"YOUNG  James  Murray,  once  an  usher  at 
■'■  the  Capitol  Theater,  New  York,  got  a  break 
when  King  Vidor  picked  him  from  the  e.xtra 
ranks  to  become  leading  man  in  "  The  Crowd." 
Jimmie  was  a  nice  boy  and  a  good  actor,  but 
the  jump  from  "Right  this  way,  please,"  to 
"here  comes  the  star"  proved  too  much  for 
him. 

He  ritzed  his  friends  and  harangued  studio 
officials.  The  studio  forgave  and  offered  him 
fresh  opportunities.  Jinimie  refused  to  demon- 
strate his  genius  except  for  being  the  perfect 
sap.  Today  nobody  knows  what  his  future 
holds.    And  few  care. 

Nazimova  was  the  first  of  the  really  big 
players  to  go  Hollywood.  Today  she  is  playing 
second  fiddle  to  a  much  lesser  actress,  Eva 
LeGallienne,  in  a  tawdry  theater  on  Fourteenth 
Street,  New  York.  When  Mae  Murray  got 
to  be  queen  of  the  studio  she  forgot  old  friends. 
Now  she  has  gone  M'Divani  Uke  Pola  Negri 
and  her  meal  ticket  is  a  vaude\'ille  act. 

Charlie  Ray,a  simple  lad  at  heart,  went  goofy 
over  black  marble  bath-tubs,  swimming  pools 
in  the  back  yard  and  similar  swash.  Charlie 
tried  to  do  everything  on  "The  Courtship  of 
Miles  Standish"  e.xcept  play  Pl>'Tnouth  Rock. 
Miles  pro\'ed  a  bad  case  of  bo.x  office  frost- 
bite. Charlie  lost  his  private  fortune  and 
swelled  head.  He  made  a  valiant  struggle  to 
come  back.    But  it  was  too  late. 


When  Harry  Langdon,  who  had  been  an 
obscure  comic  at  Sennett's,  first  went  to  First 
National  to  do  fuU  length  features  he  could 
practically  have  pulled  a  Salome,  demanded  the 
head  of  the  company's  president  on  a  platter 
and  have  gotten  away  with  it. 

The  studio,  in  attempting  to  do  right  by 
Harry,  did  the  most  fatal  thing  they  could. 
They  gave  him  his  way  about  everything. 

Harry  went  completely  haywire.  He  got 
himself  so  wrapped  in  stardom  he  went  six 
months  without  hearing  a  single  "no." 

But  he  heard  plenty  of  "no's"  when  the 
reports  came  in  from  the  exhibitors  who  had 
showed  his  pictures.  When  his  contract  ran 
out,  he  wasn't  re-signed. 

COMETIMES  I  think  Hollywood  is  the  sad- 
'^dest  place  in  the  world  because  it  is  a  com- 
munity where  the  maddest  dreams  come  true. 

The  climate  does  weird  and  wonderful  things 
to  the  youth  and  beauty  that  comes  pros- 
pecting for  gold  and  glory  in  the  films. 

Hollywood  gets  the  Kleig-struck  kids  from 
Kamm's  corners  and  the  stars  alike.  Daft  with 
sunshine  and  talk  in  six  figures  the  humblest 
soul  is  inclined  to  break  out  with  rapid  pulse, 
snakeskin  sandals,  cerise  Fords,  tall  millinery 
and  Napoleonic  impulses.  Then  they  start 
going  in  for  nutty  affectations  and  upturned 
nostrils  when  they  encounter  those  who  knew 
them  when. 

It  might  be  funny  if  it  weren't  so  tragic. 

To  the  sensitive,  it  isn't  easy  to  watch  rosy 
cheeks  turn  into  vermUion  splotches  or  soft 
bright  locks  become  lifeless  under  ammonia 
and  peroxide.  It  isn't  comfortable  to  observe 
stars  who  have  faded  or  never  arrived;  stars 
grown  stale  and  old;  stars  whom  the  high 
hat  ruined  socially  and  professionally;  those 
who  couldn't  leave  snicker  water  or  the  play- 
boys alone. 

(OCCASIONALLY  talent  burns  in  a  sunple 
^^soul  vfith  the  purity  of  a  flame  in  an 
alabaster  vase.  Such  a  combinarion  produces 
a  Janet  Gaynor. 

But  more  often  realized  talent  acts  hke  a 
drug  against  the  actualities  of  life.  The 
individual  goes  gold-crazy,  sex-crazy,  fame- 
crazy  and  gets  childishly  defiant  of  fate. 

When  the  dream  is  first  realized  the  lucky 
ones  are  gay  and  triumphant,  fuU  of  beauty, 
success  and  self-satisfaction.  They  ignore  the 
histories  of  those  who  have  gone  before  them 
and  renounce  love  and  gallantry  as  evidences 
of  weakness. 

They  believe  they  have  all  life  within  their 
grasp  and  indulge  their  slightest  caprice.  There 
is  only  self,  self,  self  and  the  glorification  of  self. 

Slowly  the  dream  tarnishes  and  their  fame 
becomes  dead  sea  fruit.  They  awaken  to  the 
realization  that  something  has  gotten  them  but 
they  don't  know  what. 

The  answer  hes,  as  it  was  written  many 
centuries  ago  in  the  greatest  of  books. 

"For  what  shall  it  profit  a  man,  if  he  gain 
the  whole  world,  and  lose  his  own  soul?" 

The  saddest  person  in  Hollywood  is  not 
always  the  extra  who  fails  and  goes  back  home. 

.'Ml  too  frequently  it  is  the  one  who  stays 
and  wins  stardom. 


What  Are  Your  Correct  Colors? 


[  CONTINUED  FROM  PAGE  81 


your  assets  and  even  more  carefully,  your 
defects.  Then,  when  trying  on  the  colors 
recommended  for  your  type,  determine  just 
what  nuances  of  color  do  the  most  to  improve 
your  appearance,  emphasize  your  personality, 
and  to  hide  from  the  world  those  imperfections 
which  should  remain  your  little  secret. 

The  \'ivid  brunette,  she  with  the  vivid  red- 
orange  coloring  in  cheeks  and  lips,  warm  orange 
background  coloring  in  her  skin,  dark,  but 
definitely    colorful    hair    with    coppery    high 


fights,  with  dark  eyes  showing  the  same  rich 
brown  coloring,  is  indeed  fortunate.  Her  vivid 
forceful  coloring  expresses  a  strong  personality, 
one  that  is  not  easily  hidden  or  subdued,  by 
strong  colors  in  the  costume.  She  can  wear 
stronger,  more  diecided  colors  than  any  other 
type.  Delicate  pale  colors  should  however  be 
avoided  for  they  tend  to  make  her  coloring 
appear  coarse  and  heavy  by  contrast.  When 
light  colors  are  worn  they  should  be  the  warm 
orange  and  red-orange  tints. 


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lo: 


Dark  warm  colors  may  be  fairly  intense. 
Rich  dark  reds,  deep  dark  browns,  warm  tans 
and  rosy  beiges,  sometimes  dark  rosy  grays  or 
taupes,  black  if  the  skin  is  clear,  are  all  flat- 
tering. 

Medium  values,  those  neither  light  nor 
dark,  in  warm  rose  and  coral  shades,  which 
of  course  are  really  red  and  red-orange,  golden 
oranges,  yellow-orange  and  dull  creamy  yellows 
deserve  a  prominent  place  on  the  list  of  colors 
becoming  to  the  brunette  with  vivid  coloring. 

If  she  has  a  clear  healthy  skin  she  may  find 
green,  especially  dull  greens  which  have  been 
neutralized  until  they  are  less  aggressively  cold, 
wearable — but  seldom  as  flattering  as  warm 
colors.  Blues  should  be  avoided  in  almost  all 
instances.  Violets  are  e.xtremely  doubtful, 
frequently  giving  the  skin  a  dark  greenish 
cast. 

Warmer  red-violets  may  be  permissible,  if 
the  complexion  is  e.xtremely  good — but  why 
should  any  vivid  brunette  wear  them  when 
the  red-oranges  are  infinitely  more  becoming, 
harmonizing  with  and  emphasizing  her  own 
rich  coloring? 

THE  brunette  with  olive  skin,  frequently 
called  the  Latin  t>'pe,  not  only  has  less  vivid 
color  in  lips  and  cheeks,  but  her  background 
coloring  is  more  subdued.  Its  orange  tone  is 
more  grayed  or  neutralized  so  that  it  appears 
almost  yellow  green  rather  than  a  pure  orange. 
This  coloring  is  distinctive,  interesting,  pos- 
sesses a  subtihty  which  gives  character  to  the 
individual. 

It  may  of  course  be  modified  by  the  use  of 
rouge  and  lipstick,  making  the  flesh  tints  more 
vi\id,  in  which  case  colors  more  nearly  like 
those  worn  by  the  vivid  brunette  may  be 
recommended. 

The  brunette  with  olive  skin,  however,  does 
well  to  dress  so  that  her  unusual  hues  arc 
emphasized,  not  changed  or  concealed.  She 
may  do  this  by  wearing  warm  colors  which 
have  been  neutralized  until  they  assume  a 
dusky,  grayed,  shghtly  olive  cast.  Vivid 
warm  colors  may  also  be  worn,  \-ivid  reds  and 
oranges,  dark  warm  colors  and  those  of  medium 
value,  even  slightly  lighter  than  those  worn 
by  the  vivid  brunette  may  be  worn  when  the 
skin  is  clear. 

Red-violet  is  frequently  becoming  although 
red-orange  deserves  first  place  in  the  wardrobe. 

Softened  grayed  cool  colors,  those  which 
have  been  neutralized  until  the  coolness  has 
taken  on  a  tinge  of  warmth,  soft  olive  greens, 
dark  dull  greens,  very  dark  navy  blue,  are 
sometimes  e.xtremely  becoming,  especially 
when  worn  with  an  accent  of  warm  color. 
Light  and  bright  cool  colors,  particularly  blue, 
make  the  skin  seem  dark  and  too  yellow. 

T^HE  olive  skin  does  not  possess  sufficient 
•*•  color  to  permit  the  wearing  of  decided  neu- 
tral tones  unless  accents  of  stronger  color  are 
combined  with  them.  Warm  beiges  and 
browns,  those  decidedly  orange  and  red-orange 
rather  than  yellow  are  most  pleasing  of  the 
neutrals.  Warm  rosy  grays,  particularly  rosy 
taupe,  may  be  worn  if  the  skin  is  clear.  Black, 
especially  when  combined  with  an  accent  of 
warm  color,  emphasizes  the  individual's  truly 
distinctive  coloring. 

The  cool  dark  tv-pe,  the  brunette  with  cool 
skin,  blue-black  hair,  frequently  with  eyes  of 
cool  color,  possesses  little  in  common  with 
other  brunettes,  although  she  is  frequently 
confused  with  them,  may  herself  make  the 
mistake  of  dressing  like  them.  She  is  however 
so  different  in  actual  coloring  that  we  shall 
consider  her  color  problem  in  a  later  article. 


Next  month  Miss  Hempstead 
will  write  about  the  correct  color 
for  blondes.  And  PHOTOPLAY'S 
cover  will  be  a  color  chart  for  girls 
with  light  hair  and  blue  eyes. 
Watch  for  the  color  chart  and 
article  in  the  March  PHOTOPLAY. 


our 


HAIR 


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The  Politest  Man  in  Hollywood 


[  CONTINUED  FEOM  PAGE  45  ] 


taking  jobs  in  city  after  city,  but  always  closer 
to  her  golden  goal — Hollywood. 

"For  six  days  of  the  week,  she  labored — 
wiping  the  children's  noses,  picking  up  their 
toys,  coaxing  them  to  eat  their  stewed  prunes 
and  cereal.  On  the  seventh,  which  was 
Wednesday  —  her  day  off — she  rested  by 
spending  every  minute  at  the  movies. 

"CHE  found  one  theater  down  town  that 
'-'  opened  at  eleven  o'clock  in  the  morning. 
Very  often  she  sat  through  the  show  twice,  if  it 
was  good,  or  if  one  of  her  favorite  stars  was 
playing.  When  it  was  over,  she  went  to  another 
picture  theater  and  then  another,  ending  up 
with  her  sixth  at  eleven  o'clock  at  night.  She 
didn't  bother  about  meals.  Just  snatched  some 
orange  juice  at  a  counter  and  nibbled  chocolate 
almond  bars  in  the  dark  theater,  while  she 
tingled  and  thrilled  to  the  screen  romances  that 
went  on  before  her  eyes. 

"She'd  never  had  any  romance  of  her  own. 
Back  in  Scotland  so  many  of  the  boys  went  off 
to  war  and  didn't  come  back.  There  were  at 
least  three  girls  to  every  male  of  her  age.  What 
chance  was  there  for  plain  little  Effie? 

"When  she  first  came  to  us,  she  did  have 
a  little  flutter  about  the  milkman.  She  made  a 
point  of  taking  the  baby  down  into  the  kitchen 
every  morning  for  his  six  o'clock  feeding.  Joe 
delivered  the  milk  about  that  time  and  when 
Efiie  saw  his  handsome  broad-shouldered  figure, 
clad  in  blue  jeans  like  a  he-man  hero,  she  fell 
for  him  immediately. 

"Then  she  found  out  from  othermaids  in  the 
neighborhood  that  Joe's  remarks  were  merely 
his  usual  line — he  considered  it  part  of  his 
business  to  'kid  'em  along'  at  all  the  houses 
where  he  delivered  milk.  So,  as  she  never 
could  get  any  real  attention  from  him,  she  had 
to  fall  back  on  the  movies  again.  She  satisfied 
her  starved  life  by  putting  herself  in  the  hero- 
ine's place  in  every  screen  romance  she  saw. 


and  of  course,  to  her,  every  hero  was  the  milk- 
man. 

"Then  she  saw  Jack  Arden's  first  big  hit. 
"Vou  remember  what  a  sensation  'His  Night' 
was?  After  EfSe  saw  that,  she  didn't  bother 
about  the  milkman  any  more.  When  she 
watched  that  dashing  curly-haired,  glowing- 
eyed  Prince  of  American  lovers,  she  sat  back 
in  the  tense  darkness  of  the  theater  with  her 
chocolate  almond  bar  forgotten  and  melting, 
in  her  plump  warm  little  hand. 

"Jack  wasn't  making  love  to  whoever  was 
lucky  enough  to  be  his  leading  lady  at  the 
moment.  It  was  Effie  Brown  he  was  making 
love  to.  It  was  for  Effie  he  dared  and  fought 
and  vanquished  the  villain.  And  in  the  final 
closeup,  it  was  Effie  Brown  he  smothered  to  his 
manly  chest  and  kissed  with  an  overwhelming 
two  foot  passed-by-the-board-of-censorship 
kiss.  But  you  all  know  what  Jack  Arden  can 
do  in  a  two  foot  kiss ! 

"HTHIS  had  been  going  on  for  about  six 
■^  months,  when  I  invited  Jack  to  dinner.  It 
was  a  big  party,  and  I  needed  extra  help.  How- 
ever, the  baby  was  having  a  new  tooth  and 
Efiie  had  been  up  with  him  three  nights  in  suc- 
cession, so  I  told  her  she  didn't  have  to  wait  on 
the  table.  Just  help  with  the  preparations  and 
serve  as  maid  in  the  upstairs  bedroom,  where 
the  women  guests  were  to  leave  their  wraps. 

"As  usual,  I  ran  over  the  Kst  of  those  who 
were  coming,  with  Effie,  because  I  knew  how 
much  pleasure  it  gave  her.  But  she  was  so 
tired  that,  for  once,  her  eyes  didn't  sparkle  in 
response,  until  I  spoke  Jack  Arden's  name. 
Then  all  her  fatigue  and  weariness  left  her. 

"  'Jack  Arden,  Ma'am!  You've  never  had 
him  here  before,'  she  said  a  bit  reproachfully. 
'  Oh  Ma'am,  you  must  let  me  wait  on  the  table. 
The  extra  waitress  will  never  be  able  to  handle 
such  a  crowd.  I  couldn't  bear  to  miss  it!  I'm 
not  tired  a  bit,  really.    And  I  couldn't  see  half 


Cecil  B.  De  Mille  goes  to  work  for  Louis  B.  Mayer 
"Yes,  Mr.  De  Mille." 
"Yes,  Mr.  Mayer." 

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enough  of  Jack  Arden  by  peeking  through  the 
bannisters  from  upstairs.' 

"When  Jack  arrived,  an  hour  and  a  half  late, 
he  was  in  his  best — or  you  might  say  his  worst 
— form.  He  was  rude  as  the  devil  to  his  dinner 
partner,  the  kittenish  wife  of  a  big  producer, 
whom,  for  business  reasons,  I  particularly 
wanted  to  have  a  good  time.  After  dinner, 
when  the  bridge  tables  were  set  up,  Jack  voiced 
his  scorn  of  those  who  waste  their  evenings  at 
cards.  He  wouldn't  take  up  bridge,  because 
he  couldn't  show  up  as  a  brilliant  player  with- 
out months  of  practice.  He  went  into  a  dusky 
corner  and  held  the  hand  of  a  certain  young  and 
bewitching  star  with  whom  his  name  has  been 
connected — and  disconnected — a  year  ago. 
Just  when  she  was  getting  interested,  he  left 
her  flat  to  call  up  a  Broadway  musical  comedy 
favorite,  by  long  distance,  thereby  adding  the 
finishing  touches  to  some  gossip  about  them 
that  had  been  circulating  of  late. 

"TN  spite  of  the  fact  that  we  were  all  trying 

■I-  to  concentrate  on  our  cards,  he  insisted  on 
tuning  in  the  radio  to  a  noisy  prize-fight.  And 
when  the  players  finally  gave  up  protesting,  he 
suddenly  turned  it  off  and  curled  up  in  a  corner 
by  himself,  absorbed  in  a  book  of  old  prints. 
A  little  later,  somewhat  to  my  mystification,  he 
disappeared  entirely,  without  bothering  to  say 
goodnight  to  anyone. 

.  "It  wasn't  until  EfEe  resigned  a  couple  of 
months  later,  that  I  found  out  what  had  really 
happened.  It  seemed  that  when  Jack  disap- 
peared, he  didn't  go  home  at  all,  but  made  his 
way  to  the  kitchen  to  explore  the  ice-bo.x.  I  had 
noticed,  and  writhed  to  notice,  that  the  dinner 
I  had  spent  such  a  long  time  planning,  was 
practically  ignored  by  his  highness  at  the  table. 
In  fact.  Jack  had  nibbled  nothing  but  crackers. 
So  now  he  was  hungry  and  on  the  trail  of  cold 
chicken  and  left-over  salad. 

"It  was  here  that  Effie  came  upon  him, 
rather  pale  and  harassed  and  worried  looking, 
talking  in  low  tones  to  that  little  rat.  Art 
Saunders.  Effie  didn't  mean  to  Usten,  but  she 
told  me  that  after  the  first  words,  she  was  so 
worried,  she  just  couldn't  break  away. 

"  '  For  God's  sake.  Art,'  Jack  was  pleading, 
in  his  best  movie-tone  voice,  'Lend  me  twelve 
hundred  dollars.' 

"  'But— but— but— 'stuttered  Art. 

"  'I  tell  you  I'm  in  a  hell  of  a  fLx.  Can't 
sleep,  can't  eat,  can't  even  act,  I'm  so  worried.' 

"  'But  Jack,  I  can't  believe  you  could  need 
money.  Everyone  knows  how  much  you 
make.' 

"  'Yes,  people  think  just  because  I'm  a  big 
star  my  money  troubles  are  over.  But  they 
don't  realize  what  a  lot  it  takes  to  keep  me 
going.  There's  alimony  and  income  ta.x  and 
I  was  simply  cleaned  out  on  that  last  stock 
flurry.  I  owe  four  years  back  income  tax  with 
the  government  handing  me  a  fat  fine  for  false 
returns.' 

"  'TT'S  awful,  but  wait  'til  you  hear  my  tale 

-*■  of  woe  about  income  ta.x — '  began  Art, 
but  Jack  cut  him  short  and  went  on. 

"  'I  even  sold  my  roadster,  so  I'd  be  able 
to  square  a  few  things,  but  I  forgot  I  hadn't 
made  all  the  payments  on  the  car.  Maybe  the 
loan  shark  who  talked  me  into  almost  giving 
it  to  him  isn't  sore  as  blazes.  He  threatens  jail 
if  I  don't  pay  up  tomorrow.' 

"  'But  surely  you  ought  to  be  able  to  bor- 
row.' Art  was  edging  uneasily  towards  the 
door.  Jack  followed  and  laid  a  desperate 
hand  on  his  arm. 

"  'Art,  this  gang's  generous  all  right,  but 
not  to  me.  They  all  say  they  know  me  too 
well.  The  company  has  stood  behind  me  so 
far,  but  they're  fed  up  now  and  think  I  need  a 
lesson.    You're  my  last  hope — ' 

"  'I'm  deuced  sorry,  but  I'm  so  flat — '  Art 
had  his  hand  on  the  knob.  Jack  dropped  back 
hopelessly. 

"  'If  you  knew  how  I  was  counting  on  you. 
If  I  can't  get  twelve  hundred  to  settle  for  that 
car,  tomorrow,  it  means  jail — that  is,  if  I'm 
alive  when  they  call  for  me.' 

"Jack's  voice  broke  with  a  pathos  that  cut 

when  y 


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I  lO 


Photoplay  Magazine — Advertising  Section 


Sallow 

and  pale 


takes  this  safe 
laxative  she 
gives  children 


. .  soon  her  complexion 
is  pink  and  clear 


WHEN  you  feel  out  of  sorts,  con- 
stipation is  probably  at  work. 
Take  Ex-Lax.  This  modern  laxative 
tastes  so  good  that  it's  hard  to  realize  the 
real  good  it  can  do  for  you.  But  it  quickly 
brings  roses  back  to  the  cheeks  by  help- 
ing to  relieve  constipation  naturally — 
without  upsetting  the  stomach  orgriping. 

You'lllike  Ex-Lax,  as  much  as  children 
do.  It  tastes  like  fine  chocolate.  It  is 
chocolate  treated  with  tasteless,  harmless 
phenolphthalein  that  doctors  recognize 
as  the  agent  for  correcting  constipation. 

Whenever  you  need  a  laxative,  take 
Ex-Lax.  Give  it  to  your  children.  It 
is  safe,  gentle  in  action,  effective  and 
non-habit-forming. 

Get  Ex-Lax  from  your  druggist.  But 
avoid  substitutes,  of  which  there  are 
many.  Get  the  original  phenolphthalein 
laxative — Ex-Lax.    10c,  25c  and  50c. 

You  can  also  obtain  Ex-Lax    Fig  Flavor'^ . 

FOR     CONSTIPATION 

EX- LAX 


TASTES     LIKE     CANDY 


Effie  to  the  heart.  You  can  imagine  the  effect 
of  the  situation  on  her.  The  hero  of  her 
dreams,  broke,  facing  jail,  suicide!  She 
listened  in  silence  until  Art  had  scurried  away 
in  his  rat-like  fashion. 

"Then  she  walked  right  up  to  Jack,  and 
spoke,  as  she  described  it,  in  a  voice  that  didn't 
sound  like  herself  at  all. 

"  'Please  e.xcuse  me,  Mr.  Arden,  but  I  can 
save  you.' 

"  '  You  save  me?'  Jack  looked  down  at  the 
little  figure  in  complete  amazement.  I  can  just 
see  the  scene,  with  Effie  standing  there,  the 
center  of  a  tableau  for  once  in  her  life,  imagin- 
ing herself  a  sort  of  Joan  of  .•^rc,  or  rather  the 
heroine  of  a  Super-Special,  her  pale  eyes  flash- 
ing lire. 

"T'LL  give  Jack  credit  that  he  didn't  burst  out 
-•■  laughing,  though  as  Effie  described  it,  he 
seemed  to  be  quite  choked  up  with  emotion. 
When  he  recovered  himself,  he  said: 

"  'But  how — my  sweet  child?  What  could 
you  do?' 

"  'You  see  sir,  I've  got  quite  a  lot  over 
twelve  hundred  dollars  saved  up.  I  thought 
I'd  take  a  trip  back  to  Scotland  with  it,  or 
buy  some  lots  in  Studio  City,  but  oh,  Mr. 
Arden,  if  you'd  only  take  it,  how  proud  and 
happy  I'd  be.' 

"  'l\Iy  dear  bank  president's  daughter,  of 
course  I  can't  let  you  lend  me — ' 

"  'Oh  please  don't  joke  sir,  I  didn't  mean 
lend.  You're  so  in  debt  you'd  never  be  able 
to  pay  it  back.    I  want  to  give  it  to  you.' 

"  'Give  me  twelve  hundred  dollars!'  Jack 
gasped. 

"'Yes  sir.  I  don't  really  need  it.  It's  easy 
to  save  money,  being  a  nursemaid.  I  don't 
have  any  expenses  except  carfare  and  movies 
and  they  hardly  make  a  dent  in  the  eighty 
dollars  I  get  every  month.  It  wouldn't  be 
more  than  a  couple  of  years  until  I'd  have  that 
much  saved  up  again,  so  if  you'd  only  take — ' 

"  'You  want  to  give  me  all  that  money  and 
you  don't  want  anything  in  return?'  Jack 
couldn't  get  it  through  his  head  somehow. 

"  'No,'  said  Effie,  'just — ' 

"  'Just  what?'  asked  Jack,  a  harsh  note  in 
his  voice.  Life  had  taught  him  to  e.xpect  a 
catch  in  any  generous  offer  made  him  and  he 
thought  he  had  it  at  last. 

"  'Well  sir,'  Effie's  voice  trembled  slightly, 
but  she  went  on  and  I've  always  admired  her 
Scotch  directness  in  coming  right  to  the  point. 
'If  it  wouldn't  be  asking  too  much,  I'd  like  you 
to  take  me  out  for  just  one  evening.' 

"  'What!'  Jack  was  floored  for  once  in  his 
Hfe. 

"  'Oh  sir,  you  wouldn't  have  to  be  polite  or 
even  talk,  if  you  didn't  want  to.  You  could 
even  go  to  another  party  afterwards.  I  have 
to  be  in  by  ten  on  account  of  the  baby.' 

"  'But  I  don't  quite  see  how  my  taking  you 
out — ' 

"  '(^H  sir,  what  it  would  mean  to  me  to  be 

^-^  all  dressed  up  and  have  people  see  me 
walk  into  a  restaurant  with  you!  'To  have  all 
the  waiters  bowing  and  scraping!  To  sit  oppo- 
site you  and  eat  all  kinds  of  fancy  foods,  like 
in  a  DeMille  picture!  Oh  won't  you  do  it,  sir, 
please,  please!' 

"  'You  mean  you  want  to  spend  twelve 
hundred  dollars  of  your  hard  earned  money 
just  to  have  me  take  you  out  once — we'll  say  to 
the  Montmartre?' 

"  'Oh  yes  sir.  Why  not,  sir?'  said  Effie  with 
such  an  air  of  rapture  that  Jack  argued  no 
further.  He  looked  for  a  moment  into  her 
shining  eyes  and  then  suddenly  put  out  his 
hand. 

"  '.\11  right,  kid.    'You're  on.' 

"  'Oh  thank  you,  sir,  and  will  it  be  all  right 
if  I  get  you  the  money  the  first  thing  in  the 
morning?' 

"  'Oh  yes,  the  money,'  said  Jack  casually. 
"  'Let's  see,  you'd  better  send  it  to  my  secre- 
tary at  the  studio.' 

"  '.\nd  you'll  really  take  me  to  the  Mont- 
martre?' 

"Jack  looked  at  her  with  a  twinkle  in  his 


eyes,  which  Eifie  interpreted  as  joyful  relief 
at  his  escape  from  his  financial  troubles. 

"  'Montmartre,  nothing!  I'm  going  to  take 
you  to  the  Mayfair.' 

"  'Mayfair!' gasped  Effie. 

"  'Yes,  the  last  dinner  dance  of  the  season  is 
next  Saturday  night. 

"  'I've  got  a  couple  of  tickets  already,  so  it'll 
really  save  me  money.' 

"  'CAVE  you  money?  That's  fine,  sir.  But 
^  Mayfair.     Oh  I  never  dreamed — ' 

"But  Effie  was  talking  to  Jack's  retreating 
back,  for  in  his  impulsive  way,  he  had  started 
out  of  the  kitchen. 

"Effie  sat  there  repeating  it  over  and  over  to 
herself. 

"  'Mayfair!  He's  going  to  take  me  to  May- 
fair!' 

"It  was  as  if  he  had  offered  to  take  her  to 
Heaven. 

"For  the  next  few  days  Effie  was  as  scrupu- 
lously careful  about  the  children  as  usual, 
although  I  remember  that  about  that  time,  I 
began  to  notice  a  strange  far  away  look  in  her 
eyes. 

"She  had  mysterious  telephone  calls,  which 
I  discovered  later  were  to  do  with  renting 
a  dress  and  evening  cloak  from  a  certain 
costume  company  in  Hollywood  that  is  often 
the  salvation  of  girls  starting  in  pictures. 

"  Saturday  morning,  she  came  and  asked  me 
if  I'd  mind  if  the  cook  slept  in  the  nursery  that 
night  so  she  could  go  out  for  the  evening.  She 
asked  it  with  that  defiant  'You'd  better  or  I'll 
quit'  look — the  first  and  only  time  I'd  had  it 
from  Effie. 

"After  the  children  had  been  safely  tucked 
into  bed,  she  went  up  to  her  room  to  don  the 
rented  clothes.  There  was  a  green  chiffon 
gown  trimmed  with  rhinestones  and  a  rather 
tarnished  silver  lame  coat  with  a  white  rabbit 
collar,  but  they  looked  like  a  million  dollars  to 
Effie. 

"She  had  ordered  a  simple  little  corsage  of 
lilies  of  the  valley  for  herself,  but  just  as  she 
was  ready  to  go,  there  arrived,  late,  as  was 
characteristic  of  Jack,  a  square  white  box, 
frivolous  with  silver  ribbon  and  mahne; — the 
first  and  probably  the  last  orchid  in  Effie's 
young  life. 

"  CHE  stole  off,  in  all  her  splendor,  to  take  a 
^  bus  to  the  Athletic  Club  where  she  had 
agreed  to  meet  Jack,  not  wishing  to  trouble 
him  any  more  than  necessary. 

"He  didn't  keep  her  waiting  more  than 
three  quarters  of  an  hour,  but  it  was  a  year  to 
Effie,  who  had  never  been  late  to  anything  in 
her  life. 

"When  he  finally  arrived,  he  looked  more  a 
hero  than  ever  in  his  evening  clothes.  It 
seemed  like  a  part  of  a  dream  as  he  bowed  low 
before  her,  offered  her  his  arm  and  escorted 
her  out  to  his  glittering  foreign  car  with  its 
plush  velvet  interior,  its  little  crystal  electric 
lights,  trick  vanity  case  and  the  fragrance  of 
roses  from  its  silver  vases. 

"The  Mayfair  is  such  an  old  story  to  us  that 
we  forget  what  a  thrill  it  must  be  to  outsiders. 
You  can  imagine  Effie  sweeping  down  the  Pea- 
cock alley  of  the  Biltmore  on  Jack's  arm, 
listening  to  the  admiring  'ohs'  and  'ahs'  from 
the  crowd  of  people  gathered  at  the  entrance 
to  the  Mayfair  to  watch  the  movie  stars  go  in. 

"."^nd  once  inside — well,  I  wish  you  could 
have  heard  Effie's  description.  It  would  have 
handed  you  the  biggest  kind  of  a  laugh.  The 
whole  place  was  somehow  all  blazing  and 
golden,  with  diamonds  dripping  from  every- 
thing drippable,  as  common  as  icicles  at  the 
North  Pole.  The  girl  stars  were  all  a  hundred 
times  more  beautiful  in  person  than  on  the 
screen  and  there  wasn't  a  man  on  the  floor,  who 
wasn't  handsome  and  gallant  and  God-like, 
although  of  course  none  was  comparable  to 
Jack  Arden! 

"But  what  amazed  me  most  was  Effie  telling 
me  how  attentive  all  the  men  were  to  her  and 
how  the  girls  just  fell  over  themselves  to  be 
agreeable.  Her  being  with  Jack  Arden  could 
explain  a  lot,  but  I  got  another  angle  when 


Erory  advertisement  in  PHOTOPLAY  M.\G.1ZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I  I  I 


little  Jim  Purdy  came  up  to  me  a  few  days 
later,  all  excited,  to  get  more  dope  on  the 
Scotch  millionairess  that  Jack  had  taken  to  the 
Mayfair  that  night. 

"It  seems  that  it  appealed  to  Jack  s  peculiar 
sense  of  humor  to  take  Ef6e  around  and  intro- 
duce her  to  everyone,  whispering  the  news  that 
she  was  the  daughter  of  a  Scotch  Toffee  King, 
whose  father  was  just  aching  to  spend  a  million 
pounds  to  put  her  in  the  movies.  No  wonder 
she  was  popular! 

IT  must  have  amused  Jack  to  see  Dave 
Wray  and  Billy  Robinson  and  some  of  his 
other  near  rivals  dancing  with  Effie  and  falling 
all  over  themselves  to  make  an  impression. 
They  would  have  perished  if  they'd  have 
known  that  they  were  wasting  their  most 
brilliant  line  on  a  publicity  writer's  nursemaid. 
But  as  far  as  I  know,  no  one  ever  connected  the 
rapturous  creature  of  that  evening  with  the 
prim  little  thing,  who  passed  vegetables  at  my 
dinner  parties,  although  I  think  Jack  rather 
hoped  they  would. 

"Jack  didn't  dance  with  her  himself  until 
late  in  the  evening.  Then  he  pulled  her  out 
onto  the  center  of  the  floor  and  swung  her 
around  in  his  lazy  graceful  way.  There  she 
was  at  last,  in  a  position  to  make  every  giri  in 
America  envy  her. 

"Dancing  at  this  grand  ball  in  the  arms  of 
Jack  Arden,  in  person! 

"What  were  her  thoughts  — romantic, 
dreamy,  ecstatic?    Not  at  all. 

"EfBe  confessed  that  all  the  time  she  was 
really  praying— a  little  staccato  prayer  in  time 
to  the  jazz  music.  'Please  God — te-tum — 
te-tum — don't — let  me  step  on  his  toes.  Please 
God,  don't— let-me-step-on-his-toes !' 

"Oh  yes,  Jack  lived  up  to  his  part  of  the 
bargain  all  right— even  to  the  very  last.  I 
know,  because  I  was  awakened  by  the  scream 
of  brakes,  just  as  dawn  was  creeping  down  from 
the  mountains. 

"Looking  out,  I  thought  I  was  still  dream- 
ing when  I  saw  a  glittering  town-car  drawn 
up  at  our  back  door. 

"Then  Jack  sprang  out  to  hand  out  EiBe, 
with  all  the  grace  and  gallantry  of  a  perfect 
Prince  Charming. 

"He  said  goodbye,  shaking  the  hand  that 
Effie  extended.  Then  suddenly  without  any 
warning,  he  gathered  her  in  his  arms  and  kissed 
her!  A  moment  later  he  had  jumped  into  the 
car  and  was  off  with  an  airy  wave  of  his  hand, 
leaving  Effie  to  gaze  after  him  with  a  bewildered 
don't-vvake-me-up-I'm-dreaming   look   in   her 

eyes. 

"I  wasn't  the  only  spectator  to  the  little 
scene.  The  milkman  had  clattered  up  across 
the  street  and  was  loading  his  wire  basket  with 
the  four  quarts  of  Pasteurized,  the  one  quart  of 
Certified  and  the  half  pint  of  cream  that  he 
leaves  at  our  house  every  morning.  He  looked 
up  and  saw  the  kiss — and  really  looked  at  Effie 
for  the  iirst  time. 

"Then  he  strode  over  to  her,  his  face  red 
with  amazement  and  anger. 

"He  squared  off  and  I  thought  he  was 
going  to  shake  her  by  the  shoulders.  But 
instead  he  fairly  shouted  at  her. 

HO  ho,  my  girl!  Going  out  with  the 
movies  are  you?  Well,  I  want  to  tell 
you  one  thing.  It's  about  time,  young  lady, 
you  settled  down  and  got  married!' 

"That's  how  I  lost  Effie.  She  left  me  a 
couple  of  months  later,  with  profound  apol- 
ogies and  many  tears  as  she  kissed  the  baby 
goodbye.  Of  course,  she  has  children  of  her 
own  now— one  a  year,  except  the  year  that 
they  got  a  new  car,  I  believe.  Occasionally  she 
brings  them  around  on  the  milk  wagon  to  play 
with  ours,  at  imminent  risk  of  imperiling  their 
manners— the  milkman's  children's  manners, 
I  mean." 

"Well,  by  Jove!"  exclaimed  the  Prince, 
"what  a  story!" 

Then  with  a  faint  suggestion  of  a  sneer,  '  'I 
never  imagined  Jack  Arden  could  be  as  hard 
up  for  money  as  that!" 

"  But  he  wasn't,"  laughed  Ann,  "he's  one  of 


No  matter  how  white 
teeth  may  be    ^ 

NOBODY'S 
IMMUNE"^    ^  ^^^ 

FOR 
^^^  GUMSi 

BRUSH  yoURTEf mi 
.      WITH  IT 


*4  out  of  5  While  Caring  for 
Teeth  Neglect  the  Gums  and 
Sacrifice  Health  to  Pyorrhea 

DENTAL  authorities  tell  us  that  in  this 
super-civilized  age  of  luxurious  liv- 
ing and  soft  foods,  proper  care  of  the 
gums  is  as  important  as  care  of  the  teeth. 

For  when  gums  are  neglected  they  can- 
not resist  disease.  They  recede  from  the 
teeth  which  loosen  in  their  sockets.  Then 
Pyorrhea  sets  in.  Its  poisons  ravage 
health  and  leave  in  their  wake  a  trail  of 
havoc  ...  A  needless  sacrifice  made  by 
4  persons  out  of  5  after  forty  and  thou- 
sands younger. 

Brush  your  teeth,  of  course.  But  also 
brush  gums  vigorously  with  Forhan's  for 
the  Gums.  It  safeguards  teeth  and  health. 
It  helps  to  firm  gums  and  keep  them 
sound.  As  you  know.  Pyorrhea  seldom 
attacks  healthy  gums. 

When  you  have  used  Forhan's  for  a  few 


days  you  will  see  an  improvement  in  the 
appearance  and  health  of  the  gums.  Also 
you  will  note  that  this  dentifrice  cleans 
teeth  and  protects  them  against  acids 
which  cause  decay. 

Pay  a  semi-annual  visit  to  your  dentist. 
And  start  brushing  teeth  and  gums  with 
Forhan's  regularly,  morning  and  night. 
Teach  your  children  this  health  habit. 
They'll  thank  you  in  later  years.  Get 
a  tube  of  Forhan's  from  your  druggist 
today.  Two  sizes— 35c  and  60c  Forhan 
Company,  New  York. 


Forhan's  for  the  gumt  ia  far  more  than  an  ordinary 
toothpaste,  tt  is  the  formula  of  R.  J.  Forhan,  D.  D.  S. 
It  U  compounded  usith  Forhan's  Pyorrhea  Liquid  used 
by  dentists  everywhere.  You  tcill  find  this  dentifrice 
especially  effective  as  a  gum  massage  if  the  directions 
that  come  uiith  each  tube  are  followed  closely.  It's  good 
Jor  the  teeth.  It's  good  for  the  gums.   Use  U  faithfully. 


New  . . .  Forhan's  Antiseptic  Refreshant 
It's  The  Perfect  Mouthwash.   It  sweetens  breath  and 
taste  and  refreshes  mouth.   It  is  good  for  sore  throat. 
It  is  a  safe,  pleasant  antiseptic  montbwaeh,  that  has 
no  telltale  odor.  Try  it. 


Forliaii's  for  the  gums 


Wben  >ou  wr: 


R      TEETH      ARE      ONLY      AS      HEA 

ite  to  advertisers  please  mention  PHOTOPLAY  MACIZINE. 


LTHY      AS      VOUR      GUMS 


112 


Photoplay  Magazine — Advertising  Section 


EARLE  LIEDERMAN— The  Muscle-Builder 

Author  of  "Muscle  Building."   "Science  of  Wrestling," 
"Secrets  of  Strength."  "Here's  Health."  "Endurance,"  etc. 

TheManlPityMost 

POOR  OLD  JONES.  No  one  had  any  use  for  him. 
No  one  respected  him.  Across  his  face  I  read  one 
harsh  word — FAILURE.  He  just  lived  on.  A  poor 
worn  out  imitation  of  a  man,  doing  liis  sorry  best  to  get 
on  in  tTie  world.  If  he  had  realized  just  one  thing,  he  could 
have  made  good     He  might  liare  been  a  brilliant  success. 

There  are  thousands  of  men  like  Junes.  They,  too, 
could  be  happy,  successful,  respected  and  loved.  But 
they  can't  seem  to  realize  the  one  big  fact — that  practi- 
cally everything  worth  while  Hving  for  depends  upon 
STRENGTH — upon  live,  red-blooded,  lie-man  muscle. 

Everything  you  do  depends  upon  strength.  No  matter 
what  your  occupation,  you  need  the  health,  vitality  and 
clear  thinking  only  big,  strong  virile  muscles  can  give  you. 
When  you  are  ill  the  strength  in  those  big  muscles  pulls 
you  through.  At  the  office,  in  the  farm  fields,  or  on  the 
tennis  courts,  yuu'Il  find  your  success  generally  depends 
upon  your  muscular  development. 

Here's  a  Short  Cut  to  Strength  and  Success 

"  But,"  you  say.  "  it  takes  years  to  build  my  body  up  to 
the  point  where  it  will  equal  those  of  athletic  champions." 
It  does  If  you  go  about  it  without  any  system,  but  there's 
a  scientific  short  cut.    And  that's  where  I  come  in. 
30  Days  Is  AU  I  Need 

In  Just  30  days  I  can  do  things  with  your  body  you 
never  thought  possible.  With  just  a  few  minutes  work 
every  morning,  I  will  add  one  full  Inch  of  real,  live  muscle 
to  each  of  your  arms,  and  two  whole  inches  across  your 
chest.  Many  of  my  pupils  have  gained  more  than  that, 
but  I  GUARANTEE  to  do  at  least  that  much  for  you  in 
one  short  month.  Your  neck  will  grow  shapely,  your 
shoulders  begin  to  broaden.  Before  you  know  it,  you'll 
find  people  turning  around  when  you  pass.  Women  will 
want  to  know  you.  Your  boss  will  treat  you  witli  a  new 
respect.  Your  friends  will  wonder  what  has  come  over 
you.  You'll  look  ten  years  younger,  and  you'll  feel  like 
it,  too. 

I  Strengthen  Those  Inner  Organs  Too 

But  I'm  not  through  with  you.  I  want  ninety  days  In 
all  to  do  the  job  right,  and  then  all  I  ask  Is  that  you  look 
yourself  over. 

What  a  marvelous  change!  Those  great  squared 
shoulders!  That  pair  of  huge,  lithe  arms!  Those  Arm. 
shapely  legsl  You  H  be  lust  as  fit  inside  as  you  are  out, 
too,  because  I  work  on  your  heart,  your  liver — all  of  your 
Inner  organs,  strengthening  and  exercising  them.  Yes 
indeed,  life  can  give  you  a  greater  thrill  than  you  ever 
dreamed.  But,  remember,  the  only  sure  road  to  health, 
strength  and  happiness  always  demands  action. 
Start  now! 

Send  for  my  New  Book,  64  pages  and— it  is  FREE 

"MUSCULAR  DEVELOPMENT" 

It  contdinn  tor'y-'i;l.'  fij!l-[-i'Kf  photoKr:.ph.-t  r,f  .ny.Hi-lt  and  some 
of  the  niuny  priie-winrinii  pupilB  I  liave  trainpd.  S^.[l  c  •  (  I  In  'i-  (un.e  to 
rae  aa  pitiful  wcaklines.  imploring  me  to  h^lp  Idem.  Look  tlicni  over  now 
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impetus  and  a  real  inapiralion  to  you.  It  will  thril)  ynu  throueli  and 
throuch.  This  will  not  obliaate  you  at  all,  but  for  tlie  fOkc  of  yi.nr  future 
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70U  turn  this  page. 

EARLE  LIEDERMAN 

Dept.  102  305  Broadway,  New  York  City 


I  Is 

If 

IR 
IE 
IE 


EARLE  LIEDERMAN  ; 

Dept.  102.  305  Broadway.  New  York  City  ; 

Dear  Sir:  Plea.se  send  me.  absolutely  FREE  \ 
and  without  any  obligation  on  my  part  what-  ; 
ever,  a  copy  of  your  latest  book.  "Muscular  ■ 
Development."  i 


Name. 
Street. 
City... 


State . .  . 

(Please  icrUe  or  prinl  plainly) 


the  two  or  three  richest  stars  in  pictures,  in 
spite  of  his  hclter-skeher  manner.  He  may 
make  a  fool  of  himself,  but  he's  too  smart  to 
let  anyone  else  make  a  fool  of  him.  He  just 
made  up  that  hard  luck  story  to  escape  that 
dead  beat  Art  Saunders." 

"Then  I  suppose  he  returned  the  poor  girl's 
money?"  put  in  Margalo. 

"Not  a  bit  of  it,"  said  Ann,  still  smiling. 

"Well  I  call  that  the  most  caddish — "  The 
Prince  was  delighted  that  he  could  really  sneer 
this  time. 

"No — for  all  your  politeness  and  under- 
standing of  women,  you're  wrong  for  once, 
Prince,"  countered  Ann.  "Don't  you  see  if 
he'd  return  the  money  and  EfHe  had  realized 
it  was  only  a  joke  on  Jack's  part,  it  would  have 
spoiled  everything.  She's  luckier  than  most 
of  us.  She's  got  something  in  her  Hfe,  she  can 
look  back  on  and  remember — something  per- 


fect— a  dream  evening,  when  she  dared  to 
stake  everything  for  a  few  hours  of  happiness. 
No,  Jack  didn't  give  her  back  the  money  and 
that's  why  I  claimed  he's  the  politest — or  at 
least,  the  most  understanding  man  in  Holly- 
wood. 

"Of  course  I  ought  to  tell  you,  Prince,"  Ann 
continued,  "that  a  few  weeks  later,  when  we 
were  conducting  the  campaign  to  furnish  the 
studio  club,  for  girls  who  come  out  here  to 
break  into  pictures,  our  largest  donation  came 
anonymously — enough  to  furnish  and  maintain 
a  whole  corridor  of  rooms.  The  only  condition 
was  that  they  were  to  be  called  'The  EfEe 
Rooms'  and  they  turned  out  to  be  the  most 
popular  in  the  club — a  refuge  and  comfort  for 
girls,  who  do  not  take  Hollywood  as  sensibly  as 
my  Uttle  nursemaid  did." 

"Well  here  come  King  and  Eleanor,  now — 
and  oh  Margalo,  I  am  famished!" 


Ten  Years  Ago  in  Photoplay 


THIS    month    a    little    tow-head    named 
Dolores  Costello  is  playing  hop-scotch  in 
Brooklyn,  N.  Y.,  a  pretty  kid   with  a 
snub  nose. 

Her  daddy  is  "Dimples"  Costello,  already 
waning  as  the  girls'  dream  of  manly  beauty. 

At  the  same  time,  in  Photoplay,  we  go  for 
an  actor  named  John  Barrymore  to  the  extent 
of  two  pages,  with  art. 


Jack  Barrymore 

Ten  years  ago  Jack  was  knee  deep 
in    the    thirties   and    doing  such 
farces   as  "The  Man  from  Mex- 
ico" for  the  movies 


Jack  is  in  the  thirties,  with  a  funny  slap- 
dash career  already  behind  him. 

From  a  silk  hat  Johnny  in  stage  farce — the 
irresponsible,  bad-boy  kid  of  the  Barrymore 
tribe — he  has  turned  to  silly  movie  stuff  like 
"The  Man  from  Mexico"  and  "On  the  Quiet." 
In  the  thirties  he  has  gone  serious,  and  stunned 
his  public  with  "Justice"  and  "Redemption" 
on  the  stage. 

Still  ahead  are  his  theater  triumphs  in  "The 
Jest"  and  "Hamlet."  Still  ahead  is  his  film 
career  as  a  scented  and  high-powered  lover  in 

Every  advertisemont  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Strip  tights  and  a  blond  wig,  with  the  im- 
mortal profile  always  to  the  camera. 

Jack  Barrymore,  knee  deep  in  the  thirties, 
cuts  out  clowning.  A  little  girl  named  Dolores 
Costello,  not  yet  in  her  teens,  plays  jack- 
straws  ^^■ith  the  Hipkins  children  next  door. 

No  spook-faker  arises  to  say  that  some  day 
these  twain,  taking  in  something  like  $15,000 
a  week  between  them,  wiU  yes  each  other 
matrimonially  in  a  land  of  sunshine  3,000  miles 
away. 

STOP  the  press!  Charlie  Chaphn  up  and 
marries  httle  Mildred  Harris! 

Look  at  the  funny  picture  of  Charlie  and 
Millie  on  a  Catahna  Island  yacht!  And  here's 
a  coy  one  of  the  girl  lying  on  her  tummy  read- 
ing a  seed  catalogue. 

Mildred's  eighteen,  but  she's  been  posturing 
for  six  years.  "We  are  very,  very  happy!" 
they  say.  Thank  God,  the  future  is  behind  the 
veil! 

npHE  learned  Julian  Johnson,  who  kisses  and 
■'-  spanks  the  films,  is  all  steamed  up  over  Lil 
Gish  in  Griffith's  "The  Greatest  Thing  in 
Life." 

"A  sensationally  new  Lillian  Gish!"  he 
rhapsodizes. 

No  longer  the  beaten  anemone  of  the  screen, 
but  a  pouting,  alluring  minx,  out  for  no  good. 

Ask  yourself  how  long  that  phase  lasted.  She 
takes  a  licking  in  her  next  picture,  as  usual. 

JUNE  ELVIDGE  marries  a  Canadian  soldier, 
and  seven  boys  in  Pittsburgh  take  bichloride. 
.  .  .  Cece  DeMille  knocks 'em  dead  with  "The 
Squaw  Man."  .  .  .  Nobody  in  the  cast  but 
Dexter,  MacDonald,  Holt,  Blue,  and  Tully 
Marshall.  .  .  .  Mrs.  Doug  Fairbanks  gets  a 
divorce  in  New  Rochelle  and  Mickey  Neilan 
directs  a  girl  named  Mary  Pickford  in  "Daddy 
Long-Legs".  .  .  .  Crane  Wilbur  is  a  papa  and 
the  veteran  William  Shea  hears  the  Great 
Director  call  "Cut!"  .  .  .  Photoplay  dis- 
covers that  Colleen  Moore  has  one  blue  and  one 
brown  eye,  and  tells  the  palpitating  world.  .  .  . 
Little  Olive  Thomas  is  in  "Toton,"  another 
"La  Boheme"  yarn,  and  a  Mr.  Frank  Borzage 
directs  it.  .  .  .  "Humoresque"  and  "Seventh 
Heaven,"  a  couple  of  Photopl.-w  Medallists, 
still  over  the  horizon.  .  .  .  Geraldine  Farrar 
writes  us  the  story  of  her  life.  .  .  .  Maggie,  of 
Norfolk,  Va.,  tells  The  Answer  Man  she  has 
just  made  a  pious  pilgrimage  to  the  house  in 
which  Francis  X.  Bushman  was  born.  .  .  . 
Boy,  we  take  our  stars  seriously  these  days! 

WHAT'S  this? 
Jack    Gilbert,  of    Ince-Triangle-Para- 
mount,  marries  Olivia  Burwell,  a  non-profes- 
sional. 

Gilbert— hum— Gilbert.    Jack  Gilbert. 
Can't  place  him.    Not  the  head  man  in  this 
show! 


Photoplay  Magazine — Advertising  Section 


113 


It  Gets  a  Guy  Sore 

[  CONTINUED  FROM  PAGE  67  ] 


The  more  Mr.  Guffey  thought  about  meet- 
ing Dora,  the  more  he  wondered  how  it  could 
be  worked,  but  not  until  the  train  was  rolling 
into  Chicago  could  he  salvage  an  idea  from  the 
debris  of  his  mind.  Why  not  write  a  song 
about  her?  He  remembered  having  read  that 
publicity  was  champagne  and  caviar  to  a  movie 
star,  and  this  seemed  like  a  plausible  racket 
with  which  to  crash  the  studio.  Smirking 
amiably,  he  cantered  up  to  a  telegraph  counter 
in  the  Union  Station,  and  dispatched  the  fol- 
lowing message: 

PUBLICITY    DEPT.,    AMAZEMENT 

PICTURES  CORP., 
HOLLYWOOD,  CALIF. 

KINDLY  ARRANGE  FOR  INTER- 
VIEW   WITH    MISS    DELURA    ON 
TENTH  INSTANT  REGARDING 
BEING  IMMORTALIZED  IN  MUSIC. 
STANLEY  GUFFEY. 
On  finishing  this  economical  essay  he  wan- 
dered about  the  cavernous  station,  gawking  in- 
terestedly at  the  ceiling,  the  shops  and  the 
life-term  Chicagoans  scurrying  to  and  fro.  "Of 
course,"    he    informed   himself,    "I've    never 
written  a  song,  but  if  it  comes  to  the  worst,  I 
could  get  me  a  hymn  book  and  a  seven-eighths 
tempo,  and  do  as  good  a  job  as  any  of  those 
New  Jersey  Southerners  who  weep  about  their 
mammys.     There's  a  chance  that  the  studio 
may  heave  me  out  on  my  ear,  but  if  I've  seen 
Dora  first,  it's  jake  with  me."     He  bumped 
into  a  massive  poHceman,   and  returned   to 
normalcy. 

ARRIVING  in  Los  Angeles  on  the  ninth,  he 
registered  at  the  Ambassador  in  order  to 
establish  the  proper  background  for  one  who 
wrestles  with  the  muses,  and  shortly  after 
descended  to  the  grill  room  attired  in  a  talk- 
ative Glenurquhart  plaid,  matched  so.x,  tie  and 
handkerchief  of  red  and  lemon  stripes,  and  a 
pair  of  the  black-and-white  tennis  shoes 
affected  by  the  people  who  never  play. 

The  following  morning  Mr.  Gufiey  reached 
the  .\mazement  Studios,  whose  tile  and  stucco 
magnificence  seemed  to  have  been  designed  by 
a  couple  of  architects  while  on  vacation  in 
Montreal.  The  embryo  song  writer  barged 
through  the  portals  and  addressed  a  hard-faced 
gentleman  at  the  information  desk. 

"Mr.  Guffey  to  see  Miss  Delura,"  he  said 
throatily.  "Arrangements  have  been  com- 
pleted by  wire,  so  don't  keep  me  waiting." 

Information  seized  a  telephone  and  talked  to 
someone  named  Joe.  Then  he  hung  up,  and 
looked  respectfully  at  the  visitor.  "Please  go 
down  that  corridor,"  he  rumbled,  "and  you'll 
probably  run  right  into  Mr.  Garvin,  who's 
coming  out  to  meet  you." 

Mr.  Guffey  mustered  up  a  dignified  strut, 
though  his  knees  were  wobbling,  and  before  he 
had  proceeded  very  far  a  worried-looking  man 
with  a  patch  or  two  of  grey  in  his  black  pom- 
padour, rounded  a  corner. 

GLAD  to  see  you,"  he  said,  shaking  hands. 
"I'm  Joe  Garvin,  publicity  department. 
We  certainly  appreciate  this  thing,  Mr.  Guffey. 
Come  right  along;  Miss  Delura's  crazy  to  hear 
about  this  music  angle."  His  eyes  took  in  the 
ensemble,  to  which  had  been  added  a  floppy 
Panama  and  a  whippy  Malacca  cane.  "I 
didn't  e.xpect  to  see  such  a  fashion  plate.  You'll 
be  quite  a  surprise  to  Miss  Delura,  too." 

Rendered  e.ightly  dizzy  by  the  cordial  recep- 
tion, the  pride  of  Gravity  Falls  merely  waggled 
his  head,  and  followed  on  through  a  maze  of 
buildings  and  grass  plots.  Finally  he  became 
articulate.  "I  hope  so,"  he  burbled,  repeating 
a  criticism  he  had  read  in  the  newspapers,  "be- 
cause it  is  necessary  to  intrigue  her  interest,  to 
make  her  personality  vibrate  so  that  I  can 
catch  the  proper  mood  to  set  to  music.  Moods 
'are  fleeting  things,  you  know." 


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Mr.  Gan-in  appeared  not  to  be  listening. 
"Of  course,"  he  remarked,  "a  man  like  you  is 
accustomed  to  meeting  actresses."  He  halted 
before  a  bungalow  on  wheels,  and  beckoned  the 
other  in.  "Just  let  her  rave,  but  you  don't 
have  to  allow  it  to  soak  in," 

The  cavalier  started  at  this  lack  of  poUte- 
ness,  and  was  about  to  comment  on  it,  when 
the  publicity  man  yanked  open  a  door,  reveal- 
ing Dora  Delura  in  person,  draped  inelegantly 
upon  a  couch,  eating  peppermints.  Mr.  Guffey 
began  to  tremble  anew;  there  She  was;  honey- 
colored  hair,  greenish  eyes  and  the  mouth 
that  made  her  resemble  a  lachrymose  angel. 

"Dora,"  said  Joe,  "here  is  Mr.  Gufiey." 

"Where?"  queried  the  vision,  looking 
directly  at  that  gentleman. 

"In  front  of  you,  and  all  ready  to  discuss 
that  song." 

Miss  Delura  looked  her  caller  up  and  down 
in  a  knowing  manner  he  had  never  seen  in  a 
picture.  "Don't  kid  me,"  she  tinkled,  and 
rolled  over  on  the  couch. 

Joe's  face  darkened.  "Dora!"  he  snapped, 
"believe  it  or  not,  this  is  Mr.  Guffey.  He  is 
here  to  give  you  pubUcity;  do  you  want  it,  or 
not?" 


formation.  "All  right,  Stan  it  is.  Now,  you'll 
stay  here  and  lunch  with  me,  because  I  won't 
be  called  untU  this  afternoon.  Then,  if  you 
want  to,  you  can  take  me  to  chnner  and  the 
theater.    Where  are  you  staying?" 

When  he  told  her,  the  green  eyes  flickered 
strangely.  "Have  you  seen  Norma  and  Janet 
and  Corinne,  and  the  rest  of  the  beauties?  "  she 
asked,  "They're  always  around  there,  and 
maybe  you'll  think  they're  prettier  than  poor 
Uttle  me," 

"T  WOULDN'T  give  ten  cents  for  a  basket- 

^  ful  of  them,"  said  Stan  loyally,    "I  don't 

want  to  look  at  anyone  but  you,  Miss  Delura," 

"You  mean  Dora,"  she  laughed,  "Vou 
know,  Stan,  I  like  you  a  lot  already.  Most 
men  are  so  changeable  about  women.  Cross 
your  heart  you  wouldn't  write  a  song  about  any 
other  girl?  Then  I'm  going  to  let  you  take  me 
around  a  good  deal  these  evenings." 

"I  didn't  know  you  went  around,"  said  Mr. 
Guffey. 

"  What  do  you  mean?  "  Miss  Delura's  voice 
grew  raspy. 

"Aren't  you  the  'Nun  of  Hollywood,  aloof 
and  serene,  like  moonlight  on  the  ocean'  ? 


"That's  right,  too,"  admitted  Dora,  wrin- 

DORA  rolled  back  again,  all  smiles,  and  held     kling  her  forehead,  "but  only  in  a  manner  of 
out  her  hand.     "You  never  can  tell  when     speaking. 


they're  joking  around  here,  Mr.  Guffey,  but 
then,  life  is  a  joke,  don't  you  think?" 

"At  present,"  stated  the  mesmerised  one, 
"it's  a  pleasure." 

"You  flatterer,"  cooed  Miss  Delura,  "but 
then,  I  suppose,  a  man  like  you  practices  on  all 
the  girls  he  meets.  Still,  you're  here  to  talk 
about  music."  She  looked  earnestly  at  the  box 
of  peppermints.  "Don't  you  adore  Brahms? 
And  Massenet?  And  Saint-Saens? "  Mr. 
Guffey  gaped. 

"How  about  the  business  end?"  cut  in  Joe 
Garx'in.  "Will  you  run  her  picture  on  the 
cover  of  the  song?  What  radio  stations  wilt 
you  tie  up  with?  " 

"Well,"  began  the  counterfeit  composer, 
sparring  for  another  idea,  "I — " 

"You  can  go,"  said  Dora,  over  her  shoulder. 
"We  don't  want  to  be  bothered  with  details,  do 
we,  Mr.  Guffey?"  And,  leaning  back  in  her 
best  Cleopatra  attitude,  she  gave  him  the  look 
that  makes  men  miss  trains. 

When  Mr.  Garvin  had  closed  the  door.  Miss 
Delura  laughed  coquettishly  and  stared  hard  at 
the  red  and  lemon  tie.  Then  she  laughed  some 
more,  and  gradually  it  came  to  her  listener  that 
her  voice  was  rather  hoarse. 

"T'M  sorry  you  have  a  cold,"  he  ventured. 
-L  Miss  Delura  looked  thoughtful.  After  a 
moment  she  said,  "Oh,  yes,  but  it  isn't  a  cold. 
I  always  adjust  my  voice  to  suit  the  character 
I'm  playing,  and  I'll  be  using  this  one  for  some 
time.  You  see,  I'm  supposed  to  be  a  San 
Francisco  girl,  so  naturally  my  voice  is  husky 
from  the  fog."  She  took  his  hand  and  pulled 
him  down  beside  her  on  the  couch.  "And  now, 
tell  me  all  about  your  plans  for  putting  me  on 
every  radio  and  phonograph  in  the  country," 

Mr,  Guffey  stirred  uneasily.  He  hadn't 
thought  of  his  scheme  on  such  a  grand  scale, 
but  as  his  idol  leaned  closer,  nothing  seemed 
impossible.  The  subtle  odor  of  heliotrope 
sifted  up  his  generous  nose,  putting  him  in  a 
state  of  optimistic  recklessness,  and  for  the 
next  fifteen  minutes  he  deUvered  a  meaningless 
flood  of  words,  garnished  with  all  the  musical 
terms  he  knew.  But  not  a  whisper  escaped 
him  concerning  Gravity  Falls  and  the  Bijou. 

"What  I  can't  understand  is  why  you 
picked  me,"  she  murmured,  when  he  came  up 
for  air. 

"Because  I'm  crazy  about  you,"  said  Mr. 
Guffey,  now  talking  without  effort,  "and  have 
been  for  years.  You're  the  loveliest  thing  I've 
ever  seen." 

Miss  Delura  negotiated  a  blush,  then  she 
looked  at  her  knight  so  thriUingly  that  he  shook 
like  the  tremo.lo  stop  on  the  organ,  "I'll  help 
you  to  capture  the  right  melody,"  she  assured 
him,  "but  we're  being  too  formal.  What's 
your  first  name?"    Mr.  Guffey  gulped  the  in- 


speaking.  I  don't  go  out  much,  because  I'm 
kind  of  reserved,  that's  all.  And  oh,  Stan,"  she 
went  on,  "don't  take  offense,  but  red  and 
yellow  affect  me  strangely." 

"Yeah,"  inquired  the  solicitous  Mr.  Guffey, 
"what  do  they  do  to  you?" 

"They  make  me  want  to  scream,  and  checks 
are  bad  luck,  too.  It's  my  artistic  sense,  I 
guess,  but  I'm  wild  about  navy  blue.  You 
know,  soft  and  subdued,  like  my  closeups." 

"Well,"  said  the  thwarted  Beau  Brummel, 
"just  to  show  you  how  much  I  think  of  you, 
I'll  ditch  these  clothes.  It's  funny,  too,  because 
when  a  .girl  starts  ribbing  up  a  guy  about  his 
clothes,  it  usually  gets  him  sore." 

The  door  was  jerked  open,  and  the  irritable 
Mr.  Garvin  inserted  his  head,  "Hey!"  he 
shouted,  "I'm  sending  in  a  sobbie  from  the 
Kalamazoo  'Ciazette,'  Give  her  the  I-hate-men 
stuff.  Here,"  he  continued,  slipping  a  piece  of 
paper  in  the  back  of  a  magazine,  and  handing 
to  Dora  without  the  faintest  sign  of  reverence. 
"Play  with  that  while  you're  talking." 

"Shoot  her  in,"  ordered  Dora,  "but  I  won't 
spare  much  of  my  time,  because  I'm  too  inter- 
ested in  Stan,  here.  Stan,  do  you  mind  going 
out  with  Joe  until  this  interview  is  ox'er?  And 
listen,  Joe,  he's  taking  me  to  the  Cocoanut 
Grove  tonight,  and  tomorrow  as  well."  Dora's 
huskiness  had  taken  on  a  malicious  tinge. 

Joe  gave  her  a  tired  smile.    "That's  fine,"  he 

said.    "  Even  in  all  that  mob  you'll  certainly  be 

noticeable." 

*     *     * 

FOR  five  days  Mr.  Stanley  Guffey  lived  with 
all  the  nonchalance  of  the  ivory  pellet  on  a 
roulette  wheel,  and  had  about  as  much  to  say 
regarding  what  would  happen  ne.xt.  The  deter- 
mined Dora  herded  him  around  town  to 
lunches,  teas,  the  Ambassador,  a  world 
premiere  at  the  Chinese  Theater,  moonlight 
rides  to  Palos  Verdes,  star  gazing  on  the  beach 
at  Malibu,  until  he  was  punch  drunk  with 
enthusiasm. 

He  had  been  made  welcome  at  her  home  on 
a  sandstone  shelf  in  Beverly  Hills,  and  had  en- 
countered a  lady  known  as  Momma,  who  was 
fat,  wheezy  and  owned  a  suspicious  eye.  He 
also  made  the  acquaintance  of  sundry  inspira- 
tional beverages  smuggled  in  from  Mexico, 
which  had  encouraged  him  to  rhyme  "flowers" 
with  "hours"  and  "part"  Nvith  "heart." 
Juggling  these  with  a  few  bars  of  Verdi,  he 
managed  to  make  a  beginning  for  his  serenade, 
and  was  relieved  to  find  that  Dora  believed  his 
music  to  be  original.  Then,  Saturday  mid- 
night, she  gave  him  an  infinitesimal  kiss,  and 
Mr.  Guffey  went  home  to  the  Ambassador  with 
his  ears  laid  back. 

On  Sunday  morning,  he  lay  abed  until  noon, 
when,  not  receiving  the  customary  telephone 
call,  he  fell  into  the  error  of  millions  of  swains 
before  him.    "Dear  little  girl,"  he  said  to  hi% 


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15 


mirror,  "she's  probably  oversleeping.  I'll 
breeze  right  out  there  and  surprise  her."  But 
on  his  arrival  the  Filipino  butler  informed  him 
that  Dora  was  out,  and  made  no  attempt  to 
in\ite  Mr.  Guffey  in.  However,  the  guileless 
Stan  preferred  the  sunshiny  lawn,  and  pro- 
ceeded to  moon  about,  trying  to  think  of  a 
good  tune  to  adapt. 

Suddenly  the  obese  Momma  bulged  herself 
out  of  an  upper  window.  "What  do  you 
want?"  she  called. 

"I'm  just  waiting  for  Dora." 

"Did  she  invite  you  today?"  asked  the  fat 
lady,  with  emphasis  on  the  pronouns. 

"Why,  no,"  said  the  surprised  Stan,  "but 
she  told  me  to  come  out  any  time.  I'll  just 
hang  around  for  a  while." 

EVERYBODY  with  a  house  says  that," 
wheezed  Momma,  "but  they  don't  expect 
people  to  believe  it.  You  better  go  back  to  the 
hotel,  M:r.  Guffey.    Dora  is  away." 

Even  Napoleon  crowded  his  luck  once  too 
often,  and  Mr.  Guffey  was  standing  beside  the 
honeysuckle  bush  where  Dora  had  let  him  hold 
her  hand.  "It's  nice  out  here,"  he  said,  with 
the  recklessness  of  ignorance.  "I  get  sw^ell 
ideas  out  in  the  sun."  Momma  made  a  gur- 
gling noise,  and  slammed  the  window,  so,  to 
avoid  irritating  her,  the  little  organist  strolled 
down  the  gravel  path  to  the  back  of  the  house. 
He  poked  an  inquisitive  head  into  the  patio, 
and  then  remained  stockstill,  regarding  the 
loosely  dressed  figure  of  Mr.  Joe  Garvin. 

"Howdy,  Professor,"  greeted  that  gentle- 
man coolly.    "How's  the  love  song?" 

"Not  bad,"  countered  Stan  feebly,  dredging 
about  for  a  solution  of  the  publicity  man's 
presence.    "How's  every  little  thing?" 

It  appeared  that  every  little  thing  was  all 
present  and  correct.  Joe  talked  easily  on 
motion  picture  topics,  and  was  going  strong 
with  his  opinion  of  supervisors,  when  Mr. 
Guffey  crashed  bhndly  in  with  the  all-im- 
portant question;  "Where's  Dora?" 

"Oh,  her,"  said  Joe,  arranging  his  dishabille. 
"Why,  Cuthbert  just  got  back  from  the  East, 
and  she's  out  with  him." 

"Cuthbert,"  repeated  the  stricken  swain. 
"What  a  hell  of  a  name.    Who's  he?" 

Joe  yawned,  and  blew  a  row  of  smoke  rings. 
"A  big  hub  and  spoke  man  from  Wheeling, 
whose  dad  left  him  a  few  million.  Dora's  going 
to  marry  him." 

Mr.  Guffey  took  this  verbal  wallop  right  in 
the  nose,  and  sat  down  suddenly,  quite  certain 
that  his  legs  had  turned  to  rubber.  "Marry 
him!"  he  gasped.    "When?" 

MR.  GARVIN  smiled  grimly.  "As  soon,"  he 
said,  flicking  a  match  alight  with  his 
thumbnail,  "as  she  can  divorce  me.  She's  grab- 
bing him  for  insurance  against  the  time  when 
she's  through,"  Joe  went  on,  "and  it's  a  wise 
move,  at  that.  He  can  have  her.  When  I  mar- 
ried her,  Mr.  Guffey,  she  was  pearl  diving  in  a 
Memphis  restaurant,  and  it  wasn't  so  long  ago, 
either.  W'e  came  to  Hollywood,  she  clicked, 
and  now  I  get  the  runaround  like  the  rest  of  the 
Good  Samaritans." 

The  pride  of  Gravity  Falls  moaned.  "And 
all  the  stories  said  she  was  so  different." 

"That  was  just  my  method  of  giving  her 
publicity.  No  matter  what  the  writers  really 
thought,  they'd  spUl  the  same  old  bunk.  Lots 
of  stars  have  personality,  but  Dora  is  a  bit 
heavy  in  the  conk,  so  we  cover  that  up  by 
making  her  mysterious.  She  don't  know  any- 
thing. Did  she  talk  to  you  about  Brahms,  and 
all  the  rest?  Well,  I  wrote  their  names  in  the 
hd  of  that  candy  box,  and  put  her  wise.  And 
the  only  reason  she's  been  sticking  so  close  to 
you  is  to  prevent  some  other  dame  making  a 
play  for  the  song  idea.  I  never  could  figure  out 
why  you  chose  her,  Mr.  Guffey.  Don't  gape 
at  me  like  that." 

"I  was  crazy  about  your  wife,"  mumbled 
Stan,  "and  there's  something  you  ought  to 
know.    I  kissed  her." 

"Y'ou'll  get  over  it." 

"I  thought  she  was  reserved,  and  all  that." 

"Sure,"  said  Joe,  "reserved  for  Cuthbert. 


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Listen,  maybe  you  better  go  now,"  he  sug- 
gested, patting  the  other  on  the  shoulder. 
"  Remember  her  as  she  is  on  the  screen,  but  I 
guess  you'll  have  a  tough  time  composing 
now." 

A  ^R.  GUFFEY  was  trying  to  assemble  a  few 
•'■''■'■words,  when  there  were  raucous  shrieks 
from  the  house,  and  footsteps  came  running 
across  the  floors  Jlr.  Guffey  had  trodden  in 
rose-colored  bliss.  The  next  moment  out 
catapulted  Dora  and  a  stupid-looking  youth 
with  an  infantile  pink  face. 

"So  there  you  are,"  she  squawked,  and  Stan 
realized  that  she  had  been  using  her  natural 
voice  all  the  time.  "You  impostor!  You  no- 
good— " 

"I'll  handle  this,"  said  Cuthbert,  endeavor- 
ing to  appear  heroic.  "Now,  then,  what  do 
you  mean  by  passing  yourself  off  as  Professor 
Stanton  Guffey,  of  Chicago?" 

"Pass  off,  hell,"  snorted  the  maligned 
musician.  "Stanley  Guffey  is  my  name,  not 
Stanton."    Mr.  Garvin  suddenly  tensed. 

"I  suppose  you  never  heard  of  Stanton 
Guffey,"  sneered  Cuthbert. 

"He's  a  stranger  to  me,"  said  the  truthful 
Stan. 

"I  think  you're  a  liar,"  pursued  Cuthbert, 
"but  anyway.  Professor  Stanton  Guffey,  of 
Chicago,  is  a  very  famous  musician  and  a 
friend  of  my  family.  When  Dora  told  me  he 
was  out  here,  and  then  described  you,  I  knew 
something  was  wrong. 

".All  musicians  are  funny-looking  birds,  of 
course,  but — " 

"That's  just  it!"  yelled  Dora.  "I  thought 
he  was  a  new  comedian,  all  made  up  like  a 
minstrel,  but  Joe  gave  me  the  tip  to  be  nice  to 
him.  How  was  I  to  know?  I  don't  pal  around 
with  a  flock  of  professors,  glory  be  to  Will 
Hays.  Oh,  you  dumb  cluck,"  she  howled  at  the 
shrinking  suitor,  "I  could  strangle  you!" 

"Fold  up,"  said  Joe.  "Listen,  Guffey,  how 
did  you  come  to  send  that  telegram?  It  got  us 
all  excited,  having  such  a  famous  signature, 
and  we  didn't  notice  the  Uttle  difference  in  the 
names." 

"I  just  wanted  to  sound  important,"  ad- 
mitted Stan.  "Honest,  I  never  heard  of  this 
other  Guffey." 

Cuthbert  let  out  a  nasty  chortle.  "You 
must  be  well  up  in  the  music  world.  What  do 
you  do — dust  off  pianos?" 

Mt.  Guffey,  miserable  as  he  was,  froze  with 
dignity.  "Listen,  you,"  he  snarled,  "a  crack 
like  that  gets  us  artists  sore.  There's  other 
places  besides  Chicago,  and  I'm  here  to  tell  you 
that  I'm  the  best  Uttle  organist  in  Gravity 
Falls,  Wisconsin." 

"Gravity  Falls,"  cackled  Miss  Delura. 
"What's  that — a  slogan?" 

"It's  a  town,"  he  informed  her,  "that  has 
better  looking  dames  than  a  Memphis  dish- 
washer." 

Strangely  enough,  he  was  thinking  of  the 
way  Viola's  hair  framed  her  face  and  how  her 
black  eyes  could  flash. 

Dora  reddened  beneath  her  enamel  and  kept 
staring  fixedly  at  the  deserter  from  her  public. 
"Grab  him!"  she  screeched,  "I'm  going  to  get 
publicity  out  of  this,  one  way  or  another. 
Grab  him,  I  tell  you!" 

"Grab  him  yourself,"  said  Joe,  walking 
away.  "He's  given  me  the  only^laugh  I've  had 
this  year." 

"Kyf  R.  GUFFEY  retained  only  cloudy  mem- 
■'■•■'■ories  of  the  events  leading  up  to  the 
tragedy.  He  recalled  vaguely  that  the  chauf- 
feur, aided  by  the  pulpy  Cuthbert,  sat  upon 
him  while  the  stentorian  Momma  phoned  for 
a  policeman.  And  after  the  bluecoats  came 
reporters  and  camera  men,  subsequent  to  which 
he  lost  interest  in  the  case,  as  becomes  a 
gentleman  who  has  been  struck  x^ith  a  blunt 
instrument. 

After  a  night  in  the  seldom  used  Beverly 
Hills  jail,  a  warden  presented  him  with  a  cup  of 
villainous  coffee  and  a  morning  paper.  The 
thick  headline  leaped  at  him  accusingly,  and 
with  his  good  eye  he  read; 

BreiT  advertisement  In  PHOTOPL.\T  MAGAZINE  Is  gnarantCMl. 


DORA  DELURA  S.WED  FROM  ATTACK 
BY  MORON 
Crazed    by   love,    musician 
pursues    fragile    beauty    to 
Beverly  Hills  boudoir 
Below  ran  six  or  eight  poses  of  the  fragile 
beauty  and  one  of  the  fiend,  which  turned  out 
to  be  a  playful  term  for  Mr.  Guffey.    Looking 
things  over,  he  decided  that  the  only  break  he 
had  received  was  that  someone  had  booked  him 
under  a  fictitious  name.    Then,  suddenly  home- 
sick for  the  friendly  audiences  of  the  Bijou,  he 
lowered  his  head  into  shaking  hands.   The  next 
moment  he  sprang  to  his  feet. 

"TTIE   charge   is   withdrawn,"    came    Joe's 

■*-  voice.  "Open  up,  sergeant,  and  I'll  tow 
him  to  safety."  And  when  the  grateful  Stan 
tottered  outside  Mr.  Garvin  braced  him  against 
a  telephone  pole,  and  flagged  a  taxi.  "Listen, 
kid,"  he  told  him,  "I'm  a  small  towner,  too, 
like  the  rest  of  the  Hollywood  push.  You 
better  go  back  if  you  know  what's  good  ior 
you." 

The  possessor  of  a  broken  heart  drooped  un- 
happily. "I  will,"  he  promised,  "but  first, 
where  is  a  good  place  to  get  stewed?  " 

Mr.  Gar\'in  gazed  at  him  with  complete 
understanding.  "I  know  how  it  is,"  he  said, 
depositing  his  burden  in  the  corner  of  a  cruising 
taxi.    "Tia  Juana,  kid,  if  you've  got  the  price." 

So  Mr.  Guffey  stumbled  over  to  Mexico  with 
numerous  bruises  and  forty-two  hundred 
dollars  in  cash,  and  after  weaving  around  for 
several  hours  discovered  that  he  was  at  the 
race  track.  An  owlish  inspection  of  the  pro- 
gramme showed  him  that  there  was  a  horse 
called  Love's  Labor  Lost  in  the  next  race,  and, 
having  reached  the  weeping  stage  of  the  cele- 
bration, the  name  made  him  worse  than  ever. 
Carefully  undressing  himself  to  the  extent 
necessary  before  he  could  disinter  the  four 
thousand  dollars  next  to  his  shirt,  he  trotted 
up  to  the  fifty  dollar  window,  and  bawled  for 
eighty  tickets  on  the  horse  of  his  choice. 

"What's  the  matter,  son?  "  asked  the  mutuel 
man.    "Too  much  moosemilk?" 

"So  fair,  and  yet  so  false,"  sobbed  the  dis- 
carded lover,  reeling  off  a  subtitle.  "Now  to 
toss  the  dice  with  fate,"  and  with  a  gesture  that 
would  have  made  Sydney  Carton  jealous,  he 
handed  over  his  sheaf  of  bills. 

A  BOUT  a  week  later  a  furtive  young  gentle- 
-'*-man  crept  into  Gravity  Falls,  entertaining 
timid  thoughts  about  the  prodigal  son,  the 
golden-hearted  home  town  girl,  warm  arms 
around  his  neck  and  all  the  rest  of  it.  Habit 
dre\v  him  toward  the  Bijou,  but  as  he  neared 
it,  the  amorous  haze  melted  like  an  indestruc- 
tible pearl  when  exposed  to  heat.  There  was 
\'iola  getting  ready  to  leave,  arm  in  arm  with  a 
glossy  little  shrimp  who  peddled  silk  stockings. 
ISIr.  Guffey  reflected  for  an  instant  on  the 
perfidy  of  women,  then,  entertaining  no 
notions  of  false  chivalry,  he  clouted  the  escort 
in  the  jaw,  and  chased  Viola  all  the  way  home. 
Unable  to  catch  her,  he  also  had  to  endure 
being  jeered  at  by  the  )'oung  lady  from  the 
protection  of  her  front  door. 

Once  more  he  retraced  his  steps,  and  re- 
sumed the  old  custom  of  mumbling  to  himself. 
"I'll  lead  her  a  dusty  road  tomorrow,"  he 
promised,  "because  I'll  buy  in  on  my  share  of 
the  Bijou  from  old  Watts.  He  wants  to  sell, 
sure  enough.  Love's  Labor  Lost — I'll  say  so. 
That  plug  came  in  at  ten  to  one,  but  why 
should  I  cheer?  The  best  I  got  was  six  to  one, 
on  account  of  that  bum  on  the  mutuels  slipping 
me  place  tickets.  Twenty-four  grand  instead 
of  forty,  and  all  because  I  was  slightly  boiled. 
Some  fellows  just  never  have  the  luck." 

An  hour  before  the  matinee  he  paced 
smartly  into  the  First  National  Bank,  hstened 
to  the  lawyers  and  their  whereases,  and 
emerged  part  owner  of  Gravity  Falls'  only 
cathedral.  He  was  wearing  his  minstrel 
ensemble,  and  the  glint  of  battle  was  in  his  eyes 
as  he  marched  up  to  the  box  office. 

"You're  fired!"  he  snapped  at  Viola. 
"Breeze  on  out  to  your  silk  stocking  sheik." 

The   girl  paled.     "Why,   Stan,"   she   said 


''he's  nothing  to  me."  Then  her  blue k  eyes 
smoked  dangerously.  "  But  who  do  you  think 
you're  talking  to?  Go  on  back  and  massage 
those  keys,  and  dream  of  your  dizzy  Dora." 

"ilr.  Guffey  to  you,"  advised  that  genius, 
pounding  on  the  glass,  "and  one-third  owner 
here.  I  been  to  Hollywood,  and  I  got  ne"' 
ideas.     Outside,  before  I  run  you  out." 

\'iola  stared  at  him.  and  her  lips  began  to 
tremble.  Xice,  curvy  lips,  Mr.  GulTey  couldn't 
help  thinking,  and  not  all  stiff  with  paint  like 
certain  others.  Nevertheless,  he  walked  in- 
side the  booth  to  show  that  he  was  in  earnest. 

GET  your  coat,"  he  said.  "Xo  woman  is 
going  to  make  a  monkey  out  of  me,"  and 
he  tried  not  to  notice  the  perfume  in  her  hair, 
which  wasn't  heliotrope,  and  the  suedelike 
softness  of  her  throat.  A  httle  hand  crumpled 
his  lapel,  and  Mr.  Guffey  began  to  have  doubts 
as  to  the  wisdom  of  coming  into  the  bo.x  office. 

"Stan,  dear,  you  couldn't;  you  wouldn't," 
she  crooned. 

"Wouldn't  I?"  he  demanded,  but  it  didn't 
sound  as  harsh  as  he  expected.  .\  motnent 
later  they  were  interrupted  by  an  inquisitive 
person  who  wanted  to  buy  a  ticket. 

The  erstwhile  hound  of  Hollywood  entered 
the  theater,  and  strolled  absently  to  his  place 
in  the  wings.  "Well,  anyhow,"  he  muttered, 
"in  the  end,  she  quit.  She's  going  to  walk 
right  out,  and  over  to  the  new  job,  which  is 
running  that  bungalow  I'm  buying  for  my  wife. 
But  how  it  all  happened  is  a  mystery  to  me;  it's 
just  one  of  those  things  that  crop  up  when  you 
pay  more  attention  to  the  dames  than  to  a  five- 
keyboard  console. 

"No  domination.  No  master-of-my-fate 
stuff.  It's  enough  to  get  a  guy  sore,  but  the 
funny  thing  is,"  said  Mr.  Guffey,  as  he  stepped 
into  the  circle  of  orange  light  and  bowed  hap- 
pily, "that  I'm  not." 


Photoplay  Magazine — Advertising  Section 

MOTHER 
DONT  BE  QUAINT 


1 1 


Newark,  N.  J. 

Perhaps  I  should  have  written  this 
letter  seven,  eight  or  more  years  ago. 
But  at  that  time,  I  did  not  have  a 
partially  paralyzed  mother  to  take 
care  of ;  nor  a  large  house  to  manage ; 
nor  a  consuming  ambition  to  drive 
me.    Today — I  have  all  three. 

Last  night,  I  saw  a  revival  of  "Over 
the  Hills,"  in  a  mood  that  bordered 
on  desperation  at  the  inexplicable 
situation  that  Fate  had  woven  around 
me.  To  continue  the  monotony  of  a 
sick  room  seemed  unendurable,  with 
the  desire  for  a  career  hammering 
at  my  temples.  Yet  how?  Leave  my 
mother  in  the  hands  of  a  stranger? 
I  couldn't.  Send  her  to  an  institution? 
I'd  rather  die. 

This  old  story  of  the  unwanted 
mother  unrolled  before  me.  I  saw  the 
pathetic  wistfulness,  the  clinging 
fingers,  the  frail  mother  who  could 
not  believe  that  her  children  no 
longer  wanted  her.  And  something 
within  me  swelled — and  burst.  It  was 
the  bitterness  leaving  my  soul,  bring- 
ing renewed  strength  and  determina- 
tion to  "carry  on." 

And  this  letter,  coming  about  a 
picture  of  so  many  years  ago,  may 
make  some  misguided  souls  realize 
that  the  influence  of  the  movies  is 
endless — unimaginable — and  beyond 
the  understanding  of  mere  Man. 

C.W. 


MILLIONS  of  daughters  are  teasing 
mothers  back  to  youth — slamming 
doors  on  the  quaint  ways  of  the 
nineties.  One  by  one  the  foolish  old 
drudgeries  and  discomforts  pass.  Liv- 
ing becomes  easier,  more  pleasant — 
sensibly  modem. 

An  example  of  this  modern  trend  is 
Modess.  Modess  has  three  vital 
superiorities — it  is  really  comfortable, 
can  be  disposed  without  danger  of 
clogging  and  is  an  effective  deodorant . 

Its  comfort  is  almost  unbelievable, 
the  first  time  you  try  it.  Modess  is 
graciously  soft,  yielding,  conforming. 
The  filler  is  not  in  stiff  layers  but  is 
a  fluffy  mass  like  cotton — an  entirely 
new  substance  invented  by  Johnson 
&  Johnson,  world's  leading  makers 


of  surgical  dressings.  The  sides  are 
smoothly  rounded  and  the  specially 
softened  Johnson  &  Johnson  gauze  is 
cushioned  with  a  film  of  downy 
cotton. 

The  deodorizing  efficiency  of 
Modess  has  been  proved  by  laboratory 
tests  to  be  higher  than  that  of  other 
napkins. 

We  are  sure  that  you  will  be  de- 
lighted to  have  discovered  in  Modess 
a  napkin  without  fault — infinitely 
more  comfortable,  safer,  more  deodor- 
izing and  truly  disposable.  Since  it 
costs  no  more,  why  not  try  it?  It  may 
be  bought  at  most  good  stores. 

%/       NEW  BRUNSWICK.        (/         N.  J..  U.  S.  A. 


SO    INFINITELY    FINER 


When  you  write  to  advertisers  please  mention  PH0T0PL.AT  MAGAZINE. 


ii8 


Photoplay  Magazine — Advertising  Section 


eye»  f  ov  old 

If  your  eyes  lack  lustre  and  tire 
easily,  rejuvenate  them  with 
Murine.  This  long-trusted  lotion 
imparts  a  youthful  sparkle  to  dull, 
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Murine  positively  contains  no 
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Beauty  and  Charm 

Thousands  of  girls  are  asking  themselves 
the  same  question,  "How  can  I  make  myself 

the    envy    of 

others  and  the 
center  of  attrac- 
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The  answer  is 
simple,  pay  just 
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Dr.  Pierce  will  give  you  confidential  medical  advice 
free  by  mail.  Address  your  letter.  Dr.  Pierce's  In- 
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-     The  Ferftunea  Touch  that 
;  Jflakes  \^our  Toilet  Complete  . 

Ciiticiira 

Taleuiii  Powder 

MMriicaiely  mfledicaietl  and  •Mttiisepiic     ^ 


Brief  Reviews  of  Current  Pictures 


[  CONTINUED   FROM  PAGE    14  1 


HEARTS  OF  MEN— Anchor.— And  producers 
ain't  got  no  heart.     (Ocl.) 

HEART  TO  HEART— First  National.— Agreeable 
and  original  comedy  of  small  town  life.  You'll  like  it. 
{September.) 

HEART  TROUBLE— First  National.— Harry 
Langdon  writes  his  own  finish  in  pictures.     (Sepl.) 


-Carnival  life  film  that  has 


HEY,   RUBE— FBC- 

thereal  stuff.  {Dec.) 

HIS  LAST  HAUL— FBO.-Just  a  tear  jerker. 
(Dec.) 

HIS  PRIVATE  LIFE— Paramount.— One  of 
those  French  farces  that  Is  full  of  doors  and  bores. 
However,  it  has  Adolphe  Menjou.  {Dec.) 

HIS  RISE  TO  FAME— Excellent.— Prize  ring 
stuff  with  night  club  trimmings.     {September.) 

HOLLYWOOD  BOUJMD  —  Warners.  —  Talkie 
farce  that  sounds  as  though  it  had  been  written  by 
someone  who  never  had  been  nearer  Holly\vood  than 
Parsons,  Kans.     {November.) 

HOMESICK— Fox.— Sammy  Cohen  as  a  New 
York  tourist  in  California.     Fairly  funny.  {Dec.) 

*HOME  TOWNERS,  THE— Warners.— Smooth- 
est talkie  so  far.  Good  lines,  by  George  M.  Cohan, 
and  a  fine  performance  by  Doris  Kenyon.  {Dec.) 

HOT  NEWS— Paramount.— Bebe  Daniels  hunts 
for  thrills  in  the  news  reel  game.  And  finds  'em. 
{September.) 

HOUND  OF  SILVER  CREEK,  THE— Universal. 
— Dynamite,  the  new  dog  star,  blasts  an  inferior 
story  to  success.     {August.) 

I  FORBID — Fan-Maid  Pictures. — An  over-ripe 
Kosher  film  of  breaking  hearts.     {November.) 

INSPIRATION— Excellent.— Too  little  of  the 
title  r61e.  {Dec.) 

♦INTERFERENCE —  Paramount.— Drama  and 
suspense  in  a  Grade  A  murder  story.  Well  acted 
and  well  spoken — yes,  it's  a  talkie.    {Dec.) 

INTO  NO  MAN'S  LAND— Excellent.— An  un- 
usually dull  war  picture.  {Dec.) 

JUST  MARRIED  —  Paramount.  —  Honeymoon 
farce  on  a  transatlantic  liner.  Lots  of  laughs. 
{September.) 

KID'S  CLEVER,  THE— Universal.- But  the  film 
isn't.     {November.) 

KING  COWBOY— FBO.— Please,  Mr.  Mix,  don't 
do  anything  like  this  againl    (Jan.) 


KING  OF  THE  RODEO— Univcrsal.—Hoot  Gib- 
son's best  contribution  to  Art  in  a  long  time.     {Jan.) 

*KIT  CARSON— Paramount.— Fred  Thomson  in 
an  above  par  western.     {Ocl.) 

LADIES  OF  THE  MOB  —  Paramount.  —  Clara 
Bow  becomes  a  gunman's  "moll"  and  handles  a 
dramatic  story  skillfully.     {September.) 

LADIES  OF  THE  NIGHT  CLUB— Tiffany- 
Stalil. — A  clown  and  a  millionaire  are  rivals  for  the 
affections  of  a  cabaret  girl.  Synthetic  heart  interest. 
{August.) 

LEGEND  OF  GOSTA  BERLING,  THE— 

Swedish  Biograph. — European  film  with  Greta 
Garbo.  proving  that  Hollywood  changed  an  ugly 
duckling  into  a  swan.     (Jan.) 

LIGHTNING  SPEED— FBO.— Adventures  of  a 
newspaper  reporter — as  the  movies  see  'em.       (Nov.) 

LIGHTS  OF  NEW  YORK  —  Warner-Vi  tap  hone. 
— First  all-talkie  feature  and,  naturallv.  pretty  crude. 
Squawking  night  clubs  and  audible  murders. 
(September.) 

*LILAC  TIME— First  National.— Thrilling  and 
romantic  war  drama  with  enough  sentiment  to  lift 
it  above  the  run  of  war  plays.     {August.) 

LINGERIE— Tiff  a  ny-Stahl.— Alice  White  and 
Malcolm  McGregor  in  a  war  romance  that  vou'U 
like.     (Oct.) 

LION  AND  THE  MOUSE— Warner- Vitaphone.— 
Partly  dialogue  with  some  effective  performances. 
But  the  story  belongs  to  a  past  decade.     (September.) 

LITTLE  WILDCAT,  THE— Warners —Nothing 
to  shoot  up  the'blood  pressure.     (November.) 

LITTLE  WILD  GIRL,  THE— Hercules —Lil a 
Lee  gets  mixed  up  in  a  lot  of  old-fashioned  hokum. 
{September.) 

LITTLE  YELLOW  HOUSE,  THE— FBO— An 
awful  fuss  about  nothing  at  all.    (August.) 

LOST  IN  THE  ARCTIC— Fox —Interesting  and 
worthwhile  story  of  Arctic  Exploration.    (Oct.) 

LOVE  OVER  NIGHT— Pathe.— Mystery  stuff 
eased  over  with  some  good  comedy.     (September.) 

MADELON— Universal. — A  talkie — so  bad  that 
it  should  be  a  museum  piece.     (November.) 

MAGNIFICENT  FLIRT,  THE— Paramount.— 
Mother  and  daughter  in  a  mix-up  of  romances. 
Suave  direction  and  the  fascinating  work  of  Florence 
Vidor  put  this  picture  across.     (August.) 


m. 

"i."'':;    y  ^'^ 

|V^^9^r^^'^ . 

T^  ■'%■.. 

'^^^'^  mi 

m 

1 

Director  Richard  Wallace  is  in  a  terrible  jam.  When  the  talkies 
came  he  threw  away  his  megaphone  and  now  his  technicians  are 
all  locked  up  in  a  glass  show  case  and  can't  hear  a  word  he's  saying. 
This  is  the  filming  of  a  scene  for  "The  Shopworn  Angel,"  new 
Paramount  talking  picture,  and  the  leggy  young  lady  getting  a  good 
horse  laugh  on  poor  Richard  is  Nancy  Carroll,  the  leading  woman 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  1b  EUaranteed. 


Photoplay  Magazine — Advertising  Section 


119 


MAKING  THE  GRADE— Fox.— An  excellent 
movietone,  based  on  a  George  Ade  story.  (Dec.) 

MAKING  THE  VARSITY— Excellent.— Any  way, 
it  took  ingenuity  to  turn  a  football  game  into  a  ser- 
mon.    (Jon.) 

MAN  FROM  HEADQUARTERS.  THE— Rayart. 

— Tlirilling  and  enthralling  Secret  Service  yarn. 
Above  average.      (St-ple/nher.) 

♦MANHATTAN  COCKTAIL — Paramount.— A 
story  of  life  in  New  York's  theatrical  circles — told 
with  a  kick.     (Dec.) 

MAN  IN  HOBBLES,  THE— Tiffany-Stahl.— 
What  "in-laws"  can  do  to  an  ambitious  artist.  Good 
comedy.     ( Dec.) 

MAN  OF  PEACE,  A — Warners. — The  Vitaphone 
picks  up  the  Ozark  drawl.  Too  bad  that  Hobart 
Bosworth's  first  talkie  had  to  be  something  like  this. 
Wan.) 

MARCHING  ON— Fox.— Chic  Sale  in  a  char- 
acter study  of  a  Civil  War  veteran.  Tears  and 
laughter.    It's  a  Movietone.  (Dec.) 

MARKED  MONEV—Pathe.— Pleasant  comedy 
with  human  interest.     {Dec.) 

MASKED  ANGEL,  A— Chadwick.— Just  dumb. 
iOcl.) 

MASKS  OF  THE  DEVIL— Metrn-Goldwyn- 
Mayer. — John  Gilbert  is  great  in  a  weird  and  sinister 
story.     (Dec.) 

*MATING  CALL,  THE— Paramount-Caddc— 
Thomas  Meighan,  Evelyn  Brent  and  Renee  Adoree 
in  an  unusual  story  of  strong  dramatic  appeal.  iOcl.) 

*ME,  GANGSTER— Fox. — Sentimental,  melo- 
dramatic and  yet  completely  absorbing.  Introducing 
an  unusual  newcomer,  one  Don  Terry,  whose  perform- 
ance is  worth  seeing.     {November.) 

MIDNIGHT  LIFE— Gotham.— Night  club  stuff 
and  a  bit  bloodthirsty.     (Orf.) 

MIDNIGHT  TAXI,  THE— Warners.— Bootlegger 
and  hijackers  run  riot.     {August.) 

MODERN  MOTHERS— Columbia.— Show  folks 

vs.  Babbitts.     {Oct.) 

MORGAN'S  LAST  RAID  —  Metro-Goldwyn- 
Mayer. — An  old-time  melodrama  made  passable  by 
modern  embellishments.     {November.) 

*MOTHERKNOWSBEST— Fox.— Edna  Ferber's 

story  of  a  stage  motlier  whose  dominating,  relentless 
ambition  for  her  daughter  sends  the  girl  to  fame.  .A 
remarkable  performance  by  Madge  Bellamy  and 
great  acting  by  Louise  Dresser  and  Barry  Norton. 
{November.) 

MUST  WE  MARRY?— Trinity.— Must  we  make 
pictures  like  this?  {Dec.) 

MYSTERIOUS  LADY,  THE  —  Metro-Goldwjn- 
Mayer. — Greta  Garbo  as  a  spy  in  a  war  romance. 
And.  oh  what  fun  for  the  ofBcersl    {September.) 

NAME  THE  WOMAN— Columbia.— And  also 
name  the  plot.    {Oct.) 

NAPOLEON'S  BARBER  —  Fox  Movietone.  — 
Historical  drama  with  chin  chatter.  Cheer  up,  there's 
only  two  reels  of  it.     {Jan.) 

NAUGHTY  BABY— First  National.— Bad  Alice 
Whitel  Naughty  Jack  Mulhall!  Mean  producers' 
Why  make  us  suffer  through  a  stupid  evening?  {Jan.) 

NED  McCOBB'S  DAUGHTER— Pathe.— Plenty 

of  action  plus  sound  drama  plus  fine  acting.    {Dec.) 

NIGHT  BIRD,  THE  —  Universal.  —  Reginald 
Denny  goes  back  to  the  prize-ring,  where  he  is  at  his 
best.     {November.) 

♦NIGHT  WATCH,  THE— First  National.— War 
story  with  navy  background  and  some  good  drama. 
.AKif  BillieDove.    {Oct.) 

*NOAH'S  ARK— Warners.— Big  cast,  big  theme, 
big  flood.    Your  money's  worth.    {Oct.) 

NONE  BUT  THE  BRAVE— Fox.— Once  more  the 
college  hero  makes  good.     {Oct.) 

NO  OTHER  WOMAN— Fox.— One  of  Dolores 
Del  rUo's  early  movie  mistakes,  dug  up  for  no  good 
reason.      {September.)  ■ 

OBEY  YOUR  HUSBAND— Anchor.— Horrible 
moral  lesson  for  naughty  wives.     {September.) 

OH  KAY! — First  National. — Colleen  Moore  in 
some  agreeable  nonsense.     {Oct.) 

OLD  CODE,  THE — Anchor. — Heaven  help  the 
Indian  on  a  night  like  this  I    {Oct.) 

*ON  TRIAL  —  Warners.  —  Vitaphone  version  of  a 
drama  that  will  hold  you  spell-bound.  Also  the  return 
of  Pauline  Frederick  as  a  talkie  star.  Recommended. 
{Jan.) 

OPENING  NIGHT,  THE  —  Columbia.  —  One 

moment  of  cowardice  wrecks  the  life  of  an  otherwise 
fine  man.     .^  drama  worth  seeing.     {.August.) 

ORPHANS  OF  THE  SAGE— FBO.— Boss  pitch- 
er.    {Oa.) 

*OUR  DANCING  DAUGHTERS  —  Metro- 
Goldwyn-Mayer. — Lively  and  very  modern  romance 
in  the  younger  set,  staged  in  a  luxurious  background 
and  ornamented  by  Joan  Crawford,  Anita  Pace  and 
Dorothy  Sebastian.  John  Mack  Brown  and  Nils 
Astheralso  helpalot.     {August.) 


CHAPPED  HANDS 

are  Social  Outcasts 


■  1 


iHEY  just  don't  belottg.They 
express  bad  form  more 
clearly  than  an  ill-fitting 
frock.  For  hands  do  express 
you,  ■whether  they're  in  ac- 
tion or  repose. 

If  they're  red  and  rough, 
cracked  and  unsightly,  they 
hurt  in  more  ■ways  than  one 
. .  .  They  hurt  your  self-es- 
teem—hurt your  rating  in 
the  eyes  of  others. 

Frostilla  is  the  skin's  modiste.  It  remodels  those  wind- 
bitten,  calloused  hands,  and  in  place  of  that  chapped, 
corrugated  surface,  it  leaves  a  satiny  smoothness,  lovely 
to  touch  and  behold. 

If  your  hands  have  not  known  the  gentle  guardianship 
of  this  soothing  lotion,  don't  despair.  It's  not  too  late. 
Begin  to  use  Frostilla  today.  Pour  a  little  of  this  delight- 
fully scented  balm  into  your  cupped  hand.  Lightly  mas- 
sage it  into  the  skin  at  the  wrists,  on  the  back  of  the 
hands,  along  the  fingers. 

Note  how  gratefully  the  skin  responds — how  swiftly  the 
redness  subsides  and  the  parched,  horny  area  becomes 
supple  and  white.  Women  who  would  be  smart  to  their 
very  finger  tips,  find  Frostilla  a  friend  indeed. 

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*OUTCAST— First  National. — Corinne  Griffith 
is  excellent  in  a  daring,  well  directed  and  interesting 
drama.    Send  the  children  to  a  Western.     (Jav.) 


. — Dick 
Buster 


OUT  OF  THE  RUINS— First  National. 
Barthelmess  in  a  pretty  uniform  and  a 
Keaton  expression.     (Oct.) 

OUT  WITH  THE  TIDE— Fearless.— Great  hand- 
fuls  of  melodrama.    (.November.) 

PAINTED  POST — Fox. — Tom  Mix's  swan  song 
for  Fox.    (September.) 

PHANTOM  CITY,  THE— First  National.— Fun 
and  mystery  in  a  deserted  mining  town,  with  Ken 
Maynard  as  the  spook  chaser.     (August.) 

PHANTOM  PINTO,  THE— Ben  Wilson.— Why 
expect  a  pinto  pony  and  a  flock  of  horses  to  furnisli 
all  the  brains  of  a  picture?     (August.) 

PLASTERED  IN  PARIS— Fox.— Pretty  tire- 
some.    (Dec.) 

POLLY  OF  THE  MOVIES— First  Division.— 
Inexpensive  but  entertaining  film  about  an  ugly 
duckling  who  would  be  a  movie  queen.    (September.) 

PORT  OF  DREAMS— Universal. — Proving  that 
you  can't  make  a  "7th  Heaven"  just  by  slowing  down 
the  scenes.    Tliis  one  is  full  of  yawns.    (November.) 

*POWER — Pathe. — Romantic  adventures  of  Bill 
Boyd  and  .-Man  Hale  a  couple  of  dam  good  workers^ 
or  good  dam  workers.     And  very  funny,  too.     (Sept.) 

POWER  OF  THE  PRESS,  THE— Columbia. 
Good   slant   on   newspaper   atmosphere, 
course,  the  usual  heroic  "cub"  reporter. 

PRICE  OF  FEAR,  THE — Universal. — Something 
to  avoid.     (Dec.) 

PROWLERS  OF  THE  SEA— Tiffany-Stahl.  — 
Devastating  effects  of  a  beautiful  Cuban  girl  on  the 
morale  of  a  Navy  ofBcer.     (September.) 

QUEEN  OF  BURLESOUE—Tiffany-Stahl.— Belle 
Bennett  breaks  her  heart  again  in  a  story  of  show 
folks.     (Jan.) 

QUEEN  OF  THE  CHORUS,  THE— Anchor.— 
Routine.  Temptations  of  a  cliorus  girl,  with  virtue 
triumphant.     (August.) 

*RACKET,  THE — Caddo-Paramount. — Thomas 
Meighan.  as  a  lone  cop,  cleans  up  a  gang  of  racketeers, 
headed  by  Louis  Wolheim.    Don't  miss  it.    (August.) 

RAIDER  EMDEN,  THE— Emelka-Columbia.— A 
thrilling  reproduction  of  the  most  spectacular  sea 
exploits  of  the  War.     (A  ugust.) 

RANSOM— Columbia.— Childish  rumpus  over  a 
heavy  international  secret.     Third  rate.     (Oct.) 

RED  MARK,  THE — Pathe. — Depressing  business 
in  a  tropical  penal  institution.  Some  people  have  an 
odd  idea  of  fun.     (Jan.) 

*RED  WINE — Fox. — Delightful  and  subtle  com- 
edy of  a  Perfect  Husband  on  the  loose.  A  treat.  (Jan.)^    picture. 


With, 
(Jan.) 


of 


SEX  LIFE  OF  THE  POLYP— Fox-Movietone.— 
Gorgeous  satire  on  a  scientific  lecture,  by  old  Profes- 
sor Robert  Benchley.    (November.) 

SHAKEDO'WN,  THE— Universal.— .Another  yarn 
about  a  good  bad-man.    Fair  enough.     (Jan.) 

SHIP  COMES  IN,  A— Pathe-De  Mille.— How 
patriotism  comes  to  an  immigrant  family.  (Sept.) 

SHOULD  A  GIRL  MARRY?— Rayart.— Pre- 
senting the  sad  problems  of  a  gal  with  a  past.  (Dec.) 

SHOW  FOLKS — Pathe. — Just  an  obvious  story  of 
theatrical  people  and  their  struggles.     (November.) 

SHOW  GIRL — First  National. — It  misses  the 
piquant  cliarm  of  the  book  but  still  it  is  an  above-the- 
average  comedy.     (November.) 

*SHOW  PEOPLE  —  Metro-Goldwyn-Mayer.  — 
Marion  Da  vies  and  William  Haines  portray  the  funny 
side  of  the  goof  vvho  would  get  into  the  movies. 
Recommended.     (August.) 

SILENT  SHELDON— Rayart.— Pleasant  sort  of 
Western.     (Jan.) 

SINGAPORE  MUTINY,  THE— FBC— Life  in 
coal  hole  of  a  stiip — if  that's  what  interests.you.    (Dec.) 

*SINGING  FOOL,  THE— Warners.— Saga  of  a 
mammy  shouter.  With  Al  Jolson.  Sobs  and  Vita- 
phone  songs.     (Oct.) 

SINGLE  MAN,  A— Metro-Goldwyn-Mayer.— 
Aileen  Pringle  and  Lew  Cody  in  their  best  smart-set 
comedy  so  far.      (Oct.) 

SINNERS  IN  LOVE— FBO.— Little  gal  alone  in 
a  big  city.  Where  have  you  heard  that  before? 
(November.) 

SINNERS'  PARADE— Columbia.— The  ritzy  side 
of  the  underworld  with  a  snappy  plot.     (Jan.) 

*SINS  OF  THE  FATHERS— Paramount.— Emil 
Jannings  in  a  tragedy  of  Prohibition.  Not  one  of  his 
great  pictures — but  nevertheless  eminently  worth 
yourwliile.      (Jan.) 

SIN  TOWN— Pathe.— Just  a  poor  western.  (Oct.) 

SIOUX  BLOOD— Metro-Goldws'n-Mayer.  —  In- 
dian whoopee  that  might  have  been  filmed  in  1910. 
(Jan.) 

SISTERS  OF  EVE— Rayart.— Mystery  story  of 
a  missing  millionaire  who  is  not  missed  oy  his  hard- 
hearted bride.    Fair  enough.    (November.) 

SKIRTS — Metro-Goldwyn-Mayer.  —  Syd  Chap- 
lin in  a  soggy  British  comedy.     (September.) 

SMILIN'  GUNS— Universal.— Hoot  Gibson  in  a 
really  funny  one.     (Oct.) 

SMOKE  BELLEW— Big  Four.— Conway  Tearle 
returns  in  an  Alaskan  yarn.  Some  splendid  blizzards. 
(Ncmember.) 

SOMEONE  TO  LOVE — Paramount.— "  Buddy  " 
Rogers  and  Mary  Brian  in  a  thoroughly  agreeable 


(Jan.) 


Lovers  Greatest  Moment^ 

"Be  Mine  Forever" 

You,  too,  can  soon  hear 
these  wonderful  words. 
You  were  meant  for  love. 
It  is  not  hard  to  become 
,  fascinating  and  charming 
— to  make  the  man  you 
love  want  you  forever,  if 
you  know  certain  secrets 
about  the  way  a  man'a 
mind  works.  'Tascinating  Womanhood"  is  an 
amazing  book  that  tells  the  things  to  avoid  and 
the  beautiful  things  that  make  girls  attractive  to 
men.  We  have  prepared  a  28-page  booklet  out- 
lining the  contents  of  this  wonderful  book  and  in 
it  telling  much  interesting  information  you  would 
like  to  know.  If  you  want  it,  write  name  and 
address  on  margin  and  mail  with  ten  cents  to; 

THE  PSYCHOLOGY  PRESS 
4865  Easton  Ave.,  St.  Louis,  Mo.  Dept  4-B 


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Particulara    of    Dr.  Esenwein's    famous   forty 
lesson  coarse  in  writing  and  marketing  of  the 
"     ample   copy  of  The  Wkiiee's 


RETRIBUTION — 'Warners. — ^Vitaphone    with 
bad  script  but  our  old  friend,  Henry  B.  Walthall, 
registers  neatly.   (Dec.) 

*RE'VENGE — United  ArUsts. — The  third  of  the 
three  "R's"  of  Edwin  Carewe  and  Dolores  Del  Rio. 
Pictorially  attractive  gypsy  stuff.     (Oct.) 

RIDING  TO  FAME — Elbee. — Does  the  villainous 
bookie  succeed  in  queering  the  horse  race  and  wreck- 
ing young  love?    Don'tbedumbl     (.\ugust.) 

RILEY  OF  RAINBOW  DIVISION— Anchor.— 
Trivial  comedy  of  the  training  camps.  (Dec.) 

RILEY  THE  COP — Fox. — J.  Farrell  MacDonald's 
work  is  the  best  thing  in  a  not  too  interesting  picture. 
(Jan.) 

RIVER  WOMAN,  THE— Gotham.— Fine  and 
sincere  story  with  a  splendid  performance  by  Jac- 
QueUne  Logan.     (Oct.) 

ROAD  HOUSE — Fox. — Proving  that  flaming 
youth  got  the  idea  from  the  older  generation.  Rather 
hot.     (Oa.) 

ROMANCE  OF  A  ROGUE,  THE— Carlos.— 
Soggy.    (November.) 

*ROMANCE  OF  THE  UNDERWORLD— Fox.— 
Thanks  to  a  sure-fire  stor\-.  neat  direction  and  good 
acting,  this  film  is  one  of  the  best  of  its  kind.  (Jan.) 

ROUGH  RIDIN'   RED— FBC— Buzz   Barton's 
red  hair  triumphs  over  cinematic  slush.    (November.) 
RUNAWAY    GIRLS— Columbia.— Stuffy    melo- 
drama with  a  moral.    (Dec.) 

SALLY  OF  THE  SCANDALS— FBO.— Bessie 
Love  puts  life  into  a  back-stage  story  that  might  have 
been  dull.     (August.) 

SALLY'S  SHOULDERS— FBC— Slightly  exas- 
perating.    (Oct.) 

SAL  OF  SINGAPORE— Pathe.— Phyllis  Haver 
as  a  bad  girl  who  is  reformed  by  a  little  che-ild. 
Salty  and  picturesque  background.  (Dec.) 

SAWDUST  PARADISE,  THE— Paramount.— 
From  ballvhoo  artist  to  lady  soul-saver,  played  by 
Esther  Ralston.     (Oct.) 

SAY  IT  WITH  SABLES— Columbia.— Heigh-ho  I 
Another  gold-digger  stor^•.    (September.) 

SCARLET  LADY,  THE— Columbia.— Ho-hum, 
more  Russians.    Silly  stuff.    (Oct.) 

*SCARLET  SEAS — First  National. — Hard-boiled 
story  of  a  tough  skipper  and  his  gal,  who  manage  to 
get  religion  without  spoiling  che  picture.  Good  work 
by  Richard  Barthelmess  and  Betty  Compson.    (Jan.) 


SON  OF  THE  GOLDEN  'WEST- FBC— Tom 
Mix  has  changed  his  studio  but  not  the  plot  of  his 
pictures.    (November.) 

SOUTH  OF  PANAMA— Chesterfield.— You've 
guessed  it.  It's  all  about  love  and  revolution  in  a 
Latin  republic.     (Jan.) 

SPEED  CHAMPION,  THE— Rayart.  —  If  you 
can  get  steamed  up  over  the  adventures  of  a  grocery 
boy.    (September.) 

SPIELER,  THE — Pathe. — Carnival  life,  as  it 
really  is.  And  Renee  Adoree  knows  her  atmosphere. 
A  good  show.    (Dec.) 

SPIES  —  UFA.— IMetro-Goldwyn-Mayer.—  Dull 
story  made  only  shghtly  less  dull  by  fantastic, 
Germanic  treatment..      (Dec.) 

STICK  TO  YOUR  STORY— Rayart.— Fun 
among  the  reporters.  My,  what  a  life — and  what  a 
picture!     (Dec.) 

STOLEN  LO'VE- FBC— A  quickie.  Try  the 
show  down  the  street.  (Dec.) 

STOP  THAT  MAN— Universal.— Arthur  Lake  in 
a  comedy  that's  a  riot  of  fun.  Watch  this  ladl 
(September.) 

STORMY  WATERS— Tiffany-Stahl.  —  Eve 
Southern  tries  a  Sadie  Thompson  but  this  story  of 
love  :n  the  rropics  doesn't  quite  come  off.  (August.) 
STR.ANGE  CASE  OF  CAPTAIN  RAMPER.— 
Defu-First  National. — German  picture  with  original 
plot.    Just  a  bit  heavy.     (.August.) 

STREET  OF  ILLUSION— Columbia.— Back- 
stage story  and  an  interesting  defense  of  the  Thespian 
egD.     (Dec.) 

STRIVING  FOR  FORTUNE  —  Excellent. — 
Doity  woik  in  the  ship-yards.     (November.) 

STRONGER  WILL,  THE— Excellent.— Just  one 
long  yawn.     (.4m^iij/.) 

SUBMARINE— Columbia.— A  great  thriller.  %vith 
a  fine  situation  and  some  spectacular  scenes,  almost 
spoiled  by  unimaginative  handling.  Worth  seeing, 
nevertheless.     (November.) 

SWEET  SIXTEEN— Rayart.— Mild  but  fairly 
pleasing  story  of  a  modern  girl.  (Dec.) 

TAKE  ME  HOME — Paramount. — Bebe  Daniels 
in  a  natural  comedy  of  back-stage  life.     (November.) 
TAXI  13 — FBO. — Chester  Conklin  in  the  funny 
adventures  of  a  superstitious  taxi  driver.     (Oct.) 

*TERROR,  THE — Warners. — Mystery  stuff,  well 
presented  in  an  all-talkie.     (Oct.) 


Every  adTertlsement  in  PHOTOPliAT  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine— Advertising  Section 


1  21 


THREE  RING  MARRIAGE— First  National.— 
Heart  interest  and  comedy  in  an  original  story  of 
circus  life.     (September.) 

THROUGH      THE      BREAKERS— Gotham.— 
Soutfi  Sea  Island  story- and  a  really  good  one.  (Dec.) 
THUNDERCLOUD,     THE— Anchor.— A     good 
scenic,  but  shy  on  drama.     (Od.) 

TIDE  OF  EMPIRE — Metro-Goldwyn-Mayer.— 
Standard  pattern  story  of  Gold  Rush  but  acted  and 
directed  with  a  verve  that  puts  it  over.     (Dec.) 

TIMES  SQUARE— Gotham.— Arthur  Lubin  im- 
itates Al  Jolson  and  so  invites  the  inevitable  odious 
comparisons.     (November.) 

TOP  SERGEANT  MULLIGAN— Anchor.— Fair 
enough  war  burlesque  but  enough's  enough.  (Sept.) 

TRAIL  OF  COURAGE,  THE  —  FBC— Cactus 
epic  and  simply  terrible.    (September.) 

UNCLE  TOM'S  CABIN— Universal.— Originally 
reviewed  in  January.  Sound  effects  have  increased 
its  box-office  value.     (Oct.) 

UNDRESSED— Sterling.— Teaching  us  not  to  be 
mean  to  our  children  and  also  not  to  pose  for  strange 
artists.    An  odd  plate  of  hash.    (September.) 

UNITED  STATES  SMITH  —  Gotham.  —  Eddie 
Gribbon  and  Mickey  Bennett  in  a  roughneck  but 
funny  comedy.     (August.) 

VANISHING  PIONEER,  THE— Paramount.-- 
The  return  of  Jack  Holt  to  the  Paramount  ranch. 
And  the  result  is  a  Grade  A  Western.     (August.) 

VARSITY— Paramount. — The  more  sentimental 
side  of  life  at  Princeton.  Charies  Rogers  and  Mary 
Brian  will  make  it  popular  with  the  young  folks.  (Oc/.) 
VIKING,  THE  —  Technic0l9r-M.-G.-M.  —  How 
Lief  the  Lucky  discovered  America,  told  in  color  and 
with  plenty  of  whiskers.     (Jan.) 

VIRGIN  LIPS — Columbia. — Respectable,  in  spite 
of  the  title  and  some  dangerous  costumes  worn  by 
Olive  Borden.     (November.) 

*WATERFR0NT— First  National. — Jack  Mul- 
hall  proves  that  he  can  be  attractive  even  with  a  dirty 
face  And  he  is  again  aided  by  Dorothy  Mackaill. 
A  comedy  with  originality.     (November.) 

WATER  HOLE,  THE— Paramount.— De  Luxe 
Zane  Gray  Western  that  marks  the  return  of  Jack 
Holt.     (November.) 

WEDDING  MARCH,  THE— Paramount.— Von 
Stroheim's  romance  of  old  Vienna,  messed  up  with 
some  repellant  scenes  and  characters.  Some  good 
moments,  but,  as  a  whole,  a  waste  of  time,  money  and 
talent.     (November.) 

WEST  OF  ZANZIBAR— Metro-Goldwyn-Mayer. 
— Lon  Chaney  goes  cripple  again.  So  does  the  plot. 
(November.) 

♦WHEEL  OF  CHANCE— First  National.— Rich- 
ard Barthelmess  does  some  good  acting  in  a  dual  r61e. 
You  forget  the  improbabilities  of  the  story  in  your 
interest  in  the  star's  acting  and  the  dramatic  situa- 
tions.    (A  ugusl.) 

WHEN  THE  LAW  RIDES— FBO.— Something 
better  than  the  conventional  Western  plot.  With 
Tom  Tyler  and  Frankie  Darrow.     (August.) 

WHILE  THE  CITY  SLEEPS— Metro-Goldwyn- 
Mayer.— Lon  Chaney  au  naturel.  Swell  crook  story. 
(September.) 

WHIP,  THE — First  National. — Dorothy  Mackaill 
in  an  English  sporting  melodrama  that  just  misses 
being  thrilling.     (September.) 

WHITE  SHADOWS  OF  THE  SOUTH  SEAS— 
Metro-Goldwyn-Mayer.— Just  misses  being  a  re- 
markable picture.  Its  weakness  of  story  is  atoned  for 
by  some  of  the  most  beautiful  tropical  pictures  ever 
filmed.     (August.) 

WIFE'S  RELATIONS,  THE— Columbia.— Naive 
romance  of  an  heiress  who  finds  a  job  and  a  husband 
in  a  department  store.     (August.) 

WILD  WEST  ROMANCE— Fox.— Some  thrills  in 
this  Western  but  Rex  Bell,  the  newcomer,  will  never 
fill  the  Stetson  of  Tom  Mix.     (August.) 

WIN  THAT  GIRL— Fox.— With  Sue  Carol  and 
Dave  Rollins.  Otherwise  nothing  to  recommend  it. 
(November.) 

*WOMAN  DISPUTED,  THE— United  Artists.— 
Norma  Talmadge  and  Gilbert  Roland  are  excellent  in 
a  stirring  drama  of  Central  Europe  during  the  war. 
(September.) 

WOMAN  FROM  MOSCOW,  THE— Paramount. 
— Pola  Negri's  swan  song  for  Paramount.    (Ocl.) 

*WOMAN   OF   AFFAIRS,    A— Metro-Goldwyn- 
Mayer  —Greta  Garbo  and  John  Gilbert  in  what  is 
none  other  than  Michael  Arien's  "The  Gieen  Hat. 
Why  waste  space  urging  you  to  drop  everything  and 
see  this  one?     (Jaw.) 

WOMAN'S  WAY,  A— Columbia.- This  time  the 
diamond  necklace  is  lost  in  the  Latin  Quarter  of  Pans. 
(August.) 

WOMEN  THEY  TALK  ABOUT— Warners.- 
Charming  Vitaphone  comedy.      (Od.) 

WOMEN  WHO  DARED— Excellent.— Slumming 
party  to  tlie  lower  East  Side,  as  the  movies  picture 
it.     (August.) 

WRIGHT  IDEA,  THE— First  National.— But 
gone  wrong.     (Oct.) 

YELLOW   CONTRABAND   —   Pathe.—    Dope 
smuggling  and  other  cute  modern  occuparions.  (Dec.) 
YOUNG  WHIRLWIND,  THE— FBO.— Kid  en- 
tertainment, with  Buzz  Barton.  (Dec.) 


kij  ijou  skould  iake 
a  LiNiT  /?eautij  i>atri 
before  rGtirlng 
at  nigkt 


EVERY  woman  who 
desires  a  soft,  smooth 
skin  should  take  the 
marvelous  Linit  Beauty 
Bath  before  retiring  at  night. 

It  is  sensational  in  imme- 
diate results— no  discomfort 
—no  waiting  — and  trifling 
expense ! 

Merely  dissolve  half  a 
package  of  Linit  inyour  bath 
-bathe  in  the  usual  way, 
using  your  favorite  soap  — 
and  then  feel  your  skin!  In 
texture  it  is  soft  and  smooth 
as  velvet—  as  well  as  perfect 
in  elasticity  and  suppleness. 

Linit  gives  the  skin  just  the 
right  amount  of  lubrication. 
It  neither  takes  aivay  too 
much  of  the  necessary  oil  in 
the  skin,  which  often  makes 
it  chafed  and  inflamed,  nor 


does  It  dry  up  the  skin  by 
clogging  the  natural  oil  in 
the  pores. 

If  you  cannot  believe  that  a 
fine  laundry  starch  like  Linit 
also  makes  a  marvelous 
beauty  bath,  we  suggest  that 
you  make  this  simple  test: 


^ 


,>!*^' 


AFTER  dissolving  a  handful  or 
.i»-  so  of  Linit  in  a  basin  ol  warm 
water,  wash  your  hands.  The  in- 
stant your  hands  come  in  contact 
with  the  water  you  are  aware  of  a 
smoothness  liiie  rich  cream— and 
after  you  dry  your  hands  your  siiin 
has  a  delightful  softness.  You'll 
be  convinced-  INSTANTLY  ! 
Linit  Is  sold  by  your  Grocer. 


THE    BATHWAY  TO   A   SOFT,   SMOOTH    SKIN 


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122 


Photoplay  Magazine — Advertising  Section 


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The  Studio  Murder  Mystery 


[  CONTINUED  PROM  PAGE  78  ] 


u-ere  asking,  "How  did  he  get  back  on  the 
lot?"  a  new  voice  was  heard,  a  man's  voice, 
MacDougal,  the  night  gateman  come  to  his 
feet,  with  a  paper  in  his  hand.  A  stern,  hard 
man!  A  man  with  a  grim  mouth.  A  man  who 
plainly  is  not  afraid  of  God,  man  or  devil!  He 
made  this  startling  announcement. 

"TN  order  that  the  innocent  may  not  suffer 
-1-.  .  .  I  ask  the  coroner  to  read  this  statement 
to  the  people  gathered  here."  Somebody  took 
the  paper  up  to  the  coroner,  and  while  every 
breath  in  the  room  was  held,  he  read: 

"  'I  killed  Dwight  HardeU  on  the  night  of 
December  15th.  To  this  confession  I  set  my 
hand  and  seal.    Signed,  Scot  IMacDougal.'  " 

"To  say  pandemonium  reigned  would  be 
putting  it  mildly.  The  mental  confusion  in  the 
coroner's  room  was  beyond  description.  Up  to 
the  press  time  of  this  issue,  nothing  more 
definite  has  been  divulged,  but  unappeased 
curiosity  is  running  rife.  Who,  then,  is  the  real 
murderer  of  Dwight  HardeU?  That  is  the 
question  to  which,  ^\'hile  there  appears  to  have 
been  three  answers,  there  is  as  yet  no  proven 
reply!" 

There  was  more  of  the  sob  sisters'  story,  but 
this  covers  the  main  points. 

Captain  of  Detectives  Smith  was  perusing 
the  lay  of  the  sob  sisters  with  a  derisi-ve  smile, 
when  Ryan  came  into  his  office. 

"It's  a  sweet  dish,  eh,  Cap?"  inquired  he, 
looking  over  his  superior's  shoulder.  They 
read  in  silence  for  a  moment,  and  then  Ryan 
added: 

"Which  one  of  'em  do  you  think  is  guilty?" 

"I  think  they're  all  liars!"  exclaimed  Smith 
angrily. 

The  expression  on  Ryan's  face  brightened 
eagerly. 

"Why  .  .  .  anything  new?" 

"  No.  Merely  common  sense.  Two  of  them 
have  got  to  be,  anyway!  But  which  one  does 
that  leave  us?  Maybe  all  three  are  lying,  but 
the  devil  of  it  is,  the  more  I  go  into  the  case  the 


more  I  can  see  that  any  one  of  them  could  have 
done  it  .  .  ." 

"Well,  it's  a  cinch  Beaumont's  safe,  any- 
way .  .  .  the  way  she  got  everybody  going 
yesterday!  All  she  has  to  do  is  to  look  twice  at 
a  jury,  and  she's  cleared  .  .  .  that,  and  the 
self-defense  plea!" 

"Huh!  Vlatcher  isn't  the  kind  to  take  a 
chance.  .  .  ." 

"What'ye  mean?" 

"Frame-up!" 

Ryan  considered  this,  a  slight  frown  pulling 
at  his  brows. 

"But,  Chief  .  .  .  that  girl  sure  must  have 
been  telling  the  truth  .  .  .  her  face,  and  .  .  . 
fainting,  and  all!  And  the  fellow  who  felt  her 
wrist  says  it's  all  she  claimed  it  is!  I  tell  you 
she  sure  got  me  going,  Chief!" 

Smith  looked  up  with  a  dry  smile. 

"The  sooner  you  two  boys  get  married,  the 
sooner  I'm  going  to  get  a  heap  more  savvy  out 
of  you!" 

"Why?" 

"You'll  know  more  about  women  .  .  .  that's 
all!  Ryan,  there  isn't  a  woman  on  earth  who 
isn't  a  born  actress  ...  on  occasion!  All 
right.  Added  to  that,  with  Beaumont  we've  got 
a  professional!  You  don't  suppose  any  canny 
Jew  like  Rosenthal  is  going  to  pay  perfectly 
good  money  to  a  girl  who  can't  act,  do  you? 
Not  he.  He's  got  too  much  sense!  For  two 
years  that  girl  has  been  drawing  down  seven 
hundred  dollars  a  week  .  .  .  to  .  .  .  put  it 
over!  Starting  next  month  she  gets  fifteen 
hundred,  and  a  starring  contract!  Add  that  to 
the  cleverest  lawyer  on  the  coast  .  .  .  and 
.  .  .  what  have  you?  " 

RYAN  thought  a  moment. 
"Ha,  I've  got  it!  When  West  confessed 
she  went  to  Vlatcher  to  defend  him  .  .  .  and 
.  .  .  being  Vlatcher  he  made  use  of  what  he  had 
...  to  the  best  advantage!  It's  a  cinch 
West's  confession  isn't  worth  a  darn  if  there's 
another  in  the  offing!" 


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They  are,  from  left  to  right,  Isabelle,  Marie,  Joe,  Eddie,  John, 
Buster  and  Dad.  The  lady  is  Jane  Keckley,  who  plays  the  mother. 
At  home  are  Mamma  OuiHan  and  three  more  girls 


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"Vou  said  it,  fellow  .  .  .  but,  here's  another 
angle  .  .  .  if,  one  of  those  two  is  guilty  .  .  . 
and  I'm  not  yet  convinced  this  isn't  the  case 
\'latcher  w-ill  pull  them  both  scot  free 
unless  we  can  pin  the  dead  wood  on  either  one 
of 'em!  That's  going  to  be  jomc  job  .  .  .  and 
he  knows  it!" 

■  For  a  few  moments  they  smoked  in  silence, 
then  Smith  laid  down  his  pipe. 

"Well,  what  did  you  find  out  on  that  Seibert 
stuff?" 

■It  checks  up  O.  K.  He  said  he  stopped  in 
the  traffic  hold  at  Santa  Monica  and  Hyland 
didn't  he?  Well,  he  chd.  There's  a  cigar 
shop  there  where  he  has  his  cigarettes  made  to 
order  ...  or  ordered,  or  something.  Any- 
way, the  guy  knows  him  well,  Hardell  buys 
there  too.  Seems  the  guy  saw  'em  both  the 
night  of  the  murder.  .  .  ." 

"Can  he  sw-ear  to  it?" 

"'V'EP.  Recognized  Hardell  by  the  lace  on 

•1  his  sleeve,  and  the  way  he  has  of  waving 
his  hand  to  him.  Seems  while  they  were  wait- 
ing he  called  to  have  a  box  of  cigars  brought 
him,  and  the  cigar  store  guy  went  out,  and 
slung  it  in  the  back  seat,  because  by  that 
time  the  traflic  was  moving.  Hardell  called 
out  to  'charge  'em.'   " 

"Well,  that's  that  .  .  ."  said  Smith.  "All 
right,  we'll  mark  that  off.  Now  let's  go  over 
the  whole  thing  before  Clancy  comes  in.  Added 
to  the  fact  that  any  one  of  the  self-confessed 
murderers  could  have  done  it,  is  the  fact  that 
each  one  of  the  three  had  a  motive!  Undoubt- 
edly MacDougal  has  been  keeping  something 
up  his  sleeve.  The  daughter,  of  course.  We 
could  eliminate  both  Beaumont  and  West  on 
the  theory  that  one  confessed  to  save  the  other. 
Let's  start  with  Beaumont — and  the  scream! 
She  did  not  mention  hearing  any  such  scream 
while  she  was  hiding  by  the  stage.  Answer  to 
that  is,  she  was  lying.  She  never  hid  by  the 
stage.  She  doesn't  know  anything  about  the 
condition  in  which  Hardell's  body  was  found.'' 

"Wait  a  minute,  chief!"  interrupted  Ryan 
triumphantly.  "You  who  know  so  much  about 
women!  The  girl  screamed  herself!  You  don't 
think  a  girl's  going  to  go  through  what  she  did 
with  Hardell,  and  not  yell,  do  you?  Sure  .  .  . 
it  would  be  an  unconscious  cry  .  .  .  but  she'd 
do  it!" 

Smith  looked  over  at  the  other,  and  the  cus- 
tomary deep-lying  twinkle  appeared  in  his 
eyes. 

"You're  learning,  my  boy.     To  dodge  an 

argument  I'll  grant  you  that  she  did  it  herself 

.  but  ...  to   continue,    she   spoke   of   a 

struggle !    There  was  no  evidence  of  a  struggle, 

"A  guy  could  get  pretty  rough  with  a  girl  and 
not  wreck  the  scenery,  even  at  that,  couldn't 
he.  Cap?" 

"Maybe  so.  Anyivay,  this  is  the  fly  in  the 
ointment!  How  did  Hardell  get  back  on  the 
lot!  She  says  he  came  back.  The  gateman 
says  he  didn't!" 


RYAN  leaned   forward, 
"r 


'Chief,  I've  worked  with  you  a  long  time, 
and  I  know  that  sometimes  you  have  queer 
ways  of  going  at  things.  I've  seen  you  pass  up 
what  appeared  to  be  the  key  to  the  plot  ... 
and  come  out  a  winner  at  the  end.  But  here's 
once  when  I  think  you're  off  on  the  wrong 
loot.  ..." 

He  hesitated,  but  Smith  was  listening 
keenly . 

"Goon  ..." 

"I'd  drop  everything  .  .  .  every' blamed 
angle  of  this  crazy  niLx-up  and  .  .  .  find  out 
HOWHardell  got  back!  He  got  back.  That's 
sure  thing  .  .  .  but  .  .  .  HOW?  When  you 
get  that,  you'll  get  the  right  dope!" 

"Think  so?" 

"I  sure  do!" 

"Well,  I  think  so  myself!  I've  been  sort  of 
letting  that  slide  and  checking  up  on  the  things 
that  .  .  .  time  could  mpe  out  .  .  .  you 
understand!  But  .  .  .  it's  come  to  where  it 
can't  sUde  any  longer !  It's  the  puzzler,  and  it's 
got  to  be  solved.     But,  now  back  to  West. 


The  Story  of 
Helena  Rubinstein's 
Pasteurized  Face  Cream 

Over  thirty  years  ago,  when  I  was  a  young  medical  student  in  Vienna,  I  worked 
under  the  direction  of  a  famous  physician  and  skin  specialist  who  had  remark- 
able success  in  treating  the  greatest  variety  of  skin  troubles.  And  although  he 
gave  different  prescriptions  to  his  patients,  they  were  all  founded  on  one  special 
base. 

I  marveled  at  this  unguent  which  had  power  not  only  to  soothe  and  heal  the 
skin,  but  to  invest  it  with  great  beauty.  And  I  began  earnestly  to  wish  that 
more  people  might  know  about  this  wonderful  preparation  and  benefit  by  it 
...  I  dreamed  of  possessing  the  formula  and  re-creating  it  in  the  form  of  a 
beauty  preparation  that  would  be  a  cleanser,  molder  and  revitalizer  in  one  .  .  . 
a  balm  soothing  and  protective  to  the  delicate  skin  of  a  baby. 

I  will  spare  you  a  recital  of  the  struggles  and  the  failures  bridging  this  vision 
of  mine  and  its  realization.  It  took  years  and  years  of  persistent  effort  before  I 
finally  persuaded  the  Viennese  physician  to  part  with  his  secret  recipe  .  .  .  the 
price  was  a  fortune!  From  this  recipe,  after  many,  many  more  years  of  research 
and  experimentation,  I  evolved  my  Pasteurized  Face  Cream.  And  nothing  can 
equal  my  joy  when  the  great  task  was  completed,  when  I  held  in  my  hands 
this  concentrated  beauty  treatment! 

WHAT  IS  "PASTEURIZED  CREAM"? 
The  word  "pasteurized"  is  the  keynote  to  the  cream's  extraordinary  wonders. 
■When  Louis  Pasteur  discovered  the  process  that  would  purify  milk  and  cream, 
and  make  it  safe  for  the  most  delicate  of  children,  he  unknowingly  discovered 
also  the  finest  process  for  purifying  face  cream  too. 

Pasteurized  Face  Cream  is  far  more  than  a  cream  ...  it  is  a  reproduction  of 
the  skin's  natural  oils  and  youth  essences!  Here  is  no  mere  temporary  freshener 
of  the  skin,  on  and  off  in  a  twinkling — this  is  a  beauty-builder  which  works 
hand  in  hand  with  Nature!  The  skin  welcomes  it  .  .  .  hungers  for  its  beauty- 
giving  essences.  And  the  longer  it  is  left  on  the  greater  the  benefits  derived 
from  it.   There  is  no  necessity  for  washing  it  awayl 

As  a  cleanser,  Pasteurized  Face  Cream  is  perfect.  Pore-clogging  dust  and  im- 
purities disappear  at  its  touch.  And  while  it  cleanses,  Pasteurized  Face  Cream 
revitalizes  the  tissues  ...  it  lifts  away  the  tired,  drawn  look  from  eyes  and 
forehead  ...  it  sculptures  contours  into  clean-chiseled  lines  of  youth!  Sensi- 
tive skins,  skins  roughened  and  scaly  from  exposure,  hard  water  and  harsh 
soaps,  find  in  Pasteurized  Face  Cream  soothing  comfort  .  .  .  renewed  smooth- 
ness .  .  .  silken  softness.  Oily  and  pimpled  skins  which  rebel  against  most 
face  creams,  respond  amazingly  to  Pasteurized  Fa^e  Cream. 
Women  whose  fancy  is  captured  by  a  pretty  jar  do  not  buy  Pasteurized  Face 
Cream.  But  women — and  men — of  discriminative  judgment  realize  that  here  is 
unparalleled  value. 


fufma ^mvnJtei 


PASTEURIZED  FACE  CREAM  1.00 
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Helena  Rubinstein's  Salons,  offering  her  world-famous  scientific  beauty  treat- 
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Helena  Rubinstein  Beauty  Preparations  and  Cosmetics  are  obtainable 
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124 


Photoplay  Magazine — Advertising  Section 


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How  those  high-flying  close-ups  are  filmed.  The  man  with  the 
camera  is  Le  Roy  Greiner,  specialist  in  air  photography.  The 
camera  is  anchored  firmly  over  the  cockpit  on  a  special  stand,  to 
keep  it  steady  in  spite  of  the  terrific  speed  of  the  plane.  This  par- 
ticular scene  was  filmed  for  Junior  Coghlan's  picture,  "Marked 

Money" 


We've  got  the  same  set  of  circumstances  as 
with  Beaumont.  He  had  a  motive.  Jealousy, 
or  vengeance,  because  the  man  was  a  rotter  and 
annoying  his  girl.  He  knew,  or  suspected,  that 
Beaumont  went  out  to  the  studio  to  meet 
Hardell.  He  probably  saw  her  go  onto  the  set. 
Anyway,  he  up  and  confessed  as  soon  as  I 
sprung  those  bloody  fingerprints  on  him. 
Either  he  did  it,  and  saw  that,  through  a 
peculiar  happenstance  of  Beaumont's  finding 
the  body,  and  getting  her  hands  in  the  blood,  it 
would  be  pinned  on  to  her  ...  or,  he  deliber- 
ately assumed  the  crime  because  he  believes 
she  did  it!  The  latter  seems  likely.  It  looks 
like  he  might  have  known  she  killed  the  man, 
and  went  and  deliberately  made  those  foot- 
prints to  save  her!" 

"Gee,  it  would  take  pretty  quick  thinking, 
and  a  lot  of  nerve  to  do  that!" 

"That  boy  was  worn  out,  emotionally, 
yesterday,  but  don't  fool  yourself  he  isn't  a 
smart  one,  or  that  he  hasn't  got  nerve!"  said 
Smith.  "I  let  Clancy  bulldoze  him  a  bit  to 
find  out!  He's  got  it,  all  right  .  .  .  and  he 
thinks  quick,  too!" 

■jD  Y.AN  looked  up  with  a  sudden  thought. 
■•-^  "It's  a  cinch  he  knew  that  blood  was 
on  his  heel  .  .  .  when  Tie  tried  to  scufi  it  off! 
You  saw  the  marks,  didn't  you?  " 

"Sure.  Of  course,  did  you  stop  to  think  he 
might  have  thought  it  was  catsup  .  .  .  from 
the  dummy?" 

"Coincidental,"  said  Ryan  softly. 

"Huh  .  .  .  rather.  Too  damned  much  so! 
And  that  leaves  us  only  one  theory.  He  knew 
it  was  there,  and  he  did  it  deliberately.  That 
means  Beaumont  killed  the  man,  and  her  story 
is  hole-proof !  The  scuffing  of  that  blood  shows 
just  how  quick  a  thinker  that  boy  is!  Plus  .  .  . 
his  training!  He's  been  making  pictures  for 
years,  and  he  knows  to  a  finish  all  the  little 
touches  that  build  up  a  drama  .  .  .  the  little, 
what  producers  call,  'human touches!'  Damn 
it,  they  all  do.  That's  what  makes  this  case  a 
humdinger!" 

"Well,  we've  disposed  of  Beaumont  and 
West  as  well  as  we  can  for  the  present.  What 
about  this  other  bird  .  .  .  MacDougal?  You 
know,  that  guy  looks  straight,  to  me!" 

"He  got  that  expression  being  a  redcoat !  It 
may  cover  up  a  whole  bag  of  tricks,"  said  Smith 
shortly. 

"There's  one  thing  sure,  though.     Since  I 


talked  to  him,  he's  found  out  something  new 
.  .  .  something  that  pins  it  on  him,  sure  .  .  . 
or  on  someone  close  to  him  .  .  .  daughter,  of 
course  .  .  ._  or  he  wouldn't  have  confessed 
.  .  .  not  with  two  other  confessions  already 
on  the  table!  You  know,  I  think  he  con- 
fessed for  the  reason  he  said  ...  he  knows 
those  two  are  innocent  .  .  .  and  I  beheve  he's 
straight  and  .  .  ." 

"T^ON'T  be  silly,  boy!"  said  Smith,  im- 
•'-'patiently.    "No  man  is  going  to  confess 
to  murder  just  to  keep  an  innocent  person  from 
hanging!" 

"  Well,  that's  just  a  feeling  I  had.  You  know 
you've  always  been  strong  on  the  intuition 
stuff.  .  .  ." 

"Ryan,  I've  had  one  about  this  case,  and  it 
won't  let  me  sleep!  In  the  face  of  all  the 
evidence,  I've  got  a  strong  hunch  .  .  .  that 
fights  with  all  my  reasoning  .  .  .  but  ...  I 
believe  ..."  and  he  pounded  one  fist  in  the 
other,  but  left  the  curious  Ryan  with  an  unfin- 
ished sentence.  In  a  moment  he  went  on,  as  if 
talking  to  himself. 

"There's  the  fingerprints  on  the  chair- 
rockers.  Somebody  crouched  down  by  that 
chair,  and  put  her  fingers  ...  for  they  are  a 
woman's  ...  on  the  chair  to  steady  herself. 
Who?  And  when?  Was  it  Beaumont,  witness- 
ing West  kill  Hardell,  and  keeping  out  of  it? 
Was  it  MacDougal 's  daughter,  who  had 
sneaked  in  while  her  father  was  at  lunch, 
coming  to  meet  Hardell  .  .  .  finding  him  with 
another  woman  .  .  .  goes  insane  with  jealousy 
and  confronts  him  in  anger  .  .  .  grabs  up  the 
sword,  and  kills  him.  Then,  terror-stricken, 
she  kneels  down  to  see  if  she  has  really  done  it, 
and  .  .  .  with  a  wild  scream  of  horror  runs 
from  the  set,  leaving  the  fingerprints  on  the 
way!  Either  that,  or  .  .  .  she  goes  there  to 
meet  Hardell,  hears  her  father  coming,  who  has 
seen  her  enter  the  lot  while  he  is  across  the 
street,  and  hides.  Her  father  either  sees  her 
crouching  by  the  chair,  or  guesses  it,  and  does 
what  he  has  said  he  would  do  .  .  .  kills 
HardeU! 

"Then  the  same  action.  The  girl  kneels 
by  the  man,  screams,  flees.  Well,  we'll  have 
the  fingerprint  report  complete  soon,  now  .  .  . 
and  it  ought  to  tell  us  something.  Looking 
at  the  possibilities  of  the  various  ways  that 
murder  could  have  happened  ...  it  tells  us 
e.xactly  .  .  .  nothing!" 


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125 


"Any  one  of  the  ways  sounds  logical,"  said 
Ryan. 

"And  ain't  a  damned  bit,"  said  Smith  peev- 
ishly. 

Ryan  looked  up  quickly.  It  must  be  a  pretty 
tough  nut  to  crack  ii  the  captain  was  going  to 
get  on  his  ear  about  it! 

"Say,  did  that  fellow  at  the  cigar  store  tell 
you  about  what  time  he  saw  Hardell  and 
Seibert?" 

"Sure.  There's  nothing  oS  color  there.  He 
says  it  was  around  12:30  .  .  .  or  nearly  that." 

"Was  his  clock,  or  watch,  right?" 

"  He  says  the  men  working  on  that  new  hotel 
across  from  his  place  come  in  and  get  their 
midnight  lunch  at  twelve  o'clock.  They  had 
all  gone,  even  the  stragglers,  and  they  only  get 
a  half-hour  off  .  .  ." 

Ryan  wondered  why  his  chief's  mind  went 
back  to  what  appeared  to  be  a  closed  question. 
But  all  he  got  to  salve  his  curiosity  was: 

WELL,  that  makes  a  sweet  dish  sweeter! 
Did  you  check  up  whether  Beaumont  or 
West  wore  gloves  that  night  .  .  .  and  Mac- 
Dougal?" 

"Vep.  Beaumont  wore  driving  gauntlets. 
West  also.  MacDougal  has  a  pair  he  keeps  in 
his  office  tor  odd  jobs,  or  cold  .  .  .  why?" 

"  No  prints  on  the  rapier,"  said  Smith  briefly. 
Then  he  ran  his  hand  up  through  his  hair,  after 
throwing  his  pencil  down  in  disgust. 

"That's  the  hell  of  it!  Every  time  I  get  an 
idea  that  might  lead  to  something,  there's  more 
than  one  answer  to  it!  I'm  beginning  to  think 
it  was  a  gang  up!  It  beats  anything  I  ever 
worked  on!  Four  people  on  that  set,  when 
there  should  ha\-e  been  but  one  besides  Hardell ! 
Four  people  with  motives  for  a  possible 
murder  .  .  .  or  possible  motivesfor  a  murder  .  .  . 
put  it  either  way  you  want  to!  Three  willing 
to  hang  on  their  own  testimony  that  they  are 
guilty!  Three  people  wearing  gloves  when  we 
find  one  thing  .  .  .  one  place  .  .  .  where 
there  aren't  fingerprints!  Otherwise  finger- 
prints, clues,  all  over  the  place!  Damn 
it!" 

"It's  sure  a  muddle!" 

"Muddle!  It's  a  farce!  It's  a  tragedy!  I 
might  as  well  go  to  hoeing  potatoes  for  a  living  if 
I  don't  solve  it,  because  it'll  go  down  in  history 
.  .  .  mark  my  words!" 

He  stopped,  and  for  a  long  moment  sat  star- 
ing into  space.  Then,  with  a  return  of  his 
familiar  self  and  his  customary  confidence,  he 
said: 

"WeU.  my  tantrum's  over,  Ryan.  I'm  not 
going  to  let  this  thing  get  me  down!  Some- 
thing's got  to  bust  loose  pretty  soon.  I'm 
going  to  forget  everything  in  the  shape  of  a 
clue,  or  evidence  that  we've  gathered,  and 
start  following  that  hunch.  .  .  ." 

CHAPTER  XII. 

AND  the  ne.Kt  morning  .  .  . 
"What    the  hell's  broke  loose  in  this 
movie  murder?" 

"Everything,"  said  Smith  laconically,  watch- 
ing with  some  satisfaction  the  swelling  muscles 
of  the  chief's  fat  jowls. 

The  chief  tilted  his  revolving  chair  back,  and 
gazed  sternly  into  the  eyes  of  the  captain  of 
detectives. 

He  said :  "  You  remember  the  Taylor  case? 
Smith  grunted  expressi\-ely. 
"My  boy,  we  can't  have  another  murder 
mystery  left  up  in  the  air!" 

Smith  took  one  of  Rosenthal's  cigars  from 
his  pocket  and  handed  it  to  the  man  at  the 
desk. 

"Try  that."  he  said  enigmatically.  .-Uter  an 
instant  in  which  the  chief  eyed  him  impatiently 
he  did  as  bidden.  The  first  whiff,  and  a  slow 
smile  of  enjoyment  spread  itself  effulgently 
ON'er  his  heavy  face. 
"Ah  .  .  ." 

"Chief,  everything  about  this  damn  case  is 
like  that  cigar,"  said  Smith. 
"What'ye  mean?" 

"De  Luxe!  It's  the  prettiest  murder  I  ever 
saw!    Spread  it  with  a  lavish  hand,  if  you  get 


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me!  Who  ever  did  it  had  a  sardonic  sense  of 
humor,  that's  certain!  In  some  ways  it  looks 
like  the  work  of  a  silly  kid  ...  all  messed  up 
with  clues  that  don't  join  up  .  .  .  haven't  got 
any  rhyme  or  reason!  In  some  ways  ...  it 
looks  like  .  .  .  the  work  of  a  fiend  who  used  to 
the  best  advantage  all  the  possibilities  of  the 
situation  .  .  .  knowing  it  would  create  a  hell 
of  a  tangle!  When  I  went  out  there  day  before 
yesterday  I  dropped  into  a  nightmare,  chief! 
Another  world!  Things  are  faked  so  that  you 
can't  tell  the  difference  with  a  spy-glass!  I 
followed  up  the  best  I  could.  I  knew  I  was 
leaving  vital  things  up  in  the  air,  but  it  was  a 
case  of  grab  what  I  could  while  the  grabbing 
was  good !  We  won't  solve  this  thing  in  a  week 
.  .  .  nor  yet  a  month  .  .  .  nor  .  .  ." 

"VKTE'VE  got  to!"  snapped  the  chief.    "I'll 
''V  throw  every  member  of  the  force  into  it, 
if  necessary!     Man  alive,  did  you  see  this?" 
He  held  out  a  paper. 

"What  Power  is  Behind  This  Movie 
Hoax?  Does  Arch  Fiend  Roam  at 
Large  'While  Local  Police  and  Local 
Picture  Magnate  Sit  Smiling  and  In- 
active?" 

"Panning  us  pretty  hard,  aren't  they?" 

"Panning?"  snorted  the  other.  "It's  out- 
rageous libel !  They  as  much  as  come  right  out 
and  state  we're  in  with  the  picture  interests  to 
cover  up!  What  about  it? "  The  chief's  eyes 
narrowed  speculatively  upon  the  captain. 
Smith's  lips  tightened  to  a  thin  line  of  anger  as 
he  looked  back. 

"I've  been  on  this  force  since  I  was  a  kid. 
What  do  you  think?" 

"I  think  it's  easy  to  go  .  .  .'the  way  of  all 
flesh!'  "  replied  the  other.  "You're  smoking 
Rosenthal's  cigars,  and  handing  'em  out  pretty 
free!" 

"If  you  weren't  the  man  you  are,  I'd  bust 
you  in  the  nose!" 

The  chief  looked  with  secret  satisfaction  on 
Smith's  fury -whitened  face. 

"That's  fine.  He's  fighting  mad,"  he 
thought,  "  Now  he'll  go  out  and  put  his  mind 
down  to  business!"     .'\loud  he  said, 

"All  right.  We  understand  each  other. 
Does  any  one  of  these  three  confessions  hold 
water?" 

"Every  one  of  them!" 

"Eh?" 

"You  heard  me!  D'you  think  I've  been 
losing  sleep  over  this  case  for  nothing?" 

For  a  space  the  chief  sat  in  silence.    Then, 

"Have  you  located  that  MacDougal  girl?" 

"Clancy  caught  MacDougal  sneaking  to  the 
hospital  on  the  lot.  Ought  to  have  a  report  on 
it  by  now.  .  .  ." 

The  chief  grunted. 

"I  suppose  you've  tried  out  the  theory  that 
this  girl  is  the  meat  in  the  oyster?"  he  asked. 

"Just  getting  to  it,"  admitted  the  other. 

"Find  out  if  Clancy's  in.  I'U  hear  what  he 
has  to  report.  .  .  ." 

Ten  minutes  later  .  .  . 

"You  got  'em?"  from  Smith. 

""TNIDN'T  you  send  me  after  'em?"  from 
-'—^Clancy  in  an  injured  tone.  "Sure,  I  got 
'em!"  and  he  handed  his  superior  an  envelope 
addressed  to  Miss  Beth  MacDougal,  and 
marked,  "Personal." 

Smith  took  the  paper  carefully  by  the  corner 
indicated  by  Clancy. 

"Well,  Chief,  these  ought  to  help  a  lot,"  he 
said. 

"Ought  to  have  had  'em  twenty-four  hours 
ago,"  was  the  reply.  "How  did  you  locate  the 
girl,  Clancy?" 

Clancy  stole  a  quick  look  at  Smith,  but 
finally  replied  Shamefacedly: 

"Oh,  the  joke's  on  us.  Chief!  She  was  on  the 
lot  all  the  time!  Soon's  her  dad  confessed  we 
got  the  hunch,  and  looked  at  the  time  sheet  of 
the  day  Hardell  was  murdered.  She  was 
marked  in  aU  right.  She  never  left!  Mac- 
Dougal was  in  the  clear,  all  right,  though  .  .  . 
he's  only  on  the  gate  at  night." 


"  Hm — well,  what  did  you  get  out  of  her?  " 

"Aw — she  ain't  in  it.  Chief!  Not  the  way 
you  two  think!  She's  only  a  kid  ...  a  baby! 
And  she's  sick.  .  .  ." 

"Maybe  she's  got  something  on  her  mind  to 
make  her  sick,"  snapped  the  chief  impatiently. 
"Get  into  your  story,  Clancy,  and  cut  out  the 
sob  stuff!" 

"Well,  I  went  out  there  first  thing  this  morn- 
ing. Say,  that  nurse  is  a  hard-boiled  gal,  all 
right!  I  had  to  pull  my  badge  on  her,  and  get 
rough  before  she'd  let  me  see  the  kid!  'Then  she 
keeps  glarin'  at  me  like  I  was  a  case  of  small- 
pox! The  kid  doesn't  know  her  father's  con- 
fessed .  .  .  see?  First  she  hauls  back  in  the 
bed  and  looks  at  me  like  a  scared  rabbit  .  .  . 
gets  white  as  the  sheet,  and  starts  stuffing  her 
handkerchief  down  her  throat.  I  goes  in  and 
hands  her  the  envelope.  She  sees  her  name  is 
on  it,  and  reaches  out  her  little  white  hand, 
slow-like,  and  all  the  time  watchin'  me,  scared 
to  death,  out  of  her  big  eyes.  Well,  she  opens 
it,  and  .  .  .  you  know,  there's  nothin'  in  it. 
She  says, 

"  'It's  .  .  .  empty  .  .  .'  and  looks  at  me 
puzzled.  Before  she  gets  the  idea  and  spoils 
the  evidence,  I  take  it  away  from  her,  like  I 
was  goin'  to  look  in  the  envelope,  myself,  you 
understand  .  .  .  Well,  then  the  kid  just 
stares  at  me  gettin'  whiter'n  whiter.  Finally 
she  says: 

"'V\7HAT  you  do  that  for?'  in  a  Uttle 
**  whisper.    I  says,  offhand  like: 

"  'Oh,  that's  just  to  get  your  fingerprints 
.  .  .'  and  was  goin'  to  tell  her  it  didn't  amount 
to  nothin',  when  she  pulls  back  on  the  pillow, 
and  says: 

"  'Fingerprints?    Oh  .  .  .  my  God!'  " 

Clancy  choked,  and  stopped. 

"Go  on,  man,"  said  the  chief  impatiently. 

"Well,  she  just  sits  there  starin'  at  me,  and 
gettin'  whiter'n  whiter  ..." 

"Impossible!  She's  done  that  three  times," 
snapped  the  Chief. 

"Well,  she  starts  cryin',  if  you  like  that 
better,"  returned  Clancy,  not  without  spirit. 
"She's  shakin'  all  over,  so  that  you'd  think 
she  had  a  chill.  I  .  .  .  er  .  .  .  try  to  make 
her  feel  better,  see  .  .  so's  to  get  her  where  she 
can  talk  .  .  .  I  goes  over  .  .  and  ..." 

"Never  mind  going  into  details.  I  presume 
you  went  over  and  put  your  arm  around  her," 
remarked  the  Chief  sarcastically. 

"Well,  and  so  would  you  have,"  snapped 
Clancy.  "I  tell  you  the  poor  kid's  scared  to 
death,  and  sick,  and  .  .  .  well,  anyway,  pretty 
soon  she  quiets  down,  and  .  .  .  say,  what 
d'yoii  think  she  says?" 

"That's  what  we're  waiting  to  hear,  Clancy," 
smiled  Smith,  not  unkindly. 

"She  scrouges  back  into  the  corner  of  the 
bed  as  far  as  she  can  get,  and  covers  her  face 
with  her  little  hands,  and  cries, 

"  'I  wish  God  had  never  made  men!'  Ain't 
that  a  hell  of  a  thing  to  say?  And  her  supposed 
to  be  dead  in  love  with  that  guy  Hardell,  and 
me  talkin'  pretty  to  her,  and  makin'  it  as  easy 
for  her  as  I  can?  Well,  then  I  springs  the  dope 
about  her  dad  on  her.  And  say,  you  can  put 
this  in  your  pipe  and  smoke  it  .  .  .  that  kid 
never  had  a  ghost  of  an  idea  her  dad  was  goin' 
to  confess  to  the  murder!  Nosiree!  I  watched 
her  careful,  and  I  teU  you  it  knocked  her  off 
her  pins!" 

'T  SUPPOSE  she  got  whiter'n  whiter,"  said 
-L  the  chief  dryly, 

"She  sure  did,"  replied  Clancy  innocently. 
"Then  she  flops  over  on  her  pillow  and  iburies 
her  face  and  .  .  .  God,  how  that  kid  cried! 
No  foolin'  I  thought  she  was  goin'  to  bust  a  G 
string !"    Clancy  stopped  and  gazed  into  space. 

"  Did  she  say  anything?" 

"The  nurse  comes  in,  mad  as  a  hornet,  and 
glares  at  me.  She  goes  over  and  feels  the  kid's 
pulse,  and  straightens  up  and  gives  me  the 
fishy  eye. 

"  'It  doesn't  make  any  difference  to  me  if 
the  whole  police  force  is  back  of  you,'  she  yelps, 
'you  aren't  going  to  kill  this  child  .  .  .  not  if  I 
know  it!'    Can  you  beat  it?    She  makes  me  go 


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out  of  the  room,  and  sit  in  the  hall  twiddlin' 
my  thumbs  for  half  an  hour!  She  tells  me  if 
I've  any  more  damage  to  do,  I'll  have  to  wait 
until  the  kid's  quieted  down.  Seems  she's  got 
a  fever,  or  somethin',  and  the  nurse  says  it's  as 
good  as  curtains  if  she  gets  too  excited!" 

"Just  what's  the  matter  with  this  girl?" 
asked  the  chief. 

GOSH,  I  don't  know!  She's  good  and  sick, 
that's  certain.  Well,  while  I'm  sitting 
there,  I  hear  her.  Gosh,  she  sounds  like  a  little 
kid.  ...  I  seen  one  once,  wandering  in  the 
park,  rubbin'  its  eyes  and  sobbin'  .  .  .  cryin' 
for  its  Daddy  .  .  .  well,  that's  the  way  she 
sounded  to  me.    I  heard  her  savin': 

"  'They'll  hang  him!  They'll  hang  my 
Daddy!  Oh,  my  God  .  .  .  what  did  I  ever  do 
it  for?'" 

The  two  other  men  looked  quickly  at  each 
other  when  Clancy's  lips  pronounced  this  last. 
The  Chief  said, 

"Huh!  You  are  certain  that's  what  she 
said?" 

"Sure!  But  that  baby  isn't  a  murderess' 
She  meant  somethin'  else  ...  I  tell  you  the 
kid's  too  little  'n  sweet  ...  I  tell  you  .  .  .  " 

"Shut  up  Clancy,"  snapped  the  Chief,  "and 
get  out!" 

[  TO  BE  CONTINUED  ] 


The  Stars'  Mad 
Night  Life 

ICONIINUED  FROM  PAGE  65  ] 


■Warner  Baxters,  the  Gregory  La  Ca\as,  as  well 
as  Virginia  Valli  and  Charlie  Farrell,  Arthur 
Lubin  and  Alice  Joyce's  brother,  Frank,  are 
devotees. 

Estelle  Taylor  and  Jack  Dempsey  manage 
to  find  enough  to  argue  about  in  the  old- 
fashioned  game  of  croquet.  Jack  insists  that 
he  thought  croquet  was  something  to  eat  until 
his  pretty  helpmeet  taught  him  to  handle  a 
mean  mallet. 

D.\RT"  is  a  game  of  skill.  The  target  has 
colored  rings  with  a  bull's-eye  in  the 
center,  each  circle  numbered  1,  2,  3  and  4  with 
10  for  the  bull's-eye. 

F.ach  player  has  12  darts  made  of  cork  with 
a  pin  at  one  end  and  a  feather  at  the  other, 
and  the  one  scoring  the  highest  wins. 

The  darts  are  elusive  things.  At  the  final 
tournament,  jMrs.  Hamilton's  first  dart  landed 
in  Mrs.  Charles  Emmett  Mack's  foot.  Bill 
Powell's  pinned  Diana  Kane  Fitzmaurice  to 
the  back  of  a  swing  by  her  hair.  Warner 
Baxter  turned  out  to  be  champion,  with 
Arthur  Lubin  a  close  second. 

"Sandown,"  also  known  as  "Minaroo,"  is  an 
English  racing  game  adapted  to  the  parlor, 
patio  or  garden.  Each  contestant  is  given 
a  small  horse  checker  which  is  set  to  race  down 
a  green  baize  course.  This  is  Ronald  Colman's 
favorite  sport. 

Franklin  Pangborn  introduced  Minaroo  at 
a  party  for  May  Robson,  who  became  so 
enthralled  with  it  that  she  refused  to  let  her 
guests  go  home. 

A  scientific  game  invented  by  some  Holly- 
wood intellectual  is  "Binet."  A  player  or  a 
group  is  given  a  word;  as  rapidly  as  possible 
words  suggested  by  the  initial  word  are  written 
down,  then  read  back,  -nith  explanation. 

Renee  Adoree  gave  Dorothy  Sebastian  the 
word  "Hollywood,"  which  resulted  in 

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hat  dancing 

blue  New  York 

eyes  buildings 

Alice  Terry  house 

Paris  payment 

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ill  Hollywood 

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"Hollywood  made  me  think  of  the  first  thing 
I  bought  here,  a  hat;  it  was  blue,  which  sug- 
gested eyes,  which  made  me  think  of  Alice 
Terry,  since  my  first  impression  of  her  was  her 
laugliing  eyes.  Alice  made  me  think  of  Paris, 
where  we  went  together,  and  Paris  suggested 
boat  on  which  I  was  iU;  ill  made  me  think  of 
sister,  who  has  been  ill;  she  lives  in  Birming- 
ham, which  I  left  to  take  up  dancing;  I  danced 
in  New  York,  where  buildings  are  so  high. 
Buildings  suggested  house  on  which  I  am 
making  payments,  and  that  meant  money, 
which  brought  to  mind  the  place  where  I've 
made  it — Hollywood." 

Dorothy  gave  Renee  the  word  "dull,"  but 
Renee  said  she  knew  so  may  dull  people  she 
couldn't  think  which  name  to  write;  Dorothy 
substituted  "work"  but  Renee  denied  that 
work  was  dull  and  that  was  another  blind 
alley,  so  Dorothy  gave  her  "shoes,"  resulting 
thus: 

Shoes  street 

stockings  lights 

runs  camera 

walk  work! 

Stockings  are  worn  with  shoes  and  have  runs. 


which  suggests  walk  on  streets  which  have 
lights,  bringing  up  cameras  and  back  to  work 
again ! 

Douglas  Fairbanks  and  Charlie  Chaplin 
originated  "Three  Minute  Man"  during  the 
various  Liberty  Loan  drives,  the  idea  being 
that  a  guest  be  given  a  subject  on  which  he 
must  make  a  three-minute  speech,  starting 
instantly  and  not  stopping  until  time  is  called. 
Thus,  Doug  may  point  to  Charlie  and  cry: 
"Window  shades!"  The  comedian  immediately 
begins  a  discourse  on  the  subject,  explaining 
the  uses,  abuses,  delights  and  dangers  of 
window  shades. 

"Adverbs''  is  a  game  for  good  actors.  Two 
are  sent  out  of  the  room  while  an  adverb  is 
decided  upon — "gloomily,"  "patiently,"  "op- 
timistically," etc.  Returning  they  try  to  guess 
the  adverb,  demanding:  "Miss  Pollard,  do 
a  dance  in  the  manner  of  the  word,"  in 
response  to  which  Daphne  Pollard  may  arise 
and  move  about  in  slow  dance  rhythm 
because  the  adverb  is  "gloomily." 

"Charades"  has  long  been  a  favorite  recrea- 
tion, but  the  newest  thing  is  to  make  charades 
on  pictures,  books,  songs  or  slogans. 


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into  her  smart  new  water  suit.  She  is  working  thus  in  "The 
Mysterious  Island,"  Metro-Goldwyn-Mayer's  filming  of  the  Jules 

Verne  story 


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129 


Neil  Hamilton  and  Virginia  Valli  presented 
a  "A  Baby's  Prayer  at  Twilight,"  with  Neil 
as  the  baby  and  Virginia  as  twilight.  "A 
Woman  Disputed"  was  enacted  by  Charlie 
Farrell  and  Elmer  Clifton  lighting  over  Bcbc 
Daniels.  "Bad  Girl"  was  indicated  by  Mar- 
garet Livingston  standing  in  a  corner  and  two 
good  children,  Paul  Bern  and  Charlie  Byer, 
shaming  her. 

"Twenty  Questions,"  "Coffee  Pot,"  "Spin 
the  Platter,"  "Lotto,"  checkers  and  chess  all 
have  their  devotees.  The  Ernest  and  David 
Torrences,  the  Percy  Marmonts,  the  Fitz- 
maurices,  Florence  Vidor  and  Colleen  Moore 
Uke  to  sharpen  their  wits  by  one  or  other  of 
these  games.  James  Hall  started  the  "Hell's 
Angels"  cast  and  crew  to  playing  "Parchesi" 
one  dull  day  and  he  is  now  waked  at  all  hours 
to  decide  mooted  questions  among  enthu- 
siastic players. 

PUZZLE  PEG,"  a  game  that  can  be  played 
alone,  has  taken  the  place  of  crossword 
puzzles  on  the  sets.  Walter  Byron,  Samuel 
Goldwyn's  new  find,  has  a  board  made  in  18.S4 
by  one  of  his  ancestors  on  the  Isle  of  Man.  This 
is  very  simple  until  you  try  it.  Strong  men 
struggle  for  months  without  being  able  to  win. 

.Aileen  Pringle  and  Lew  Cody  have  come  to 
the  conclusion  that  " Tiddle-dy- winks "  is 
easier,  while  Doris  Kenyon  and  Milton  Sills 
pass  time  with  chess. 

Over  at  Rod  La  Rocque's,  a  dinner  is  not 
considered  complete  without  "Alphabet."  Rod 
calls  out  a  letter,  indicating  a  guest;  the  guest 
must  reply  with  a  name  (author,  book,  picture, 
star,  etc.,  whatever  subject  has  been  decided 
on) — the  guest  having  the  fewest  black  marks 
winning  the  prize. 

"All  Fall  Dowij"  is  a  boisterous  game  some- 
what like  the  ancient  "Statue"  played  by 
children.  Players  line  up,  the  leader  cries,  "All 
Fall  Fown,"  then,"  Rise,"  and  as  they  begin  to 
get  up,  "Strike,"  when  each  must  freeze  into 
whatever  uncomfortable  pose  they  happen  to 
have  attained,  the  funniest  getting  the  prize. 

Louise  Fazenda  sometimes  plays  this  game 
in  the  surf,  the  buffeting  of  the  waves  adding  to 
the  difficulty. 

Impromptu  theatricals  have  long  been  the 
mainstay  of  house  parties  given  by  Marion 
Davies  and  Norma  Talmadge.  Now  the  rest 
of  the  film  colony  have  taken  them  up.  The 
other  night  Mrs.  Wallace  Reid  had  a  party  in 
honor  of  Mrs.  Arthur  Rankin.  Bill  Boyd, 
Arthur  Rankin  and  Walter  Lang  were  selected 
for  an  act. 

Arthur  Rankin  in  a  Spanish  shawl,  a  pair  of 
flapper  socks  and  Elinor  Faire's  hat,  imperson- 
ated an  obstinate  wife,  with  Bill  Boyd  as  a 
husband  who  wanted  to  go  to  the  fights.  While 
they  were  arguing,  Walter  Lang,  as  the  family 
friend,  entered  and  demanded  the  cause  of  the 
quarrel;  the  wife  sobbed  her  story.  "I  can 
settle  this!"  cried  Walter,  and  pulling  out  a 
gun  he  shot — the  wife! 

IT  wouldn't  be  Hollywood  if  fortune  telling 
wasn't  a  favorite  diversion.  Jacqueline 
Ix)gan  has  a  game  of  Chi  Chi,  an  ancient 
Chinese  method  of  foretelling  the  future.  In 
the  original,  a  handful  of  twigs  was  thrown  in  a 
heap,  the  future  read  from  the  way  they  lay; 
but  in  the  game  Jackie  owns,  numbered  bam- 
boo sticks  are  shaken  in  a  small  bo.x.  The 
number  on  the  stick  corresponds  to  a  number 
in  an  accompanying  book. 

If  you  don't  like  the  prophecy  you  c.in 
shake  again! 

Esther  Ralston  professes  to  be  a  wizard  at 
cards,  and  when  Mary  Brian  is  feeling  romantic 
she  runs  over  to  Esther's  house.  The  result  of 
the  latest  fortune  telling  follows; 

1930  will  be  an  eventful  year;  two  men  will 
change  the  course  of  Mary's  Hfe  then.  One 
dark,  middle-aged  man,  through  a  signed  docu- 
ment, will  bring  Mary  great  wealth.  She  will 
be  tempted  to  retire  on  her  millions,  but  will 
not.  The  other,  a  tall,  fair  man,  will  bring 
romance.    So  look  out  for  1930! 

So  play  the  merry,  merry  villagers  of  Holly- 
wood. .  .  . 


©(ASCLc/Oux^ 


AN  IVORY  COLUMN . . . 
SATIN^SMOOTH 

Vvill  time  destroy  tnis  loveliness t 

TIME  loves  to  trace  tiny  criss-cross  lines  in  the  satiny 
texture  of  a  woman's  throat,  making  it  coarse  and  crepy. 
And  a  crepy  throat  ages  a  woman's  entire  appearance. 

But  fortunately  you  can  guard  your  throat  from  this 
unhappy  fate.  Intelligent,  day-by-day  care  of  your  skin 
will  keep  it  beautifully  young  despite  the  passing  years. 

The  simple,  scientific  treatments  which  Dorothy  Gray 
evolved  for  preventing  crepy  throat — and  for  correcting 
it — have  long  proved  remarkably  successful  in  the  Dorothy 
Gray  salons  of  six  cities.  If  you  prefer  to  follow  these 
treatments  in  your  own  home  you  can  readily  do  so,  for 
the  same  exquisite  preparations  used  in  the  Dorothy  Gray 
salons  may  be  had  at  leading  shops  everywhere,  while 
the  Dorothy  Gray  method  is  clearly  explained  in  the 
booklet  which  this  coupon  brings  you. 

DOROTHY  GRAY 

683  FIFTH  AVENUE,  NEW  yORK 

©D.G.1929 
Salons  in:    CHICAGO      LOS  ANGELES     SAN  FRANCISCO     WASHINGTON    ATLANTICCITY 

DOROTHY  GRAY,  Six  Eighty  Three  Fifth  Ave.,  New  York 

Please  send  me  the  new  Dorothy  Gray  booklet,  "Your  Dowry  of  Beauty." 
I  am  particularly  interested  in:  D  The  Treatment  for  Lines  and  Wrinkles 
D  The  Treatment  for  Double  Chin  □  The  Treatment  for  Relaxed  Muscles 
and  Crepy  Throat. 

Name 

Address Cily 


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Your  Clothes  Come  From  Hollywood 

[  CONTINUED  FROM  PACE  71  I 


Swanson  for  her  first  big  part.  Peggy  was  so 
limited  in  a  financial  way  that  she  cut  out 
designs  in  bits  of  carpet  and  appliqued  them 
to  frocks  to  give  them  an  air  of  richness.  When 
she  gowned  Swanson,  she  shortened  and  re- 
made her  own  frocks  for  the  budding  star. 

"Look  to  Paris  for  our  modes?  In  heaven's 
name — why?"  she  exclaimed.  "Have  we  no 
originality  of  our  own?  During  the  time  that  I 
was  with  Triangle  I  did  not  look  at  a  fashion 
book  from  abroad.  Our  demands  are  different. 
We  have  created  a  definite  style  of  our  own. 
We  do  not  need  Paris."  As  proof  of  this  she 
was  the  first  person  to  take  a  Hollywood 
fashion  show  to  Paris. 

Peggy  believes  in  gay  colors,  in  hand  painted 
frocks,  embroidery  and  laces  and  most  of  all  the 
bouffant  gowns  that  are  symbolic  of  Holly- 
wood. 

This  brings  us  to  Adrian,  the  boy  who  put 
the  "bou"  in  bouffant.  Si.x  years  ago  he 
created  the  first  frock  of  this  kind  to  be  worn 
on  the  screen.    He  made  it  for  Leatrice  Joy. 


"Ridiculous!"  cried  the  producers,  as  pro- 
ducers are  wont  to  do.  "No  woman  would 
wear  a  gown  like  that.  You  couldn't  get  more 
than  three  or  four  of  those  skirts  in  one  room." 

But  Adrian  and  Miss  Joy  beheved  in  them. 
"Well,"  said  the  producer,  "just  this  one  time. 
She  may  wear  this  gown,  but  never  let  it  hap- 
pen again." 

That  was  six  years  ago.  Last  year  fifty  per 
cent  of  the  evening  dresses  sold  throughout  the 
world  were  robes  -  dc  -  style  and  Adrian's  gown 
is  in  as  good  style  now  as  it  was  then. 

This  trick  of  making  frocks  that  are  always 
in  style  is  one  that  the  designers  learn.  Sophie 
Wachner  created  the  costumes  worn  by  Aileen 
Pringle  in  "Three  Weeks."  A  certain,  gor- 
geous flame-colored  negligee  is  still  in  Aileen's 
wardrobe.  She  bought  it  for  personal  use  and 
wears  it. 

Miss  Pringle,  who  has  gained  no  mean  repu- 
tation for  her  clothes,  is  not  easy  to  costume. 
She  is  short  and  wiU,  when  not  properly 
gowned,  look  squatty.     She  must  wear  her 


Picture  of  a  lady  who  didn't  think  she  could  wear  clothes  with 
style.  Travis  Banton  was  the  designer  who  persuaded  Florence 
Vidor  that  she  was  smarter  than  most  of  'em.  "This  costume,  called 
"A  Midsummer  Night's  Dream,"  has  a  wrap  of  black  velvet, 
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She  must  dress  in  Ion;; 


I  ^I 


hair  close  to  her  head 

"in  "The  Wife  of  the  Centaur,"  she  had  to 
^vear  a  bathing  suit.  This  did  frightful  things 
to  her  really  good  figure,  so  black  stockings 
that  came  to  the  end  of  the  suit  were  given  her 
to  carry  the  length  of  Une. 

To  Travis  Banton  goes  the  credit  for  making 
Florence  \idor  what  she  is  today. 

••Strangely  enough,"  Banton  relates.  I-lor- 
ence  had  no  interest  in  clothes  She  thought 
that  she  could  not  wear  them  skillful  b-and  any 
old  thing  would  do.  This  makes  it  difbcuU  for 
the  designer.  I  much  prefer  a  star  who  is 
fussy  and  likes  to  ha\'e  everything  ]ust  right. 
Florence  had  appeared  in  pictures  which  gave 
her  no  chance  for  smartness  until  1  he  Grand 
Duchess  and  the  Waiter.'  ,    ,    ,     ,       j 

•■I  made  some  frocks  for  her  that  she  loved 
and  her  interest  was  born.  She  began  to 
realize  that  she  could  wear  clothes.  She  now 
dresses  in  perfect  taste  and  is  smart  in  Holly- 
wood, New  York  or  Paris. 

'•  C  HE  gives  an  amazing  amount  of  time  to  her 
kJ.'owns,  stands  for  hours  to  have  one  seam 
right  goes  into  a  conference  over  whether  or 
not  a  dress  should  be  a  fourth  of  an  inch  longer. 
She  has  narrow  hips  and  can  wear  material 
swathed  about  them.  She  strenuously  objects 
to  the 'Hollywood  figure.'" 

Tetta  Goudal  has  caused  more  trouble  than 
any  other  actress.  Although  they  are  now  the 
best  of  friends,  she  and  Adrian  were  not  on 
speaking  terms  for  over  a  year.  Howard  Greer, 
who  has  become  a  prosperous  merchant  with  a 
sumptuous  establishment  on  Sunset  Boule- 
vard shakes  a  sad  head  when  he  contemplates 
scenes  with  Goudal  in  the  fitting  room. 

Greer  made  Kathryn  Carver's  trousseau  but 
the  prejudice  (born  of  envy,  I  imagine)  is  so 
"reat  in  Paris  that  the  newspapers  refused  to 
credit  a  Hollywood  house  with  the  making  of 

"^"Lilyan  Tashman.  Corinne  Griffith,  Flor- 
ence Vidor,  Norma  Shearer  and  Norma  Tal- 
madge  all  have  clothes  sense,"  said  Greer. 
"Miss  Shearer  and  Miss  Talmadge  are  x'cry 
sensible  and  charming  to  dress. 

'•Pola  Negri  enjoys  wearing  rags  better  than 
dress-up  clothes,  yet  when  she  wears  a  real 
gown  on  the  screen  she  insists  that  the  slippers 
be  dyed  to  match  the  frock  because  the  con- 
trast in  color  irritates  her  when  she  is  working. 
'•Miss  Goudal  works  on  details  until  she 
loses  all  perspective  on  the  Unes  of  the  gown." 
And  now  we  must  contemplate  Harry  Col- 
Uns  Mr.  Collins,  of  the  house  of  Collins,  came 
to  Hollywood  to  revolutionize  the  industry  so 
far  as  dress  was  concerned.  He  declared  right 
off  the  bat  that  there  were  almost  no  smart 
women  in  Hollywood,  which  set  him  nght  with 
the  film  colony  at  once!  He  made  an  agree- 
ment mth  the  producers  that  if  the  stars  were 
not  satisfied  with  their  clothes  they  might  go 
elsewhere. 
They  did,  with  no  uncertain  steps. 

COLLINS  has  done  some  beautiful  work  but 
he  is  not  attuned  to  the  studios.  He  must 
be  the  head  man  or  he  won't  play.  So  he  isn't 
playing.  He's  going  to  pack  up  his  doU  rags 
and  go  home. 

The  designers  in  Hollywood  are,  after  all, 
dealing  with  personalities.  In  this  business,  as 
in  any  other,  there  are  certain  common  con- 
cessions to  be  made. 

There  are  some  stars  whom  you  will  do  well 
to  copy.  Find  your  prototype  on  the  screen 
and  remember  the  lines  she  wears  to  help  you 
in  selecting  your  wardrobe.  Besides  the  ones 
mentioned  there  are  Irene  Rich,  Janet  Gaynor, 
Ruth  Taylor,  Dorothy  Mackaill,  Louise 
Brooks  and  Mary  Duncan. 

Some  stars  are  never  identified  with  clothes. 
Clara  Bow  became  famous  without  them.  It 
doesn't  matter  what  she  wears.  She  spends 
less  on  her  personal  wardrobe  than  almost 
any  star  on  the  screen.  A  fifteen  or  twenty 
dollar  frock  (sounds  incredible,  doesn't  it.'') 
will  look  the  same  on  her  as  one  that  cost  five 
hundred  dollars 


Parents  Keep  Slender 

Youthful  figures  at  all  ages  now 


Science  Fights  Fat 

Through  an  important  gland 


People  used  to  think  that  excess  fat 
all  came  from  over-eating  or  under- 
exercise.  Some  people  starved,  but 
with  slight  effect.  Some  became  very 
active,  still  the  fat  remained. 

Then  medical  research  began  the 
study  of  obesity.  It  was  found  that 
the  thyroid  gland  largely  controlled 
nutrition.  One  of  its  purposes  is  to 
turn  food  into  fuel  and  energy. 

Fat  people,  it  was  found,  generally 
suffered  from  an  under-active  thyroid. 

Then  experiments  were  made  on 
animals — on  thousands  of  them. 
Over-fat  animals  were  fed  thyroid  in 
small  amounts.  Countless  reports 
showed  that  excess  fat  quite  promptly 
disappeared. 

Then  thyroid,  taken  from  cattle  and 
sheep,  was  fed  to  human  beings,  with 
like  results.  Science  then  realized 
that  a  way  had  been  found  to  combat 
a  great  cause  of  obesity.  Since  then, 
this  method  has  been  employed  by 
doctors,  the  world  over,  in  a  very 
extensive  way. 

Next  came  Marmola 

Then  a  great  medical  laboratory  per- 
fected a  tablet  based  on  this  principle. 
It  was  called  the  Marmola  prescrip- 
tion. 


Marmola  was  perfected  21  years 
ago.  Since  then  it  has  been  used  in 
an  enormous  way — millions  of  boxes 
of  it.  Users  told  others  about  it.  They 
told  how  it  not  only  banished  fat  but 
increased  health  and  vigor. 

That  is  one  great  reason — perhaps 
a  major  reason — why  excess  fat  is 
nowhere  near  as  common  as  it  was. 

No  Secrecy 

Marmola  is  not  a  secret  prescription. 
The  complete  formula  appears  ill 
every  box.  Also  an  explanation  of 
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No  abnormal  exercise  or  diet  is 
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Correct  the  cause.  With  lessened 
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other  benefits. 

Do  the  Right  Thing 

This  is  to  people  whose  excess  fat 
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DO   YOU   REALLY   KNOW   WHAT   HAPPENS 


Amazlne,  startllne  FACTS  that  Srlcnce  has  actually 
discovered  and  PROVEN  about  AFTER-DEATH  and 
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PHOTOPLAY 

Subscription  rates  will  be  found 

on  page  142. 

Remember  that  the  stars  whose  gowns  you 
copy  are  not  all  perfectly  moulded.  Sophie 
Wachner  told  me  that  Dale  Fuller,  a  character 
actress,  far  from  beautiful,  has  the  best  figure 
of  any  woman  she  has  ever  gowned.  It  is  up 
to  the  designer  to  conceal  the  defects  and  bring 
out  the  best  points.  And  when  you  see  how 
beautiful  the  stars  look  you  know  that  de- 
ficiencies of  form  don't  matter. 


Here  is  a  consensus  of  opinion :  Simplicity  is 
the  thing.  Know  when  to  leave  off.  Dress  in 
keeping.  Hat,  shoes  and  bag  must  be  all  in  one 
key  to  go  with  the  frock.  Know  yourself.  I 
must  quote  Collins  who  says,  "There  is  no 
mysteiy  in  dress.  A  mirror  and  observation 
is  all  that  is  necessary." 

Observe,  then,  from  the  screen. 

Look  to  Hollywood  and  be  smart! 


Just  a  Hollywood  Day 


[  CONTINUED  FROM  PAGE  63  ] 


So  to  lunch  with  Nils.  And  he  was  not  at  all 
the  sleek,  hand-kissing  gallant  that  Holly- 
wood ravages  usually  are.  I  found  him  be- 
wildered with  contract  offers  and  fan  mail. 

In  negotiating  his  contract  Nils  had  not  fore- 
seen the  liability  of  fan  mail,  and  so  that  day 
Irving  Thalberg  had  been  compelled  to  send 
a  pick  and  shovel  squad  to  Nils'  dressing  room 
to  unearth  him  from  a  landsHde  of  27,891 
epistles. 

The  day  I  lunched  with  liirti  he  was  handed 
an  additional  two  thousand.  He  picked  one 
at  random  and  opened  it,  and  I  am  a  sworn 
witness  before  notary  and  Howard  Strickling 
that  it  read:  "My  brother,  recently  killed  in 
an  airplane  accident,  has  left  you  in  his  will 
fifteen  thousand  dollars,  a  fur  coat  and  an 
emerald  ring.  Will  you  kindly  instruct  your 
lawyers  to  get  in  touch  with  us?" 

I  didn't  want  to  lunch  until  we'd  read  the 
other  1,999  bequests,  but  Nils'  appetite  seems 
above  such  materialistic  prospects.  He  said  he 
couldn't  afford  to  take  care  of  his  correspond- 
ence, whereupon  I  cheerfully  volunteered, 
providing  all  bequests  were  turned  over  to  me. 

Nils  is  handsome  and  rather  shy,  a  combina- 
tion as  ingratiating  as  it  is  rare.  He  doesn't 
compree  English  thoroughly,  and  so  I  trust 
you'll  pardon  him  when  he  says,  "  In  the  Royal 
Theater  at  Stockholm  I  play  Hamlet,  and  here 
I  play  Hot  Papa  to  Joan  Crawford."  He  says 
he  much  prefers  working  over  here. 

T  SOMETIMES  wonder  if  fans  would  envy 
-'•  us  magazine  writers  our  fabulous  salaries 
if  they  knew  how  hard  we  have  to  work.  Some 
days  I  lunch  with  three  or  four  stars,  dine  with 
as  many  more  and  see  previews  of  silent  and 
talkie  pictures. 

For  instance,  after  lunching  with  Nils  I  saw 
four  pictures  in  one  day.  That  doesn't  include 
a  talkie  trailer  of  M.-G.-M.  stars  which  is  to  be 
presented  at  the  Empire  Theater  in  London.  It 
presents  John  Gilbert,  Norma  Shearer,  Ernest 
Torrence,  George  K.  Arthur  and  Marion 
Davies,  and  the  vocal  reproduction  is  the  best 
I've  heard  to  date,  so  there's  no  need  to  worry 
about  silent  fa\-orites  in  the  talkies — they're 
speakeasies  for  them. 

CLARENCE  BROWN  and  Frances  Marion 
were  in  the  projection  room  to  hear  a  talkie 
sequence  of  "Alias  Jimmie  Valentine"  so  I 
listened  in  with  them.  Lionel  Barrymore,  the 
talkie  champion,  was  in  it,  and  Bill  Haines 
proved  no  slouch,  but  it  seemed  to  me  that  the 
silent  work  was  w-hat  put  over  the  picture. 

Thence  to  see  Bill  Haines  in  Jimmy  Cruze's 
"A  Man's  Man."  When  I  returned  to  Holly- 
wood from  my  trip  to  Tunis  with  Rex  Ingram 
a  few  years  ago  one  of  the  local  papers  asked 
me  to  go  into  my  trance  and  give  one  of  my 
uncanny  prophecies  of  who  the  future  stars 
were  to  be.  I  hastily  consulted  friends,  and 
Malcolm  McGregor  advised  me  to  take  a  look 
at  Bill  Haines'  stuff.  Bill  reminded  me  of  my 
own  fine  work  as  a  child  reciting,  (with 
gestures),  "It's  Your  Flag,  and  My  Flag,  and 
Oh!  How  Proud  It  Waves."  But  he  had  a  well- 
meaning  smile  and  a  geniality  that  suggested 
Wally  Reid.  I  advised  placing  bets  on  him. 
And  I'm  glad  to  say  that  those  who  took  the 
tip  are  now  making  money. 

Ihery  advertisement  In  PHOTOPLAY  MAGAZINE  19  guaranteed. 


In  "A  Man's  Man"  Bill  gives  a  character- 
ization that  touches  at  times  some  of  the  best 
given  by  Charles  Ray — who  is  still  my  favorite 
actor.  In  this  picture  Jim  Cruze,  the  director, 
keeps  you  entertained  with  two  players  in  one 
room  for  three  reels.  When  I  start  producing, — 
as  of  course  I  shall  as  soon  as  my  oil  well  comes 
in — I'm  going  to  hire  Jim  Cruze.  He  can 
make  a  picture  for  a  dollar  eighty-nine  that 
beats  any  million-dollar  epic. 

TTHENCE  on  a  gallop  to  another  projection 
-'-  room  to  see  Lon  Chaney  in  "West  of  Zanzi- 
bar." I  met  Lon  when  I  first  came  West,  nine 
years  ago.  He  was  living  in  a  little  bungalow, 
and  his  hobbies  were  carving  furniture  and 
cooking  swell  dinners.  He's  doing  the  same 
today  in  his  Beverly  HiUs'  mansion. 

"West  of  Zanzibar"  opens  with  a  flash  of  a 
skeleton,  which  oddly  is  not  played  by  Lon. 
Then  a  flash  of  a  glorious  creation  named  Mary 
Nolan,  who  also  is  not  played  by  Lon.  Never- 
theless, Mary  in  her  own  way  is  just  as 
wizardly  as  Lon. 

Chaney  is  the  champ  deacon  of  aU  M.-G.-M. 
plate-passers.  Or,  for  those  who  are  not 
church-goers,  let  me  say  that  he  gets  more 
box  office  dough  than  any  other  star.  The 
reason  is  that  his  name  stands  for  a  certain 
type  of  picture  well  done. 

/~\UT  of  the  projection  room  and  aboard  a 
^^high-powered  roadster  with  screaming 
sirens  to  see  a  star  off  for  location  on  the 
Southern  Pacific.  We  found  her  hiding  in  her 
compartment,  terrified  lest  her  husband  or  his 
process  servers  arrive  to  drag  her  off.  We 
cheered  her  with  the  thought  that  her  husband 
couldn't  see  her  for  the  flowers  that  had  been 
sent  by  her  admirers. 

npHENCE  to  pick  up  Harry  Carr  and  out  to 
-'•  Santa  Monica  in  the  high-powered  roadster 
for  dinner  with  Aileen  Pringle,  who  stars  off 
screen  as  well  as  on.  Harry  had  never  met 
Pringie,  and  I  complimented  him  on  being  able 
to  get  as  far  as  he  had  as  a  writer  without  so 
doing.  Now  that  he  has  joined  the  authors' 
union  no  Shakespeare  can  stop  him. 

WITH  the  supreme  determination  given 
only  to  genius,  I  tore  from  Pringie's  bril- 
liancies to  the  Westlake  Theater  for  a  preview 
of  John  GUbert  and  Greta  Garbo  in  "A 
Woman  of  Affairs,"  which  is  a  bootlegged  ver- 
sion of  Michael  Arlen's  "The  Green  Hat." 
I  say  "bootlegged"  because  Will  Hays 
banned  "The  Green  Hat"  from  the  screen. 
But  don't  worry  that  Michael  didn't  get  his 
money  and  screen  credit. 

Mike  is  an  Armenian,  and  for  all  his  charm 
just  as  much  a  genius  as  any  Hollywood  exec- 
utive. 

THE  picture  follows  "The  Green  Hat" 
closely,  thanks  to  Bess  Meredyth,  the 
scenarist,  who  has  Michael  Arlen's  apprecia- 
tion for  life  as  it  is.  Doug  Fairbanks,  Jr.,  as 
Green  Hat's  brother,  gives  a  performance  that 
indicates  all  the  future  that  has  been 
prophesied  for  him.  He  appears  as  a  sensitive 
idealist,  and  that  is  what  he  actually  is.  A  lot 
of  hens  have  been  worrying  lest  his  future  be 


Photoplay  Magazine— Aum-:ktising  Section 


dimmed  by  his  marriage  to  Joan  Crawford, 
Ihe  dancing  baby.  But  I'm  a  xvell  wjsher.  Joan 
is  utterly  sincere,  as  anybody  knows  who  read 
her  Life  Story  in  Photoplay,  and  she  is  striv- 
ing valiantly  to  make  herself  over  so  that  she 
too,  may  be  received  among  the  nobles  at 
Pickfair. 

MISS  GARBO  with  her  strange  world-pain 
and  weariness  recalls  the  Duse  o  the 
l,iographies.  I  never  saw  Duse '-but  I  know 
1  like  my  Garbo.  Gilbert  is  a  real  hero  He 
plays  an  awfully  thankless,  spineless  part,  all 
for  love,  I  take  it.  ,  -.j  „  a  „.,. 

The  unUcensed  prophets  of  Hollywood  art 
predicting  that  Jack  will  flop  on  his  nose  if  he 
attempts  being  his  own  producer^  \\el  as 
Tack  says,  it  is  a  capable  nose  on  which  to  Hup, 
And  we  know  that  the  only  stars  who  haxe 
lasted  are  those  who  have  become  producers; 
Doug,  Chaplin,  Mary,  Talmadge.      _ 

Furthermore,  in  an  excellent  inter^-iew  with 
Helen  Louise  Walker,  Gilbert  says  the  wisest 
thing  ever  credited  to  a  movie  actor: 

"I  shall  go  on,  of  course,  as  long  a.s  1  can, 
and  make  as  much  money  as  possible.  But 
afterward  I  am  going  to  work.  This  is  ncH 
work-  you  know— just  walking  through  a  pic- 
ture Other  people  have  written  the  story, 
planned  the  settings,  worked  out  the  action. 
Why  the  very  things  I  do  on  the  set  are  the 
expressions   of   the    director.     I    am   just   a 

''""F^am  an  egomaniac,  you  know.  And  I 
think  I  could  do  a  lot  of  these  things  better 
than  most  of  the  people  who  are  doing  them 
There  are  a  few  brain-workers  in  the  industry 
to  whom  I  take  off  my  hat  with  tremendous 
respect.  The  rest— well,  I  think  I  could  do 
a  lot  better."  . 

And  I,  for  one.  agree  with  Gilbert. 

Any  man  worth  his  gin  would  rather  Hop  on 
his  own  initiative  than  succeed  on  others  . 

FROM  the  preview  I  roadstered  to  the  Am- 
bassador's Cocoanut  Grove  for  supper  with 
my  Hollywood  life-long  friends,  the  Malcolm 
McGregors  and  Willis  Goldbeck  and  his  sister, 
Mizabeth  Goldbeck.  Mai,  Willis  and  I  came 
to  Hollywood  as  poor  boys  and  we  re  all 
millionaires  now.  I  must  say  in  justice  to 
Mai  that  he  is  the  only  one  who  came  by  his 
money  honestly.  He  inherited  it.  The  few 
hundred  thousand  he  has  made  as  an  actor 
don't  count,  because  his  gorgeous  wife.  Gen, 
shrewdly  invested  it  in  jewels  and  Pans  gowns, 
and  if  ever  a  wife  helped  a  man  to  success  the 
same  Gen  has. 

Goldbeck.  who  started  as  a  fan  niagazine 
writer  at  fifty  a  week,  now  draws  two  thousand 
and  is  about  to  direct  one  of  his  own  stones  for 
Pathe.  „      , 

I  predict  he'll  outclass  all  the  geniuses 
because  I'm  giving  him  all  my  ideas. 

COCOANUT  GROVE  was  unusually  beauti- 
ful for  our  supper,  both  Billie  Dove  and 
Lupe  Velez  being  present.  When  Billie  wasn't 
dancing  she  was  leaving  the  room  and  coming 
back.  The  girl  is  a  born  movie.  And  Ring- 
ling's  parade  couldn't  give  you  half  the  kick  ot 
Billie's.  ^    ^  ,      , 

Lupe  was  with  Tom  Mix,  and  she  too  kept 
flossing  out  and  coming  back  with  fij'ing 
feathers  (she  was  gowned  in  ostrich).  I  don  t 
know  where  she  went  when  she  went  out  but 
probably  it  was  to  feed  Tom's  horse,  Tony. 
ICach  time  she  passed  my  talkie  it  grew  harder 
for  me  to  restrain  myself  from  arising  and 
shouting,  "Viva  Mexico!" 

From  the  Cocoanut  Grove,  Mai  took  us  to 
the  Pom-Pom  Cafe,  where  a  gifted  girl  sang  a 
song  about  IMal  and  John  Gilbert  and  the 
other  favorites  of  womankind  the  world  over. 

And  so  to  bed,  at  4  a.  m.,  as  0.  O.  Mclntyre 
and  Pepys  say.  Such  is  the  day  in  the  life  of  a 
hard-working  Photoplay  Magazine  star.  May 
it  prove  a  lesson  to  fans  who  think  our  life  an 

easy  one.  .     ,  ,       ,  •  i 

My  best  regards,  also  Pnngle  s,  which  pro\  es 
you  a  writer  as  well  as  an  editor.  ... 

Ilrrb. 


'OPLAY    iVJl.^O.\^i-> t. i-iL.. ......."-" 

How  beauties  beautify 

This'-ahoveall 


Before  the  make-up  comes  the  wake-up 
—  always.  The  first  step  in  beauty  is  a 
clean,  clear,  radiant  skin.  All  that  clogs 
the  skin  must  be  removed.  Not  washed 
oflf,  but  drawn  out. 

That  includes  dirt  and  grime,  dead 
skin,  hardened  oil,  old  make-up.  It  in- 
cludes the  causes  of  blackheads  and 
pimples. 

Stars  of  the  stage  and  screen  do  that 
with  Boncilla  clasmic  pack.   So  do 
beauty  experts  the  world  over.  No  one 
has  found  another  way  that  compares. 
Boncilla  clasmic  pack  cleans  the  skin 
tothedepths.lt 
makes  the  skin 
alive.  Then  use 
Boncilla  Cold 
Cream,  and 
wipeitofif.Then 
Boncilla  "Van- 
ishing Cream 
as  a  powder 
base.ThenBon- 
cilla  Powder 
of  the  proper 
shade. 

That  is  the 
way  in  which 
real  students  of 
beauty  get  the 
results  you 
envy. 


LINA  BASQUETTE 

Above:  As  she  appears  in 
"Show  Folks",  a  new  Pathe 
production. 


At  Left:  Applying  Boncilla 
clasmic  pack  in  preparation  for 
appearance  in  "Show  Folks." 


For  your  glory 

do  as  she  does 


WHY  not  do  what  experts  do 
when  you  wish  to  charm?  Try 
it,  then  decide.  The  first  test  will  de- 
light you  and  surprise  your  friends.  It 
will  change  your  entire  beauty  aspect. 
Try  it  tonight.  Apply  Boncilla  clas- 
mic pack  to  the  face  and  neck.  At 
once  you  will  feel  it  draw  from  the 
skin  all  that  mars  or  clogs  it.  You 
will  feel  it  draw  the  blood  tingling 
to  the  surface  to  nourish  and  revive 
the  skin. 

Remove  it,  and  you'll  see: 
A  radiant  skin. 

An  animated  look,  _ 
A  clean,  clear  skin, 
A  soft,  smooth  skm. 


Girlish  beauty  is  multiplied.  Mature 
women  seem  to  drop  ten  years.  In 
nearly  50  countries,  leading  beauty 
experts  count  this  their  greatest  aid. 

All  toilet  counters  supply  Boncilla 
clasmic  pack  — in  jars  at  $3-50  and 
$1.50,  in  tubes  at  $1.00  and  50c. 
They  also  supply  Boncilla  creams 
and  powders. 

Or  the  coupon  will  bring,  without 
cost  to  you,  a  box  of  beauty.  A  one- 
week  test  of  the  pack,  with  the  two 
creams  and  powders  which  go  with 
it.  All  four  in  a  box.  Clip  coupon 
now. 


Professional  treat- 
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beauty  and  barber 
shops 


Tfree  beauty  box 

BONCILLA— Indianapolis.  Ind. 

Mail  me  a  one-week  treatment  of  Boncilla  w,th  the 
two  cr«>ms  and  face  powder  which  go  with  it-fovir 
samples. 


Name  . 


CLASMIC  I       AM,ess 

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I 


Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"A  LADY  OF  CHANCE"— M.-G.-M.— From  the 
story  by  Leroy  Scott.  Adapted  by  Edmund  Gould- 
ing.  Directed  by  Robert  2.  Leonard.  Photography 
by  Peverel  Marley.  The  cast:  Do//y.  Norma  Shearer; 
Bradley.  Lowell  Sherman;  Given,  Gwen  Lee;  Sieve 
Crandall.  John  Mack  Brown;  Mrs.  Crandall,  Eugenie 
Besserer;  Hank,  Buddie  Messinger. 

"A  MAN'S  MAN"— M.-G.-M.— From  the  play  by 
Patrick  Kearney.  Continuity  by  Forrest  Halsey. 
Directed  by  James  Cruze.  Photography  by  Merritt 
B.  Gerstad.  The  cast:  Mel,  William  Haines;  Peggy, 
Josephine  Dunn;  Charlie,  Sam  Hardy;  May,  Mae 
Busch;  Book  Agent,  Sam  Blum. 

"APACHE.  THE"— Columbia.— From  the  story 
by  Ramon  Romero.  Adapted  by  Harriet  Hinsdale. 
Directed  by  Phil  Rosen.  Photography  by  Teddy 
Tetzlaff.  The  cast:  Sojiya,  Margaret  Livingston; 
Pierre  Dumonl,  Don  Alvarado;  Gaston  Laroux. 
Warner  Richmond;  Monsieur  Chautard,  Philo  McCuI- 
lough. 

"BEHIND  THE  GERMAN  LINES"  — UFA- 
Paramount. — Continuity  by  Major  George  Soldan 
and  Major  Erich  Otto  Volkmann.  Directed  by  Svend 
Noldan  and  Leo  Lasko.  Personalities  appearing: 
Kaiser  Wilhelm,  Crown  Prince  Friedrich  Wilhelm, 
Von  Hindenburg.  I^rd  Kitchener,  The  Czar,  Emperor 
Karl  of  Austria,.  President  Wilson,  Von  Ludendorff, 
King  George  of  England,  Poincare,  The  Sultan, 
Trotsky. 

"BLACK   BIRDS  OF  FIJI  "—Australasian.— 

From  the  story  by  Beatrice  Grimshaw.  Directed  by 
Norman  Dawn.  Photography  by  Arthur  Higgins. 
The  cast:  Luya,  Edith  Roberts;  Steven  Conn,  Edmund 
Burns ;  Dan  Fursey,  Walter  Long ;  Susan  Den nis, 
Elizabeth  Morgan;  A  Cannibal,  Arthur  McLaglen; 
Carberry,  Jack  Gavin;  Uncle  Pooch,  Compton  Couts; 
Mack,  Arthur  Tauchert;  Diedre,  Jessica  Harcourt. 

"BLOW  FOR  BLOW"— Universal.— From  the 
stor^"  by  Buckleigh  Oxford.  Scenario  by  Jacques 
Jaccard  and  Sylvia  Seid.  Directed  bj'  Reaves  Eason. 
The  cast:  Toin  Richards,  Hoot  Gibson;  Mary  Lou, 
Ann  Christy;  Judge  Carson,  Andy  Waldron;  Pat 
O'Shea,  Walter  Brennon;  Haggerty,  C.  E.  Anderson; 
Aunt  Bella.  Mary  Foy;  Tony,  Joe  Rickson;_Gregg, 
Francis  Ford;  The  Kid,  Joe  Bennett. 

"CANARY  MURDER  CASE.  THE"  — Para- 
mount.— From  the  story  by  S.  S.  Van  Dine.  Screen 
play  by  Florence  Ryerson.  Adapted  by  Albert  Shelby 
LeVino.  Directed  by  Malcolm  St.  Clair.  The  cast: 
Philo  Vance,  William  Powell;  Chuck  Spolswoode, 
James  Hall;  Margaret  Odell.  Louise  Brooks;  Alys  La 
Fosse,  Jean  Arthur;  Dr.  Ambrose  Lindquist,  Gustav 
Von  Scyffertitz;  Charles  Spolswoode.  Charles  Lane; 
Earnest  Heath.  Eugene  Pallette;  Charles  Cleaver. 
Lawrence  Grant;  Tony  Skeel,  Ned  Sparks;  Louis 
Ma n nix,  Louis  John  Bartels ;  Markham,  E.  H . 
Cclvert. 

"CAPTAIN  LASH"— Fox.— From  the  story  by 
Daniel  G.  Tomlinson.  Scenario  by  John  Stone. 
Directed  by  John  Blystone.  Photography  by  Conrad 
Wells.  The  cast:  Captain  Lash.  Victor  McLaglen; 
Hedda  Duncan,  Claire  Windsor;  Eriglish  Eddie, 
Arthur  Stone;  Ahmeed.  Albert  Conti;  Cocky,  Clyde 
Cook;  Queenie.  Jean  Laverty;  Bull  Hawks.  Frank 
Hagney;  Ahmeed' s  Servant,  Boris  Charsky;  Babe  of 
Sijigapore,  Jane  Winton. 

"CASE  OF  LENA  SMITH,  THE"— Paramount. 
— From  the  story  by  Samuel  Ornitz.  Screen  play  by 
Jules  Furthman.  Directed  by  Josef  Von  Sternberg. 
The  cast:  Lena  Smith.  Esther  Ralston;  Franz  Hofrat, 
James  Hall;  Hcrr  Hofrat.  Gustav  von  Seyffertitz;  Frau 
Hofrat,  Emily  Fitzroy;  Stefan,  Fred  Kohler;  Stefan's 
Sister,  Betty  Aho;  Coinmissioner.  Lawrence  Grant; 
Pepi,  Leone  Lane;  Poldi,  Kay  Des  Lys;  Janitor.  Alex 
Woloshin;  Janitor's  Wife.  Ann  Brody;  Franz  {age  J), 
VVally  Albright,  Jr.;  Franz  {age  18),  Warner  KHnger. 

"DOMESTIC  MEDDLERS"  — Tiffany-Stahl. 
— From  tlie  story  by  Wellyn  Totman.  Continuity  by 
Wellyn  Totman.  Directed  by  James  Flood.  Photog- 
raphy by  Ernest  Miller.  The  cast;  Claire,  Claire 
Windsor;  Walter,  Lawrence  Gray;  Lew,  Roy  D'Arcy; 
Jonesy,  Jed  Prouty. 

"DREAM  OF  LOVE"— M.-G.-M.— From  the 
play,  "Adrienne  Lecouvreur."  by  Eugene  Scribe  and 
Ernest  Legouve.  Continuity  by  Dorothy  Farnum. 
Directed  by  Fred  Niblo.  Photography  by  Oliver 
Marsh  and  William  Daniels.  The  cast:  Adrienne. 
Joan  Crawford;  Maurilz.  Nils  Asther;  Duchess,  Aileen 
Pringle;  Duke,  Warner  Oland;  Countess.  Carmel 
Myers;  Counl,  Harn-'  Reinhardt;  Baron,  Harry 
Myers;  Michonet,  Alphonse  Martell;  Ivan,  Fletcher 
Norton. 

"EVA  AND  THE  GRASSHOPPER"— UFA.— 
Scenario  by  Robert  Reinert  and  Wilhelm  Thiele. 
Directed  by  Dr.  George  Asagaroff.  Pliotography  by 
Carl  Hoffman,  Theodor  Sparkuhl  and  Herman 
Boettger.  The  cast:  Eva  La  Vare.  Camilla  Horn; 
Barbara,  her  nurse.  Lydia  Potechina;  Armand 
Germain,  Gustav  Froehlich;  Mary,  Hertha  von 
Walther;  Henry,  Warwick  Ward;  Charles  Raimond, 
Bruno  Kastner. 

"FLYIN'  BUCKAROO,  THE"— Pathe.— From 
the  story  by  Frank  L.   Ingraham.     Continuity  by 


Betty    Burbridge.      Directed    by    Richard    Thorpe. 

Photography  by  Ray  Reis.  The  cast:  Bill  Mathetvs, 
Wally  Wales;  Hc7iry  Mathews,  Jack  D'Ouise;  Mr. 
Matheivs,  J.  P.  Lockney;  Mrs.  Mathews,  Fanny 
Midgley:  Sally  Br&ivn,  Duane  Thompson;  Banker 
Browyi,  Charles  K.  French;  Mrs.  Brown,  Mabel  Van 
Buren;  Delno,  Charles  Whitaker;  City  Girl,  Helen 
Marlowe;  Sheriff,  Bud  McClure. 

"FLYING     FLEET.     THE"— M.-G.-M.— From 

the  story  by  Lieut.  Commander  Frank  Wead,  U.  S.  N. 
and  Byron  Morgan.  Screen  play  by  Richard  Schayer. 
Directed  by  George  Hill.  Photography  by  Ira 
Morgan.  The  cast:  Tommy,  Ramon  Novarro;  Sieve, 
Ralph  Graves;  Anita,  Anita  Page;  Dizzy,  Edward 
Nugent;  Tex,  Carroll  Nye;  Kewpie,  Sumner  Getchell; 
Specs,  Gardner  James;  Admiral,  Alfred  Allen. 

"GHOST  TALKS,  THE"— Fox.— From  the  story 
by  Max  Marcin  and  Edward  Hammond.  Scenario  by 
Frederick  Brennan.  Directed  by  Lew  Seller.  Photog- 
raphy by  George  Meehan.  The  cast:  Miriam  Holt, 
Helen  Twelvetrees;  Franklyn  Green,  Charles  Eaton; 
Marie  Haley,  Carmel  Myers;  Heimie  Heimrath.  Earte 
Foxe;  Joe  Talles,  Henry  Sedley;  Peter  Accardi.  Joe 
Brown;  John  Keegan,  Clifford  Dempsey;  Christopher 
C.  Lee,  Stepin  Fetchit;  Isabel  Lee,  Baby  Mack;  Julius 
Boivser.  Arnold  Lucy;  Sylvia,  Boss  Flowers;  Miss  Eva, 
Dorothy  McGowan;  Bell  Boy,  Mickey  Bennett. 

"GUN  RUNNER,  THE"  —  Tiffany-Stahl. — 
From  the  novel  by  Arthur  Stringer.  Continuity  by 
Jolm  Francis  Natteford.  Directed  by  Edgar  Lewis. 
Photography  by  Harry  Jackson.  The  cast:  Julio. 
Ricardo  Cortez;  Inez,  Nora  Lane;  Garcia,  Gino  Cor- 
rado;  Presidente,  John  St.  Polls. 

"HOUSEOFSHAME,  THE"— Chesterfield.— 
From  the  story  by  Lee  Authmar.  Adapted  by  Arthur 
Hoerl.  Directed  by  Burton  King.  The  cast:  Harvey 
Baremore,  Creighton  Hale;  Druid  Baremore,  Virginia 
Brown  Faire;  John  Kimball.  Lloyd  Whitlock;  Doris, 
Florence  Dudlei';  Mons.  Fanchon,  Fred  Walton;  The 
Irate  Husband,  Carlton  King. 

"  HUNTINGTOWER  "—Paramount.— From  the 
story  by  Col.  John  Buchan.  Adapted  by  Charles 
Whittaker.  Directed  by  George  Pearson.  The  cast: 
Dickson  McCunn,  Sir  Harry  Lauder;  Princess  Saskia, 
Vera  Voronina;  Capt.  John  Heritage,  Pat  Aherne;  Mrs. 
Morran,  Nancy  Price;  Prince  Paxil  Abreskov,  John 
Manners;  Dougal,  Harry  Malonie;  Speidel,  Moore 
Marriott. 

"IN  OLD  ARIZONA" — Fox.— From  the  story  by 
Tom  Barry.  Directed  by  Raoul  Walsh  and  Irving 
Cummings.  Photography  by  Arthur  Edeson.  The 
cast:  Sergeant  Mickey  Dunn,  Edmund  IjDwe;  Tonia 
Maria,  Dorothy  Burgess;  The  Cisco  Kid,  Warner 
Baxter;  Tad,  Farrell  Macdonald;  Russian  Immigrant. 
Ivan  Linow;  Cook.  Solidad  Jiminez;  Piano  Player. 
Fred  Warren;  Barber,  Henry  Armetta;  Cozvpunchers. 
Frank  Campeau,  Frank  Nelson,  Tom  Santschi,  Duke 
Martin,  Pat  Hartigan;  Blacksmith,  James  Marcus; 
Commandant,  Roy  Stewart;  Sheriff,  Alphonse  Etiiier; 
Soldier,  James  Bradbury,  Jr.;  2nd  Soldier,  John 
Dillon;  Bartender,  Joe  Brown. 

"IRONMASK.THE"— United  Artists.— Based 
on  the  novel  by  Alexander  Dumas.  Scenario  by 
Lotta  Woods.  Directed  by  Allan  Dwan.  The  cast: 
D'Artagnan,  Douglas  Fairbanks;  Aramis,  Gino 
Corrado;  Porthos,  Stanley  J.  Sanford;  Alhos,  Leon 
Bary;  De  Rochefort,  Ulrich  Haupt;  Louis  XIII,  Rolfe 
Sedan;  Constance,  Marguerite  de  la  Motte;  Milady  de 
Winter.  Dorothy  Revier;  Father  Joseph.  Lon  Poff; 
Planchet,  Charles  Stevens;  Richelieu,  Nigel  de  Brulier; 
Conspirator,  Otto  Matieson;  Queen,  Belle  Bennett. 

"JAZZ  AGE,  THE"— FBO.— From  the  story  by 
Paul  Gangelin.  Continuity  by  Paul  Gangelin. 
Directed  by  Lynn  Shores.  Photography  by  Ted  Pahl. 
The  cast:  Steve  Maxwell,  Douglas  Fairbanks,  Jr.;  Sue 
Randall.  Marceline  Day;  Mr.  Maxwell,  H.  B.  Wal- 
thall; Mrs.  Maxwell,  Myrtle  Stedman;  Marjorie. 
Gertrude  Messinger;  Tod  Sayles,  Joe!  McCrea;  Mr. 
Sayles,  Wm.  Bcchtel;  Mr.  Randall.  R.  J.  Ratcliffe; 
Ellen  McBridc,  lone  Holmes;  Motor  Cop,  Ed.  Dearing. 

"JOAN  OF  ARC "— SociETE  Generale  de 
Films. — Scenario  by  Carl  Dreyer  and  Joseph  Delteil. 
Directed  by  Carl  Dreyer.  The  cast:  Joan,  Mile- 
Falconetti;  Bishop  Cauchon,  M.  Silvain;  Loyseleur, 
Maurice  Schutz;  Jeati  Beaupere,  M.  Ravct;  Jean 
d'Estivet,  Andre  Berley;  Massieu,  Antonin  Artaud; 
Judges,  M.  Lurville,  Jacques  Arnna,  M.  Mihalesco. 
R.  Narlay,  Henry  Maillard,  Michel  Simon,  Jean 
Ayme,  Jean  d'Yd,  L.  Larive,  Henry  Gaultier,  Paul 
Jorge. 

"LADY  OF  THE  PAVEMENTS"  —  United 
Artists.— From  the  storv  by  Karl  Volmoeller.  Ad- 
apted by  Sam  Taylor.  Directed  by  D.  W.  Griffith. 
The  cast:  Nanon  del  Rayon,  Lupe  Velez;  Karl  Arnim. 
William  Boyd;  Diane  des  Granges,  Jetta  jGoudal; 
Baron  Finoi,  Albert  Conti;  Baron  Haussmann,  George 
Fawcett;  Papa  Pierre,  Henry  Armetta. 

"LAST  WARNING.  THE"— Universal.- From 
the  novel  bv  Wadsworth  Camp  and  the  play  by 
Thomas  Fallon.  Adapted  by  Alfred  Cohn,  J.  H. 
Hawks  and  Robert  F.  Hill.  Directed  by  Paul  Leni. 
The  cast:  Doris.  Laura  La  Plante;  McHugh,  Montagu 
Love;  Quaile,  John  Boles;  Carlton,  Roy  D'Arcy;  Mike, 


Every  adrerttseraent  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


135 


IttTt  Koacli;  Evalinda.  Margaret  Livingston;  Robert, 
Mack  Swain;  Josiah,  Burr  Mcintosh;  Barbara,  Carrii' 
Daumery;  Tommy,  George  Summer  ville;  Gene. 
Torben  Meyer;  Woodford,  D'Arcy  Corrigan;  Samviy. 
Bud  Phelps;  Jeffries,  Francisco  Maran;  Doctor. 
Charles  K.  French;  Ann,  Ella  McKenzie;  Inspectors. 
Fred  Kelsey,  Tom  0'Brien;Coro«fr,  Harry  Norlhrup. 

"LINDA" — Mrs.  Wallace  Reid  Production. — 
Fi'om  the  story  by  Margaret  Prescott  Montague. 
Adapted  by  Frank  O'Connor  and  Maxine  Alton. 
Directed  by  Mrs.  Wallace  Reid.  Photography  by 
Henry  Cronjager.  The  cast:  Linda,  Helen  Foster; 
Dr.  Greenough,  Warner  Baxter;  Mr.  Decker,  Noah 
Beery;  Nan,  Kate  Price;  Mr.  Stillwater,  Mitchell 
Lewis;  Kenneth,  Alan  Connor;  Annette,  Bess  Flower**; 
Mrs.  Stillwater,  Mrs.  Brockwell;  Spider,  Montv 
O'Grady. 

"LION'S  ROAR.  THE"  —  Educational.  — 
Written  by  Mack  Sennett.  Directed  by  Mack 
Sennett.  The  cast:  Johnny  Burke.  Daphne  Pollard. 
Billy  Bevan,  Vernon  Dent. 

"LOOKOUT  GIRL,  THE"— Quality.— From 
tlie  story  by  Alice  Ross  Colver.  Adapted  by  Adrian 
Johnson.  Directed  by  Dallas  Fitzgerald.  Photog- 
raphy by  Faxon  Dean.  The  cast:  Dixie  Mcnvbray, 
Jacqueline  Logan;  Dean  Richardson,  Ian  Keith;  Dr. 
Tucker.  William  Tooker;  Pete,  Lee  Moran;  Conway. 
Gladden  James;  Sheriff.  Henry  Herbert;  Valet,  Jimmy 
Aubrey;  Hargrove.  Broderick  O'Farrell;  Nurse,  Jean 
Huntley;  Modiste,  Geraldine  Leslie. 

"MARQUIS  PREFERRED"  —  Paramount.  — 
Based  on  tlie  sliort  story  by  Frederic  Arnold  Kummer 
by  Ernest  Vajda.  Scenario  by  Ethel  Doherty. 
Directed  by  Frank  Tuttle.  The  cast:  Marquis 
d'Argenville,  Adolphe  Menjou;  Peggy  Ruysdael.  Nora 
Lane;  Mr.  Gruger,  Chester  Conklin;  Mrs.  Gritger. 
Dorothy  Farley;  Gwendolyn  Gruger,  Lucille  Powers; 
Albert,  Misclia  Auer;  Floret,  Alex  Melesh;  Jacques, 
Michael  Visaroff. 

"MATA  HARI:  THE  RED  DANCER"  — 
National-Big  Three  Production. — Directed  by 
Frederich  Feher.  The  cast:  Mata  Hari,  Magda 
Sonja;  Count  Rakofsky.  Fritz  Kortner;  Archduke  of 
Austria,  Wolfgang  Zilzer. 

"MORAN  OF  THE  MARINES"— Paramount. 
— -From  the  stop,'  by  Linton  Wells.  Scenario  by  Sam 
Mintz  and  Ray  Harris.  Directed  by  Frank  Strayer. 
The  cast:  Michael  Moran,  Richard  Dix;  ]'ivian 
Marshall.  Ruth  Elder;  "Swatty,"  Roscoe  Karns;  Basil 
Worth,  Brooks  Benedict;  General  Marshall,  Capt.  E. 
H.  Clavert;  The  Sergeant,  Duke  Martin;  Sun  Vat, 
Tetsu  Komai. 

"NAUGHTY  DUCHESS.  THE"  —  Tiffany- 
Stahl. — From  the  novel,  "The  Indiscretion  of  the 
Duchess,"  by  Sir  Anthony  Hope.  Adapted  by  Tom 
Terriss.  Directed  by  Tom  Terriss.  Photography  by 
Ernest  Miller.  The  cast:  Hortense,  Eve  Southern; 
Duke  de  St.  Maclou,  H,  B.  Warner;  Armand.  Duncan 
Rinaldo;  Comtesse,  Maude  Turner  Gordon;  Ninon. 
Gertrude  Astor;  Housekeeper,  Martha  Mattox; 
Berensac,  Herbert  Evans.         ^ 

■'NOISY  NEIGHBORS"— Pathe.— From  the 
ston.'  by  F.  Hugh  Herbert.  Adapted  by  Scott 
Darling.  Directed  by  Charles  Reisner.  The  cast: 
Eddie.  Eddie  Quillan;  Mary.  Alberta  Vaughn;  Family. 
Quillan  Family;  Colonel  Carstairs,  Theodore  Roberts; 
David.  Rav  Hallor;  Ebenezer.  Russell  Simpson;  Three 
Sons.  Robert  Perry.  Mike  Donlin,  Billy  Gilbert. 

"OFFICE  SCANDAL.  THE"— PAIHE.—From 
the  story  by  Paul  Gangelin  and  Jack  Jungmeyer. 
Adapted  by  Paul  Gangelin  and  Jack  Jungmeyer. 
Directed  by  Paul  L.  Stein.  The  cast:  Jerry  Cullen. 
Phyllis  Haver;  Andy  Corbin.  Leslie  Fenton;  Pearson. 
Raymond  Hatton;  Lillian  Tracy.  Margaret  Living- 
ston; Delaney,  Jimmy  Adams;  Freddie,  Jimmy  Aldine. 

"ONE  MAN  DOG,  THE"— FBO.— From  the 
story  by  Frank  Howard  Clark.  Continuity  by  Frank 
Howard  Clark.  Directed  by  Leon  d'Usseau.  Photog- 
raphy by  Robert  De  Grasse.  The  cast:  Ranger.  By 
Himself;  Larry.  Sam  Nelson;  Pierre,  Edward  Hearne; 
Babelte,  Virginia  Bradford;  Gadsky,  William  Patton; 
Trapper,  Art  Robbins. 

"PACE  THAT  KILLS.  THE"— True  Life.— 
Directed  by  Norton  Parker  and  William  Connor. 
Photography  by  Ernest  Laszio.  The  cast:  Eddie 
Bradley,  Owen  Gorin;  Eddie's  Ma,  Florence  Turner; 
Country  Girl,  Thelma  Daniels;  Uncle  Caleb.  Harry 
Todd;  Grace,  Florence  Dudle>';  Handsome  Nick, 
Arnold  Dallas;  Fannie  O'Reilly,  Virginia  Roye. 

"PHIPPS"  —  M.-G.-M.  —Written  by  Stanley 
Houghton.  Directed  by  Lowell  Sherman.  The  cast: 
Sir  Gerald,  Cyril  Chad  wick;  Lady  Fanny.  Betty 
Francisco;  Butler,  Lowell  Sherman. 

"  RAINBOW.  THE"  —  Tiffany-Stahl.  —  From 
the  story  by  L.  G.  Rigby.  Continuity  by  L.  G.  Ri«by. 
Directed  by  Reginald  Barker.  The  cast:  Lola, 
Dorotliy  Sebastian;  Jim,  Lawrence  Gray;  Derby. 
Sam  Hardy-  Bu/rfy,  Harvey  Clark;  Pal,  Paul  Hurst; 
Slug,  Gino  Corrado;  Dummy.  King  Zany. 

"REDEEMING  SIN.  THE"— Warners.— From 
the  stor\'  by  L.  V.  Jefferson.  Adapted  by  Harvey 
Gates.  Directed  by  Howard  Bretherton.  The  cast: 
Joan  Villaire.  Dolores  Costello;  Dr.  Kaoul  Deboise, 
Conrad  Nagel;  A  server  rat,  Georgie  Stone;  Petite, 
Philippe  De  Lacy;  Father  Colomb,  Lionel  Belmore; 
Lupine,  Warner  Richmond;  Mitzi,  Nina  Quartaro. 

"REDSKIN" — Paramount. — From  the  storv  bv 
Elizabeth  Pickett.    Screen  play  by  Elizabeth  Pickett. 


Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 

Eat  what  you  please 

Wear  what  you  please 
Do  what  you  please 

Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found 
this  easy  way  to  take  off  2  to  4  pounds  once 
or  twice  a  week.  These  women  take  refreshing 
Fayro  baths  in  the  privacy  of  their  own  homes. 

Fayro  is  the  concentrate  of  the  same 
natural  mineral  salts  that  make  effective  the 
waters  of  twenty-two  hot  springs  of  America, 
England  and  Continental  Europe.  For  years 
the  spas  and  hot  springs  bathing  resorts  have 
been  the  retreat  of  fair  women  and  well 
groomed  men. 

Excess  weight  has  been  removed,  skins  hav 
been  made  more  lovely,  bodies  more  shapely  a 
minds  brighter. 

The  Hot  Springs  Are  Now  Brought  to  You 

A  study  of  the  analyses  of  the  active  ingredi 
of  the  waters  from  twenty-two  of  the  most  famo 
springs  have  taught  us  the  secret  of  their  effe 
ness.  You  can  now  have  all  these  benefits  in  you 
bath.     Merely  put  Fayro  into  your  hot  bath 

It   dissolves    rapidly.     You    will    notice    and    enjoy    the 
pungent  fragrance  of  its  balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stiniulatini; 
perspiration,  forces  lazy  body  cells  to  sweat  out  surplus 
tat  and  bodily  poisons.  Add  Fayro  to  your  bath  at  night 
and  immediately  you  will  lose  from  2  to  4  pounds  in  an 
easy,  refreshing  and  absolutely  harmless  manner. 

Consult  your  physician  and  he  will  tell  you  that  Fayru  i, 
certain  to  do  the  work  and  that  it  is  absolutely  harmless. 

Fayro  will  refresh  you  and  help  your  body  throw  off  worn  out 
fat  and  bodily  poisons.  Your  skin  will  be  clearer  and  smoother. 
You  will  sleep  better  after  your  Fayro  bath  and  awaken  feeling 
as  though  you  had  enjoyed  a  week's  vacation. 

Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also  concentrate  its 
effect  on  abdomen,  hips,  legs,  ankles,  chin  or  any  part  of  the  body 
you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath.  You  will 
find  you  have  lost  from  2  to  4  pounds.  And  a  few  nights  later 
when  you  again  add  Fayro  to  your  bath,  you  will  once  more  reduce 
your  weight.  As  soon  as  you  are  the  correct  weight  for  your 
height  do  not  try  to  reduce  further.  No  need  to  deny  yourself 
food  you  really  want.  No  need  tor  violent  exercise.  No  need 
for  drugs  or  medicines.  Merely  a  refreshing  Fayro  bath  in  the 
privacy  of  your  own  home. 

Try  Fayro  at  Our  Risk 

Theregular  price  of  Fayro  isji.ooa  package.  With  the  coupon 
you  get  3  full  sized  packages  and  an  interesting  booklet  "Health 
and  Open  Pores"  for  $2.50  plus  the  necessary  postage.  Send  no 
money.  Pay  the  postman.  Your  money  refunded  instantly  if 
you  want  it. 


HERE'S    PROOF 

Read  what  Fayro  Batha 
have  done  for  others 

"Three  Fayro  baths  reduced 
my  weight  11  pounds  in  8 
days.  I  feel  better  than  I 
have  fell  for  years." 

"I  weigh  16  pounds  less  and 
feel  younger  and  sleep  better. 
Fayro  is  wonderful." 

"My  double  chin  vanished  in 
the  magic  of  Fayro  baths." 

"My  htps  were  always  too 

prominent  until  1  commenced 

Fayro  baths.     I  have  lost  12 

pounds." 

"Thank  you  for   Fayro.     1 

lost  14  pounds  in  three  weeks; 

feel  better  and  certainly  look 

belter." 

"Since   childhood    my   thick 

ankles    have    always    been    a 

source     of     embarrassment. 

Fayro    baths    have    reduced 

them  beautifully.    Thank  you 

very  much." 

For  obvious  reasons,  names 

are  not  quoted,  but  every 

letter   published    has    been 

authorized  and  names  and 

addresses    will  be  given  on 

request. 


pAYBQ 


Fayro,  Inc.  pr-2-21» 

821  Locust  St.,  Pittsburgh,  Pa, 

Send  me  3  full  sized  boxes  of  Fayro  in  plain  package. 
I  will  pay  the  postman  $2.50  plus  tlie  necessary  postage. 
It  is  understood  that  if  I  do  not  get  satisfactory  results 
witli  the  first  package  I  use,  I  am  to  return  the  other  two 
and  you  will  refund  all  of  my  money  at  once. 


Name. 


Address. 


If  pach  healthful  bath  of  Fa^TO  does  not 
reduce  your  weight  from  2  to  4  pounds,  we 
will  refund  your  money  withoutaquestion. 
You  risk  nothing.  Clip  the  coupon  and 
mail. 


City State 

If  you  live  outside  the  United  States  send  Internationa! 
Money  Order  with  coupon. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


136 

CfiaseTamAway 
ivitRCMusUtoU 

3ustRub\tOn 

When  winds  blow 

raw  and  chill  and 

rheumatism     tingles 

in    your  joints   and 

muscles,  rub  on  good 

old  Musterole. 

As  Musterole  pene- 
trates  the  skin  and 

goes  down  to  the  seat 

of   trouble,  you  feel 

a  gentle,  healing 

warmth;  then  comes  cooling,  welcome  relief. 

For  croupy  colds,  sore  throat,  rheumatism, 

aches  and  pains  in  back  and  joints,  rub  on 

Musterole.  Don't  wait  for  trouble;  keep  a 

jar  or  tube  handy. 

To  Mothers:  Musterole  is  also  made  in 
milder  form  for  babies  and  small  chil- 
dren.   Ask  for  Children's  Musterole. 


Photoplay  Magazine — Advertising  Section 


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Marilyn  Miller,  Ann  Pennington.  Fred 

and  Adele  Astalre.  Gilda  Gray.  Evelyn 

Law.  Ada  May.  Al  Jolson,  Eddie  Cantor. 

^^  ill  Rogers.  Oscar  Shaw.  Marx  Bros..  Gus 

<\\y.  Marion  Da  vies.  Blllie  Dove.LlnaBas- 

fiuette.  Dorothy  Glsh,  Bessie  Love.  Bebe 

Daniels.     Dorothy     Mackaill.     Jacqueline 

Logan,   Josephine   Dunn,  Jobyna   Ralston, 

Anita  Page.  Jack  Mulhall.  Noah  Beery.  W. 

C.  Fields  and  hundreds  of  other  stage  and 

screen  favorites  whom  he  trained  and  directed. 

Put  your  career  In  the  hands  of  a  man  whose 

touch  spells  SUCCESS. 

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which  describes  Star  Making  at  the  Ned  Way- 
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York,  ask  for  booklet  UHB  on  Ned  Wayburn's 
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Directed  by  Victor  Schertzinger.  The  cast:  Wing 
Foot,  Richard  Dix;  Cotk  Blossom,  Gladys  Belmont; 
Judy,  Jane  Novak;  John  Walton,  Larry  Steers; 
Navajo  Jim,  TuIIy  Marshall;  Chahi,  Bernard  Siegel; 
Chief  Notani,  George  Rigas;  Yirta.  Augustine  Lxjpez; 
Earth  Tongue  Jim,  Noble  Johnson;  Commissioner, 
Joseph  W.  Girard;  Barrett,  Jack  Duane;  Anderson, 
Andrew  J.  Callahan;  Laughing  Singer,  Myra  Kinch; 
Wing  Fool  (age  9),  Pliilip  Anderson;  Corn  Blossom 
(age  6),  Loraine  Rivero;  Earth  Tongue  Jim  (age  15), 
George  Walker. 

"RESTLESS  YOUTH  "—Columbia.— From  the 
story  by  Cosmo  Hamilton.  Adapted  by  H.  Green. 
Directed  by  Christy  Cabanne.  Photography  by  Joe 
Walker,  A.  S.  C.  The  cast:  Dixie  Ca/AoftM.  Marcehne 
Day;  Bruce  Neil,  Ralph  Forbes;  John  Neil,  Norman 
Trevor;  Robert  Haines,  Robert  Ellis;  Susan,  Mary 
Mabery;  George  Baxter,  Gordon  Elliott;  Office  Boy, 
Coy  Watson. 

"SEVEN  FOOTPRINTS  TO  SATAN"  — First 
National. — From  tlie  story  by  A.  Merritt.  Adapted 
by  Richard  Bee.  Directed  by  Benjamin  Christensen. 
The  cast:  Eve,  Thclraa  Todd;  Jim,  Creighton  Hale; 
The  Spider,  Sheldon  Lewis;  The  Professor,  Wm.  V. 
Mong;  Sojin,  Sojin;  Satan^s  Mistress,  Laska  Winters; 
Jim's  Valet,  Ivan  Christy;  Uncle  Joe,  DeWitt  Jen- 
nings; Old  Witch,  Nora  Cecil;  Prof.  Von  Wiede,  Kala 
Pasha;  Eve's  Chauffeur,  Harry  Tcnbrooke;  While 
Haired  Old  Lady.  Cissy  Fitzgerald;  The  Dwarf,  Alonzo 
Rositto;  Tall  Girl,  Thelma  McNeil. 

"SHADY  LADY.  THE"— Pathe.— From  the 
story  by  Jack  Jungmeyer.  Directed  by  Edward  H. 
Griffith.  Photography  by  John  Mescall.  Tlie  cast: 
Lola  Manlell.  Phyllis  Haver;  Blake,  Robert  Arm- 
strong; Holbrook,  Louis  Wolheim;  Haley,  Russell 
Gleason. 

"SHOPWORN  ANGEL.  THE"— Paramount.— 
From  the  story  by  Dana  Burnet.  Adapted  by  Howard 
Estabrook  and  Albert  Shelby  LeVino.  Directed  by 
Richard  Wallace.  The  cast:  Daisy  Heath,  Nancy 
Carroll;  William  Peltigrew,  Gary  Cooper;  Bailey,  Paul 
Lukas. 

"SILENT  SENTINEL,  THE"— Chesterfield. 
— From  the  story  by  Alvin  J.  Neitz.  Directed  by 
Alvin  J.  Neitz.  The  cast:  Bob  Benton,  Gareth 
Hughes;  Grace  Carlton,  Josephine  Hill;  Joe  Carlton, 
Eddie  Brownell;  Mrs.  Carlton,  Alice  Covert;  Warren 
Gordon,  Alfred  Hewston;  Convict,  John  Tanzic;  Chick, 
Edward  Cecil;  Mazie,  Aline  Goodwin;  Tom,  Walter 
Maley;  Dick,  Jfack  Knight;  Insurance  Man,  George 
Morrell;  Detective,  Lew  Meehan;  Champion,  By  Him- 
self. 

"SMALL  TOWN  SINNERS."— Produced  by 
Hugo  Brahn.  From  the  play  "Meisekin,"  by  Hans 
Alfred  Kihn.  The  cast:  Asta  Nielsen,  Hermann 
Picha,  Hans  Adalbert  Schlettow,  Maria  Paudler, 
Hans  Wassman,  Ferdinand  von  Alten. 

"SOMME,  THE" — New  Era. — From  the  storv 
by  Bo5d  Cable.  Directed  by  M.  A.  WetherelL 
Photography  by  Sydney  Blythc. 

"SPEED  CLASSIC,  THE"— Excellent.— From 
the  story,  "They're  Off,"  by  Arthur  Hoerl.  Directed 
by  Bruce  Mitchell.  Photography  by  Max  DuPont 
and  William  Underbill.  The  cast:  Jerry  Thornton, 
Rex  Lease;  His  Father,  Mitchell  Lewis;  Sheila  Van 
Hauten,  Mildred  Harris;  Pedro  de  Malpa,  James 
Mason;  Jonah,  a  racing  mechanic,  Garry  O'Dell; 
Kcziah  Sttthbs.  Helen  Jerome  Eddy;  Speed  Cop,  Jack 
Richardson;  The  Thirsty  One,  Otis  Harlan. 

"STOOL  PIGEON "  — Columbia.  —  From  the 
story  by  Edward  Meagher.  Adapted  by  Stuart 
Anthony.  Directed  by  Renaud  Hoffman.  Photog- 
raphy by  Teddy  Tetzlaff.  The  cast:  Goldie,  Olive 
Borden;  Jimmy  Wells.  Charles  Delaney;  Mrs.  Wells, 
Lucy  Beaumont;  Butch,  Louis  Natheaux;  Dropper, 
Ernie  .'\dams;  Red,  All  Hill;  Augie,  Robert  Wilber; 
Mike  Shields,  Clarence  Burton. 


"SYNTHETIC  SIN"— First  National.— From 
the  play  by  Frederic  and  Fanny  Hatton.  Continuity 
by  Tom  J.  Geraghty.  Directed  by  William  A.  Seiter. 
The  cast:  Betty,  Colleen  Moore;  Donald,  Antonio 
Moreno;  Mrs.  Fairfax,  Edythe  Chapman;  Margery 
Kathryn  McGuire;  CassiV,  Gertrude  Howard;  Sheila, 
Gertrude  Astor;  Sam,  Raymond  Turner;  Brandy,  - 
Montagu  Love;  Frank,  Ben  Hendricks,  Jr.;  Frank  s 
Gang,  Fred  Warren,  Jay  Eaton,  Stanley  Blystone, 
Art  Rowland,  Dick  Gordon,  Julanne  Johnston,  Hazel 
Howell;  Tony,  Phil  Sleeman;  Tony's  Gang,  Jack 
Byron. 

"THAT  PARTY  IN  PERSON"— Paramount.— 
The  cast:    Eddie  Cantor,  Bobbe  Arnst. 

"THREE  WEEK-ENDS"— Paramount. -From 
the  story  by  Elinor  Glyn.  Scenario  by  Percy  Heath. 
Louise  Long  and  Sam  Mintz.  Adapted  by  John 
Farrow,  Directed  by  Clarence  Badger.  The  cast: 
Gladys  O'Brien,  Clara  Bow;  Neil  Gordon,  Neil  Hamil- 
ton; Turner,  Harrison  Ford;  Miss  Witherspoon, 
Lucille  Powers;  Mrs.  Witherspoon,  Julia  Swavne 
Gordon;  Turner's  Secretary,  Jack  Raymond;  Ma 
O'Brien,  Edythe  Chapman;  Pa  O'Brien,  Guy  Oliver; 
Carter,  William  Holden. 

"TRACKED"— FBO.— From  the  story  by  John 
Stuart  Twist.  Scenario  by  Frank  Howard  Clark. 
Directed  by  Jerome  Storm.  Photography  by  Robert 
De  Grasse.  The  cast:  Ranger,  By  Himself;  Jed 
Springer,  Sam  Nelson;  Molly  Butlerfield,  Caryl 
Lincoln;  Lem  Hardy,  Al  Smith;  The  Rustic,  Jack  Hen- 
derson; Herder,  Art  Robbins;  Nathan  Butterficld, 
Clark  Comstock. 

"TYRANT  OF  RED  GULCH  "—FBO.— From 
the  story  by  Oliver  Drake.  Continuity  by  Oliver 
Drake.  Directed  by  Robert  De  Lacv.  The  cast: 
Tom  Masters,  Tom  Tyler;  "Tip,"  Frankie  Darro; 
Mitza,  Josephine  Borio;  Ivan  Petrovitch,  Harry 
Woods;  Boris  Kosloff,  Serge  Temoff;  Anton,  Barney 
Fury. 

"UNEASY  MONEY  "—Fox- EuROPA.— Directed 
by  Berthold  Viertel.  The  cast:  Banknote  K13513, 
Mary  Nolan,  Werner  Fuetterer,  Oskar  Homolka, 
Wladimar  Sokolofl. 

"VEILED  WOMAN.  THE"— Fox.— From  the 
story  by  Julio  de  Moraes  and  Lia  Tora.  Scenario  by 
Douglas  Z.  Doty.  Directed  by  Emmett  Flynn. 
Photographv  by  Charles  Clarke.  The  cast:  Nanon, 
Lia  Tora;  Pierre,  Paul  Vincenti;  English  Diplomatic 
Attache,  Bela  Lugosi;  Colonel  De  Selincourt,  Josef 
Swickard;  Donald  Ross,  Kenneth  Thomson;  Compte 
De  B/acchi,  Andre  Cheron;  Capt.  Paul  Fevier,  Ivan 
Lebedeff;  Countess  De  Bracchi,  Maude  George. 

"WAGES  OF  CONSCIENCE"— Superlattv-e.— 
From  the  story  by  Mrs.  George  Hall.  Directed  b.\' 
John  Ince.  The  cast:  Henry  McWade,  Heroert 
Rawlinson;  Lillian  Bradley,  Grace  Darmond;  Mary 
Knowles,  Grace  Darmond;  Frank  Knowles,  John  Ince; 
Dr.  Covington,  Henri  La  Garde;  Mira,  the  Servant, 
Jasimine;  Lillian's  Aiint,  Margaret  Campbell. 

"WHAT  A  NIGHT"— Paramount.— From  the 
story  by  Grover  Jones  and  Lloyd  Corrigan.  Screen 
play  by  Louise  Long.  Directed  by  Edward  Suther- 
land. The  cast:  Dorothy  Winston,  Bebe  Daniels; 
Joe  Madison,  Neil  Hamilton;  Percy  Penfield,  William 
Austin;  Mike  Carney,  Wheeler  Oakman;  Editor 
Madison,  Charles  Sellon;  Patterson,  Charles  Hill 
Mailes;  Snarky,  Ernie  Adams. 

"WOLF  OF  WALL  STREET,  THE"— Para- 
mount.— From  the  story  by  Doris  Anderson.  Screen 
play  by  Doris  Anderson.  Directed  by  Rowland  V. 
Lee.  The  cast:  The  Wolf,  George  Bancroft;  Olga,  his 
wife,  Baclanova;  Philip  Graham.  Paul  Lukas;  Gert, 
the  maid,  Nancy  Carroll;  Frank,  Lane  Chandler; 
Siurgess,  Brandon  Hurst;  The  Office  Boy,  Paul 
Guertzman;  Jcssup,  Crauford  Kent. 


The  Holy  Racketeers 


[  CONTINXIED  FROM  PAGE  35  ] 


lis  Haver  lies  upon  a  couch  with  her  superb 
legs  lamentably  unveiled. 

In  "The  Roadhouse"  young  girls  and  boys 
are  shown  taking  a  drink  and  embracing  each 
other.  Dr.  Twombly  does  not  spare  a  detail — • 
he  even  seems  to  linger  upon  them  lovingly. 

npHE  ladies  in  the  audience  tut-tut  audibly  as 
•^  the  grisly  recital  goes  on. 

"I  do  not  see  why  I  should  take  you  through 
all  this  filth,"  says  the  doctor,  looking  up  from 
his  notes.  Nor  do  I.  However,  the  doctor 
continues  through  all  this  filth. 

He  goes  into  the  frightfulness  of  Mr.  Grif- 
fith's "Drums  of  Love,"  particularly  the  love 
scenes  between  Miss  Mary  Philbin  and  Mr. 
Lionel  Barrymore. 

"Several  young  people  came  in  late,"  says 
the  doctor.  "Others  nearby  leaned  over  and 
said  'Oh,  you  missed  the  hot  part."' 


I  sigh  sympathetically,  and  am  frowned 
down. 

"Adolphe  Menjou  is  a  sinister  figure  for 
women."  I  cannot  help  wondering  how  sinis- 
ter he  is  for  the  ladies  in  attendance. 

"During  love  scenes,  in  many  films,  boys 
and  girls  leer  and  make  loud  noises  of  approv- 
al," goes  on  Dr.  Twombly.  The  tut-tuts  rise 
like  the  drip  of  water  from  a  leaky  spigot. 

"We  are  not  fanatics,"  shouts  the  doctor, 
"But  we  shall  fight  and  fight." 

And  as  decorous  applause  rises  modestly,  I 
wonder  sadly  what  this  hiunorless  band  of 
frustrated,  unhappy  looking  people  are  really 
fighting  for. 

There  is  gall  in  them — there  is  bitterness. 

I  think  of  the  one  who  said — 

"Though  ye  speak  with  the  tongues  of  men 
and  angels  and  have  not  love,  ye  are  as  sound- 
ing brass  and  a  tinkling  cymbal." 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


137 


WHAT,  beside  the  bugle  of  Canon  Chase, 
called  these  troops  to  Armageddon  this 
year?  On  May  11,  1928,  the  Hon.  Grant  M. 
Hudson  of  Michigan  introduced,  in  the  house  of 
representatives,  a  bill  providing  for  the  regula- 
tion of  motion  pictures. 

Note  Nvell  the  word  "regulation." 

E\en  a  holy  racketeer  learns  by  counter- 
attack. They  now  realize  that  the  very  word 
censorship  is  deadly  poison  to  the  ears  of 
free  men.  Now  they  speak  caressingly  of '_'  reg- 
ulation" and  "supervision."  Even  ari  intel- 
ligent child  of  six  would  realize  that  it  is  only 
the  old  davvil  "censorship"  dressed  up  in  a 
Santa  Claus  suit. 

The  Hon.  Hudson's  measure  provides  for 
the  establishment  of  a  Federal  Motion  Picture 
Commission,  to  consist  of  four  gentlemen  and 
two  ladies.  The  chairman  would  get  $10,000 
a  year — the  commissioners  a  pittance  of  $9,000 
per  annum. 

Of  course,  it  is  inconceivable  that  the  Canon, 
or  any  of  his  consecrated  henchmen,  would 
care  to  serve  on  this  board,  and  junket  to 
Hollywood  on  government  mileage  to  tell  Mr. 
Louis  B.  Mayer  and  Mr.  Jesse  L.  Lasky  what 
not  to  put  into  their  epics.  I  quote  from  the  bill. 

"npHE  duties  of  the  commission  shall  be  to 

•^  protect  the  motion  picture  industry  from 
unfair  trade  practices  and  monopoly,  to  pro- 
vide for  the  just  settlement  of  trade  com- 
plaints, /()  provide  for  llie  making  of  whole- 
some motion  pictures  at  the  source  of  production, 
and  for  the  proper  distribution  and  exhibition 
of  non-theatrical  as  well  as  theatrical  films." 

I  emphasize  the  clause  with  the  kick. 

It  is  the  puppy  in  the  feed  box — the  Hot- 
tentot in  the  coal  hole. 

It  would  give  the  sainted  and  omniscient 
commissioners  full  power  to  sit  behind  the 
camera  and  direct  the  director — to  dictate 
according  to  what  their  divinely  inspired  minds 
conceive  to  be  the  dictates  of  pubhc  morality. 

What  a  monstrous  proposition! 

The  mad  measure  proclaims  the  motion 
picture — an  art  form  and  a  public  entertain- 
ment force  unique  in  world  history — a  public 
utihty,  like  the  gas  in  your  cook  stove  and  the 
electricity  in  your  toaster.  In  other  words, 
the  photoplay  is  all  celluloid  and  no  soul. 

The  honorable  commissioners  would  not 
merely  read  the  meter — they  would  actually 
hokum  the  box  before  the  film  flow  began. 

Well,  this  astonishing  proposal — H.R.  13686 
— is  now  in  the  tender  hands  of  the  House 
Committee  on  Interstate  and  Foreign  Com- 
merce. And  there,  as  God  is  good,  it  will  lie 
until  the  Last  Trump  sounds  for  you,  for  me 
and  for  the  Rev.  William  Sheafe  Chase  of 
the  City  of  Churches. 

CANON  CHASE'S  packed  conference  at 
Washington  in  1928  was  the  most  colossal 
flop  in  the  history  of  his  career  as  a  self- 
anointed  watchdog  of  the  common  weal. 

It  laid  an  egg  of  truly  stupendous  size. 

In  fact,  five  intelligent  and  honorable  ladies, 
all  representing  powerful  women's  organiza- 
tions throughout  the  country,  sickened  by  the 
steam  rolling  of  the  conference,  arose  in  their 
majesty  and  stalked  into  the  night,  leaving  our 
embattled  youth  to  its  own  happy  devices. 

Infuriated,  the  Canon  clapped  the  doors  on 
all  but  his  hand  picked  delegates.  These  ladies 
and  gentlemen  passed  the  customary  reso- 
lutions denouncing  the  motion  picture  industry. 

The  conference  then,  without  a  sigh,  faded 
imperceptibly  into  history,  and  then  right  out 
again.  It  is  all  so  sad.  It  is  all  so  bitter,  so 
petty,  so  aciduous.  Nothing  was  accomplished 
save  to  sicken  the  onlookers  with  the  triviality 
of  it  all,  with  its  venom  and  its  vitriol. 

You  cannot  faintly  conceive  how  pathetic 
was  this  tiny  huddle  of  ageing  people,  seeming 
so  soured,  so  unhappy,  who  brought  to  their 
deliberations  not  love,  but  enmity,  not  peace, 
but  a  sword. 

Let  us  escape — the  air  is  heavy.  Come — 
take  a  deep  gulp  of  heady  fall  air  and  walk 
with  me  down  the  avenue.  Clara  Bow  is  at 
the  Palace  tonight! 


It  keeps  teeth 


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dull  —  be  proud  to  show 
them  in  your  smile.  Chew 
delicious  Dentyne  every 
day  —  it's  the  gum  that 
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138 


Photoplay  Magazine — Advertising  Section 


It  is  always  safe  to  give  a  Bayer  tablet ;  there 
is  not  the  slightest  harm  in  genuine  Aspirin. 
You  have  the  doctor's  assurance  that  it  doesn't 
affect  the  heart.  And  you  probably  know  from 
experience  that  Bayer  Aspirin  does  banish  all 
sorts  of  pain  in  short  order.  Instant  relief  for 
headaches, neuralgia, neuritis.  Rheumatism, too. 
Nothing  like  it  for  breaking  up  a  cold.  At  all 
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*|M|^V  Results  have  been  re- 

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each  day.  The  Glover 
system  helps  overcome 
the  flattening  of  the  ver- 
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Something  About 
Myself 

[continued  fkom  page  Zi 


into  my  consciousness  and.  although  I  did  not 
know  many  of  the  words,  the  sheer  beauty  of 
expression  and  the  mystery  of  the  ideas  must 
have  filled  my  heart  with  a  certain  strange 
fantasy. 

The  books  and  a  little  puppet  theater  that 
I  kept  carefully  guarded  from  the  prying  eyes 
of  my  brother  gave  me  my  only  pleasure. 

I  was  not  a  good  student,  since  only  certain 
subjects  delighted  me  and  those  in  which  I 
found  no  pleasure  I  ignored.  I  was  very  good 
in  history,  because  it  seemed  to  have  an  epic 
(abominable  word,  misused  in  Hollywood) 
quality.  Here  I  found  the  suffering  of  not  one 
person  nor  group  of  persons.  Here  I  found  the 
pangs  of  nations.  I  also  liked  drawing  and  was 
given  the  task  of  teaching  the  younger  and 
more  backward  students. 

/"^HILDHOOD,  pictured  as  a  gay  and  care- 
^— 'free  time,  was  only  hurt  for  me,  yet  even 
had  I  had  everything  to  make  me  comfortable 
I  doubt  if  I  would  have  been  happy.  It  is  not 
my  nature.  One  who  persists  in  an  incessant 
"Why?"  is  seldom  delighted  %vith  life  and 
living. 

Christmas  was  coming  on  again  and  I  felt 
that  I   could  not  bear  to  hear,  "What  did- 
grandfather  give  you?    See,   he  gave  me  so 
much  money." 

I  was  about  fourteen  at  the  time  and  was 
beginning  to  realize  that  there  was  an  escape, 
so  my  mother  and  I  contrived  to  spend  the 
holidays  at  a  lakeside  resort  not  far  from 
Malmo. 

I  prepared  for  it  for  weeks  in  advance  and 
saved  every  penny  I  could  from  my  allowance 
to  buy  my  mother  a  gift.  I  looked  about  the 
town  for  something  that  would  please  her  and 
at  last  found  a  little  lace  jabot.  Perhaps  you 
remember  them,  it  was  the  kind  that  women 
were  wearing  at  their  throats  at  that  time.  It 
had  cost  four  dollars  yet  it  was  the  most 
precious  thing  in  my  luggage  and  I  planned  to 
save  it  as  a  great  surprise  for  her  after  we  had 
arrived  at  the  lake. 

We  sat  together  on  the  train  and  I  suddenly 
felt  an  emotion  akin  to  happiness.  We  were 
escaped  temporarily  from  the  great  house  of 
my  father.  My  grandfather  and  the  other 
relatives  would  come  to  enjoy  the  holidays, 
but  there  would  be  no  knife  thrusts  in  my 
heart.  He  could  give  my  brother  as  much 
money  as  he  liked. 

I  PEEPED  out  of  the  mndows  and  saw  the 
people  nearby.  They  did  not  know  that  I  had 
been  miserable.  They  did  not  know  that  my 
mother  was  always  crying.  And  I  thought 
about  the  little  jabot  laid  away  for  her  and  the 
pleasure  that  it  would  give  me  to  give  to  her. 

Then  fear  came  to  me.  Suppose  a  wreck 
should  overtake  the  train.  Suppose  some 
disaster  might  occur  that  would  cause  my 
death.  I  would  then  die  without  the  pleasure 
of  seeing  her  face  when  she  opened  the  package. 
I  had  steeped  my  mind  with  the  philosophy  of 
abstinence  but  I  could  not  resist  the  tempta- 
tion of  having  my  pleasure  then.  I  could  not 
wait  until  we  got  to  the  lake.  Since  then,  this 
has  become  my  life  philosophy. 

I  opened  my  valise  and  gave  her  the  gift  on 
the  train.  Of  course,  there  was  nothing  left 
when  Christmas  came,  but  I  was  not  sorry. 
INIy  delight  lay  in  the  moment — and  her  face 
then  will  always  be  a  treasured  moment. 

At  the  lake  people  were  nicer  than  they  had 
ever  been.  It  was  the  first  time  I  met  folk 
who  were  charming  and  gracious  to  us.  .'\1- 
though  I  had  seen  charm  and  graciousness 
about  me,  I  had  been  no  part  of  it.  These 
people  accepted  us  and  talked  to  us  and 
seemed  to  enjoy  being  with  us. 


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Resinol 


And  it  was  here  that  I  first  fell  in  love.  She 
was,  of  course,  much  older  than  I,  nineteen  or 
twenty,  with  heavy,  black  hair  and  wide  apart 
beautiful  eyes  and  I'm  sure  that  she  must  have 
licen  amused  at  the  adoration  of  a  child.  But 
she  was  gentle  with  me  and  I  mooned  about 
the  hotel  and  wrote  a  long  letter  to  her  every 
day. 

NOW  I  know  that  there  was  more  actual 
pleasure  in  writing  to  her  and  in  thinking  of 
her  than  in  seeing  her,  but  I  did  not  know  it 
then.  I  had  not  learned  that  realities  are 
merely  superficial  and  that  the  life  of  the  mind 
is  the  only  one  worthy  of  attention,  so  I  felt 
myself  heart  broken  when  we  parted. 

But  I  had  been  happy.  I  thought  of  her 
continually  and  paid  less  attention  to  my 
studies  than  before.  It  then  became  my  ambi- 
tion to  buy  her  a  ring.  It  must  have  a  blue 
stone  and,  the  highest  compHment  to  her,  it 
must  be  gold. 

But  alas,  I  could  not  save  so  much  money. 
I  counted  every  cent.  I  denied  myself  every 
pleasure,  but  there  was  not  enough  for  the 
great,  sacrificial  gift. 

And  then  I  remembered  an  old  French 
proverb,  "La  parole  est  d'argent,  la  silence 
est  d'or."  So  I  bought  the  silver  ring  and 
wrote  to  her  saying  that,  since  silence  was 
gold  and  speech  silver,  this  ring  spoke  to  her 
of  our  love. 

I  was  quite  pleased  with  myself.  The  ulti- 
mate had  been  accomplished.  I  had  achieved 
my  purpose  and  her  memory  faded  from  my 
mind.  She  was  still  my  beautiful  lady  of  the 
lake,  but  I  could  not  go  on  writing  to  her 
indefinitely. 

The  condition  at  home  was  becoming  intol- 
erable and  I  announced  my  intention  of 
leaving  and  becoming  an  actor.  My  father 
was  hurt  that  I  should  choose  the  stage  for  my 
profession,  but  nothing  could  dissuade  me  and 
once  more  I  found  myself  on  the  train  seeking 
life  and  adventure  and  new  worlds. 

My  head  reeled  with  the  beauty  of  free- 
dom and  without  knowing  anything  but  that 
I  was  alive  and  blessed  with  newly  acquired 
wings  I  arrived  in  Copenhagen. 

It  was  in  the  theater,  thought  I,  that  I  could 
express  myself,  that  I  could  find  new  hfe,  that 
I  could  blot  out  the  memories  of  the  past. 

In  Copenhagen  there  lived  a  great  actor 
named  Hertel  and  I  found  an  audience  with 
liim. 

"Ah,  but  you're  too  young,"  he  said,  "too 
young  and  too  sickly  for  the  stage.  You're 
thin  and  weak  and  how  do  I  know  that  you 
can  act,  anyhow?" 

I  told  him  all  the  things  that  embryonic 
"geniuses"  tell  established  actors.  I  told  him 
that  I  was  filled  with  a  divine  fire  and  that 
I  knew  I  could  express  myself  on  the  stage.  I 
begged  that  he  take  me  as  a  pupil  and  declared 
that  I  would  pay  liim  as  best  I  could. 

"I  don't  want  money,"  he  said.  "If  you 
have  talent  I  shall  be  glad  to  teach  you." 

There  was  now  two  things  that  appeared 
necessary  for  my  success,  if  I  was  to  have  it.  I 
must  learn  to  act  and  I  must  be  strong,  so  I 
combined  hues  with  exercises  and  even  now 
I  spend  a  certain  number  of  hours  of  each  day 
in  the  gymnasium  with  various  devices  for 
exercising. 

T  MEjNIORIZED  several  plays  and  again  rc- 
^  ported  to  Hertel.  He  heard  my  recitation  of 
them  and  told  me  that  he  would  instruct  me 
without  pay. 

I  had  been  taught  to  repress  my  emotions  so 
I  thanked  him  calmly  but  left  the  house  with 
the  wings  of  freedom  now  full  spread. 

For  six  months  I  went  through  a  hectic 
course  of  instruction.  He  taught  me  to  read 
lines,  to  carry  myself  well  on  the  stage,  to  tear 
out  everything  from  a  speech  that  was  in  it 
and  when  it  was  over  I  felt  as  if  both  my  body 
and  brain  were  worn  out,  so  I  went  to  Stock- 
holm for  the  skiing  to  assimilate  all  that  I  had 
learned. 

Stockholm  in  the  winter  is  brilliant.  The 
minds  of  its  people  seem  to  take  on  something 


GROW^ 

Yes,  Grow  Eyelashes 

and  Eyebrows  like  this 

in  30  days 

'X'HE  most  marvelous  discovery  has  been  made — a 
•*•  way  to  make  eyelashes  and  e>ebrows  acliially 
grow.  Now  if  you  want  long,  curling,  silken  lashes, 
you  can  have  them — and  beautiful,  wonderful  eye- 
brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelashes  and  eyebrows,  1  will  increase 
tlieir  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
are  the  sole  judge. 

Proved  Beyond  the  Shadow  of  a  Doubt 

Over  ten  thousand  women  Iiave  tried  my  amazing 
discovery,  proved  th;it  eyes  can  now  be  fringed  with 
long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  hnes!  Read  what  a  few  of 
them  say.  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  Heffletinger,  240  \V.  •'B"  St..  Carlisle,  Pa.: 
"I  certainly  am  deliglited  ,  . ,  I  notice  the  greatest 
difference  .  .  .  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear."  From 
Naomi  Otstot.  5437  Westminster  Ave.,  W.  Phila.. 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart. 
R,  D.  No.  2,  Box  179,  Jeanette,  Penn.:  "Your  eye- 
lash and  eyebrow  beautifier  is  simply  marvelous." 
From  Pearl  Prove,  2954  Taylor  St.,  N.  E.,  Minne- 
apolis, Minn.:  "I  have  been  using  your  eyebrow  and 
eyelash  Method.  It  is  surely  wonderful."  From 
Miss  Flora  J.  Corriveau,  8  Pinette  Ave.,  Biddeford, 
Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  luxurious." 

Results  Noticeable  in  a  Week 

In  one  week — sometimes  in  a  day  or  two — you 
notice  the  effect.  The  eyelaslies  become  more  beau- 
tiful— like  a  silken  fringe.  Tlie  darling  little  upward 
curl  shows  itself.  The  eyebrows  become  sleek  and 
tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
time— know  that  you  can  have  eyelashes  and  eye- 
brows as  beautiful  as  any  you  ever  saw. 

Remember  ...  in  30  days  I  guarantee  results  that 
will  not  only  delight,  but  amaze.  If  you  are  not 
absolutely  and  entirely  satisfied,  your  money  will 
be  returned  promptly.  I  mean  just  that — no  quibble, 
no  strings.  Introductory  price  $1.95.  Later  the 
price  will  be  regularly  $5.00. 


$5.00.  ^^ 


'(/tAA^ 


Grower  will  be  sent  C.  O.  D.  or  you  can  send 
money  with  order.  If  money  accompanies  order 
postage  will  be  prepaid. 


LUCILLE  YOUNG. 
8562  Lucille  Young  Building,  Chicago.  III. 

Send  me  your  new  discovery  for  growing  eye- 
lashes and  eyebrows.  If  not  absolutely  and 
entirely  satisfied,  1  will  return  it  within  30  days 
and  you  will  return  my  money  without  question. 

Price  C.  O.  D.  is  51.95  plus  few  cents  postage. 
If  money  sent  with  order  price  is  $1.95  and  post- 
age is  prepaid. 

State  whether  money  enclosed  or  you  want 
order  C.  O.  D. 


Name— 


St.  Address— 
City 


I 

■ 
I 
I 
■ 
I 
I 
I 
I 
I 


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Photoplay  Magazine — Advertising  Section 


ff 


I  won  first  prize 

o/*100" 

«rAr«  iu««J  ago  I  arnftud  in  a  fhMfUji  anUit...Thi 
!ymf,isUMer,dv,onfr!ipri:^iof$'OO...rh<:  honor,  of 
course  belong  to  the  Palmer  plan." 

«...  I  be,-„e  been  engaged  b)  Graf  Brothers  Production,  to 
write  two  stories  for  immediate  production  ...any  ,ucce„ 
that  may  follow  is  due  to  the  thorough  training  and  helpful 
guidance  of  the  Palmer  Institute." 
The  Palmer  Institute  can  t.ake  that  talent  of 
yours  and  make  it  produce  its  utmost.  It  will 
teach  you  the  professional  touch  in  writinR— 
either  photoplays  or  short  stories.  Charles  Ken- 
yon,  author  of  the  Iron  Horse,  says:  The  Pal- 
mer Institute  is  better  equipped  to  teach  the 
screen  story  than  any  other  institution  outside 
of  the  motion  picture  studio." 
Send  coupon  helow  for  booklet  containing 
stories  of  other  Palmer  successes  and  for  full 
inforB\ation  on  Palmer  courses. 

PALMER    INSTITUTE    OF    AUTHORSHIP 
Dept.l2-P,  Palmer  Building.  Hollywood,  California 

I  am  interested  m:  □  Short  Story  Writing  □  English 
and  Self-Expression  D  Photoplay  Writing 


Name. 


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The  Director  Belt  gets  at  the 
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Sent  on  Trial 

Let  us  prove  our  claims. 
■We'll  send  a  Director  for  trial. 
If  vou  don't  get  results  you  owe 
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Write  fir  trial  offer,  doctors'  en- 
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users.  Mail  the  coupon  ^  OW  1 
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332  S.  La  Safest.,  Chicaeo,  HI- 

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Gentlemen:  Without  cost  or  obligation  on  my  part  j 

please  send  me  deuils  of  your  trial  otter.  I 

Name 


.„.  ,-  .rn  „  wpok  at  borne.  Ail  or  pnrt 
nS'.-'rlSVnY  wS.  °N'o%"„Af4     we  U«h  jou  .^ 


$3,000  in  Cash 
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to  the  greatest  mystery 
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The 
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appear  in  this  issue.     Turn  to  Page  .38  now. 


of  the  dazzling  qualities  of  the  snow  and  ice 
and  I  found  some  friends  and  enjoyed  skiing 
with  a  well,  strong  body  for  the  first  time  in  my 
life.  I  had,  by  this  timt^I  think  I  was  sixteen 
or  so — grown  very  tall. 

It  was  then  that  I  met  Mauritz  StUler. 

He  was  looking  for  a  man  to  play  the  leading 
role  in  his  screen  production,  "Wings."  This 
title  did  not,  at  that  time,  carry  with  it  an  idea 
of  aviation.  It  meant  the  wings  of  the  soul  and 
I  felt  a  great  desire  to  be  a  part  of  it,  since  I 
myself  had  so  lately  grown  the  wings  of  free- 
dom. 

YOU  look  the  part,"  Stiller  said,  "but  you 
have  had  no  experience.    Surely  you  will 
not  be  able  to  act." 

Yet  he  consented  to  give  me  a  test  and,  when 

he  saw  it,  he  said,  "  But  where  have  you  learned 

acting?    How  do  you  know  the  intricacies  of 

technique?"  ,  ,  ,  ^  , 

And  I  told  him  that  I  had  been  taught  by 

Hertel.  ,      ., 

And  suddenly  my  life  changed.  1  ani  an 
extremist.  I  fly  from  vivid  moment  to  vivid 
moment.  I  take  the  fullness  of  each  day  and 
exhaust  it. 

I  suddenly  became  a  motion  picture  star 
I  earned  an  enormous  salary.  I  was  known  all 
over  Sweden.    Nils  Asther,  the  cinema  star. 

The  critics  praised  me,  compared  my  work 
to  that  of  Valentino  and  other  great  names. 
Money  seemed  to  pour  in  upon  me  and  being 
young  and  being  me  I  threw  discretion  to  the 
long  nights  of  Scandinavia  and  hved  like  a 
prince.  .         „        , 

I  bought  a  house  three  stories  tall  and,  on 
the  top  floor,  I  entertained  my  friends.  Such 
wild  folk  we  were,  bound  together  by  a  com- 
mon bond  of  freedom.  _ 

The  Hcense  that  was  practiced  in  my  palace 
was  due  to  the  fact  that  I  suddenly  found  my- 
self the  master  of  my  fate.  I  suddenly  dis- 
covered that  I  was  wealthy  and  famous  and  it 
was  my  delight  to  abandon  myself  to  making 
the  most  of  this.  -ui    n 

Oh,  we  were  gay  and  young  and  wild!  une 
evening  we  decided  that  the  tone  of  the  grand 
piano  was  bad  and  without  more  ado  a  group 
of  us  threw  it  out  of  the  third  floor  window.  It 
crashed  in  the  street  below.  Upon  the  same 
evening  we  found  that  the  champagne  was  not 
of  the  best  and  we  stood  in  the  windows  and 
hurled  it  out  on  the  streets.  The  opera  was 
just  letting  out  across  the  way  and  we  threw 
the  bottles  of  champagne  at  the  people.  1  hey 
huddled  in  the  doorways  and  could  not  get  out 
of  the  lobby  of  the  theater. 

AFTER  the  success  I  had  made  with  Stiller 
in  Stockhohn  I  had  ofiers  to  star  in  pictures 
in  many  parts  of  the  world  but  I  refused  them 
and  remained  in  the  city  where  I  found  the 
greatest  gaiety.  ,.t      ^  u  „ 

My  very  repressed,  unhappy  life  at  honie 
had  led  me  to  this  startUng  existence  1  suc^- 
denly  turned  reactionary  and  found  myselt 
bored  with  aU  of  these  wild  scenes.  The  people 
were  aU  strange  and  Bohemian  and  amusing, 
but  I  was  unhappy.  I  was  seeking  that  which 
I  did  not  find.  One  may  throw  bottles  of 
champagne  out  of  windows,  one  may  crash 
grand  pianos  on  the  street,  one  may  lead  the 
merriest  life  and  still  the  ephemeral  quality 
called  happiness  is  out  of  reach. 

I  was  as  chained  as  I  had  ever  been.  Ifus 
gay  hfe  left  me  without  peace  and  I  was  sad 

^^And  then  I  touched  the  hem  of  the  garment 
of  truth.  , 

One  Thursday  evening  I  was  seated  at  a  cale 
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man,  large,  bulky,  with  a  shock  of  unkempt 
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much  admired,  and  then  I  saw  that  it  was  not 
he  This  strange  man,  who  seemed  unused  to 
the  place,  kept  staring  at  me  with  burning 

'^^I  turned  to  my  companion  and  said,  "Who 
is  he?" 


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My  friend  answered,  "That  is  Djalmar 
Bergman,  the  greatest  writer  of  our  time." 
"But  why  does  he  stare  at  me?" 
"Perhaps,"  my  friend  supplied,  "he  may  be 
writing  a  play  and  wants  you  to  do  the  part. 
Or,  perhaps,  he  is  simply  curious  and  is  looking 
at  the  great  Nils  Asther,  the  cinema  star." 

IN  a  moment  he  came  over  to  our  table  and 
began  talking  to  me  as  if  we  had  known  each 
other  always.  His  manner  intrigued  me.  His 
brilliance  astounded  me  and,  from  that  minute 
on,  we  were  the  closest  of  friends. 

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that  evening.  Bergman  is  one  of  the  most  ec- 
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power  had  brought  us  together. 

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lirst  introduction  to  Hollywood.  Watch  for  the 
concluding  installment  of  this  Life  Story  in  the 
March  issue  n/ Photopl.\Y. 


The  Hot  Baby  of 
Hollywood 

j  CONTINUED  FROM  PAGE  37  1 


smile.  "Dis"  won  and  Lupe  arrived  in 
Me.xico  City  driving  the  locomotive  that 
pulled  the  cars! 

Her  home  seethed  with  turmoil.  Her  father 
was  lying  close  to  death  and  her  mother  and 
sisters  were  beside  themselves  with  grief. 

They  had  sold  the  piano  and  the  car.  Still 
the  money  dwindled.  "What  are  we  to  do?'' 
they  wailed. 

At  last  Lupe.  like  a  flame,  stood  before  them. 
"Fools!"  she  shouted.  "Why  do  you  cry?  I 
see  only  tears,  tears,  tears.  If  each  tear  were  a 
gold  piece  then  cry  forever.  But  it  isn't.  Some- 
one must  work.  We  cannot  all  be  fools  in  this 
family." 

'~pH.\T  night  she  went  with  her  sweetheart — 
•^  the  only  man  she  has  e\'er  really  loved — to  a 
theater  and  there  she  saw  a  famous  actress  on 
the  stage. 

"  I  could  do  as  well  as  she,"  said  Lupe. 

Her  sweetheart  laughed,  "You  might  think 
you  could.  You  can  act  on  the  roof  of  the 
house  with  only  servants  to  watch,  but  when 
you  stand  before  a  real  audience  with  a 
thousand  eyes  turned  upon  you — ah — that  is 
different." 

The  next  day  Lupe  and  her  mother,  who  had 
been  an  opera  singer,  went  to  see  a  stage 
manager. 

The  manager  cast  an  appraising  eye  over  the 
child.  "  You  say  you  can  dance?  Very  well,  I 
will  put  you  in  the  chorus." 

Lupe  screamed.  "The  chorus — no!  I  won't 
go  in  the  chorus.  I  am  as  good  as  anyone  on 
your  stage.  I  am  better  than  your  stars.  I 
will  be  a  star  and  sing  and  dance  alone." 

The  manager  shrugged  his  shoulders. 

"Wait,"  she  cried,  "I  wiU  show  you." 

She  ran  to  the  stage  and  sang  for  him — the 
first  .American  jazz  songs  he  had  ever  heard. 
He  smiled  upon  her.  "You  are  right.  The 
chorus  is  not  for  you." 

The  day  of  the  opening  arrived.  Her  mother 
went  back  stage  with  her.  In  Mexico  an 
actress  must  furnish  her  own  wardrobe.  Lupe 
had  a  little  red  dress  and  hat  that  had  cost 
twenty-two  pesos.    The  hat  boasted  a  long  red 


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feather  that  shook  because  the  child  was  so 
nervous. 

"You  must  not  be  afraid,  Lupe,"  said  her 
mother.  "You  are  singing  American  songs. 
No  one  knows  the  words.  If  you  forget  just 
say,  'la  de  da'  and  no  one  will  be  the  wiser." 

npHE  star  of  the  show  rolled  a  sarcastic  Mexi- 
-'•  can  eye  in  her  direction.  "Oh,  you  are 
afraid.    You  are  afraid  of  the  thousand  eyes!" 

"I'm  not,"  cried  Lupe.  "I'm  Lupe  Velez. 
I  am  afraid  of  nothing." 

"But  I  was  afraid,"  Lupe  told  me.  "I  was 
so  afraid  that  I  shook  all  over."  She  laughed, 
an  explosive  Mexican  laugh.  "I  was  so  scared 
that  I  did  the  shimmy  better  than  I  have  ever 
done  it.  I  shake  all  over.  I  shake  my  arms 
and  my  legs  and  my  hands.  And  then  all  stood 
up  and  shouted  and  shouted  and  yelled  my 
name  and  threw  things — money  and  flowers — 
on  the  stage. 

"I  forgot  the  words  of  the  song.  It  was 
'Charlie,  JMy  Boy.'  CharHe,  my  boy,  oh, 
Charlie  my  boy,  la  da  da,  oh,  Charlie,  my  boy! 
But  they  didn't  know  the  words  and  they 
didn't  know  I  forget  and  they  scream  and  clap 
and  I  danced  and  sang  again  and  again  and 
again." 

Lupe  became  Mexico's  favorite  entertainer. 
They  are  a  people  given  to  enthusiasms.  Her 
name  was  spread  across  the  theater  in  gleaming 
electric  lights.  She  was  recognized  every- 
where she  went.  Her  money  went  to  the  sup- 
port of  her  family. 

There  was  only  one  situation  that  marred 
her  happiness.  Her  sweetheart — whom  she 
really  loved.  The  sweetheart  who  loved  her. 
But  he  lo\ed  the  convent  girl,  Lupe.  He  loved 
the  child  who  had  dressed  herself  in  sheets  and 
had  danced  on  the  roof.  The  servants  who 
watched  her,  then,  had  stupid  lacklustre 
eyes.  But  the  thousand  eyes  watching  her 
at  the  theater  were  not  lacklustre.  This 
pair  of  long,  slim,  scarlet,  silk  legs  at  the  theater 
— this  was  not  his  Lupe.  Other  men  watched 
his  sweetheart  as  she  danced  and  sang. 

He  confided  his  thoughts  to  Lupe.  And 
what  was  she  to  do?  Her  father  was  ill.  She 
had  to  have  money.  And  by  this  time  the 
excitement  of  the  theater  tingled  in  her  finger 
tips.    She  could  not  give  it  up. 

Faced  ^\ith  the  problem  of  lo\'e  or  a  career — 
a  problem  that  confronts  every  girl  who  has 
her  way  to  make — Lupe  chose  the  career.  She 
loved  her  sweetheart,  she  still  loves  his  mem- 
ory, but  there  was  a  sick  father  and  the  thirst 
for  the  theater. 

A  THEATRICAL  agent,  Frank  Woodyard, 
had  seen  her  on  the  stage  and  had  per- 
suaded Richard  Bennett  to  send  for  her  for  a 
rule  in  "The  Dove,"  shortly  to  open  in  Los 
Angeles. 

Lupe  had  had  offers  from  South  America  and 
from  other  parts  of  Mexico,  but  there  was  a 
quarrel  with  her  manager,  so  she  accepted 
the  Los  Angeles  contract. 

Strangely  enough,  although  she  was  an 
ardent  picture  fan,  the  idea  of  a  screen  career 
had  not  entered  her  head.  "I  knew  that  I  was 
too  ugly,"  she  said. 

But  when  she  announced  her  intention  of 
leaving,  the  papers  screamed  in  headlines, 
"  Lupe  Goes  to  Hollywood." 

She  left  Mexico  City  in  a  blaze  of  glory,  only 
to  discover  that  there  was  trouble  with  her 
passport  and  she  could  not  get  into  the  United 
States. 

Crestfallen,  she  returned,  hoping  nobody 
would  recognize  her,  but  a  newsboy  on  the 
street  saw  her  and  began  to  shout  that  Lupe 
was  back  from  Hollywood. 

The  people  of  Mexico  laughed  and,  when  the 
passport  was  at  last  arranged,  and  she  made 
her  final  exit  from  the  city  of  her  success  there 
was  no  ballyhoo.  By  this  time  her  money  had 
taken  wings.  She  was  not  well  equipped  with 
English.  The  words  she  knew  were,  briefly, 
"chocolate  malted  milk,"  "strawberry  ice 
cream  soda  "  and  "  hell . " 

She  arrived  in  Los  Angeles  with  a  pair  of 
liquid  eyes,  a  few  words  of  English,  a  Mexican 


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H3 


hairless  dog  and  one  dollar.  The  porter  tried 
to  take  her  grips,  the  baggage  man  attempted 
to  check  her  trunks,  but  she  knew  that  she 
would  have  to  tip  them,  so  she  carried  her  own 
baggage  inside  the  station  where  she  sat  wait- 
ing for  something  to  happen.  But  Lupe  cannot 
sit  for  long. 

AT  last  she  carried  her  trunk  and  her  bags 
and  her  dog  to  a  taxicab. 

"Where  to,  Miss?"  said  the  driver. 

"  'otel,"  said  Lupe. 

"What  hotel?"  asked  the  driver. 

"  'otel,"  shouted  Lupe. 

"What  liotel?" 

"Hell!  "otel." 

"I  didn't  catch  it.  What  hotel  did  you  say?" 

"Oh,  hell!    'otel." 

Undoubtedly  thinking  that  he  had  a  mad 
woman  on  his  hands,  the  driver  started  for  any 
hotel. 

Lupe  looked  out  of  the  window,  breathless. 
Never  had  she  seen  such  tall  buildings,  so]many 
people,  such  hurrying. 

The  cab  stopped  at  the  Hotel  Louise,  an 
obscure  hostelry  in  the  apartment  house  dis- 
trict in  Los  Angeles. 

Lupe  went  inside  and  there  she  discovered  a 
cross-eyed  clerk  at  the  desk.  "And  cuckoo 
eyes  are  such  bad  luck,"  she  said.  "I  think, 
'Oh,  my  God,  I  come  here  with  no  money  and 
the  first  person  I  see  has  cuckoo  eyes.'  " 

She  ran  out  of  the  hotel  and  threw  herself 
into  the  cab,  shouting,  "  'otel." 

"Look  here,"  said  the  driver,  "have  you 
any  money?" 


Lupe  understood  him  and  shook  her  head. 
He  lifted  a  screaming,  shouting,  kicking  fiery 
devil  from  the  cab  and  deposited  her  on  the 
curb.    She  flew  at  him  in  a  rage. 

"Hell!     Hell!     Hell!" 

He  drove  her — after  all  what  could  he  do? — 
to  another  hotel.  She  showed  the  wire  from 
Richard  Bennett  to  the  clerk.  He  got  the  actor 
on  the  'phone  and  presently  he  arrived  with 
Woodyard  and  an  interpreter. 

Because  of  the  trouble  with  her  passport  she 
was  too  late  for  the  part.  Dorothy  Mackaye, 
now  serving  a  term  at  the  penitentiary,  had 
already  gone  into  the  role. 

Lupe  was  stranded,  but  not  for  long.  That 
very  night  she  signed  a  contract  with  Wood- 
yard,  as  her  manager,  who  found  a  job  for  her 
dancing  with  Fanchon  and  Marco. 

XTO  manager  was  stupid  enough  to  give  Lupe 
■'-^  a  place  in  the  chorus  girl  line  and  it  was  in- 
evitable that  she  be  seen.  Harry  Rapf,  the 
executive  with  the  sharp  eyes  (he  found  Joan 
Crawford  dancing  at  the  'W'inter  Garden)  saw 
her  and  gave  her  a  test,  that  eventually  led  to 
her  being  cast  in  Fairbanks'  "The  Gaucho." 
There  was  trouble  with  her  manager  and  the 
contract  was  finally  broken. 

She  has  swept  Hollywood,  as  she  swept 
Mexico  City.  She  has  been  the  topic  of  con- 
versation at  every  luncheon,  tea  and  dinner. 
Everyone  asks,  "What  do  YOU  think  of  Lupe 
Velez?" 

Such  adjectives  as  "Great,"  "Marvelous," 
and  "Swell"  have  been  applied  to  her.  It  re- 
mained, however,  for  Mrs.  William  J.  Locke, 


You  laughed  at  Lupe  in  "The  Gaucho" — and  liked  her — because 

she  brought   to  her  role  a   light,    insouciant    Latin    humor   and 

a  spontaneous  sense  of  gayety 


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Photoplay  Magazine — Advertising  Section 


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wife  of  the  famous  English  novelist,  to  add  the 
finishing  touch.  In  her  faultless  British  she 
said,  "Oh,  yes,  my  deah,  Lupe  Velez.  A  very 
noisy  young  person." 

Lupe  is  noisy — like  a  storm!  She  is  vivid, 
like  scarlet.  And  she  still  speaks  the  language 
of  the  eyes.  Men,  oh,  how  many  men,  have  suc- 
cumbed, like  the  engineer  of  the  locomotive — 
George  Jessel,  Al  Jolson,  Tom  MLx,  Dick  Jones. 

Jones  directed  "The  Gaucho."  It  was  to 
Lupe's  adx-antage  to  cultivate  him.  She  did. 
Their  engagement  was  announced.  Jones 
made  a  masterly  denial  that  did  not  incrimi- 
nate a  lady.  He  left,  shortly  afterwards,  for 
Kurope. 

Oh,  there  have  been  many  men  in  Holly- 
wood, as  there  were  many  boys  in  Mexico. 

A  ND  now — Gary  Cooper! 
■'*■>.  o  stranger  pair  are  to  be  found.  Lupe  of 
Me.xico  City.  Gary  of  the  Montana  plains. 
But  it  is  the  first  time  that  Lupe's  heart  has 
been  afifected  since  she  arrived  in  Hollywood. 
As  a  child  she  exchanged  her  kisses  for  bits  of 
ribbon  for  her  braids,  later  she  bartered  for 
orchids  and  bracelets.  But  Gary  has  no  orchids 
to  give,  yet  Lupe  says,  "  Oh,  but  I  luff  him.  He 
is  so  sweet!" 

To  catch  the  force  of  the  elements  that 
seethe  in  the  heart  of  Lupe  Velez  is  a  task  for 
the  pen  of  a  D'Annunzio.  You  know  now 
that  she  was  born  near  Mexico  City,  that  she 
was  a  famous  stage  dancer,  that  she  arrived 
in  Los  Angeles  with  one  doUar. 

But  you  do  not  know  and  I  cannot  tell  you 
that  she  is  flame  and  fire  and  element  and  sim- 
plicity and  passion  all  rolled  together  in  a  tense, 
vivid  little  face  and  a  body  as  Uthe  as  her 
mind. 

Lupe  is  just  Lupe.  She  acts  because  she 
must.  She  loves  because  she  must.  She  is 
Lupe,  because  it  was  decreed  by  a  restless  god 
that  there  be  a  Lupe  to  brighten  our  dull, 
phlegmatic  lives. 


Questions  &  Answers 


1  CONTINUED  FROM  PAGE  99  ] 

J.  E.  K.,  Springfield,  O. — Maximillian 
Fabian  was  the  head  cameraman  of  "In  Old 
Kentucky,"  and  Peverell  Marley  headed  a 
battery  of  cameramen  for  "The  King  of 
Kings." 

A.  A.  A.,  Marietta,  Pa. — By  rights,  with 
those  initials,  you  ought  to  head  this  depart- 
ment. You  certainly  have  it  bad,  so  I'll  take 
pity  on  you  and  tell  you  about  Lupe  "Velez. 
Lupe  was  born  in  San  Luis  Potosi,  a  suburb  of 
Mexico  City.  Her  father  was  a  colonel  in  the 
Mexican  regular  army  and  was  killed  in  a 
revolution.  Lupe's  real  name  is  Maria  Villa- 
balos.  Her  mother  was  Josephine  Velez,  an 
opera  singer.  Lupe  has  one  brother  and  three 
sisters. 

M.  A.  H.,  Wilmington,  Del. — Al  Jolson  has 
been  married  three  times.  His  first  wife,  whom 
he  married  in  1906,  was  Henrietta  Keller. 
They  were  divorced  in  1919.  In  1922,  Mr. 
Jolson  married  Ethel  Delmar  and  that  mar- 
riage lasted  until  1926,  when  they  were 
divorced.  Last  September,  Al  married  Ruby 
Keeler,  the  stage  dancer.  Conrad  Nagel  has 
only  been  married  once.  His  wife  was  Ruth 
Helms.  Conrad  was  born  in  Keokuk,  Iowa. 
He  has  blonde  hair  and  blue  eyes. 

M.  R.,  Chicago,  III. — Yep,  she's  Irish,  with 
a  dash  of  Enghsh,  and  Mary  Philbin  is  her  real 
name.  She's  twenty-three  years  old  and  at- 
tended school  in  your  city  before  she  won  a 
beauty  contest  and  a  chance  in  the  movies. 

1. 1.  H.,  TopEKA,  Kan. — You  ought  to  know 
better  than  to  fight  with  the  Chief  Clerk. 
However,  fortunately,  the  Chief  Clerk  is  all 
wrong.     Marion  Davies  is  twenty-eight  years 


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Photoplay  Magazine — Advertising  Section 


145 


old  and  not  married.  Tom  Mix  has  one 
daughter,  Ruth,  by  his  first  marriage.  Mary 
Astor  was  born  in  Quincy,  lU.  Pauline  Starke 
comes  from  Joplin,  Mo.  So  far  as  I  know, 
neither  of  them  ever  lived  in  Topeka. 


M.  H.,  Toronto,  Ont.— Molly  O'Day  is 
very  much  aUve.  She  went  to  the  hospital  for 
an  operation  to  have  some  of  her  e.xtra  weight 
removed.  Lloyd  Hughes'  ne.xt  film  is  "the 
Mysterious  Island." 

AsTRiD  B.,  TAitPA,  Fla. — Mother  knows 
best!  It  was  .Antonio  Moreno,  not  John 
Gilbert,  who  played  opposite  Clara  Bow  in 
"It." 

Clara  and  Dotjg,  Birmingham,  Ala. — Not 
Bow  and  Fairbanks?  Yes,  "  War  in  the  Dark" 
and  "The  Mysterious  Lady"  are  one  and  the 
same  picture.  The  title  was  changed  from  the 
former  to  the  latter,  before  the  film  was  re- 
leased. George  Lewis  is  twenty-five  years  old 
and  Ramon  Novarro  is  four  years  older.  _  John 
Boles  is  six  feet  tall,  while  Joe  Striker  is  five 
feet,  nine  and  one-half  inches  tall.  Mr. 
Striker  has  brown  hair  and  brown  eyes. 
Loretta  Young  and  Sally  Blane  are  sisters. 

K.  B.,  RiCHiBUCTO,  N.  B. — Irene  Rich, 
Helen  Foster,  Ruth  Taylor  and  Harold  Lloyd 
are  all  Americans.  Miss  Rich  is  about  thirty- 
four  years  old  and  married  to  D.  F.  Blacken- 
horn.  Ruth  is  single  and  Harold  is  married  to 
Mildred  Davis. 

A.  S.,  Jersey  City,  N.  J. — Tom  Santschi  is 
an  old-timer.  He  has  been  in  pictures  since 
1907.  That's  his  real  name.  Tom  was  born 
October  24,  1880.  And  he's  married.  Louise 
Dresser  is  married.  She's  been  in  pictures  for 
about  seven  years.  Helen  Lynch  is  twenty-five 
years  old. 

Cecy,  Rio  de  Janeiro. — Your  English  is 
very  good.  But  you  mustn't  quarrel  with 
your  brother.  Harriet  Hammond  was  the 
heroine  of  "The  Midshipman." 

Thelma,  Hillside,  N.  J. — Richard  Arlen 
was  the  leading  man  in  "  Padlocked. "  Dorothy 
Mackaill's  address  is  in  care  of  the  First  Na- 
tional Studios,  Burbank,  Calif.  Jacqueline 
Logan  may  be  reached  at  the  Pathe-De  Mille 
Studios,  Culver  City,  Calif.  Estelle  Taylor 
and  Donald  Keith  are  free-lancing. 


V.  A., 
married. 


Seattle,  Wash. — Lois  Moran  is  not 


J.  S.,  Chicago,  III. — Alice  Joyce  is  married 
to  James  Regan.  Write  to  her  at  the  First 
National  Studios,  Burbank,  Calif. 

Mildred  and  Jane,  Barabas,  Wis. — John 
Barrymore' still  has  a  contract  to  make  more 
pictures,  so  it  isn't  likely  that  he'll  go  on  the 
stage  in  the  near  future.  Raymond  Keene 
played  in  "The  Magic  Garden."  Lane 
Chandler  is  a  bachelor. 

Gertrxtde  D.,  Grand  Rapids,  Mich. — 
John  Kolb  played  the  title  role  of  "The  Gorilla." 
It's  good  work  when  an  actor  can  fool  you.  Al 
Cooke  is  the  gentleman's  real  name.  Kit 
Guard  was  born  Christopher  Klitguard. 

J.  A.  B.,  Chicago,  III. — John  Gilbert  and 
Gilbert  Roland  are  not  related.  Jack's  name 
is  his  own,  but  Mr.  Roland  is  a  Me-xican  who 
adopted  a  bo.x  office  monicker  for  film  pur- 
poses. 

D.  S.  W.,  Worcester,  Mass. — Lawrence 
Gray  isn't  married.  Does  that  make  you 
happy?  He  was  born  in  San  Francisco  July 
27,  1898,  and  his  first  film  appearance  was  in 
"The  Dressmaker  from  Paris."  He  has  brown 
hair  and  green  eyes.  Now  that  you've  found 
the  way,  come  again ! 

When  you 


I  Was  Afraid  of  This 
New  Way  to  Lecu-n  Music 

—  Until  I  Fauna  It  Was  Easy  As  A-B-C 

"T^ON'T  be  silly,  Mary.  You're  perfectly  foo!i!>h  to 
II  believe  you  can  learn  to  play  the  piano  by  that 
"^■^  method.     You  are  silly  to  even  think  about  it." 

That    is   how   my   husband   felt  when    I   showed   him 
an  ad  telling  about  a  new  way  to  learn  music. 

But  how  I  hated  to  give  up  my  new  hope  of  learning 

to  play  the  piano.     Music  had  aliiays  been  for  me  one 
of   those  dreams  that  iiever-come-true.    Others  could 
entertain  their  frii-nds.     But  I  was  a  mere  listener.     ^ 

For  a  week  I  resisted  the  temptation  to  look  at  the 
ad  again,  but  tinally.  halt-frishtened,  I  wrote  to  the 
U.  S.  School  of  Music — without  letting  Jack  know. 


Imagine  my  joy  when  the  lessons  started  and  I 
found  they  were  easy  as  A.  B.  C.  A  mere  child 
could  master  themi 

I  quickly  saw  how  to  blend  notes  into  beautiful 
melodies.    My  progress  was  so  rapid  that  soon  1  was 

rendering  popular  and 
classic  selections.  For 
thru  this  short-cut  meth- 
od, all  the  difficult,  tire- 
some parts  of  music  have 
been  eliminated. 

Finally  I  decided  to 
play  for  Jack.  He  was 
astonished.  "Why  .  .  . 
why  .  .  ."  he  floundered. 
I  simply  smiled  and  went 
on  playing.  But  soon,  of 
course.  Jack  insisted  that 
I  tell  h  i  m  where  I  had 
learned  .  .  .  when  .  .  . 
how?  So  I  told  of  my 
secret.  And  what  did 
Jack  do  but  start  learn- 
ing the  TiolinI  Now  our 
musical  evenings  area 
marvelous  success,  and  wt 


pickyourcourseI 

Piano 

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Piccolo 

Mandolin 

Guitar 

•Cello 

Hawaiian 

Steel  Guitar 

Sight  Singing             | 

Piano 

Accordion           1 

Voice  and  Speech  Culture 

Drums  and  Traps 

Automatic  Finger  Control 

Banjo  (Plectrum.  S-String 

or 

Tenor)                 | 

are  always  flooded  with  invitations.    Music  has  given  us 
Popularity  1    Fun!    HappinessI 

Thousands  of  successful  students  never  dreamed  they 
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your  favorite  instrument  thru  this  short-cut  method. 
Send  now  for  booklet.  "Music  Lessons  in  Your  Own 
Home."  and  free  Demonstration  Lesson.  Instruments 
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*U.   S.   SCHOOL  OF    MUSIC. 

562   Brunswick   BIdg.,    New   York  City. 

Send  me  your  amazing  free  book,  "Music  Lessons  in 
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Name '. 

Address    

Hare  you 
Instrument this  Inst?    


Old  Money 

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pOST  YOURSELF!  It  pays!  I  paid  J. 
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RIACHESPIRFECTION 


any  man  Iwant^saidTonia  *^ 
Hear a/id  See  what  happened  to  the  girl      ^ 

¥who  boasted  she  could  get  her  man/    ^^^ 


Actually  filmed  and  recorded  on 
location    In   Old   Arizoina   repre-      % 
sents  a  distinct  forward  step  in  the 
art  of  the  talking  picture.    For  the 
first  time,  WILLIAM  FOX  brings  to 
the  screen  not  only  the  realistic  set- 
tings but  also  the  natural  sounds  of 
the  great  outdoors!  The  voices  you  hear 
are  voices  as  they  really  sound  out  in  the 
open!    Until  you've  seen  and  heard  In 
Old  Arizona  you  can't  appreciate  to  what 
heights   the   technique   of   the  talking 
motion  picture  has  been  advanced  by  Fox 
Movietone !     Keep  abreast  of  developments 
in  this  newest  field  of  expression — make  up 
your    mind    to   see   In  Old  Arizona   when  it 
comes  to  your  favorite  local  theater. 


Every  part  is  a  speaking  part — 
featured  in  the  leading  roles  are 
two  brilliant  screen  stars  and  a  fas- 
cinating  stage  favorite  —  Edmund 
Lowe  as  Sgt.  Dunn,  the  heartbreak- 
ing cavalryman;    Warner   Baxter   as 
the  Cisco  Kid,  outlawed  Don  Juan  of 
the  desert;  and,  in  her  first  screen  appear- 
ance, Dorothy  Burgess  as  Tonia,  the  fiery, 
fickle,  light-o-love  who  pays  the  price  of 
infidelity   in  one   of  the  most   startling 
denouements  ever  filmed!   In  the  support- 
ing roles  are  nearly  a  score  of  well-known 
players  of  the  stage  and  screen.    With  such  a 
cast  under  the  masterful  direction  of  Raoul 
Walsh  and  Irving  Cummings  it  is  no  wonder 
audiences  everywhere   have  acclaimed  In  Old 
Arizona  as  one  of  the  great  pictures  of  the  year! 


MOVIETOtHE 
X 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  la  guaranteed. 


^f^^^^Pl'#4 

^^^ffl 

m 

M 

aris    says.... 

^  youi  compact  match  youi  codtume 


^ke  AmaticAt  jstyU    in   co-mpactA- 

the    new   Q^auaxe  -Double 


ANY   COLOR  "  A   DOLLAR 

/yPERFECT  gem  of  a  compact — this  adorable,  new 
CJ^/IZ  creation  of  TRE-JUR.    Colorful   as  an  autumn 
sunset.     Feminine.     Fascinating.     Utterly  irresistible. 
And  unbelievably  inexpensive.' 

The  smartest  women  are  carrying  them.  In  colors  to 
match  the  ensemble,  as  Paris  now  decrees.  You  see 
them  everywhere.    At  teas  —  dances  —  matinees. 

So  petite  and  yet  so  practical.  So  thin  they  take  but 
anatomof  roominyour  purse.  Yet  inside — everything! 
Soft,  clinging  powder  exquisitely  scented  —  perfect 
blending  rouge — mirror — two  puffs.  Refills  always 
obtainableinyourfavoriteshade.  Ask  to  see  this  delight- 
ful new  compact  at  any  drug  or  department  store. 

If  your  dealer  cannof  supply  you,  mail  $l  direct, 
specifying  color  you  prefer,  to  House  of  Tre-Jur, 
Inc.,    ig  West    i8th  Street,  i^ew  York  City. 


TRE  6i  JU  R 


? 


v-/  always  include  a 
package  of  > — ' 

The  candv  mint  with  th»  mou 


The  ^ISldtional  (ju:de  !o  34otion   'Pictures 


N.S.E, 


n 


C.l;,iy  /\t    J^^K^^  *i) 


This  Cover 
Drawing  is  a 
Color  Chart 
Por  Blondes 


iJon't  rLnvy  the  Stars 

See  Page  32 


You  CANT 
CHEW  OUT 
ITS  FLAVOR 


V 


CURTISS     CAMDY     CO 

OTTO    SCHWERING,  Preiid^ttt 

ALSO    MAKERS    OF    BABY   RUTH  CAMDV 
***AWD    CHICOS^THE    NE%V    SPAWISH    PEANUTS 


Photoplay  Magazine — Advertising  Section 


uour  own  beauty  within  uounself 


WELLdo  your  creams  and  lotions  aid 
yourskin— improve  the  texture  and 
enhance  its  fineness.  Yet  it  must  be  ad- 
mitted that,  in  spite  of  modern  prepara- 
tions and  intelligent  care,  not  all  women 
obtain  a  fresh  complexion  and  a  flaw- 
less beauty. 

Often  the  answer  lies  not  in  the  de- 
ficiencies of  care  or  creams  but  in  an  all 
too  frequent  neglect  of  internal  cleanli- 
ness. To  clean  internally  is  one  of  the 
great  beauty  secrets  of  the  world.  And 
the  safe,  sure  and  simple  way  is  by  the 
saline  method  with  Sal  Hepatica. 

For  Sal  Hepatica  clears  blemishes  from 
the  skin.  It  replaces  dullness  with  a 
lovely,  youthful  translucence.  Together 
with  your  creams,  it  is  a  complete 
regime  for  beauty. 

The  great  physicians  of  the  world,  our 
ov.'n  and  the  European,  have  long  realized 
the  health-bringing  properties  of  salines. 
Distinguished  people  of  many  nations 
migrate   regularly    to   the   famous   con- 


tinental   spas    where,    in    drinking    the 
wonderful    saline   waters,    they    freshen 
their  complexions  and  restore  themselves 
to  radiant  health. 
Sal  Hepatica  is  the  American  equivalent 


Sal  Hepatica 


of  these  European  spas.  By  clearing  your 
blood  stream,  it  helps  your  complexion. 
It  gets  at  the  source  by  eliminating  poi- 
sons and  acidity.  That  is  why  it  is  so 
good  for  headaches,  colds,  rheumatism, 
auto-intoxication,  etc. 

Sal  HEPATICA,  taken  before  break- 
fast, is  prompt  in  its  action.  Rarely,  in- 
deed, does  it  fail  to  work  within  half  an 
hour.  Get  a  bottle  today.  Keep  in- 
ternally clean  for  one  whole  week.  See 
how  this  treatment  can  make  you  feel 
better  and  look  your  best! 

Salines  are  the  mode  the  world  over 
because  they  are  wonderful  antacids  as 
well  as  laxatives.  And  they  never  have 
the  tendency  to  make  their  takers  stout. 

Send  coupon  for  free  booklet  describing 

in  detail  how  Sal  Hepatica  clears  and 

improves  your  skin,  and  how  it  helps 

relieve  many  common  ills. 

•         •         • 

Bristol-MyersCo.,  Depc.  G39,  71  West  St..  N.  Y. 

Kindly  send  me  the  Free  Booklet  that  explains  the 
causes  and  the  effects  of  internal  congestion. 

Name ^ 

Address 

City 


-State^ 


When  you  write  to  advertisers  please  mention  PHOTOPLA?  MAGAZINE 


Photoplay  Magazine — Advertising  Section 


%^nly  Paramount  can 
surpass  Paramount 


imik 


t 


JUST  as  millions  of  motion  pic- 
ture fans  know  that  Paramount 
was  responsible  for  the  great 
advances  made  in  the  "silent" 
drama,  so  do  they  now  know  that 
in  the  new  field  of  talking  pictures 
only  Paramount  can  surpass 
Paramount  !  Following  "  Inter- 
ference," the  first  QUALITY  All- 
Talking  Picture,  came  even  greater 
Paramount  Talking  Pictures  such 
as  "The  Doctor's  Secret",  "The 
Wolf  of  Wall  Street."  C.  Now 
another  great  all-talking  picture 
places  Paramount  supremacy 
farther  beyond  reach  than  ever! 


3eanneJLagels  f* 

LITTER 


The  famous  star  of  "Rain"  in  an  all- 
talking  motion  picture  version  of  W. 
Somerset  Maugham's  stage  success,"Tlie 
Letter".  Supported  by  O.  P.  Heggie  and 
Reginald  Owen.  Directed  by  Jean  de 
Limur.  Adapted  by  Garrett  Fort.  Super- 
vised by  Monta  Bell.  The  Paramount 
All-Talking  Show  consists  of  "The 
Letter",  Eddie  Peabody,  and  The 
Giersdorf  Sisters. 


,  ^J|i=-™.=^^ 


"The  Letter"  is  also  presented  in  a  "silent"  version  so  if  the  theatre  you  patron- 
ize is  not  equipped  for  sound,  you  can  still  enjoy  this  great  Paramount  Picture. 
Silent  or  with  Sound  "If  it's  a  Paramount  Picture  it's  the  best  show  in  town  !  " 


PARAMOUNT  FAMOUS  LASKY  CORPORATION,  ADOLPH  ZUKOR,  PRES.,  PARAMOUNT  BLDG.,  N.  Y. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


The  World's   Leading   Motion   Picture   Publication 

raufnnnniin 


FREDEHICK    JAUEij    SUITH 

HANAOINa  eOITOK 


Contents 


Vol.  XXXV 


MARK    LARKIN 

Wt.STi  RN    KUlTOa 


For 

March 

1929 


AMES  R. Quirk 

[  l>l  lOR    AND    PTBLISHER 


No.  4 


=.<4p 


The  High-Lights  of  This  Issue 


Cover  Design 

Marion  Davies- 


Charles  Sheldon 

-Painted  from  Life 

As  We  Go  to  Press  6 

Last  Minute  News  from  East  and  West 

Briei  Reviews  of  Current  Pictures  8 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets  10 

The  Voice  of  the  Fan 

Food  to  Keep  You  Slim  15 

Photoplay's  Coof;  Bool<  Will  Show  You  the  Proper 
Diet 

Friendly  Ad'vice  on  Girls'  Problems 

Carolyn  Van  Wyck     16 

Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk    23 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

Giving  the  Men  a  Break  Mark  Larkin    28 

With  a    Few   Sharp  Words  About   Women    from 
Madge  Bellamy 

Wanted— A  New  Name  for  the  Talkies  29 

$500  Will  Be  Awarded  by  Photoplay  for  the  Best 
Suggestion 

The  Loves  of  Tom  Mix  Tom  Mix    30 

Mostly   Bald-Faced   Cowponies — But   Horses   Are 
a  Lot  Like  Movie  Stars 

Don't  Envy  the  Stars  Katherine  Albert    32 

The  Public   Wants  in   Return   from  Them   What 
It  Pays  at  the  Box  Office 

The  Studio  Murder  Mystery     The  Edingtons     34 

The  Climax  Nears  in  This  Baffling  Crime — And 
Photoplay  Offers  $3,000  for  Solutions 

Gossip  of  All  the  Studios  Cal  York    40 

What  the  Film  Folk  Are  Doing  and  Saying 

The  Broad  A  Baby  (Fiction  Story) 

Stewart  Robertson    44 

What  Happened  to  One  Star  When  the  Adenoidal 
Drama  Demoralized  Hollywood 


The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

What  Are  Your  Correct  Colors? 

Laurene  Hempstead 

This  Month's  Photoplay  Color  Chart  Is  for  Blor.ds 
Not  Guilty  Dorothy  Spensley 

Bill  Powell  Denies  He  Is  a  Picture  Stealer 

Something  About  Myself 

As  told  to  Katherine  Albert 

The  Concluding  Installment  of  Nils  Asther's  Lite 
Story 

More  Tears,  Please!  Gladys  Hulette 

An  Actress  Writes  About  the  Less  Glamorous  Side 
of  Being  a  Cinema  Star 

Brains  and  Sex  Appeal  (Fiction  Story) 

Grace  Mack 

The   Romance  of  an   Actress  Who   Made  a  Hit 
Without  Ever  Appearing  Before  a  Camera 

Are  You  Furnishing  a  Home?        Lois  Shirley 

Here  Are  a  Few  Tips  from  Fay  Wray 

Diet  for  Health  and  Beauty 

Dr.  H.  B.  K.  Willis 

A  Complete  Guide  to  Fuel  Foods  by  Photoplay's 
Expert 


46 


50 


54 


57 


60 


62 


64 


67 


Amateur  Movies 


Frederick  James  Smith    68 


<!^a 


Manv    Interesting    Productions    Under    Way    in 
Photoplay's  $2,000  Contest 

Photoplay's  Spring  Style  Forecast 

It  Shows  You  the  Hollywood  Trend 
Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film 
Folk 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


73 


87 


138 


A  complete  list  of  all  photoplays   reviewed  in  the   Shadow   Stage  this  issue  -will  be  found  on   page  12 


•<&?= 


=ii^ 


Published  monthly  by  the  Photoplay  PtiBLisHiNr.  Co. 
Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111, 

The  Internatiooal  New.s  Comi)any,  Ltd.,  Dtstrlbutiag  Ageota.  0  Bream's  Building.  London.  England 

James  R.  Quirk,  President  Robert  M.  Eastman.  Vice-President  Kathryn  Doucherty.  Secretary  and  Treasurer 

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Copyright,  1929.  by  the  Photoplat  Publkhino  Company.  Chicago 


As  We  Go  to  Press 


RICHARD  BARTHELMESS  returns 
to  the  First  National  coast  studios 
on  March  4th  to  start  his  new  starring 
contract,  following  a  5,000  mile  vacation 
trip  with  his  wife.  This  trip  included  New 
York,  Palm  Beach,  Havana,  Vera  Cruz  and 
Mexico  City.  Dick's  buddy,  William 
Powell,  joined  Mr.  and  Mrs.  Barthelmess 
in  New  York  and  accompanied  them  on  their 
trip.  Dick's  new  contract,  which  calls  for 
better  than  $8,500  a  week,  also  gives  him 
twelve  vacation  weeks  every  year.  Good 
contract,  eh?  .  .  .  Upon  his  return,  Bill 
Powell  enters  the  star  class  with  Para- 
mount. His  first  will  be  "Darkened 
Rooms,"  a  spiritualistic  play.  .  .  .  Jack 
MulhaU  also  is  becoming  a  full  fledged 
star  for  First  National.  Jack  will  air  his 
voice  in  his  starring  pictures.  How  many 
know  that  Mulhall  was  one  of  the  first 
talkie  players,  in  the  old  Edison  talkies 
years  and  years  ago?  ...  All  sorts  of 
rumors  about  Max  Reinhardt,  the  im- 
ported German  stage  producer,  and  Joseph 
Schenck,  head  of  United  Artists,  have  been 
going  the  rounds  in  Holljrwood.  Reinhardt 
rises  to  state  that  all  is  peace  and  that  it  will 
be  Schenck's  money  and  not  his  own  used 
in  making  the  produc- 
tion of  "The  Miracle 
Girl"  starring  Lillian 
Gish.  .  .  .  Among  the 
big  shots  now  parking 
their  lipsticks  and  gut- 
turals at  the  Warner 
Brothers  studios  in 
Hollywood  are  Charlotte 
Greenwood,  Ted  Lewis, 
Joe  Frisco,  Phil  Baker, 
George  Arliss,  Pauline 
Frederick  and  Sophie 
Tucker,  all  scheduled  to 
do  bigger  and  better 
Vitaphones.  ...  As  if 
that  roster  wasn't 
enough,  the  Warners 
have  signed  Fannie 
Ward,  the  perennial 
flapper,  for  a  talkie.  .  .  . 
Like  all  eminent  au- 
thors, William  J.  Locke 
has  been  having  his 
troubles  in  Hollywood. 
The  original  story  he 
wrote  for  Norma  Tal- 
madge  failed  to  click 
with  the  studio  bosses. 
Locke  probably  will  now 
make  it  into  a  novel, 
which  the  movies  will 
purchase  later  at  great 
cost.  Instead  of  the 
Locke  story.  Miss  Tal- 
madge  is  going  to  do 
"The  Sign  on  the  Door," 
Channing  Pollock's  play 
of  some  seasons  ago. 
George  Fitzmaurice  will 
direct  it,  his  first  for 
United  Artists.  Mean- 
while, Locke  is  going 
back  to  Merrie  England. 
.  .  .  Despite  reports  that 
he  was  out  of  work, 
Gilbert  Roland  is  back 


Last  Minute 

NEWS 

from 

East  and  West 


on  the  United  Artists  lot  with  a  new  con- 
tract and  a  raise  in  salary.  This  flattens  the 
reports  that  Eugene  O'Brien  was  returning 
to  be  Norma  Talmadge's  leading  man.  .  .  . 
Octavus  Roy  Cohen,  well  known  to  Photo- 
play readers  for  his  funny  darkle  stories, 
is  in  Hollywood  doing  Paramount's  first 
vehicle  for  Moran  and  Mack.  Now  who 
brought  that  up?  .  .  .  Charlie  Chaplin  is 
all  upset  over  the  rumors  about  his  in- 
fatuation for  Georgia  Hale.  Still,  they  say 
he  may  marry  Miss  Hale.  .  .  .  Paul  White- 
man,  the  heavyweight  monarch  of  music, 
is  due  in  at  the  Universal  studios  on  March 


WAMPAS  BABY  STARS  OF  1929.  Top:  Loretta  Young, 
Josephine  Dunn,  Jean  Arthur,  Doris  Hill,  Anita  Page. 
Center:  Mona  Rico,  Betty  Boyd,  Sally  Blane,  Ethlyn  Claire. 
Sitting:  Helen  Twelvetrees,  Caryl  Lincoln,  Helen  Foster, 
Doris  Dawson 


1st  to  start  spending  a  million  of  Uncle 
Carl's  money  on  "The  Jazz  King."  Kath- 
erine  Crawford,  of  "Hit  the  Deck,"  is 
scheduled  to  be  leading  woman.  .  .  .  Mary- 
Philbin  answers  the  rumor  that  her  romance 
with  Paul  Kohner  is  cold  by  showing  his  en- 
gagement ring.  But  her  mother  says  there 
will  be  no  marriage  when  Kohner  returns. 
Figure  that  out.  .  .  .  Doug  Fairbanks 
and  Mary  Pickford  are  considering  doing 
"The  Taming  of  the  Shrew"  as  a  joint' 
film  effort.  .  .  .  Tom  Mix,  whose  con- 
fessions will  be  found  on  another  page 
of  this  issue,  is  retiring  from  FBO  without 
making  the  last  picture  called  for  in  his  con- 
tract. He  is  scheduled  to  do  several  weeks 
in  vaudeville,  after  which  he  will  sail  for 
Europe.  Maybe  he  is  going  to  strive  for  a 
reconciliation  with  Victoria,  now  in  Paris. 
At  least,  that's  what  they  say.  .  .  .  Tom- 
my Meighan  is  going  to  do  "The  Argyle 
Case"  for  the  Warners.  .  .  . 

Rin-Tin-Tui  is  going  on  a  vaudeville 
tour.  He  will  do  four  a  day  if  his  bark  holds 
out.  .  .  .  Parrots  and  magpies  are  get- 
ting the  breaks  in  the  talkies  these  days. 
.  .  .  Impersonators  of  animal  sounds  get  $15 
a  day  in  the  Hollywood  talkies  now. . . .  Bob 
Benchley  is  back  in 
Hollywood  movietoning 
for  Fox,  after  a  visit  to 
New  York.  Most  of  the 
stay  was  spent  in  bed 
with  a  temperature  of 
one  hundred  and  two. 
.  .  .  John  Gilbert  will 
follow  "Redemption" 
with  "The  Way  of  a 
Sailor,"  King  Vidor 
directing.  The  Metro- 
Goldwyn  studio  is  not 
the  same  with  Greta 
Garbo  gone,  says  Jack, 
who  is  reported  to  be 
interested  a  bit  in  Mona 
Maris,  Joe  Schenck's 
new  Argentine  discov- 
ery imported  from  Ger- 
many. Still,  Greta 
phoned  Jack  from  Stock- 
holm on  New  Year's 
Day.  .  .  .  Sailor  pictures 
are  in  vogue.  William 
Haines  is  to  do  "The 
Gob."  ...  By  the  way, 
Laurence  Stallings  is 
adapting  Gilbert's  "Way 
of  a  Sailor."  .  .  .  John 
Barrymore  is  to  do 
"General  Crack," 
George  Preedy's  novel 
of  an  eighteenth  cen- 
tury soldier  of  fortune, 
as  a  Warner  Vitaphone. 
.  .  .  Norman  Kerry  is 
back  in  Hollywood  after 
doing  a  fihn  on  the  Con- 
tinent. .  .  .  Dick  Arlen 
does  a  prize  fighter  in  his 
next,  "The  Man  I  Love." 
.  .  .  Little  Davey  Lee, 
the  heart  throb  of 
"The  Singing  Fool,"  is 
to  be  starred  in  "Sonny 
Boy." 


International  Newsreel  Photo 


Photoplay  Magazine — Advertising  Section 


See  and  Hear  this 

charming  Comedienne 

ia  her  varying  moods 

Hear  Fannie  Brice  sing  "My 
Man"—-^rd  rather  be  Blue 
over  You"— ''I'm  an  Indi- 
an"— "Second-hand  Rose" 
— "If  you  ivant  the  Rain- 
bow, You  must  have  the 
Rain'''' — songs  that  run  the 
entire  scale  of  human  emo- 
tion—that strike  respon- 
sive chords  in  every  heart. 

"My  Man"  is  a  tense  drama, 
full  of  tragedy  and  comedy. 
It  will  bring  tears — laughter 
•—love— to  every  audience. 


\!  BROS. 


VH*?5! 


10H« 


Irresistibly,  -  -  - 

fAMMlI  BMCI 

_  \r:mf  man 

Again  Vitaphone  makes  history — brings  to  you 
America's  premiere  comedienne — Fannie  Brice  in 
"My  Man." 

See  and  hear  this  famous  star  sing  the  songs  that 
have  thrilled  audiences  the  world  over.  You  will  be 
captivated  with  her  inimitable  humor.  Moved  by 
her  tender  pathos.  Lifted  to  soul-stirring  emotional 
climaxes,  as  she  triumphs  over  lost  love  and  gains 
the  love  of  millions. 

The  world  today  acknowledges  the  leadership  of 
Warner  Brothers  Vitaphone  Talking  Pictures.  Vita- 
phone  success  has  swept  this  country.  It  has  aroused 
unprecedented  demonstrations  of  approval  in  the 
capitals  of  Europe.  It  has  enkindled  a  degree  of 
public  enthusiasm  never  even  approached  in  any 
other  form  of  entertainment.  Decide  now  you  will 
see  and  hear  Fannie  Brice  in  "My  Man.'' 


The  Characters 

act  and  Talk 

like  living  people 

"My  Man"  is  a  100%  Vita- 
phone Talking  Picture  — 
every  character  in  the  i)lay 
alive  with  voice  and  action! 

Remember— that  Vitaphone 
is  an  exclusive  product  of 
Warner  Bros. — that  youcan 
see  and  hear  Vitaphone 
only  in  Warner  Bros,  and 
First  National  Pictures. 

Make  no  mistake.  Be  sure 
it's  either  a  Warner  Bros,  or 
a  First  National  Picture  — 
then  you'll  KNOW  it's 
VITAPHONE. 


fIF  THERE  IS  NOT  A  THEATRE   IN   YOUR  COMMUNITY  EQUIPPED   AS    YET  TO  SHOW   Tl 
"MY  MAN"   AS  A   TALKING    PICTURE -BE    SURE  TO  SEE    IT  AS  A  SILENT  PICTURE  Jj 


When  you  write  to  advertisers  please   mention  PHOTOPLAY   MAGAZINE. 


Brief  Reviews  of 

Current  Pictures 


*lndicates  that  photoplay  was  named  as  one 
of  the  six  hest  upon  its  month  of  review 


ADORATION — First  National. — Concerning  the 
post-revolution  romance  of  a  Romanoff  prince  and 
princess.    Ornamented  by  Billie  Dove.     (.Jan.) 

*AIR  CIRCUS.  THE — Fox. — Collegiate  stuff  in 
an  aviation  training  sciiool.     Good.     iNovember.) 

AIR  LEGION,  THE— FBO.— Story  about  the 
air  mail  service  that  has  nothing  but  a  good  idea  to 
recommend  it.  {Dec.) 

AIR  MAIL  PILOT,  THE— Superlative. — Another 
air  mail  story  which  breaks  all  the  rules  of  aviation. 
(Dec.) 

ALIAS  JIMMY  VALENTINE— Metro-Goldwyn- 
Mayer. — The  old  favorite,  revived  with  William 
Haines.     Good.     (.Oct.) 

AMAZING  VAGABOND,  THE— FBO.— Not  so 
amazing.  Just  the  usual  stunts,  on  land  and  in  the 
air.     (Jan.) 

ANNAPOLIS  —  Pathe.  —  Pleasant  romance  and 
drama  among  the  admirals  of  the  future.   (November.) 

APACHE,  THE — Columbia. — Just  the  romance  of 
two  sweet  kids  in  the  Latin  Quarter — if  you  believe  in 
such  things.     (Feb.) 

AVALANCHE — Paramount. — High-class  Western 
wth  Jack  Holt  and  Baclanova — the  picture  thief  I 
(Jan.) 

AVENGING  RIDER,  THE— FBO.  —  Simple- 
minded  Western  mystery  story.     (Jan.) 

AWAKENING,  THE  —  United  Artists.  —  First 
starring  picture  of  Vilma  Hanky  and  Walter  Byron. 
He's  a  nice  looking  lad.  A  "Marie-Odile"  plot. 
(November.) 

BABY  CYCLONE,  THE  —  Metro-Goldwyn- 
Mayer. — All  right,  if  you  like  Pekinese  pups. 
(September.) 

BANTAM  COWBOY,  THE— FBO.— Only  good 
because  Buzz  Barton  is  in  it.     (Oct.) 

♦BARKER.  THE — First  National. — Human  and 
humorous  story  of  circus  life.  With  Milton  Sills.  See 
it.      (September.) 

BATTLE  OF  THE  SEXES,  THE— United  Artists. 
— How  a  happy  home  is  wrecked  by  a  blonde. 
Sophisticated  drama.     (September.) 

BEAUTIFUL  BUT  DUMB— Tiffany-Stahl.— 
Patsy  Ruth  Miller  in  gay  comedy.       (Oct.) 

BEGGARS  OF  LIFE — Paramount. — The  low- 
down  on  hoboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  song  I  (Dec.) 

BEHIND  THE  GERMAN  LINES— UFA-Para- 
mount. — The  German  side  of  the  war,  with  excellent 
and  authentic  battle  scenes  spoiled  by  some  obviously 
studio  shots.     (Feb.) 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  who's  got  the  emerald?     (November.) 

BIG  HOP,  THE — Buck  Jones. — Mr.  Jones  crosses 
the  Pacific.    A  good  film.     (Oct.) 

BIT  OF  HEAVEN,  A — Excellent. — Broadway  vs. 
Park  Avenue.    A  good  performance  by  Lila  Lee.  (Oct.) 

BITTER  SWEETS — Peerless. — Fun  in  the  life  of 
a  girl  detective.    (Dec.) 

BLACK  ACE,  THE — Pathe. — So-so  Western  that 
will  fill  in  a  blank  evening.     (Jan.) 

BLACK  BIRDS  OF  FIJI  —  Australasian.  — 
.■\nother  South  Sea  Island  picture — only  so-so.   (Feb.) 

BLACK  BUTTERFLIES— Quality.— Exposing  the 
wicked  ways  of  the  fake  Bohemians.     (November.) 

BLOW  FOR  BLOW — Universal. — More  adven- 
tures of  Hoot  Gibson,  if  you're  interested  in  Westerns. 
(Feb.) 

BROADWAY    DADDIES  —    Columbia.— Trite 

story  but  well  acted.    (Oa.) 

BROKEN  MASK,  THE— Anchor.— Ugly  story 
of  revenge  but  well  told  and  acted.     (September.) 

BROTHERLY  LOVE  —  Metro-Goldwyn-Mayer. 
— Messrs.  Dane  and  Arthur  in  burlesque  prison  re- 
form. The  big  moment  is  a  football  game  between 
two  rival  penitentiaries.     (November.) 

BURNING  BRIDGES  —  Pathe.—  Better-  than  - 
usual  Western,  with  that  good  hombre,  Harry  Carey, 
in  a  dual  r61e.  ( Dec.) 

8 


BURNING  THE  WIND- Universal.— One  of 
Hoot  Gibson's  lapses.    (Oct.) 

CAMERAMAN,  THE— Metro-Gold\vyn-Mayer. 
— Buster  Keaton  redeems  himself  in  this  one.  Lotsof 
laughs.     (Oct.) 

*CANARY  MURDER  CASE,  THE— Paramount. 
— Logical  and  well  constructed  mystery  story. 
William  Powell  is  perfectly  swell  as  the  detective. 
(Feb.) 

CAPTAIN  CARELESS— FBO.— You'U  like  Bob 
Steele.     (Oct.) 

CAPTAIN  LASH— Fox.— A  coal  stoker's  romance 
or  love  on  the  waterfront.    Rather  strong  stuff.  (Feb.) 

CAPTAIN  SWAGGER— Pathe.— Good  comedy 
in  which  Rod  La  Rocque.  as  a  naughty  aviator,  is  per- 
suasively reformed  by  Sue  Carol.     (November.) 

*CARDBOARD  LOVER,  THE— Metro-Gold\vyn- 
Mayer. — Snappy  French  farce  comedy  with  Marion 
Davies — also  Jetta  Goudal  and  Nils  Asther.  Sophis- 
ticated and  charming.     (Oct.) 

*CASE  OF  LENA  SMITH,  THE— Paramount.— 
Sincere  drama  of  the  love  affair  of  a  servant  girl,  her 
hardships  and  her  martyrdom.  A  real  picture  for 
intelligent  adult  audiences.     (Feb.) 


Pictures   You 
Should  Not  Miss 

"yth  Heaven" 

"The  Singing  Fool" 

"The  Divine  Lady" 

"Interference" 

"Mother  Knows  Best" 

"Street  Angel" 

"In  Old  Arizona" 

"The  Patriot" 

"Four  Devils" 

"Wings" 

"The  Godless  Girl" 

As  a  service  to  its  readers,  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


CAVALIER,  THE — Tiffany-Stahl.— Richard  Tal- 
madge  in  some  imitations  of  Douglas  Fairbanks. 
(Jan.) 

CELEBRITY — Pathe. — A  prize-fighter  gets  cul- 
ture.    Meaning  Mr.  Tunney?     (Oct.) 

CHARGE  OF  THE  GAUCHOS  —  FBO.— How 
the  Argentine  Republic  got  that  way.  With  Francis 
X.  Bushman.  (Dec.) 


CHEYENNE — First  Naticial.— Ken  Maynard  in 
one  particularly  swell  Western.  (Dec.) 

CIRCUS  KID,  THE=^FBO. — You  can  sleep 
through  it.     (Dec.) 

CITY  OF  PURPLE  DREAMS,  THE  —  Rayart. — 
Story  of  wheat  pits  of  Chicago.  Top  heavy  with 
drama.     (Jan.) 

CLEARING  THE  TRAIL— Universal.— Again 
saving  the  old  ranch.     (Oct.) 

CLOUD  DODGER,  THE— Universal.— A  battle 
in  the  air  for  a  dizzy  blonde  1     (Oct.) 

CODE  OF  THE  AIR— Bischoff.— More  air  stuff. 
Good  adventure  story.    (Oct.) 

CODE  OF  THE  SCARLET— First  National.— 
Ken  Maynard  gets  his  man.  Good  out-door  story. 
(September.) 

COME  AND  GET  IT — FBO. — Contains,  among 
other  things,  a  good  boxing  match.  (Dec.) 

COMPANIONATE  MARRIAGE  —  Gotham.— 
Lots  of  propaganda.  With  such  a  live  topic,  this 
should  have  been  a  better  picture.     (Oct.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  (Dec.) 

COWBOY  KID,  THE — Fox. — A  Western  for  the 
simple-minded.     (September.) 

*CRAIG'S  WIFE — Pathe. — Splendid  drama  with 
Irene  Rich  as  the  too  perfect  wife.     (September.) 

CRASH,  THE — First  National.— ATof  an  under- 
world melodrama,  but  a  swell  thriller  with  a  good  per- 
formance by  Milton  Sills  and  a  rousing  train  wreck. 
(Noveynber.) 

DANGER  STREET— FBO. — A  rich  bachelor, 
disappointed  in  love,  drowns  his  grief  in  a  gang  war. 
Well,  that's  one  way  to  forget.     (November.) 

DEMON  RIDER.  THE— Davis.— Just  a  West- 
ern.    (Dec.) 

DEVIL'S  TRADEMARK,  THE— FBO.— Aggra- 
vating bunk.     (September.) 

♦DIVINE  LADY,  THE — First  National. — The  old 
dirt  about  Lady  Hamilton  and  Lord  Nelson,  told  in 
romantic  fashion.  Pictorially  beautiful,  thanks  to  the 
lovely  face  of  Corinne  Griffith.     (Dec.) 

DIVINE  SINNER,  THE— Rayart.— Austrian 
drama  with  daring  but  grown-up  theme.     (Oct.) 

*DOCKS  OF  NEW  YORK,  THE— Paramount.— 
A  drama  of  two  derelicts,  powerful,  dramatic  and 
stirring.  Superbly  acted  by  George  Bancroft  and 
Betty  Compson.  Worthwhile  adult  entertainment. 
(November.) 

DOG  LAW — FBO. — Giving  Ranger  a  good  break. 
(November.) 

DOMESTIC  MEDDLERS— Tiffany-Stahl.— The 
eternal  and  well-worn  triangle.     (Feb.) 

DO  YOUR  DUTY — First  National. — Charlie 
Murray  plays  his  piece  about  the  honest  traffic  cop 
and  the  crooks.    Not  so  hot.  (Dec.) 

DREAM  OF  LOVE — Metro-Goldwyn-Mayer. — 
The  prince  and  the  pretty  peasant — again.  Phony 
stuff  in  spite  of  Joan  Crawford  and  Nils  Asther. 
(Feb.) 

DRIFTWOOD — Columbia. — Looks  Uke  a  tenth 
carbon  copy  of  "  Sadie  Thompson."    (Jan.) 

*DRY  MARTINI — Fox. — Sopliisticated  comedy 
among  the  American  dry  law  ex-patriots  of  the  Ritz 
bar  in  Paris.     Naughty  but  neat.     (November.) 

DUGAN  OF  THE  DUGOUTS— Anchor.— Gag- 
ging the  Great  War  agMn.     (September.) 

DUTY'S  REWARD — Elbee. — More  cops,  crooked 
politics,  etc.    (Dec.) 

EVA  AND  THE  GRASSHOPPER— UFA— Some 

remarkable  insect  photography  and   a    not-so-good 
modern  story.     Anyway,  a  novelty.     (Feb) 

FAMILY  PICNIC,  THE  — Fox- Movietone.— 
Pioneer  all-talking  comedy.  See  it  and  write  your 
own  remedy.     (September.) 

FANGS  OF  FATE — Pathe. — Klondike,  the  dog 
growls  tlirough  an  old  story.     (September.) 
[  CONTINtTED  ON  PAGE  12  ] 


Photoplay  Magazine — Advertising  Section 


9 


l^OW  vol)  CAN  Ut-AI^ 
tile  PUL^t-BfAT^/^WORLD 

^TIMES  EVEKVWEEK 


?^      ■|1 


TyrOW  Fox  Movietone 
J- ^  News,  pioneer 
talking  newsreel, 
brings  you  the  sights 
and  sounds  of  the 
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issues  weekly. 

If  it  isn't  FOX,  it  isn't 
MOVIETONE  NEWS! 

If  it  isn't  Fox,  it  isn't 
the  talking  newsreel 
whose  amazing  record 
of  achievements  in- 
cludes bringing  to 
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If  it  isn't  Fox,  it  isn't 
the  talking  newsreel 
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crews  gathering  the 
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portant news  events  of 
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Look  for  the  name, 
FOX,  and  you're  sure 
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r 


IT  5PEAkS  rOR  ITS  tip/ 


MOVIETOI«EWS 

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j^rickb 


Three  prizes 

are  given  every  month 

for  the  best  letters'-^ 

$25,  $10  and  $5 


Bouquets 

The  REAL  CRITICS. 

the  FANS, 
GIVE  THEIR  VIEWS 


The  Monthly  Barometer 

THE  furor  about  talking  pictures  is  sub- 
siding. The  "tans"  are  accepting  them  for 
what  they  are  worth — either  good  or  bad  en- 
tertainment. "The  Singing  Fool,"  for  instance, 
is  widely  praised  as  a  fine  use  of  the  new 
medium.  "Our  Dancing  Daughters"  con- 
tinues to  bring  in  a  flood  of  enthusiastic 
letters. 

PHOTOPL.-iY's  article,  "Diet — The  Menace 
of  Hollywood,"  was  themost  discussed  feature 
of  the  month.  There  is  a  demand  for  Life 
Stories  of  Charles  Rogers,  Gary  Cooper  and 
Baclanova.  What  are  your  preferences?  "The 
Wedding  March"  is  receiving  some  severe 
pannings.  John  Gilbert,  Nils  Asther  and  Gary 
Cooper  have  the  edge  on  all  the  other  boys  in 
letters.  Clara  Bow,  Greta  Garbo  and  Joan 
Crawford  are  the  queens  among  the  girls. 

Extra  space  is  allotted  to  the  prize-winning 
letter  for  this  month.  It  comes  from  the 
County  Supervisor  of  Mount  Vernon,  N.  Y., 
and  it  is  recommended  to  your  attention. 
You'll  find  it  worth  reading  and  thinking 
about. 

What  have  you  to  say?  What  brickbats  or 
bouquets  have  you  to  throw  at  the  movies? 

$25.00  Letter 

Mount  Vernon,  N.  Y. 

Some  of  our  citizens  interested  in  the 
Eighteenth  Amendment  were  artxious  to  find 
out  what  benefits,  if  any,  had  accrued  to  the 
people  by  the  passing  of  that  act.  I  always 
call  on  a  large  number  of  voters  during  an 
election,  and  I  was  asked  if  I  would  make  a 
report.  Having  myself  been  elected  to  office 
by  the  voters  on  eight  separate  occasions,  J 
am  well  acquainted  and,  it  is  fair  to  say,  \ 
am  well  qualified  to  make  such  an  investiga- 
tion. 

I  found,  undoubtedly,  many  families  had 
benefited  by  the  Eighteenth  Amendment,  but 
I  discovered,  and  it  was  something  I  had  not 
looked  for,  that  moving  pictures  had  con- 
tributed more  to  the  making  of  happy  homes 
than  they  are  given  credit  for. 

One  of  my  former  constituents  was  in  years 
gone  by  what  you  may  designate  as  a  drunkard. 
On  more  than  one  occasion,  when  I  was  alder- 
man in  his  ward,  his  wife  requested  me  to 
intercede,  feeling  I  had  some  influence  with 
him,  because  every  cent  of  his  pay  envelope 
went  to  a  gin  mill.     On  my  recent  call,  I 

10 


The  readers  of  PHOTOPLAY  are  in- 
vited to  write  to  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. 


found  him  a  changed  man  with  a  changed 
home  and  family. 

".-Xbolishing  the  saloons  hasn't  been  a  bad 
thing  for  you,  Jim,"  I  said. 

"Oh,  it  isn't  exactly  the  saloons,"  he  re- 
sponded, "it  was  the  movies.  Long  before 
they  put  the  kibosh  on  the  rum  shops,  the 
missus  got  me  to  go  to  see  the  pictures  and 
I  enjoyed  'em  so  much  and  I  got  so  much  fun 
from  seeing  my  youngsters  happy,  that  I 
swore  off  drinking.  We  always  go  to  pictures 
on  Saturday  nights  and,  you  bet,  I  get  more 
for  my  money  than  I  did  before." 

A  retired  business  man  said  to  me:  "You 
remember  my  servant,  Timothy?  He  has  been 
in  my  employ  for  over  twenty  years  and  scores 
of  times  I've  dismissed  him  for  drinking,  but 
he  always  came  back  with  new  resolutions 
and  fresh  promises.  He  seemed  hopeless, 
until  he  began  to  go  to  moving  picture  shows. 
Now  I  don't  think  he  has  had  a  drop  for  years. 
Every  night,  unless  I  need  him,  he  is  out  at  the 
movies." 

"Isn't  that  expensive?"  I  asked. 

"Expensive  nothing,"  was  the  rejoinder, 
"why  he  would  spend  more  in  one  night  in  a 
saloon  than  he  spends  in  a  month  at  the  shows. 
He  hadn't  a  dollar  to  his  name  when  he 
acquired  the  movie  habit,  but  since  then  my 
wife  puts  a  portion  of  his  wages  in  the  savings 
bank  every  week." 

"Well,"  I  said,  "I  guess  closing  the  saloons 
helped  a  little." 

"Maybe  they  did,"  said  my  friend,  "but  I 


don't  believe  if  there  were  a  saloon  on  every 
corner  that  you  could  get  Timothy  inside  one 
of  them.  He  has  got  the  saving  idea  and  I 
give  all  the  credit  to  the  moving  pictures." 

-A  lady  I  called  upon  said:  "The  servant 
problem  nearly  drove  me  insane.  I  finally 
found  a  prize  cook,  but  I  soon  discovered  that 
most  of  her  money  went  for  gin.  Poor  soul! 
I  .was  sorry  for  her.  She  hadn't  a  friend  in 
the  country.  One  night  my  little  ten  year  old 
girl  wanted  to  go  to  see  Charlie  Chaplin  and  I 
asked  Katrina  if  she  would  take  her.  She  had 
never  seen  a  picture,  but  she  grudgingly 
agreed.  From  that  night  she  became  an  ardent 
movie  fan  and  never  misses  a  picture  of  merit. 
And,  wonderful  to  relate,  she  hasn't  touched  a 
drop  of  gin  since  then." 

I  mention  only  these  three  cases  but  there 
were  many  others.  My  investigation  proved 
to  me  conclusively  that  the  motion  picture  has 
done  as  much  towards  the  making  of  happy 
homes  and  happy  lives  as  the  passing  of  the 
Volstead  Act.  • 

County  Suteevisoe  Ranson  Caygill. 

$10.00  Letter 

Baltimore,  Md. 

After  having  seen  "White  Shadows  of  the 
South  Seas,"  I  am  inspired  to  write  a  few 
words  of  praise  about  this  unusual  tale.  The 
moral,  so  it  seems  to  me,  is  that  the  white  man 
more  often  brings  evil  instead  of  good  to  these 
far-off  islands. 

For  nearly  twenty  years  my  uncle  sailed  the 
seven  seas  and  I  recall  very  vividly  his  telling 
me  as  a  child  how  it 'distressed  him  when  he 
thought  of  the  way  the  hves  of  these  peace- 
loving  natives  were  molested  and  altered  ac- 
cording to  American  ideas. 

Because  we  are  Americans,  why  are  we  so 
egotistical  as  to  think  that  our  ways  are  best? 
Who  are  we  to  tell  these  people  who  Uve  by 
nature  alone  that  it  is  wrong.  As  for  being 
heathens— yes  I  What  if  they  in  their  igno- 
rance, worship  the  moon,  the  stars  or  the  sun? 
Here  in  our  own  country,  where  the  word  of 
God  is  spread  unceasingly,  I  dare  say  there  are 
more  heathens  than  we  could  find  by  searching 
the  far  corners  of  the  earth. 

Charity  begins  at  home.  And  in  my  humble 
opinion,  this  applies  to  reformation  as  well. 

Such  is  the  moral  of  this  South  Sea  Island 
production,  and  may  the  screen  continue  to 
bring  before  the  world  such  vital  truths. 
Mes.  Eutha  Allen. 
[  continued  on  page  104  ] 


Photoplay  Magazine — Advertising  Section 


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Brief  Reviews  of  Current  Pictures 

1  CONTINUED  FROM  PAGE  8  ] 


FIGHTIN'  REDHEAD,  THE— FBO— Buzz  Bar- 
ton eats  up  the  Western  scenery.     {September.) 

FIRST  KISS,  THE— Paramount.— Young  love, 
played  by  Fa>'  Wray  and  Gary  Cooper  and  set  in  a 
deep  sea  background.     (November.) 

FLEET'S  IN,  THE— Paramount.— Clara  Bow 
among  the  sailors.  Of  course,  you  won't  miss  it. 
(November.) 

FLEETWING— Fox.— A  story  of  Araby,  a  girl, 
a  sheik  and  a  horse.     (September.) 

FLYIN'  BUCKAROO,  THE— Pathe  — How  to 
capture  bandits.     (Feb.) 

*FLYING  FLEET,  THE  —  Metro-Goldwyn- 
Mayer. — The  training  of  a  flyer,  told  with  thrills,  ac- 
curacy and  an  absence  of  bunk.  It's  a  real  picture; 
you'll  like  it.     (Feb.) 

FORBIDDEN  LOVE— Pathe.— English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damita.     (Dec.) 

*FORGOTTEN  FACES— Paramount,— Under- 
world story  of  regeneration  and  sacrifice.  Fine  stor>', 
fine  acting,  and  1 00  per  cent  entertainment.    (Sept.) 

*FOU  R  DE'VILS— Fox.— Dramatic  and  beautif  ull  y 
presented  story  of  Continental  Circus  life,  with  great 
performances  by  Janet  Gaynor,  Charles  Morton  and 
Barry  Norton.     You'll  want  to  see  it.     (Dec.) 

*FOURWALLS—Metro-Goldwyn-Mayer.— Story 
of  Jewish  gangster,  splendidly  played  by  John  Gilbert. 
Don't  miss  it.      (September.) 

FURY  OF  THE  WILD— FBO.— More  real  meat 
for  Ranger.     (November.) 

GANG  WAR— FBO.— Yep,  bootleggers  and  crooks 
again.     (September.) 

GATE  CRASHER,  THE— Universal.— Glenn  Try- 
on  in  a  hit-and-miss  comedy.     (September.) 

GEORGE  BERNARD  SHAW— Fox-Movietone.— 
Mr.  Shaw  entertains  his  public  with  an  imitation  of 
Mussolini.    It's  a  wow.     (September.) 

GERALDINE — Pathe.' — Light  and  amusing  com- 
edy with  Marion  Nixon  and  Eddie  Quillan.    (Jan.) 

GHOST  TALKS,  THE— Fox.— A  talkie  farce. 
Plenty  of  laughs.     (Feb.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 
little  slow  but  pleasant  enough.  Sally  O'Neil  wears 
her  one  expression.     (Dec.) 

GRAIN  OF  DUST,  THE— Tiffany-Stahl.— Inter- 
esting drama  based  on  the  David  Graham  Phillips 
novel,  with  the  grief  rather  heavily  stressed.    (Nov.) 

GREASED  LIGHTNING  —  Universal.  —  Dumb 
Western.     (September.) 

GREEN  GRASS  WIDOWS— Tiffany-Stahl.  — 
Walter  Hagen  in  a  goofy  golf  story.  He  should  know 
better.     (September.) 

GUARDIANS  OF  THE  WILD— Universal.- 
Too  bad  that  Rex,  the  wonder  horse,  can't  write  his 
own  stories  and  put  some  horse-sense  into  them. 
(November.) 

GUN  RUNNER,  THE— Tiffany-Stahl.— Bullets 
and  romance  in  a  South  American  republic.  Frothy 
entertainment.     (Feb.) 


HARVEST  OF  HATE.  THE— Universal.— In 
which  the  great  talents  of  Rex.  the  wild  horse,  are 
ignored  to  make  footage  for  a  trite  romance.    (Jan.) 

,  HAUNTED  HOUSE,  THE— First  National.— 
Too  much  Chester  Conklin  and  not  enough  mystery. 
(November.) 

HEAD  OF  THE  FAMILY,  THE— Gotham.— 
Rather  cuckoo  farce.     (Jan.) 

HEARTS  OF  MEN— Anchor.— And  producers 
ain't  got  no  heart.     (Oct.) 

HEART  TO  HEART— First  National.— Agreeable 
and  original  comedy  of  small  town  life.  You'll  like  it. 
(September.) 

HEART  TROUBLE— First  National.— Harry 
Langdon  writes  his  own  finish  in  pictures.     (Sept.) 

HEY,  RUBE— FBO.— Carnival  life  film  that  has 
the  real  stuff.  (Dec.) 

HIS  LAST  HAUL— FBO.-Just  a  tear  jerker. 
(Dec.) 

HIS  PRIVATE  LIFE— Paramount.— One  of 
those  French  farces  that  is  full  of  doors  and  bores. 
However,  it  has  Adolphe  Menjou.  (Dec.) 

HIS  RISE  TO  FAME— Excellent.— Prize  ring 
stuff  with  night  club  trimmings.     (September.) 

HOLLYWOOD  BOUND  —  Warners. —  Talkie 
farce  that  sounds  as  though  it  had  been  written  by 
someone  who  never  had  been  nearer  Hollywood  than 
Parsons.  Kans.     (November.) 

HOMESICK— Fox.— Sammy  Cohen  as  a  New 
York  tourist  in  California.     Fairly  funny.  (Dec.) 

*HOME  TOWNERS,  THE— Warners.— Smooth- 
est talkie  so  far.  Good  lines,  by  George  M.  Cohan, 
and  a  fine  performance  by  Doris  Kenyon.  (Dec.) 

HOT  NEWS— Paramount.— Bebe  Daniels  hunts 
for  tlirills  in  the  news  reel  game.  And  finds  'em. 
(September.) 

HOUSE  OF  SHAME,  THE— Chesterfield.- Do- 
mestic drama — if  that's  what  you  want.     (Feb.) 

HUNTINGTOWER  —  Paramount.  —  Imported 
Scotch — celluloid.  With  Sir  Harry  Lauder  and  a  lot 
of  atmosphere.     (Feb.) 

I  FORBID — Fan-Maid  Pictures. — An  over-ripe 
Kosher  film  of  breaking  hearts.     (November.) 

*IN  OLD  ARIZONA— Fox.— Pointing  the  way  to 
bigger  and  better  talkies.  A  fine  Western  that  pleases 
the  eye,  the  ear  and  the  dramatic  instinct.     (Feb.) 

INSPIRATION— Excellent.— Too  little  of  the 
title  role.  (Dec.) 

♦INTERFERENCE  —  Paramount.— Drama  and 
suspense  in  a  Grade  A  murder  story.  Well  acted 
and  well  spoken — yes,  it's  a  talkie.    (Dec.) 

INTO  NO  MAN'S  LAND— Excellent.— An  un- 
usually dull  war  picture.  (Dec.) 

*IRON  MASK,  THE— United  Artists.— Doug 
Fairbanks  goes  hack  to  D'Artagnan — hurrayl  Action 
and  more  action.    A  good  evening.     (Feb.) 

JAZZ  AGE,  THE — FBO. — Flaming  youth  and 
mostly  a  bad  imitation  of  "Our  Dancing  Daughters." 
(Feb.) 


Photoplays  Reviewed  in  the    Shadow    Stage    This   Issue 

Save  this  magazine — Refer  to  the  criticisms  before  you  pic\  out 
your  evening's  entertainment.     Ma\e  this  your  reference  list. 


Page 

.Ml- American,  The — Supreme 72 

All  at  Sea— M.-G.-M 72 

Black  Hills,  The— Dakota 72 

Blockade— FBO 72 

Broadway  Fever — Tiffany-Stahl 49 

Circumstantial  Evidence — Chesterfield.  72 

Clear  the  Decks — Universal 48 

Cohens  and  Kellys  in  Atlantic  City — 

Universal 72 

Desert  Nights— M.-G.-M 48 

Diplomats,  The — Fo.\-Movietone 97 

Doctor's  Secret,  The — Paramount 47 

Drifter,  The— FBO 49 

Floating  College,  The— Tiffany-Stahl. . .  72 

Fugitives — Fox 48 

Glorious  Trail,  The— First  National ....  72 

His  Captive  Woman — First  National ...  47 

Jazzland — Quality 72 

Little  Savage,  The— FBO 72 


Page 
Looping  the  Loop — UFA-Paramount .  .   72 

Lucky  Boy— Tiffany-Stahl 49 

Manhattan  Knights — Excellent 72 

My  Man — Warners 47 

Nothing  to  Wear — Columbia 48 

Outlawed— FBO 72 

Prep  and  Pep — Fox 49 

Redeeming  Sin,  The — Warners 49 

Rescue,  The — Goldwyn-United  Artists.  46 

River,  The— Fox 46 

Satanesque — Sparta 72 

Sky  Skidder,  The— Universal 72 

Square  Shoulders — Pathe 48 

Tropical  Nights— Tiff any-Stahl 72 

Tropic  Madness— FBO 49 

Under  the  Southern  Cross — Universal..   72 

Wild  Orchids— M.-G.-M 46 

Wolf  Song — Paramount 48 

Yellowback,.  The— FBO 72 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  euaranteej. 


Photoplay  Magazine — Advertising  Section 


♦MATING  CALL,  THE — Paramount-Caddo. — 
Thomas  Mcighan,  Evelyn  Brent  and  Rcnce  Adoree 
in  an  unusual  story  of  strong  dramatic  appeal.  (Oct.) 

*ME,  GANGSTER— Fox.— Sentimental,  melo- 
dramatic and  vet  completely  absorbing.  Introducing 
an  unusual  newcomer,  one  Don  Terry,  whose  perform- 
ance is  worth  seeing.     (November.) 

MIDNIGHT  LIFE— Gotham.— Night  cub  stuff 
and  a  bit  bloodthirsty.      (OcL) 

MODERN  MOTHERS— Columbia.— Show  folks 
vs.  Babbitts.     (Oct.) 

MORGAN'S  LAST  RAID  —  Metro-Goldw^n- 
Maycr. — An  old-time  melodrama  made  passable  by 
modern  embellishments.     (Nmember.) 

*MOTHERKNOWSBEST— Fox.— Edna  Ferber's 

story  of  a  stage  mother  whose  dominating,  relentless 
ambition  for  her  daughter  sends  the  girl  to  fame.  A 
remarkable  performance  by  Madge  Bellamy  and 
great  acting  by  Louise  Dresser  and  Barry  Norton. 
(November.) 

MUST  WE  MARRY?— Trinity.— Must  we  make 
pictures  like  this?  (Dec.) 

MYSTERIOUS  LADY,  THE  —  Metro-Goldw^n- 
Mayer. — Greta  Garbo  as  a  spy  in  a  war  romance. 
And,  oh  what  fun  for  the  officersl    (September.) 

NAME  THE  WOMAN— Columbia.— And  also 
name  the  plot.    (Oct.) 

NAPOLEON'S  BARBER  —  Fox  Movietone.  — 
Historical  drama  with  chin  chatter.  Cheer  up,  there's 
only  two  reels  of  it.      iJatt.) 

NAUGHTY  BABY— First  National.— Bad  Alice 
White!  Naughty  Jack  Mulhall!  Mean  producers' 
Why  make  us  suffer  through  a  stupid  evening?  (Jan.) 

NAUGHTY  DUCHESS,  THE 

Lame  effort  at  sophisticated  farce. 

NED  McCOBB'S  DAUGHTER— Pathe.— Plenty 

of  action  plus  sound  drama  plus  fine  acting.    (Dec.) 


-Tiffany-Stahl.- 


♦JEANNE  D'ARC — Societe  Generale  de  Films. — 
A  rarely  fine  artistic  achievement  and  a  significant 
picture.  You  may  not  see  it  at  your  local  theater  but 
you  will  feel  its  influence  in  future  films.     (Feb.) 

JUST  MARRIED  —  Paramount.  —  Honeymoon 
farce  on  a  transatlantic  liner.  Lots  of  laughs. 
(September.) 

KID'S  CLEVER,  THE — Universal. — But  the  film 
isn't.     (November.) 

KING  COWBOY— FBC— Please,  Mr.  Mix,  don't 
do  anything  like  this  againi     (Jan.) 

KING  OF  THE  RODEO— Universal.— Hoot  Gib- 
son's best  contribution  to  Art  in  a  long  time.     (Jan.) 

*KIT  CARSON— Paramount.— -Fred  Thomson  in 
an  above  par  Western.     (Oct.) 

LADIES  OF  THE  MOB  —  Paramount.  —  Oara 
Bow  becomes  a  gunman's  "moll"  and  handles  a 
dramatic  story  skillfully.     (September.) 

LADY  OF  CHANCE,  A— Metro-Gnldwyn-Mayer. 
— Norma  Shearer  in  a  drama  of  a  gold-digger  who 
reforms.     If  they  only  would  in  real  life!     (Feb.) 

LADY  OF  THE  PAVEMENTS  —  United  Artists. 
—  In  wliich  the  vivid  Lupc  Velez  runs  away  with  a 
Griffitli  picture.     (Feb.) 

LAST  WARNING,  THE— Universal.— Muddled 
mystery  with  no  plot  but  a  lot  of  fancy  sets  and 
fancier  photography.     (Feb.) 

LEGEND  OF  GOSTA  BERLING,  THE— 

Swedish  Biograph. — European  film  with  Greta 
Garbo,  proving  that  Hollywood  changed  an  ugly 
duckling  into  a  swan.     (Jan.) 

LIGHTNING  SPEED — FBO. — Adventures  of  a 
newspaper  reporter — as  the  movies  see  'em.       (Nov.) 

LIGriTS  OF  NEW  YORK  —  Warner-Vitaphone. 
— First  all-talkie  feature  and,  naturally,  pretty  crude. 
Squawking  night  clubs  and  audible  murders. 
(September.) 

LINDA — Mrs.  Wallace  Reid  Production. — Maud- 
lin sentimentality.     (Feb.) 

LINGERIE— Tiffany-Stahl.— .-Mice  White  and 
Malcolm  McGregor  in  a  war  romance  that  you'll 
like.     (Oct.) 

LION  AND  THE  MOUSE— Warner-Vitaphone.— 
Partly  dialogue  with  some  effective  performances. 
But  the  story  belongs  to  a  past  decade.     (September.) 

LION'S  ROAR,  THE— Educational. — A  Sennett 
comedy  with  all  the  incidental  noises.     (Feb.) 

LITTLE  WILDCAT,  THE— Warners —Nothing 
to  shoot  up  the  blood  pressure.     (November.) 

LITTLE  WILD  GIRL,  THE— Hercules.— Lila 
Lee  gets  mixed  up  in  a  lot  of  old-fashioned  hokum. 
[September.) 

LOOKOUT  GIRL,  THE— Quality.— Not  wortli 
your  valuable  time.    (Feb.) 

LOST  IN  THE  ARCTIC— Fox.— Interesting  and 

worthwhile  story  of  Arctic  Exploration.    (Oct.) 

LOVE  OVER  NIGHT— Pathe.— Mystery  stuff 
eased  over  witli  some  good  comedy.     (September.) 

MADELON — Universal. — A  talkie — so  bad  that 
it  should  be  a  museum  piece.     (November.) 

MAKING  THE  GRADE— Fox.— An  excellent 
movietone,  based  on  a  George  Ade  story.  (Dec.) 

MAKING  THE  VARSITY— Excellent.— Anyway, 
it  took  ingenuity  to  turn  a  football  game  into  a  ser- 
mon.    (Jan.) 

MAN  FROM  HEADQUARTERS,  THE— Rayart. 
— Thrilling  and  entliralling  Secret  Service  yarn. 
Above  average.     (.September.) 

♦MANHATTAN      COCKTAIL— Paramount.— A 

story  of  life  in  New  York's  theatrical  circles — told 
with  a  kick,     (Dec.) 

MAN  IN  HOBBLES,  THE— Tiffany-Stahl.— 
What  "in-laws"  can  do  to  an  ambitious  artist.  Good 
comedy.     (Dec.) 

MAN  OF  PEACE,  A— Warners.- The  Vitaphone 
picks  up  the  Ozark  drawl.  Too  bad  that  Hobart 
Bosworth'  first  talkie  had  to  be  something  like  this. 
(Jan.) 

MAN'S  MAN,  A— Metro-Goldwyn-Mayer.  — 
Lively  satire  of  Hollywood  life  as  it  isn't.  But  funny. 
(Feb.) 

MARCHING  ON— Fox.— Chic  Sale  in  a  char- 
acter study  of  a  Civil  War  veteran.  Tears  and 
laughter.    It's  a  Movietone.  (Dec.) 

MARKED  MONEY— Pathe.— Pleasant  comedy 
with  human  interest.     (Dec.) 

MARQUIS  PREFERRED  —  Paramount.— Light, 
sophisticated  and  amusing  Menjou  comedy.     (Feb.) 

MASKED  ANGEL,  A— Chadwick.— Just  dumb. 
(Oct.) 

MASKS  OF  THE  DEVIL— Metro-Goldwyn- 
Mayer. — John  Gilbert  is  great  in  a  weird  and  sinister 
story.     (Dec.) 

MATA  HARI:  THE  RED  DANCER— National 
Big  Three  Production. — German  importation  that 
relates,  in  a  confused  fashion,  some  of  the  exploits  of 
the  notorious  spy.     (Feb.) 

When  rou  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


NIGHT  BIRD,  THE  —  Universal.  —  Reginald 
Denny  goes  back  to  the  prize-ring,  wliere  he  is  at  his 
best.     (November.) 

♦NIGHT  WATCH,  THE— First  National.— War 
story  witli  navy  background  and  some  good  drama. 
4iii/BillieDove.    (Oct.) 

♦NOAH'S  ARK — Warners. — Big  cast,  big  theme, 
big  flood.    Your  money's  worth.    (Oct.) 

NOISY  NEIGHBORS  —  Pathe.  —  Slapstick  and 
trite  melodrama.     (Feb.) 

NONE  BUT  THE  BRAVE— Fox.— Once  more  the 
college  hero  makes  good.     (Oct.) 

NO  OTHER  WOMAN— Fox.— One  of  Dolores 
Del  Rio's  early  movie  mistakes,  dug  up  for  no  good 
reason.     (September.) 

OBEY  YOUR  HUSBAND— Anchor.— Horrible 
moral  lesson  for  naughty  wives.     (September.) 

OFFICE  SCANDAL,  THE— Pathe.— Very  funny 
comedy  of  newspapei  life.     (Feb.) 

OH  KAY! — First  National. — Colleen  Moore  in 
some  agreeable  nonsense.     (Oct.) 

OLD  CODE,  THE— Anchor. — Heaven  help  the 
Indian  on  a  night  like  thisi    (Oct.) 

ONE  MAN  DOG,  THE— FBC— Exhibiting  the 
more  than  Hollywood  intelligence  of  Ranger.     (Feb.) 

♦ON  TRIAL  —  Warners.  —  Vitaphone  version  of  a 
drama  that  will  hold  you  spell-bound.  .Mso  the  return 
of  Pauline  Frederick  as  a  talkie  star.  Recommended. 
(Jan.) 

ORPHANS  OF  THE  SAGE— FBC— Hoss  pitch- 
er.    (Ocl.) 

♦OUTCAST— First  National.— Corinne  Griffith 
is  excellent  in  a  daring,  well  directed  and  interesting 
drama.    Send  the  cliildren  to  a  Western.     (Jan.) 

OUT  OF  THE  RUINS— First  National.— Dick 
Barthelmess  in  a  pretty  uniform  and  a  Buster 
Keaton  expression.     (Oct.) 

OUT  WITH  THE  TIDE— Feariess.— Great  hand- 
fuls  of  melodrama.     (November.) 

PACE  THAT  KILLS,  THE— True  Life.— One  of 
those  propaganda  films — aimed  at  the  dope  evil.  And 
dull.     (Feb.) 

PAINTED  POST — Fox. — Tom  Mix's  swan  song 
for  Fox.    (September.) 

PHIPPS — Metro-Goldwyn-Mayer. — .^  short  talkie 
sketcli  that  you'll  forget  before  you  leave  the  theater. 
(F.-6.) 

PLASTERED  IN  PARIS— Fox.— Pretty  tire- 
some.    (Dec.) 

POLLY  OF  THE  MOVIES— First  Division.— 
Inexpensive  but  entertaining  film  about  an  ugly 
duckling  who  would  be  a  movie  queen.    (September.) 

PORT  OF  DREAMS— Universal.— Proving  that 
you  can't  make  a  "7th  Heaven"  just  by  slowing  down 
the  scenes.    This  one  is  full  of  yawns.     (November.) 

♦POWER-Pathe.— Romantic  adventures  of  Bill 
Boyd  and  Alan  Hale  a  couple  of  dam  good  workers — 
or  good  dam  workers.      And  very  funny,  too.     (Sept.) 

POWER  OF  THE  PRESS,  THE— Columbia.— 
Good  slant  on  newspaper  atmospliere.  With. .  of 
course,  the  usual  heroic  "cub"  reporter.      (Jan.) 

[continued  on  page  136) 


APT^aviTal  part 
o/Modern  Business 

Art  as  used  in  advertising,  in  maga- 
zines, newspapers,  etc.,  is  a  mouth- 
piece for  modern  business.  It  is  a 
field  \vorthy  of  any  ambitious  young 
man  or  \voman.  Tliis  pleasant,  mod- 
ern profession  is  7iot  restricted  to  a 
few  "geniuses."  If  you  like  to  draw, 
it  is  an  almost  sure  indication  of  talent 
whicii  should  be  developed  into  real 
money-making  ability. 

Test  Your  Art  Ability— FREE 

Take  this  first  stt-p  toward  a  successful  art 
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may  lead  the  \vay  to  a  bigger  future — a 
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Train   Your   Art   Ability  at    Home 

The  Federal  Course  is  the  result  of  oyer  25 
years  of  actual  experience  of  producing  il- 
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to  pav  for  their  Federal  Course  even  before 
thev  finish  it. 

Which  Book  Do  You  Want? 

"YOUR     FUTrRE"     describes     the     course 
which  prepares  you  to  become  a  Cornmercial 
Artist,  and  teaches  you  to  make  drawings  for 
magazine      and      newspaper      advertisements, 
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ROAD     TO     BIGGER 
THINGS"    describes    illus- 
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^^"-"truoo^^'  ri,j.v>"">- 


Photoplay  Magazine — Advertising  Section 


You  always  knew  he  was  the  screen's 
greatest  fighting  lover  .  .  . 
You  always  knew  he  was  the  greatest 
male  star  in  pictures  .  .  . 

but  YOU  DON'T   KNOW 

NOTHIN'  YET. 


*%^ 


lHakes  the  Oreatest 
]flale  Screen  8tar 
TWICE   as  Oreat! 


All  these  years  the  wealth  of  Richard  Barthel- 
mess'  rich  voice  has  been  concealed.  Now, VITA- 
PHONE  unearths  this  hidden  treasure  for  you  . 
to  enjoy.  VITAPHONE  brings  you  a  Barthelmess 
so  much  greater  it'&  like  discovering  a  NEW 
STAR.  A  voice  so  sensationally  fine  he  could 
have  won  stardom  on  it  alone.  You  and  millions 
of  others  have  gone  just  to  see  him  act.  Now  you 
can  HEAR  him  TALK  and  play  the  piano. 

Yoall  enjoy  TWO  OREAT  STARS 
IN  ONE  when  you  §ee  and  HEAR 


RIGUARD 

BARTHELMESS 

TAEKINO  and  PtAYIlVO  in 

WEARY  RIVER 

An  epic  of  a  down.and-outer  whose  plaintive  music  reaches 
through  prison's  bars  to  find  love  and  a  new  life  a  thou- 
sand miles  away !  Weary  River  reminds  you  of  the  story 
"The  Noose" — it's  every  bit  as  big. 

With   Betty 

C  o  m  p  a  o  n  . 
A  Frank  Lloyd 

production. 

Screen  version 

by  Bradley  King. 

Presented  by 

Richard  A.  Rowland. 


Brerr  advertisement  In  PnOTOrLAT  MAGAZINE  Is  euaranteed. 


C^ood  to  Kee^Q^ou 


How  to  Adapt  the 
Recipes  in  Photo- 
PLAY^s  Cook  Book 
to  a  weight  reduc- 
ing diet 


IN  another  part  of  this  issue  of  Photoplay,  Dr.  H.  B.  K. 
Willis  gives  you  a  calorie  chart  to  guide  you  in  arranging 
your  menus  if  you  are  trying  to  reduce  by  adopting  a  safe  and 
sane  diet.  Photoplay's  Cook  Book  doesn't  attempt  to  count 
calories  but,  if  you  must  watch  your  weight,  it  is  quite  simple  U< 
adapt  the  recipes  to  your  caloric  needs. 

For  instance,  there  is  Norma  Talmadge's  recipe  for  vegetabU 
salad.  Here  is  the  recipe,  as  it  is  given  in  Photoplay's  Cook 
Book : 


1  cup  finely  cut  red  cabbage 
1  cup  cold  boiled  beets 
1  cup  cold  boiled  carrots 
1  cup  cold  boiled  potatoes 
Soak  the  cabbage  in  cold  water  for  one  hour 
finely  chopped  vegetables  and  mix  well  together. 


1  cup  finely  cut  celery 

1  2  cup  pimientos 

1  head  lettuce 

1  cup  French  dressing 

Drain  the 
Pour  over 


French  dressing,  serve  on  lettuce  leaves  and  garnish  with 
pimientos. 

Now  to  cut  a  few  unnecessary  calories  from  the  salad  without 
spoiling  the  taste,  all  you  have  to  do  is  to  eliminate  the  fatten- 
ing potatoes.  Instead  you  may  substitute  string  beans,  peas  or 
any  other  green  vegetable  in  season.  And  it  would  be  well  to 
cut  down  on  the  French  dressing,  which  is  mostly  oil.  You 
won't  need  so  much  dressing  if  vou  season  the  vegetables  when 
you  mix  them,  with  salt  and  pepper  and  a  little  vinegar. 

Let's  consider  Mary  Philbin's  recipe  for  Brown  Betty.  This 
is  the  original  recipe: 

2  cups  bread  crumbs  ^  cup  sugar 

4  apples  2  teaspoons  cinnamon 

A  little  butter 

Grease  a  baking  dish  and  line  with  a  layer  of  sliced  apples, 
spiinkle  with  cinnamon  and  sugar  mixed.     Then  a  layer  of 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  III. 
Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  ISO  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


Be  sure  to  write  name  and  address  plainly. 
You  may  send  either  stamps  or  coin. 


Diet  and  exercise  are  the  two  important  ways  of 
keeping  a  slim  figure,  as  Dorothy  Sebastian 
knows.  Both  must  be  practised  consistently 
and  in  moderation.  Read  how  you  may  cut  your 
calories  without  starving  yourself 

bread  crumbs  with  more  cinnamon  and  sugar.  Alternate 
apples  and  bread  crumbs  until  the  pan  is  filled,  covering  finally 
with  bread  crumbs.  Small  flakes  of  butter  will  make  the 
pudding  richer  and,  if  you  like,  you  may  flavor  with  a  little 
lemon  juice.  Bake  in  a  moderate  oven  for  forty-five  minutes, 
keeping  the  dish  covered  until  the  last  ten  minutes  of  baking. 
Serve  with  hard  sauce. 

TO  reduce  the  calories  in  this  recipe,  use  whole  wheat  or  non- 
fattening  bread  crumbs.  And  you  may  either  cut  down  on 
the  amount  of  sugar  or  substitute  honey,  which  is  slightly  less 
fattening.  The  apples  themselves  contain  their  own  sugar  and 
the  basic  principle  of  the  recipe  is  to  combine  the  bread  crumbs 
and  the  fruit.  Of  course,  you  don't  need  the  butter  but,  if  you 
think  the  pudding  is  going  to  be  dry,  you  may  add  a  little  water 
to  it. 

Naturally,  you  will  pass  up  the  hard  sauce,  if  you  really  are  in 
earnest  about  getting  thin,  because  the  sauce  is  made  of  butter 
and  sugar  creamed  together  with  a  little  flavoring.  In  fact,  in 
adapting  a  great  many  of  the  recipes  in  the  Cook  Book,  you  can 
cut  manv  calories  simply  by  eliminating  the  rich  sauces. 

Thousands  of  Photoplay's  readers  have  received  real 
pleasure  and  help  from  the  Cook  Book.  If  you  haven't  a  copy, 
simplv  fill  out  the  coupon,  send  twenty-five  cents,  and  a  Cook 
Book  will  be  sent  to  you  by  return  mail.  In  it  you  will  find  one 
hundred  and  fifty  recipes,  each  one  representing  the  favorite 
dish  of  a  star.  Carolyn  Van  Wyck. 

15 


Friendly  Advice  from  Carolyn  Van  Wyck 

on 


Girls' 
Problems 


The  talkies  demonstrate  the  im- 
portance of  a  good  speaking  voice. 
For  instance,  study  Evelyn  Brent's 
clear,  unaffected  enunciation  in 
"Interference,"  and  you  will  see 
how  much  a  voice  adds  to  the 
charm  of  personality 


DEAR  CAROLYN  VAN  WYCK: 
I  am  almost  ashamed  to  complain,  be- 
cause I  have  so  much  to  be  grateful  for. 
But  I  really  have  a  bis  problem  and  I  hope  you 
can  help  me.  First  I'll  have  to  explain  myself 
a  little,  even  if  it  does  sound  conceited.  Before 
I  finish  you'll  know  I'm  not  conceited. 

I'm  twenty  and  considered  pretty  (and  I 
know  I  am,  although  not  in  the  dashing  way 
I'd  like).  I  have  light  brown  fluffy  hair  and 
brown  eyes  and  I'm  moderately  tall,  and 
slender  without  being  too  thin.  I  dance  well 
and  my  folks  have  enough  money  to  give  me  a 
comfortable  home  and  provide  a  good  social 
background.  I  wear  as  nice  clothes  as  the 
other  girls  in  my  set.  I  graduated  from  high 
school  two  years  ago,  have  kept  up  my  reading 
since,  and  for  the  past  two  years  have  held  a 
good  position  in  a  big  insurance  office. 

But  in  spite  of  everything  I'm  not  a  bit  pop- 
ular and  never  was,  even  during  my  school 
days.  I'm  all  right  in  a  crowd,  but  when  I'm 
alone  with  one  boy  I  get  perfectly  panic- 
stricken.  I  don't  know  what  to  talk  about  and 
everything  I  say  sounds  awkward  and  wrong. 
And  of  course  the  boy  gets  bored  and  he 
doesn't  ask  me  for  any  more  dates.  The  next 
time  I  meet  him  at  a  party  or  dance  he  is  with 
some  girl  who  hasn't  had  half  my  advantages 
and  isn't  a  bit  prettier  or  better  dressed.  But 
she's  probably  calhng  him  her  "ittle  bitsie 
boy"  and  a  lot  of  other  foolish  prattle  and  he's 
drinking  in  every  word. 

I  just  canU  use  "baby  talk"  to  a  grown  man 
without  feeling  like  a  fool  myself.  And  I  can't 
give  him  a  lot  of  compliments  and  tell  him  how 
grand  I  think  he  is — because  the  grander  he 
seems  the  more  tongue-tied  I  get! 

I've  tried  drawing  boys  out  and  making 
them  talk  about  themselves,  but  Mrs.  Van 
Wyck,  I  haven't  found  that  to  be  the  magic 
cure-all.  I  don't  believe  boys  like  to  talk  about 
themselves  all  the  time.  They  do  like  to  talk 
about  their  jobs,  and  sometimes  about  mine, 
but  most  of  the  time  I  think  they  prefer  less 
workaday  subjects.  And  I  have  no  small  t.a\k 
at  all  and  I'm  not  enough  at  ease  to  be  spar- 
kUng  and  witty — except  at  night  after  I'm  in 
bed  and  I  think  back  over  the  evening  and  the 
clever  things  I  might  have  said! 

Please,  Mrs.  Van  Wyck,  tell  me  how  I  can 
learn  to  say  the  things  that  will  be  interesting 
to  boys,  that  mil  make  them  laugh  and  look  at 
me  with  that  little  admiring  gleam  in  their  eyes 
— oh,  yes,  I'd  recognize  it,  I've  seen  them  look 
that  way  so  often  at  other  girls!       Jean  L. 

ICj 


JEAN,  I  am  choosing  your  letter  to  answer  at 
some  length  in  the  magazine  because  there 
are  so  many,  many  girls  with  exactly  your 
problem.  And  I  want  to  help  you  all.  You 
don't  have  to  be  unpopular.  Gayety  and  com- 
panionship and  love  belong  to  youth.  And 
every  girl  can  have  these  in  some  measure,  if 
she  will  only  seek  them  in  the  right  way. 

I  wonder  if  you  realize  that  the  best  con- 
versationalists are  the  most  attentive  listeners. 
It  doesn't  matter  whether  you  are  talking 
with  an  older  person,  with  another  girl  or 
with  a  boy,  the  rule  is  the  same — listen 
carefully.  Don't  just  pretend  interest — be 
interested. 


Do  You  Know 
How  to  Talk? 

Is  This  Month's  Problem 


HAVE  you  gone  beyond  the  "baby 
talk"  stage?  Conversationally, 
many  women  never  grow  up.  And 
yet,  all  theories  to  the  contrary,  men 
like  women  who  know  how  to  talk 
and  when  to  listen.  A  sincere  in- 
terest in  others,  a  lack  of  self-con- 
sciousness and  a  well-pitched  un- 
affected voice — these  are  the  chief 
requirements  of  a  good  conversation- 
alist. 

Are  there  any  other  problems  of 
beauty,  health  or  happiness  you  want 
me  to  write  about?  Remember  that  I 
will  be  glad  to  answer  any  questions 
about  the  care  of  the  hair  or  the  com- 
plexion, about  your  clothes  problems 
or  about  your  personal  perplexities. 
If  you  will  enclose  a  stamped,  self- 
addressed  envelope,  you  will  receive 
your  answer  by  return  mail.  Other 
letters  will  be  answered  in  the  mag- 
azine. 

For  information  about  the  care  of 
the  skin,  send  a  stamped  envelope. 
And  for  the  booklet  on  sane  reducing, 
send  ten  cents.     Write  to  me  in  care 

of  Photoplay  Magazine,  221  West 

57th  Street,  New  York. 

CAROLYN  VAN  WYCK. 


Before  you  know  it,  something  the  boy  says 
will  remind  you  of  something  to  tell  him,  and 
instead  of  wondering  miserably  what  to  say 
next  you  will  be  eagerly  waiting  for  a  break  in 
his  conversation  so  that  you  will  have  a  turn  to 
speak.  In  that  way  the  talk  will  drift  from 
subject  to  subject  and  the  conversation  will  be- 
come vital  and  interesting  to  you  both.  'When 
the  evening  is  over,  instead  of  regretting  the 
clever  things  you  might  have  said  you  will  be 
thinking  of  those  that  were  left  unsaid  because 
there  wasn't  time  enough,  and  you  will  be  look- 
ing forward  to  your  next  meeting.  And  the 
chances  are  that  the  boy  will  be  feeling  the 
same  way.  Your  interest  and  natural  manner 
will  have  set  him  completely  at  his  ease. 

When  the  all-talking  picture  "Interference" 
comes  to  your  town,  if  you  have  not  already 
seen  it,  be  sure  to  go.  Besides  finding  it  very 
good  entertainment  you  will  be  charmed  by 
Evelyn  Brent's  lovely  voice.  And  you- will 
realize  then,  'if  you  never  did  before,  how  im- 
portant a  part  of  one's  personality  the  voice 
can  be.  Evelyn  Brent  speaks  in  a  firm,  well- 
pitched  voice,  without  a  trace  of  affectation  in 
her  accent  and  with  perfect  enunciation.  Her 
voice  is  the  natural  expression  of  her  emotions 
— when  she  is  angry  it  becomes  brittle  and 
hard,  and  when  she  is  trying  to  mn  back  the 
man  she  loves  it  is  resonant  with  feeling. 

But  don't  get  the  idea  that  you  must  have  a 
cultivated  voice  or  a  stage  voice  in  order  to 
talk  well.  I  merely  want  to  impress  upon  you 
that  just  as  pretty  clothes  enhance  your  ap- 
pearance, an  attractive  voice  adds  charm  to 
whatever  you  say.  Listen  to  your  own  voice 
for  a  few  days — whenever  you  find  it  is  getting 
too  high-pitched,  too  loud,  or  too  colorless  and 
flat,  try  to  remedy  it  at  once.  You  will  find  it 
very  good  practice  to  read  aloud,  to  someone 
else  or  just  to  yourself,  and  to  watch  your 
enunciation  and  your  tones  carefully. 

Evelyn  Brent  does  not  need  to  use  "baby 
talk" — she  does  not  have  to  deal  in  super- 
latives. Her  manner  and  speech  are  simple  and 
direct,  but  the  tones  of  her  voice  convey  all  the 
charming  things  she  wants  to  imply. 

And  so  I  say  to  you,  Jean,  and  all  those  other 
girls  who  are  troubled  by  what  to  say  and  how 
to  say  it — just  be  your  own  natural,  sweet 
selves.  Cultivate  a  true  interest  in  others  and 
you  will  forget  all  self-consciousness.  Listen 
attentively  when  others  are  talking,  keep  your 
speech  and  manner  free  from  affectation,  and 
other  people  vrA\  then  enjoy  listening  to  you. 

[  CONTINITED  ON  PAGE   139  ] 


I 


Photoplay  Magazine — Advertising  Section 


t*SM 


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otcd  tL  QjietUeAt  oj- 


It    K     W     IJ     T    A     X     T     K     S 


BY 


F.    5COTT    FITZGERALD 
CORNELIUS    VANDERBILT,  JR. 


JOHN     BARRYMORE 

iShe  is  allied  with  some  of  the  oldest  famiUes  of 
New  York  and  Boston,  but  her  grandfather  and 
grandmother  were  Spaniards  of  Spain,  and  "Spanish 
blood"  speaks  from  her  beautiful  great  eyes,  her  clear 
olive  skin  with  its  flash  of  pomegranate  red;  it  is  in 
her  warm,  impulsive,  glancing  speech,  in  the  in- 
stinctive grace  of  all  her  movements. 

She  is  quick,  frank,  eager,  intensely  alive,  with  the 
naivete  of  a. child  occasionally  hreakingthrough  the 
utter  sophistication  of  a  debutante  of  the  season 
192S-'29. 

She  was  presented  to  New  York  society  early  in 
November  at  a  very  distinguished  luncheon  at  a  very 
distinguished  club,  and  has  had  rather  more  than  the 
usual  success  of  charming  youth. 

She  likes  nearly  everything— dogs,  people,  the 
theatre,  dancing,  riding,  swimming  .  .  .  She  thinks 
young  people  now  are  no  worse  than  they  ever  were 
—  "just  franker.   We  haven't  any  illusions!" 

She  has  used  Woodbury's  Facial  Soap  ever  since  she 
became  a  sub-deb  at  14,  and  nothing  could  be  more 
beautiful  than  her  smooth,  clear,  brilliant  skin. 

"A  debutante  has  to  have  a  good  skin— she  mustn't 
take  any  chances.  That  is  why  I  never  use  any  soap 
but  Woodbury's  on  my  face.  Woodbury's  is  wonder- 
ful!—it  keeps  my  skin  always  soft  and  clear  and  just 
the  way  I  want  it  to  be." 

Out  of  hundreds  of  beautiful  Woodbury  users, 
on  whom  we  called  in  big  cities,  in  little  towns,  through- 
out the  country— three  distinguished  judges  are 
choosing  the  loveliest  of  each  type  ....  Each  month 
their  photographs  will  appear.  They  represent  thou- 
sands upon  thousands  of  women  throughout  America 
who  today  owe  the  charm  of  a  fresh,  clear,  beautiful 
completion  to  daily  care  with  Woodbury's  Facial 
Soap  ....  Commence,  now,  to  take  care  of  yowr  skin 
with  this  wonderful  soap!  Begin,  tonight,  to  gain  the 
charm  of  "A  Skin  You  Love  to  Touch!" 

Vim  can  L'er  a  deliiihtful  Woodbury  set,  containing  a  large-size 
trial  cake  of  Woodhury's  Facial  Soap,  the  Facial  Cream  and 
Powder,  the  Cold  Cream,  the  treatment  booklet,  and  direc- 
tions for  the  new  complete  Woodbury  Facial,  by  sendine  us  lO 
cents  and  your  name  and  address.  Send  today!  The  Andrew 
Jercens  Co.,  2205  Alfred  St.,  Cincinnati,  Ohio.  For  Canada, 
The  Andrew  Jergens  Co.,  Ltd.,  2205 Sherbrooke  St.,  Perth,  Ont. 


Nothing  could  be  more  beautiful  than  her 
clear,  smooth,  brilliant  skin.  "A  debutante 
has  to  have  a  good  skin."  she  says.  "I  never 
use  any  soap  but  Woodbury's  on  my  face." 


Miss  Natica  de  Acosta  of  New  York  City,  chosen  from  Woodbury 
beauties  in  forty-eight  States  as  the  prettiest  of  debutantes 


©  1929  A.  J.  Co. 


Erery  ndverllscment  In  PHOTOPLAY  MAGAZINE  l3  guaranteBd. 


^TTJROFESSOR  SENNETT  again  acts  as  casting  scout  for  Cecil  De  Milk.  It 
/~^was  the  clever  Mack  who  first  discovered  Carol  Lombard.  Mr.  De  Mille 
-^  has  selected  Carol  to  play  in  "Dynamite,"  his  first  feature  for  M.-G.-M. 
Incidentally,  Carol  is  not  one  of  your  too-thin  girls.  She  belongs  to  the  new  anti' 
starvation  school  of  beauties,  which  would  indicate  that  Mr.  De  Mille  is  going 

to  make  curves  fashionable. 


Dyar 


/EVELYN  BRENT  shows  why  boys  stayed  away  from  their  homes  in  ancient 

f°    Greece.     This  is  Miss  Brent's  idea  of  how  Circe,  the  Enchantress,  looked 

^    when  Ulysses'  ship  anchored  too  dangerously  near  her  palace.    Miss  Brent 

posed  for  this  photograph  just  by  way  of  relaxation,  after  an  arduous  season  in  very 

modern  mystery  plays  and  gun  dramas. 


Alt  Astoundin^ly 

Neiiv  Figure 

£it;seiML]>Ie 


Created  for  Women  WIio  Seek 
Tbe  Ultimate  in  Smartness 


Parisian  born  ...  of  the  principle 
of  ART  MODERN E  . . .  the  idea  for 
/  this  exquisite,  utterly  new  figure 
ensemble  .  .  .  But  perfected  in  the 
fashion  studios  of  Modart,  where  the 
smart  American  woman's  every  figure 
need  is  answered  with  such  skill  and 
finesse. 

New  in  its  combination  of  fine  net-lined 
lace  and  doubled  crepe  de  chine  . . .  new 
in  its  boneless,  supple  restraint .  .  .  new 
in  its  gift  of  the  more  slender  silhou- 
ette, by  means  of  its  back  fastening  .  .  . 
new  in  its  completion  of  the  entire 
under-wardrobe  by  the  skilful  design 
of  the  pantie-skirt  .  .  . 


The  JHod^irt  (5omp>iny 


B 


eauty 


C 


are 


ri  ffht  in  your  own  dish 


'S' 


p 


an 


305  lamous  Jjeauty  Onops  Iind 


f       i      -f 


ti- 


\\  ith  all  our  experience 
we  cannot  distinguish  between 
hands  that  never  wash  dishes 
and  hands   that  use  l^ux   in 


the  dish  pan  .  .  . 


Beauty  Experts  find  Lux  for  dishes  means 
smooth,  white  hands.  Yet  this  beauty  care  costs 
so  little!  The  big  package  of  Lux  does  six  weeks' 
dishes.  Lovely  hands  for  less  than  Ic  a  day! 


NOBODY  in  the  world  has  a  better  chance 
to  compare  women's  hands  than  the  ex- 
perts in  these  famous  beauty  shops  in  cities  all 
over  the  country! 
And  they  find  that — 

"Lux  for  dishes  means  hands  that  are  as 
truly  lovely — as  soft  and  white— as  the  hands 
of  leisure." 

Here  is  beauty  care  right  in  your  dishpan! 

The  secret  is  this:  Lux  is  quite  different 
from  other  soaps!  It  cherishes  the  delicate 
oils  of  the  skin,  while  so  many  soaps  dry  these 
beauty  oils — leave  the  skin  roughened  and  red 
and  drawn  looking. 

Best  of  all,  this  gentle  beauty  care  costs 
almost  nothing.  Lux  for  all  your  dishes  costs 
less  than  Ic  a  day! 

Here  is  the  wisest,  most  inexpensive  beauty 
care  known — right  in  your  own  dishpan! 


The    National    Guide    to    Motion     Pictures 


[TRADE  MARK] 


March,  1929 


Close-Ups  and  Long-Shots 


By  James  R.  Quirk 


As   I   reach   out   to  draw  my 
typewriter   closer   the   legend 
on  the  engraver's  proof  of  the 
front  cover  of  this  issue  of  Photoplay 
catches  my  eye — -"Don't  Envy  the 
Stars." 

It's  the  truth.     Poor  Hollywood! 
If  it  isn't  one  thing  it's  another. 

Right  now  the  stars  are  recovering 
from  an  acute  attack  of  talkiphobia,  a  definite 
form  of  mental  illness  induced  by  the  threat  of 
the  talking  picture  to  cast  aside  the  established 
screen  players  in  favor  of  the  full  voiced  stage 
strutters. 

"D  EFORE  that  it  was  the  menace  of  a  foreign 

-*^invasion  following  closely  on  the  threat  of  a 
general  cut  in  salaries. 

Indeed,  in  the  last  two  years  confusion  has 
piled  on  perplexity  and  ever  so  often  the  night 
air  on  the  Beverly  hilltops  has  seemed  filled 
with  hoodoos  and  flying  jinxs,  with  nightmares 
rampaging  through  the  slumbers  of  the  elect  of 
filmland. 

But  now  Metro-Goldwyn-Mayer  has  signed 
up  Jack  Gilbert  without  a  voice  test,  at  a  figure 
that  will  make  his  bank  account  as  handsome  as 
that  romantic  young  devil  himself,  and  they  all 
sleep  easier. 

For  it  means  that  the  producers  realize  there 
is  more  to  motion  pictures  than  mere  talk. 

'  I  'HE  Broadway  lads  and  lassies  had  hardly 

-*-  packed  their  bags  and  borrowed  the  coin  for 

a  railroad  ticket  to  California  before  word  came 


that,  with  few  exceptions,  our  favor- 
ite shadows  are  audibly  satisfactory, 
and  that  even  the  Thespian  needs 
special  training  for  two-dimensional 
lisping. 

The  microphone,  which  the  stage 

actor  looked  upon  as  a  friend  in  need, 

turned  out  to  be  a  tricky  magician 

who  would  not  tolerate  the  bellow- 

ings    of    the    Shakespearean    veteran    or   the 

studied  affectation  of  the  English  actress  from 

Arkansas. 

/'■^OLLEEN  came  through  her  test  with  a  voice 
^^-^that  matched  her  sweet  personality,  and 
from  Clara's  voice  the  sound  apparatus  returned 
a  pert  echo  that  fitted  her  shadow  self  perfectly. 

One  hundred  per  cent  was  the  report  of  the 
new  gods  of  the  studios,  the  sound  technicians, 
on  the  inimitable  Marion,  and  the  same  judges 
said  that  Corinne's  voice  sounded  like  Corinne 
looked.  You  cannot  ask  any  more  than  that 
and  expect  to  get  it. 

The  beautiful  Vilma  is  mastering  English 
fast,  which  we  regret,  for  her  dialect  was  as 
fascinating  as  Mrs.  Rod  La  Rocque  herself,  and 
the  languorous  Garbo  now  swings  her  Ameri- 
canese  as  deftly  as  her  tennis  racquet. 

TT  THEN  the  talkie  scare  started  in  Holly- 
^^  wood  voice  teachers  put  out  shingles  so 
fast  that  the  cost  of  building  material  doubled. 
Now  the  Hungarian  and  Swedish  beauties  will 
besiege  the  English  teachers  of  Budapest  and 
Stockholm,  and  soon  you  will  see  a  new  line 

2  23 


of  advertisements  (not  in  Photoplay)  something  like 
this: 

You  too  can  be  a  talking  movie  star.  No 
education  required.  No  experience  neces- 
sary. The  demand  for  trained  voices  in 
Hollywood  exceeds  the  supply.  You  can 
learn  this  fascinating  and  lucrative  profes- 
sion right  in  your  own  home  in  your  spare 
time.  Write  today  to  old  Professor  Louderan 
Funnyer. 

DEATH,  too,  cast  its  shadow  over  the  cinema 
colony  recently.  Theodore  Roberts,  MarcMac- 
Dermott,  then  Fred  Thomson.  The  kindly,  genial 
Roberts — "The  Grand  Duke  of  Hollywood"  we  once 
called  him — MacDermott,  beloved  veteran  of  hundreds 
of  pictures,  we  shall  miss  them,  and  bless  their  memory 
for  the  many  pleasant  hours  they  gave  us. 

Fred  Thomson,  the  idol  of  a  million  boys,  not  so 
many  years  ago  champion  all  around  athlete  of  the 
world,  then  the  adored  chaplain  of  a  fighting  regiment 
overseas — his  imtimely  death  came  as  a  real  shock. 

Hollywood  loved  to  point  to  him  with  pride.  He  died 
as  a  result  of  an  injury  sustained  in  making  one  of  his 
thrilling  Westerns.  He  never  used  a  double  in  his  most 
hazardous  stunts.  No  one  of  his  group  of  cowboys  was 
permitted  to  take  the  chance  he  took  every  day.  None 
of  the  heroic  figures  he  portrayed  on  the  screen  were 
e\-er  cleaner,  or  finer,  or  more  courageous  than  Fred 
Thomson  in  his  own  life  and  work. 

Here  is  an  incident  that  happened  the  day  following 
his  death.  It  is  not  intended  as  humor,  but  is  told  here 
merely  as  the  reaction  of  one  man  to  the  tragedy  and  a 
reflection  of  the  respect  with  which  Fred  Thomson  was 
regarded.  On  reading  the  sad  news  a  famous  motion 
picture  actor  called  his  wife  and  told  her  about  it. 
"Close  the  windows  and  bring  me  a  quart  of  drug  store 
gin.  If  the  finest  and  cleanest  go  like  that  what's  the 
use  of  fresh  air  and  temperance?" 

WE  have  heard  from  everybody  else  on  the  solu- 
tion of  the  manifold  problems  presented  by  the 
invention  of  sound  and  talking  pictures.  Let's  hear 
from  the  people  who  will  make  the  decisions,  the  public. 

Every  month  there  pour  into  the  editorial  offices  of 
this  publication  from  three  to  five  thousand  letters  from 
motion  picture  devotees.  Most  of  these  letters  are  sent 
in  by  young  women  to  the  various  service  departments, 
but  at  least  a  thousand  letters  a  month  are  from  readers 
sincerely  and  intelligently  interested  in  the  development 
of  their  fa\orite  form  of  entertainment. 

College  professors  and  stenographers,  nurses,  house- 
wives, mothers,  fathers,  bank  officers,  school  teachers, 
all  real  fans,  all  expressing  their  helpful  opinions,  paying 
respects  to  actors,  actresses,  directors  and  producers 
whose  pictures  please,  or  voicing  kindly  criticism  of 
those  who  disappoint. 

These  letters  are  carefully  read  by  the  editorial  staff, 
and  the  editorial  policies  of  the  publication  are  often 
guided  by  them.  They  constitute  an  accurate  barom- 
eter of  the  popularity  of  plays  and  players.  Of  late 
they  have  been  concerned  with  talking  pictures. 

Through  them  all  runs  a  keen  appreciation  of  the 
potential  possibilities  of  this  wonderful  new  ally  of  the 
screen.  Almost  without  exception  they  express  a  gen- 
erous patience  and  a  realization  that  it  will  take  time 
and  hard  work  to  perfect  the  new  combination  of  eye 
and  ear  appeal. 

THESE  letters  indicate  that  the  talking  picture  or 
the  sound  effect  picture  is  still  regarded  as  a  nov- 
elty, and  that  the  public  is  not  so  sure  that  they  will 
continue  to  be  satisfied  with  full  length,  all-dialogue 

2i 


entertainment.  Nine  out  of  ten  say  they  would  rather 
have  a  first  rate  silent  picture  than  a  second  rate  talking 
picture.  They  complain  of  the  mediocre  photography 
and  static  quality  of  the  acting  in  the  talking  versions, 
and  are  sensible  of  the  greater  sense  exertion  and  brain 
effort  demanded  by  them.  They  are  unanimous  in  their 
praise  of  talk  and  sound  in  news  reels,  and  there  seems 
to  be  a  definite  acceptance  of  two  reel  talking  pictures 
when  combined  with  a  silent  feature. 

There  are  many  who  say  they  will  not  attend  any 
more  full  length  talking  pictures  because  of  the  added 
strain,  but  there  are  many  more  who  name  several  short 
subjects  they  have  enjoyed  hugely. 

THIS  new  fangled  method  of  making  pictures  pre- 
sents a  problem  for  reviewers  also.  It  is  natural 
that,  in  the  keen  competition  between  the  leading  com- 
panies in  this  development,  they  are  watching  each  other 
so  closely  that  verj'  often  they  put  out  silent  ver- 
sions of  the  pictures  in  the  Los  Angeles  previews,  and 
lo  and  behold,  when  they  appear  on  Broadway  they 
speak  right  out  in  public. 

It  is  the  purpose  of  this  publication  to  present  reviews 
ahead  of  the  release  date  of  the  pictures,  if  possible,  and 
we  have  had  to  learn  not  to  accept  one  version  or 
the  other  until  we  have  seen  both. 

Paramount,  for  instance,  put  two  corkers  over  in  New 
York  that  at  the  Los  Angeles  previews  did  not  seem  quite 
so  hot.  One  was  "The  Wolf  of  Wall  Street,"  in  which 
George  Bancroft  proves  he  can  entertain  your  ears  as 
well  asj-our  eyes  and  Baclanova  shows  us  how  a  foreign 
accent  can  be  turned  into  a  positive  asset. 

By  the  time  Richard  Dix's  "Redskin"  reached  the 
metropolis  the  greater  part  of  it  was  in  beautiful  colored 
photography,  with  a  lovely  sound  accompaniment  in  the 
form  of  a  musical  score  by  Zamecnik,  which  trebled  its 
value  as  entertainment. 

THE  rumor  persists  that  Emil  Jannings  is  going  back 
to  Germany.  They  say  that  his  German  accent  bars 
him  from  American  talking  pictures.  They  hint  that 
after  two  more  Hollywood  films,  sweetly  silent,  he  will 
pack  his  blonde  frau  and  his  rotund  cook  and  retreat 
to  the  fatherland. 

It  will  be  a  major  tragedy  if  this  happens.  Unser 
Emil  is  one  great  star  who  has  remained  untouched  by 
the  petty  lunacies  of  Hollywood.  Honored  and  aided, 
with  the  best  of  American  studio  facilities  at  his  com- 
mand, his  American  pictures  have,  for  the  most  part, 
been  brilliant  pieces  of  work,  with  "The  Patriot" 
shining  in  the  sun  as  his  masterpiece. 

If  talking  pictures  and  their  admitted  limitations 
succeed  in  driving  the  greatest  film  actor  in  the  world 
from  American  studios  we  shall — er — we  shall — we'll — 
ha\e  to  do  something  about  it.  But  what  can  we  do? 
Nothing,  probably,  but  spank  their  microphones  and 
send  them  to  bed  without  their  cough  drops. 

E\'ERY  now  and  then  our  smug  Western  self- 
consciousness  gets  a  kick  where  it  will  do  the  most 
good.  Out  of  China  comes  word  of  the  banning  of  an 
American  film.  "Ben-Hur"  had  been  shown  a  few 
times  in  the  great  city  of  Canton  when  the  civil  author- 
ities darkened  the  screen. 

"  'Ben-Hur'  is  Christian  propaganda  decoying  the 
people  to  superstition,  which  must  not  be  tolerated  in 
the  present  age  of  re^•o!utionary  enlightenment,"  runs 
the  edict.  There  is  meat  and  drink  for  thought.  How 
silly  seems  our  censorial  pea-shooting  at  pictures — long 
kisses,  bear  hugs,  exposed  thighs,  cocktail  shakers  and 
such  moral  storms  in  a  coffee  pot ! 

When  China  bars  them,  it  does  so  because  it  believes 
they  are  deluding  its  yellow  sons  and  daughters  and  not 
their  minor  manners  and  morals,  but  their  very  souls! 


>^ND  now  they  are  married — Joan  Crawford  and  Douglas  Fair- 
'^_yX    banks,  Jr.     They  have  a  new  home  of  their  own  and  Joan  will 
roam  no  more,  except  in  pictures.     The  romance  was  the  old 
attraction  of  opposite,  which  is  a  lucky  omen  for  a  happy  marriage. 


25 


Here  Is  How  the  Talkies  Have  Changed 


THIS  is  a  close-up  of  the  newspaper  city  room  built  in 
the  Paramount-Famous-Lasky  Astoria,  Long  Island, 
studios  for  the  all-talkie  version  of  the  Broadway  play, 
"  Gentlemen  of  the  Press." 

This  is  the  first  complete  detail  picture  of  a  talkie  studio 

ever  made   and   shows  the  entire  set-up  of  sound-proof 

camera   booth,    the   director's   signal   switch   box   and   the 

microphones  (here  enclosed  in  white  circles)  in  position. 

In  the  immediate  foreground  you  see  Walter  Huston,  the 

26 


stage  star,  who  has  the  leading  role  of  Wick  Snell,  and  R-Iary 
Williams,  who  portrays  the  society  editor.  Just  back  of 
Huston  is  Charley  Seay,  who  has  the  part  of  Wilkie,  the 
veteran  news  editor.  Remember  Seay  as  an  Edison  director 
of  the  old  days? 

In  the  camera  booth  you  see  George  Folsey,  chief  camera- 
man, and  Sam  Leavitt,  his  assistant. 

Seated  in  front  of  the  booth  is  Millard  Webb,  the  director 
of  the  picture.' 


Our  Best  1929  Motion  Picture  Studios 


Standing  at  the  extreme  right  is  S.  C.  Chapman,  in  charge 
of  the  sound  recording  for  this  picture.  Webb's  hand  rests 
upon  the  green  and  red  light  switch  used  to  start  and  stop  the 
motors  driving  the  cameras  and  the  sound  recording  appa- 
ratus. This  little  machine  has  succeeded  the  old  time  mega- 
phone. 

An  important  gentleman  is  not  visible  in  this  picture.  He 
is  the  monitor,  the  new  power  behind  the  pictures.  The 
monitor  is  an  electrical  expert  who  sits  in  a  sound-proof 


booth  overlooking  the  stage  and  controls  the  volume  of 
sound  that  reaches  the  machines  in  the  recording  room.  He 
prevents  the  players'  voices  from  reaching  the  screen  either 
too  loudly  or  too  softly. 

Here,   then,  is  the  new  studio  lay-out. 

Note  how  the  cameraman,  a  former  over-lord  of  motion 
picture  making,  is  retreating  in  power,  giving  way  to  electric 
experts. 

The  electrician  is  the  new  god  of  the  films. 

S7 


Giving  the  Men  a  Break 


W'^ith  a  few  sharp 
words  about 
women,  from 
Madge 
Bellamy 


"Men  are  not 

selfish.  Men 

haven't  time 

for  such 

pettiness 


>» 


STAND  up, 
gentlemen, 
and    give 
IMadge  Bell- 
amy a  rising  vote 
of  thanks. 

She's  a  real  pal. 
She  gives  the  men 
a  break. 

And  if  there's 
a  n  \-  b  o  d  y  w  h  o 
might  not  feel 
particularly  in- 
clined to  do  that 
little  thing,  it's 
JIadge.    Despite 
her  matrimonial 
misfortunes,  how- 
ever, she  still  thinks 
there's  hope  for  the 
mere  Male. 

To  the  casual  eye, 
IMadge  is  a  vivacious 
and  cheery  sort,  appar- 
ently without  guile,  yet 
exhibiting  baffling  out- 
croppings  of  femininity. 
She  is  tive-feet-two,  weighs 
one  hundred  and  five  pounds, 
has  auburn  hair,  brown  eyes,  and 
interesting  ideas  (to  men)  about 
men. 

CARPING  critics  are  apt  to  mis- 
judge Madge  Bellamy  upon 
first  acquaintance,  thinking  she  is 
no  deeper  than  a  wafer  and  as 
easily  seen  through  as  a  window 
pane. 

The  Bellamy  voice  and  laughter 
are,  I  think,  the  principal  cause  of 
this.  Laughter  with  IMadge  is 
nothing  more  than  a  giggle  that 
titters  emptily  forth  in  great  haste. 
And  her  voice  is  quite  cutie-cutie.  But  it 
microphones  well,  as  anyone  knows  who 
saw  (and  heard)'  "Mother  Knows  Best." 

Conversation  with  Madge  carries  with  it 
certain  surprises.    She  leads  the  parade,  megaphone  in  hand,  so  to 
speak,  and  you  are  glad,  for  it  prevents  any  possible  display  of 
what  might  be  commonly  and  vulgarly  referred  to  as  your  own 
ignorance. 

I  asked  her  a  short  time  ago  if  her  love  life  had  curdled  the 
glorious  idea  of  matrimony  for  her.  You  know  she  holds  the 
Hollywood  record  for  brevity  in  wedded  bliss. 

"Indeed  not."  she  said.  "I  merely  made  a  mistake.  And  I 
harbor  no  ill  feeling  whatever.  I  tumbled otT  the linibofafamily 
tree  that  is  entirely  too  sturdy  to  be  bent  by  small  breezes." 

.\  year  ago  last  January  Miss  Bellamy  married  Logan  F. 
Metcalf.  There  was  an  elopement  to  Me.vico  that  called  forth 
newspaper  headlines  and  startled  the  film  capital.    Four  days 

28 


Madge  Bellamy  was  married — for  four  days.  Her 
marriage  was  no  more  than  a  briefly  annoying 
experience,  now  definitely  ended  in  the  divorce 
court.  "I  merely  made  a  mistake,"  she  says, 
"and  I  harbor  no  ill  feeling  whatever" 


By 

Mark  Larkin 


after  the  ceremony, 
Madge    returned 
to    the    Bellamy 
home — alone.    She 
said  her  husband 
expressed   specific 
ideas    regarding 
finances  and  other 
unromantic  sub- 
jects which  she 
did   not  like.     A 
divorce  was  filed 
some     months 
later  by   the   hus- 
band. 

WITH  this 
hectic  adven- 
ture to  guide  me,  I 
asked  Madge  if 
men,  like  moth-eaten 
umbrellas,    did    not, 
in  her  estimation,  fall 
into  the  category  of  un- 
dependable  articles;  if  at 
best  they  were  not  selfish 
and  self-centered  animals. 
'■  Men  are  not  selfish,"  she 
replied.     "Women  are  selfish. 
Women    think   of   nothing   but 
themselves  and  what  they  want. 
Their  own  individual  needs  are  al- 
ways first  consideration.     Women 
are  the  ones  who  scheme.     Men 
cannot  take  time  for  such  petti- 
ness." 

I  must  confess  that  I  gulped  a 
spoonfulof  horseradish  at  this.  We 
were  lunching  at  the  "Munchers," 
a  club  on  the  Fox  lot. 

"Men,"  Madge  hurried  on,  "do 
not  deliberately  set  out  to  take 
advantage  of  women." 

Again  I  raised  my  eyebrows  and 
thought  of  the  world's  standing  record  for 
tying  and  untying  marital  knots,  which  at 
present  is  held  by  Miss  Bellamy. 

"Masculine  minds  run  in  deeper  chan- 
nels," she  continued.  "  Men  are  more  imaginative  than  women. 
Other  problems  occupy  men's  thoughts.  Their  work.  Their 
ambitions.  Their  aims.   The  goals  they  have  set  for  themselves. 

BUT  with  women  it  is  difterent.  Their  most  serious  occupa- 
tion is  man-catching.  Of  course  there  are  all  kinds  of  men 
and  all  kinds  of  women.  There  are,  for  instance,  the  men-wise 
w'omen  who  have  such  a  tremendous  advantage  over  other 
women  in  the  field.  Then,  too,  there  are  the  women-wise  men. 
These,  of  course,  are  in  the  minority.  .\s  a  rule,  men  know  very 
little  of  women.  Women,  on  the  other  hand,  know  about  men 
almost  from  infancy.  It  is  their  business,  their  study.  Haven't 
you  seen  a  little  girl  of  three  coquet    [  continued  on  p.\ge  97  ] 


Wanted 

$500    will    be    awarded 

by  Photoplay  for 

the    best    suggestion 


A  New 

Name 
for  the 

Talkies 


^-m 


«:iitiir,m«. JIL,    :    ■ 


oriifrut" 


1>f  *; ; ; , -5  ^- F  ;|- Cj  f|  f -i /)  14  r>  Q  0  CTf 

y     TO  THE 

UluiiliiuiiitalXntlonal  't\m\x  \\\\^  (Enisl  €n. 


*s  500.00 

'Dnll;trf. 

PHOTOPLAY  PUBLISHING  CO. 


CLliiciiiui.iilliiini':..  12-31 


Your  prize — if  you  create  the  best  new 
coined  word  to  describe  the  talkies.  The 
word  Photoplay  was  devised  by  a  Califor- 
nian  eighteen  years  ago.  Here's  your 
chance  to  win  undying  fame  christening 
the  talkie 

BELIEVING  that  a  better  word  for  talking  pictures  can  be 
found  than  the  abbreviated  term  "talkie,"  Photoplay  is 
offering  S500  for  the  best  new  coined  word. 

Back  in  1911  a  Chicago  motion  picture  company,  long  ago 
departed  from  the  realm  of  Kleigs  and  incandescents,  offered  a 
prize  of  one  hundred  dollars  for  "  the  best  substitute  for  motion 
picture  show." 

One  Edgar  Strakosch,  of  Sacramento,  Cal.,  came  along  with 
the  lucky  word  and  copped  the  hundred-dollar  prize.  You  will 
never  guess  the  lucky  word  he  entered.  It  was  "photoplay," 
which,  up  to  that  time,  had  not  been  devised! 

Here  is  your  chance  to  win  immortal  fame  and  a  considerable 
reward.  You  must  send  in  your  suggested  word,  together  with 
an  explanation  of  one  hundred  words  or  less  telling  the  reason 
for  your  selection. 

Write  your  name  and  address  in  the  upper  left  hand  corner. 
Put  the  whole  thing  in  typewriting  on  one  side  of  a  single  sheet 
of  white  paper.    That's  all. 

You  will  be  interested  to  know  that  one  of  the  leading  trade 
film  papers,  The  E.xhibitors  Herald  World,  has  been  trying 
for  some  time  to  locate  a  suitable  word  with  which  to  christen 
the  newly  devised  talking  pictures.  This  paper  has  canvassed 
all  the  shining  minds  of  the  industry  and  prefers  the  word, 
Audieii.  Other  suggestions  have  been  cinelog,  dramaphone, 
pictovox,  phototone,  stefnfilm,  cineoral,  phonies,  cinophone, 
audifilm,  vocafilm,  photovoice,  dramatone,  audies,  audiograph 
and  movix. 

Better  forget  these  and  start  fresh.  Call  the  family  into  a 
talkie  conference.  Hold  a  talkie  party.  Let  everybodv  vote. 
Then  select  the  best  and  have  your  relatives  or  friends  mail 
them  in  to  Photoplay.  S500  awaits  the  person  who  coins  the 
best  and  most  appropriate  name  for  the  talkies. 


Rules  for  the  New-Name-for- 
the-Talkies  Contest 

1.  $500  is  offered  for  the  best  coined  name 
with  which  to  christen  the  talkies  and  for  the  best 
explanation  in  100  words  or  less,  giving  your 
reason  for  your  selection. 

2.  In  the  event  that  two  or  more  names  and 
explanations  are  found  of  equal  merit,  duplicate 
prizes  of  $500  will  go  to  the  lucky  contestants. 

3.  Suggested  names,  with  the  accompanying 
explanations,  must  be  typewritten  on  one  side  of 
a  single  sheet  of  white  paper  with  your  name  and 
address  in  the  upper  left  hand  comer.  Names 
and  explanations  must  be  mailed  to  The  Talkie 
Name  Contest,  Photoplay  Magazine,  221 
West  57th  St.,  New  York  City,  N.  Y.  You  can 
send  in  as  many  coined  words  as  you  wish,  pro- 
vided each  is  accompanied  by  an  explanation  in 
100  words  or  less  and  each  is  typewritten  on  one 
side  of  a  single  sheet  of  paper  as  specified. 

4.  Names  and  explanations  must  reach  the 
office  of  Photoplay  before  midnight  of  May 
15th  to  be  considered.  Announcement  of  the 
winner  or  winners  will  be  made  as  soon  after  that 
date  as  possible.  An  editorial  committee  of 
Photoplay  will  judge  the  submitted  words 
and  suggestions  and  its  decision  will  be  final. 
No  names  or  explanations  will  be  returned  and 
Photoplay  reserves  the  right  to  publish  any 
or  all  of  the  suggestions  submitted. 


29 


P.VES  of 


ih  r  J  r  li  r  >•;' j-jij  r  j  ^p 


^^ 


Hors-es,  Hors-es,    Hors-es,  Nut-ty     o  -  ver    Hors-es,  Hors-es,    Hors-es,  Goof- y     o-  ver 


By 
Tom 
Mix 


{Copyright  Leo  Fvist,  Inc.     Used  by  special  permission.     Must  not  be  reprinted  without  permission  of  copyriyht  owner.) 


Most  of  the  loves  of  Tom  were  bald-faced 
cowponies— but  horses  are  a  lot  like  movie 

stars 


JUST  why  Ye  Editor,  James  Quirk,  of  Photoplay,  should 
ask  me  to  write  a  piece  for  his  magazine  about  the  romances 
in  my  life,  was  sure  puzzlin'  when  I  got  the  telegram. 
Incidental,  why  a  editor  should  be  called  "ye"  is  somethin' 
else  I  don't  know,  but  recently  I  saw  it  wrote  that  way,  an' 
Photoplay,  I  reckon,  is  a  good  place  for  me  to  try  it  out. 

"Write  for  Photoplay,"  telegraphed  Ye  Mr.  Quirk,  "story 
about  the  loves  of  Tom  Mix.  Others  are  doing  it — why  not 
you?" 

When  I  got  home  that  night  I  called  in  my  second  assistant 
deputy  librarian,  who,  when  not  engaged  in  book  research, 
ti.xes  the  flower  beds,  tends  the  lawn  an'  trims  hedges  around 
my  Beverly  Hills  home.  Likewise,  if  the  cook  quits — as  cooks 
usually  do — this  bookish  gent  can  step  in  an'  get  up  a  better 
home-cooked  meal  of  bacon  an'  eggs  than  the  d;oartin'  an' 
high  salaried  chef  ever  heard  of. 

"Te.x,"  says  I,  when  the  book-wise  young  man  came  in  from 
a  waterin'  of  the  trees,  "do  you  know  of  any  bird  who  ever 
wrote  pieces  about  his  early,  late  an'  middle  loves?  Are  the 
best  people  a  doin'  of  it — an'  why?" 

"TT'S  been  done  a  heap  of  times  by  smart  fellers,"  says  Te.x, 
J."an'  some  of  'em  are  pretty  well  known.    Most  of  'em  didn't 
■write  it  themselves,  other  gents  a  doin'  it  after  the  feller  had 
passed  on  or  out,  whichever  was  the  case.     Some  of  the  ladies 
are  a  writin'  of  'em  now  without  waitin'  for  the  Big  Da}'.     I 
reckon  you  might  as  well  be  the  first  gent  to  bust  in,providin', 
of  course,  that  you  downright  ever  loved  anybody  or  anybody 
downright  loved  you.     It  might  add  to  the  conversation  at 
this  time  if  I  said  that  a  few  years  ago  when  you  an'  me  was  a 
punchin'  cows  around  .'Vmarillo  an'  in  the  Pan  Handle, 
you  wasn't  doin'  so  well  along  the  lovin'  line.     'Bout 
the  only  thing  that  seemed  to  love  you  was  that  old 
bald-faced  cowpony  you  used  to  ride.     For 
some  unknown  reason  he  seemed  to  have 
quite  a  hankerin'  for  you.     Why  not  com- 
mence with  him? 

'"Of  course,"  Tex  went  on,  warmin'  up  to 
his  subject,  "we  ain't  got  none  of  these  lovin' 
books  on  hand,  but  I  seen  some  of  'em  in  the 
book  stores.  I  seen  a  book  once  about  the 
Loves  of  Lincoln,  wrote  by  a  Mrs.  Babcock. 
an'  Edgar  Chapin  up  ami  wrote  one  about 

30 


a  feller  named  Franklin.  Love  stories  seem  to  run  to  women 
anyway,  an'  a  young  lady  named  Lilly  Beck  got  up  one  on 
'The  Glorious  Apollo,'  who,  it  seems,  was  a  gent  named  Lord 
Byron — no  relation  to  the  Byrons  that  run  the  Lone  Star  hotel 
in  El  Paso.  At  first  l' 
thought  it  might  be  about 
Sam  Byron's  brother,  Eddie, 
who  used  to  play  the  piano 
over  in  the  old  White  Ele- 
phant dance  hall,  but  it  ^  T"{\''N 
wasn't  him.  This  Byron 
was  a  poet  feller. 
You  don't  go  much 
on  poetrv,  do  you 
Tom?" 

"No,"  says 
I,  addressin' 


fA 


^C'VW 


^/, 


Mix 


my  bookish  friend,  "speakin'  to  you  as  my 
literary  adviser,  an'  confidential,  I  don't. 
My  favorite  poet  is  O.  O.  Mclntyre,  who 
admits  that  he  never  wrote  but  one  poem  in 
his  life  an'  it  only  had  two  verses  in  it." 

"You  know,  Tom,"  said  Tex,  as  he  reached 
for  his  hat  an'  edged  toward  the  door, 
"there's  a  heap  that  could  be  wrote  about 
you — the  law  permittin'." 

So  it  is  with  all  this  WTitin'  back- 
ground, I  decided  to  get  up  the  piece 
wanted — I  couldn't  refuse  no  request 
from  so  good  a  feller  as  my  friend,  Ye 
James  Quirk,  an'  this  is  it. 

THE  LOVES  OF  TOM  MIX 

AFTER  a  lot  of  thinkin'  the  first  love 
that  I  can  recall  was  a  nice  little 
yearlin'  I  used  to  have  down  on  my 
father's  ranch  near  El  Paso,  Texas. 
Right  here,  I  reckon  I'd  better  state 
that  cowboys  [  contixued  on  p.age  124  ] 

A  romantic  reverie  in  the  Tom 
Mix   maison.     The   cowboy   star 
pauses  to  think  of  his  loves — Red 
Ears,  Beauty  and  all  the  rest. 
"But  there  is  one  great  love — 
Tony.    Tony's  got  more  fine 
principles   than  any  man  or 
beast  that  I've  ever  known' 


Illuslrated  hf 

Ken  Chamberlain 


SI 


Lon  Chaney  won't  be  a  good  fellow.  He  won't 
give  out  interviews  about  his  private  life.  He 
says — and  believes — it  is  nobody's  business. 
This  is  one  of  the  few  photographs  ever  taken  of 
Mr.  and  Mrs.  Chaney 


2)0iVT 


The  public  pays 
the  salaries  and  de- 
mands its  money's 
worth  in  return 


THAT  private  life  comple.x! 
They  all  get  it  sooner  or  later! 
Comes  a  time  in  the  life  of  every  woman  star  when 
she  wants  to  Give  it  All  up  and  have  a  Home  and 
Babies. 

Arrives  a  day  when  every  male  star  craves  a  Fireplace  and 
Pipe. 

And  why  shouldn't  they? 

Ramon  Novarro  attended  a  benefit  dance.  He  was 
snatched  from  one  ambitious  damsel  to  another.  The  buttons 
were  torn  off  his  coat  for  souvenirs! 

Charles  Chaplin  was  once  visited  by  an  ardent  woman 
fan  who  found  his  home  and  declared  that  she  would  kill 
herself  immediately  if  she  were  not  allowed  to  see  him! 

John  Gilbert  and  Greta  Garbo  were  saved  from  suffocation 
by  the  police  when  a  mob  surrounded  them  at  a  theater 
opening ! 

Is  it  any  wonder  that  the  stars  long  for  a  little  surcease? 
Yet  where  does  the  professional  life  end  and  the  private 
life  begin? 

A  star  is  on  the  public's  payroll.     It  is  his  duty  to  be  a 

good  fellow  at  whatever  cost.    And  the  cost  is  tremendous! 

Wally  Beery  calls  the  public  his  customers.     He  makes  a 

rather  special  point  of  chatting  with  his  garbage  man  (who 

calls  him  "Wally").   According  to  Beery,  thegarbage  man  must 

be  treated  as  a  real  estate 
agent  treats  a  prospective 
buyer. 

Immediately  that  a  star 
reaches  the  pinnacle,  he  is  a 
lofty  target  for  vitupera- 
tives  from  the  public,  from 
the  press,  and  from  his  fel- 
low-stars. Small  wonder 
that  the  picture  folk  have 
a  haunted  look  in  their  eyes. 
There  is  no  happiness  for 
them.  Even  the  younger 
players  are  bitter  Peter 
Pans. 

Yet,     surely,     they     all 


Wherever  they  go,  Greta 
Garbo  and  John  Gilbert 
are  besieged  by  a  curious, 
admiring,  persistent  mob. 
It's  all  very  flattering,  but 
it's  hard  on  the  disposi- 
tion. One  false  move,  one 
annoyed  look,  one  impa- 
tient gesture,  and  you  are 
stamped  as  being  "high 
hat" 


NVY  the 


tars 


By  Katherine  Albert 


realize  the  debt  they  owe  the  public.  They  know  when  they 
enter  the  profession  that  there  will  come  a  time  when  they 
are  no  longer  able  to  pull  down  the  blinds  of  their  souls. 
They  labor  under  no  delusions  about  that. 

You  can't  blame  the  public  for  demanding  the  idols  it  has 
bought  and  paid  for  and  you  can't  blame  the  star  for  wanting 
a  private  life. 

J.\CK  GILBERT'S  case  is  typical.     In  small  parts,  he  was 
hailed  as  a  great  discovery.    "Here's  a  boy  who  bears  watch- 
ing," said  the  critics. 

He  became  a  great  star.  He  had  a  vivid  and  colorful  per- 
sonality. Perhaps  the  critics  were  a  trifle  jealous,  perhaps 
they  wanted  to  discover  newer  faces,  to  say  that  other  men 
bore  watching. 

At  any  rate,  after  his  stardom,  certain  scribes  took,  delight 
in  calling  him  a  puppet,  in  constantly  referring  to  him  as  "the 
great  lover,"  a  term  that  he  loathes,  and  in  finding  the  most 
vituperative  adjectives  to  describe  him. 

When  a  father  whom  he  did  not  know,  appeared  in  his  dress- 
ing room,  held  out  his  arms  and  said,  "My  son,"  and  when, 
after  all  those  fatherless  years.  Jack  could  not  muster  up  the 
proper  filial  affection,  invectives  were  hurled  against  him  by 
certain  writers. 

Yet  still  he  remains  a  public  idol.  He  is  hedged  in  by  his 
own  popularity. 

It  may  seem  slight  to  you  that  he  cannot  go  to  a  foot- 
ball game  without  being 
recognized  and  surrounded 
by  curious  eyes.  It  may 
seem  a  trifle  flattering  that 
he  cannot  attend  a  night 
club  without  having  dozens 
of  movie-struck  girls  beg 
him  for  dances. 

You  think  that  you  would 
enjoy  being  the  cynosure  of 
all  eyes.  You  wouldn't.  It 
isn't  as  slight  as  you'd 
imagine,  this   constantly 

[  CONTINUED    O.V   P.\GE    92   1 


John  Gilbert's  home,  high 
up  in  Beverly  Hills,  is  sup- 
posed to  be  his  castle.  The 
location  is  hard  to  find. 
The  winding  road  up  the 
hill  is  difficult  to  negoti- 
ate. But  dauntless  "fans" 
not  only  storm  the  house, 
but  they  demand  to  be  in- 
vited to  remain  to  dinner 


Ramon  Novarro  likes  to  travel  incognito,  so 
he  wears  blue  glasses.  Does  the  public  accept 
his  simple  and  logical  explanation.'  No;  it's 
all  a  pose,  all  a  gag  to  stress  his  own  impor- 
tance.   Figure  it  out,  if  you  can 


J.J 


The  Studio  Murder 

The  climax  nears  in  the  police  hunt 
for  the  Hollywood  murderer 


The  murder  of  Dwig/ti  Hardcll  still  is  unsolved. 

Hardcll,  a  leading  player  of  the  Superior  Films  Companv,  7cas 
found  murdered  on  SlageSix,  following  a  night's  work  on  close-ups 
alone  under  the  direction  of  Franz  Seihert,  the  organization's 
ace  foreign  director.  Alongside  the  body,  still  garbed  in-  costume  of 
Hardc.U's  last  film  role,  lay  the  murder  weapon,  a  bloodv  rapier. 

The  Los  Angeles  police,  headed  by  Chief  of  Detccl'ives  Smith, 
take  over  the  investigation.  Suspicion  in  turn  rests  upon  a  num- 
ber of  studio  workers  and  a  scries  of  baffling  confessions  piles  vp. 
Any  one  of  these  confessions  may  point  to  the' real  culprit — but 
Detective  Smith  still  believes  he  has  not  unearthed  the  guiltv  person. 

The  finger  of  suspicion  is  directed  at  Billy  West,  'Seibert's 
assistant;  at  Yvonne  Beaumont,  a  temperamental  \oung  French 
actress  of  Superior  Films;  at  Beth  MacDougal,  a  minor  plaver  who 
had  fallen  under  the  ill-fated  HardeU's  evil  spell;  at  Beth's  father, 
Sandy  MacDougal,  the  studio  gatcman.  IlardcU's  record  zvas  a 
bad  one.  Women  were  his  victims — and  cither  Miss  Beaumont  or 
Miss  MacDougal  might  have  killed  him  for  revenge.  Billy  West, 
in  love  with  Yvonne,  might  have  been  prompted  by  the  same  motive', 
and  old  MacDougal  might  well  have  murdered  him  to 
avenge  his  daughter's  honor. 

There  you  have  the  story  thus  far.  Who  killed 
Hardcll?  That's  the  problem — and  Photoplay  is 
paying  $3,000  in  prizes  for  the  best  solutions,  pro- 
vided they  are  submitted  according  to  the  rules,  and 
before  midnight  of  March  10th. 

THEY  sat  looking  at  each  other,  the  chief  of 
police  and  the  captain  of  detectives.  Finally 
Smith  said,  "  Well,  Chief,  shall  I  go  and  get 
a  confession  out  of  her?" 

The  chief  was  not  in  a  mood  for  joking.  He  sat 
silent,  looking  back  into  the  other's  eyes,  but  mill- 
ing thoughts  of  his  own.  Smith  waited  patiently. 
Finally  the  other  slapped  his  hand  down  on  his 
desk,  as  he  rose  to  his  feet. 

".\nd  make  it  four  confessions  for  the  press  to 
chuckle  over?  Make  it  a  two-reel  .  .  .  four-reel 
comedy?  No,  election's  too  soon.  I'm  not  going  to 
have  people  saying  I  took  advantage  of  a  sick  girl, 
to  force  a  confession  out  of  her!  .  .  ." 

"  There's  this  angle,  too,  Chief.  If  MacDougal  is 
guilty,  her  confession  isn't  going  to  amount  to 
much.  He's  already  confessed.  He'll  probably  tell 
the  whole  story  straight  when  we  want  it.  If  the 
girl's  guilty  herself  .  .  .  you  know  what  Mac- 
Dougal will  do  if  we  get  a  confession?  He'll  have  it 
thrown  out  on  the  grounds  that  his  daughter  was 
sick  .  .  .  fever  ...  out  of  her  head  .  .  .  and 
that  nurse  is  the  sort  that  will  back  him  up!  Mac- 
Dougal confessed  for  just  two  reasons  ...  he  did 
it  himself,  and  the  man's  got  enough  conscience 
left  from  his  redcoat  life  to  keep  someone  else  from 
hanging  for  it  .  .  .  or,  he  did  it  to  save  his 
daughter!  If  it's  the  latter  .  .  .  he'll  save  her  .  .  . 
confession  or  no  confession  from  her  .  .  .  he's  that 
sort!" 

CORRECT.  We've  got  too  many  confessions 
on  this  thing  as  it  is,  anyway!  "  snapped  the 
chief.  "What  we  want  now  is.,  .facts!  Facts!  You 
go  out  to  that  blamed  studio,  and  you  work  on  any 
tack  you  want  to.  I  don't  care  how  you  do  it!  I 
don't  care  if  you  throw  all  precedence" to  the  wind! 
Professional  procedure  is  out  of  our  line  just  now 

3Jt 


.  .  .  use  your  wits  and  your  hunches!  Put  a  guard  on  at  that 
hospital.  We  can't  do  a  thing  with  that  girl  until  she's  pro- 
nounced normal  by  her  doctor.  We'll  sew  her  up  tight  .  . 
keep  her  there — where  we  can  put  our  finger  on  her  if  we  want 
her.  In  the  meantime  ...  I  want  results  .  .  .  something  be- 
sides emotional  outbursts!  Less  talk  and  more  action!" 
"Right  .  .  ." 

CHAPTER  XIII 

SMITH  knew  absolutely  that  there  could  not  be  more  action 
and  less  talk  until  he  established  the  matter  of  HardeU's 
return  to  the  lot.  Giving  MacDougal  the  benefit  of  the  doubt, 
he  consequently  went  directly  to  that  portion  of  the  studio 
grounds  known  as  the  "back  lot,"  upon  his  arrival  at  Superior 
Films  next  morning. 

Just  as  motion  picture  stages  are  different  from  anvthing  else 
under  the  sun,  so  is  the  so-called  "back  lot "  of  a  motion  picture 
studio!    Gaunt  buildings,  deserted  streets,  bits  of  lands  remi- 


Mystery 

By 
The  EDINGTONS 


niscent  of  all  corners  of  the  earth  .  .  .  and,  unless  there  is  pro- 
duction going  on,  an  eerie  silence,  broken  perhaps  by  the  faint, 
far  distant  sound  of  the  city's  life,  but  strangely  removed 
from  it! 

AS  the  captain  of  detectives  walked  alone  through  these  for- 
eign streets,heseemed  to  be  walking  alone  in  a  dream.  They 
gave  him  that  lost  and  unattached  feeling.  The  thought  that 
came  into  his  mind  was,  "Quoth  the  raven,  'Nevermore!'  "  He 
could  not  have  told  why.  Certainly  there  never  could  be  read 
into  those  immortal  lines  reference  to  motion  picture  studio 
"back  lots!"  But  the  haunting  suggestion  of  desolation,  the 
abandoned,  decrepit  and  weird,  that  lies  in  them,  seemed  to  fit 
this  place! 

Walking  there  alone  his  mind  toyed  with  the  question  of 
whether  it  was  "Croaked  the  raven  'Nevermore!'  "  or,  "Quoth 
the  raven,  'Nevermore!'"  Then  he  dismissed  that  as  im- 
material. It  was  the  "Nevermore!"  .  .  .  the  hopeless,  mourn- 
ing, melancholy  of   the   words,    oft   repeated,   that   expressed 


Send  in  Yo  u  r 
Solutions  Now 

WHO  murdered  Dwight  Hardell? 
Send  in  your  solutions  now. 

All  solutions — in  200  words  or  less — 
must  be  received  by  PHOTOPLAY  before 
midnight  of  March  10th.  Solutions  must 
be  typed  on  one  side  of  a  sheet  of  paper 
and  contestant's  name  and  address  must 
be  typed  on  the  upper  left  hand  corner. 

The  full  contest  rules  appear  on  page 
90  of  this  issue.  Be  sure  to  read  all  the 
rules  carefully. 

The  two  final  installments  of  "The 
Studio  Murder  Mystery"  appear  in  the 
April  and  May  issues  of  PHOTOPLAY. 
Read  these  and  you  will  know  the  real 
murderer.  You  will  also  be  able  to  gauge 
the  accuracy  of  your  solution.  The  full 
list  of  winners  of  the  nineteen  prizes, 
totalling  $3,000,  will  be  published  in 
PHOTOPLAY  as  soon  after  the  close  of 
the  contest  as  possible — probably  in  the 
May  number.  Once  again — be  sure  to 
read  the  rules  with  care. 


the  feeling  in  him  .  .  .  the  feeling  that  the  echo- 
ing desolateness  of  these  empty  structures  threw 
back  to  him,  intensified! 

Buildings  that  once  were  so  festive  and  gay  .  .  . 
that  had  spilled  their  lightsome  overflow  into  the 
starlit  nights,  if  only  for  fleeting  hours  .  .  .  and 
now  .  .  .  desolate!  Smith  felt  by  this  time  that, 
if  it  were  not  "  Croaked,"  it  should  be!  "  Croaked" 
went  with  the  tap-tapping  of  torn  shutters  against 
empty  window  frames;  with  the  eerie  flapping  of 
once  gay  and  flaunting  banners  .  .  .  now  grey 
streaks  of  rags  against  the  empty  hulls  of  halls! 

HE  felt  these  lone  buildings  grieved  together  in  a 
strange  and  secret  grieving,  for  habitation  with- 
in their  walls!  They'were  buildings  cheated  of  their 
birthrights!  And  many  of  them  were  but  half- 
buildings,  resembling  the  street  presentations  of 
the  false  fronts,  of  little  towns.  He  fancied  these 
whispering  disconsolately  to  their  neighbors. 

"Ah,  but  we  are  even  lonelier  than  you!  We 
have  not  even  our  own  insides  to  comfort  us!" 

Queer  .  "  .  this  walking  alone,  through  lonely 
streets  .  .  .  dead  streets,  that  still  held  such 
eloquent  small  things  of  human  occupancy,  even 
though  that  occupancy  might  have  been  but  for  a 
day!  A  child's  doll,  the  dress  soiled  and  much- 
hugged   ...   a  scrap 


They  were  gathered  in  the 
studio  projection  room 
to  see  the  final  shots  of 
Dwight  Harden,  made 
the  day  before  his  mur- 
der. The  place  was  in 
semi-darkness.  A  silence 
fell  upon  the  gathering 
as  Hardell's  mimic  death 
scene  came  on.  The  hero, 
rushing  in.  finding  his 
sweetheart  at  the  mercy 
of  Harden,  seizes  the 
rapier  from  Yvonne's 
hand,  and  puts  it 
through   Hardell's  heart 


of  torn  letter  ...  an 
orange  rind  ...  an 
empty  perfume  bottle 
and  an  old  shoe,  and 
before  one  little 
French  shop  a  flower 
in  pot,  just  now  re- 
linquishing its  brave 
tenacity  in  the  yel- 
lowing of  one  small 
green  leaf. 


Illustrated 

by 

C.   A.   BRYSON 


35 


7 ''HE  prop  boy,  Kelsey,  unlocked  one  of  the  doors  of  a  wall  cabinet  at 
the  end  of  Stage  Six.     Chief  of  Detectives  Smith  let  out  an  involuntary 
exclamation  as  the  door  swung  open.    No  wonder.    A  sprawling  figure, 
the  exact  duplicate  of  the  ill-fated,  murdered  Dwight  Hardell,  fell  forward. 
One  upturned  hand  clutched  desperately  at  thin  air,  the  mouth  was  a 
twisted  grimace  of  horror,  the  face  a  deadly  bluish  white. 


36 


$3,000   prizes   offered  for  best  solutions 
received  by  March    loth 


For  some  psychic  reason  a  lump  came  into  Smith's  throat. 
His  common  sense  told  him  it  was  because  this  deserted  street, 
echoing  vacantly  to  his  passing  feet,  reminded  him  of  sacked 
French  villages  .  .  .  the  horribleness  and  un|)lumbed  suffering 
of  war.  Some  sensitive  perception,  not  common,  made  him 
know  it  went  deeper  .  .  .  back  through  the  ages  .  .  .  back  to 
century-buried  birthplaces  of  fallen  civilizations.  Dead 
streets,  emptied  of  their  human  voices  .  .  .  laughter  .  .  . 
tears  .  .  .  the  pattering  of  children's  feet  .  .  .  the  marching  of 
men's  .  .  .  always  hold  a  pathos,  inexplicable.  He  thought  it 
might  be  because  they  brought  to  mind,  in  a  new  and  therefore 
more  effective  way,  the  inescapable  dictum  of  the  three  sisters 
.  .  .  weaving  .  .  .  measuring  .  .  .  ah,  and  most  tragic  .  .  . 
breaking  .  .  .  cutting  .  .  .  ending!  For  a  moment  it  was  as 
though  he  heard  the  chatter  of  voices  long  since  stilled  .  .  .  the 
appearing,  from  blackened,  sagging  doorways,  of  figures  long 
since  desiccated! 

AND,  even  as  he  turned  back  along  the  empty  way,  he  heard 
voices.  What  he  saw  was  a  procession  of  men  and  women, 
laden  with  many  and  varied  things.  A  girl  in  a  smock,  carrying 
two  fresh-blooming  potted  plants.  Aman,  with  an  apron  on  which 
a  great  pin  cushion  bobbed  rhythmically,  wearing  over  his  arm 
a  pair  of  gold  velour  draperies.  Two  more  men,  with  a  bed- 
stead swung  between  them  .  .  .  and  on  and  on,  to  an  under- 
gardener,  wheeling  a  barrow  laden  with  squares  of  green,  grass 
covered  turf.  Even  as  Smith  watched,  he  got  down  and  began 
planting  them,  as  tile  is  laid  in  patterns,  about  one  of  the  door- 
ways.   The  girl  in  the  smock  held  up  a  gay  little  sign, 

"Ye  Arts  and  Crafts  Shoppe" 

and  a  man,  one  of  those  many  on  a  studio  lot,  known  as  a 
"prop"  boy,  climbed  a  ladder,  and  set  the  sign  to  swinging 
gayly  over  the  entrance.  Another  sign,  "Ye  House  of  the  Iron 
Kettle,"'  was  hung  above  the  next  door.  A  table,  the  top  made 
of  bright,  imported  tiles,  and  set  on  wrought  iron  legs,  was  put 
in  the  little  garden  at  the  entrance.  Chairs,  with  fiat,  trim 
cushions  of  glazed,  hand-plaited  straw,  were  put  to  the  table. 
.\  purple  umbrella,  with  gold  dragons  chasing  themselves 
around  its  circular  rim,  was  opened  over  the  fat  little  pottery 
tea-pot,  and  the  squat,  bewilchingly  decorated  teacups.  A 
sleek,  contentedly  purring  black  cat,  was  told  to  sit,  with  up- 
turned rapturous  eyes  trained  upon  a  singing  canary  in  a  swing- 
ing Pagoda  cage.  The  cat  sat,  and  so  he  might  have  sat, 
occasionally  bending  to  lick  his  shining  fur  affectionately,  all  the 
days  of  his  life! 

In  the  space  of  the  short  time  Smith  stood  watching,  the 
raven  was  ousted,  and  the  brilliant  plumage  of  the  peacock 
strutted  in  its  stead! 

The  whole  reminded  him  of  the  rose-painting  scene  in  Alice 
in  Wonderland.    He  laughed  to  himself,  and  shrugged: 

''Well  .  .  .  that's  pictures!  It's  Okay  .  .  .  until  you  have 
a  murder  ...  a  real  one  .  .  .  and  then,  what  have  you?  I'm 
blamed  if  I  know!" 

HE  started  back  the  way  he  had  come,  and  now  the  dead 
streets  seemed  to  have  been  touched  by  a  magic  wand, 
for  another  group  of  workers  interested  him. 

It  was  the  most  "ramshackle  and  foul,"  as  one  poet  has  it,  of 
the  old  buildings.  And  yet  it  was  not  ramshackle  enough,  nor 
foul  enough,  for  the  purpose  to  which  it  was  to  be  put,  for  a  man 
with  a  bucket  of  slops  came  and  threw  them  at  its  sides. 
Another  laid  a  dead  and  bloated  dog  carefully  in  a  spot  marked 
in  the  dirt  road.  The  dog  depositor  then  turned  his  attention  to 
a  bucket  of  glue  and  a  couple  of  wooden  blocks.  These  he 
carried  with  him  up  a  step  ladder.  Smith,  standing  below  him, 
laid  his  head  on  the  back  of  his  neck  and  allowed  his  mouth  to 
fall  frankly  open.  The  man  was  making  cobwebs!  A  blob  of 
glue  on  one  of  the  blocks,  a  circular,  grinding  motion,  a  slow 
pulling  apart,  a  swift  swinging  toward  the  dusty  window  pane, 
and  behold,  a  perfectly  woven  cobweb,  festooning  the  space 


^ax^L 


Serge — the  Russian  cameraman  and  as  temper- 
amental as  Director  Seibert  himself.  He  had  a 
large  head,  a  pale  face  and  eyes  of  singular 
brilliance.  About  him  was  a  singular  air  of 
abnormality 

from  sill  to  glass!  The  man  then  climbed  down,  and  grabbed 
up  a  brand  new  suit  of  clothes.  Throwing  a  bucket  of  pebbles 
and  dirt  over  it,  he  began  hammering  and  beating  it  with  his 
blocks  .  .  .  rubbing  it  shiny  across  the  seat  of  the  breeches, 
and  back  of  the  shoulders. 

"If  it  isn't  an  asinine  question  .  .  .  why  don't  you  take  an 
old  suit  to  work  on?"  asked  Smith. 

"This  is  a  period  suit.  Matches  up  with  a  new  one  like  it 
worn  in  the  first  sequence.  Hey,  Bill,  there's  supposed  to  be  a 
dead  duck  out  there,  too,"  replied  the  man,  all  in  one  breath. 

"Oh,  hell!     I  forgot  that  blamed  duck!    What'll  I  do?" 

"You'll  go  get  one!"  [  continued  on  page  90  ] 


Complete  Rules  for  Studio  Murder  Mystery  on  Page  90 


37 


/T  Photo- 
(L/Jf  graph 
of  rare 
value,  as  it  is 
said  to  be  the 
only  picture  in 
existence  of 
Dolores 
Costello  in  a 
bathing  suit. 
As  Mrs.  John 
Barrymore, 
Dolores  will 
have  to  get 
used  to  a  sea- 
going  life. 
John  is  not 
only  the  most 
enthusiastic 
yachtsman  in 
Hollywood, 
but  he  likes 
to  select 
stories  that 
necessitate  a 
location  trip 
at  sea. 


38 


y  ooking 

on  the 

Dark 
Side 

of  Liife 

By 

Katherine  Albert 


FOR  Farina,  the  difficulties  with  Art  are  those  of  the  llesh 
rather  than  the  spirit.  He  will  tell  you  nothing  about 
Getting  into  the  Alood  or  Living  his  Part.  Nor  will  he 
explain  that  one  must  have  Lived  and  Suffered  in  order  to 
portray  Living  and  Suffering  accurately  on  the  screen.  Fa- 
rina's chief  complaint  with  the  fickle  Thalia  he  courts  is  that  he 
must  wear  shoes  that  are  four  sizes  too  big  for  him,  have  his 
hair  done  up  in  rags  and  be  rolled  in  a  washing  machine. 

I  might  as  well  confess  that  Farina  is  a  pessimist,  like  most 
of  his  race,  and  is  troubled  with  the  divine  unrest  of  the  great 
artist.  Unlike  the  average  star  who  finds  everything  Just 
Dandy  (for  publication)  except  for  an  appreciable  lack  in 
Home  and  Babies,  Farina  gives  you  but  few  stereotyped 
copybook  phrases. 

He  is  no  longer  innocent  of  the  Facts  of  Life  and  admits  it. 
This  frightful  awakening  came  after  the  fatal  episode  of  the 
washing  machine.  It  appears  that  the  property  boy,  elaborately 
pointed  out  to  me  so  that  I  could  judge  his  heinousness,  told 
him  that  being  whirled  in  a  washing  machine  for  a  close-up 
was  e.xactly  like  going  for  a  ride  on  a  roller  coaster,  which 
flesh  pot  has  delighted  Farina  many  times. 

.\nd  Farina  believed  him.  He  was  trusting  then,  in  his 
innocence.  He  did  not  question.  Like  a  dusky  Daniel  he  let 
them  place  him  in  the  washing  machine.  In  fact,  he  crawled 
in  bravely.  The  machine  whirled.  It  was  not,  so  I  learned, 
like  a  roller  coaster.  You  are  not  ill,  and  you  don't  get  dosed 
with  soda  and  hot  water  after  a  ride  in  a  roller  coaster.  You 
need  such  aid  after  a  jaunt  in  a  washing  machine. 

"So  now,''   Farina  observed,  "I'm  cautious." 

This  discreditable  episode  has  led  him  to  distrust  his  fellow 
man.  He  was  not  quite  sure  of  me  and  at  first  answered  the 
questions  as  he  had  been  prompted  to  do. 


Farina's  chilly 
Boston  intellect 
wars  constantly 
with  his  warm 
African  soul 


He  is  on  familiar  ground  when  he  rules  as  the  uncontested 
star  of  "Our  Gang."  He  knows  how-  to  collect  $500  of  chocolate 
coated  money  each  week,  the  neat  little  sum  Mr.  Hal  Roach 
pays  him.  He  has  stayed  in  the  gang  for  the  last  four  years 
because  he  hasn't  grown  an  inch!  The  most  emotional  close- 
up  holds  no  terror  for  him,  but  he  is  thrown  into  a  panic  by 
an  interviewer. 

I  must  admit  that  I  showed  little  originality.  Being  in  the 
presence  of  Farina,  my  favorite  actor,  I  was  a  trifle  daunted. 
So  my  first  attempt  was,  "What  do  you  want  to  be  when  you 
grow  up?" 

".•\  lawyer,"  said  Farina  promptly.  This  is  hardly  the 
ambition  of  an  eight  year  old  colored  boy,  even  if  he  was  born 
in  Boston.    That  one  was  carefully  rehearsed. 

I  TRIED  another.  "If  somebody  gave  you  a  wish  and  you 
could  have  anything  you  wanted,  what  would  you  choose?" 

He  waxed  philosophical,  "Well,  I  don't  know.  When  you 
gets  everything  you  wants  it  isn't  any  fun,  so  I  don  t  think  I 
wants  anything." 

We  let  that  go  and  talked  about  seals,  the  kind  of  seals  that 
are  made  into  coats.  It  was  Farina's  choice  of  subject,  for 
he  hates  the  beasts  most  cordially.  Two  of  them  escaped,  it 
appears,  while  the  Gang  was  making  a  picture  and  Farina 
"just  bawled  and  bawled  when  they  came  my  way  flappin' 
their  tails." 

And  suddenly  we  mentioned  hair  and  I  learned  Farina's 
true  philosophy,  the  philosophy  of  pessimism.  The  long  hair 
made  evervbody  think  he  was  a  girl  and  now  it  is  shorn,  except 
for  some  kinks  on  top.  He  confided,  "When  my  hair  was  long 
I  wanted  it  short  and  now  that  it's  short  I  wants  it  long." 

Ah,  that  was  not  rehearsed.  [  continued  on  page  135  ] 


An  Interview  with  a  Pessimist  Whose  Fine  Faith  in  Life  Was 

Mangled  by  a  Washing  Machine 


bssip  of  AW 


ByC-A 


The  Barrymores  take  leave  of  absence  from  the  studio  to  go  on 

their  honeymoon.    Dolores  and  Jack  depart  from  Hollywood  on 

a  two  months'  vacation  for  a  good-will  tour  of  the  Pacific  ports — 

the  good-will  being  reserved  for  the  Barrymores 


Blessings  on  you,  Davey  Lcc, 
Cute  and  sweet  and  not  quite  three. 
While  your  movie  moment  rages 
Play  about  the  sunlit  stages, 
Never  knowing  that  sonic  day 
You  may  grow,  and  fade  away 
From  the  artless  infant  band 
Into  filmdom's  Smarty-Land! 

FRANCES  MARION  collapsed  shortly  after  the  death  of  her 
husband,  Fred  Thomson. 

This  news  item  is  more  than  twelve  tragic  words.  It  is  a 
picture  of  a  broken  heart.  Frances  Marion,  one  of  the  very  few 
scenario  writers  whose  name  meant  anything  at  the  box  office, 
found  the  great  love  of  her  life  when  she  met  Fred  Thomson 
while  he  was  recovering  from  a  football  game  injury. 

At  the  studio  she  was  the  highest  paid,  most  efficient  woman 
writer  in  the  business.  .\t  home  she  was  a  dutiful,  worshipping 
wife.  With  all  their  money,  with  all  the  luxury  of  their  home, 
they  used  to  leave  the  house  to  the  servants  and  throw  their 
blankets  under  the  trees  and  sleep  beneath  the  stars.  The  death 
of  Fred  Thomson  leaves  Frances  Marion  with  merelv  existence. 


International  Newsreel 


Two  more  vacationists.  According  to 
the  terms  of  his  new  contract,  Rich- 
ard Barthelmess  gets  three  months 
every  year  away  from  the  studio. 
Richard  and  Mrs.  Barthelmess  chose 
to  spend  their  holiday  in  New  York, 
Florida  and  Havana 


CLARA  BOW  is  God's  gift  to  the  salesmen.    The  other  day 
she  tripped  down  the  boulevard  to  buy  a  new  auto.   On  her 
way  she  stopped  into  a  jewelers  to  leave  her  watch  for  repairs. 

".-\h,  Miss  Bow,"  said  the  salesman,  "you're  the  very  person 
I  wanted  to  see.    This  morning — this  very  morning — we  received 
this  lovely  sapphire  ring,  set  in  diamonds  and  platinum.   When 
I  saw  it  I  thought  of  you.    It's  exactly  your  type." 
If  you  see  Clara  riding  in  the  old  car  you'll  know  why. 

IT  is  a  somewhat  interesting  event  when  a  beautiful  lady  wears 
on  the  significant  finger  of  her  left  hand  a  large  diamond  ring. 
It  is  even  more  significant  when  the  diamond  is  a  large  square- 
cut  stone  that  is  really  oblong.  The  lady  who  wears  this  stone 
about  Hollywood  quite  carelessly  is  none  other  than  the  alluring 
Miss  Lupe  Velez.     It  is  causing  much  worry,  for  all  too  many 

JtO 


persons  declare  that  the  weekly  salary  of  Miss  Velez  would 
hardly  buy  one  corner  of  the  gem  and  her  salary  is  large.  That 
leaves  only  Gary  Cooper,  and  goodness  knows  Gary  would  buy 
a  horse  and  not  a  diamond,  if  he  had  that  much  money. 

THIS  is  in  the  nature  of  a  salaam  to  Evelyn  Brent.  In 
"Interference"  LaBelle  Brent  gave  one  of  the  best  movie- 
talkie  performances  of  any  season,  and  in  the  go-to-press  frenzy 
we  overlooked  her.  For  this  reason  I  pluck  a  sprig  of  the  office's 
grade — a  laurel,  approach  Evelyn  and  hand  it  to  her  with  my 
best  party  bow. 

"D  AQUEL  TORRES  hasn't  mastered  the  English  language 
yet.  The  other  day  her  director,  Charles  Brabin,  in- 
structed her  to  enter  a  room  "with  humility." 

"Humil-i-tee —     What  is  that?"  asked  Raquel. 

"It's  something  nobody  in  the  picture  business  has,"  said 
Brabin. 

FOR  the  past  several  months  .A.nita  Page  and  her  family — 
her  mother,  father  and  small. brother — have  lived  in  Culver 
Citv  in  a  modest  little  house.    This  was  so  .^nita  would  be  close 


The  Studios 


York 


The  boy  who  doubles  for  the  hero  as  a 
child,  Philippe  de  Lacy.  Philippe  is 
shown  with  Richard  Arlen,  for  whom 
he  doubles  in  a  boyhood  sequence  in 
"Four  Feathers."  Young  Philippe 
has  played  child  roles  for  nearly  all 
the  well-known  stars 


I 


to  the  studio  and  able  to  go  to  bed  early.     This  Page  kid  is 
having  her  career  handled  right. 

Now  they've  moved  to  Hollywood,  but  that  won't  spoil 
Anita.  Her  wise  parents  see  to  that.  Even  now  there  are  only 
certain  nights  that  she  can  go  to  parties.  .\nd,  when  she  stays 
at  home,  she  actually  dries  the  dishes!  If  ever  a  girl  had  the 
chance  of  remaining  young  and  fresh  and  unaffected  through  the 
strenuous  task  of  becoming  a  star  it's  .\nita. 

Greta  Garbo  acting  kiddish, 
Charlie  Murray  singing  Yiddish, 
Beery  amorously  bleating, 
Unser  Emil  Jannings  eating — 
These  are  things  I  want  to  hear 
In  the  noisy  films  this  year. 

JOBYN.\  R.^LSTON  was  called  by  a  producer  for  an  im- 
portant role  opposite  one  of  the  biggest  stars. 
"Have  you  had  talkie  experience?"  asked  the  producer. 
"No,  sir,"  said  Joby  meekly. 

"Then  I  don't  think  you'll  do.  We're  looking  for  a  girl  who 
has  had  e.xperience  before  the  microphone." 


To  convince  you  that  Davy  Lee  of  "Sonny  Boy"  fame  is  very 

much  alive.     Davy  is  playing  in  a  picture  with  Rin-Tin-Tin. 

It  was  a  Los  Angeles  orchestra  player,  "Sunny"  Boyce,  who  died. 

That's  how  the  rumor  of  "Sonny  Boy's"  death  started 


"That's  great,"  said  Joby,  "you  won't  have  a  bit  of  trouble 
finding  just  the  right  girl.  There  are  at  least  four  actresses  in 
Hollywood  who  have  had  talkie  e.xperience." 

That  gel  is  not  as  meek  as  she  looks! 

WHEN  Robert  Benchley  arrived  in  Hollywood  to  correct 
the  ills  of  talking  pictures  by  making  a  few  himself,  he 
was  tendered  a  "Welcome  to  our  Studio"  luncheon  by  Winnie 
Sheehan  and  his  staff,  .\rthur  Caesar,  who  wrote  "  Napoleon's 
Barber"  and  has  been  getting  free  shaves  ever  since,  made  the 
welcoming  speech.     In  answering  him,  Mr.  Benchley  said: 

"The  last — and  first — time  I  came  to  Hollywood,  I  stayed 
six  weeks.  I  broke  my  leg  the  first  week.  The  reason  I  came 
this  time  was  not  to  write  and  act  in  the  talkies,  as  has  been 
reported,  but  to  see  if  Arthur  Caesar  is  actually  here.  In  New 
York  it's  reported  he's  the  man  who  shot  Rothstein,  and  that 
it's  just  a  gag  to  say  he  is  in  Hollywood." 


THERE'S  another  home  in  Santa  Monica  for  the  tourists  to 
mistake  for  the  Whatsis  Country  Club.    Bebe  Daniels  has 
moved  into  her  27-room  mansion  on  the  beach. 

JIMMY  CRUZE  can't  lose  on  a  prize  fight  bet.  Jack 
Roper,  a  heavy-weight  boxer,  appeared  in  "The  Duke 
Steps  Out,"  Billy  Haines'  picture  that  Cruze  is  directing. 
The  night  before  his  fight  at  the  Hollywood  stadium,  Cruze 
rang  him  up.  "Look  here,"  he  said,  "I've  bet  on  you.  If 
you  don't  win  I'll  cut  out  your  closeup  in  my  picture." 

CONSIDER  the  mortification  of  the  young  assistant  director 
when  O.  P.  Heggie,  the  distinguished  stage  star,  was  intro- 
duced to  him  on  the  Paramount  lot.  Heggie,  amid  much  fan- 
fare, had  just  been  signed  to  a  handsome  contract  with  that 
company. 

"Heggie?"  repeated  the  assistant  megaphonist.  "Oh,  yes. 
Glad  to  know  you.  Drop  into  my  office  on  your  way  out  and 
leave  your  phone  number.  I  may  have  a  couple  of  days'  work 
for  you  soon." 

41 


P&A 


IT  was  on  night  location,  in  the  hills  back  of  Hollywood. 
Eddie  Cline  was  directing  the  picture.  Just  as  he  gave  orders 
for  the  camera  to  start  grinding,  the  perfume  of  skunk  was 
wafted  through  the  air. 

"  Cut,"  yelled  Eddie,  stopping  the  scene.  "  Can  that  be  this 
picture?" 

AT  one  of  the  big  studios,  the  new  owners  are  getting 
eiificient.  And  one  way  of  getting  efficient  is  to  appoint 
your  relatives  to  lucrative  jobs.  Anyway,  the  relative  of  an 
executive  was  given  the  position  of  efficiency  expert  and  pleased 
all  the  bosses  by  firing  twenty-five  people  during  the  first  day 
of  his  regime. 

.\11  het  up  over  his  success,  he  strolled  on  the  stage  one  day 
and  asked  an  assistant  director,  "Say,  what  does  that  boy  do 
who  holds  up  that  little  board  before  the  camera?  Does  he  get 
a  salary  for  that?"  The  assistant  director  patiently  tried  to 
explain  the  various  duties  of  the  camera  boy. 

Then  he  watched  the  script  girl  for  a  long  time  and  suddenly 
a  bright  idea  struck  him.  "  Say,"  he  asked,  "can't  that  girl  who 
sits  there  and  writes  take  time  olY  and  hold  up  the  slate?" 

I  want  but  little  here  below — 
Some  fifty  grand  a  year,  or  so ; 
No  work,  a  cottage  by  the  shore, 
And  Esther  Ralston  at  the  door. 


THERE'S  a  fascination  about  Hollywood  that  not  even  the 
most  heartbroken  extra  can  deny. 

One  of  the  drivers  in  the  transportation  department  at 
M.-G.-M.,  known  by  every  star  and  director  on  the  lot  as 
"Red,"  decided  to  leave  the  industry  to  struggle  along  without 
him  while  he  went  home  to  St.  Paul.  He  was  doing  nicely, 
making  money  and  meeting  his  old  friends  when  he  dropped 
into  a  picture  theater  and  saw  "White  Shadows  in  the  South 
Seas." 

There  were  all  his  old  friends.  Raquel  Torres,  whom  he  had 
driven  to  the  studio  for  her  first  test.  Gwen  Lee,  who  had  used 
his  car  when  she  went  on  location.  Johnny  jMack  Brown,  who 
had  called  him  for  advice  when  he  bought  his  first  automobile. 
And  all  the  rest. 

Red  couldn't  stand  it.  He  took  the  first  train  to  Hollywood. 
He  got  his  old  job  back. 

IF  you're  the  type  who  considers  Clara  Bow  as  merely  an  "  IT" 
girl,  then  you  won't  appreciate  this  touching  story  of  20th 
century  gallantry. 

The  other  day  Clara  dropped  into  a  downtown  movie.    You 


A  picture  of  palpitating  interest  to 
the  girls  as  well  as  the  boys,  because 
the  Swedish  Charlie  Ray  at  the  right 
is  Greta  Garbo's  brother.  Brother 
met  Greta  on  her  return  to  Sweden. 
The  girl  at  the  left  is  Mimi  Polack,  a 
Swedish  screen  actress,  and  one  of 
Greta's  friends  during  her  dramatic 
school  days 


Lillian  Gish  returns  to  Los  Angeles  with 
her  new  director,  Max  Reinhardt.  For 
months,  Miss  Gish  and  Mr.  Reinhardt 
have  been  writing  and  rehearsing  a  new 
picture  at  Max's  castle  at  Salzburg,  Aus- 
tria. But  the  actual  camera  work  will  be 
done  in  the  Cinema  Capital.  And  they  say 
it  will  be  a  talkie 


International  Newsreel 

recognize  Clara  by  her  bright  red  hair,  as  you  can  spot  Tom 
Mix  by  his  initials.  Some  bystander  of  the  male  sex  made  a 
remark  about  the  Bow  gal  that  was  not  just  exactly — er — well, 
it  wasn't  just  exactly. 

And  then  a  real  gentleman  stepped  forward  and  knocked  the 
offending  one  flat.  When  questioned  he  said,  "No,  I'm  not  a 
personal  friend  of  Miss  Bow.  But  I  won't  hear  her  talked 
about.    She  typifies  the  ideal  American  girl." 

CORINNE  GRIFFITH  is  the  little  practical  joker.  When 
her  genial  husband  competed  in  the  tennis  match  he  went 
down  to  defeat  at  every  game.  At  last  an  enormous  wreath  of 
funereal  flowers  bearing  the  inscription,  "Success  to  Walter 
Morosco,"  was  presented  to  him  on  the  courts.  Even  this  did 
not  change  his  luck. 

INTENSIVE  training  on  the  part  of  Colleen  Moore  for  her 
role  in  "Why  Be  Good."    In  a  blond  wig  and  horn-rimmed 
glasses  with  brother  Cleve  as  flipper  escort  she  has  been  doing 


Mabel  Normand  once  more  steps  in 
front  of  the  camera.  But  this  is  no 
return  to  the  screen.  Mabel  merely 
played  in  a  one-reel  comedy  for  a 
one-man  audience.  The  film  was 
sent  to  her  husband,  Lew  Cody,  who 
is  far  away  from  home  on  a  vaude- 
ville tour,  as  a  wifely  reminder  of 
Mabel's  devotion 


A  girl  who  will  always  be  sure  of  pretty 
close-ups.  Lina  Basquette,  widow  of  Sam 
Warner,  recently  married  Peverell  Marley, 
crack  cameraman.  The  romance  began 
during  the  filming  of  "The  Godless  Girl." 
Lina,  a  Wampus  star  of  1928,  played  the 
leading  role  and  Marley  fell  in  love  with 
her  as  he  watched  her  act 


Internjtion  il  Nt-w^roi 


the  Los  Angeles  dance  halls  and  learning  to  jiggle  in  that 
agitated  manner  so  popular  in  the  present  mode.  She  has  even 
learned  to  walk  nonchalantly  down  the  center  of  the  waxy 
floor,  arm  around  her  partner's  waist,  and  then  to  suddenly 
grab  him  between  larnyx  and  stomach  and  gyrate  away. 

/^NE  may  have  any  sort  of  experience  in  Hollywood, 
^'^especially  in  that  part  of  Hollywood  inhabited  by  Lupe 
Velez.  The  other  evening  Lupe  called  upon  a  friend  at  one 
A.  M.  only  to  discover  that  she  had  changed  her  apartment. 
Instead  of  inquiring  at  the  desk  she  knocked  upon  every 
door  on  the  floor.  Disheveled  heads  were  thrust  out  and 
unprintable  words  were  used  by  those  awakened. 

At  last  the  friend  heard  Lupe  and  ran  out  into  the  hall  just 
as  she  was  arousing  her  last  victim,  a  sleepy  gentleman  in  a 
bathrobe. 

"Oh,  I'm  sorry,"  said  the  Velez  friend  apologetically, 
"Lupe  should  not  have  made  so  much  noise  and  awakened 
you." 


I 


"I'm  not  sorry,"  said  the  man,  "I've  been  in  Hollywood 
three  months  and  this  is  the  first  excitement  I've  had." 

MOST  of  the  actors  who  return  from  the  South  Seas  after 
making  pictures  there  have  nothing  good  to  say  about  the 
location  or  the  natives.  But  Renee  Adoree  is  back  from 
Papeete,  having  played  there  in  "The  Pagan."  She  was  so 
entranced  with  the  South  Seas  that  she  hated  to  return. 

"No  telephones — no  noise — just  quiet,"  she  said.  "And  the 
rain — oh,  I  loved  it,  while  the  rest  of  the  company  growled 
about  it.    Never  have  people  been  as  kind  to  me  as  the  natives." 

We  greet  with  cheer,  huzza  and  howell 
The  gallantry  of  William  Powell — 
So  long  the  movies'  finest  heller 
And  now  a  clean,  heroic  feller. 
We  wonder  if  the  fans  who  hiss  him 
Can  ever  learn,  in  time,  to  kiss  him. 

MEBBE  you  think  the  talkies  don't  put  realism  into 
pitchers.  "In  Old  Arizona"  was  being  shown  with  sound 
in  a  Fox  projection  room.  A  lady  in  the  audience  had  with  her 
a  small  dog.  A  scene  flashed  on  showing  a  pig  caught  in  the 
crotch  of  a  tree,  squealing  wildly.  The  dog  sprang  up  and 
barked  valiantly.  Shortly  after  the  pig  was  dislodged,  a  band 
of  cattle  crossed  the  screen,  mooing  merrily.  The  dog's  excite- 
ment knew  no  bounds.  He  ran  to  the  screen,  barking  loudly. 
Then  he  leaped  up  and  snapped  at  the  passing  cattle.  For  such 
grand  enthusiasm  he  was  booted  out  of  the  projection  room. 

EVERY  now  and  then  the  aristocracy  of  Hollywood  fore- 
gathers quite  grandly  at  an  affair  referred  to  as  "The  May- 
fair."  It  is  the  sort  of  party  at  which  one  dines  and  dances. 
The  Who's  Who  of  Hollywood  makes  more  or  less  restrained 
whoojiee  there.  Among  the  cinema  playboys  who  attended 
recently  was  David  Butler  who,  when  not  touring  Europe,  in- 
dulges in  the  prosaic  task  of  directing  for  Fox.  Mr.  Butler  was 
standing  in  the  doorway  that  led  from  theBiltmore  ballroom  to 
the  butler's  pantry  (no  pun  meant!)  playfully  waving  a  napkin 
at  some  other  playboy.  Suddenly  there  ranged  into  his  orbit 
that  extremely  facile  plotmaker,  Byron  Morgan,  who  types  out 
stories  for  M.-G.-M. 

"What's  that  dam'  waiter  waving  that  napkin  at  me  for?" 
demanded  the  irate  Mr.  Morgan  as  he  escorted  his  partner 
to  her  seat. 

"That's  no  waiter,"  said  the  lady,  "that's  Dave  Butler." 
Whereupon,  it  being  New  Year,  Mr.  Morgan  opened  another 
bottle  for  the  three  of  them.  [  continued  on  page  70  ] 

43 


T/^^J3road  a 

What  happened  to  Brenda  Berkeley 
when  the  adenoidal  drama  demoral- 
ized Hollywood 


MR.  ABRAHAM  ZOOP,  president  of  Stupefaction 
Pictures,  fidgeted  with  an  imitation  jade  fountain 
pen  and  loolced  uneasily  toward  the  brass  nail 
studded  door  for  incoming  callers.  Would  the  girl 
nc\'er  show  up?  The  Napoleonic  frown  with  which  he  had 
creased  his  moon-shaped  countenance  was  getting  a  bit  hard 
to  maintain,  but  it  never  paid  to  get  too  clubby  with  stars. 
Mr.  Zoop  sighed  as  befitted  one  who  knows  the  secrets  of  the 
inner  shrine,  for  his  oiSce  had  been  the  scene  of  much  raw 
drama  these  sunkissed  afternoons.  The  Early  Christians,  after 
having  been  massaged  by  Nero's  lions,  had  had  a  soft  thing 
compared  to  the  shattered  souls  that  had  stumbled  forth  from 
this  sanctuary  of  architectural  debris. 

Suddenly  the  door  swung  noiselessly  inward,  revealing  the 
delicate  person  of  JNIiss  Brenda  Berkeley  (nee  Burke)  clad  in 
foamy  lavender  chiffon,  whereupon  Mr.  Zoop  forgot  to  scowl, 
and,  instead,  regarded  her  with  a  gloating  stare. 

iliss  Berkeley  trailed  sadly  to  a  massive  chair  and  sank  into 
its  leathern  embrace,  managing  to  look,  as  one  rapturous  inter- 
viewer had  blurbed,  "like  a  jonquil  trembling  in  a  June  breeze." 
Trembling  was  correct.  Miss  Berkeley  was  entertaining  dire 
visions  of  losing  her  public  and  likewise,  her  bank  account, 
unless  she   could   discover   a  voice.     Her   renowned   cameo 


features  paled  beneath  their  crown  of  wheat-colored  hair,  and 
the  splash  of  crimson  that  had  kissed  a  thousand  men — plus  a 
couple  of  highbrow  novelists — quivered  forlornly  as  she  gazed 
at  the  bulbous  Mr.  Zoop. 

"It's  like  this,"  said  that  gentleman,  after  the  usual  banal 
greetings,  "you  can't  get  by  no  more  on  two  eyes,  two  knees 
and  thirty-two  teeth.  It  ain't  enough  that  we  drench  the  fans 
with  beauty,  as  the  advertising  says,  but  now  they  got  to  hear 
it  talk." 

"Don't  I  know  it,"  conceded  the  lady  bitterly.  "It's  all  you 
hear  around  the  studio  these  days,  and  it's  got  me  winging. 
Does  it  mean  the  a.xe,  Abie?" 

Mr.  Zoop  indulged  in  a  series  of  helpless  gestures.  "Am  I  a 
fortune  teller?  Believe  me,  Brenda,  if  I  could  find  the  sclilamiel 
who  first  monkeyed  with  the  sound  pictures  idea,  I  wouldn't 
have  no  trouble  at  all  moiderink  him.  And  some  other  pro- 
ducers I  know  would  chip  in  for  a  wreath.  But,  as  it  is,  we 
got  to  fall  in  line." 

"I  never  paid  much  attention  to  my  voice,"  faltered  Miss 
Berkeley  in  her  customary  croon.  "What  was  the  use,  with  the 
director  shooting  off  his  bazoo  all  the  time." 

"Well,  your  pipes  are  kind  of  thin,"  advised  the  president, 
"but  remember,  vou  are  still  the  ashiest  blonde  in  the  business. 


"Marvelous,"  said 
the  professor. 
"Now  we  come  to 
the  more  impor- 
tant matter  of  ac- 
cent. Allow  me  to 
impress  upon  you 
that  it  is  the  sur- 
est sign  of  culture." 
"Is  that  so?"  in- 
quired Brenda 
peevishly.  "Well, 
I've  been  talking 
for  over  twenty 
years  and  nobody 
ever  misunder- 
stood me" 


Illustrated 
by 

Russell 
Patterson 


Baby 


By 
Stewart  Robertson 


Nobody  can  tell  me  the  fans  are  goink  to 
give  a  face  like  yours  the  go-by,  and  start 
writing  notes  to  a  larynx.  The  trouble  with 
you,  baby,  is  that  your  voice  sounds  the  way 
Lillian  Gish  looks.  Sweet,  but  weak  and  frag- 
ile, if  you  get  me.  But  all  of  us  got  our  own 
hard  luck."  Mr.  Zoop  tossed  an  unlaundered 
glance  at  a  photograph  of  Momma  that  • 
adorned  the  rosewood  desk.  Momma  leered 
right  back.  "Maybe,"  he  continued,  "if  you 
could  learn  to  talk  like  them  theatrical 
actors  I  hear  at  the  Vine  Street  stock  com- 
pany, it  would  help  some." 

THE  fluttery  Brenda  gulped  a  couple  of 
times,  and  then  delivered  a  message  from 
her  bronchial  tubes.  "More  tone  like  this, 
hey,  Abie?  Listen:  LInhand  me,  you  scum! 
Before  another  dawn  comes — "  She  broke 
off  and  indulged  in  a  violent  fit  of  coughing. 
"It  hurts  my  throat,"  she  whispered. 

"I  ain't  a  bit  surprised,"  said  her  employ- 
er, "but  it  sounds  like  you  got  the  goods 
hidden  away  somewhere.  It's  better  you 
should  see  a  specialist." 

"Who's  going  to  pay  for  that?"  inquired 
the    star.    "My    contract    says — " 

Mr.  Zoop  spread  his  hands  resignedly. 
"Who  else  but  me?  Ain't  I  imported  six 
experts  gettink  ready  for  this  uproar?  You 
can  see  one  of  'em  tomorrow,  baby,  and 
remember,  sex  appeal  is  only  the  half  of  it 
now.  You'll  flop  unless  you  can  gargle  the 
language  to  go  with  it." 

"All  right,  Abie,"  said  the  star,  mustering 
a  pathetic  smile. 

".And  listen,"  advised  the  president, 
"don't  forget  to  drop  in  at  the  Ambassador 
tonight.  Blotts  Brothers  are  celebratink  their  first  all-talkink 
picture,  and  it's  up  to  us  to  slip  them  a  rave  just  like  we  really 
meant  it.  Wear  pale  green,  baby,  and  you'll  make  them  Blotts 
washouts  look  like  the  back  line  in  a  boilesque  troupe."  He 
trotted  over  to  the  door  and  held  it  open. 

"I'll  panic  them,"  Miss  Berkeley  assured  him,  as  she  saun- 
tered out.  In  the  empty  ante-room  she  dabbed  cautiously  at 
her  eyes  with  three  square  inches  of  lace,  and  then  paraded 
serenely  through  the  outer  offices,  exposing  her  pearl  and  coral 
loveliness  to  an  appreciative  staff.  Once  outside,  she  crossed 
a  patch  of  grass  leading  to  the  long,  two  story  frame  building 
that  housed  the  stars'  dressing  rooms.  How  much  longer,  she 
wondered,  would  she  be  entitled  to  enter? 

THE  same  thought  occupied  her  mind  all  day  as  the  director 
herded  her  through  the  closing  scenesof  her  last  silent  picture. 
Brenda  was  quite  willing  to  accept  the  Hollywood  legend  that 
you  stayed  on  top  for  five  years,  and  then  began  to  fade.  Her 
heart  was  her  own  and  her  money  had  gone  into  good  real 
estate,  so  she  faced  the  future  without  the  misgivings  of  certain 
of  the  film  colony's  elite.  But  what  chafed  her  was  the  knowl- 
edge that  she  had  still  two  years  of  glory  to  come,  and  that 
they  might  be  blotted  out  by  the  new  invention. 

Deep  within  her  the  blood  of  many  generations  of  battling 
Burkes  whooped  for  action,  and  she  hardened  her  small  jaw. 
"No  machine  is  going  to  sidetrack  me,"  she  informed  her 
mirror,  "leastways,  not  while  my  throat  holds  out." 


Miss  Berkeley  emerged  slowly  from  her  haze  of  rapture  and 
faced  the  cold  grey  dawn  of  fact.  So  this  was  the  scoundrel 
who  threatened  her  career — the  inventor  of  the  talkie!  "I'd  like 
to  take  you  home,"  he  was  saying.  The  star's  eyes  glistened 
with  hauteur.      "So  would  a  lot  of  others" 


A,t  nine  in  the  evening,  while  her  car  glided  through  the  maze 
of  traffic  on  Wilshire  Boulevard,  the  mettlesome  Brenda  tried 
out  her  vocal  chords  on  "Frankie  and  Johnny,"  and  by  the 
time  she  reached  the  Ambassador,  her  famous  features  were 
adorned  with  a  self-congratulatory  smirk. 

AFTER  a  little  subtle  jockeying  for  position  with  various 
other  celebrities  at  the  portals  of  the  dining  room.  Miss 
Berkeley  negotiated  a  most  impressive  entrance.  Wearing  the 
prescribed  pale  green  in  the  form  of  gossamer  tulle,  she  slithered 
across  the  floor  to  a  center  table  while  the  overshadowed 
damsels  who  toiled  for  the  brothers  Blotts  stared  enviously. 
The  brightness  of  their  polish  was  oxidized  by  the  passage  of  the 
nonchalant  beauty,  and,  as  a  measure  of  revenge,  a  gale  of 
shrewish  whispering  sprung  up  among  thern.  Just  wait,  they 
told  one  another,  until  the  talkies  enthroned  brains  above  torsos. 

The  shimmering  figure  paused  long  enough  to  w'aft  her 
detractors  a  queenly  smile  in  the  languid  manner  approved  by 
directors  of  society  dramas,  and  then,  unknowing,  moved  on  to 
where  fate  lurked  under  a  camouflage  of  gleaming  silver  and 
avocado  salad.  As  she  neared  the  main  table  a  strange  young 
man  rose  swiftly  to  greet  her,  drawing  out  a  chair  at  his  side. 

"Sh-h-h,"  he  cautioned.  "There's  someone  making  a  speech. 
How  are  you.  Miss  Berkeley?" 

Brenda  surveyed  him  with  interest,  and  felt  a  queer  little 
thrill  of  anticipation.  He  was  tall,  dark  and  grey-eyed.  She 
liked  grey  eyes,  and  this  particular    [continued  on  page  128] 

45 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


The 


THE  RESCUE— Goldwyn-United  Artists 

IT'S  one  of  Ronald  Colman's  best  performances.  (A  vital, 
restrained  performance.)  It's  Lily  Damita's  introduction 
to  the  American  screen.  (An  inauspicious  introduction 
since  Lily — a  fiery  Frenchwoman — is  hopelessly  miscast 
as  an  English  lady.)     It's  rich  in  South  Sea  color. 

So  here  is  a  "yes"  and  "no"  picture,  included  in  the  best 
six  of  the  month  because  of  the  spectacularly  beautiful 
scenes — the  outlaws'  boats  setting  out  to  take  the  brig; 
the  champion  Hawaiian  swimmer,  Duke  Kahanamoku,  in 
an  amazing  water  shot;  the  harrowing  scene  where  Lady 
Trovers  stumbles  her  way  alone  through  a  jungle. 

This  fault  is  in  too  much  Joseph  Conrad  plot.  It  isn't 
another  "Beau  Geste"  but  Director  Herbert  Brenon  has 
brought  out  in  Colman  the  same  quality  that  characterized 
him  in  that  earlier  work. 


THE  RIVER— Fox 

B.\SED  on  Tristram  Tupper's  novel  and  pointing  the 
moral  "A  river  is  like  love,  it  cleanses  all  things,"  "The 
River"  turns  out  to  be  a  strong,  intimate  study  of  two 
humans  alone  in  a  deserted  construction  camp.  One  is  an 
unsophisticated  mountain  boy,  the  other  a  woman  of  the 
world.  The  two  are  frozen  in  through  the  long  winter  with 
a  sinister  crow,  the  left-over  gift  of  the  woman's  former 
lover,  as  their  only  companion.  These  two  are  splendidly 
played  by  Mary  Duncan  and  Charles  Farrell. 

Director  Frank  Borzage  has  handled  a  difficult  story 
with  skill  and  tact,  pausing  here  and  there  to  reveal  the 
changing  moods  of  the  two  with  startling  frankness.  The 
atmosphere  of  loneliness  is  amazingly  maintained.  See  it, 
but  it's  hardly  the  thing  for  little  Willie. 

46 


Shadow 
Stase 

(REG.  U,  S.  PAT.  OF-F.1      fl  T 

A  Review  of  the  New  Pictures 


WILD  ORCHIDS— M.-G.-M. 

THIS  is  Greta  Garbo's  last  picture  before  she  departed  for 
Sweden.  It  is  built  upon  a  story  of  Java,  called  "Heat," 
by  John  Colton.  Once  Lillian  Gish  was  mentioned  for  the 
leading  role. 

John  Sterling  takes  his  young  wife  to  the  Orient  when  he 
goes  over  on  business  to  inspect  some  plantations.  On  the 
Pacific  liner  is  a  strange  young  Javanese  prince.  Youth 
calls  to  youth,  as  the  subtitle  writers  put  it,  and  before  the 
steamer  reaches  the  East,  John  Sterling  is  in  a  fair  way  to 
lose  his  wife.  Lillie  Sterling's  struggle  against  the  fascina- 
tion of  Prince  de  Gacc  forms  the  dramatic  story.  Ideals  are 
beaten  down  under  the  terrific  heat  of  Java  and —  But  see 
the  film  yourself. 

"Wild  Orchids"  is  excellently  directed  by  Sidney  Frank- 
lin. The  details  of  life  in  the  palace  of  the  Javanese  prince 
are  picturesque  and  colorful.  Native  dances  lend  atmos- 
phere. Indeed,  "Wild  Orchids"  is  directed  with  surprising 
care  and  a  deal  of  lavishness. 

Miss  Garbo  never  has  been  more  dazzling  nor  has  she 
contributed  a  more  compelling  role  to  the  films.  Lewis 
Stone  is  admirable  as  the  husband.  "Wild  Orchids"  will 
do  much  for  Nils  Asther.  Here  is  a  role  that  will  push  the 
young  Swedish  actor  up  closer  to  stardom.  To  it  he  lends 
something  of  the  charm  and  poise  of  Valentino. 

"Wild  Orchids"  is  another  variation  of  the  civilized 
white  collapsing  under  the  heat  of  the  tropics.  Willis 
Goldbeck's  adaptation  is  shrewd  and  dramatic.  The  film  is 
superbly  acted,  expensively  produced  and,  moreover,  it  has 
the  earmarks  of  care  and  taste. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 

WILD  ORCHIDS  HIS  CAPTIVE  WOMAN 

THE  RESCUE  THE  RIVER 

THE  DOCTOR'S   SECRET  MY  MAN 

The  Best  Performances  of  the  Month 

Greta  Garbo  in  "Wild  Orchids" 

Nils  Asther  in  "Wild  Orchids" 

■  Ronald  Colman  in  "The  Rescue" 

Dorothy  Mackaill  in  "His  Captive  Woman" 

Milton  Sills  in  "His  Captive  Woman" 

Mary  Duncan  in  "The  River" 

Charles  Farrell  in  "The  River" 

Ruth  Chatterton  in  "The  Doctor's  Secret" 

Casts  of  all  photoplays  rev'teived  will  be  found  on  page  138 


HIS  CAPTIVE  WOMAN— First  National 

SEVEN  years  ago  this  picture  was  called  "The  Woman 
God  Changed."  Bob  Vignola  filmed  it  at  the  Cosmopoli- 
tan Studio  in  New  York  with  E.  K.  Lincoln  and  Seena 
Owen  in  the  principal  roles.  Now  it's  with  us  again, 
dressed  in  new  fixtures,  plus  talk  and  sound.  If  we  hadn't 
already  seen — and  heard — "On  Trial"  and  "The  Bellamy 
Trial,"  we  might  cheer  louder.  However,  strong  men  went 
all  the  way  to  Honolulu  to  make  it,  and  not  in  vain.  The 
photography  is  splendid. 

The  drama  is  very  tropical  and  Sadie-Thompsonish  in 
spots,  with  a  touch  of  Robinson  Crusoe  thrown  in.  But 
anybody  could  tell  it  was  George  Fitzmaurice's  last  picture 
for  First  National,  or  mebbe  he  just  didn't  care.  The  story 
is  told  by  means  of  the  testimony  of  witnesses  in  a  murder 
trial.  As  each  witness  testifies,  the  camera  visualizes  his 
conversation.  .\  novel  effect  once,  and  good  yet  if  you 
haven't  seen  it.  There  are  two  unpardonable  weaknesses: 
it  justifies  murder  and  needlessly  violates  legal  procedure. 

Here's  the  plot:  a  cafe  entertainer  kills  her  "Sugar  Daddy" 
and  skips  to  the  South  Seas.  A  New  York  cop  is  sent  after 
her.  They  are  shipwrecked  on  a  desert  island  for  seven 
years.  Eventually  a  steamer  takes  'em  off  and  returns  'em 
to  New  York.  The  cop  tells  a  sob  story  on  the  witness 
stand,  the  girl  is  convicted,  but  the  sentimental  judge 
sentences  her  to  life  on  the  desert  island  with  her  cop.  Soft 
for  the  girl  and  great  propaganda  for  murder.  The  very 
good  performances  of  Milton  Sills  and  Dorothy  Mackaill, 
however,  give  the  picture  unusual  interest  despite  its  un- 
fortunate premise.     See  it. 


THE  DOCTOR'S  SECRET—Paramount 

SIR  JAMES  BARRIE'S  charming  play  "Half  an  Hour" 
comes  to  the  screen  under  the  thriller  title,  "The  Doctor's 
Secret."  That  doesn't  keep  it  from  being  a  superior 
talkie,  skillfully  handled  by  that  master  of  dramatic 
sophistication,  William  de  Mille.  Ruth  Chatterton,  as 
Lady   Lillian,  gives   a   beautifully    repressed  performance. 

There  is  too  little  of  John  Loder,  a  newcomer,  whose 
flawless  English  voice  and  evenly  spaced  work  is  delightful. 
Throughout  the  unfolding  of  the  story,  too  delicately 
etched  in  brilliance  to  be  coldly  "scenopsized,"  there  is  a 
subtle  emotional  undercurrent. 

H.  B.  Warner,  as  Lady  Lillian's  beastly  husband,  and 
Robert  Edeson,  as  the  doctor,  are  convincing.  A  little  girl, 
Nanci  Price,  in  the  role  of  an  English  slavey,  contributes 
some  appealing  and  interesting  moments.    Don't  miss  it! 


MY  MAN— Warners 

IF  you  have  liked  Fannie  Brice  in  musical  revues  and  in 
vaudeville,  you  will  like  her  in  her  first  Vitaphone  film, 
"My  Man."  It  isn't  strong  on  story,  just  the  yarn  of  a 
kindly  East  Side  girl  who  mothers  a  wayward  sister  and  a 
little  brother  and  gets  treated  terribly  by  circumstances  and 
relatives.  In  the  end,  she  gets  her  man  and  becomes  a 
Broadway  star,  but  the  real  interest  centers  in  Fannie's 
songs.     She  does  her  entire  repertoire  of  favorites. 

Miss  Brice  is  not  another  Al  Jolson.  Her  acting  and 
personality — when  she  isn't  making  a  paste  song  into  a 
diamond — isn't  very  compelling.  The  real  acting  honors 
go  to  Edna  Murphy.  Miss  Murphy  is  e.xcellent  as  the 
selfish  little  sister.  Guinn  Williams  is  the  awkward  window 
demonstrator  who  is  my  man.    This  is  a  three-quarters  talkie. 

47 


Sound   or   Silent,  You  Will   Find   the 


DESERT 

NIGHTS— 

M.-G.-M. 


SQUARE 

SHOULDERS 

—Pathe 


WHOE\'ER  is  to  blame  for  putting  Jack  Gilbert  in  this 
vehicle  should  be  spanked.  Although  he  hates  the  word 
himself.  Jack  is  romantic.  He  is  also  a  great  actor.  But  he 
isn't  romantic  with  a  five-day  beard;  and  the  story,  involving 
three  people,  two  of  them  diamond  thieves,  in  a  trek  through 
an  African  desert,  gives  him  little  chance  for  trouping.  Mary 
Nolan  and  Ernest  Torrence  give  good  performances. 


A  SPLENDID  picture  without  a  leading  woman.  The  story 
is  simple,  direct,  and  full  of  the  natural  drama  of  a  boy's 
hero-worship  of  his  father.  A  drunken  bum,  an  ex-war  hero 
believed  dead,  stumbles  across  his  own  kid  selling  papers. 
Ashamed  of  his  condition,  the  hobo  conceals  his  identity,  but 
makes  the  dream  of  the  newsie's  life  come  true.  Louis  Wol- 
heim  gives  a  penetrating  character  study  of  the  prodigal  father. 


WOLF  SONG 
— Paramount 


i 


FUGITIVES - 
Fox 


MOUNT.MNS  and  trees  don't  make  a  picture,  even  with 
sound  effects,  so  "Wolf  Song"  won't  keep  the  wolf  away 
from  Paramount's  door.  Gary  Cooper,  don't  you  ever,  ever 
wear  Davy  Crockett  clothes  again!  Trappers  are  good  hunters 
but  terrible  tailors.  And  Lvpe,  you  sing  beautifully,  but  such 
placid  and  restrained  acting!  This  time  we'll  blame  the 
director,  but  don't  do  it  again. 


THIS  Richard  Harding  Davis  story,  probably  quite  new  and 
thrilling  when  first  written,  today  becomes  the  conventional 
formula.  Cabaret  girl  falsely  accused  of  crime  flees  to  fugitive 
port  to  be  rescued  by  Horatio  Algeresque  district  attorney  who 
convicted  her.  Madge  Bellamy,  splendid  in  "Mother  Knows 
Best,"  and  Don  Terry,  superb  in  "Me,  Gangster,"  seem  to  feel 
the  mediocrity  of  the  story. 


NOTHING 
TO  WEAR- 
Columbia 


I  CLEAR  THE 

DECKS— 
Universal 


LIGHT  but  sophisticated  wardrobe  farce  about  a  sweet 
sugar  mamma  with  all  the  clothes  in  the  world,  yet  with 
nothing  to  wear.  She  becomes  clandestinely  involved  with 
a  bachelor  with  one  fur  coat  (which  doesn't  belong  to  him). 
Bryant  Washburn  is  the  gentleman  afflicted  with  the  female 
dilemma;  other  players  include  Jacqueline  Logan,  Jane  Winlon 
and  Theodore  von  Eltz.    Titles  save  the  picture. 

45 


AN  attempted  steamer  farce,  incorporating  Universal's  pet 
gag  for  Reginald  Denny — mistaken  identity — which  totters 
on,  regardless  of  old  age.  This  time  he's  an  obliging  fellow  who 
takes  a  health  cruise  to  save  his  pal  from  being  disinherited. 
Complications  set  in  with  the  nurse  hired  for  the  invalid,  an 
irrelevant  necklace,  and  love  at  first  sight.  But  Denny  gets 
over  not  because  of,  but  in  spite  of,  the  script. 


First  and   Best  Screen   Reviews  Here 


LUCKY  BOY 

—Tiffany- 
Stahl 


m 


m- 


PREP  AND 
PEP— Fox 


] 


THIS  is  a"  direct  but  left-handed  descendant  of  Jolson's 
"Jazz  Singer."  In  it  George  Jessel  plays  the  little  singing 
boy  who  defies  his  sweet  poppa  and  momma  and  becomes  a 
mammy  singer,  winning  fame,  fortune  and  a  pretty  blonde 
in  the  last  reel.  It  is  a  silent  picture  patched  and  vulcanized 
with  sound  and  talk,  and  Jessel  sings  several  songs,  the  theme 
number  being  a  tear-oozer,  "My  Mother's  Eyes." 


ANOTHER  story  of  youth  in  a  military  academy,  featuring 
David  Rollins  and  Nancy  Drexel.  It  concerns  a  boy  who 
started  in  at  Culver  with  great  things  expected  of  him  because 
his  father  was  once  its  foremost  athlete.  He  causes  many 
disappointments  but,  with  a  little  encouragement  from  the 
colonel  and  his  charming  daughter,  he  conies  through  an<l 
makes  good.     Plenty  of  boyish  pranks  and  humor. 


THE 

DRIFTER- 

FBO 


TROPIC 

MADNESS- 

FBO 


TOM  MIX  is  bowing  out.  The  jingle  of  his  spurs  will  soon 
be  an  echo,  the  sight  of  his  ten  gallon  hat  just  a  memory. 
Vaudeville  is  caUing  him.  He'll  probably  break  little  glass 
balls  with  a  rifle.  "'The  Drifters"  is  his  cinema  swan  song — 
his  last  picture  on  his  last  contract.  Unfortunately,  it  won't 
emblazon  the  famous  Mix  initials  in  film  history.  Just  another 
Western,  but  send  the  kids  anyway,  just  to  see  the  aeroplane. 


A  RACY  Anglo-South  Sea  picture  which  is  well  written, 
directed  and  acted.  Of  course,  it  erupts  turbulent  melo- 
drama from  the  opening  suicide  to  the  finish,  when  a  dis- 
gruntled volcano  shoots  the  works.  A  London  butterfly  loses 
her  child  through  neglect.  Sobered  by  the  jolt,  she  searches 
six  years  for  the  boy,  who  has  been  secretly  sent  to  her  hus- 
band's best  friend  in  the  tropics.     Leatrice  Joy  is  good. 


BROADWAY 
FEVER- 

Tijfany-Stahl 


THE 

REDEEMING 
SIN— Warners 


THERE  is  little  Broadway,  and  no  fever,  to  Sally  O'Neil's 
latest  spasm  of  cinematicuteness.  The  O'Neil  plays  a 
stage-struck  maid  who  spends  most  of  her  time  keeping  Roland 
Drew  (leading  man)  out  of  the  claws  of  the  blonde  menace. 
Incidentally,  Sally  skulldugs  her  way  to  the  footlights.  Sally 
is  the  usual  skittish  ingenue  and  Drew  is  harmless  enough.  If 
this  is  Broadway,  we'll  take  Main  Street,  Baraboo,  any  time. 


THIS  is  an  audience  picture.  If  you  like  Latin  Quarter 
atmosphere  and  religious  hysteria,  you'll  like  this.  Mo- 
ments of  rare  beauty  are  furnished  by  the  photography.  There 
are  inconsistencies:  Conrad  Nagel,  with  a  knife  in  his  back,  is 
shoved  into  a  Paris  sewer.  Dolores  Costello  falls  on  her  spine 
from  a  two-story  building.  Both  live.  The  Lord's  prayer  is 
recited  for  the  lirst  time  on  the  screen.    [  cont'd  on  page  72  1 

49 


^ hat  Are  Your 

Correct  Colors? 


THIS  month's  Photoplay  cover  is  a  color  chart  for  blonds.  And 
the  following  article,  together  with  the  keyed  chart,  will  be  an 
invaluable  aid  to  you  in  choosing  becoming  clothes,  if  you  are  a 
blond.  Miss  Laurene  Hempstead,  an  expert  in  color  harmonies, 
is  writing  a  series  of  four  articles  on  color  for  the  four  different 
types  of  feminine  beauty — brunette,  blond,  red-haired  and  broivn- 
haired.  This  is  the  second  of  these  fascinating  articles.  Next 
month  Miss  Hempstead  will  write  about  the  color  problems  of  the 
red-haired  girl. 

COLORS  ALTER  THE  FIGURE  AS  WELL  AS 
THE  FACE  OF  THE  WEARER 

COLOR  may  affect  both  the  apparent  size  and  shape  of 
the  figure  as  well  as  add  life,  vitality  and  interest  to  the 
face.  Although  colors  should  be  carefully  chosen  with 
specific  reference  to  the  exact  coloring  of  the  individual, 
their  effect  upon  size  and  silhouette  must  likewise  be  con- 
sidered. Every  woman,  young  or  old,  should  eliminate  from 
her  wardrobe  all  colors  which  make  her  figure  appear  to  dis- 
advantage, choosing  only  those  which  enhance  her  face,  and  her 
figure  as  well. 

Light  colors  reflect  light.  Objects  of  light  colors  for  this 
reason  appear  much  larger  than  their  actual  dimensions.  Light 
colors,  however,  against  a  light  background,  tend  to  conceal  the 
silhouette,  frequently  making  the  figure  appear  smaller  by 
making  it  less  conspicuous. 

Dark  colors  have  an  almost  entirely  opposite  effect.  They 
markedly  decrease  size, 
making  the  figure  appear 
smaller,  more  slender,  while 
against  the  average  light 
background  they  reveal  the 
silhouette.  Therefore,  while 
the  figure  appears  more 
slender,  bad  proportions  are 
relentlessly  revealed.  Dis- 
proportionately large  hips  or 
large  bust  will  seem  more 
evident  even  though  the 
figure  seems,  as  a  whole, 
smaller. 


VIVID  brilliant  colors, 
like  light  ones  andshin>' 
surfaces,  reflect  light.  They 
seem  to  advance,  to  be 
nearer  the  observer,  there- 
fore they  make  persons  cos- 
tumed in  them  appear  larger. 
The  silhouette,  likewise,  be- 
comes more  conspicuous  in 
vivid  colors,  thereby  accent- 
ing the  proportions  of  the 
figure,  whether  good  or  bad. 
Therefore,  only  the  woman 
who  knows  the  outlines  of 
her  figure  to  be  pleasing,  be- 
yond question,  should  at- 
tempt to  wear  an  entire 
dress  or  coat  of  an  e.xtremely 
vivid  color.  Dulled,  grayed 
or  more  neutral  colors  are 
much  more  easily  worn,  as 
they  not  only  seem  remote, 

50 


making  the  wearer  appear  smaller,  but  they  do  not  emphasize 
the  outlines  of  the  figure. 

Reds,  oranges,  yellows,  the  colors  of  the  sun,  of  fire,  the  so- 
called  warm  colors,  are  aggressive,  advancing.  They,  like  vivid 
colors  of  any  hue,  seem  near,  thus  warm  colored  objects  seem 
larger  than  those  of  cool,  receding  colors,  such  as  blues  or  greens. 
A  warm,  vivid  color  will  markedly  increase  the  size  of  the 
wearer,  while  a  cool,  dull  grayed  color  will  decrease  it. 

HAVING  considered  color  in  relation  to  the  possibilities  and 
limitations  of  her  figure,  every  girl  should  coordinate  a  list  of 
colors  flattering  to  both  her  face  and  figure,  keeping  constantly 
in  mind  the  basic  rule  that  colors  must  harmonize  with  the 
actual  flesh  tints,  which  may  be  either  a  red  that  is  slightly  red- 
orange  rather  than  a  pure  red,  or  slightly  red-violet,  seldom  a 
pure  red.  The  brunette  types,  with  warm  color,  have  flesh  tints 
which  are  red-orange  in  tone,  as  analyzed  in  the  February  issue 
of  Photoplay. 

The  coloring  of  the  blond  is,  in  several  respects,  opposite  to 
that  of  the  brunette.  Not  only  are  her  hair,  her  skin,  her  eyes, 
light,  where  those  of  the  brunette  are  dark,  but  her  coloring  is 
cool  in  effect.  The  flush  on  her  cheeks  and  lips  is  red-violet,  a 
lightly  bluish  rather  than  a  pure  red  or  red-orange.  The  back- 
ground color  of  the  skin  has  less  warmth,  being  nearer  white  but 
in  reality  a  pale  yellow,  cooler  than  the  darker,  more  orange 
skin  of  the  brunette.  The  blond's  eyes,  of  blue,  blue-green, 
green  or  gray  are  likewise  cool  where  those  of  the  brunette  are 
most  frequently  a  warm  orange  or  brown.     The  hair  of  the 

blond  is  yellow,  itself  a  warm 
color,  but  because  it  is  light, 
near  white  in  value,  and  be- 
cause the  yellow,  in  hair  of 
natural  coloring,  is  a  sub 
dued  rather  than  intense 
yellow,  the  predominant 
color  of  the  individual  re- 
mains cool. 


Ti  yfORE  than  any  other 
-^' -^-type,  the  blond  is  de- 


pendent on  correct  color 
harmonies  to  set  off  her 
natural  loveliness.  Too 
vivid  colors  will  over- 
whelm her  individuality. 
Flat  neutral  tones  will 
make  her  seem  uninter- 
esting. With  an  effective 
choice  of  colors,  the  blond 
may  outshine  her  darker,  more  vivid  sisters — 
if  she  knows  her  color  harmonies.  In  this 
article,  girls  with  light  hair  and  eyes  will  find 
a  complete  analysis  of  their  coloring  and  a 
solution  to  their  dress  problems.  Do  you 
know  how  to  increase  the  blue  in  your  eyes 
and  how  to  add  life  to  your  hair?  This  article 
explains  how,  by  studying  your  coloring,  you 
may  add,  not  only  to  your  attractiveness,  but 
to  your  happiness. 


IT  is  not  enough  to  say 
that  a  person  is  cool  in  col- 
oring, or  that  she  is  blond. 
There  are  numerous  varia- 
tions of  the  blond  coloring. 
The  girl  who  complacently 
calls  herself  a  blond  without 
analyzing  the  actual  color- 
ing of  her  skin,  her  hair,  her 
eyes,  selecting  colors  from 
an  arbitrary  list  supposed 
to  be  becoming  to  blonds,  is 
as  likely  to  find  that  she  is 
accentuating  her  defects 
rather  than  her  best  fea- 
tures. She  may  wear  blue 
believing  that  it  will  in- 
crease the  apparent  amount 
of  blue  in  her  eyes,  or.  she 
may  even  be  aware  that 
blue,  being  complementary 
to  yellow,  will  make  her  hair 
more  golden,  yet  she  may 
ignore  the  fact,  so  obvious 
to  everyone  who  sees  her, 
that  intense  blues  increase 
the  amount  of  yellow  in  her 


jif  you  are  a 
blond,  here 
is  an  article 
that  will  tell 
you  how  to 
make  the 
most  of  your 
natural  col- 
oring 

By 

haurene 
Hempstead 


skin.  A  softer,  more  grayed  blue 
might  be  flattering  to  her  hair  ami 
eyes,  perhaps  even  more  so  than 
the  brighter  blue.  An  intense 
blue  might  make  the  eyes  appear 
faded  by  contrast,  at  the  same 
time  making  the  skin  appear  clear 
and  creamy,  rather  than  a  more 
pronounced  yellow.  A  soft  green 
might  be  more  nearly  the  actual 
hue  of  her  eyes,  and  be  more 
flattering  than  any  blues,  how- 
ever soft  and  beautiful. 

Although  there  are  many  varia- 
tions of  blond  coloring,  almost  as 
many  as  there  are  blonds,  they  may  usually  be  classified  either 
as  drab,  neutral,  colorless  blonds,  or  as  colorful  vivid  blonds. 
The  drab  blond,  by  keeping  her  hair  bright  and  shining,  at  its 
brightest  natural  color,  or  perhaps  brightened  by  skillful 
artifice,  her  complexion  as  clear  and  healthy  as  possible,  aided 
by  the  skillful  use  of  rouge,  may  more  nearly  approximate  the 
more  vivid  blond  types,  there  being  no  definite  boundary  line 
between  the  two  groups. 

THE  drab  blond  has  more  grayed  subdued  natural  coloring, 
her  hair  is  not  vividly  yellow,  but  rather  a  grayed  greenish 
yellow.  Her  skin  is  of  nearly  the  same  color  as  her  hair,  also  a 
light  dull  yellow.  Her  eyes,  while  of  a  different  hue,  are  also 
light  in  value,  possessing  little  contrast;  the  skin,  the  hair  and 
the  eyes  being  so  lacking  in  decided  contrast  that  the  indi- 
vidual's coloring  is  monotonous  and  uninteresting.  If  she 
wears  neutral  unimaginative  colors  she  loses  all  chance  of 
attaining  individuality,  appearing  uninteresting.  If,  on  the 
other  hand,  she  chooses  extremely  vivid  intense  colors,  they, 
being  so  much  more  powerful  than  her  own  personality,  will 
further  subdue  her  own  faint  coloring,  making  her  seem  even 
more  insignificant. 

The  pale  drab  blond  usually  finds  soft  grayed  cool  hues,  blue- 
violet,  blue,  blue-green  and  green  her  most  becoming  colors. 
Violet  and  red-violet,  having  slightly  more  warmth,  are  some- 


Photopl.W'S  cover  of  Marion  Davies  is  a  color  chart  for  blonds.  Save 
the  cover  and  save  this  key  to  the  colors.  1.  Blue,  medium  value,  slightly 
neutralized.  2.  Much  softened  or  grayed  red-violet — an  orchid  shade. 
3.  Red-violet  of  medium  value,  somewhat  neutralized.  4.  Green-blue, 
nearer  blue  than  green.  5.  Red-orange,  softened  and  of  light  value. 
6.  Green,  medium  value,  somewhat  grayed.  7.  Blue,  somewhat  grayed. 
8.  Blue-green,  more  green  than  blue — a  subtle,  in-between  shade 


times  becoming,  though  they  are  more  difficult  to  wear,  par- 
ticularly if  there  are  dark  tinges  in  the  skin.  Even  cool  colors 
must  be  softened,  partially  grayed  or  neutralized.  They  should 
either  be  very  pale,  definitely  lighter  than  the  skin,  or  enough 
darker  to  form  a  contrast,  making  the  skin  appear  lighter  and 
clear.  When  light  or  medium  values  offering  little  contrast 
with  the  coloring  of  the  wearer  are  employed  in  the  costume,  an 
accent  of  darker  color  should  be  used  near  the  face  to  give  it 
character  and  emphasis.  Black  or  large  areas  of  dark  neutral 
colors  absorb  the  color  from  the  face,  making  it  seem  even  more 
colorless. 

VIVID  warm  colors  should  always  be  avoided  for  they  sub- 
merge the  wearer,  causing  one  to  see  the  costume,  not  the 
individual.  Soft,  very  much  neutralized  middle  and  dark 
values  of  warm  color,  soft  rose,  may,  if  very  subtle  and  sub- 
dued, reflect  their  warm  color  into  the  face  of  the  pale  blond, 
increasing  her  apparent  color.  In  most  instances,  reds  with  a 
slightly  cool  or  red-violet  cast  are  more  becoming  than  those 
which  are  red  or  red-orange,  although  the  latter,  if  softened  or 
grayed,  may  sometimes  be  wearable.  Very  dark  wine  reds, 
which  of  course  have  the  red-violet  cast,  are  frequently  the 
flattering  warm  colors  which  the  pale  blond  can  wear.  Orange 
and  yellow  are  usually  most  unbecoming,  for  they  will  not  only 
make  the  hair  look  dull  and  lifeless,  [  continued  on  page  104  ] 

51 


Intimate  Snapshots  of  Film  Favorites 

No.  2 

Adolphe  Menjou  Mislays  His  Favorite  High  Hat 


53 


Absent 

without 


eave 


John  Loder,  a  home- 
sick exile  from  Eng- 
land in  Hollywood, 
went  to  school  with 
a  prince 

By 

Eloise  Bradley 


IT  was  a  weary,  beating  hot  afternoon  in  Suez. 
A  military  messenger,  en  route  from  one 
British  camp  to  another,  stopped  in  the  road 
to  let  a  solitary  officer  pass.  The  messenger 
recognized  the  officer  and  pulled  up  his  own  horse. 
The  two  men  saluted. 

"I  DO  remember  your  face,"  said  the  officer. 

"Yes,  Your  Highness,"  said  the  messenger. 
"You  used  to  drive  over  from  Oxford  to  see  your 
brother  at  Eton.    I  was  in  his  house." 

"  Oh,  yes.  It's  good  to  see  you.  We're  very  far 
from  England,  aren't  we?  This  blazing  sun!  \A'hat 
would  you  give  to  see  the  streets  of  London  in  a 
good  dripping  fog?  How  serenely  the  lights  reflect 
themselves  on  the  wet  streets!" 

"And  the  theaters.  You've  just  come  down 
from  London.    What  are  the  best  plays  in  town?" 

"  A  rather  good  season.  Do  dine  with  me  tonight 
and  we'll  talk  about  everything." 

That  evening  John  Loder  and  the  Prince  of 
Wales  had  dinner  together  and  talked  of  London 
and  fog  and  new  plays  and  whatever  else  two  young 
Englishmen  talk  about  when  they're  in  the  army 
and  away  from  home  and  lonesome. 

John  Loder  is  tall  and  rather  blond  and  as 
English  as  a  crumpet.  He  was  brought  on  by  Para- 
mount, promised  leads  with  Esther  Ralston  and 
Bebe  Daniels,  given  a  role  in  "The  Doctor's 
Secret,"  another  in  a  Western  and  then  loaned  to 
work  for  Marshal  Neilan  in  a  talkie,  although  the 
soft  O.xford  accent  is  considered  a  handicap.  That's 
Hollywood.  Legitimate  actors  affect  British  ways. 
The  screen  should  be  proud  to  have  one  English 
actor  who  doesn't  drop  his  "  h's." 

He  comes  from  a  military  family  and,  when  he 
arrived  at  that  age  when  there  is  nothing  to  do 
with  a  boy  but  to  send  [  continued  on  page  140  ] 


Mr.  Loder  studied  at  Eton  and  Oxford.  He  served  in 
the  British  army.  He  wanted  to  be  a  business  man, 
but  Chance  made  him  an  actor.  And  Chance  also  led 
him  to  Hollywood,  far  from  the  friendly  fogs  of  his 
native  London 


53 


J/yot  Guilty 


A  pictorial  his- 
tory of  the 
charming  vil- 
lainies of  Mr. 
Powell  proving 
thattheevil  men 
do — in  the  mov- 
ies— is  often  re- 
membered after 
the  heroics  are 
forgotten 


"The  Last 

Command" 

—1927 


I; 


"Beau    Geste' 
—  1926 


Bill  Powell  declares 

he  is  not  a 

picture  stealer 

By 
Dorothy  Spensley 


timed  moment,  and  gets  a  laugh  or  a  jeer.  Naturally,  he 
seizes  your  interest.  You  admire  his  work  and  forget  the 
star  who  has  to  work  intimtely  harder  because  he  is  with 
the  audience  ail  of  the  time. 

"Of  course,  there  is  all  the  difference  in  the  world 
between  what  is  called  picture  stealing  and  scene  stealing. 
The  latter  is  almost  too  petty  to  discuss.    It  is  condemned 
by  all  reputable  actors.     It  may  give  you  momentary 
notice  but  no  great  career  was  ever  founded  upon  it. 
Such  niggardly  tricks  as  working  upstage  or  making 
unnecessary  movements  to  attract  the  eye  (pulling  out 
the  handkerchief,  for  example)  when  the  attention  of  the 
audience  should  be  on  another  char- 
acter, are  petty  practices  of  which  no 
self-respecting  player  would  be  guilty . 
I  have  known  players  who  would  do 
everything  but  wave  the  Stars  and 
Stripes  in  order  to  attract  attention 
to  themselves  in  scenes,  but  for  the 
most  part  they  don't  seem  to  meet 
with  continued  success  in  pictures." 
Richard  Barthelmess,  one  of  Bill's 
best  friends,  grinned  broadly. 

"Bill  a  picture  stealer?    Of  course. 

He  can't  help  it.     He  characterizes 

so  perfectly,  studies  and  prepares  for 

each    part    he 


"S  Bill  Powell  a  picture  stealer?" 
Eniil  Jannings  eyed  the  rice 
and  egg  concoction  on  his 
'plate,  meditatively.  "He  is 
an  unconscious  picture  stealer.  J  a, 
I  think  so.  Hecannot  help  it.  He 
has  that  from  Heaven.  It  is  a  gift 
of  the  Lord,"  raising  a  hand  to  the 
skies. 

That's  the  question  that  has  been 
bothering  Hollywood.  IMaking  it 
lose  sleep,  forget  to  eat.  Every 
time  Bill  Powell  appears  in  a  new 

picture  the  tributes  are  the  same.  "Bill  Powell  again 
steals  the  picture,"  "The  Powell  subtlety  is  again 
apparent.''  Placed  end  to  end  these  encomiums  would 
reach  from  here  to  there,  which  is  far  enough  when  you 
realize  that  Bill,  as  a  substantial  citizen,  must  live 
among  those  against  whom  he  is  alleged  to  have  com- 
mitted lens  larceny. 

Over  the  ginger  ale  and  ice  he  must  face  Dick  Barthel- 
mess and  Ronald  Colman  with  the  dark  secret  between 
them  that,  at  one  time  or  another,  he  has  been  guilty 
of  extracting  applause  from  one  of  their  pictures.     A  "Romola" 

deucedly  unpleasant  circumstance  for  any  man.  — 1924 

What  has  William  Powell  to  say  for  himself?  What 
has  he  to  say  after  his  superb  performance  of  Phillip  Voaze  in  "Interference;" 
as  Froggie  in  "Forgotten  Faces;"  as  Baldini  in  "Beau  Geste"?  After  his 
memorable  appearance  in  "Senorita,"  "The  Last  Command,"  "The  Bright 
Shawl,"  "Romola,"  and  in  the  twenty-si.x  pictures  he  has  made  in  the 
last  three  years  since  he  has  been  contracted  to  Paramount?  And  in  the 
entire  six  years  that  he  has  been  on  the  screen? 

"There  is  no  such  thing,  actually,  as  picture  stealing,"  said  Bill,  pausing 
to  permit  the  bombshell  to  explode. 

"Some  roles  are  more  powerful  than  others.  They  are  better  high-lighted. 
Attention  is  focused  on  them.  The  audience  thinks  one  person's  acting  is 
finer  than  the  others'.  Often  the  other  characters  are  sacrificed  to  point  up 
that  person's  role  for  the  good  of  the  production.  Thus  his  work  seems 
superior  and  he  is  credited  with  stealing  the  picture. 

"Again  it  will  be  a  small  dog,  a  little  child,  the  antics  of  a  monkey  that 
will  steal  a  picture.    You  can't  say  that  is  premeditated. 

"Frankly,  I  think  the  phrase  'picture  stealing'  was  coined  by  the  critics  as  a  facile  phrase  to 
toss  additional  bouquets  to  a  particular  actor.  It's  a  neat  little  phrase,  and  nifty.  It  is  obviously 
well-intentioned  but  sometimes  it  becomes  devilishly  unpleasant.  A  person  is  apt  to  be  greeted 
with  the  defensive  attitude  of  'Ah  ha!  Bring  on  the  picture  stealer!'  This,  however,  has  been 
exceedingly  rare  in  my  experience. 

"Another  thing  that  is  seldom  taken  into  consideration  when  a  minor  character  is  said  to  have 
run  off  with  the  honors  of  a  picture,  is  that  the  star  is  working  under  a  handicap.  He  carries  the 
full  weight  of  the  picture,  is  on  the  screen  almost  all  of  the  time  and  must  sustain  the  interest  of 
the  audience.    A  so-called  'picture  stealer'  flashes  in  and  out  like  a  rapier  thrust  at  a  perfectly 

54 


plays.  He  can't 
help  but  attract 
the  most  favor- 
able attention. 
"Why,  I 
know  that  if 
Bill  were  play- 

[  COXTINUED 
ONP.AGE  103  ] 

"When 

Knighthood 

Was  in 

Flower"— 1922 


"The  Brissht 
Shawl"— 1923 


Hommel 


S 


ILL  POWELL  is  a  kindred  spirit."  says  Emil  Jannings.  And  that  is  one  of  the  reasons 
why  the  really  big  stars  like  to  have  Bill  in  their  pictures,  even  at  the  risk  of  sacrificing  some 
of  their  own  glory.    Here  is  an  actor  who  knows  his  trade  and  here  is  a  trouper  who  is 

also  a  good  sportsman. 


Manatt 


w- 


'HEN  a  leading  man  is  an  awfully  good  leading  man  and  is  in  high  favor,  the  producers 
allow  him  to  plav  opposite  Greta  Garbo  by  way  of  reward.    So,  just  before  he  sailed  for 
Europe,  Nils  As'ther  appeared  with  Greta  in  a  story  of  Javanese  love.    And,  from  this 
picture,  you  can  hardly  tell  it  from  any  other  kind  of  love. 


omethin. 
About 

Myself 


As  told  to 
Katherine    Albert 

by  Nils  Asther 


Marriage  —  Friendship — 

Romance.   And  also  a  few 

reflections  on  Hollywood 

and  movie  stardom 


A  lonely,  iiiikappy  childhood  in  Sweden.  Then,  at  the  age  of 
fourteen,  a  sudden  ambition  to  become  associated  with  the  theater. 
These  events  Nils  Asther  related  in  the  first  chapter  of  his  Life 
Story.  With  his  first  European  stage  success,  Asther  plunged 
into  a  gay  and  bohemian  life,  as  a  reaction  against  his  somber 
childhood.  Under  interesting  circumstances,  he  meets  Djalmer 
Bergman,  the  writer  and  philosopher,  who  was  destined  to  have  a 
fine  influence  on  his  career.  Now  continue  with  the  final  in- 
stallment of  Mr.  Asther's  Life  Story. 


"I  do  not  want  to  be  the  hero  in  pictures.     I  do 
not  want  to  be  a  great  lover.    I  want  to  do  char- 
acter parts,  to  put  on  a  beard,  if  necessary,  and 
line  my  face" 


CHAPTER  II. 

DJ.ALMER  BERG^NI.AN'S  wife  told  me  that  the  night 
before  our  meeting  (they  had  just  come  up  from  Italy, 
where  they  had  been  living,  to  Stockholm)  he  had 
dreamed  of  a  certain  street  where  there  was  a  res- 
taurant. He  had  also  thought  that  he  had  gone  into  this 
particular  cafe,  and  there  had  entered  and  had  found  a  man 
who  looked  exactly  like  me.  The  name  he  did  not  know,  nor 
did  he  know  that  he  was  a  film  actor,  but  the  features  he 
remembered  perfectly. 

Being  a  cynic  and  a  sophisticate  he  would 
not  believe  in  the  superstitions  of  dreams, 
but,  nevertheless,  he  went  to  the  street  he 
had  seen  so  clearly  and  there  discovered  the 
cafe  he  had  visualized.  Upon  entering  he 
found  me  sitting  at  a  table. 

He  was  shocked  and  surprised  and  could 
not  resist  speaking  to  me.  Lucky  I  was,  for 
a  great  bond  of  friendship  between  me  and 
Bergman  and  his  wife 
was  cemented.  I  was 
the  first  person  to  be 
admitted  to  their 
home,  the  first  per- 
son, with  the  excep- 
tion of  the  servants, 
with  whom  they  had 
talked  for  years.  I 
held  their  confidence 
and  they  held  mine. 
More  and  more  the 
life  I  was  leading 
wearied  me  and  I 
turned    to    them    for 


Mr.  Asther  in  an 
airplane  scene  in 
one  of  the  pictures 
he  made  for  UFA. 
It  was  in  Berlin 
that  Nils  made  his 
biggest  hit  and  his 
German  films  re- 
sulted in  his  ob- 
taining an  Ameri- 
can contract 


57 


Some  adventures  of  a  romantic  young  ma 


n 


Another  publicity  picture  of  the  UFA  days — Nils 
Asther  with  his  German  cook.  Asther  was  so 
popular  on  the  continent  that  he  was  able  to  ask 
— and  get — a  salary  that  staggered  the  producers 


mental  stimulus  and  for  warm  friendship.  They  both  saw  how- 
petty  it  was  to  be  a  puppet  for  a  camera  as  I  was  beginning  to 
see,  and  it  was  then  that  I  again  cherished  the  idea  of  going  on 
the  stage. 

Nor  would  I  be  content  with  doing  something  small.     I 
cherished  the  idea  that  I  should  play  Ibsen's  "Ghosts." 

It  was  a  beautiful  tribute  to  our  friendship  that 
Mrs.  Bergman  did  not  laugh  at  me.  She  was  the 
daughter  of  August  Lindberg,  the  great  actor  who 
had  created  the  role.  Her  mother,  Augusta  Lind- 
berg, owned  the  Swedish  rights  to  the  play,  but  her 
daughter  at  last  persuaded  her  to  allow  me  to  trans- 
late it  from  the  Norwegian  and  I  hoped  that  I 
might  persuade  Augusta  to  take  me  as  a  pupil.  How 
ambitious  I  was!  Augusta  Lindberg,  then  a 
middle-aged  woman,  is  the  Sarah  Bernhardt  of 
Sweden. 

NOW  I  must  tell  the  existing  relationship  between 
Mrs.  Bergman  and  her  mother.  Because  of  the 
eccentricities  of  Bergman,  the  great  actress  had 
never  been  invited  to  the  home  of  her  daughter 
and  son-in-law  and  naturally  the  older  woman  was 
jealous  that  I,  a  mere  puppet,  a  cinema  actor,  had 
found  the  friendship  of  her  daughter  and  her  strange 
husband.  Nor  do  I  blame  her  for  this,  yet  I  was 
innocent.  A  stupid  dream  had  led  me  to  meet 
these  people  who  suddenly  became  woven  into  the 
pattern  of  my  existence. 

Augusta  was  finally  persuaded  to  hear  me  read 
"Ghosts." 

I  shall  never  forget  the  day.  The  elderly  lady, 
jealous  of  me  to  the  point  of  hatred,  enthroned 
herself  in  an  easy  chair  like  a  queen.  She  sat  in  the 
same  room  where  her  famous  husband  had  once 
studied  the  lines  of  this  same  play.  Her  face  was 
free  of  all  expression. 


The  atmosphere  was  electric.  She  did  not  approve  of  me 
and  she  had  only  consented  to  this  hearing  because  of  her 
daughter's  insistent  requests.  I  did  my  own  translation  and 
when  I  had  finished  Augusta  said  in  a  hard  voice,  "Very  well, 
I'll  take  care  of  you  and  train  you  for  the  stage."  And  she 
left  the  room.     From  then  on  our  friendship  grew. 

EITHER  I  or  the  dream  of  Bergman  brought  the  two  fam- 
ilies together.  Augusta's  son,  Lorenz,  had  started  an  art 
theater  in  Gutenberg,  patterned  after  the  Stanislavsky  theater 
in  Moscow  and  I  became  a  part  of  this. 

It  is  with  a  feeling  of  awe  that  I  speak  of  the  months  to 
follow.  They  were  like  the  stanzas  of  an  idyllic  lyrical  poem. 
I  was  happier  for  a  longer  period  of  time  than  I  have  ever 
been  in  my  life. 

In  the  first  place  the  theater  gave  me  complete  joy.  There 
were  banded  together  some  of  the  finest  artists  in  Scandinavia, 
the  greatest  playwrights  and  actors.  We  did  the  sort  of 
things  that  we  wanted  to  do.  Moliere,  Strindberg,  Shakes- 
peare— dear  names  the  very  mention  of  which  has  the  power 
to  fill  me  with  a  sense  of  beauty. 

One  actor  was  no  more  conspicuous  than  another.  There 
were  no  httle  jealousies.  One  night  I  played  the  leading  role, 
the  next  night  I  was  a  servant.  One  evening  I  was  a  young 
man,  the  next  night  I  was  a  doddering  grandfather.  I  was 
divinely  happy  in  my  work  and  my  personal  life  as  well. 

.\nd  now  I  speak  of  The  Island! 

I  cannot  contemplate  it  without  mixed  emotions.  I  am 
both  happy  and  sad  at  the  thought  of  it,  happy  in  living 
again  in  memory  of  those  halcyon  days,  sad  that  they  came 
to  an  end. 

Augusta  and  Lorenz  Lindberg,  Mr.  and  Mrs.  Bergman  and 
I  bought  an  island  near  Gutenberg.  It  was  ours — all  of  it — 
and  there  no  one  could  come  unless  especially  invited  by  us. 
One  arrived  at  the  island  in  a  little  motor  boat. 

THERE  were  three  houses,  in  which  was  everything  for  our 
comfort,  but  there  were  no  telephones,  no  electric  lights, 
no  mirrors  in  the  place.     The  men  did  not  shave  and  the 
women  used  no  powder  nor  make-up  of  any  sort. 
We  served  no  liquor  and  none  of  us  smoked.     Our  enjoy- 
menf  lay  simply  in  talk,  good,  honest  innocent  talk.      Perhaps 
it  was  not  of  the  most  profound,  but  we  settled  all  the  ques- 
tions of  the  universe  to  our  own  complete  satisfaction. 

"Oh,  happy  days  and  happy  nights,  sacred  to  art  and  friend- 
ship." [  CONTI.NUED  ON  PAGE  98  ) 


The   happy  days  on   the   "Island."     Djalmer  Bergman, 

noted  writer,  is  at  the  left  and  Asther  is  at  the  right.    In 

the  center  is  one  of  the  few  guests  who  were  invited  to  visit 

their  select  retreat 


58 


EELING 


Ar 


OUND 


w 


i  th 


Leonard   Hall 


Yes,  You,  Jolson! 

Londy  mommas  having  pains. 
Poppas  sweet,  but  out  of  brains — 

Stony  blondes  and  babies'  arms, 
Comics  Matting  tunes  from  Harms'- 

Groaning  moony  mammy  songs, 
Gushing  over  petty  wrongs — 

Jolson,  Fannie  Brice  and  Jesse! — 
Each  a  weak,  bombarded  vessel! 

Oh,  the  drivel,  bunit  and  goo 
Tliat  we  liave  to  paddle  (liroiigh! 

"Pictures  that  you  must  not  miss!" 
Bah!  "Jazz  Singer,"  vou  did  this! 


Anything  for  a  Laugh 

Francis  X.  Bushman's  secretan,'  badly  hurt  by  falling  into  his 
outdoor  swimming  pool.  .  .  .  No  doubt  the  water  had  been 
attached  for  back  alimony.  .  .  .  Somebody  wants  a  Greta 
Garbo  picture  called  "The  Clinging  Fool."  .  .  .  Rosie  Pels- 
wick  wants  a  "Noah's  Ark''  theme  song  called  "I  Wouldn't 
Noah  'Bout  That,"  but  she  won't  get  it.  .  .  .  Aimee  McPher- 
son  said  to  be  getting  S50.000  for  a  talking  picture.  .  .  .  With 
those  ankles  she  should  pay  a  bonus.  .  .  .  Lupe  \'elez  wore  a 
boopskjrt  while  filming,  it  caught  fire  and  she  was  slightly 
toasted.  .  .  .  This  department  has  always  held  that  in  Lupe's 
case  it  couldn't  be  long.  .  .  .  Erich  von  Stroheim,  Jr.,  is  work- 
ing in  a  picture  called  "Square  Shoulders."  .  .  .  Just  a  sliver 
off  the  old  square-head.  .  .  .  Dick  .\rlen  is  now  mayor  of 
Toluca  Lake,  near  Hollywood.  .  .  .  The  big  Toluca!  .  .  .  The 
Japanese  are  said  to  prefer  their  own  pictures  to  HoUywood's. 
.  .  .  Well,  who's  giving  them  an  argument?  .  .  .  Hope  Hamp- 
ton has  made  her  grand  opera  appearances  in  "JNIanon"  and 
'"La  Boheme."  .  .  .  Films,  stage,  opera.  .  .  .  While  there's 
Life,  evidently,  there's  Hope — Hampton. 


Riegels'  Run 

It  took  this  nook  to  find  out  why  Football  Player  Riegels  of 
California  ran  75  yards  towards  his  own  goal  line  in  the  game  with 
Georgia  Tech. 

Alice  White  was  the  Georgia  team's  mascot,  and  Mr.  Riegels  was 
merely  running  home  to  mother. 


^ 


Getting  Personal 

Kalla  Pasha's  real  name  may  or  may  not  be  KaUa  Pasha,  but 
do  you  really  and  truly  care,  way  down  deep  in  your  heart?  .  .  . 
George  Jessel's  nickname  is  "Sad  Eyes."  .  .  .  Clara  Bow  has 
gained  si.x  pounds.  .  .  .  She  evidently  missed  a  Lucky  and 
grabbed  a  Sweet.  .  .  .  Tom  Mi.x  has  bought  himself  a  jade- 
green  Rolls-Royce.  .  .  .  Tony,  the  Wonder  Horse,  is  drinking 
himself  to  death.  .  .  .  Adolphe  Menjou  is  fond  of  crapshooting. 
...  I  thought  mauve  spats  were  his  weakness  now.  .  .  .  Lon 
Chaney's  hobby  is   cooking.  .  .  .  The   Man  of  a  Thousand 


"No,  sir,  George,  what  these  dames  see  in 

fellers  like  Ramon  Gilbert  and  John  Novarro 

is  more  than  I  can  figger  out!" 


Omelettes.  .  .  .  Poor  Raoul  Walsh  really  did  lose  an  eye.  .  .  . 
Anita  Loos,  author  of  "  Gentlemen  Prefer  Blondes,"  wears  sus- 
penders. .  .  .  Evidently  ladies  prefer  galluses.  .  .  .  Vilma 
Banky  wears  nine  petticoats  in  her  new  movie,  "  Childs',  Fifth 
Avenue."  .  .  .  .After  scouring  Hollywood,  three  had  to  be 
brought  from  New  York.  .  .  .  Lily  Damita  is  a  Wampas  Baby 
Star  candidate.  ...  If  she's  a  baby  star,  I'll  be  born  a  week 
from  Tuesday.  .  .  .  William  Haines'  voice  was  sent  to  New 
York  in  seven  minutes  from  the  west  coast.  .  .  .  What  do  you 
e-xpect  of  such  a  bright  boy?  .  .  .  The  home  of  Fred  Niblo  and 
Enid  Bennett  is  called  "lilisty  Mountain."  .  .  .  There  are  no 
film  theaters  at  the  headwaters  of  the  Amazon.  .  .  .  TheRoxy 
Theater  in  New  York  furnishes  mascara  to  women  who  sob  at 
its  pictures.  .  .  .  Yvonne  !Mulcahey  is  Hollywood's  newest  bet 
among  the  youngsters.  .  .  .  Jackie  Coogan  ate  too  much  over 
the  holidays  and  was  sick  in  London  and  the  stomach.  .  .  . 
MoUv  O'Day,  having  had  her  fat  amputated,  was  rewarded 
with  no  contract  anywhere.  .  .  .  Her  sister,  Sally  O'Neil,  is  in 
presentations.  .  .  .  George  O'Brien  and  Lois  Moran  are  per- 
manently teamed  as  billers  and  cooers  by  Fox.  ...  It  seems 
there  were  a  couple  of  Swedes.  .  .  .  Wallace  Beery  has  never 
won  a  beauty  contest  at  an  Elks'  picnic.  .  .  .  Mary  Pickford 
has  never  studied  the  piccolo. 


Soprano  or  Nothing 

A  movie  lady  baritone 

Sat  ill  a  corner,  quite  alone. 

"The  worst  of  all  my  business  ills. 
Is  that  I  sound  like  Milton  Sills. 

"No  jobs  for  me,  however  gifted. 
Until  I  have  my  larynx  lifted!  " 


59 


M 


ORE 


T 


EARS, 


Miss  Hulette  is  now  appearing  in  the  stage 
play,  "Tlie  Little  Accident."  She  knows  her 
theater  and  her  movies.  As  a  child,  she 
played  in  "The  Blue  Bird."  Going  on  the 
screen,  she  was  one  of  the  stars  of  the  old 
Edison  Company 


E\'ERYONE  is  familiar  with  the  skyrocket  actress  of  the 
movie  novels.  She  wins  fame  and  fortune  over  night 
and  her  life  is  a  beautiful  merry-go-round  of  glittering 
motor  cars,  diaphanous  gowns  and  ardent  lovers!  Once 
in  a  while  she  takes  a  few  minutes  off  to  act  in  one  of  her  super 
productions. 

No  one  would  believe  the  truth  about  the  lives  of  picture 
stars.  No  fan,  who  saw  the  seductive  Leatrice  Joy  on  the 
screen,  would  suspect  that  she  left  her  love  scenes  to  rush  home 
and  nurse  her  baby.  .Such  scandal  would  never  reach  the  first 
page  of  the  tabloids.  Who  would  pay  two  cents  to  read  that  the 
glamorous  Leatrice  is  just  like  Mrs.  Smith  or  Mrs.  Jones  when 
it  comes  to  saving  the  young  heir  of  the  family  from  the  bottle? 

60 


An  actress  writes 
intimately  about  the 
less  glamorous  side  of 
being  a  movie  star 


Sudden  rise  to  fame  and  fortune  of  inexperienced  players  is 
the  exception  and  not  the  rule  in  the  film  business.  People 
hailed  Adolphe  Menjou  as  a  "find"  when  he  made  his  first 
big  success  in  "A  Woman  of  Paris"  yet  he  had  been  a  poorly 
paid  "  bit "  actor  in  the  movies  for  nearly  ten  years! 

It  was  Menjou's  great  misfortune  to  begin  his  screen  career  as 
a  "menace."    Thehighrewardsof  themoviebusinessgo  to  the 
players  of  sympathetic  roles.    Menjou 
had  the  bitterness  of  seeing  less  gifted 
actors  rise  to  the  heights  of  popularity 
because  they  played  heroes  while  he, 
as  an  oily  peril,  earned  nothing  but 
hisses  and  five  dollars  a  day.     Screen 
villains  of  a  decade  ago  were  black  with 
iniquity.     Menjou  wore  a  silk 
hat    and    a    moustache    and 
always   came   to   a   bad   end. 
These  demises,  so  popular  with 
audiences,  are  not  at  all  popular 
with    the    actor.     "Doubles" 
are  not  always  provided  for  un- 
important   players.      Menjou 
was  thrown  out  of  a  window, 
during  the  filming  of  a  violent 
"finish,"  and  although  he  had 
plenty  of  time  to  recuperate  at 
his  own  expense,  the  incident 
left  him    considerably  dis- 
couraged. 

Several  times  Menjou  left 
the  movies  to  seek  less  hectic 
employment.  Once  he  became 
a  restaurateur;  another  time,  a 
business  manager  for  a  small 
film  concern.  Always  he  re- 
turned to  his  first  love,  acting. 
Back  tosilk-hatted  infamy  that 
didn't  pay. 

Just  when  his  fortunes  were 
at  lowest  ebb,  a  remarkable 
thing  happened.  Charlie 
Chaplin  decided  to  film  a  trag- 
edy. Realizing  that  his  appear- 


Miss  Hulette  in  a  fashion  photo- 
graph taken  over  ten  years  ago, 
before  girls  were  flappers.  In 
1917,  she  married  Captain  Wil- 
liam Parke,  son  of  her  director, 
and  retired.  Eight  years  later, 
they  were  divorced  and  Miss 
Hulette  returned  to  acting 


^Please! 


By 

I      Gladys  Hulette 

ance  in  a  serious  role  would  be  greeted  vilh  roars  of  laughter, 
the  famous  comedian,  rather  wistfully  decided  to  cast  an  actor 
for  the  part  who  would  be  taken  seriously.  His  choice  fell  upon 
the  obscure  Mr.  Menjou.  As  the  hero  of  "  A  Woman  of  Paris  " 
Menjou  became  the  sensation  of  the  hour! 

Chance  plan's  the  biggest  role  in  Hollywood.  It  keeps  the 
undiscovered  actor  or  actress  waiting  and  hoping  and  starving 
between  pictures,  in  hopes  that  some  day  the  right  part  in  the 
right  picture  will  come  along.  Sometimes  it  does,  and  then  the 
player  needs  all  the  prayers  of  family  and  creditors.  In  hard- 
boiled  Hollywood,  business  methods  are  ruthless.  No  player, 
high  or  low,  once  engaged  for  a  part  is  sure  of  it  until  the  picture 
is  finished,  and  not  even  then.  After  two  or  three  days' work 
he  or  she  is  very  apt  to  be  called  aside  and  told  that  Mr.  Jazbo, 
the  general  manager,  has  decided  that  instead  of  a  tall,  thin 
blonde  for  the  part,  they  need  a  short,  stout  brunette,  and  to 
CAvash  up  and  go  home. 

EVEN  if  the  actor  gets  by  the  projection  room  critics,  he 
still  has  an  arch  enemy,  the  film  cutter.  Most  pictures  when 
finished  are  thousands  of  feet  over  length.  The  cutter  must 
tell  the  story  as  concisely  as  possible  in  the  prescribed  number 
of  reels.  Scenes  and  characters  disappear  with  a  graceful 
snip  of  the  shears,  and  gaps  in  the  story  are  covered  up  with 
a  subtitle:  "Father,  John  has  left  us  forever!"  or  "Poor  boy, 
if  he  had  only  lived!"  may  be  the  grave  of  some  poor  player's 
hopes.  It  means  that  he  has  been  "killed"  off  because  the 
story  was  too  long! 

Too  rapid  rise  to  stardom  often  ends  disastrously.     ZaSu 
Pitts,  who  will  be  remembered  by  many  fans  for  her  marvelous 


=r.<ar.  .-.^^::c-:3i.-^-.s*»v^i_^xs:;3»B!«» 


The  theater  was  her  kindergarten.  Miss 
Hulette  played  with  De  Wolf  Hopper  in  one  of 
the  many  revivals  of  "Wang."  She  was 
Noro'*  child  in  "A  Doll's  House,"  when  Na- 
zimova  put  Ibsen  among  the  box-office  hits 


performance  in  "Greed,"  had  a  most  numiliating  experience. 

She  came  to  Hollywood,  a  dreamy  eyed,  gawky  girl,  filled 
with  a  great  ambition.  It  was  to  be  a  detective.  Movie  acting, 
she  thought,  viould  be  e.xcellen't"practice  for  an  amateur  sleuth. 

She  trailed  down  directors  with  a 
persistence  that  at  last  won  her  a 
small  part.  Once  before  the  camera, 
she  forgot  that  she  had  ever  wanted 
to  be  anything  but  an  actress. 

An  enterprising  producer  was  at- 
tracted. He  realized  that  she  pos- 
sessed the  charm  of  a  Lillian  Gish 
with  the  comic  abandon  of  a  Louise 
Fazenda.  Her  hands  were  more 
expressive  than  the  average  actress's 
face. 

"  Star  material ! ''  he  thought,  and 
signed  ZaSu  at  a  thousand  a  week! 
ZaSu  had  never  seen  so  much 
money.  A  fortune  dropped  in  her 
lap,  and  for  a  few  minutes  she 
couldn't  think  what  to  do  with  it! 
She  had  noticed  a  charming  house 
for  sale.  Struggling  into  her  coat, 
she  dashed  out.     Not   long  after- 

[  CONTINUED  ON  PAGE  122  ] 


Her  greatest  screen  perform- 
ance— the  girl  in  "Tol'able 
David,"  Richard  Barthelmess' 
great  picture  that  won  the 
PHOTOPLAY  Gold  Medal  in 
1921.  In  this  article,  Miss 
Hulette  speaks  with  authority 
about  some  of  the  heart- 
breaks to  go  with  the  quest  for 
movie  fame 

61 


rains  an 


IT  was  only  six  A.  M.  but  with  the  first  shrill  jangle  of  the 
alarm  clock  Billie  was  out  of  bed  and  pulling  on  her  stock- 
ings. Then  she  remembered  that  the  orders  had  been 
"ho  stockings"  and  she  quickly  peeled  them  otf  and  dusted 
her  legs  with  a  tannish  powder.  She  felt  just  a  little  nude  as 
she  thrust  bare  feet  into  high-heeled  pumps  for  she  had  not 
yet  acquired  the  Hollywood  habit  of  going  stockingless. 

It  was  a  matter  of  minutes  to  step  into  the  flesh  crepe  shorts, 
fasten  the  tiny  brassiere,  the  slip,  and,  lastly,  the  crisp  sea- 
green  organdie  with  its  tightly  fitted  bodice,  and  full,  fluttering 
skirt.  A  floppy  black  hat,  which  she  had  borrowed  from  a 
girl  across  the  hall,  added  the  final  note,  and  Billie  was  pleased 
to  see  that  it  accentuated  the  blondeness  of  the  stray  curls 
which  were  visible  beneath  the  drooping  brim.  She  tried 
several  poses  before  the  mirror,  expressing  deh'ght,  sadness, 
fear,  horror  in  rapid  succession.  She  hoped  they  wouldn't  want 
her  to  cry.  She  was  too  excited,  too  happy  to  cry  now,  though 
there  had  been  many  days  in  the  past  few  weeks  when  crying 
had  been  very  easy. 

She  took  a  last  look  at  the  directions  which  she  had  scribbled 
so  excitedly  at  the  phone  the  night  before.  Nothing  had  been 
said  about  makeup  but  she  carefully  filled  the  little  shiny  leather 
makeup  case  which  had  been  waiting  so  long  for  an  oppor- 
tunity to  be  used.  Grease  paint,  powder,  liner,  mascara,  eye 
pencil,  rouge,  lipstick,  cold  cream.  Everything.  She  wondered 
if  she  should  take  her  diploma  from  the  acting  school.  The 
director  niiglil  want  to  see  it,  so  to  be  on  the  safe  side  she  tucked 
it  under  the  flap  of  the  makeup  case. 

The  diploma  certified  in  large  gold  letters  that  Miss  Billie 
Shannon  had  graduated  from  the  Hollywood  School  of  Screen 
Technique  and  was  an  accredited  actress.  It  represented 
savings  she  had  amassed  as  soda  dispenser  at  the  Elite  Con- 
fectionery, Prairie  City,  Kansas,  where  local  Ziegfelds  had 
prophesied  screen  fame  for  the  very  blonde  Miss  Shannon  and 
had  encouraged  her  to  strike  out  for  Hollywood.  It  had  not, 
however,  proved  the  passport  to  stardom  which  the  school 
literature  had  so  glowingly  promised  its  graduates.  Following 
her  graduation  she  had  optimistically  telephoned  the  school 
each  day.  Then  she  called  in  person,  but  their  attitude  had 
suddenly  changed.  No  longer  did  they  refer  to  her  as  a 
"potential"  star.  Now  that  she  was  not  paying  them  tuition, 
she  was  just  another  blonde  in  a  town  already  filled  with 
blondes. 

AS  the  weeks  crawled  by  Billie's  meals  became  more  birdlike 
as  her  exchequer  steadily  dwindled.  She  tried  to  crash  the 
studio  gates  on  her  own,  even  resorting  to  a  subterfuge  which 
had  worked  for  others.  But  somehow  she  muft'ed  it.  She 
never  even  got  past  the  guard.  She  made  daily  visits  to  the 
Casting  Agency  but  all  she  got  was  promises.  Hope  had  become 
a  flickering  speck  on  a  far  distant  horizon. 


By 
Grace  Mack 

Illustrated   by 

Everett   Shinn 


"Then  you  don't  think  I'm  an 
actress?"  Billie  asked  in  amaze- 
ment. 

"An  actress?"  Mr.  Luks  said 
with  disgust.  "No,  little  girl, 
you're  just  another  blonde — 
and  dumber  than  most  of  them" 


She  stood  on  the  curbing  outside  the  Casting  ofiice,  feeling 
so  utterly  dejected  and  friendless  that  she  did  not  realize  that 
the  young  man  who  had  just  stepped  out  of  a  car  was  speaking 
to  her. 

"Whatsa  matter,  sister?"  he  repeated  his  question.  "You 
look  as  though  you  had  just  been  attending  your  own  funeral." 

SHE  looked  up  to  meet  the  smiling  eyes  of  a  clean-cut  young 
man  who  had  apparently  stopped  his  car  just  to  speak  to  her. 
He  was  friendly,  rather  than  fresh,  and  there  was  a  sincerity 
in  his  manner  which  brought  quick  tears  to  Billie's  eyes.  He 
was  somebody  to  confide  in. 

"It's  just  this  town,"  she  answered,  trying  hard  to  swallow 
the  lump  which  had  worked  its  way  into  her  throat.  "It's  so 
— heartless  — " 

"Heartless?"  He  laughed  boyishly.  "Why  this  is  a  marvelous 
town.  Believe  me,  sister,  you'll  travel  a  long  way  before  you 
find  a  town  that's  so  lousy  with  opportunities  as  this  one. 
You're  just  looking  at  it  wrong." 

Billie  took  out  a  little  crumpled  handkerchief  and  wiped 
her  eyes. 

"In  pictures?"  he  asked. 

She  hesitated.  "I'm  an — actress,"  she  finally  said.  "But 
I  can't  get  a  job.    They  say  I'm  just  another  blonde — " 

The  flattering  way  he  was  looking  at  her  was  convincing 
proof  that  he  did  not  share  their  opinion. 


The     romance    of    an     actress    who    made     a    hit 

story   of    one    of    Holly- 


62 


"Well,  there  are  blondes  and  blondes.  Believe  me,  I've 
looked  plenty  of  'em  over  and  I  know.  But  you've  got  some- 
thing that's  different.  I  don't  know  just  what  it  is — but  it 
made  me  pull  up  at  the  curb  when  I  saw  you  standing  there. 
Now  if  it  would  do  that  for  me  it  ought  to  do  the  same  thing 
for  other  guys."  He  studied  her  with  professional  interest. 
"What  you  need,  sister,  is  a  manager." 

SHE  looked  up  at  him  hopefully.  Something  of  his  own 
confidence  was  reflected  in  the  smile  which  slowly  curved 
her  lips. 

"Look  at  all  these  Hollywood  girls  that  have  made  good," 
he  continued.    "They've  all  had  managers,  haven't  they?" 

Billie  nodded. 

"Now  I  won't  make  you  any  gilt-edged  promises  but  I've 
got  a  hunch  that  I  know  just  the  right  job  for  you.  What's 
your  name  and  telephone  number?  ' 

She  watched  him  jot  the  number  down  in  a  little  book. 
It  didn't  seem  possible  that  this  could  actually  be  happening 
to  her,  after  all  these  weeks  of  hopeless  wailing.  It  was  just 
one  of  those  breaks  which  is  every  e.xtra  girl's  dream.  It  was  a 
newly  confident  Miss  Shannon  who  walked  up  the  Boulevard. 
A  Miss  Shannon  who  stepped  into  Henry's  and  recklessly 
ordered  the  most  e.xpensive  sandwich  on  the  card,  tipping  the 
waiter  a  dime  as  she  paid  the  check. 

Then  for  days  she  sat  in  her  room,  waiting  for  the  telephone 


call  that  did  not  com'e.  She  realized  that  she  did  not  even  know 
the  young  man's  name  or  whether  he  was  an  assistant  director 
or  a  cutter,  or  maybe  just  an  electrician.  She  remembered  what 
nice  eyes  he  had.  The  way  they  crinkled  at  the  corners  when 
he  smiled.  Eyes  to  be  trusted,  she  had  thought.  Somehow 
she  didn't  want  to  believe  that  he  had  just  been  kidding  her. 

And  then  one  night  the  telephone  call  came.  Just  a  crisp, 
businesslike  order,  but  it  came  nearer  to  being  real  music  than 
anything  Billie  had  ever  heard. 

"Listen,  sister."  She  had  recognized  the  voice  instantly. 
"Be  at  the  corner  of  Cahuenga  and  Hollywood  Boulevard  at 
seven  sharp  tomorrow  morning.  Wear  some  kind  of  an 
organdie  dress  that  fits  tight  above  the  waist,  one  of  those  big 
floppy  hats,  and  jio  sox." 

She  had  scribbled  the  directions,  quite  too  dazed  to  ask 
questions.  And  now,  as  she  hurried  along  the  palm-bordered 
street,  which  was  still  misty  with  an  early  morning  chill,  she 
wondered  which  studio  it  would  be — or  perhaps  it  was  location 
since  a  car  was  to  pick  her  up.  It  was  thrilling  to  think  of 
having  a  manager  to  arrange  everything  for  her. 

WHEN  she  arrived  at   the  Boulevard  corner  the  young 
man  with  the  nice  eyes  was  waiting  for  her. 
"Gee,  sister,  you  look  great!"      He  noted  with  approval  the 
bare  legs,  the  fluttering  skirt  which  just  missed  the  knees,  the 
tight  little  bodice.    "With  a  get-up    [  continued  on  page  117  ] 


without    ever    appearing     before     a    camera — A 
wood's    unknown    stars 


63 


TO^  J'urnishing 


ON  the  back  shelf  of  your  bookcase  there  mav  be  a  dusty 
volume  by  Louisa  May  Alcott  called  "Little  Women." 
In  it  (FOf^  won't  remember)  there  is  a  passage  describ- 
mg  how  Meg,  one  of  the  heroines,  planned  her  new 
home  for  months  before  her  wedding.     The  linen  closet  was 
complete.    The  jelly  glasses  were  tilled  with  jellv  (not  home 
brew)  and  every  detail  of  the  "  tiny  nest "  was  in  readiness 
Times  have  changed.    Now  a  June  bride  buys  a  can 
opener  and  a  cocktail  shaker  and  calls  it  a  profitable  dav 
But  there  are  a  fe\y  old  fashioned  girls  left. 

.Although  }-ou  won't  believe  it,  there's  one  right  in 
Hollywood.  And  from  her  you  can  learn  a  valuable 
lesson  in  home  making. 

Even  if  you're  planning  only  a  small  apartment,  you 
want  a  few  cosy  nooks  and  colorful  corners. 


Here  was  a  dull  corner  in  a 
small  den  just  off  the  living 
room  that  was  brightened 
when  Fay  Wray  redecorated 
the  house.  The  window  seat 
is  painted  a  restful  green  and 
the  cushion  and  drapes  are  of 
henna  printed  linen 


Fay  Wray's  dining  room  table  is  made  attractive  at  all 

times  by  two  pewter  candlesticks  and  a  pewter  bowl  that  is 

kept  filled  with  yellow  flowers.    The  long,  graceful  candles 

are  also  yellow 

A  short  time  after  Fay  Wray  and  John  Jlonk  Saunders  were  married, 
the>-  took  Florence  \  idor's  house.  Florence  wanted  to  leave  the  mem- 
or>--haunted  home  on  Selma  Avenue,  and  begin  her  new  life  in  new 
surroundings,  so  she  bought  a  place  in  Beverlv  Hills. 

And  now  Fay  has  the  fun  of  re-furnishing' the  Vidor  home.     She  has 
met  the  same  dilficulties  and  faced  the  same  problems  that  will  confront 
>-ou.    Fay  is  so  sensible  and  so  practical  that  she  is  the  perfect  pattern 
for  the  young  bride. 

"I  can't  understand,"  she  said,  "how  very 
wealthy  people  can  bear  to  allow  a  paid  interior 
decorator  to  have  all  the  fun  of  furnishing  their 
homes.  I  wouldn't  have  missed  this  for  anv- 
thing. 

"Of  course,  there  have  been  the  usual  trials. 
For  instance,  I  bought  what  I  thought  was  an 
ideal  chair.  It  was  a  deep  blue  basket  weave 
upholstered  Kent  model.  John  didn't  like  it. 
I  argued.  Then  we  compromised.  The  chair 
is  going  to  stay  for  a  couple  of  weeks.  During 
that  time  John  may  be  won  over  to  it." 
Simplicity  is  the  keynote  in  the  charming 


A  book  niche  is 
much  more  interest- 
ing if  small  objets 
d'art  are  inter- 
spersed with  the 
books.  This  is  a 
corner  of  Fay  Wray's 
morning  room.  The 
chair  is  upholstered 
in  yellow,  with  deep- 
er yellow  flowers,  to 
match  the  walls 


a 


H 


ome: 


By  Lois  Shirley 


Fay  Wray  gives 

the  young  bride 

a  few  simple 

lessons 


English  home.  (Thank  goodness  it  is  English. 
How  bored  one  becomes  with  the  ubiquitous 
Spanish  style  of  architecture  in  Holl.vwood!)  In- 
stead of  cluttering  up  the  house  with  a  number  of 
non-essential  and  stupid  articles  of  furniture  and 
knick-knacks,  Fay  has  used  only  a  few  well  chosen 
ornaments  in  just  the  right  places. 

YET  the  house  is  full  of  original  touches.  In- 
stead of  a  large  bedroom  there  is  a  very  tiny 
sleeping  sun  porch  and  the  real  livable  spot  up- 
stairs is  the  morning  room,  like  a  little  private 
sitting  room.  Here  I  found  a  smart  and  novel 
way  of  hanging  bedroom  curtains.  The  walls  of 
this  room  are  champagne  yellow  and  the  curtains 
a  delicate  shade  of  pink  in  triple  voile.  Instead 
of  being  looped  at  the  sides  they  are  fastened 
together  at  the  front  of  the  window  and  caught 
with  a  tiny  bunch  of  pink  roses. 

Fav  had  difficulty  in  knowing  what  to  do  with  a 
large  dining  room  table  when  it  was  not  in  use.     ".\fter  all," 
she  said,  "in  this  Emily  Post  era  anybody  who  doesn't  know 
how  to  set  a  table  for  everything  from  a  breakfast  for  two  to  a 


The  heart  of  the  living  room — the  hospitable  fireplace  with  a  raised 

hearth  and  wing  chair  nearby.     There  is  a  useful  poker,  with  a  long 

handle,  fire-tongs,  a  hearth  brush  and  an  antique  corn  popper 


These  gates  lead  to  Fay  Wray's  breakfast  nook  and  give 

it  an  exclusive,  secluded  air.     In  the  pantry,  which  is 

painted  a  cream  ivory,  is  the  serving  table  with  a  pewter 

breakfast  service  conveniently  at  hand 


banquet  can't  read.    But  one  isn't  always  sitting  at  a  well  laid 

table." 

The  problem  was  solved  by  two  pewter  candlesticks,  long 
yellow  candles  and  a  stunning 
pewter  bowl  in  the  center  always 
filled  with  tiny  yellow  blooms. 

There  was  a  dark  corner  in  a 
little  den  off  the  living  room.  The 
conventional  window  seat  was  in 
brown  and  the  pillow  and  drapes 
in  the  same  subdued  tones.  But 
who  wants  to  be  in  a  brown  study 
all  the  time?  Certainly  not  so 
lively  a  girl  as  Fay  Wray.  So 
the  woodwork  was  lightened  to  a 
restful  shade  of  green  and  the 
drapes  and  cushions  in  a  deep 
henna  of  printed  linen.  Charm- 
ing and  attractive! 

I'VE  been  saving  the  joy  of 
describing  the  fireplace.  It's  the 
nicest  part  of  the  stunning  living 
room,  where,  by  the  way,  stands 
the  blue  chair  to  which  John  ob- 
jected. It's  such  a  nice  chair, 
too,  and  does  blend  in  perfectly 
(there,  Fay!).  But  to  get  back  to 
the  fireplace.  There  is  one  purely 
ornamental  piece,  an  old  English 
corn  popper.  The  tongs,  poker 
and  hearth  brush  are  utilitarian. 
And  there  is  the  stunning  antique 
chair,  [  continued  on  page  115  ] 


65 


rHE  most  modern  version  of  the  old  swimming;  hole,  to  say  nothing 
of  the  old  swimmiog  suit.    But  there  were  no  futuristic  decorations 
nor  any  lights  when  Miss  Clara  Bow  of  Brooklyn  used  to  go  for  a 
plunge  in  the  surf  at  Coney  Island,  not  so  many  years  ago. 


66 


2)lET 

for  Health 
and  Beauty 


By 

Dr.  H.  B.  K.Willis 

A  complete  guide  to  fuel 
foods  compiled  both  for 
your  weight  and  occupation 


As  medical  adviser  to  many  of  the  stars,  Dr. 
Willis  knows  the  disastrous  results  of  unwise 
dieting.  In  these  articles,  Dr.  Willis  tells  you 
how  to  avoid  the  errors  of  dieting  that  so  often 
lead  to  tuberculosis,  anemia  and  nervous  collapse 


GI\'E  vour  body  as  much  care  as  the  small  family  car  of 
Avell-known  make.  It  must  have  fuel  for  its  work  and 
its  overhead.  Materials  lost  by  wear  and  tear  must  be 
replaced.  There  is  also  a  definite  need  for  regulative 
substances,  the  vitamins.  Each  will  be  discussed  in  turn.  In 
this  issue,  fuel  foods  will  be  considered. 

Right  now  five  young  women  of  national  prominence  in 
motion  pictures  are  grievously  undernourished  because  they 
have  ignored  the  demands  of  their  bodies  for  fuel  to  burn. 
Two  are  said  to  be  on  the  verge  of  tuberculosis.  One  is  sutifer- 
ing  from  a  severe  anemia,  another  is  a  nervous  wreck  and  the 
fifth  one  has  so  affronted  her  stomach  that  it  now  returns  to  her 
everything  she  eats. 

This  last  girl,  one  of  my  patients,  is  in  a  bad  way.  Normally 
weighing  1.^0  pounds,  studio  Simon  Legrees  have  forced  her  to 
bant  to  106  pounds,  and  they  are  raving 
because  her  abdomen  does  not  resemble 
that  of  a  greyhound  or  a  starving  Arme- 
nian. This  girl's  nervous  system  is 
shattered,  she  cannot  sleep  at  night  and 
she  becomes  hysterical  over  the  most 
trivial  upsets.  Her  stomach  is  so 
shrunken  that  it  will  not  tolerate  more 
than  two  ounces  of  infants'  food  at  one 
feeding.  She  is  anemic,  neurasthenic 
and  under-nourished  instead  of  being  a 
buoyant,  beautiful  belle. 

The  fuel  foods  are  the  starches,  the 
sugars,  the  proteins  and  the  fats.  Chief 
among  the  starch  foods  are  rice,  wheat, 
corn,  oats,  barley  and  rye,  and  the 
tlours,  meals,  breakfast  foods  and  what 
have  you,  made  from  them.  Our  hum- 
ble friend,  the  potato,  is  rich  in  starch, 
as  are  tapioca,  arrowroot  and  corn- 
starch. 

Fresh  and  dried  fruits,  syrup  molas- 


HAVE  you  a  problem 
of  diet?  Let  Dr. 
Willis  of  Photoplay  be 
your  adviser.  Write  to 
him  in  care  of  Photo- 
PLAY,  816  Taft  Building, 
Hollywood,  Calif.  And 
be  sure  to  enclose  a  self- 
addressed  stamped  en- 
velope for  reply.  Dr. 
Willis  will  give  your 
question  his  personal 
attention. 


ses,  confections  and  honey  are  foods  containing  a  great  deal  of 
sugar. 

Dairy  products,  egg  yolk,  fat  meats  and  meat  fats,  vegetable 
oils,  chocolates  and  most  nuts  are  rich  in  fat. 

Foods  rich  in  proteins  include  milk  and  cheese,  meats  of  all 
kinds,  nuts,  legumes  and  grains,  such  as  wheat,  oats,  rye  and 
barley. 

Appetite  must  not  merely  cater  to  desire.  One  must  use  a 
caloric  conscience  in  selecting  the  day's  food  intake.  As  you 
measure  the  gasoline  for  the  car,  so  must  you  count  the  calories 
on  the  carte  dujotir. 

And  what  is  a  calorie?    The  calorie  is  simply  the  unit  used  to 

measure  the  fuel  value  of  a  food,  the  amount  of  energy  which 

can  be  derived  from  it  by  the  body  for  use  either  for  its  active 

or  passive  work.    While  important  as  a  stmimary  of  the  bodily 

energy,  one  must  not  lose  sight  of  the 

fact  that  the  calorie  does  not  give  any 

indication  as  to  the  body's  need  relative 

to  regulative  materials,  of  which  more 

anon. 

I  was  recently  called  to  see  a  promi- 
nent-star, who,  after  drastic  dieting 
could  not  stop  losing  weight.  I  went 
over  her  dietary  and  found  she  was  re- 
ceiving less  than  one-third  of  her  daily 
caloric  requirements. 

"  You  need  more  calories.  Miss 
Blank,"  I  said  to  her. 

"Good  grief!"  she  interrupted,  "I 
cannot  eat  calories  because  they  are 
fattening." 

And  people  diet  as  dumbly  as  that! 
In  order  to  enable  a  person  to  estimate 
the  amount  of  calories  they  are  getting 
to  supply  the  body's  needs  for  energy, 
hundred  calorie  proportions  will  be 
listed  here-  [continued  on  page  101  ] 


67 


Amateur  Movies 

By  Frederick  James  Smith 

Many  interesting  productions  under  way  for  $2,000 
Amateur  Contest — News  of  the  Movie  Clubs 


ONE  of  the  interesting 
films  being  prepared  for 
competition  in  Photo- 
play's $2,000  Amateur  Movie 
Contest  is  a  400  foot  16  milli- 
meter production,  bearing  the 
working  title  of  "Destiny,"  in 
course  of  filming  by  the  Under- 
graduate Motion  Pictures  Club 
of  Princeton  University. 

This  production  is  a  highly 
ambitious  one.  It  opens  with 
scenes  of  the  hegira  of  Moham- 
med and,  following  this  sym- 
bolical introduction,  shows  a 
psychological  study  of  various 
characters  in  the  stress  of  in- 
tense emotional  conflict.  Sev- 
eral sets  were  erected  and  a 
large  number  of  extras  were 
used  in  the  opening  scenes. 
At  times  si.x  cameras  were  in 
use. 

Eric  Barnouw  is  playing  the 
leading  role  and  Beatrice 
Traendly,    who    distinguished 

herself  in  the  leading  feminine  role  of  last  year's  Photoplay 
winner,  "  And  How,"  is  leading  woman.  Other  prominent  roles 
are  handled  by  William  Huff  and  John  Westwood.  Edgar 
Holden  III  and  Brentaigne  Windust  are  directing,  assisted  by 
Thomas  Emory  and  Elmer  Kincaid.  The  camera  staff  num- 
bers J.  V.  D.  Bucher,  C.  D.  Hughes,  J.  M.  Doubleday,  John 
Waterhouse  and  Henry  Louderbough,  with  A.  H.  Singer, 
Irving  Perine  and  C.  B.  Alexander  as  assistants. 

The  Princeton  students  expect  to  finish  the  production  on 
March  1st. 

THE  Cumberland  Amateur  Motion  Picture  Club  has  com- 
pleted the  filming  of  "Judgment  Fulfilled"  for  competi- 
tion in  Photoplay's  vS2,000  contest.  The  film  is  now  being 
edited.  To  facilitate 
this  work,  a  16  milli- 
meter print  has  been 
made.  This  is  being 
edited  for  use  as  a 
guide  in  cutting  and 
titling  the  35  milli- 
meter production. 
The  club  is  prepar- 
ing to  start  a  new 
production,  a  sym- 
bolic film  study,  and 
camera  platforms 
and  runways  are 
now  being  con- 
structed for  use  in 
filming  this  —  the 
second — production 
of  the  club. 

CONTEST  films 
have  started  to 
pile  into  Photo- 
play's office  for 
consideration  in  the 


Bobby  Vernon  has  a  big  home  movie  gallery  of 

the  world's  notables.     Here  is  a  highly  prized 

shot  of  Bobby  with  Gene  Tunney,  taken  before 

Gene  retired  from  the  ring 


The  student  production  staff  of  Stanford  University  on  loca- 
tion, making  scenes  for  their  film,  "The  Fast  Male."     Four 
cameras  were  in  action.     "The  Fast  Male"  sets  a  high  ama- 
teur standard 


$2,000  Amateur  Movie  Con- 
test, which  closes  at  midnight 
on  March  31st.  You  still  have 
time  to  whip  an  interesting 
film  into  shape — and  fame  and 
a  slice  of  fortune  may  be  yours 
if  you  obey  that  impulse  now. 
There  seems  to  be  some  con- 
fusion in  the  minds  of  amateurs 
over  the  contest  rules  as  to  the 
length  of  competitive  films. 
Rule  IV  states  that  if  the  film 
is  in  35  millimeter  width,  the 
contest  production  must  be  in 
1,000  feet  or  less  in  length.  If 
in  16  millimeter  length,  it  must 
be  in  400  feet  or  less.  If  in 
9  millimeter  width,  it  must  be 
in  60  feet  or  less.  Another 
rule — Number  V — states  that 
amateurs  may  submit  any 
number  of  contest  films.  Some 
amateurs  want  to  know  if  they 
may  submit  their  films  in 
longer  lengths  than  specified 
by  Rule  IV,  provided  they 
divide  them  into  two  or  more  parts,  taking  advantage  of  per- 
mission to  submit  "any  number  of  films." 

The  answer  to  this  query  is  NO.    Every  contest  film  must  be 
complete  within  the  specified  length. 

HOW  is  your  kodacolor  work  coming? 
Better  take  the  advice  of  Herbert  C.  McKay,  Dean  of 
the  New  York  Institute  of  Photography,  who  says  that  if  the 
light  is  such  that  good  black-and-white  film  could  be  obtained 
at  F.8  or  at  F.ll,  or  any  point  between,  good  color  shots  may 
be  made.  If  the  subject  is  in  extreme^  bright  light,  such  as  at 
a  beach,  where  a  stop  of  F.16  would  ordinarily  be  required,  add 
the  neutral  density  filter  to  the  color  filter. 
This  filter  should  be  used  in  all  brightly  lighted  shots  and  for 

semi-closeups  in 
good  light  where  the 
subject's  clothing  is 
white  or  light  toned. 
Photoplay  is 
looking  forward  to 
some  interesting 
color  films  in  its 
$2,000  contest. 

PERHAPS  you 
will  be  interested 
in  exact  s])ecifica- 
tions  regarding  the 
16  millimeter  width 
film,  in  general  use 
among  amateurs. 
The  following  figures 
have  been  adopted 
by  the  Society  of 
Motion  Picture  En- 
gineers as  standard. 
The  cutting  and 
[continued  on 
PAGE  116] 


68 


Photoplay  Magazine — Advertising  Section 


69 


J.Vir5.    V_^oi'xieliix.s?     VarLcLerJ3ilt     Jr. 


IS    ±0 


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±L/jt trancxjip. tjeautiriil . . . 


ai^  the  TVOTid  extjects  Jier  to  Joe 


h 


ENTRANCINGLY  BEAUTIFUL 
as  this  romantic  world  would  wish 
her  to  be  is  Mrs.  Cornelius  Vanderhilt 
Jr.  Slim  as  a  nymph,  with  glorious 
Titian  hair  and  a  skin  as  fair  as  haw- 
thorn blossoms,  this  young  bride  is 
winning  all  hearts  with  her  charm. 

Modern  to  her  finger  tips,  Mrs.  Van- 
derbilt  is  ever  on  the  wing.  In  a  Maine 
camp  ...  in  Provincetown  with  artists 
and  writers  .  .  .  flitting  through  New 
York  shops  .  .  .  then  en  route  for  the 
Far  West  in  the  big  custom-built  car 
which  has  crossed  the  continent  28  times 
...  At  last  to  "Sagebrush,"  the  Vander- 
hilt ranch  in  Nevada,  where  much  ot  her 
husband's  writing  is  done. 

Always  she  shares  his  work,  his  con- 
stant comrade  and  chum.  The  carefree 
life  of  the  Western  desert  country  de- 
lights them  both.  Mrs.  \'anderbilt  is  a 
crack  shot  with  rifle,  shotgun  or  re- 
volver, and  she  can  rope  a  steer  as  clev- 
erly as  any  cowboy. 

Despite  her  outdoor  life,  her  con- 
stant travel,  she  has  found  the  way  to 
guard  the  flower-like  freshness  of  her 
complexion. 

"Even  on  our  Nevada  ranch,"  she 
says,  "I  have  my  daily  'facial' — with 
Pond's. 

"  One  can  keep  one's  skin  really  young 
and  lovely  with  just  these  Two  mar- 


(below)  Beautiful  women  every- 
where use  Pond's  Jfjur  preparations 
because  they  are  so  exquisitely  fine 
and  pure.  In  these  special  green 
glass  jarSy  made  by  Pond's  for  her 
dressingtahle.  Mrs,  Vanderhilt  keeps 
the  Two  Creams  and  Freshener.  Sev- 
eral of  the  dainty  velvety  new  Cleans- 
ing Tissues  lie  ready  for  her  use. 


Mrs.  Cornelius  Vanderbilt  Jr.,  was  Miss  Mary 
U'eir  of  Davenport,  Iowa.  She  is  enlrancingly  lovely, 
with  wistful  hlue-grey  eyes,  glorious  Titian  hair  and 
skin  like  hawthorn  bloom.  This  chic  ensetnble  is  of 
flame-colored  velvet  cape   over  a    peach  chifon  frock. 


ijend 

10«? 

for 

Jrot 

a  s    4   prcpara 

fion* 

Pond's  Extract  C 
1 1 4  Hudson  Street 

OMPANY,   Dept.   Q 

. .  New  York  City. 

City 

Starr 

velous  Creams,  the  exquisitely  fine 
Tissues,  the  wonderfully  invigorating 
Tonic.  I'm  devoted  to  Pond's." 

WHEREVER  you  go,  this  simple 
daily  treatment  with  Pond's  four 
preparations  will  preserve  the  fitness  of 
your  skim- 
First,  keep  your  skin  immaculately 
clean  by  pore-deep  cleansing,  after  ex- 
posure and  every  night  before  retiring. 
Spread  Pond's  Cold  Cream  lavishly, 
with  upward  outward  motion  over  face 
and  neck,  letting  the  fine  oils  sink  deep 
below  the  skin. 

Then  gently  remove  the  dirt  and  cream 
with  Pond's  soft  Cleansing  Tissues. 
They  are  finer  than  old  linen  and  absorb 
the  cream  and  dirt  instead  of  rubbing  it 
into  the  pores. 

Next,  pat  Pond's  Skin  Freshener  over 
your  face  and  neck  —  until  the  skin  glows. 
This  wonderful  new  tonic  and  mild 
astringent  closes  the  pores,  tones,  re- 
freshes and  invigorates. 

Last,  to  complete  your  daytime  toi- 
lette, and  before  you  dress  for  evening, 
just  a  thistledown  touch  of  Pond's  Van- 
ishing Cream  for  protection  and  as  a 
powder  base. 

Try  this  delightful  Method!  Send  the 
coupon  below  for  trial  packagesof  Pond's 
four  preparations,  enough  to  last  a  week. 


(below)  Here  in  their  familiar 
everyday  containers  are  "the  four 
enchanting  things  Pond's  makes  "  as 
Mrs.  Vanderbilt  says.  Pond's  Cold 
and  Vanishing  Crea?ns,  Cleansing 
Tissues  and  Skin  Freshener  com- 
pose Pond's  Method — so  efficacious, 
so  quick  to  use.  Use  them  yourself 
wherever  you  go,  and  keep  lovely  I 


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Pond's  Eitract  Compuny 

When  you  wrlle  to  adierUscrs  please  mention  PHOTOPLAY  MAGAZINE. 


Gossip  of  All  the  Studios 


(  CONTINUED  FROM  PAGE  43  ) 


A  tour  of  the  M.-G.- 
M.  "prop"  rooms, 
conducted  by  Leila 
Hyams.  This  birth- 
day cake  was  used 
in  "Broadway  Mel- 
ody." It  weighs  287 
pounds  and  it  took 
two  weeks  to  con- 
coct it.  Wouldn't 
you  like  to  cut  your- 
self a  piece  of  cake 
that  is  severa 
months  old? 


SMART  way  discovered 
by  Carmel  Myers'  rep- 
resentative to  inform  her 
that  "Everything  That's 
Nice  to  Me"  had  been 
brought  forth  into  the 
musical  world.  That's  the 
name  of  the  song  that 
Carmel  composed. 

She  was  doing  a  teary  scene 
for  "The  Red  Sword"  and  came 
weeping  down  the  steps  from 
her  seduction  to  the  dirge-like 
accompaniment  of  the  set 
musicians.  As  soonras  the 
director  ordered  "cut,"  the 
orchestra  broke  into  a  rolhcking 
little  jazz  piece.  Carmel 
shrieked,  ran  to  them,  and 
there  was  "Everything  That's 
Nice  to  Me"  all  dressed  in  black 
notes  and  white  bars  with 
Carmel's  picture  on  the  cover. 

It's  Carmel's  second  contribution  to 
the  big  bar  and  fiat  industry.  Her  first 
was  a  ditty  entitled  "Louella." 

ARTHUR  CAESAR  may  be 
moved  from  the  Movietone 
department  at  Fox.  He  makes 
so  much  noise  that  the  song 
writers  can't  concentrate. 


^    -x 


SHORTLY  before  Eugene  Walters  left  Holly- 
wood, he  and  Charlie  Judell,  who  makes 
Movietone  effects  (whatever  they  are)  for  Fo.v, 
nearly  burned  up  an  apartment  house.  'Gene 
was  batching,  and  Charlie  blew  in  to  pass  the 
time  o'  day.  They  gabbed  and  gabbed  and 
gabbed.  Hadn't  seen  each  other  in  years. 
Finally  they  began  to  smell  smoke.  Didn't 
give  it  much  thought,  however,  just  fancied 
mebbe  there  was  a  fire,  or  something.  At  last 
they  decided  to  go  out.  The  corridor  was  full 
of  smoke  and  the  landlady  was  running  franti- 
cally up  and  down,  trying  to  find  out  whose 
apartment  was  on  fire.  Suddenly  'Gene 
Walters  remembered  he'd  left  a  \yooden  chop- 
ping bowl  on  one  of  the  gas  burners  to  dry. 
He  ran  back  and  found  only  the  rim  of  the  bowl 
blazing  merrily. 

TETTA  GOUDAL  attempted  her  first  hand- 
Jmade  luncheon  recently.  Paul  Bern  was 
going  to  New  York,  it  was  Jetta's  maid's  day 
off  and  luncheon  the  only  chance  to  see  Bern 
before  he  departed.  Jetta  made  her  first  ex- 
periment with  soup  that  turned  out  badly,  the 
omelet  was  quite  fiat  but  the  toast  was  perfect, 
the  reason  being  that  Jetta  let  the  door  bell 
ring  for  fifteen  minutes  so  that  the  toast  would 
not  be  left  unwatched  for  a  second. 

The  year's  at  the  spring, 
The  morning's  dew-pearled, 
Chaplin  is  shooting — 
All's  right  with  the  world ! 

T>  ONALD  COLMAN'S  new  picture,  "The 
-'^Rescue,"  in  which  Lily  Damita  has  the 
leading  role,  was  being  shown  to  members  of 
the  press.  [  coNTiNtiED  on  page  94  ] 


Here  is  an  Italian  chest,  shipped  from 
Florence  several  years  ago  for  a  brief 
scene  in  "Ben-Hur."  It  is  hand-carved 
and  of  rare  design.  The  chest  is  one  of 
the  many  antiques  that  are  stored 
away  as  "props"  until  they  are  needed 


You  probably  caught  a  glimpse  of  this 
clock  in  "The  Student  Prince."  It  was 
brought  from  Germany  especially  for 
that  production  and  it  is  a  master- 
piece of  the  clockmaker's  art.  But 
it  will  remain  idle  until  the  "prop" 
master  can  fit  it  in  another  picture 


70 


Photoplay  Magazine — Advertising  Section 


71 


Her  hair  is  oily 

She  should  use  Packer's  Pine  Tar  Shampoo 


If  you  have  the  kind  of  hair  that  loses  its  flufBness  shortly  after  shampooing,  use 
Packer's  Pine  Tar  Shampoo.  This  preparation  is  tonic  and  mildly  tistringiiit  .  .  . 
approved  by  dermatologists.  It  leaves  the  hair  fluffy,  with  a  natural  sparkle.  Use  it 
every  four  or  five  days  at  first;  later,  every  week  or  ten  days  may  be  enough. 


Her  hair  is  dry 

She  should  use  Packer's  Olive  Oil  Shampoo 

Like  all  Packer  soaps,  this  shampoo  is  a  vegetable  oil  soap  ...  in  addition,  it  contains 
a  rich,  soothing  emollient  (and  nothing  to  dry  the  scalp).  Dry  scalps  will  never  feel  a 
stinging  sensation  when  they  use  this  special  shampoo.  Leaves  your  hair  soft  and 
silky  to  the  touch— more  manageable— and  delicately  perfumed. 

He  has  dandruff 

He  should  use  Packer's  Tar  Soap 

.  .  .  the  soap  that  made  pine  tar  famous  for  shampooing.  Pine  tar  is  antiseptic,  heal- 
ing, with  properties  valuable  in  the  treatment  of  dandruff.  Packer's  Tar  Soap  is 
endorsed  by  dermatologists  for  skin  and  scalp.  For  noticeable  dandruff  use  Packer's 
Tar  Soap  every  few  days  until  improvement  begins. 

Select  the  shampoo  your  hair  needs 


Acute  cases  of  dryness,  oiliness  and  dan- 
druff need  the  care  of  a  dermatologist — a 
doctor  who  is  a  skin  specialist.  But  nearly 
all  scalps  tend  to  be  dry  or  oily,  and  many 
are  mildly  affected  with  dandruff.  Now — 
each  type  of  scalp  can  have  the  special 
shampoo  which  meets  its  particular  needs. 
The  coupon  is  for  your  convenience.  The 
regular  size  of  each  shampoo  is  for  sale 
at  your  drug  or  department  store. 


Check  Sample  Desired 

For  10c  enclosed  send  sample  of 
p.icker's 

□  Olive  Oil  Shampoo 

D  Tar  Soap 

[n  Tar  Shampoo 


Packer  Mfg.  Co.,  Inc.,  Dept.  IG-C,  101  \Yest 
Thirty -first  Street,  New  '\'ork,  .\.  Y.:  Send  me 
ofier  checked,  with  28-page  book  on  hair  health. 


Xame_ 


.\ddrcES_ 
Citv 


_Mate_ 


When  you  write  to  ailvertisrrs  please  menticn  PHOTOPL.\T   M.\GAZ!N'E. 


The  Shadow  Stage 


THE  GLORIOUS  TRAIL— 
First  National 

TF  they  just  keep  working  on  that  first  over- 
■•■land  telegraph  long  .enough,  they'll  really 
finish  it  some  da\' — for  good.  For  the  last 
fifteen  years,  high  geared  Westerns  ha\e 
wrestled  with  the  same  telegraph  line.  Ken 
Maynard  and  Tarzan  give  it  a  try.  handicapped 
by  Indian  massacres,  wet  ammunition,  famuu, 
prairie  fleas  and  horsefeathers — and  succeed, 
without  a  scratch,  by  Jove! 

THE  LITTLE  SAVAGE— FBO 

A  WESTERN  relieved  of  the  usual  monot- 
»■  ony  by  good  story  and  direction,  and 
Buzz  Barton's  refreshing  boyishness.  Buzz 
and  his  whimsical  pal,  Milburn  JNlorante,  find 
that  a  family  is  a  terrific  problem,  especially 
to  bachelors.  Their  hobo  careers  are  tempo- 
rarily blighted  when  they  discover  an  infant 
of  uncertain  parentage  in  a  deserted  prairie 
schooner.  Thenceforth  the  camera  emphasizes 
the  little  stranger  and  the  ridiculous  eft'orts  of 
his  cowboy  nurses  to  become  good  mothers. 

THE  SKY  SKIDDER— Universal 

A  L.  WILSON,  Universal's  flying  ace,  on  the 
«'  *-up-and-up  in  a  thrilling  Hying  picture.  As 
a  small-town  genius  at  aviation  inventions,  the 
townsfolkcall  him  a  nut  and  give  him  the  air. 
He  takes  it,  with  his  new  flying  gas  and  wins 
a  cross-state  "airathon" — and  fame — and  a 
girl,  despite  his  rix-al's  dirty  work  between 
clouds.  Wilson's  spectacular  parachute  drops 
and  stunt  flying  will  keep  you  up  in  the  air. 

UNDER  THE  SOUTHERN  CROSS— 
Universal 

AS  in  ".White  Shadows,"  two  directors  were 
*-sent  to  the  tropics  to  make  this  picture 
and  one  came  back.  Lew  Collins,  who  was 
able  to  stick  it  out,  has  done  a  good  job  with 
native  actors  of  the  almost  extinct  New 
Zealand  folk,  the  JNIaoris.  Although  not  as 
beautiful  as  ''Moana,"  it  has  the  same  primitive 
charm.    And  a  stunning  leading  man. 

MANHATTAN  KNIGHTS— Excellent 

^ROOKS,  b'gosb !— lording  it  over  a  wcak- 
'^-'ling  forger  and  his  noble  sister;  melo- 
dramatic as  a  Ruth  Roland  serial.  Sure  it  has 
whiskers — long  ones — but,  belie\'e  it  or  not, 
the  action  is  tense  to  the  last  gasp  of  the 
debonair  villain  in  the  tenement  fire  he  started 
himself.  The  cast  is  headed  by  Barbara  Bed- 
ford and  Ray  Hallor,  as  the  oppressed  sister 
and  brother;  Walter  Miller,  the  innocent  by- 
stander, and  Crauford  Kent,  the  shady  slicke'r. 

JAZZLAND— Quality 

A  S^I.\LL-TOWN  cabaret  melodrama 
*■  which  gives  the  audience  onlv  a  vague 
clue  of  \yhat  it's  all  about.  The  story  rambles 
on  indefinitely  and  the  action  is  consistently 
irrelevant.  Possibly  the  scenarists  overheard 
someone  quoting  the  famous  vaudeville  maxim, 
"Keep  your  audience  wanting,"  and  decided  to 
take  it  literally. 

ALL  AT  SEA—M.-G.-M. 

TT'S  one  of  the  best  Dane-.Arthur  comedies 
-••in  some  time — if  that  means  anything. 
You  just  know,  from  the  title,  that  it's  all 
about  sailors.  You  might  also  guess  that 
Dane  is  the  hard  boiled  bozo  who  makes  life 
a  series  of  hard  knocks  (literally)  for  George 
K.  .Arthur.  The  story  isn't  much,  but  the  gags 
are  laugh-getters.    Oh,  well— it's  a  comedy. 

THE  YELLOWBACK— FBO 

A    TRITE  but  stalwart  story  of  an  Irish 

*•  mountie  who  gets  his  man,  and  his  woman 

(would  you  believe  it?)  in  the  grizzly  Canadian 

72 


[  CONTINUED  FROM  PAGE  49  ) 

North  Woods.  Served  up  in  the  typical 
Curwood  st\'le  by  a  good  director  and  a 
scenarist  faithful  to  the  book,  "The  Yellow- 
back." It  really  offers  a  wholesome  thrill 
to  any  who  haven't  already  seen  fifty  thousand 
red-coat  epics,  Tom  Moore  wears  the  R.  N. 
W.  M,  P,  cord.     Nice  outdoor  stuff. 


OUTLAWED— FBO 

■jSjUT  so  hot,  Mr.  Mi.x,  not  so  hot!  The 
■•-^saddle  girths  are  slipping  under  the  "King 
of  Cowboys."  He'll  do  well  to  lay  low  'til 
he  gets  some  new  gags  under  his  high  hat. 
Here's  the  same  old  thing,  only  worse,  without 
enough  sparkle,  color  and  action  to  keep  an 
eight-year  old  boy  awake.     Another  flop  like 


This  fancy  gent  is  not  Chief  Hog- 
The-Lens  of  the  Sac  and  Bill  Fox 
tribe,  but  Mr.  Juan  Sedillo,  once  a 
lawyer  of  Santa  Fe,  N.  M.,  and  now 
a  new  leading  man  on  the  Fox  film 
pasture 


this  and  even  his  juvenile  clientele,  with  the 
critical  precocity  of  modern  infants,  will 
shout  a  lusty  ".App'esauce!" 

CIRCUMSTANTIAL  EVIDENCE— 
Chesterfield 

'T^JEVER  hear  the  one  about  the  stripling 
■'-'forger  who  sent  his  pretty  sister  to  inter- 
cede for  him  with  his  not  over-scrupulous  boss? 
Yeh?  Then  you  know  enough  to  pass  it. 
Oh,  you  haven't?  Well,  you  wouldn't  care 
about  it  in  a  big  way.  It's  a  flock  of  cheap 
hooey  about  a  little  girl  who  was  too  good  for 
a  wealthy  scoundrel  who  was  too  bad. 

THE  COHENS  AND  KELLYS  IN 
ATLANTIC  CITY— Universal 

'T'HOSE  long  distance  travelers,  the  Cohens 
-•-  and  Kellys,  discover  new  gags  to  pull  at 
Altantic  City.  They  go  to  jail,  quarrel  with 
each  other,  have  trouble  with  murderers  and 
money.  Is  it  a  system?  Some  day  they  may  go 
too  far.  George  Sidney,  Vera  Gordon,  Mack 
Swain  and  Kate  Price  are  the  Cohens  and 
Kellys.     You  figure  out  which  is  which. 


THE  ALL-AMERICAN— Supreme 

OOLLEGIATES  and  track  devotees  will  eat 
''-'up  this  dramatized  version  of  the  Inter- 
national Olympics  in  Paris.  The  highlight  of 
the  picture  is,  of  course,  the  big  overseas 
athletic  meet;  the  collegiate  plot  built  into  it 
IS  .synthetic  but  adequate.  The  world-famous 
sprinter  Charlie  Paddock  is  the  hero.  .As  the 
track  hope  of  a  Western  college,  he  is  sent 
abroad  to  mop  up  the  meet.  Harvey  Clarke, 
the  coach,  supplies  some  comedy. 

THE  FLOATING  COLLEGE— 
Tiffuny-Stahl 

eUPPOSEDLY  based  on  a  Mediterranean 
J-'university  cruise,  this  picture  should  have 
had  good  farcical  possibihties.  Through  care- 
less story,  titles,  and  direction,  the  collegiate 
angle  is  discarded,  and  it  degenerates  into  a 
sordid  battle  between  two  sisters  for  a  reluctant 
male.  Buster  Collier  is  charming  despite  an 
mane  role.  Sally  O'Neill's  futile  attempts  to 
be  coyly  collegiate  are  ridiculous,  and  Georgia 
Hale  as  her  catty  sister— well,  she's  beautifully 
gowned. 

LOOPING  THE  LOOP— 
UFA-Paramount 

"D  EING  the  belated  romance  of  a  popular,  but 
-^middle-aged,  French  clown,  whose  hfe  until 
now  has  taught  him  that  no  woman  loves  a 
clown.  The  background  of  the  picture,  Le 
Grand  Cirque  de  Paris,  gives  authentic  and 
colorful  continental  atmosphere,  but  the  ■ 
story  could  hardly  be  called  a  far  cry  from  the 
ancient  "Laugh,  Clown,  Laugh"  theme.  Werner 
Krauss,  as  Bollo,  is  excellent,  but  the  conscious 
histrionic  efforts  of  the  heroine  and  the  heavy 
give  a  decidedly  stilted  effect. 

BLOCKADE— FBO 

"D  UM-RUNNERS  versus  the  Secret  Service, 
■•-^but  you'll  appreciate  the  difference.  Here 
is  a  consistent  story  bulging  with  suspense. 
Anna  Q.  Nilsson,  the  star,  shows  characteristic 
poise  in  swinging  between  two  roles  which  call 
for  tremendous  versatility.  A  woman  outlaw, 
a  rum  hijacker,  who  knows  no  law  but  her 
own — and  a  frivolous,  indolent  yachtswoman. 
Best  of  the  recent  bootleg  output. 

SA  TANESQ  UE— Sparta 

npHE  eternal  conflict  between  European 
-•-  aristocracy  and  peasantry  is  the  theme  of 
this  picture,  which,  though  a  domestic  film 
with  the  American  advantages  of  make-up, 
trimming,  and  photography,  is  Italian  in  its 
very  essence.  Excellent  acting,  classic  story, 
and  artistic  production  place  it  high  among  the 
finest  independent  pictures.  The  rolling  lands 
of  Sardinia,  with  their  lazy  flocks  and  shep- 
herds, give  a  picturesque  setting  for  the  tragic 
romance  of  a  young  Italian  count  and  a 
peasant  girl, 

THE  BLACK  HILLS— Dakota 

AN  heiress  owns  a  lumber  camp,  which  in 
•-turn  is  run  by  a  crooked  foreman  who 
cheats  at  soUtaire,  beats  his  wife,  and  puts 
bolls  in  people's  coft'ee.  A  gentleman  hobo 
tells  the  tough  guy  not  to  be  childish,  and  piles 
in  and  cleans  up  the  joint.  Then  the  dam 
breaks!     That's  all  there  is. 

TROPICAL    NIGHTS— Tiffany-Stahl 

A    RATHER   original   South   Seas  picture, 
*■  with  a  realistic  tropical  setting  and  spec- 
tacular pearl-diving   scenes.     A  white  man's 
vicious  lust  for  pearls  drives  him  to  the  murder 

[  CONTINITED  ON  PAGE  97  j 


Photoplay's 
Spring  Style  Forecast 


YOUR  clothes  come 
from  Hollywood. 
Women  the  world  over 
are  unconsciously  wearing 
photographic  clothes. 
Hollywood  originates  its 
own  designs.    Women  copy 

the  stvles  set  bv  the  stars.  Most  of  the  clothes  are 
made  to  suit  the  all-seeing  eye  of  the  camera.  There- 
fore, you  are  wearing  clothes  the  styles  of  which 
originate  not  in  Paris  nor  New  York  but  in  the  film 
capital  itself. 

In  this  fashion  section  you  will  discover  frocks  that 


//"N  interesting  detail  introduced  in 
^-^  some  of  the  smartest  sports  frocks 
for  spring  is  the  long,  narrow  throw  en' 
circling  the  throat.  Evelyn  Brent  here 
wears  a  frock  of  gray  mottled  jersey,  com- 
bined with  plain  gray  flat  crepe.  The 
throw  is  of  the  jersey,  lined  with  the  crepe 


by  Katherine  Albert 


show  the  general  spring 
trend  in  Hollywood  and, 
therefore,  the  rest  of  the 
world.  The  stars  have  their 
own  tastes.  The  studio  de- 
signers go  to  Paris  yearly 
but  come  back  and  adapt 
line  and  color  to  the  demands  of  the  fair  ladies  of 
the  gold  coast. 

The  film  queens  won't  take  dictation  from  any  so- 
called  stylist  or  group  of  stylists.  They  are  individ- 
ual in  their  choice  of  clothes  for  the  screen  as  well  as 
in  their  personal  wardrobes. 


when 
ijour 

cOcftume 
icf  a 

triumph 


/I 


SMART  in  line  and  made  of  Skinner's 
Crepe  or  Satin  Crepe!  Skinner  fabrics 
have  been  worn  by  the  best  dressed  women 
of  America  since  1848 — and  now  you  can 
obtain  them  in  ready-to-wear  dresses. 

For  your  afternoon  and  sports  frocks, 
Skinner's  Crepes.  For  your  evening  gowns, 
Skinner's  Satin  Crepes.  Their  luxurious 
texture,  their  splendid  body  and  draping 
qualities  make  gowns  of  unusual  loveliness. 

Skinner  fabrics  are  used  by  the  leading 
motion  picture  studios  for  their  stars.  Buy 
crepes  by  name — Skinner's— and 

"Look  for  the  Name  in  the  Selvage" 

William  Skinner  SC  Sons  Established  1848 

New  York    Chicago    Boston    Philadelphia    San  Francisco 

Skinnerpi  Crepes 


In  buying  garments 
ready  to  wear 


)look  for  this 
Skinner  ticket 


■*',17 


mS 


CT)ICH  yellow  and 
-^  \^_jburnt  orange 
brocaded  satin  is  the 
material  chosen  for 
this  stunning  evening 
gown,  which  is  the 
creation  of  Howard 
Greer,  and  is  being 
worn  here  by  Gwen 
Lee.  The  form  fitting 
bodice  is  held  in  place 
by  two  gold  shoulder 
straps,  but  the  inter- 
est  centers  at  the 
back  of  the  gown 
where  a  large  bow  of 
self  material  is  posed 
at  the  top  of  an  inset 
of  gold-colored 
pleated  ruffles 


(HD  ESSIE  LOVE 
-'-^  wears  a  paja- 
ma  set  of  honey- 
beige  satin,  worn 
with  a  coat  of 
metal  cloth.  The 
coat  piece  features 
an  attached  sash, 
which  ties  about 
the  hips,  with  a 
bow  in  front,  al- 
lowing a  graceful 
blouse  effect.  The 
trousers  are  wide 
and  have  almost 
the  effect  of  a  skirt 


rWO  new  trends 
are  shown  in  this 
afternoon  frock  worn 
by  Gwen  Lee.  Satin 
is  being  widely  used 
in  Hollywood  for 
smart  afternoon 
wear,  and  the  black 
and  white  combina- 
tion receives  the  en- 
dorsement of  the 
stars.  This  gown  has 
a  double  draped  skirt 
with  a  wide  hip 
girdle.  The  blouse 
is  loose  and  is 
trimmed  with  jabots 
of  white.  The  treat- 
ment is  repeated  in 
the  cuffs 


Jx)M 


?^  ^&fia 


ippers  step  out/ 

xoAtunied  JAjJiot  ^.noiuuv 


ijou  must  be      Q\ 
slipper 


leathered  satin  D'Orsay 


flit  I'imd  calf  slippers 


Our  name  is  placed  on  Daniel  Green 
slippers  because  we  are  proud  of 
them.  Lookforit.  It  isyourguararitee 
that  material  and  workmanship  are 
as  fine  asive  know  how  to  make  them. 


Satin-lined  kid  D^Orsay 

IT  was  a  French  diplomat  who  described  the 
American  woman  as  "gracious,  charming, 
modern  to  her  dainty  finger-tip  —  or  should  I  say 
slipper  toe?" 

"Slipper  toe"  is  correct.  For  the  charming,  modem 
woman  chooses  slippers  for  every  hour  of  her  home 
day  as  carefully  as  she  selects  street  suit  or  evening 
gown.  And  every  slipper  must 
be  supremely  smart  as  well  as 
superlatively  comfortable. 

Daniel  Green — slipper 
maker  to  the  world  —  has 
never  before  offered  such  an 
array  of  beautiful  slippers. 
Graceful  D'Orsays  in  finest 
satin,  in  which  to  receive  your  afternoon  or  evening 
callers.  Fine  patent  leathers,  satin-lined;  kid,  velvet, 
brocade!  And  of  course,  famous  Daniel  Green 
Comfys  for  the  children;  per- 

„„. fectly  styled  leather  slippers 

for  father. 

For  47  years  Daniel  Green 
has  been  building  beauty  and 
comfort  into  slippers  for  every 
Graceful  satin  mule  member  of  the  family.  Each 

year  brings  new  materials,  new  styles  to  join  the  long- 
time favorites.  If  you  want  slippers  that  are  com- 
fortable, beautiful,  smart,  ask  for  Daniel  Green's. 


Daniel  Green  Slippers 

Dolgevilk,  N.  Y. 


Gold  strap  satin  mule 


Guaranteed 


SOLD    IN    EVERY    COUNTRY    IN    THE    WORLD 


«TV  /'OWHERE  111  the  world 
<^  \^^  are  women  as  anxious  to 
be  beautiful  as  they  are  in  Holly- 
wood. The  stars  know  every 
trick  of  keeping  themselves  fit. 
In  their  homes  they  discard  tight, 
heavy  shoes  and  wear  only  the 
most  comfortable  boudoir  slippers. 
And  this  year  they  have  gone  in 
for  simplicity.  The  elaborateness 
of  the  negligees  demand  plain 
slippers.  This  is  the  Spring 
indication 


cyHE  up-to-date  woman  needs  a  variety  of  slip- 
-*-  pers.  Top,  Corinne  Griffith  looks  over  her 
slipper  cabinet.    Slippers  are  a  first  aid  to  beauty. 

Just  above,  Dorothy  Sebastian  poses  in  her  new 
plain  satin  boudoir  mules.  They  have  a  gold  kid 
strap  and  heel  piece.  This  type  of  mule  may  be 
had  in  other  materials. 

At  the  right  is  Anita  Page  in  her  crepe  de  chine 
mules  with  gold  kid  straps  and  heel  pieces.  These 
also  come  in  modish  satin,  brocade,  velvet  and  kid 


rHE   fifty-fifty   hat — that's   Nancy   Car- 
roll's contribution  to  the  Spring  mode. 
It  is  made  of  light  tan  straw  and  dark  brown 
felt.    The  combination  is  carried  out  even  in 
the  narrow  brim 


7"7"OW  to  wear  the  chic  little  nose  veils  so 
■*-  -^  popular  in  Hollywood  this  Spring. 
Mary  Duncan  drapes  hers  close  to  the  hat  but 
allows  plenty  of  fullness  across  the  face.  The 
ring  she  wears  is  worthy  of  comment,  since  it 
is  one  that  she  is  never  without,  wearing 
it  with  sports  as  well  as  with  evening  and 
street  clothes.  It  boasts  one  black  and  one 
white  pearl 


C^HE  theater  hat  has  come  into  prominence 
-*-  in  Hollywood  since  it  was  introduced  by 
Baclanova.  This  wrapped  turban  is  of  white 
satin  shot  with  silver  and  is  trimmed  simply 
with  an  emerald  and  crystal  ornament.  Grad' 
uated  pearl  ear-rings  are  worn  with  this 
stunning  accessory 


THERE  is  not  a  chance  that  you'll  be  won- 
dering if  you're  the  type  that  can  wear  a 
large  hat  this  Spring.  The  reason  is  that 
there  aren't  any  large  hats.  Hollywood 
decrees  that  the  smart  woman  chooses  a 
chapeau  that  fits  the  head  snugly.  Turbans 
are  very  chic.  Hats  with  brims  that  roll  away 
from  the  face  are  the  last  word.  The  soft  felt 
finds  favor.  For  evening,  one  notices  the 
theater  hat,  wherever  Hollywood  celebs 
gather.  The  models  shown  on  these  pages  are 
the  favorite  hats  of  the  stars  pictured  here. 


/f^  ensemble  of  accessories,  Gwen  Lee 
^^-^J-  chooses  bag,  hat  and  necklace  that 
match.  The  hat  is  of  black  felt  with  the  up- 
turned brim  held  in  place  by  a  silver  and  onyx 
ornament.  The  bag,  also  of  felt,  is  decorated 
with  an  ornament  similar  to  that  worn  on  the 
hat.  The  choker  necklace  is  of  silver  and  onyx 


/T  YOUTHFUL 
^^J-  and  smart  hat 
for  Spring  worn  by 
Loretta  Young.  It  is 
a  modified  bandeau 
style,  the  bandeau 
being  of  silver  mesh 
and  the  hat  of  gray 
felt.  The  upturned 
brim  is  held  by  a  tai- 
lored bow  fashioned 

of  moire  ribbon 


" /C'HIC,"  according  to 
y-^  Corinne  Griffith,  is 
just  another  way  of  say- 
ing "simplicity."  That's 
why  this  hand-made  felt 
hat  is  her  favorite  of  the 
season.  It  has  a  perfect 
Ime  for  her  face.  The 
hrim  is  turned  up  at  the 
front,  with  one  side 
rolled  down  and  looped 
in  an  opening  cut.  It 
IS  "simplicity,"  for  it 
has  no  trimming  of  any 
kind 


^ 


^ 


COATS     AND      SUITS 


Almost  every  woman  thinks  to  herself,  "If  only 
I  could  have  clothes  like  that,"  when  her  favorite 
star  strolls  across  the  screen.  For  motion  picture 
actresses  are  among  the  smart  women  of  today. 

In  Printzess  Coats,  Suits  and 
Ensembles — style  steps  from  the 
screen  to  the  streets  of  your  town. 
You  can  wear  a  Printzess  garment 
with  the  serene  confidence,  the 
assurance  that  comes  from  know- 
ing that  your  chic  costume  has 


screen 


been  favored  by  celebrated  stars  of  the   screen. 

Ask  by  name  for  Printzess  Coats  and  Suits  — 

also  "Printzess  Petite"  for  the  shorter  woman  and 

"Printzess  Travelure"  for  travel  and  sport  wear. 

Then  be  sure  to  look  for  the 

Printzess  label.     It  means  smart 

style,  flattering  lines  and  perfect 

tailoring.   The  Printz-Biederman 

Company,  Cleveland  -New  York. 

Printzess  garments    cost  less   than 

you  expect,  $25.00  to  $95.00. 


DISTINCTION 


I    N 


DRESS 


SINCE 


18    9    3 


//"N  interesting  inter- 
^^-*-  pretation  of  the  cos- 
tume suit,  worn  by  Joan 
Crawford,  is  shown 
above  and  to  the  right. 
This  is  a  smart,  three- 
piece  model,  cut  along 
somewhat  fitted  lines. 
The  skirt  and  coat  are 
silvertone  basket- 
weave.  The  skirt  is 
pleated  and  the  lining  of 
the  coat  matches  the  gay 
silk  blouse 


cyJHE  new  princesse 
-*-  silhouette  is  espe- 
cially suited  to  the  youth- 
ful figure.  This  attrac- 
tive fashion  revival  is 
worked  out  in  Oxford 
covert  cloth,  with  krim- 
mer  collar.  Raquel 
Torres  wears  this  chic 
Spring  coat  and  its  fitted 
bodice  and  flared  skirt 
accentuate  her  slender- 
ness.  The  coat  has  a 
lining  of  silk  satin 


You  will  of  course  want 
Shuglovs  —  originated  by 
Miller—  immediately.  Look, 
for  the  name.  Your  favorite 
shop  has  them  in  Nude, 
Gunmetal  and  Brown— two 
styles  —  the  concealed  slide 
fastener  and  the  button-over. 
Two  types  of  heels  — Uni- 
versal and  Cuban.  Made  of 
lightest  rubber.  The  top  is 
worn  up  or  dov/n  with 
ecjual  smartness.  Sizes  2.  to  Q. 
Talon  Slide  Fastener,  manu- 
factured by  Hookless  Fast- 
ener Co.  Used  on  the  nev/ 
Shuglov. 


ashion  Demands  the  Lovely  Ankle  line 

StrerL  uh  6xu6  Weather 


ONE  might  have  excused  the  unsightly  bulk  of  yesterday's  footgear 
protection  when  there  was  nothing  else.  But  the  mode  has  changed. 
Fashion  decrees  that  the  lovely  contour  of  foot  and  ankle  must  no  longer 
be  sacrificed. 

And  so  the  stylists  of  smart  shoes  have  designed  a  method  of  protection 
as  smart  as  the  shoes  themselves. 

In  this  charming  nev\r  bad-weather  accessory,  one  finds  a  complete 
discarding  of  all  old  ideas.  Unsightly  bulk  is  gone.  Weight  is  found  un- 
necessary. In  their  place  are  feather  lightness — perfect  fit.  And  you  wear 
Shuglovs  over  loveliest  shoes  and  stockings  in  utmost  safety. 

The  complete  wardrobe  will  have  tv/o  or  three  pairs — different  colors 
for  different  ensembles.  Easy  to  wipe  clean  with  a  damp  sponge.  Lined 
for  comfort  and  ease  of  removal.  The  Miller  Rubber  Company  of  N.  Y., 
Akron,  Ohio,  U.  S.  A. 

niiller  JT^e/^r/of/ 

TIRES  •  TUBES  •  ACCESSORIES  AND  REPAIR  MATERIALS  •  DRUG  SUNDRIES 

BATHING  WEAR      •       SHUGLOVS        ■        RUBBER  BALLS  AND  TOYS        •       MOLDED  RUBBER  GOODS 


cnOULKY  methods  of 
■*-'  footwear  protection 
have  departed,  along 
with  tandem  bicycles. 
Right,  Mary  Brian  in 
her  new  glovelike  shoe 
protectors  intended  for 
the  ever-changing 
Spring  weather.  These 
have  concealed  slide 
fasteners  and  are  on  and 
off  in  a  jiffy 


CnELOW,  left  — 
^-^  Carmel  Myers  re 
veals  another  new 
model  footwear  pro- 
tector. These  come  in 
gunmetal,  brown  and 
nude  tones  and  are  made 
with  concealed  slide 
fasteners 


CnELO'W,  right  — 
-'-*  Myrna  Loy  in  her 
new  Spring  protectors. 
These  have  two  types 
of  heel:  Cuban  and 
high  heel.  They  can  be 
worn  with  the  turn 
over  cuff  up  or  down 
and  have  elastic  linings 
for  comfort 


(JTpOR  the  polo  game  or  the  whip' 
J  pet  race,  Gwen  Lee  selects  this 
two  piece  sports  costume  of  French 
jersey.  The  frock,  pleated  at  the 
front  of  the  skirt  and  trimmed  with 
a  flat  tie  at  the  neck-line,  is  of  beige 
and  red  in  a  small,  geometric  design. 
The  two-button  jacket  is  of  red, 
lined  in  the  same  material  as  the 
frock.  Beige  hat,  beige  gloves  and 
an  envelope  bag  in  snakeskin  com' 
plete  the  outfit 


/f  STUNNING  sports  frock  in  black  and 
"^-yj-  white,  worn  by  Anita  Page.  The 
blouse  and  knife-pleated  skirt  are  of  white 
georgette  and  the  blouse  is  trimmed  with 
angora  embroidery  in  white  and  black. 
Black  and  white  slippers  are  worn  to 
complete  the  costume 


THE  term  "sports  clothes"  no  longer 
suggests  those  severely  utilitarian 
outfits  for  tennis  or  golf.  The 
classification  has  been  widened  by 
stylists  to  include,  literally,  all  outdoors. 
You  are  suitably  dressed  for  luncheon  in 
a  sports  costume.  Sweaters  and  skirts 
are  seen  even  in  the  afternoon  in  Holly- 
wood, at  tea  and  informal  parties.  And 
no  wonder,  when  they  are  as  ornamental 
as  these  two  sports  ensembles. 


T)o  this  Svery Night 

To  safeguard  skin  from  dirt  and  make-up 

Unless  the  pores  are  thoroughly  cleansed  every  day 
in  this  way,  blackheads,  pimples,  sallowness  result 


How  olive  oil,  in  this  facial 
soap,  produces  a  lather  which 
brings    out   natural  beauty 


TODAY,  more  than  ever  before,  there  is 
vital  meaning  in  the  phrase,  "washing 
for  beauty."  And  yet  you  may  be  one  of 
those  who  overlook  its  importance.  The 
layers  of  rouge  and  powder  which  you  are 
likely  to  apply  during  the  course  of  a  day; 
the  dust  and  dirt,  oil  secretions,  dead  skin 
that  find  their  way  into  the  pores  are  simply 
an  invitation  to  blackheads,  pimples,  dreaded 
blemishes! 

Perhaps  you,  yourself,  go  on  from  day  to 
day  abusing  a  pricelessly  lovely  complexion. 
Changes  come  so  gradually  that  you  scarcely 
notice  them.  Then-suddenly,  one  day— you 
find  coarsened  texture, lifeless  colorreplacing 
your  naturally  youthful  skin.  The  best  way 
to  combat  these  evils  is  to  wash  the  face,  in 
this  way,  with  a  soap  containing  olive  oil. 

Olive  oil  and  your  shn 

This  is  what  a  soap  containing  olive  oil  does, 
when  you  follow  the  famous  Palmolive  treat- 
ment given  below,  it  soothes  as  it  stimulates, 
it  cleans  as  it  beautifies.  Gently,  the  rich 
lather  from  this  olive  oil  soap  softens  those 
tiny,  stubbornly  hard  masses  that  form  in 
your  pores.  Gradually,  they  are  freed  and 
the  skin  is  able  to  "breathe"  once  more. 
Lovely,  fresh  color  comes  rushing  to  the 
surface.  Blotches,  irregularities  disappear. 
You  touch  your  face  and  it  amazes  you  with 
its  cool  softness.  You  look  at  it  and  are 
delighted  viith  its  fresh  loveliness! 

Millions  use  Palmolive  for  the  bath  as 
well,  because  it  is  so  inexpensive.  To 
discover  your  own  possibilities  of 
beauty,  you  should  begin  these  treat- 
ments tonight! 


Retail   -I  /'~>. 
Price      \_\_)C 


At  night— Mike  a  rich  lather  of  Palmolive 
Soap  and  warm  water.  With  both  hands, 
apply  it  to  face  and  throat,  massaging  gently 
in  an  upward  and  outward  motion,  to  stimu- 
late circulation.  Rinse  thoroughly  with 
warm  water  graduated  to  cold  until  you 
actually  feel  all  impurities,  oil  secretions 
and  make-up  carried  away.  Then  dry  the 
skin  tenderly  with  a  soft  towel. 


In  the  morning— Repeat  this  treatment  and 
add  a  touch  of  finishing  cream  before  put- 
ting on  rouge  and  powder.  That's  all! 
A  simple  treatment,  but  it  must  be  ob- 
served twice  every  day  to  keep  the  skin 
lovely  and  youthful.  At  10c  Palmolive  is 
the  world's  least  expensive  beauty  formula. 
Buy  a  bar,  begin  using  it  today.  Colgate- 
Palmolive-Peet  Co.,  Chicago,  Illinois. 


PALMOLIVE  RADIO  HOUR— Broadcast  every  Wednesday  night-from 
9:30  to  10.30  p.  m.,  eastern  time;  8:30  to  9:30  p.  m.,  central  time;  7:30 
to  8:30  p.  m.,  mountain  time;  6:30  to  7:30  p.  m..  Pacific  Coast  time  —  over 
WEAF  and  39  stations  associated  with  The  National  Broadcasting  Company. 

4224 

KEEP     THAT     SCHOOLGIRL     COMPLEXION 


V 


■j;- 


■k- 


-^    • 


\       1     ' 

\    Ramon  / 

^  Novarro    r 


THE 
BRIGHT 
LIGHTS! 

M-G-M  stars 

are  the  greatest 

of  all! 

And  There  Are  **  More 
Stars  Than  There  Are 
in  Heat-en"  in  Metro* 
GoMifyn-Mayer  Pictures 


"THE  TRAIL  OF  '98"  is  the  current  film  sensation  of  America.  With 
beautiful  DOLORES  DEL  RIO,  Ralph  Forbes,  Karl  Dane,  Tully 
Marshall.  A  Clarence  Brown  production.  The  Giant  picture  of  the 
year.  Direct  from  its  long  run  on  Broadway  at  $2  admission.  Tell 
your  theatre  Manager  it  is  the  one  picture  you  don't  want  to  miss! 


METRO -GOLDW 


AVER 


QUESTIONS  ef  ANSWERS 


Read  This  Before 
Asking  ^estions 

You  do  not  have  to  be  a 
reader  of  Photoplay  to  have 
questions  answered  in  this  De- 
partment. It  is  only  necessary 
tiiat  you  avoid  questions  that 
would  call  for  unduly  long  an- 
swers, such  as  synopses  of  pla\'s 
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.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
\-our  receiving  the  information 
you  want.  Address  all  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  VV. 
57th  St.,  New  York  City. 


C.  T.  C,  Atl.-\xt,\,  Ga. — More  missing  rel- 
tives.  Norma  Talmadge's  real  name  is  just 
hat.  .Although  Norma  never  has  made  any 
laims  of  being  a  first  family,  the  Talmadges 
re  old  settlers  in  Connecticut.  Did  your 
lother  come  from  that  state?  Other  Tal- 
ladges  may  correct  me  if  I  am  wrong,  but  I 
hink  that  most  Talmadges  trace  their  descent 
rom  pioneer  Nutraeggers. 

B.  J.,  BtjFFALO,  N.  Y. — Yes,  your  birthday 
;  the  same  date  as  Clara  Bow's — the  twenty- 
linth  of  July.  Mary  Pickford  is  thirty-five 
■ears  old  and  Mae  JIurray  also  claims  thirty- 
ive  as  her  age.  Doug  Fairbanks  is  ten  years 
ilder  than  JIary.     Doug,  Jr.,  is  eighteen. 

Jean  S.,  Sydney,  N.  S. — Can  you  hear  me 
way  down  there?  Marion  Davies  is  not 
narricd.  Her  next  picture  is  "The  Five 
)'C!ock  Girl."  Write  to  her  at  the  Metro- 
joldwyn-JIayer  Studios,  Culver  City,  Calif. 

V.  D.,  Chicago,  III. — Sally  O'Neil  was  born 
n  Bayonne,  N.  J.,  Oct.  23,  1908.  She  is  five 
eat,  one  and  one-half  inches  tall,  and  weighs 
104  pounds. 

C.  D.,  Pro\ide\ce,  R.  I. — Poor  .Anna  Q. 
"J'ilsson  broke  her  hip  and  she  has  been  out  of 
rictures  for  some  months.  It  was  a  mean 
iccident  and  .Anna  has  been  very  brave  about 
t.  But  she  is  now  appearing  in  "Blockade." 
\nna  is  about  thirty-one  years  old.  Write  to 
]er  at  the  FBO  Studios,  780  Gower  Street, 
Hollywood,  Calif.  Francis  X.  Bushman  plays 
in  pictures  and  vaudeville.  He's  a  free-lance. 
Lemme  see.  Unless  my  memory  fails  me, 
Francis  is  somewhere  in  the  forties. 

W.  .\.  C,  EvAXSTON,  III. — Tell  your  sister 
that  she  is  wrong.  Colleen  Moore  is  twenty- 
3i.\  years  old.  She  was  married  to  John 
McCormick,  producer  of  her  pictures,  in 
August,  1923.  But  what  difference  does  a 
woman's  age  make,  after  all?  If  a  girl  looks 
and  acts  eighteen,  that's  her  real  age,  although 
in  point  of  years  she  may  be  eight  years  older. 
So  you  "fans"  ought  to  judge  by  appearance 
and  actions,  not  by  dates.  How  many  arc 
with  me? 

Peggy,  Cedar  Rapids,  Io\v.\ — Calm  your- 
self and  you'U  hear  all.  Charles  Farrell  has 
brown  eyes  and  is  si.x  feet,  two  inches  tall. 
Not  married.  He's  making  a  picture  with 
Janet  Gaynor. 

Ver.\  p..  Sax  A.ntgxio,  Tex. — Greta  Garbo 
and  John  Gilbert  played  together  in  "Flesh 
and  the  DevU,"  "Love,"  and  ".V  Woman  of 
Affairs."  Don  .Alvarado  was  born  in  Albu- 
querque, N.  M.,  and  his  real  name  is  Joe 
Paige.  His  father  was  an  .American,  but  his 
mother  was  Mexican.  Ricardo  Cortez  is 
making  a  picture  called  "The  Younger  Genera- 
tion." Write  to  him  at  the  Tiffany-Stahl 
Studios,  4516  Sunset  Blvd.,  Hollywood,  Cahf. 


H.  R.,  Atlaxt..\,  Ga.— Collect  that  dollar 
from  your  husband.  Clara  Bow  «as  born  in 
Brooklyn,  which  is  a  borough  of  Greater  New 
York.  Roscoe  Arbuckle  is  now  running  a 
night  club  in  Los  Angeles.  No,  I  don't  think 
you'll  see  him  on  the  screen  again.  Sue  Carol 
and  Xancy  Carroll  aren't  related  and  they 
certainly  are  not  the  daughters  of  Earl  Carroll. 

George  Holleran,  Hebbroxville,  Tex. 
— How  can  you  ask?  It  was  Greta  Garbo,  not 
Vilma  Banky,  who  played  in  "Love." 

Cecil  De  Mille  of  H.-^rtford. — Yes,  Mr. 
De  Mille!  You  can  stop  worr>-ing  because 
here  are  the  answers  to  your  questions. 
Dolores  Costello's  latest  picture  is  '■.Ahmony 
,'\nnie."  In  "Bride  of  the  Storm,"  John 
Harron  was  her  leading  man.  Dolores  is 
twenty-three  years  old  and  five  feet,  four  inches 
tall.  Mary  Astor  has  auburn  hair,  but  Billie 
Dove's  hair  is  dark  brown.  BiUie's  newest 
picture  is  ".Adoration."  Write  to  Dolores  at 
the  Warner  Brothers  Studio,  Hollywood,  Calif. 

M.  F.  L.,  Axaheim,  Calif. — Nancy  Carroll 
is  married  to  Jack  Kirkland,  a  writer.  Sue 
Carol  is  separated  from  Alan  Keefer.  James 
Hall  is  not  related  to  Bebe  Daniels.  Bebe  has 
no  brothers  or  sisters.  Clara  Bow,  Robert 
Frazer  and  Alyce  Mills  played  in  "The 
Keeper  of  the  Bees." 


HERE  are  seven  star  names 
often  mispronounced. 
Lupe  Velez  is  pronounced 
Loo-pay  Vel-ayz. 

It  is  Bee-bee,  not  Bay-bay, 
Daniels. 

Joan  Crawford's  first  name  is 
all  one  syllable,  not  Jo-an. 

Ramon  Novarro  is  Ray-moan 
Noh-var-ro,  with  the  accent  on 
the  "var." 

Clive  Brook  is  Cl-eye-ve,  not 
Cleeve.   And  Brook,  not  Brooks. 

Nils  Asther  is  Neels  As-ther. 

And  Clara  pronounces  it  Bo, 
like  beau  and  not  bow  like  a  bow- 
wow. 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY  ad- 
vises you  to  enclose  twenty-five 
cents  to  cover  the  cost  of  picture 
and  postage.  The  stars,  who 
receive  hundreds  of  such  re- 
quests, cannot  afford  to  comply 
with  them  unless  you  do  your 
share. 


Xadixe  H.,  Johxstowx,  X.  Y.— I'm  just  a 
liule  peace-maker.  You're  both  right.  Evelyn 
Brent  was  the  girl  in  the  picture  in  the  Shadow 
Stage,  but  Doris  Kenyon  was  also  in  the  cast 
of  "Interference."  Hence  the  mix-up.  Maria 
Corda  was  born  in  Budapest  and,  if  I  know  my 
geography,  -that  makes  her  a  Hungarian. 
Percy  Marmont  was  the  leading  man  in  "When 
a  Ciiii  Loves." 

I\L  T.,  De  Witt,  Ark.— Right  you  are! 
There  are  no  big  rocks  on  the  Louisiana  coast 
line.  "The  Love  Mart"  was  filmed  in  Cali- 
fornia. Richard  Barthelmess  played  a  dual 
role  in  "Sonny"  and  Pauline  Garon  was  his 
leading  woman.  .Alice  Brady  and  Eugene 
O'Brien  are  on  the  stage.  Elaine  Hammer- 
stein  is  married.  William  Bakewell  played 
Bill  Haines'  room-mate  in  "West  Point." 

.\  JIarquette  Co-ed,  Milwaukee,  Wis. — 
W  hy  be  silent  when  I  just  sit  here  waiting  for 
questions  to  answer?  John  Barr>'more]s 
daughter  is  seven  years  old  and  her  name  is 
Diana  Joan.  Pretty  name,  isn't  it?  Norma 
Talmadge  is  thirty-one;  she  has  no  children. 
Mac  Murray  refuses  to  give  the  name  of  her 
little  son,  so  take  that!  George  Bancroft  is 
forty-six  and  that's  his  real  name.  He's 
married.  You'll  see  Lloyd  Hughes  in  "The 
Mysterious  Island." 

Helex  Frear,  Scraxtox,  Pa.— Only  five 
questions  at  a  time,  please,  Helen.  Charles 
Rollers  is  twenty-four  years  old  and  has  black 
hair,  black  eyes,  is  six  feet  taU  and  weighs  16.S 
pounds.  That's  his  genuine  monicker.  .Also 
he's  single.  Mary  Brian  is  twenty  years  old 
and  has  brown  hair  and  blue  eyes.  She's 
live  feet,  two  inches  tall  and  weighs  109 
pounds.  And  her  real  name  is  Louise  Dantzler. 
lames  Hall  is  twenty-eight  years  old  and  has 
brown  hair  and  blue-green  eyes.  Betty 
Bronson  is  twenty-two  and  just  five  feet  tall. 
She  weighs  100  pounds  and  has  brown  hair 
and  blue  eyes.  Betty  uses  her  o^vn  name.  M 
Jolson's  real  name  is  .\sa  Yoelson  and  he  is 
forty-two  years  old.    Whoops! 

E.  J.  P.  T.,  Herkimer,  N.  Y. — What  a 
movie  monicker  you  have!  Norma  Shearer 
has  no  children.  She  was  married  to  Irving 
Thalberg  Sept.  29,  1927. 

Jeaxxe,  .\tlaxta,  Ga. — David  Rollins  is 
nineteen  years  old.  The  boy  who  appeared 
with  him  in  "Win  That  Girl'  was  Tom 
Elliott.  Barry  Norton  was  the  lad  you  liked 
in  "The  Legion  of  the  Condemned." 

.\.  C.  F.,  .-Vmsterdam,  N.  Y— Margaret 
Morris  and  Raymond  Keane  played  the  leads 
in  "The  Magic  Garden." 

D.  G.  H.,  Flint,  IMich.— Laura  La  Plante 
is  twenty-four  years  old  and  married  to 
William  Seiter,  the  director. 

[  CONTINtJED  ON  P.\GE   133  ] 

S7 


Photoplay  Magazine — Advektising  Section 


Photo  by  H.  D.  Carsey,  Hollywood 


A  scretn  star's  skin  must  siiow  flawlessly 
smooth  under  the  huge  new  incandescent 
"sun-spot"    lights    used    for   the    close-up. 


BiLLiE  Dove,  Moved  First  National  star,  in  the  very 
charming  modernistic  bathroom  built  especially  Jor  her  in 
Hollywood. 

"A  smooth  skin  is  most  important  to  every  girl  whether 
she  is  a  motion  picture  player  or  not.  I  find  Lux  Toilet 
Soap  delighifully  pure  and  refreshing." 

Lux  Toilet 


Every  advmlsenitnt  in  PDOTCrLAT  MAGAZINE  is  guarantfed. 


Photoplay  Magazine — Advertising  Section 


8, 


For  loveliness 
that  thrills^  a  girl  must  have 

exquisite  skin— 

Say  39  Hollywood  directors 


Nine  out  of  ten  screen  stars  use  Lux 
Toilet  Soap  for  smooth  skin. 

Petal-smooth  skin  —  how  subtly 
and  surely  it  wins  its  way  into  hearts 
everywhere!  There's  no  loveliness 
like  it,  39  Hollywood  directors  find. 

"Smooth,  flawless  skin  is  beauty's 
greatest  asset,"  says  A\  Rockett,  pro- 
duction manager  for  First  National. 
"The  perfection  of  an  exquisite  skin 
is  much  more  to  the  motion  picture 
star — or  indeed,  to  any  woman,  than 
any  other  physical  quality." 


A  screen  star  must  have  skin  so 
beautifully  smooth  that  even  the 
terrific  brilliancy  of  the  close-up  lights 
reveals  not  a  single  flaw  in  its  utter 
loveliness. 

Nine  out  of  ten  screen  stars  use  Lux 
Toilet  Soap  for  smooth  skin.  In  Holly- 
wood, of  the  451  important  actresses, 
including  all  stars,  442  care  for  their 
skin  with  this  daintily  fragrant  white 
soap. 

The  next  time  you  see  Billie  Dove 
notice  how  exquisitely  fine  and  smooth 


Lux  Toilet  Soap  keeps  her  skin. 
When  you  see  your  favorite  star, 
whoever  she  is,  in  a  close-up,  remem- 
ber that  98%  of  the  lovely  complex- 
ions you  see  on  the  screen  are  cared 
for  by  this  soap. 

Every  one  of  the  great  film  studios 
has  made  Lux  Toilet  Soap  the  official 
soap  in  all  dressing  rooms. 

It  leaves  the  skin  so  petal-smooth! 
You'll  love  its  quick,  generous  lather 
in  your  bath,  too,  and  for  the 
shampoo. 


^^^^^^^^^^B  B     ^gt*# 

r^^ffi 

HH^^^t 

Photo  by  O.  Dyar.  Holly^vood  Photo  by  R.  Jones.  Hollywood 

Esther    Ralston,    popular    Paramount    star,    says:    "Lux         Mary  Philbin,  Universal  star— "A  star's  skin  must  have 
Toilet  Soap  is  excellent  lor  keeping  skin  Uelightfully  smooth."         marvelous  smoothness.   I  entrust  mine  to  Lux  Toilet  Soap." 


Soap 


J-,uxiiry  such  as  you  have  found  only  in  Trench 
soaps  at  50c  and  $1.00  the  cake  .   .   now 

Wien  you  write  to  advertisers  pleaso  mention  PnOTOPLAT  II.VGAZIXE 


10 


I 

c 

1 


The  Studio  Murder  Mystery 


I  CONTINUED  FROM  PAGE  37  ' 


"There  isn't  a  duck  on  the  place  .  .  .  dead 
or  alive."  protested  the  other.  "There's  a 
couple  of  chickens  in  a  crate  in  the  'prop'  room. 
Won't  one  of  those  do?" 

"Von  Richten  said  'duck'  and  'duck"  it's 
got  to  bel "  was  the  tirm  reply. 

"Aw,  shucks!  Well,  I'll  go  get  one  of  those 
stuffed  .  .  ." 

"No,  you  won't,  brother!"  snapped  the  man 
of  the  blocks,  looking  up  for  the  first  time. 
"  No  stuffed  ducks  on  this  set  I  It's  the  insides 
he  wants!" 

"Oh  ...  all  right.  I  guess  I  can  get  one 
down  the  boulevard  a  ways.  ..." 

LAUGHING  a  little  at  the  colloquy.  Smith, 
his  hands  plunged  in  his  pockets,  and  his 
head  down,  started  on.  Deep  in  his  own 
thoughts,  he  did  not  stop  until  he  was  brought 
up  smack  against  it  ...  a  wavinn;  bit  of  bright 
blue  satin,  to  which  a  narrow  edge  of  white  lace, 
torn  from  a  wider  flounce,  was  sewn.  For  a 
moment  the  detective's  eyes  clung  to  the  fabric. 
Then  he  looked  about  him.  half  expecting  to 
see  a  third  band  of  workers  busily  sticking 
other  "clues"  about  the  lands;ape.  But  no  one 
was  in  sight.  No  voice  came  to  his  ears.  A 
lazy,  mid-afternoon  wind,  touched  the  material 
with  indolent  fingers,  and  rippled  the  high 
grass  growing  along  the  fence.  A  blackbird 
came  and  jeered  raucously  at  him.  A  ground 
squirrel  scurried  out  of  sight.  .  .  . 

"Well.  I  guess  this  'set'  is  the  real  thing,"  the 
detective  muttered  to  himself  after  a  moment. 
"In  that  case.  I'll  manifest  a  little  interest  in 
this  all  too  obvious  clue!''  Outward  indiffer- 
ence, but  inward  excitement  as  he  went  closer 
to  inspect  it.  It  fell  from  its  place  on  one  of  the 
barbs  of  the  fence  as  his  hand  reached  out  for 
it.  Apparently  it  needed  but  the  suggestion  of 
a  touch  to  dislodge  it.    Smith  whistled  softly. 

"Thanks.  Much  obliged,"  he  addressed  the 
fallen  'clue.'  "Probably  saved  me  a  nice  little 
shock.  Now,  my  fine  fellow,  we'll  see  who  so 
obligingly  turned  off  the  juice  for  you  on  that 
fateful,  foggj'  night  of  a  week  ago!"  He  placed 
the  scrap  of  material  carefully  between  the 
pages  of  his  note  book.     His  exultation  over 


this  new  evidence  had  been  a  bit  slow  in 
coming.  He  was  too  fresh  from  scenes  of  be- 
wilderingly  realistic  make-belie\e.  But  the 
exultation  did  come.  His  step  was  almost 
jaunty  as  he  turned  back  to  the  "front  lot," 
and  he  hummed  a  little  tune  under  his  breath. 
And  later,  in  Rosenthal's  office  .  .  . 

"But  I  tell  you,  .\bie,  there  ain't  nobody  can 
get  into  that  svitch  box  vidout  bustin'  it!" 
protested  Izzie  reproachfully. 

Rosenthal  swung  swiftly  around  on  Smith. 

"Vas  it  busted?"  he  demanded  instantly. 

"Nope."  replied  Smith  gravely. 

The  president  of  Superior  Films  threw  out 
his  hands  in  an  eloquent  gesture  of  scorn. 

"Veil,  now  you  see  .  .  .  busted  or  not 
busted  .  .  .  somebody  got  into  it  vonce!"  he 
addressed  his  production  manager,  sarcasti- 
cally. Izzie  kept  a  sullen  silence.  Presently 
Rosenthal  said: 

"Vere  vas  the  keys?    Think,  vonce,  now!" 

"Ve  only  got  vone  key  .  .  ." 

"Only  vone!  Vat  if  it  gets  lost?  Such  a 
dumb  head  you  have  got,  sometimes,  Izzie! 
Don't  you  know  noddings?    Only  vone  key!", 

"Veil,  ve  had  three.  Hal  Gleason.  he  takes 
\one  vid  him  by  mistake  ven  he  goes  to  Europe 
last  year.  The  other  vone  I  don't  know  vat 
happens  to  it.  .\nyvays,  it  \'as  lost  a  long  time 
ago  .  .  .  before  the  vone  Hal  Gleason  takes  to 
Europe.  .  .  ."' 

"Who  keeps  the  key  that  is  left?"  asked 
Smith. 

"Our  head  electrician,"  answered  Rosenthal. 

"All  right.  Let's  have  him  in  here,"  said 
Smith  briskly. 

The  man  was  the  tjfpe  that  is  unmistakably 
honest.  The  key  had  not  left  his  key  ring,  nor 
the  key  ring  his  possession.  Smith  was  con- 
vinced of  this.  When  he  had  gone  out  again, 
the  detective  rose  to  his  feet,  and  filled  his 
pocket  mth  Rosenthal's  cigars.  The  presi- 
dent's eyes  dwelt  upon  him  with  brooding 
sombreness. 

"What's  matter?  .'\ren't  I  welcome?  "  asked 
Smith  cheerfully. 

"Sure,  sure  .  .  .  take  all  you  vant.  Here.  I 
giff  you  anodder  box!"  and  the  president  dived 


down  to  his  bottom  desk  drawer  and  came  up 
with  a  red  face,  and  an  unopened  container  of 
his  precious  smokes. 

"Then  what's  worrying  you?"  insisted 
Smith. 

"Efferyting  is  vorrying  me!  My  business, 
my  vife,  my  nerffs!  Efferyting!  I  tell  you. 
Smith,  dis  murder  vill  be  the  death  off  me! 
Already,  Rachel,  my  vife,  she  tells  me  I  look 
crazy  around  the  house!  She  talks  to  me!  I 
don't  hear  her!  I  don't  talk  back!  Ven  you 
came  in  vid  this  e\'idence  today,  I  vas  all 
hopped  up!  I  vas  telling  myself,  'Ah,  now  ve 
vill  find  out  all  about  it!'  But  do  we?  Do  we 
find  out?    No.    We  find  out  noddings!" 

The  detective  clapped  him  affectionately  on 
the  back. 

"Cheer  up,  old  timer,"  he  laughed.  "Why 
should  you  be  downhearted  when  I'm  not?" 

Rosenthal  looked  up,  hope  dawning  in  his 
big  brown  eyes. 

"And  you  don't  feel  bad  because  ve  do  not 
find  out  about  that  svitch  box?" 

"Not  a  bit  in  the  world!  That  little  bit  of 
blue  silk  told  me  what  I  want  to  know!  Of 
course,  I'd  have  liked  to  find  out  who  opened 
the  switch  box  and  turned  off  the  juice  .  .  . 
and  locked  it  up  again  .  .  .  but  ...  all  in 
good  time  ...  all  in  good  time,  my  friend!" 

Rosenthal  let  out  a  relieved  sigh. 

"Veil,  I  am  glad  to  hear  that,  certainly,"  he 

said. 

*     *     * 

"COME  whiskers,  eh,  Clancy?  How  long 
'-^d'you  suppose  it  took  him  to  grow  them?" 

Clancy's  eyes  traveled  over  the  gnarled,  bent 
figure  .  .  .  crouched  on  the  stairs  to  Stage  Six. 
Hand,  in  which  the  veins  lay,  corded  and  blue 
.  .  .  eyes,  in  which  the  light  had  long  since 
bleared  ...  an  old,  old  mouth,  that  trembled 
constantly. 

"God!"  said  Clancy  fervently,  "I'd  hate  to 
be  that  old!" 

"I  saw  him  put  on  that  beard,  hair  by  hair. 
He  takes  each  one  up  with  a  pair  of  tweezers, 
and  works  it  into  the  grease  paint  on  his  face! 
It  took  him  three  hours,  he  told  me!    Instead 

[  CONTINITED  ON  PAGE   107  ] 


Rules  for  Studio  Murder  Mystery  Solutions 

1.  Nineteen  prizes,  totalling  S3, 000,  are  offered  for  They  must  be  typewritten  on  one  side  of  a  sheet  of  paper 
the  best  solutions  to  the  thrilling  serial,  "The  Studio  and  contestant's  name  and  address  must  be  typed  on 
Murder  Mystery. "  This  story  will  appear  in  Photoplay  the  upper  left  hand  corner. 

in  eight  installments.  The  first  installment  appeared  in  the  ^    j^^  nineteen  prizes  will  be  awarded  as  follows: 

October,  1928,  issue  and  the  concluding  installment  will  First  Prize                                       SI  000 

appear  in  the  May,  1929,  issue.    After  the  appearance  Second  Prize 500 

of   this,   the   March,    1929,   number,   solutions   to    the  Third  nrize    350 

mystery  may  be  submitted  but  not  before  that  date.  .  Fourth  nrize i    ^       150 

All  solutions  must  be  received  by  Photoplay  before  Five  nrizes  of  $100 500 

midnight  of  March  10th,  1929,  to  receive  consideration.  -p^j^  prizes  of  $50    !      .      500 

The   final  installments  of   "The   Studio   Murder   Mys- 
tery-,"   printed   in   the    April,    1929,   and    May,    1929,  In  the  event  that  two  or  more  contestants  tie  for 
issues,  will  solve  the  mystery.     The  full  list  of  winners  any  award,  duplicate  prizes  will  go  to  each  contestant, 
will    be    announced    as    soon    after    the    close   of    the  5    ^U  solutions  must   be   addressed   to   The   Studio 
contest  as  possible.  Murder  Mystery  Editor,   Photoplay,  221   West  57th 

2.  .\wards  will  be  made  according  to  the  accuracy  of  Street,  New  York,  N.  Y. 

contestants  in  foretellingthe  real  sobtion  to  "The  Studio  5    j^Tq  solutions  will  be  returned  to  contestants.     No 

Mttrder  Mystery      as  worked  out  by  the  authors,  the  ;„     jries  regarding  this  contest  will  be  answered.    Failure 

Edingtons.    Literary  merit  will  not  count.     The  awards  ^^  {^,1^,1  g^^^^,  ^y,g  ^jn  invalidate  vour  solution.     The 

will  be  made  wholly  upon  the  detective  ability  of  con-  ^^^^g^j  j^  ^,     „  ^^  everyone  except  employees  of  Photo- 

testants  in  working  otrt  the  mystery,  explaining  how  the  p^AY  and  members  of  their  families.     It  is  not  necessary 

crime  was  committed,  giving  the  reasons  and  naming  ^^  ^e  a  subscriber  or  even  a  purchaser  of  a  single  copy 

the  real  murderer.  ^f    Photoplay.      You    can    consult    copies    in    public 

3.  Solutions  must  be   written  in   200    words    or    less.  libraries,  if  vou  wish. 


90 


Photoplay  Magazine — Advertising  Section 


91 


^"j  Below  IS  the  famous 

'  Ingram  Mannequin.  Her 

^  '  image  shows  the  six  spots 

|i'j  most  difficult  to  care  for,    1 

)^i  and  the  text  tells  you  how    ;> 
^  best  to  do  so!  ' 


IJ^ 


a  HEALTHY  SKIN 


"^ 


ccut  4mu  ifjoiina 


tr 


•k 

'A ' 


THE  importance  of  the  health  of  your 
skin  cannot  be  exaggerated !  For  it 
is  perfectly  apparent  that  your  skin  must 
be  healthy  if  it  is  to  be  beautifiil.  A  clear 
complexion  and  a  soft  skin,  innocent 
of  roughness  and  wrinkles,  will  be 
your  reward  if  you  faithfully  follow  the 
directions  that  come  with  every  jar  of 
Milkweed  Cream. 

The  key  to  a  soft  and  youthful  skin  lies 
in  the  careful  study  of  the  "six  stars" 
shown  on  the  face  of  the  mannequin 
above.  And  the  column  at  the  right 
clearly  explains  how  to  protect  with 
Ingram's  Milkweed  Cream  each  one  of 
these  six  vital  spots! 

Ingram's  Milkweed  Cream  protects 
the  skin  and  fosters  its  health.  Slightly 
therapeutic  in  its  effects  and  a  meticu- 
lous cleanser  it  does  things  no  other 
cream,  however  expensive,  possibly  can 
do.  Ir  tonics  your  skin.  It  is  excellent 
against  roughness,  redness  and  blem- 


^^^^^^^^H 

^^^^^^^K 

^^^^^^^^^^^^B 

^^^^^^^^^^^^^^^^^^^^^H 

^^^^^^^^^H 

^^^^^^1 

•  '■<  , 

1^1 

1 

% 

V^ 

■^^  The  Forehead  .  .  Lines  and  wrinkles  are  all 
too  likely  to  form  here  prematurely  unless 
the  skin  is  kept  soft  and  pliable— and  this 
Ingram's  does  with  marvelous  eflfect. 

■^  The  Eyes . .  Puffiness  and  crows'  feet  are  so 
very  ageing  and  unbecoming.  To  keep  the 
skin  smooth, turn  to  thesoothingar.dsoften- 
ingservices  of  Ingram's  Milkweed  Cream. 

■^V  TheMouth.  .Topreventdroopinglinesat 
corners  ofthelips,  tone  theskin  and  keepthe 
muscles firmbyusinglngram's.  It  ij;  maz- 
ingly  helpful  for  invigorating  circulation. 

Vy  TheThroat . .  Guard  against  a  crepey  throat 
ifycuvalueyour  youth.  Ingram's  Milk  weed 
Cream  with  its  traceof  medication,  prevents 
flabbiness  and  restores  theskin  to  firmness. 

■^y  The  Neck  . .  Finely  etched,  circular  lines 
are  signs  of  accumulating  birthdays.  Be 
faithful  to  your  use  of  Milkweed  Cream. 
It  wafts  well-established  lines  to  obscurity 
and  guards  against  new  ones. 

^V  The  Shoulders  .  .  Every  woman  who 
would  proudly  wear  evening  gowns  cr 
sleeveless  dresses  should  cleanse  her  arms 
and  shoulders  and  keep  them  blemish- 
free  with  Ingram's. 


ishcs.  It  smooths  away  the  tiny 
wtinkles.  It  is  perfect  against  chap- 
ping and  flaking. 

Buy  a  jar  of  Milkweed  Cream  today. 
Mark  the  date  you  start  using  it  and 
notice  how  marvelously  your  skin  im- 
proves in  a  single  month. 

Oend  the  coupon  for  rhe  new  book- 
let on  skin  care.  And  if  you  have  any 
special  beauty  problems,  feel  free  to 
write  our  ConsultantonCareof  theSkin. 


Consultant  on  Care  of  the  Skin,  Bristol-Myers  Co., 
Dept.  A  39,  108  ■Washington  St.,  N.'i'.C. 
Please  send  me  your  free  booklet,  "Only  a  Healthy 
Skin  can  stay  young"  which  tells  in  complete  detail 
how  to  care  for  the  skin  and  to  guard  the  six  vital 
spots  cf  youth. 


Namt_ 


5;rf(.'_ 


Atltirtii- 


e  1929 


Ingram's  ^Llku^eed  Crea/n 


When  you  wrili'  Irj  a.lrcrtiscis  rlcose   mention  PHOTOn.AY   MAGAZINE 


Don't  Envy  the  Stars 


1  CONTINUED  FROM  PAGE  o,^  | 


being  in  the  public  eye.  If  you  don't  believe  it, 
ask  a  goldlish. 

Jack  built  a  house  high  on  a  hill  in  Be\erly. 
He  had  cherished  a  fond  hope  that  here  he 
might  have  a  private  life.  \\'as  he  allowed? 
Not  much.  Two  young  women,  unable  to  pass 
the  secretarial  barrier  at  the  studio,  at  last 
found  his  home.  The  road  is  narrow,  so  they 
planted  their  car  across  it  and  when  Jack 
returned  from  the  studio,  his  own  car  was 
stopped  while  the  ladies  insisted  that  they  be 
invited  to  his  home  for  dinner. 

It  happened  that  Jack  was  entertaining 
guests  of  his  own,  which  is,  after  all,  a  man's 
right.  Vou  and  I  are  not  in  the  habit  of  in- 
cluding two  total  strangers  on  our  informal 
dinner  parties,  are  we? 

■JSJOW  these  are  Uttle  things  that  assume 
■'-^mammoth  proportions  by  their  constant 
repetition. 

At  the  opening  of  "Flesh  and  the  Devil,"  at 
a  Los  Angeles  theater,  Jack  shook  hands  with 
an  elderly  gentleman.  Immediately,  he  found 
himself  the  center  of  a  circle  of  outstretched 
palms.  That  in  itself  was  nothing;  rather  a 
touching  and  pitiful  tribute  to  a  great  artist, 
but  at  last,  he  and  Greta  Garbo  were  so  jostled 
from  side  to  side  that  Greta,  the  fragile,  was 
considerably  bruised  and  it  took  three  police- 
men to  get  them  through  the  crowd. 

The  younger  players  are  entranced  and 
flattered  by  the  plaudits.  The  first  recognition, 
the  first  fan  letter,  the  first  request  for  an 
autograph,  is  an  event  to  be  treasured. 

M  the  opening  of  "Interference"  recently, 
members  of  the  on-lookers  recognized  Gwen 
Lee.  As  she  walked  through  the  roped-off 
passagewaj',  she  heard,  "Oh,  look,  there's 
Gwen  Lee,  there's  Gwen  Lee!"  Tears  of  ex- 
citement and  joy  were  streaming  down  her 
cheeks  as  she  entered  the  theater,  but  in  a 
few  years  if  she  becomes  a  great  star  .  .  . 

The  private-life  complex,  though  a  vital 
factor  in  the  lives  of  most  of  them,  is  also  one 
of  Hollywood's  pet  poses.  Who  is  to  say 
where  the  pose  leaves  off  and  the  real  begins? 
Every  interviewer  has  at  some  time  been  told, 
"But  my  dear  lady,  that  is  my  private  life." 

The  private  life  of  big  Karl  Dane  would 
hardly  make  interesting  reading.  I  doubt  if 
he  could  sell  his  confessions  to  a  purple-backed 
periodical. 

Vet  he  has  the  private  life  complex,  too. 

AVho  really  cares  whether  Dane,  a  big  Danish 
gentleman,  whose  popularity  is  certainly  not 
based  on  sex  appeal,  has  a  private  life  or  not? 
Rumor  has  it  that  he's  been  married  several 
times,  but  that  is  merely  rumor  and  nobody 
gets  wildly  excited  over  it. 

But  Dane  has  heard  Gilbert  and  Novarro 
and  the  rest  wish  for  a  little  peace.  So  he 
had  to  have  rest,  too. 

.\  few  months  ago  he  married  Thais  Valde- 
mar.  It  was  first  learned  that  they  had  been 
married  when  iliss  Valdemar  introduced  Dane 
as  her  husband.  When  Karl  was  questioned 
he  said,  "Dot  iss  my  private  life."  Dane 
doggedly  refused  to  talk  to  the  press. 

The  Scandinavian  gentleman  evidently 
reasoned  that  if  the  great  lo\-ers  of  the  screen 
had  pri\ate  lives  he  should  have  one,  too. 

D  AMON  NOVARRO,  the  soul  of  courtesy, 
■'-^consented  to  attend  a  benefit  dance  in  Xew 
York.  He  labored  under  the  delusion  that  an 
appearance  was  all  that  was  required.  Instead 
he  found  himself  on  the  floor  in  the  midst  of  a 
group  of  women  of  all  ages.  He  began  to 
dance  but  he  had  hardly  stepped  on  the  floor 
when  he  was  snatched  from  his  partner  into 
the  arms  of  another  girl.  The  buttons  were 
jerked  off  his  coat,  the  flower  in  his  lapel  was 
torn  to  bits. 

f)2 


Yet  he  had  to  smile.  He  had  to  be  a  good 
fellow  at  whatever  cost ! 

At  last  three  men  presented  themselves  and 
offered  their  assistance.  Ramon  put  himself 
into  their  hands  and  he  was  mysteriously  led 
through  a  back  entrance  and  into  a  ta.xicab. 
So  grateful  was  he  for  this  ser\-ice  that  he 
invited  his  three  rescuers  to  supper  at  a  near- 
by restaurant.  But  these  men  were  not  his 
friends,  they  were  his  public.  They  followed 
him  to  his  room  at  the  hotel,  they  remained 
talking  and  smoking  untfl  early  morning  and 
for  days  afterwards,  called  him  and  demanded 


Baclanova,  the  girl  who  thawed 
out  Russia,  in  her  newest  party 
duds.  The  gown  is  cloth  of  gold, 
trimmed  witli  copper-colored  se- 
quins. The  coat  is  also  cloth  of 
gold,  trimmed  with  sable.  Tlie 
face  is  a  stunning  act  of  Provi- 
dence. P.  S.  She  labors  in  Para- 
mount pictures.  Thar's  cloth  of 
gold  in  them  thar  films! 

the  privilege  of  showing  him  off  to  their 
friends. 

Is  it  any  wonder  that  when  he  went  to 
Europe  he  tra\'elled  incognito,  wearing  dark 
glasses  and  using  his  own  name,  Samaneigos? 
Is  it  any  wonder  that  he  enjoyed  talljing  to 
three  Heidelberg  students  who  took  him  for  a 
rather  eccentric  and  wealthy  traveler  instead 
of  a  cinema  star? 

But  for  this  act  he  was  severely  criticized, 
"It's  just  a  gag,  going  to  Europe  incognito. 
Who  cares  whether  Ramon  Novarro  is  in  town 
or  not?"  they  said. 

Does  the  pulilic  care  whether  Ramon  Nov- 
arro is  in  town  or  not?    Well  ratherl 

The  stars  are  subjected  to  every  sort  of 
indelicacy  simply  for  the  sake  of  being  known 
as  good  fellows. 


Hollywood  has  a  persistent  old  Spanish 
custom.  Some  of  the  members  of  the  press, 
writers  for  the  magazines  and  trade  papers, 
have  social  ambitions.  These  people  insist 
that  certain  stars  attend  their  own  functions. 
This  is,  naturally,  a  great  bore  to  the  star 
since  the  typical  host  of  this  sort  has  about 
as  much  personality  as  a  parsnip.  But  the 
stars  must  attend  the  parties  on  pain  of  a  dirty 
journalistic  slap. 

They  arrive,  receive  the  proper  amount  of 
homage,  and  leave  as  quickly  as  possible.  It's 
just  another  method  of  being  a  good  fellow. 

TpHEATER  exhibitors  come  to  HoUywood. 
-^  They  believe  that  in  their  hands  is  the 
future  fate  of  the  star.  The  exhibitor  is  ac- 
corded every  courtesy.  He  is  shown  the  city 
and  made  welcome  by  the  picture  folk. 

Personal  appearances  at  the  various  theaters 
are  also  necessary.  Upon  these  occasions,  the 
star  must  conduct  himself  in  a  manner  that 
pleases  everybody.  He  must  be  the  original 
gladhander,  he  must  convince  the  audience 
that  he  is  a  nice  chatty  feUow,  the  sort  of 
person  you'd  inx'ite  right  into  your  own  home 
(but  he  hopes  you  won't!). 

Lon  Chaney  is  one  actor  who  has  held  out 
stoutly  in  the  face  of  all  this  good  fellowship. 
He  has  made  but  one  personal  appearance  and 
that  was  at  the  opening  of  "Tell  It  To  The 
Marines."  This  concession  was  for  the  sake 
of  his  good  friend.  General  Butler,  who  had 
worked  with  him  on  the  picture. 

The  other  day,  Buddy  Rogers  was  late  for 
an  appointment.  He  arrived  at  last  out  of 
breath  and  apologetic.  "Gee,  I'm  sorry,"  he 
said.  "You  see,  I  went  to  Montmartre  today 
for  luncheon  and  they  held  me  up  an  hour  or 
so  writing  in  autograph  books."  Buddy  did 
not  complain.     He  merely  stated  a  fact. 

It  is  true  that  every  Wednesday  and  Satur- 
day, hundreds  of  girls  and  some  men  fine 
themselves  outside  the  Montmartre  Cafe  to 
see  the  stars  and  secure  autographs.  If  a  star 
refuses  to  write  in  one  of  the  maroon  colored, 
gflt  edged  books  it  means  dirty  looks  and  starts 
gossip  about  her  being  "high  hat." 

NOW  the  public  has  discovered  the  preview 
houses.  Certain  theaters  make  a  specialty 
of  trying  out  new  pictures  "on  the  dog."  The 
stars  come  to  these  showings  in  person  for 
audience  reaction.  One  night,  Lew  Cody  was 
kept  for  more  than  an  hour  in  the  lobby  of  a 
theater,  scribbling  his  name  across  the  pages 
of  flappers'  autograph  books. 

.\nd  those  who  attempt  to  lead  private  lives 
are  invariably  brought  to  task.  Greta  Garbo 
refused  to  give  out  interviews.  She  made  no 
personal  appearances.  She  aUowed  no  visitors 
on  her  set.  The  newspaper  criticisms  began. 
She  was  a  poscuse,  she  was  snobbish,  she  was 
trying  to  be  something  that  she  was  not. 
The  local  adverse  publicity  did  not  matter  to 
her,  but  when  she  saw  that  the  ■  Swedish 
journals  had  taken  up  the  cry,  she  did  an 
about-face.  She  is  now  as  docile  as  a  lamb 
and  recently  entertained  members  of  the 
foreign  press. 

The  pubHc  has  certain  expectations  of  the 
stars.  Clara  Bow  must  always  make  startling 
gestures  in  a  startUng  manner.  If  she  were 
to  find  some  very  ordinary  young  man  and 
marry  him  in  the  most  appro\'ed  and  ordinary 
way,  the  public  would  find  a  sensational  angle. 
It  is  no  wonder  that  Clara,  cupping  her  face 
in  her  hands,  said,  "I'm  just  tired  of 'it  all!" 
It's  a  badly  managed  phrase,  a  trifle  too 
dramatic  for  the  sophisticates,  but  most  of 
these  girls  manage  their  phrases  badly  and 
wax  dramatic.  They  express,  howe\'er,  a 
typical  attitude. 

[  CONTINUED  ON  PAGE    133  ] 


Photoplay  Magazine — Advertising  Section 


93 


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Many  people  do  not  like  the  taste  of 
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Wien  you  write  to  advertisers  please  mention  PHOTOPLAY  MAOAZIXE. 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  70  ] 


Lily  was  not  present,  but  when  the  fihn 
ended  Agnes  Ayres,  one  of  the  guests,  turned  to 
a  little  blonde  on  her  left  and  said: 

••yiy  dear,  I  thought  you  were  perfectly 
lovely!" 

Imagine  her  consternation  when  the  blonde 
turned  out  to  be  not  Lily  Damita,  as  she 
thought,  but  a  reviewer  on  one  of  the  Holly- 
wood newspapers. 

SOMEOXE  asked  Madge  Bellamy  the  other 
day  why  she  didn't  build  her  summer  home 
in  the  new  film  colony  at  IMalibu  Beach  instead 
of  \'enice,  a  more  commercial  though  less 
picturesque  shore  city. 

"How  silly  to  build  at  Malibu,"  Madge  re- 
plied. "You  can't  own  land  there,  you  have  to 
lease  it.  When  your  lease  is  up,  you  have  a 
house  and  no  place  to  put  it.  Only  an  actor 
would  do  that!" 

M.\DGE  has  just  purchased  the  palatial 
ilaurice  Tourneur  home,  which  played  so 
tragic  a  part  in  the  linancial  debacle  of  a  omre 
famous  director.  If  Tourneur  could  have  held 
this  property,  which  crowns  a  Hollywood  hill- 
top, it  might  easily  ha\-e  soKed  his  money 
problems.  Its  present  value  is  in  e.xcess  of 
$200,000. 

IMiss  Bellamy  is  now  in  the  throes  of  furnish- 
ing the  big  house.  The  other  night  the  and- 
irons she  had  just  purchased  melted  away  in 
the  fireplace. 

They  were  supposed  to  be  solid  metal,  but 
it  seems  they  were  brazed  in  the  joints  and 
the  heat  melted  the  joints  apart. 


The  kind  of  bath- 
ing suit  to  avoid 
if  you  are  fat, 
forty  or  less  good- 
looking  than  Lily 
Damita.  The  bar- 
ber pole  effect  can 
be  worn  only  on  a 
slim,  boyish  fig- 
ure, because  who 
ever  saw  a  fat 
barber  pole?  Also 
the  suit  is  worn 
with  a  belt, 
another  fashion 
than  can  be 
adopted  only  by 
the  slender 


#  -0^ 


BOBBY  AGNEW,  just  returned  from  a  vaudeville  tour, 
was  surprised  to  learn  how  quickly  pictures  were  being 
turned  out.  Even  the  bigger  studios,  he  discovered,  had 
twenty-one  day  shooting  schedules. 

He  met  a  friend  on  the  street  who  said,  "Just  had  a  nice 
part.    Ran  si.x  weeks." 

"That  isn't  a  part,"  said  Bobby,  "it's  a  career." 

AND  then  there  is  the  appellation 
given  the  young  actor  who  loves 
his  ladies  and  his  liquor  with  equal 
intensity. 

"He's  just  a  big  heart  and  bottle 
smasher,"  lisped  one  film  deb. 

LOIS  MOR.AN  is  very  fussy  about  the  sort  of  music  that 
must  be  played  on  the  set.  For  those  big  dramatic  scenes 
she  insists  that  something  she  has  ne\-er  heard  before  be 
played. 

Recently,  when  but  half  way  through  a  picture  the 
musicians  were  given  their  leave  and  another  orchestra  hired. 
The  director  called  the  second  orchestra  together  and  said, 
"Now,  boys,  try  to  get  along  with  Lois.  You've  got  to  read 
her  mind  and  have  a  sixth  sense  about  what  sort  of  music  she 
wants.    That's  all  the  help  I  can  give  you." 

As  yet  there  has  been  no 


These  movie  stars  are 
nothing  but  a  bunch 
of  effete  weaklings,  as 
witness  this  picture  of 
Lois  Moran  and 
George  O'Brien  in  a 
scene  from  "True 
Heaven."  Lois  is  a 
trained  ballet  dancer 
and  O'Brien  is  a  crack 
athlete 


more  trouble. 

SUCH  are  the  reverses  of 
screen  fortune  that  George 
Hackathorne,  once  a  popular 
juvenile,  is  now  selling  radios. 
The  card  announcing  his  new 
profession,  plaintively  stated 
that  he  \\as  not  gi\-ing  up  his 
career,  simply  selling  radios 
"between  pictures." 
[  cont'd  on  p.\ce  96 1 


H 


Photoplay  Magazine — Advertising  Section 


Why  47  years  ago  LISTERINE 

checked 

Sore  Throat 

— cind  why  it  still  does 

MEN  and  women  of  the  early  80's  no 
less    than    tViose   of   to<Iay,    were 
justified  in  their  faith  in  Listerine  as 
a  first  aid  in  checking  sore  throat  and 
other  simple  infections. 

For  Listerine,  then  as  now,  was  a  safe 
antiseptic  yet  an  extremely  powerful 
one.     It  has  never  hecn  necessary  to 
change  the  Listerine  formula  to  meet 
newanddifhcultrequirementsimposed 
hy  modern  discoveries  in  therapy. 

Repeated  tests  in  laboratories  of  na- 
tional repute,  show  full  strength  Lis- 
terine to  be  so  powerful  that  it  kills 
even  thevirulentB. Typhosus  (typhoid) 
and  M.  Aureus  (pus)  germs  in  15  sec- 
onds.    These  germs  are  used  by  the 
U.  S.  Government  to  test  the  power  of 
antiseptics. 

Recognizing  Listerine's  germiridal  action 
you  can  understand  why  it  is  effective  against 
winter  ailments.     The  moment  it  enters  the 
mouth  it  attacks  hacteria  that  lodge  there, 
causing  sore  throat,   colds,   grippe,   and  in- 
fluenza. 

For     your     own     protection,     gargle     with 
Listerine   full    strength    night   and    morning 
during     bad    weather — and    between     times 
after  exposure  to  crowds,  bad  air  or  sudden 
changes  of  temperature.      By   so  doing   you 
may    spare    yourself   a    painful,    costly    and 
even  dangerous  siege  of  illness.     Don't  hesi- 
tate  to   use  it   full   strength.      It   is   safe  in 
action — healing    in    effect.      Lambert    Phar- 
niacal    Company,    St.    Louis,    Mo.,    U.    S.    A. 


95 


"GREVT! 

mm  Nay.  Tliey're 
<■  n  t  li  u  M  i  a  s  t  i  <* 
nhoul  LiHtcriiie 
ShavinK  Cream. 
You  will  be  also 
when  you  try  it. 
So  eooll  So  sooth- 
ing I 


Escape  colds  this  way 

INIillions    of    colds    start    when    germs, 
transferred    from    the    hands    to    food, 
ent^-r    the    motith.      Therefore,    before 
every  meal,  rinse  your  hands  with  Lis- 
terine.    This  effectually  destroys  dis- 
ease  germs.     They  are  killed   before 
they  can  enter  the  body.    This  simple 
act  may  save  yoti  a  nasty  siege  with  a 
cold.     And  it  is  especially  important 
for  mothers  to  remember. 


When  you  write  to  advertisers   please  mention   PIIOTOPLAT  MAGAZINE. 


96 


Photoplay  Magazine — Advertising  Section 


KDumoDcJ/i  Jl^irclcn  .s 


ass  VI  re 


ess 


a. 


aces,  like  bodies,  slioulj  be  clean, 
led  and  exercised!  And  that  is  wnat 
Elizabetn  A.rden  s  Venetian  Toilet 
Prejjarations  will  do  lor  you 

Cleanse  witn  V  enetian  Cleansing 
Cream  tnat  melts  into  tne  (jores  and 
rids  tbem  or  dust  and  imfjurities. 
Quicken  your  circulation  with  J\v- 
dena  okin  1  onic.  11  muscles  are  unu- 
sually relaxed,  f)at  with  OJ3ccial  Astrin- 
gent. For  hollows  and  lines  that  need 
to  be  lilled  out  use  Orange  Shin  r  ood. 
r  ull  laces  should  be  smoothed  with 
the  non-rat-lormino  \  elva  Cream. 

Elizabeth  Arden's  Venetian  Toilet  Preparations 
are  o:i  sale  at  the  smartest  shopi 

ELIZABETH  ARDEN 

673  Fifth  Avenue,  New  York 


TTTTTTTTTTTTTTTTTTTTTTTT'TTrTTTTTTTTTTTTTTTTTTTTTTTTT'S 

:    ELIZABETH  ARDEN  3 

Dept.  P3,673  Fifth  Ave.,  New  York  City 

Please    send    me    Elizabeth   Arden's  book,  "THE 
QUEST  OF  THE  BEAUTIFUL  " 


Name 

Address  „ 
City 


Gossip  of  All  the  Studios 

[  CONTINUED  FROM  PAGE  94 ) 


A  GNA  CALIENTE  is  the  Mecca  of  the 
■''■picture  folk  over  week  ends.  The  women 
wear  blue  durinj;  the  day  time  and  red  at  ni^'ht. 
Dolores  Del  Rio  was  stunning  in  a  scarlet 
costume. 

The  most  startling  event  that  took  place  was 
when  little  Betty  Bronson  bet  on  a  horse  race. 

TF  there  is  tragedy  in  frustration,  then  a  tragic 
■'■event  occurred  at  the  opening  of  "The 
Barker"  at  Carthay  Circle  Theater. 

K  once-famous  star,  now  a  has-been,  arrived 
early,  too  early  to  be  spotted  by  the  crowd. 
Drawing  her  worn  fur  coat  around  her,  she 
waited  in  the  lobby  for  some  time,  until  a  guard 
announced  that  everyone  must  take  his  seat. 
The  has-been  returned  to  the  lobby  when  the 
guard's  back  was  turned.  Just  at  that  moment 
the  lights  went  off  and  nobody  saw  her. 

The  western  films  that  were  a  wow 
Are  only  so  much  footage  now, 
And  all  those  steeds  we  thought  so 

nice 
Are  hauling  wagons  labelled  "Ice." 

■n  UTH  CUMMINGS,  wifeofDirector Irving, 
■'^says  she's  a  movietone  widow,  since  her 
husband  has  been  doing  all  his  talking 
.sequences  in  the  quiet  of  the  night. 

nrWO  little  Publi.x  dancing  girls,  the  day  after 
•'■  their  arrival  in  Los  .'Angeles  to  make  a  Para- 
mount Theater  appearance,  were  walking  down 
the  street.  They  passed  a  fruit  vendor's  stand. 
"Look!  There!"  one  tugged  at  the  other, 
pointing  to  an  alligator  pear,  locally  called 
avocado,  "that's  one  of  those  figs  I  was  telling 
you  about." 

A  MONTH  or  so  ago  Photoplay  recounted 
•''■the  story  of  the  office  boy  who  didn't 
want  an  autographed  picture  of  Carmel  Myers 
or  any  other  "moon  pitcher"  star.  Since  this 
appeared,  Carmel  has  been  showered  with 
letters  reading,  "If  you've  still  got  that 
picture  that  the  office  boy  turned  down,  please 
send  it  on  to  me." 

npHE  gentler  arts  still  persist,  despite  the 
■*■  talkies.  Tay  Garnett,  Pathc's  smart  young 
director,  has  turned  poet  for  the  nonce.  For 
"Celebrity,"  the  story  of  a  prize-fighter  gone 
learned,  he  needed  a  couple  of  poems.  Poems 
of  the  tenderer  passions  that  carried  a  rhyme 
in  every  line. 

Tay  sat  dow-n  and  wrote  some  cauliflower- 
eared  doggerel  that  got  more  than  a  giggle 
when  the  picture  was  previewed. 

When  the  picture  was  released  he  was 
approached  by  a  literary  agent  and  asked  to  do 
a  small  volume  of  lop-sided  lyrics  of  the  ring. 
Already    thirty    or  forty  have  been  written. 

.^nd  then  there  is  Victor  Giusti,  Roy 
D'Arcy's  brother,  who  also  does  things  with  a 
pen.  He's  just  finished  a  series  of  dry-point 
etchings  and  will  exhibit  them  in  Hollywood. 

'  I  ^EN  poets,  after  many  fannings, 
-'-  Could  hardly  find   a  rhyme  for 

Jannings. 
A  better  bard  you  than  I  you  are,  bo, 
If  you  can  dig  a  rhyme  for  Garbo. 
Wiry   don't   the    stars   improve   our 

score 
By  taking  monikers  like  Moore? 

■\^AKCI-;i.LA,    the    girl    in    the    M.-G.-]\I. 
■*■ '■'■casting  office, cupped  her  chin  in  her  hands 
and  sighed,  "No  sir,  I  don't  get  any  fun  out 
of  coming  to  work  any  more.    The  place  isn' 
what  it  used  to  be. 

"Why,  I  used  to  know  all  the  extra  girls 
and  we  used  to  kid  with  each  other,  but  the 
old  bunch  has  gone,  since  talkies  have  come  in. 


They're  not  using  pretty  girls,  but  girls  who 
can  dance  and  sing  and  they  don't  need  a 
casting  office  any  more.  They  get  their  talent 
from  the  vaudeville  e.xchanges." 

CIGHS,  sneezes  and  too-sibilant  whispers 
>^are  banned  from  the  talkies.  JiJiet's  roman- 
tic sigh  from  the  balcony  would  sound  Uke 
the  exhaust  of  a  boiler,  if  carelessly  micro- 
phoned. 

T  OOKING  over  the  crop  of  new 
-•-'"discoveries"  at  the  various 
studios  we  are  led  to  beUeve  that 
producers  pick  their  finds  by  the 
blindfold  test. 

QLADYS  McCONNELL  must  have  been 
'^-'born  under  a  fiery  sign.  The  Pathe  serial 
queen  spent  an  entire  day  being  rescued  from 
a  burning  building  for  the  sake  of  her  art". 
She  came  home  that  night  to  discover  her 
kitchen  in  flames.  The  only  difference  was 
that  no  handsome  hero  was  there  to  rescue 
her. 

"VXTHEN  Darrj'l  Zanuck,  who  wrote  the 
'^''screen  story  of  "Noah's  Ark,"  went  to 
Mexico  to  hunt  big  game,  one  of  Hollywood's 
wags  commented,  "He  should  have  done  it 
sooner.  Then  there  would  have  been  louder 
and  funnier  animals  in  the  ark." 

"POR  yearth  and  yearth  I  thtarred 
-*-   in  pictureth 

And  never  notithed  any  thtrictureth, 
But  now,  with  talkieth,  what  a  meth  I 
They  thay  I  cannot  thpeak  an  eth ! 

HTHE  story  goes  that  Ludwig  Berger,  Para- 
-*■  mount's  German  directorial  importation, 
shot  180,000  feet  of  film  making  "The  Sins  of 
the  Fathers."  .Also  gossip  reports  that  Emil 
Jannings  practically  directed  the  picture. 
And  when  the  opus  was  finished.  Berger  had 
to  borrow  money  to  get  back  to  Germany,  the 
reason  being  that  LTncle  Sam  nicked  him  for 
$4,200  cash  in  the  form  of  taxes.  Inconvenient, 
to  say  the  least,  seeing  as  how  Herr  Berger 
had  been  sending  his  money  home  as  fast  as 
he  could  make  it! 

A  NYTHING  can  be  put  to  good 
■'^use  in  the  movies. 

A  studio  called  for  Huntly  Gordon 
for  a  talkie  test. 

"Sorry,"  said  Kuntly,  "I've  a  bad 
cold  and  my  voice  is  husky." 

"That's  great!"  said  the  director. 
"You  play  the  role  of  a  dissipated 
broker  in  this  picture  and  you  must 
have  a  whiskey  tenor." 

r^ENERAL  CHARLES  P.  SUMMERALL, 
^^known  as  "Per  Schedule  Summerall," 
during  his  recent  stay  in  Hollywood  was  a  guest 
at  the  Pathe  studio.  It  seems  that  the  "Gen." 
is  very  shy.  It  took  much  persuasion  to  induce 
him  to  pose  for  pictures  with  Jcanette  Loff, 
Phyllis  Haver  and  Lina  Basquette.  He 
finally  was  induced,  however,  but  after  the 
pictures  were  made  and  the  girls  had  departed, 
he  requested  that  the  negatives  be  destroyed 
and  no  prints  issued. 

T-OM  GERAGHTY  and  Wid  Gunning, 
■*-  scenarist  and  producer  at  First  National 
Studios,  respectively,  are  both  golf  sharks. 

The  other  day  Tom  found  a  ball  stamped 
with  Wid's  name  in  a  pile  of  weeds — one  of  the 
hazards  of  the  course.  He  mailed  the  ball  to 
Wid  with  a  note: 

"Dear  Wid:  Found  this  ball  in  the  sixth 
cup!" 

Wid  now  claims  a  hole  in  one. 


Every  advfrtlseinenl   In  rilOTOPT-AT  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


The  Shadow  Stage 

[  CONTINIXD  FROM  PAGE  72  ] 

of  his  partner,  and  a  marooned  American  girl 
is  almost  the  victim  of  circumstantial  evidence. 
And  the  murdered  man's  brother  falling  in  love 
with  her  stresses  the  drama  of  the  situation. 
Patsy  Ruth  Miller,  as  the  innocent  girl, 
Malcolm  MacGregor,  as  the  brother,  and 
Wallace  MacDonald,  the  heavy,  all  play  their 
respective  parts  with  ease. 

THE  DIPLOMATS— Fox-Movietone 

BOBBY  CLARK  and  Paul  McCullough,  the 
stage  comedians  whom  Fox  is  leading  as 
aces  from  his  Movietone  comedy  deck,  are 
starred  in  this,  playing  a  couple  of  phony 
diplomats  in  a  mythical  kingdom  story.  He 
seems  to  be  having  a  stru.ggle  getting  them 
good  material.  This  two-recler,  while  it 
packs  widely-spaced  laughs,  is  not  worthy 
of  the  immense  talents  of  Bobby  Clark  as  a 
giggle-snatcher. 

The  voices  are  good,  and  Cissy  Fitzgerald 
emerges  as  a  promising  comedienne  for  the 
squawkies. 


Giving  the  Men 
a  Break 

I  CONTINUED  FROM  P.AGE  28  J 


and  flirt?    It  is  all  part  of  her  woman-nature,  a 
something  she  has  possessed  from  birth." 

Since  I  had  no  grain  of  wisdom  with  which  to 
brighten  this  comment,  I  lapsed  into  silence 
,   and  the  abysmal  depths  of  a  grapefruit  salad. 
[       "I    insist    that    marriage    is    primarily    a 
I  woman's  game,"  Madge  pursued.    "It  was  in- 
j   vented  by  the  practical  Eve,   no  doubt,   to 
[   ensnare  the  romantic  Adam. 
'       "Can  you,  in  honesty,  imagine  a  domestic 
'    Adam  longing  to  establish  a  permanent  resi- 
dence under  a  certain  tree  in  the  Garden  of 
Eden,    and    longing    to    raise    babies?      No; 
neither  could  John  Erskine. 
f       "Can  you  imagine  Eve  languishing  because 
I   she  feared  Adam  did  not  lo\'e  her  for  her  soul 
alone?    No;  neither  can  most  women.     But  I 
can,   and   so,    too,    can   other   women — the 
romanticists. 

E\'ERY  woman  needs  a  man.  It's  all  a 
part  of  her  destiny.  That's  why  slie's  so 
determined  to  get  one.  She  wants  a  man  to 
tell  her  what  to  do  and  what  not  to  do;  to 
guide  her,  to  pamper  and  fuss  over  her  and 

t   to  tell  her  when  she's  nice,  and  also  when 

'   she's  not  so  nice. 

"Photoplay,  in  a  recent  number,  had  an 
article  called  'The  Simple  Art  of  Fascinating 
Men,'  by  Lucian  Cary.    It  was  an  exception- 

.  ally  fine  article,  and  enlightening,  but  it  will  be 
of  no  use  to  the  innate  spinster.  Neither  can 
she  learn  these  precepts  by  experience  or  in- 
tuition, for  Mr.  Cary  expressed  it  all  in  his  last 
sentence — 'A  woman  is  clever  only  when  she 
wants,  or  loves  a  man,  or  can  pretend  to  do  so.' 
"These  clever,  fascinating,  feminine  women, 
from  sixteen  to  seventy,  study  how  to  control 
the  little-boy-dreams  of  their  men,  how  to 
make  them  happy  by  being  mothers  and  pals, 
and  sweethearts  to  them.     While  for  us  poor 

'  little  girls — the  romanticists — no  articles  are 
written  on  how  our  husbands  should  know 
when  to  be  papa  and  spank  us  and  when  to  be 
pals  and  tell  us  how  good  we  are,  or  when  to  be 
lo\'ers  and  tell  us  they  adore  the  way  we 
squeeze  toothpaste  on  the  bathroom  floor. 
Educate  husbands  for  romantic  women; 
clever  women  will  educate  husbands  for 
themselves." 

When 


"In  my  wanderings  all  over  the  world,  I  have  traveled  on  va- 
rious and  sundry  kinds  of  railroads,  so  I  speak  from  experience 
when  I  say  that  the  'Golden  State  Limited'  is  a  real  train." 


^  Jtt  'XcL^iX^ 


( Victor  MacLaglen ) 


I-rom  Los  Angeles  to  Chicago  in  611/^  hrs.  No  train  is  faster;  none  finer  than  the 

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\ 


\   1 


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Something  About  Myself 


I  CONTINUED  FKOM  PAGE  58  1 


There  wa?  nothing  to  mar  the  beauty  of  life 
on  the  island.  We  were  happy  among  ourselves 
and  we  dwelt  hi  the  realms  of  the  mind.  To 
us  came  the  greatest  artists  and  philosophers 
and  statesmen  in  Europe.  Chaliapin  visited 
us.  Lars  Hanson  often  came,  with  his  beau- 
tiful wife,  Karin  Nolander.  And  there  was  one 
minifter  who  was,  in  reality,  the  Mussolini  of 
Sweden. 

T  "WOKE  up  in  the  morning  to  find  absolute 
-'■  quiet.  No  clanging  of  bells,  no  hurrying  of 
feet,  no  pounding  of  motor  cars.  I  walked  or 
read  or  lay  on  the  ground  staring  up  at  the 
green  trees  and  blue  sky  in  an  idyllic  haze  of 
beauty. 

.\nd  then  the  evenings — all  of  us  together. 
Dear  friends.  Dear  names.  Loreriz,  Berg- 
man, Augusta. 

Love,  the  love  of  man  and  woman,  did  not 
enter  in  to  mar  my  happiness.  We  had 
achieved  the  highest  form  of  love — friendship 
— and  it  was  complete  and  satisfying. 

This  was  the  Life  Simple.  It  was  the  re- 
action from  the  gay,  wild  times  in  Stockholm. 
The  roistering  cinema  actor  had  gone  his  way 
along  with  the  sickly  boy  who  tremblingly  pre- 
sented himself  before  the  great  actor,  Hertel. 
I.i  their  places  stood  a  young  ideahst.  finding 
his  greatest  joys  in  the  simple  pleasures  of  a 
virgin  island  and  the  lusty  talk  of  good  friends. 

There  came  one  day  to  the  island  a  Russian 
minister,  who  spoke  in  glowing  terms  of  the 
Soviet  government  and  .Augusta,  then  fifty- 
four  years  old,  and  I  decided  to  go. 

i-^ometimes  I  wish  I  had  never  left  the  island. 
The  friendly  talk  still  rings  in  my  ears.  The 
trees  still  play  symphonies  in  my  mind.  The 
water  still  lashes  against  the  shore  in  my 
memory.  But  I  am  temperamentally  unfit 
to  be  content  with  one  life  for  any  length  of 
lime. 


We  were  given  a  pass  by  a  Swedish  minister 
to  go  into  Russia,  but  we  did  not  know  that 
there  was  a  counter  order  that  restrained  us 
from  returning.  Oblivious  of  this,  we  entered 
the  country. 

Some  day  I  shall  write  much  of  my  expe- 
riences there.  They  are  gruesome  and  dra- 
matic at  the  same  moment,  and  I  cannot  begin 
now  to  tell  them  all. 

We  were  held  at  the  border  for  three  days  in 
a  tumble-down  little  hut  the  windows  of  which 
had  been  pasted  o\'er  with  newspapers  so  that 
we  could  not  sec  out.  We  endured  the  hard- 
ships of  cold  and  hunger,  but  I  shall  ne\'er  for- 
get how  staunchly  Augusta  bore  up  under  the 
stress  of  all  this. 

At  last  we  proceeded  to  Petrograd,  now 
Leningrad,  where  we  were  made  welcome  by 
the  president  of  the  city  and  were  given  leave 
to  go  and  come  as  we  would. 

I  made  four  pictures  in  Russia.  I  did  not 
art;  I  simply  directed  and  ground  the  camera 
on  them.  Two  were  dramas  and  two  were 
lengthy  travelogues,  like  our  news  reels.  These 
were  the  first  motion  pictures  to  be  taken  out 
of  Russia. 

TN  Moscow  I  met  Lenin  and  Trotsky  and 
-••found  them  to  be  charming  men.  With  some 
of  their  political  views  I  did  not  agree,  but 
they  were  always  gracious  and  charming  and  I 
explained  to  them  that  I  could  not  and  would 
not  make  propaganda  pictures.  For  these  four 
efforts  of  mine  I  got  no  money,  only  a  chest 
full  of  medals. 

.And  now  I  must  relate  an  incident  that  al- 
most made  me  a  world  famous  figure.  !Many 
assassins  had  attempted  to  kill  Trotsky.  I, 
in  all  innocence,  almost  did  the  job.  He  was 
not  well  at  the  time,  but  he  told  me  one  day 
that  he  had  always  enjoyed  lolister.  I  had 
brought    with    me    several    cans   of   it    from 


Watch  the  jnan  behind  the  megaphone.  He  is  Paul  Fejos,  latest 
hero  of  Hollywood's  Poverty  Row  where  celluloid  experiments  are 
tried  and  art  sometimes  results.  He  authored  and  directed  "The 
Last  Moment,'"  an  extraordinary  quickie  made  in  thirty  days  in  a 
rent-free  studio  with  the  entire  bankroll  of  Edward  Spitz,  a  young 
wise  man  from  the  East.  Now  critics  proclaim  the  picture  one  of 
the  finest  of  the  year,  though  not  for  popular  entertainment 

Eviiy  .iilvtltlEOBent  in  PnOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


99 


Sweden  and  I  offered  it  to  him.  He  was  de- 
lighted and  ate  heartily  and  immediately 
afterwards  was  stricken  and  was  iU  in  bed,  nigh 
unto  death,  tor  several  days. 

Only  Trotsky's  friendship  for  me  and  his 
understanding  of  the  circumstances,  prevented 
my  arrest. 

AND  then  came  the  time  for  us  to  leave 
Russia  and  return  to  Sweden,  but  when  we 
announced  our  intention  we  discovered  that 
an  order  restrained  us  and  we  were  not  alloM'ed 
to  pass  the  border  with  the  films  we  had  made. 
I  also  had  other  choice  possessions,  some  rare 
and  beautiful  paintings  that  I  had  bought 
from  a  soldier. 

They  once  decorated  the  home  of  a  prince 
and,  of  course,  he  should  not  have  sold  them 
to  me,  for  barter  and  trade  are  strictly 
prohibited  in  Soviet  Russia. 

But  our  escape  was  necessary.  ,\ugusta 
and  I  discussed  the  matter  and  at  last  suc- 
ceeded in  getting  an  airplane.  We  made  a 
get-away  in  the  night,  flying  across  Finland 
into  Sweden! 

Why  I  should  speak  of  love  at  this  moment, 
I  do  not  know,  except  that  it  amuses  me  to 
turn  from  the  coldness  and  strict  regime  of  the 
Russian  government  to  mention  the  affairs 
of  the  heart. 

I  was  once  married.  I  met  this  beautiful 
Mona  Lisa-like  creature  in  Outenberg,  where 
she  was  an  actress.  I  saw  her  again  in  Stock- 
holm and  we  were  married  quietly  in  Berlin. 
Before  our  wedding  our  engagement  was  made 
and  broken  seven  times.  We  did  not  stay 
married  long.  The  failure  was  entirely  my 
fault.    I  am  a  bad  character,  I  am  afraid. 

It  was  stupid,  small  things  that  separated 
us.  One  can  meet  the  big  things  in  one's  life, 
the  smaller  things  we  could  not  face.  I  could 
not  bear  the  httle,  nagging,  petty  details  of 
marriage,  nor  could  she.  We  were  both  young, 
both  temperamental.  Our  marriage  ended  in 
I  he  same  fashion  and  for  the  same  reason 
that  so  many  of  the  marriages  of  the  people 
who  call  themselves  artists  end. 

T  was  impatient.  I  was  \iolent.  I  went  from 
one  wild  extreme  to  another. 

THERE  have  been  many  women  in  my  life 
but  only  in  one  did  I  find  everything.  And 
when  I  found  her  at  last,  the  woman  with 
whom  I  am  still  in  love  and  of  whom  I  will 
speak  at  length  later  on.  \'ivian  Duncan  of 
the  Duncan  sisters,  outside  influences  kept 
us  apart. 

I  still  seek  the  perfect  woman  and  the  per- 
fect circumstance  for  happiness  but  I'm 
afraid  that  it  is  a  fruitless  search.  I  expect 
too  much.  Intelligence,  comradeship,  under- 
standing.    Beauty  does  not  matter. 

I  was  engaged  six  times  in  .Sweden,  once  in 
Berlin,  once  in  London  and  I  still  know 
nothing  of  women.  They  are  the  eternal 
mystery  to  me  as  thc\'  are  to  every  man.  Vet 
I  seek  the  key  tliat  will  solve  the  riddle. 

In  Stockholm  there  was  a  brilliant  and 
charming  woman  to  whom  I  was  engaged. 
Countess  Clin:owstrom,  an  artist  who  painted 
the  story  of  our  love.  The  pictures  hang  in 
the  National  .\cademy  of  Sweden.  She  was 
strange  and  eccentric  and  vital.  Just  for  a 
whim  she  rode  a  horse  from  Stockholm  to 
Paris. 

There  was  the  daughter  of  the  Roumanian 
minister  in  London,  there  was  an  actress  and  a 
writer  and  others  .  .  .  others  .  .  . 

No  man's  life  is  complete  without  women, 
yet  they  bring  unhappiness  and  disorder. 
They  leave  hurt  as  they  bring  joy.  The  wise 
man  is  the  one  who  can  live  without  them, 
but  where  is  he  to  be  found? 

.And  I,  being  no  different  from  other  men 
ha\e  found  womeOj  many  women,  who  ha\e 
colored  the  pattern  of  ni}'  life.  .Some  I  have 
remembered,  others  I  have  forgotten.  They 
are  a  part,  yet  not  a  part  of  a  man's  existence, 
for,  strangely  enough,  when  I  think  of  my  life's 
pattern  women  come  under  a  general  classifi- 
cation and  do  not  seem  to  have  sped  through 
the  years  with  me.    They  are  rather  outside 


^IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIiiiiiiiiiiiiMiLMiiiMniliiMiiiiiiiiiiiiMiiiiiiiiiiin iiiiiiiiiiiiiiiNiiiiniiiiiiiniM 


//' 


Vfhen 

Charm 


leans 


Beauty,  as  a  dollars-and-cents  asset,  is  no 
longer  restricted  to  women  of  the  stage 
and  screen.  In  the  business  and  social 
world,  success  is  equally  dependent  on 
lure  and  loveliness. 

When  Manon  Lescaut  Face  Powder  has 
become  the  accepted  formula  among  the 
women  who  live  in  the  glare  of  publicity, 
it  is  the  safe  guide  for  those  less  in  the 
public's  eye. 


^'^ning  in  lii/uA  ne/i^unu 


Adored  by  the  world,  they 
turn  to  M.  Bourjois'  newest 
perfume  "Evening  in  Paris" 
as  the  one  fragrance  true  to 
their  dreams  of  loveliness. 


BOUltJOIS 

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'^eautiful^ 
headlines 


ARE  THE  RESULT 
OF  SKILLFUL 

COMBING" 

says 


mm  Vienna 


prominent  New  York  hairdresser  whose  Fifth  Avenue 
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THE  plainest  face  may  often  times  reveal  a 
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front  of  the  ears...  Combs  for  dressing  the  hair, 
stimulating  the  scalp— and  for  dry  shampooing, 
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Ace  Combs  are  made  to  suit  all  needs.  There  are 
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Ace  Combs,  made  of  the  purest  Hard  Rubber,  are  sani- 
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the  events  that  have  taken  place  and  assume 
a  niche  of  their  own,  labeled  "Women." 

We  came  back  from  Russia  and  I  was  made  a 
member  of  the  Royal  Theater  at  Stockholm. 
Much  has  been  written  of  this  theater,  which 
is  supported  by  the  king  and  which  carries 
with  it  great  honor.  It  was  at  the  academy 
attached  to  the  theater  that  Greta  Garbo  was 
taught.  I  met  her  then.  Lars  Hanson  was 
also  a  member  of  the  Royal  Theater.  One 
worked  for  a  small  salary,  but  one  had  great 
honor;  however,  I  found  that  I  was  being  put 
off  from  month  to  month  and  my  repertoire  was 
not  being  given.  I  was  the  youngest  member 
of  the  theater  and  other  actors  were  ahead  of 
me  with  plays  to  be  done. 

Of  course,  I  was  a  guest  at  the  palace.  I 
knew  the  greatest  people  in  Sweden  and  my 
card  bore  the  seal  of  the  Royal  Theater,  but 
honor  meant  nothing  to  me.  I  wanted  to 
work.  I  wanted  to  do  the  plays  that  I  had 
planned  to  do.  Each  time  I  talked  to  those  in 
authority  I  was  told,  ''Wait  a  little  longer. 
Your  turn  ,\-ill  surely  come.  You  are  so  young. 
You  have  plenty  of  time." 

But  because  I  was  young  I  was  impatient 
and  I  left  the  theater  and  went  to  Berlin  to 
act  in  pictures  again.  I  made  several  dramatic 
pictures  that  were  more  or  less  successful,  and 
then  I  became  tired  and  bored  and  I  decided 
to  leave  the  continent  to  rest. 

ONE  day  as  I  was  going  into  my  hotel,  a  man 
stopped  me  and  asked  if  I  were  free  to  do 
a  picture.  I  told  him  that  I  was  free  of  con- 
tract but  that  I  was  bored  and  unhappy  and 
wanted  to  leave.  He  insisted  that  I  read  a 
story  he  had,  a  comedy. 

I  scoffed  at  comedy.  I  was  a  great  dramatic 
actor  and  would  have  none  of  it,  so  I  put  my 
price  for  my  services  at  such  a  ridiculously 
high  figure  that  I  knew-  he  would  not  take  me. 

The  salary  that  I  demanded  staggered  him, 
but  he  begged  me  to  read  the  story  neverthe- 
less. I  glanced  at  the  thing,  did  not  care  for  it 
and  decided  to  leave  Berlin  at  once.  But  the 
producer  called  me  again  and  said  that  he 
would  give  me  this  appalling  sum  if  I  would 
make  the  picture. 

I  was  surprised  but  the  picture  did  not 
interest  me,  so  I  set  my  price  up.  A  few  days 
later  he  told  me  that  they  would  pay  me  the 
money,  and  I  felt  that  I  could  not  afford  to 
turn  it  down. 

I  did  the  part,  was  bored  with  it  and  wanted 
to  leave  immediately  afterwards,  but  again  the 
producers  insisted.  This  time  it  was  that  I 
stay  to  the  opening  night  and  sit  in  a  large  bo.K. 

I  detest  such  gestures  but  was  persuaded. 
I  went  into  the  theater  after  it  had  been 
darkened. 

When  the  film  flashed  on  the  screen  the 
audience  howled  with  laughter  and  I  thought 
that  they  were  mirthful  at  my  very  bad  work. 
I  hoped  that  I  might  be  able  to  leave  the 
theater  unrecognized. 

While  the  picture  was  in  progress  the  director 
kept  patting  me  on  the  shoulder.  I  thought 
that  it  was  a  gesture  such  as  one  would  make 
to  a  child;  "there,  there,  don't  mind,  you  did 
vour  best"  attitude. 


bought  the  first  contract.  Other  studios 
offered  me  contracts,  as  well. 

There  was  much  talk  in  the  papers  when  I 
arrived  in  America  because  Imogene  Wilson 
(Mary  Nolan)  was  on  the  same  boat  with  me. 
They  said  that  I  was  brought  here  by  her.  We 
had  played  in  a  picture  together  in  Beriin  but 
I  did  not  know  that  we  were  on  the  same  boat 
until  after  we  had  set  sail. 

My  first  months  in  America  were  beautiful 
because  I  then  met  Vivian  Duncan.  Charm- 
ing, intelligent,  sprightly  Vivian.  I  loved  her 
devotedly.    I  love  her  now  but.  .  . 

Our  names  were  linked  together  for  the  sake 
of  publicity  and  that  cheapened  our  love  in 
my  eyes.  What  right  had  the  papers  to 
mention  our  names  together? 

She  was  a  social  little  creature  who  knew 
many  people  and  who  loved  to  be  amusing.  I 
have  very  few  friends;  I  want  no  more. 
People,  just  collections  of  people,  bore  me. 

ONE  day  Vivian  said  to  me,  "We  will  go  to 
So-and-So's  house  for  supper." 

"Rut  I  do  not  know  him,"  I  protested,  "and 
he  does  not  know  me." 

"It  does  not  matter,"  she  answered.  "That's 
all  right  in  Hollywood." 

We  went  to  the  house.  I  saw  hundreds  of 
people  whom  I  did  not  know.  I  could  not 
even  find  our  host.  I  discovered  later  that  he 
had  been  in  earher  in  the  evening  and  had  left. 
I  did  not  meet  the  man  to  whom  I  was  indebted 
for  hospitality!  - 

I  find  that  this  is  a  common  occurrence  in 
Hollywood.  If  that  be  so,  I  will  have  none  of 
it!  People  accept  homes  as  they  would  a 
roadhouse.  A  home  is  simply  a  place  to  go. 
"We  win  drop  in  on  So-and-So." 

I  have  determined  that  I  shall  not  have 
mere  acquaintances  who  drop  in  on  me  in  rny 
home,  just  to  have  a  place  to  go.  With  this  in 
mind,  I  have  found  a  house  high  on  a  hill,  in 
an  inaccessible  spot.  If  the  great  horde  of 
Hollywood  pleasure  seekers  ever  find  it,  then  I 
shall  move  to  a  more  inaccessible  place. 

Vivian  could  not  understand  this  in  me,  no 
more  than  I  could  understand  what  quality  in 
her  made  her  find  happiness  in  hundreds  of 
people  who  meant  nothing  to  her.  We  were 
completely  happy  when  we  were  alone  or  with 
a  very  few  friends,  but  when  others  entered 
our  lives  there  was  misery. 

So  the  engagement  was  broken,  yet  I  still 
cherish  her  in  my  heart. 

After  I  had  been  here  for  several  months, 
had  played  in  "Topsy  and  Eva,"  "Sorrell 
and  Son"  and  a  few  others,  Metro-Gold wyn- 
Mayer  bought  one  year  of  my  five-year  con- 
tract with  United  Artists. 

And  now  I  come  to  a  difficult  part  in  this 
story.  I  fear  that  if  I  speak  the  truth  I  will 
be  accused  of  posing.  I  do  not  want  to  be  a 
star  in  America,  although  I  am  not  unappre- 
ciative  of  what  America  has  done  for  me.  Per- 
haps I  shall  be  persuaded  just  as  I  was  to  play 
the  comedy  in  Berlin. 

I  want  to  do  character  parts,  to  put  on  a 
beard,  if  necessary,  and  fine  my  face.  As  a 
star  I  would  never  be  allowed  to  do  that.  No, 
I  must  be  romantic.    I  must  receive  fan  letters. 

If  a  leading  man  had  the  right  to  pick  his 
own  stories  and  his  own  director  then  there 
would  be  self-satisfaction. 


Nami  . 


Address. 


THE  picture  ended  before  I  could  escape  and 
the  entire  house  rose  and  looked  at  our  bo.x, 
applauding    and    cheering.      I    was    dragged  ,,    ^  t     -n    i„,.„o 

upon  the  Itage  and  they  gave  me  a  veritable  T  AM  unhappy,  but  I  fear  that  I  will  always 

ovation     I  realized  then  that  they  had  liked  -•■  be.    I  have  never  been  pleased  with  hfe.  Only 

my  work  in  this  silly  comedy  which  I  had  done  upon  rare  occasions  are  there  moments  ot  joy 

-     -  -         .  T    .   ,  ^^^  jjjggg  ^jg  t.jings  usually  completely  outside 

of  me.  ■     . 

It  is  best  not  to  seek  happiness,  but  simply 
to  avoid  unhappiness.  The  eternal  question 
"Why?"  is  still  uppermost  in  my  mind. 

Why  have  I  Uved?  AA'hy  am  I  of  the  cinema? 
Why  have  I  loved?    Why  am  I  here? 

I  find  no  answer  to  these  questions  yet  I 
continue  to  seek— hke  a  fool— a  woman  who 
would  satisfy  me  completely;  work  that  would 
mean  something  brave  and  daring;  friends  hke 
those  I  have  had  in  Europe— and  after  I  have 
sought  in  vain  I  will  find  myself  an  old  man 
still  asking  the  eternal  question,  "Why?" 


half  heartedly,  simply  because  I  could  not 
refuse  so  much  money. 

I  was  almost  mobbed  when  I  left  the  theater 
and  following  my  car  there  were  two  others 
completely  filled  with  flowers! 

It  was  that  picture  that  was  seen  by  Ameri- 
can producers  who  shortly  afterwards  deluged 
me  with  contracts! 

I  went  to  London  to  make  a  picture  with 
Lily  Damita  and  was  there  besieged  with  con- 
tracts. I  was  interested  in  coming  to  .*\.merica 
and  signed  with  Paramount.  A  few  days  later 
came  an  offer  from  United  ,'\rtists.  I  ex- 
plained that  I  was  already  signed  and  they 


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Diet  for  Health 
and  Beauty 

I  CONTINUED  FROM  PACK  07  | 


with.  Cut  out  the  table  at  the  end  of  this 
article  and  stick  it  on  a  piece  of  cardboard  for 
handy  reference  in  calculating  your  daily 
bodily  needs  for  fuel. 

I  am  often  amused  watchinK  women,  partic- 
ularly, eating  in  Hollywood  restaurants,  as 
they  select  their  daily  pickings.  The  flappers 
and  would-be  flappers  refuse  milk  and  white 
bread  "because  they  are  so  fattening,"  but 
they  will  eat  candy,  use  sugar  in  their  coffee, 
eat  salted  nuts  and  oil  dressings  in  blissful 
ignorance  and  with  utter  abandon. 

WE  need  fuel  on  the  basis  of  our  daily  energy 
demands.  Jack  Dcmpsey  in  training  for 
the  ring  would  starve  on  the  bill  of  fare  necessary 
to  satisfy  one  of  Singer's  midgets.  But  how 
many  debutantes  daily  devour  enough  to  keep 
several  Dempseys  alive? 

The  body  needs  fuel  not  only  for  its  muscu- 
lar activity,  for  the  maintenance  of  the  body 
warmth  and  the  continuance  of  growth,  but 
also  fuel  reserves  to  keep  its  machinery  running 
while  we  are  asleep,  because  it,  like  the  well- 
known  pill,  works  while  we  sleep. 

Energy  is  needed  for  the  unwilled  functions 
of  the  individual,  the  body's  internal  activities 
which  must  be  kept  going  night  and  day.  .\ 
young  person  needs  more  energy  than  an  old 
one.  A  spare  individual  needs  more  in  energy 
for  internal  activities  than  the  stylish  stout  of 
the  same  height  and  age. 

The  ductless  glands  of  the  body,  about  which 
we  have  all  heard  so  much,  affect  one's  energy 
capacities.  A  person  whose  thyroid  is  acti\c 
uses  more  than  one  whose  thyroid  function  i? 
decreased. 

In  order  to  illustrate  the  difference  between 
the  work  and  overhead  fuel  needs  of  the  body, 
let  us  consider  the  case  of  two  men  of  the  same 
age,  height  and  weight,  one  a  locomotive  fire- 
man and  the  other  an  editor.  Their  fuel  over- 
head needs  are  practically  the  same,  but  the 
I'lreman  is  doing  many  times  more  muscular 
work  than  the  editor.  In  order  to  supjily  the 
tremendous  demand  for  energy  the  fuel  needs 
of  the  fireman  will  be  two  or  three  times  that 
of  his  white  collar  friend. 

Each  needs  less  than  1800  calories  for  fuel 
overhead.  The  locomotive  fireman  may  need 
as  much  as  8000  calories  a  day  because  of  his 
heavy  labors,  while  the  editor  may  not  need 
but  1000  to  l.SOO  to  cover  the  small  amount  of 
his  muscular  work. 

'\  ^USCULAR  work  demands  energy  to  burn, 
•^  '  •'•but  mental  work  only  slightly  increases  the 
body's  energy  expenditures.  If  the  fireman 
did  not  stoke  up  his  own  furnace  with  enough 
energy  to  supply  his  muscles  for  liis  daily  toil 
he  would  be  forced  to  tear  down  his  tissues  and 
fat  reserves.  If  he  takes  on  more  food  than  he 
can  burn  the  unused  part  of  the  body  will 
thriftily  store  it  as  fat.  This  is  an  important 
point.  Young  people  should  always  ha\e  a 
reserve  of  fat  for  use  in  combating  sudden  e.x- 
penditures  of  energy  for  the  resistance  of  acute 
infection  to  which  the  young  are  particularly 
disposed.  This  is  the  important  thing  the 
banting  young  women  overlook. 

Under-weight  is  a  real  danger.  It  is  like 
having  too  small  a  balance  at  the  bank.  Over- 
draw at  the  bank  and  the  cashier  informs  you 
at  once  of  your  error.  Overdraw  on  your 
energy  reserves  of  fat  and  your  body  will  do 
likewise. 

In  short,  the  answer  to  our  fuel  needs  is 
simply  this,  if  we  eat  too  much  we  grow  fat. 
If  we  eat  too  little  we  grow  thin.  If  we  cat  the 
correct  amount  of  the  right  things  in  the  right 
balance  our  weight  remains  constant,  and  there 
is  a  normal  weight  for  every  age  and  height. 

To  assist  in  making  a  rough  estimate  of  the 


"Flatters  with  its 

dashing  gleam 

says  Lady  Heath 

England's  Foremost  Woman  Aviator 


lOI 


99 


Famous  flyer  and 
hunter  of  big  game 
.  .  .  Lady  Heath  is  re- 
nowned for  her  beauty 
and  great  daring.  She 
has  flown  from  Cape 
Town  to  London  and 
hunted  big  game  all 
over  the  globe. 


Lady  Heath  keeps  her  capable  hands  lovely  with 
the  new  Cutex  Liquid  Polish  •  •  • 


Lady  Heath,  now  touring  AiiiGriea  to 
recount  for  us  some  experiences  of  her 
very  enthralling  life,  is  that  delightful 
English  combination  of  sportswoman 
and  society  woman  everywhere  ad- 
mired—fearless, charming,  beautiful. 

As  Lady  Heath  takes  entire  care  of 
her  own  De  Haviland  Moth  plane,  we 
asked  her  whether  she  did  not  find  it 
difficult  to  care  for  her  hands. 

And  Lady  Heath  said  to  us,  "I  put 
Cutex  Nail  'White  under  my  nails  to 
keep  out  the  grease.  I  use  Cutex  Cuticle 
Remover  to  shape  the  cuticle,  and  the 
Cuticle  Oil  to  feed  it,  and  once  a  week  I 
apply  the  new  Cutex  Liquid  Polish. 

"Really  I'm  quite  devoted  to  that 
new  Liqtlicl  Polish.     It  gives  a  chtshing 


The  new 

Cutex 

Liquid  Polish 

flatters 

your  nails 


gleam  that  is  very  flattering  to  my  con- 
ception of  myself." 

Do  these  three  things 

First— the  Cuticle  Remover  to  remove 
dead  cuticle,  soften  and  shape  the  cuticle. 

Second— the  Polish  Remover, followed 
by  the  flattering  Cutex  Liquid  Polish. 

Third — apply  Cutex  Cuticle  Cream 
or  Cuticle  Oil  to  keep  the  cuticle  soft 
.  .  .  Cutex  preparations  35c  each.  Polish 
and  Remover  together  50c.  Northam 
Warren,  New  York,  London,  Paris. 

Special  Introductory  Offer— 12<i: 

h  \S  ' — % 


I  enclose  12c  for  the  Cutex  Midget  Manicure 
Set  containing  sufficient  preparations  for  six 
complete  manicures,  (if  you  live  in  Canada 
address  Post  Office  Box  2054,  Montreal, 
Canada.) 

Northam  Warren,  Dept.  903 
114  West  17th  Street.  New  York. 


■niiETi   sou   write  to  advertisers   please   mention  PH0T0ri_iT   MAGAZINE. 


I02 


Photoplay  Magazine— Advertising  Section 


YOUR 
THROAT 

KEEP  IT 
FREE  FROM 
IRRITATION 


■SSCB 


,£  ooe  V 


♦Vie   otttsi        „pstio»- 
Dampness;  ^\,esoutceso 

^^lydaily   V      ^^  you 


Spt 


(£'JJ— -y    ... 


requisite  calories  for  the  daily  needs  the  follow- 
ing table,  which  will  pro\'e  valuable  in  checking 


the  estimated  fuel  needs  for  persons  desiring 
to  reduce  or  to  gain  weight,  is  given: 


CALORIE  TABLE 

Foods  Rich  in  Starcli  100  Calorie  Portions 

Potatoes  fraw) 1  medium  size 

Tapioca  (raw^ 21/2  tablespoons 

Rice  (cookedl 2^  cup 

Cornstarch  (raw) 4  tablespoons 

Foods  Rich  in  Sugar 

Sugar 2  tablespoons 

Honey 11/2  tablespoons 

Apples  (raw) 1  large 

Dates 4 

Foods  Rich  in  Protein 

Meat  (lean) Slice  4"s3"xl  Vz" 

Egft  white 6  whites 

Fish Portion  J'x2i/4'xl' 

Cottage  cheese 1^  cup 

Foods  Rich  in  Fat 

Bacon  (cooked) 2  thin  strips 

Cream,  thick 1  3^  tablespoons 

Cream,  thin 3  tablespoons 

Butter 1  tablespoon 

Vegetable  oil 1  tablespoon 

Foods  Rich  in  Protein  and  Starch 

Da  tmeal  (cook*,  d ) 3^  cup 

Macaroni  (cooked) 3^  cup 

Beans  (baked) 1/2  cup 

Bread Slice  J'xS'/a'xS/j' 

Foods  Rich  in  Protein  and  Sugar 

Milk  (whole) %  cup 

Milk  (skim) 1  V^  cup 

Foods  Rich  in  Protein  and  Fat 

Beefsteak,  medium  fat    Slice   I  y,'zl  Vi'x^^' 

Egg  (whole) 1  Vi  eggs 

Egg  yolk I  %  yolks 

(Cheese,  American 11"  cube 

Milk,  whole %  cup 

Almonds 12  to  15  meats. 

Foods  Low  in  Any  Fuel  Substance 

Lettuce  (edible  portion) 1  V2  solid  heads 

Cabbage  (shredded) 5  cups 

Spinach  (cooked) .  .  .  2  Vi  cups 

Tomatoes  (canned^ IVi  cups 


In  order  to  know  how  much  you  should  eat 
to  insure  good  health,  prepare  your  diet  in 
accordance  with  the  accompanying  tables. 
Select  your  occupation  from  the  table  which 
most  nearly  approximates  your  weight  and 
compute  the  number  of  calories  your  calling 
requires.  For  instance,  if  your  are  a  typist  and 
weigh  125  lbs.,  you  will  require  105  calories  per 
hour  to  perform  your  work  most  efficiently. 
And  if  you  type  eight  hours  a  day,  you  will 
need  840  calories.  Having  established  that 
fact,  then  choose  your  diet  from  the  calorie 
table,  making  the  selection  for  each  meal  that 
best  pleases  your  taste  and  at  the  same  time 
supplies  a  sensible  variety.  Bear  in  mind  that 
your  heaviest  meal  should  come  in  the  middle 
of  the  day. 

The  calorie  table  is  arranged  in  100-calorie 
portions. 

The  following  tables  are  compiled  to  show 
the  approximate  number  of  calories  per  hour 
required  by  a  person  weighing  125  lbs.  and  a 
person  weighing  155  lbs. 

If  your  weight  is  near  125  lbs.  choose  j'our 
occupation  from  the  figures  listed  at  the  left; 
if  on  the  other  hand  your  weight  is  nearer  155 
lbs.,  then  select  your  occupation  from  the 
figures  listed  at  the  right. 


Sleeping 50 

Awake,  lying  still 60 

Sitting  at  rest 80 

Writing 85 

Standing 85 

Reading  aloud 85 

Sewing,  handwork 90 

Standing  at  attention 95 

Knitting 95 

Dressing  and  undressing ....  100 

Singing 100 

Typewriting 105 

Tailoring 115 

Light  ironing 120 

Dishwashing 120 

Machine  sewing 125 

Bookbinding 130 

Sweeping  bare  floor 135 

Light  exercise .  ,    135 

Light  housework 145 

Shoemaking 150 

Walking  slowly 160 

Moderate  housework 180 

Carpentry  or  painting 190 

Mail  carrier 200 

Heavy  housework 200 

Heavy  carpentry 220 

Walking  fast 240 

Stone  working 320 

Farmer 320 

Sawing 380 

Running 455 


155  lbs. 

55 

75 
100 
105 
105 
105 
110 
115 
115 
120 
120 
125 
135 
145 
145 
150 
160 
170 
170 
180 
190 
200 
225 
240 
250 
250 
270 
300 
400 
400 
475 
570 


There  will  be  another  article  on 
diet  in  the  April  Photoplay. 


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lo^ 


Not  Guilty 


[  CONTINUED  FROM  PAGE  54  ) 

ing  a  crook,  a  do\vn-at-the-heel,  dirty  bum,  ami 
he  had  to  appear  in  a  close-up — just  a  head 
close-up,  mind  you — he  would  see  to  it  that  his 
nails  were  grimy  and  unpolished,  that  his  heels 
were  run  over  and  his  shoes  soiled.  And  none 
of  these  things  would  appear  in  the  picture. 
It  is  Bill's  honesty  with  himself,  his  desire  to 
portray  perfectly  whatever  he  sets  out  to  pla\-. 
that  prompts  him  to  be  so  meticulous  in  his 
characterizations. 

I  REMEMBER  the  first  picture  we  made  to- 
gether. It  was  'The  Bright  Shawl'  We 
went  to  Cuba  to  make  it  and  Bill  and  I 
formed  a  friendship  that  we  enjoy  to  this  day. 
I  was  the  hero,  a  rather  dub  part,  and  Bill  was 
the  bold,  bad  villain  who  showed  me  up  for  fair. 
It  was  a  great  part  and  ije  played  it  splendidly. 
It  was  then,  I  believe,  that  critics  first  called 
him  a  picture  stealer.  Bill  took  no  thought  of 
it,  I  know,  except  in  the  lightest  manner. 

"The  morning  after  the  picture  opened  on 
Broadway,  I  called  him  from  the  12.Sth  Street 
Ferry  House — I  was  on  mv  way  to  the  studio 
'Hello,  Bill?'  I  asked.  'Ves.'  'This  is  Dick. 
Bill,  you  blankity-blank!  You  stole  my  picture, 
do  you  know  it?' 

"The  reply  came  instantly  back:  'Certainly. 
I  expected  to.  Good-bye.'  .A.nd  he  hung  up. 
But  that  was  spoken  in  the  greatest  le\-ity. 

"Picture  stealer  or  not  I  like  to  work  with 
Bill.  It's  Hke  plaWng  a  fast  game  of  tennis 
with  an  expert,  or  playing  bridge  with  a  person 
who  knows  cards.  It  is  stimulating.  It  keeps 
you  on  your  toes.  It  makes  you  do  your  best. 
When  Bill  was  a  free-lance,  I  tried  to  get  him 
for  each  of  my  pictures.  We  did  play  together 
again  in  'The  Beautiful  City'  and  again  I 
enjoyed  that  vigorous  contact." 

Jannings,  the  great  German  actor,  speaks 
fondly,  earnestly,  of  Bill. 

"I  was  seated  at  a  desk  in  one  scene  of 
'The  Last  Command'  when  I  first  met  Bill 
Powell."  Jannings  sat  silent,  reconstructing 
the  scene.  "This  man  came  through  the  door. 
It  was  Bill.  He  was  a  radical  in  the  picture. 
I  was  of  the  nobility.  Instantly  I  felt  'here 
is  a  man  with  a  soul.'  It  shone  from  his  eyes. 
He  walked  toward  me  and  I  felt  that  he  was  a 
brother  actor.  He  is  a  kindred  spirit.  The 
first  kindred  spirit  with  which  I  have  worked 
since  coming  to  .\merica. 

"It  is  something  from  the  Lord,  that  which 
Bill  has.  A  gift  of  God.  But  in  addition  to 
this  divine  gift.  Bill  is  human.  That  is  the 
combination  which  makes  him  a  great  actor. 
He  is  also  of  the  earth.  You  do  not  see  his 
face,  his  eyes,  as  much  as  you  are  aware  of  his 
soul  when  you  watch  him  on  the  screen.  They 
have  made  of  him  a  villain.  .\nd  he  has  the 
soul  of  a  hero.     It  is  too  bad.     But  it  is  so. 

"In  a  year,  I  think  Bill  Powell  will  be  the 
foremost  character  actor  on  the  screen. 
Picture  stealer  he  may  be,  but  it  is  all  uncon- 
scious. He  feels  his  parts  because  he  wants  to 
make  them  live.  That  is  the  way  with  all 
great  actors.     And  Bill  is  one." 

"D  ILL  has  worked  in  two  pictures  with  Bebe 
■'-'Daniels,  "Senorita"  and  "Feel  My  Pulse." 
In  both  he  has  received  glowing  notices. 

"And  I'd  have  him  in  every  one  I  made,  if 
I  could,"  says  Bebe.  "He  lends  so  much  to 
a  production.  Finesse  and  dignity  and  acting 
power.  .-Vud  if  he  does  steal  the  picture,  I'm 
glad.  Honestly.  I  want  it  to  be  a  good 
picture,  no  matter  who  steals  it. 

"But  I  know  Bill  doesn't  go  in  laden  to  the 
hilt  with  superior  tricks  with  which  to  filch  the 
honors.  Like  any  sane,  thinking  actor  he 
enters  each  picture  with  the  thought  of  doing 
his  consistent  best.  It's  the  only  wise  way  to 
build  up  a  career." 

And  despite  this  overwhelming  evidence, 
Bill,  the  culprit,  insists  that  he  is  not  guilty. 
The  court  rests. 


I  am  strong  for 
LuckiesL 


John  Gilbert 
Celebrated  Metro-GoUvvyn- 
Mayer  Screen  Star 


"Motion  picture  actors  are 
under  a  great  strain  —  they  need 
the  comforting  qualities  of  a 
good  cigarette.  That  is  u'hy  most 
of  us  smoke  hucky  Strike.  The 
marvelous  toasted  flavor  of 
LucUies  brings  complete  enjoy- 
ment and  relaxation  but  does 
not  hurt  the  throat  or  wind.  I 
am  strong  for  huckies — they  are 
the  'stars' of  the  cigarette  picture. 
I  ivould  rather  have  a  Lucky 
after  a  meal  than  rich  pastries 
or  desserts." 

John  Gilbert 


The  modem  common  sense  way 
— reach  for  a  Lucky  instead  of  a 
fattening  sweet.  Everyone  is  do- 
ing it — men  keep  heahhy  and  fit, 
J.?,         women  retain  a  trim  figure. 

Lucky  Strike,  the  finest  tobaccos, 
skilfully  blended,  then  toasted  to 
develop  a  flavor  ^vhich  is  a  delight- 
ful alternative  for  that  craving  for  j 
fattening  sweets. 

Toasting  frees  Lucky  Strike  from 
impurities.  20,679  physicians  rec- 
ognize this  when  they  say  Luckies 
are  less  irritating  than  other  ciga- 
rettes. That's  why  folks  say:  It's 
good  to  smoke  Luckies." 

A  reasonable  proportion  of  sugar 
in  the  diet  is  recommended,  but 
the  authorities  are  overwhelm- 
ing that  too  many  fattening 
sweets  are  harmful.   So,  for 
moderation's  sake  we   say:  — 

"REACH  FOR  A  LUCKY 
INSTEAD  OF  A  SWEET." 


instead 

of  a        ^^ 

siveet. 


It's  toasted 

No  Throat  Irritation-No  Cough. 


©  1929,  The  American  Tobacco  Co..  Manufacturers 


When  you  writ©  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


104 


Photoplay  Magazine — Advertising  Section 


f  r  KEN  If 

discmses 


"^^/OUR  make-up  should  enhance 
/  your  personality,  hut  never 
over-dramatize  it.  Your  rouge, 
creams  and  powder  must  be  perfect 
in  color,  in  blending  and  lasting 
qualities.  I  prefer  Tangee  prepara- 
tions myself,  and  I  am  glad  to  recom- 
mend Tangee  lipstick  particularly. 
It  is  really  more  than  a  lipstick! 
Tangee  protects  your  lips  from  chap- 
ping and  is  so  natural  in  effect." 

Demand  Tangee  today.  One  lipstick 
for  all  complexions!  On  sale  every- 
where. Tangee  Lipstick  SI,  Tangee 
Rouge  Compact  75^,  Tangee  Creme 
Rouge  $1  (and  for  complete  beauty 
treatment:  Tangee  Day  Cream,  Tangee 
Night  Cream  and  Tangee  Face  Powder, 
$1   each).    25(?    higher   in   Canada. 


//  the  name  Tangee  does  not 
appear    on    the    carton 
and  gun-metal  case  it 
is  not  Tangee, 


Jan^^^ 


^- 


^^!>«a'M>,i0' 


Beauty  .  .  .  for  20  Cents! 

Twenty  cents  brings  you  the  miniature  Tangee  Beauty  Set- 
all  six  items  and  the  "Art  of  Make-Up."  Addresa  Dept.  P. 
P. '.3,  The  George  W.  Luft  Co.,  Inc.,  417  Fifth  Ave.,  N.  Y. 


Address , 


What  Are  Your  Correct  Colors? 

[  CONTINUED  FROM  PACE  51  I 


but  will  usually  reflect  their  color  onto  the  skin, 
causing  it  to  appear  sallow  and  unhealthy. 
Yellow-green,  similar  to  the  actual  color  of  the 
hair,  makes  it  look  more  drab,  at  the  same  time 
making  the  skin  appear  a  displeasing  unhealthy 
color. 

WHILE  all  colors  chosen  by  the  pale  blond 
should  be  softened,  partially  neutralized, 
totally  neutral  colors,  graj's  or  tans  and  beiges 
of  nearly  neutral  tones,  are  usually  extremely 
difficult  for  the  drab  blond  to  wear.  A  gray, 
especially  a  detinitely  bluish  gray,  or  one  with 
decided  rosy  caste,  may  sometimes  be  worn  if 
accented  with  a  touch  of  more  acti\'e  cool 
color,  blue,  blue-green,  green  or  sometimes 
\\ith  softened  warm  color,  as  violet  or  the  rose 
shades  of  red.  Tans,  being  neutralized  yellows 
and  oranges  closely  akin  to  the  color  of  the  hair 
and  skin,  are  usually  extremely  unbecoming, 
probably  the  most  unbecoming  colors  the  drab 
blond  can  wear.  But  how  frequently  she 
chooses Ihcra! 

Colorful  vivid  blonds,  those  with  bripht 
yellow  hair,  a  more  deflnite  red  falso  faintly 
red-violet)  in  cheeks  and  lips,  deeper  more 
pronounced  coloring  in  her  blue  or  green  eyes, 
may  be  permitted  more  freedom  in  her  choi;c 
of  costume  colors.  There  is  less  danger  of  her 
submerging  her  personality  with  hues  more 
forceful  than  those  of  her  own  coloring  or  of 
appearing  drab  and  uninteresting  when 
neutral  colors  are  worn. 

The  vi\id  blond,  howe-\-er,  does  well  to  re- 
member that  her  personal  coloring  derives  its 
chief  charm  from  its  delicacy.  While  much 
stronger,  more  forceful  than  that  of  the  drab 
blond,  lier  coloring  is  not  so  definite  that  it  will 
not  suffer  by  contrast  with  extremely  vivid 
colors,  especially  with  warm  vivid  colors.  On 
the  other  hand  it  appears  to  marked  advantage 
in  contrast  with  black  or  other  dark  colors 
which  emphasize  both  the  fairness  of  the  skin, 
its  clear  fle«h  tints  and  the  yellow  gold  of  the 
hair.     While  the  sallow  blond  looks  dull  and 


lifeless  when  wearing  black,  which  tends  to 
absorb  her  personal  coloring,  the  vivid  color  of 
the  colorful  blond  appears  more  brilliant  by 
comparison  with  darli  and  somber  surfaces. 

The  colorful  blond  also  appears  to  best  ad- 
vantage in  cool  colors,  but  she  may  wear  some- 
what more  forceful  colors  than  those  permis- 
sible for  the  drab  blond.  Extrem.ely  vivid 
colors,  cool  as  well  as  w-arm,  should  however  be 
avoided,  they  maj'  force  displeasing  colors  in 
the  skin  and  make  the  e\'es  appear  faded  by 
contrast  with  their  own  more  powerful  color. 
Blues,  blue-greens,  greens  and  violets  are  the 
colors  most  becoming  to  the  colorful  blond. 
She  may,  if  her  skin  is  good,  wear  yellow-green, 
which  makes  truly  yellow  hair  appear  more 
yellow  by  contrast.  A  few,  rare  blonds  wear 
dull  yellows  successfylly,  but  usually  in  at- 
tempting to  match  their  hair  they  lessen  its 
effectiveness.  Orange  is  unbecoming.  Soft 
rose  and  red  shades  are  frequently  becoming. 
Dark  wine  red  is  excellent,  even  brighter  reds 
may  be  wearable,  less  likely  to  o\'erpower  the 
personality  of  the  vi\id  than  of  the  drab  blond, 
but  never  as  becoming  as  less  vivid  and  cooler 
colors. 

"NTEUTRAL  and  almost  neutral  colors  are  not 
••-^as  difficult  for  the  vivid  blond  as  for  her 
paler  sister.  Gray,  especially  those  tones  which 
are  not  too  light,  which  are  darker  than  the  skin 
and  hair  of  the  wearer,  may  be  effective  on  the 
colorful  blond,  especiallj'  when  used  with  con- 
trasts of  color.  Tans  and  beiges,  while  more 
effective  on  the  vivid  blond  than  on  the  drab 
blond,  are  usually  a  mistake  on  either.  When 
worn,  they  should  be  of  the  decided  rosy  caste 
rather  than  of  the  yellow  beige  range. 

If  you  have  red  hair,  watch  for  the 
color  chart  for  red-haired  girls  on 
the  April  cover  of  PHOTOPLAY. 
Miss  Hempstead's  article  will  be  de- 
voted to  an  analysis  of  the  coloring 
of  the  auburn-haired  type. 


Brickbats  and  Bouquets 


I  CONTINUED  FROM  PACE    10  | 


.00  Letter 


New  Orleans,  La. 

I  wonder  how  many  women  have  acquired 
self-control,  poise  and  charm  from  the  movies? 
Ten  years  ago,  I  saw  my  first  movie.  I  was  a 
gawky,  overgrow-n  country  girl  with  a  wild 
desire  to  learn  how  to  act.  Today,  when  in 
doubt  about  anything  from  my  personal  ap- 
pearance to  rearing  my  babies,  I  pick  my  movie 
and  acquire  knowledge. 

Several  years  ago  it  was  not  an  uncommon 
thing  to  see  a  nice-looking  country  girl  get 
married  and  then  fade  into  the  background,  as 
though  slic  had  achieved  life's  one  ambition — 
a  husband.  Today,  marriage  is  where  life  be- 
gins, and  I  think  the  mo\-ies  are  responsible 
for  the  change  in  attitude. 

.\fter  all,  aren't  the  most  fashionable  bobs 
and  clothes  associated  with  some  famous  star's 
name?  .\nd  why  not  go  to  the  movies  for 
vour  tips  about  clothes?  To  women,  these 
things  are  getting  more  important  every  day. 

Here's  hoping  the  theater  will  always  be  a 
school  room,  with  the  picture  the  subject  and 
the  star  the  teacher. 

Mrs.  W.  F.  Dicks. 

Printed— With  Blushes 

Chicago,  111. 
.\propos  of  your  courageous  editorial  in  the 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


January  issue  on  the  movement  to  censor 
magazine  articles,  it  brings  home  very  forcibly 
the  strides  that  magazines  have  taken  in  the 
past  few  years.  They  have  developed  not 
only  into  splendid  entertainment,  but  they 
are  potent  moulders  of  thought,  action  and 
customs. 

.\s  a  fairly  intelligent  "fan,"  I  admire  the 
stand  you  have  taken  and  I  am  quite  sure 
that  there  are  many  others  who  feel  as  I  do. 
Motion  picture  magazines  are  more  than  mere 
chroniclers  of  gossip.  They  have  developed 
with  the  development  of  pictures.  Perhaps, 
in  some  cases,  they  have  helped  the  de\-elop- 
ment,  and  they  ought  to  be  free  agents  to 
point  out,  editorially,  what  they  consider  bad 
acting,  bad  policy  and  questionable  actions. 
I  am  proud  and  glad  to  see  that  Photoplay 
is  leading  the  way  for  truthful  articles. 

LiLA  Mack. 

Is  Joan  Too  Thin? 

Chicago,  111. 
I  feel  absolutely  powerless  and  futile  when  I 
try  to  describe  my  chagrin  when  I  saw  Joan 
Crawford's  newest  picture,  "Dream  of  Love." 
I  enjoyed  it  thoroughly,  but  Joan  is  so  thin. 
Can't  someone  tell  her  to  rest  or  stop  dieting? 
Margilerite  Frj;em\n. 
[  continued  on  page  106  ] 


Photoplay  Magazine — Advertising  Section 


lot 


Mas  Phyllis  Haver— Lovilji 
Faihe  Star 


e^ 


nmMy 

^  heauiij  Congregahs 

ItlmjhellmUk  lis 

ou)n  Siory^^^-^^ 

IN  Hollywood  there  occur  certain  social 
events  which  bring  celebrities  of  the 
screen  together,  to  make  the  most  striking 
panorama  of  feminine  beauty  the  world  is 
privileged  to  look  upon. 
Gorgeous  jewels  are  in  abundance  and  gowns 
are  such  as  seem  possible  only  in  fairy  tales. 
Yet  the  material  glitter  and  grandeur  of  the 
spectacle  is  noticeably  dominated  by  an 
exquisite  note  of  charm — a  charm  which 
everyone  feels — and  which,  quite  obviously, 
emanates  from  the  eyes  of  those  present. 
For,  every  eye  sparkles,  and  is  vividly  aflame 
with  amazing  expression  as  it  casts  melting 
glances  thru  dark,  long,  luxuriant  lashes 
made  so  by  Maybelline. 

Such  is  the  story  of  MaybeUine  and  the  fascinating 
eyes  and  lashes  it  makes— whether  the  setting  be  in 
Hollywood  as  typified  by  Miss  Phyllis  Haver  whose 
picture  appears  herewith,  or  whether  it  be  any  as- 
semblage of  smart  society  anywhere.  For  May- 
beUine is  always  in  evidence  where 
beauty  is  made  more  beautiful  by 
eyelashes  transformed  from  scant- 
iness to  dark,  dense  fringes  of  en- 
chanting loveliness. 


Have  you  tried  genuine  May- 
belline? 


^  OTH  Solid  and  Waterproof  Liquid  Maybelline  are  made  in  Black  and 
Brown  from  secret  formulasand  are  widely  mutated  but  never  duplicated. 
Both  forms  are  perfectly  harmless.  To  be  sure  that  you  get  the 
genuine    look  for  the  MaybeUine  Girl  on  the  package.     Obtainable 


at  all  toilet  goods  counters — 75c. 


MAYBELLINE  CO.,  CHICAGO 


Smlash  ^eauHjicr 


■I   find    Muylnlluu- 


Jihnl   Ji'T 


tlurkening  aiitl  bfuutifytng  eye 
lushes  and  iyebrmi'S.  It  is  so  easy 
to  use  and  gives  such  man'elous 
results.  . 

7  would  not  think  of  being  without 
Maybelline  for  everyday  use.  as 
well  as  for  best  effeets  iti  my  screen 
work."  Sincerely  ycurs. 


tlnn  PHOTOPLAY  MAG.4ZINE. 


io6 


Photoplay  Magazine — Advertising  Section 


Brickbats  and  Bouquets 


BATHASWE 


ET 


for  a 

Lovely 
Skin 

If  you  could  batlie  every  day  in  rain-water, 
you  would  see  some  astonishing  changes 
in  your  sidn.  It  would  grow  steadily 
smoother  and  softer  and  clearer.  For  rain- 
water is  the  softest  water  known — and  the 
kindest  to  your  skin.  But  it  is  difficult  to  get 
rain-water.  So  women  are  using  Bathasweet. 
Bathasweet  softens  ordinary  water  and  gives 
it  the  same  wonderful  qualities  that  rain- 
water has.  It  soothes  and  rela.xes  the  skin. 
It  gets  into  every  tiny  recess  of  the  pores, 
and  dissolves  away  the  dirt.  Your  skin 
glows  with  new  vitality.  It  becomes  more 
beautiful. 

LUXURY,  TOO 
Besides,  there's  such  a  comfortable.  lu,\uri- 
ous  sensation  in  lying  blissfully  rela.xed  in 
the  perfumed  waters  of  the  Bathasweet  Bath 
with  the  fragrance  of  a  flower  garden  all 
about  you! 

ALL-DAY  LOVELINESS 
And  then,  as  you  step  from  your  Bathasweet 
tub,  your  skin  will  have  the  almost  scentless 
fragrance  of  perfect  cleanliness.  And  because 
this  cleanliness  extends  deep  down  in  the 
pores,  its  wholesomeness  lingers  all  day  long. 
BATHASWEET  costs  only  25c.  50c,  $1.00 
and   $1.50   at   drug   and   department   stores. 

Tj»  Tj  p>  T?*  A  can  sent  free  if  you  mail  this 
■*■  ■'^  -^  -'-'  coupon  with  name  and  address  to 
C.  S.  Welch  Co.,  Dept.  P.  C,  1907  Park  Ave- 
nue. New  \'ork. 


i  CONTINUED  FROM  P.AGE   104  | 


Leave  Lon  .\lone 

Providence.  R.  I. 
.\   play   Hith   a   romantic   endint;  for   I  on 
Chaney   would   be   a   deplorable    thing,    from 
my  point  of  \ie\v.    Why  change  an  unequaled 
character  actor  into  an  ordinary  lover? 

IIettie  E.  B.-mley. 

Ag"!!!*  the  Fiirriners 

Cleveland.  O. 

The  thing  that  I  do  not  like  about  .American 
movies  is  that  foreigners  such  as  Pola  Negri 
and  Nils  Asther  are  starred  and  recei\e  huge 
salaries,  and  then  make  sarcastic  remarks 
about  the  motion  picture  industry  and  the 
public  here.  Nils  .\sther  says  that  he  is  leav- 
ing the  screen,  but  I  doubt  that  he  will. 

With  his  present  popularity,  he  A\ould  be 
a  fool  to  do  anything  like  that.  The  talk 
about  going  to  foreign  countries  is  all  the  bunk. 
,'^onietimes  the}'  do  go,  but  \\hen  they  find 
that  nobody  cares  much,  they  come  back. 
Harold  Green. 

Why  They  Like  Nils 

Merchantville,  N.  J. 
I  am  glad  to  hear  that  we  are  to  see  Nils 
.A-sther  in  better  parts.  Not  to  take  John 
Gilbert's  place,  but  to  fill  a  place  of  his  own. 
Like  Greta  Garbo,  he  has  a  fine  individuality 
and  the  charm  of  sophistication.  His  years  of 
training  show  in  his  work  and  his  colorful 
personality  is  undeniable. 

F.  L.  DUTCHEE. 

Welcoming  Pauline 

Dayton,  Ky. 
I  wish  the  innumerable  Bows  and  Garbos 
would  put  aside  their  exhibitions  of  so-called 
sex  appeal  and,  for  once,  really  act!  It  ^^a3 
with  profound  joy  that  I  read  of  the  return 
to  the  screen  of  a  real  actress — Pauline  Fred- 
erick. 

Harold  Henry. 

What's  Your  Ambition  ? 

Chicago,  111. 
I  guess  we  all  have  a  foolish  ambition  in  our 
lives,  and  mine  is  to  meet  Joan  Crawford  and 
tell  her  how  beautiful  she  is  and  what  a  mar- 
velous actress.  I  am  not  stage-struck,  nor  do 
I  want  to  be  an  actress,  as  I  ha\e  a  wonderful 
husband  and  home  and  everything  I  want. 
Mrs.  H.  E.  Han-so.\. 

Shooting  at  Von  Stroheim 

Cincinnati,  O. 

Well!  .After  eagerly  anticipating  a  treat  in 
"The  Wedding  March,"  I  wish  to  say  I  have 
seen  it  at  last.  Words  fail  me!  But  my  per- 
manent ^^■a\■e  is  unco\ered  to  \'on  Stroheim. 
It  indeed  takes  a  genius  to  hypnotize  a  com- 
pany out  of  three  years'  time  and  huge  sums 
of  money,  when  tlie  cry  of  economy  is  ram- 
pant. But  genius  or  fool  I  hope  I  shall  never 
ha\e  to  endure  such  a  mess  again.  I  knew  if 
that  butcher  pushed  his  hat  back  with  one 
finger  just  o.nce  again,  I  should  disgrace  my- 
self by  screaming. 

Three  years  to  make  a  Franz  Josef  news 
reel  parade! 

Charlotte  Beckelmak. 

Not  All  Stars,  But  Good  Actors 

Lincoln,  Mass. 
I  would  like  to  send  a  bouquet  to  some  of 
the  actors  who  are  really  good  and  of  whom 
we  hear  so  little:  Claude  Gillingwater,  Mitchell 


Lewis,  Sam  Hardy,  Eddie  Gribbon,  an  extra 
big  bouquet  for  George  Bancroft,  George  Faw- 
cett,  Hobart  Bosworth  and  J.  Francis  Mc- 
Donald. 

.And  a  brickbat  for  iSIolly  O'Day.  May  she 
remain  fat' 

M.  B. 

Watch  Your  Grammar! 

Brooklyn,  N.  Y. 
Last  night  I  took  my  httle  girl  to  see  a  splen- 
did picture,  showing  the  unselfishness  of  a 
young,  courageous  marine.  It  was  applauded 
by  old  and  young,  and,  I  am  sure,  each  young- 
ster expected  to  take  pattern.  But  ni}'  ob- 
jection to  the  picture  was  that  such  expressions 
as  "ain't  cher,"  "yez  gotta,"  "yeh"  and  "I 
don't  wanna"  were  frequently  used  when  cor- 
rect English  could  easily  have  been  employed. 
Naturally  little  children,  especially  from 
foreign  homes,  think  that  is  English.  My  little 
French  neighbor  told  me  the  result  of  a  foot- 
ball game  was  "nuttin'  to  nuttin.'  " 

Mr.s.  W.  L.  Johnston. 

Teaching  Not  Preaching 

Washington,  D.  C. 

I've  had  chrysanthemums  and  been  in  a 
mob  and  yelled  "touchdown;"  and  I've  had 
roses  and  sat  in  a  swing  and  whispered  "you're 
wonderful."  So  I  ought  to  know  about  those 
things.  But  I've  never  seen  a  picture  that  .^o 
nearly  portrayed  these  milestones  in  a  girl's 
life  as  does  "Our  Dancing  Daughters." 

.All  the  ingredients  of  love,  laughter  and 
tears  are  in  this  cocktail  of  youth,  and  Joan 
Crawford  is  the  "kick." 

This  picture   teaches   rather   than   preaches, 
and  my  feelings  while  viewing  it  alternated 
between  wanting  to  wave  pennants  and  striv- 
ing to  keep  down  the  lump  in  my  throat. 
Elizabeth  E.  Hooper. 

The  Business  Girl's  Guide 

I'm  just  a  poor  working  girl  in  Hollywood, 
but  do  you  know  that  motion  pictures  taught 
me  my  business  poise?  They  taught  me  how 
to  smile,  how  to  apply  for  a  position,  how  to 
dress,  how  to  act  around  a  business  man. 
And  yet  some  dumb  people  criticize  motion 
pictures! 

Adele  Curtis. 

Primitive  Gags 

Brooklyn,  N.  Y. 

Humor  in  the  movies  has  made  scant  prog- 
ress. Nearly  e\-ery  comedy  depends  for  its 
laughs  on  people  throwing  things  or  chasing 
each  other.  This  tjpe  of  humor  makes  its 
appeal  to  the  element  of  cruelty  in  us,  which 
gets  satisfaction  from  seeing  someone  in 
trouble.  It's  the  childish  idea  of  something 
funny. 

We  thrill  to  a  picture  like  "The  Big  Parade," 
and  then  we're  supposed  to  laugh  at  something 
silly,  like  a  cop  chasing  some  goof  all  around 
Hollywood. 

Clorinda  Modula. 

Page  Mr.  Freud 

Waxahachie,  Tex. 
Why  do  boys  in  the  movies  ha\'e  to  kiss 
their  mothers  so  often?  There  is  the  loving 
son  going  to  the  store  to  buy  a  loaf  of  bread. 
He  kisses  his  mother  several  times,  then  de- 
parts. He  returns,  puts  down  the  loaf  of  bread, 
and  then  kisses  his  mother  again.  In  real  life, 
sons  love  their  mothers,  but  they  don't  kiss 
them  all  the  time. 

Hortense  Greene. 


E'ery  advertisement  in  PHOTOPLAY  IIAGAZIXE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


107 


The  Studio  Murder 
Mystery 

I  CONTINUED  FKOM  I'AGE  90  ] 


of  being  a  hundred  and  twenty-seven  years,  as 
he  looks  .  .  .  he's  .  .  .  just  twenty-seven!" 

"You're  kidding,  chief!"  exclaimed  Clancy, 
goggle-eyed. 

"Xo,  I'm  not,  boy."  They  stepped  aside  as 
a  group  of  people  came  toward  them.  \\'hen 
opposite  the  two  members  of  the  police,  one  of 
the  men  let  out  an  oath. 

"...  there  he  goes!  Hell  bent  for  elec- 
tion!" he  roared,  and  immediately  took  up 
chase.  Clancy  and  Smith  ducked  as  a  huge 
black  carpenter  bee  zoomed  straight  for  their 
heads. 


Let  him  go. 
said  a  calm 


"V\  7ELL,  keep  your  shirt  on 

*»  We'll  use  the  'prop'  bee 
deep  voice. 

"Say,  d'you  suppose  they  can  make  a  bee  to 
look  like  that  one  .  .  .  and  fly?"  whispered 
Clancy,  gazing  pop-eyed  after  the  party,  which 
had  passed  on. 

"They  can  make  anything  in  this  place! 
Better  keep  away  from  them.  I'll  bet  that 
'prop'  bee  can  even  sting!"  returned  Smith 
Clancy  snorted  derisively. 

"I'm  telling  you,  boy!"  said  Smith  with 
quiet  conviction  in  his  voice.  Clancy  walked 
awhile  in  silence,  then  he  burst  out. 

"Say,  chief  .  .  .  this  is  a  hell  of  a  place  to  be 
working  in!  How  you  goin'  to  believe  what  y' 
see?  Y'  think  y'  got  a  clue,  and  .  .  .  gosh, 
maybe  they  made  it  when  your  back  was 
turned!" 

"You  said  it,  boy!  That's  what  makes  this 
case  the  hardest  .  .  .  and  the  most  fascinat- 
ing, I  ever  handled..  By  the  way,  I've  got  a 
couple  of  hours  on  my  hands.  I'll  take  this 
time  to  talk  to  that  property  boy  of  Siebert's. 
Y'ou  said  he  came  back  to  work  today?" 

Clancy  nodded. 

"Y'ou  sure  that  set's  been  guarded  all  the 
time?  If  anybody  has  been  on  there,  it  won't 
do  any  good  to  talk  to  him.  ..." 

"Sure,  chief!  Night  and  day!  Two  guys 
with  guns." 

"--\11  right.  I'm  going  over.  Have  the  man 
meet  me  there." 

Smith  went  unchallenged  through  the  little 
door  in  the  canvas  wall.  The  overhead  lights 
illumined  the  place  dimly.  There  was  still  the 
dark  stain  on  the  wood  floor. 

The  detective  sat  down  in  the  director's 
chair  and  relaxed. 

Apparently  he  went  to  sleep.  But  while  his 
body  rested,  his  mind  became  acutely  recep- 
tive. Deliberately  he  threw  out  of  his  con- 
scious knowledge  all  the  things  he  had  pre- 
viously developed  concerning  the  crime.  He 
sat,  tuned  in  like  a  human  radio.  Once  he 
opened  his  eyes.  They  had  the  appearance  of 
one  drugged.  There  was  no  eager  seeking  in 
them. 

A  languid,  half-blind  gaze.  He  was  not 
looking  for  material  evidence,  but  for  those  not 
seen,  but  felt. 

Impressions,  that  with  the  truly  talented 
detective  are  as  acute  guides  as  a  blood- 
stained handkerchief! 

CEVERAL  times  his  eyes  opened  slowly,  and 
^dwelt,  without  his  conscious  volition,  on 
different  angles  of  the  set.  The  result  was 
alwaj's  the  same. 

.Always  the  camera  was  the  magnet,  that 
drew  his  gaze,  and  held  it!  Smith  had  often 
worked  on  this  theory  of  his.  He  would  have 
said,  in  justification: 

".Acts  of  violence  ...  of  any  extremely  un- 
usual emotional  nature,  register  what  I  will  call 
for  lack  of  a  proper  word,  '  impressions.'  I  be- 
lieve it  has  been  found  that,  with  certain  light 
and  shadow  combinations,  impressions  discern- 


if  you  really  knew  about  Trincess  I^t 
poAvder  you'd  surely  try  it 


I 


HERE  WE  SHALL  TRY  TO  GIVE 
THE   FACTS,  READ  CAREFULLY 

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Almond  makes  Princess  Pat  a  softer  powder  than  can  be  pro- 
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Film  Star,  is  another  oj  the    application 

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tiis  liho  uses  Princess  Pal  So  point  Iwo  in  favor  of  Prmcess  Pat  is  that  it  can  be  apphed 
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Princess  Pat  has  been  called  "the  powder  your  skin 
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Photoplay  Magazine— Advertising  Section 


Out-of-sorts  .  .  , 

she  didn't  know  why 


Takes  this  safe 
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TASTES     LIKE     CANDY 


ibie  to  the  eye  have  been  made.  At  least  there 
are  certain  East  Indian  wise  men  who  claim  so. 
I  am  not  in  a  position  to  deny  it.  I  know  that 
I  have  been  able  to  get  helpful  impressions  by 
putting  myself  into  a  receptive  state  on  the 
scene  of  a  crime!" 

While  he  distinctly  received  an  impression 
from  the  camera,  it  did  not  satisfy  him. 

It  was  too  easily  e.\plained  as  a  natural 
conclusion. 

"  The  thing  is  in  a  pointing  position  ...  set 
to  focus  on  the  floor,  from  the  platform  where 
it  stands.  It  is  poinling!  The  very  position 
draws  my  attention  to  it,"  he  decided  finally. 
He  realized  also,  that  it  would  be  an  extremely 
difficult  thing  to  set  aside  one  scene  from  the 
many  that  had  been  enacted  in  this  place!  His 
mind  imagined  swiftly  the  innumerable  things 
.  .  .  innumerableas  to  number,  and  as  to  type, 
that  had  been  done  here!  How  could  he  hope 
to  receive  a  clear  impression  of  this  particular 
murder,  when  undoubtedly  other  murders, 
staged  for  the  screen,  but  none  the  less  seem- 
ingly violent  in  action,  had  been  committed 
upon  these  very  boards! 

r^LANCY  entered  with  Kelsey,  Seibert's 
^-^"prop"  boy. 

"What's  your  name?"  said  Smith. 

"Jack  Kelsey." 

"I  understand  that  Seibert  gave  you  a  dirty 
deal  the  other  day.  Why  don't  you  go  after 
him!  He  didn't  have  any  right  to  manhandle 
you,  my  boy!" 

"Aw  .  .  .  what's  the  use?  I  want  to  stay 
in  pictures.  I  like  the  game!  Anyway,  that 
gink's  crazy!  He  don't  know  what  he  does 
when  he  goes  off  his  nut!" 

"Do  you  really  mean 'crazy'  .  .  .?" 

"Sure,  he's  cuckoo!  Ask  anybody!  I  was 
mad  enough  to  bust  him  good  when  he  hit  me 
.  .  .  but  .  .  .  aw,  well,  he  sent  me  a  fat  check, 
and  asked  me  to  forget  it,  and  it  wouldn't  do 
me  no  good  in  the  business  to  go  kicking  up  a 
smoke  about  it!" 

"How  long  have  you  been  with  Seibert?" 

"  Ever  since  I  come  on  the  lot.  Two  years  or 
so." 

"  Did  he  ever  touch  you  before  ...  or  any- 
body else?  " 

"Not  me,  no.  The  worst  I  seen  him  do 
was  to  shake  a  girl  most  to  death  because  she 
was  one  of  those  Saharas  that  can't  cry  .  .  . 


and  he  wanted  real  tears!  Gosh,  that  gnl  had 
a  heart  of  stone!  He  pictured  how  she'd  feel  if 
she  found  her  mother  dying,  or  her  father  with 
his  head  busted  in  .  .  .  and  everything  he 
could  think  of,  and  she  just  looked  back  at  him 
with  her  eyes  so  darn  dry  you'd  wonder  why 
her  eyelids  didn't  stick  to  'em!" 

Smith  smiled.     "So  he  shook  her?" 

"I'll  tell  the  world  he  did!  If  she'd  false  teeth 
they'd  been  all  over  the  place!  Was  funny, 
too,  'cause  the  big  boss.  .  .  .  Rosenthal,  you 
know,  comes  puffing  along  about  that  time, 
and  gives  Seibert  the  devil,  and  says  he's 
going  to  fire  him  off  the  place  .  .  .  blacklist 
him  in  all  the  studios  .  .  .  and  just  then  the 
girl  busts  out  cryin',  and  Seibert  jumps  at  the 
cameraman  and  yelps,  and  everybody  gets 
busy  and  forgets  all  about  the  big  boss!  When 
it's  all  o\-er  the  girl  goes  up  and  kisses  Seibert's 
hand,  and  says  he's  made  a  real  actress  of  her! 
Hell!     Can  you  beat  it!" 

"I  want  you  to  take  a  look  around,  and  tell 
me  if  everything  is  as  you  left  it  the  day  before 
the  murder.  I  understand  that  you  property 
boys  can  tell  if  a  .  .  .  er  .  .  .  cobweb  has 
been  removed  or  added,  to  a  set," 

"Sure  we  can.    That's  our  business." 

"  A  LL  right.  Hop  to  it,  young  fellow!" 
*•     Kelsey  stepped  back  to  the  canvas  gate. 

"I'd  better  start  right  here,  and  cover 
everything,"  he  said.  Smith  nodded.  Kelsey 
continued,  "Of  course  there's  things  that  hap- 
pened since  that  ..." 

"I  understand.  What  I  want  to  know  is 
how  the  set  looked  when  you  last  saw  it,  before 
the  murder  occurred,"  Smith  interrupted.  The 
boy  gave  a  swift  glance  about. 

"That  overstuffed  chair  was  facing  the  other 
way!"  he  said  instantly. 

"Hm  .  .  .  so  that  if  anyone  crouched  down 
and  put  their  hand  on  it,  they  might,  in  getting 
up,  swing  it  just  that  much  out  of  position?" 

"Why  ...  yes  ...  "  the  boy  hesitated. 
."Otherwise,  aside  from  the  blood  marks, 
everything  looks  the  same,"  he  added. 

"Did  you  put  the  'props'  away  that  eve- 
ning?" 

"Sure.    That's  my  job." 

"You  didn't  leave  anything,  e.xcept  what  we 
see  now,  on  the  set?" 

"No,  sir.  ^  Serge  was  all  through  with  the 
'ummy,  which  was  lying  right  there  where 


i^mgmaBaM^^*'-  M 


A  new  photographic  trick  for  taking  close-ups.  The  camera  looks 
through  a  special  lens  that  is  sunk  in  the  middle  of  a  large  and 
powerful  light.  This  trick  is  easy  on  the  actor's  face  but  hard  on 
his  eyes.  The  actor,  too,  must  wear  a  special  make-up  and  the 
effect  is  that  of  a  close  close-up.  Here  is  Oliver  Marsh  trying  the 
device  on  John  Barrymore,  while  Director  Ernst  Lubitsch  looks  on 


EvciT  .'lUvcrtlscraont  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advektising  Section 


109 


you  see  those  chalk  marks  now,  and  so  I  gath- 
ered him  up,  along  with  the  letter,  a  lace 
handkerchief,  and  a  box  of  snuff,  all  of  which 
was  used  in  the  scenes  that  day." 

"  How  about  the  rapiers?" 

"Seibert's  orders  to  leave  'em  out,  as  he  was 
going  to  rehearse  Hardell  that  night." 

"Hm  .  .  .  then  he  would  not  go  to  the 
'prop'  box,  .••nd  get  out  what  he  wanted  hinv 
self?" 

NOPE.     Anyways,  it's  always  locked,  and 
there's  only  two  keys." 

"  Doesn't  the  director  have  one?" 

"What  for?  He  don't  mess  with  the 
props.'  I  got  a  key  and  there's  another  on 
the  rack  in  Cohen's  office." 

"You  just  told  me  the  cameraman — Serge 

.  .  shot  the  dissolve  from  Hardell  to  the 
dummy,  the  last  thing.  Was  Seibert  here  when 
he  (lid  that?" 

"Nope.  Serge  does  all  that  stuff  himself. 
It's  all  mechanics,  you  know,  after  the  actor 
does  his  business  in  the  scene.  Serge  is  as. 
temperamental  as  Seibert,  himself,  and  he 
likes  to  be  alone  when  he's  doing  dissolves. 
.\fraid  somebody'U  upset  his  counting." 

"Counting?" 

"Sure.  When  they  make  a  dissolve  they 
count  the  revolutions  of  the  camera  .  .  .  like 
this  ..."  he  broke  off  to  count  in  steady 
rhythm,  "one — two — three — four.  Thelength 
of  the  dissolve  depends  on  the  number  of 
counts.  Sometimes  in  a  tricky  scene  Serge 
uses  a  motor  to  turn  the  crank.  Then  he 
knows  he  can't  miss," 

"Hm  .   .   .  did  he  use  one  for  this  scene?" 

"I  don't  know.  He  kicked  us  all  off  the  set 
He  had  one  here.    He  might  have  used  it." 

"Is  it  customary  for  cameramen  to  be  so 
temperamental?  " 

"Some  of  'em  are,  and  some  of  'em  aren't. 
The  guys  that  make  a  lot  of  fuss  .  .  .  always 
blowing  up  about  something  or  other,  and 
calling  a  lot  of  attention  to  themselves,  always 
seem  to  get  the  big  salaries,  though,  and'  their 
names  in  the  screen  credit  list!  This  here 
Serge  .  .  .  he's  a  Russian  .  .  .  he's  sure 
stuck  on  himself!  You'd  think  he  was  the 
whole  show!" 

"In  short,  he  thinks  the  camera  end  of  a 
picture  is  the  biggest  end?" 

"You  said  it!  He's  always  telling  somebody 
that  it's  the  camera  and  not  the  director,  that 
puts  over  the  stuff!  He  ain't  so  far  oft',  at  that 
There's  some  pictures  wrecked  because  of  bad 
photography,  and  some  rotten  stories  put  over 
on  the  screen  with  good  lighting  and  all  that. 
Hut  this  guy  Serge  .  .  .  he's  just  a  nut  like 
a  lot  of  'em  around  here'" 

SMITH  went  and  stood  under  the  camera, 
mounted  on  its  platform.  He  stared  up  at 
the  black  box-like  machine  in  silence,  and 
Kelsey  stared  at  the  detective's  back  in  the 
same  speculative  curiosity. 

"  I'd  like  to  take  a  look  in  your  'prop'  box," 
said  Smith,  turning  suddenly.  "We'll  go  right 
over  to  the  'prop'  rooms  now." 

"If  it's  the  stuff  that  came  off  this  set  you 
want  to  look  at,  it's  all  right  here.  There's  a 
locker  on  this  stage.  So  far  from  the  main 
'prop'  rooms,"  said  the  boy,  and  at  Smith's 
nod,  he  led  the  way  in  the  semi-darkness,  over 
and  under  the  underpinning  of  sets  in  con- 
struction .  .  .  through  the  spooky  blackness 
of  a  pirate's  cave,  and  across  the  polished  floor 
of  a  small  dance  room.  Smith  by  now  had 
become  accustomed  to  feeling  his  way,  and 
with  a  little  sense  of  enjoyment  he  realized  his 
feet  had  developed  that  extra  sense  which 
made  them  lift  instinctively  over  unseen  bar- 
riers .  .  .  the  sense  that  all  actors  and  other 
frequenters  of  motion  picture  stages  develop. 

"Before  you  open  it,  there's  a  couple  of 
things  .  .  .  what  are  those  chalk  marks  on  the 
floor  for?" 

"Gosh,  don't  you  know?  That's  what  was 
so  darn  funny  about  Hardell's  being  killed. 
He  was  lying  right  on  'em!"  said  Kelsey  in 
evident  surprise.    "They  use  'em  in  a  dissolve. 


All  tired  out  early 

in  the  day 


THE  old  energy  that  used  to 
carry  her  buoyantly  through 
the  day  and  out  to  parties  and 
dances  at  night  seemed'  to  be 
lost. 

Herhusbandnever  mentioned 
it,  but  she  knew  he  felt  it,  and 
was  puzzled  and  di,sappoinled. 
What  was  the  reason? 

She  did  not  know — even  in 
this  enlightened  day — that  the 
vivacity  which  she  was  losing 
arises  from  a  fastidiously  cared- 
for,  healthy  body.  She  did  not 
realize  what  a  large  part  the 
modern  practice  of  feminine 
hygiene  plays  in  protecting 
and  preserving  these  precious 
qualities. 


But  no  woman  need  misun- 
derstand the  facts  about  femi- 
nine hygiene.  The  makers  of 
"Lysol"  Disinfectant  offer  you 
a  booklet  prepared  by  an  em- 
inent woman  physician,  setting 
forth  the  facts  explicitly,  giving 
specific  rules  in  simple  lan- 
guage. Send  the  coupon  below. 
The  booklet  will  reach  you  in 
a  plain  envelope.  It  is  free. 

But  buy  a  bottle  of  "Lysol" 
Disinfectant  at  your  druggist's 
today.  Do  not  continue  to  take 
dangerouschances.  Comjjletedi- 
rections  come  with  every  bottle. 

Sitlf  tlistrihittnrs: 
Lehn  &  Fink,  luc,  Itlounilivld,  N.  J. 

"I.din  &  Fink  Serenade"  —  WJZ  and  14 

other  stations   aasoeiated  Willi  the  National 

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The  real  actor  lies  there  first,  and  then  the 
dummy  is  put  in  the  exact  position,  so  that 
there  isn't  the  fraction  of  an  inch  difference," 

"Thanks.  Now  another,  that  set  looks 
pretty  dusty  to  me,  for  the  short  time  it's  been 
in  disuse " 

"Sure.  It's  supposed  to  be  dusty.  We 
blew  it  on.  It's  a  room  in  a  deserted  house." 
He  waited  a  moment  for  Smith  to  question  him 
further,  and  then  unlocked  one  of  the  doors  of  a 
wall  cabinet  at  the  end  of  the  stage.  Before 
Smith's  memory  acted,  he  let  out  an  e.xclam- 
ation  when  the  door  swung  open. 

A  sprawling  figure,  one  up-lurned  hand 
clutching  desperately  at  thin  air,  the  mouth  a 
twisted  grimace  of  horror  .  .  .  the  face  a 
blue-ish  white,  was  crammed  into  the  floor 
space  of  the  locker. 

Ivelsey  grinned. 

"Skeleton  in  the  closet's  got  nothing  on  this 
bird,"  he  said,  and  bent  to  haul  the  figure  out 
to  get  at  a  black  box  against  which  it  was 
leaning.     Smith  stopped  him. 

"Hold  on!"  he  cried,  and  for  a  long  moment 
he  bent  down,  scrutinizing  every  detail  of  the 
figure,  its  costtuiie  and  position.  One  thing 
was  soon  evident.  There  was  no  tear  in  the 
blue  satin.  He  could  find  no  place  where  the 
scrap  of  material  he  had  found  on  the  back 
fence,  would  fit.  He  grunted  in  satisfaction. 
He  straightened  and  swung  around  on  Kelsey. 

"TDART  of  your  job  is  knowing  if  anything 
-L  has  been  touched  .  .  .  moved  .  .  .  since 
you  saw  it  last  ...  so  that  you  can  be  sure 
things  match  up  in  the  scenes  .  .  .  isn't  it?" 
he  asked. 

"Yep," 

"Has  that  dummy  been  moved  since  you  put 
it  there?" 

Kelsey  laughed 

"  'Old  Bill'  ain't  so  popular  nobody  wants 
to  take  him  out  nights,"  he  grinned,  "  'Old 
Bill'  is  what  we  call  him.  We  usually  name 
'em  before  we  get  through  with  'em,  ,  .  ,  We 
got  a  regular  old  standby  in  the  'prop'  room 
named  Betsy  Ross!  I  don't  know  who  done 
it,  but  that's  what  she's  been  called  ever  since 
I've  been  here!  We  use  her  for  fire  scenes,  and 
comedy  stuff." 

Smith  smiled  back  at  the  idea,  then  his  face 
sobered,  and  his  keen  grey  eyes  fixed  sharply 
on  the  boy's  face. 

"I  want  you  to  look  closely  at  that  dummy 
and  tell  me  if  it's  been  moved!"  he  said.  Kelsey 
bent  over  "Old  Bill"  obediently,  .■\fter  a 
minute,  he  said: 

"Nobody's  laid  a  finger  on  him.     I  could 


swear  to  it!  I  had  a  time  getting  him  in  there 
and  I  remember  his  wig  got  shoved  to  one  side, 
like  that.  It's  just  the  same."  He  pointed  to  a 
couple  of  the  white  hairs  that  had  fallen  loose, 
and  down  over  the  eyes. 

"  There's  your  answer!  I  remember  thinkin' 
that  wig  was  gettin'  fuzzy,  and  would  need 
dressin',  when  I  put  him  in  tiiere.  Them  hairs 
was  sticking  down  like  that.  It's  part  of  our 
job  to  keep  the  'props'  in  condition," 

"  AR  right.  Now  the  rest  of  these  things. 
Are  they  all  just  where  you  put  them?" 

"Absolutely!  Look  here,"  and  he  bent  and 
moved  a  small  box  on  the  floor  of  the  locker, 
"there's  the  dust  marks!  I  tell  you,  mister, 
you're  barking  up  the  wrong  tree!  There  ain't 
nobody  touched  these  things  and  what'd  they 
do  it  for  anyway?  That's  one  thing  and 
another  is,  nobody  can  get  into  here,  'cept 
Cohen  .  .  .  he's  the  only  one's  got  a  key 
besides  me!" 

Smith  laughed  at  the  boy's  earnest  face. 

".-Vll  right,  Kelsey,"  he  said.  "Maybe  I  am, 
j:)ut  a  detective  has  to  make  a  show  of  asking  a 
lot  of  questions  about  something,  you  know 
.  ,  ,  just  to  show  he's  working  on  the  job!" 

"I  guess  that's  right,"  agreed  the  other 
naively, 

CHAPTER  XIV. 


/'"''LANCY  hastily  put  down  a  copy  of  The 
^^Police  Gazette,  and  turned  an  innocent 
countenance  to  his  superior.  Smith  looked 
from  the  paper  to  the  red  face  of  his  co- 
worker, 

"Is  this  the  way  you  find  out  if  I  can  talk  to 
that  girl  at  the  hospital?"  he  asked  sharply. 

"Aw,  chief  ...  it  didn't  take  me  no  time. 
I  done  it  already.  So  I  just  come  back  here  to 
wait  for  you," 

Clancy  then  had  an  inspiration.  "Want  to 
see  her?  Here  she  is!"  Eagerly  he  grabbed 
up  the  periodical,  and  thrust  it  out. 

"See  who?" 

"  Beth.  She's  sure  one  of  them  regular  little 
pocket  Venuses  you  read  about!  Ain't  she 
sweet?" 

Smith  was  surprised  to  find  he  thought,  also, 
that  she  was  sweet. 

There  was  an  appealing  wistfulness  about 
the  little  figure  ...  an  atmosphere  of  inno- 
cence, despite  the  deliberate  scantiness  of  her 
covering. 

"What  did  her  nurse  say?"  he  asked. 

"That  hard-boiled  dame  gives  me  a  pain! 
Anyway,  she  says  it's  doctor's  orders  nobody 


One  for  the  memory  book.  Junior  Coughlan,  going  out  of  his 
class,  pops  Sergt.  Louis  Wolheim  one  on  the  buzzer,  and  the  young 
man  rooting  with  the  megaphone  is  no  one  but  Erich  von  Stroheini, 
Jr.,  doing  his  first  film  bossing.  Director  E.  Mason  Hopper  looks 
smilingly  on.     Young  Von  is  working  in  "Square  Shoulders,"  a 

Pathe  film 


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I  I  I 


can  talk  to  Beth.  She  says  it  might  get  her 
excited  and  send  her  into  brain  fever!" 

"Hni  .  .  .  well,  could  you  get  anything  out 
of  the  nurse?  If  you  think  she'll  talk,  I'll  go 
out!" 

"Her  talk?  Say,  you  couldn't  pry  anything 
out  of  her  with  a  can  opener!  That  dame's 
wise.  She  ain't  no  sprin,g  chicken  and  she's 
sure  a  good  friend  to  Beth!" 

"Well,  what  did  she  have  to  say?"  asked 
Smith  impatiently. 

"  A  \V,  chief,  that  little  kid  ain't  the  one  .  .  ." 
•'••started  Clancy,  and  then  shut  up  in- 
stantly at  the  look  in  Smith's  eyes.  "I  told  you 
she's  a  wise  bird,  that  nurse.  All  I  could  get  out 
of  her  was  that  Beth  came  on  the  lot  the  after- 
noon of  the  night  of  the  murder.  The  kid  was 
sick  and  she  and  the  nurse  have  been  friends 
ever  since  MacDougal  come  down  here  from 
Canada.  They  met  on  the  trip,  or  something. 
.Vnyway,  she  said  Beth  came  in  and  she  put  her 
to  bed  and  when  she  went  in  to  see  her  the 
next  morning,  the  kid  was  out  of  her  head  .  .  . 
fever  .  .  .  delirious.  Well,  she  calls  the 
doctor,  and  the  doctor  says  the  kid  has  to  go  to 
a  rest  sanitarium,  and  ..." 

"Why  didn't  she?" 

"  'Cause  the  nurse  tells  the  doctor  she's 
known  her  for  so  lorig  and  understands  her, 
and  all,  and  the  kid  would  get  well  quicker 
with  her  .  .  .  see?" 

"Hm  .  .  .  anything  else?" 

"Oh  ...  a  novel!  That  nurse,  she  gets 
real  uppety  with  me.  Tells  me  the  police  don't 
need  to  try  to  pin  anything  on  poor  little  Beth 
MacDougal,  just  because  she  was  foolish 
enough  to  be  infatuated  .  .  .  that's  what  she 
said,  infatuated,  with  that  bum,  HardcU! 
Then  she  says  she  knows  that's  what  we're 
Iryin'  to  do,  'cause  Beaumont  and  West  ha\'e 
got  money  and  pull  back  of  'em!  She  says  the 
big  boss  .  .  .  Rosenthal,  you  know,  don't 
want  either  of  them  to  be  guilty,  'cause  it 
would  be  bad  for  business  .  .  .  but  poor  little 
Beth  MacDougal,  she's  only  a  little  fool 
comedy  kid,  with  a  pretty  face  and  a  swell 
figure  and  the  woods  are  full  of  'em  in  Holly- 
wood! Anyway,  she  says  these  here  Comedy 
Kids  ain't  got  no  morals  nor  no  sense  .  .  . 
leastwise  that's  what  folks  suppose,  so  it  makes 
it  easy  for  us  to  take  ad\antage  of  Mac- 
Dougal's  daughter!" 

"Hm  ....  Well,  the  woman's  lying.  She 
knows  what  the  girl  did  that  night,  but  nothing 
short  of  third  degree  is  going  to  get  it  out  of 
her!" 

"Aw,  that  kid'll  come  clean  when  she's  well." 

Smith  looked  at  Clancy  kindly. 

"I've  got  the  same  hunch  myself  ..."  he 
started. 

"Gosh,  that  sounds  good  to  me!"  burst  out 
his  sergeant  of  police  impulsively. 

"Why,  Clancy!  Have  you  falleix  for  lh.it 
girl?" 

".'\w,  well  .  .  .  "  and  Smith  knew  he  had. 

The  phone  rang,  and  Smith  answered  it. 
When  he  had  finished  his  conversation  he 
turned  to  Clancy. 

"Want  to  go  out  to  the  lot  and  see  that  stuff 
Seibert  shot  of  Hardell  the  dav  before  he  was 
killed?" 

"Betcherlifel" 

Clancy  grabbed  up  his  hat  and  a  florist's  box 
that  was  parked  carefully  under  the  desk. 
Smith  raised  his  eyebrows  but  made  no  com- 
ment. 

Clancy  said,  going  red  in  the  face: 

"Don't  hurt  nothing,  docs  it,  to  take  her 
flowers?" 

""NTO  .  .  .  of  course  not,  old  man!"  They 
■'•^sat  in  the  cool  darkness  of  Rosenthal's 
private  projection  room,  upstairs  in  the  execu- 
tive building. 

"I  am  very  glad  you  are  going  to  look  at 
these  scenes.  Perhaps  you  help  me  settle  an 
argument  vid  Seibert,"  said  the  president  of 
Superior  Films. 

"How's  that?" 

"I  ha£f  been  telling  him  they  are  all  right, 


hough  smiles 
reveal  glistening 
teeth 

NOBODY  s  Immune* 


*Pyorrhea,  Ignoring  Teeth  and 
4   out  of  5  As  Its   Victims 

EVERY  time  you  brush  your  teeth,  brush 
gums  vigorously  with  the  dentifrice  speci- 
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Gums.  For  only  proper  care  of  the  gums  will 
preserve  teeth  and  safeguard  health  against 
the  attack  of  dread  Pyorrhea. 

Nobody's  immune  from  this  disease  of  neg- 
lect, which,  if  allowed  to  pursue  its  course  un- 
molested, ravages  health  and  beauty.  And  4 
persons  out  of  5  after  forty  and  thousands 
younger  pay  heavy  toll  to  this  dread  foe. 

See  your  dentist  at  least  once  every  six 
months,  and  start  using  Forhan's  regularly, 
morning  and  night. 

Results  Will  Delight  You 

After  using  this  dentifrice  for  a  few  days  you 
will  notice  a  distinct  improvement  in  the  health 
and  appearance  of  your  gums.  They  will  be 
firmer,  healthier  and  more  youthful.  As  you 
know.  Pyorrhea  and  other  dread  diseases  sel- 
dom attack  healthy  gums. 

In  addition,  your  teeth  will  be  cleaner  and 
whiter.  For  without  the  use  of  harsh  abrasives 
Forhan's  cleans  teeth  and  protects  them  from 
acids  which  cause  decay. 

Get  a  tube  of  Forhan's  from  vour  druggist 
today.  Two  sizes — 35e  and  60c.  Start  using 
it  every  morning  and  every  night.  Teach 
your  children  this  habit.  They  will  thank 
you  in  later  years  for  it  is  health  insurance. 
Forhan  Company,  New  York. 

Forhan  's  for  the  Gums  is  far  more  than  an  ordinary  tooth- 
paste. It  is  the  formula  of  R.  J.  Forhan,  D,D,  S.  Itiscom- 
pounded  ivith  Forhan's  Pyorrhea  Liquid  used  by  dentists 
everyivhere.  You  trill  find  this  dentifrice  especially  effective  as 
a  ffum  massafie  ift  he  directions  that  come  with  each  tube  are 
follotced  closely,  It''s  good  for  theteeth.  It's  good  for  the  gums. 


Attacking  Gums,  Takes 


\L  for    I 


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FOR   THE    GUMS 


YOUR  TEETH  ARE  ONLY  AS  HEALTHY  AS  YOUR  GUMS 


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I  12 


Photoplay  Magazine — Advertising  Section 


JOAN  CRAWFORD 

one  of  the  Loveliest  of  Metro-Gotdwyu-Mayer's 
stars  applying  Boncilla  clasmic  pack 

How  We  Beautify 
In  Hollywood 

MOVIE  stars,  whose  complexions  are 
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The  Way  Is  This: 

Apply  Boncilla  clasmic  pack  to  the  face  and 
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The  dead  skin,  the  hardened  oil,  the  old 
make-up.  The  causes  of  blackheads  and 
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You  will  feel  it  draw  the  blood  to  the 
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Cheeks  like  roses, 

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Professional  treatments 

at   smart    beauty    and 

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CLASMIC 
PACK 


I 


FOR  BEAUTY  BOX 

[  BONCILLA— Indianapolis.  Ind. 

I  Mailme  a  one-week  treatment  of  Boncilla  with 

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iples. 
Name 


I   Address 

I 


:i:j 


and  he  has  been  telling  me  they  are  all  wrong! 
Now  you  see  them  and  I  find  out  vat  you 
think," 

"But  man  alive,  I  don't  know  anything 
about  pictures  1"    Smith  protested,  laughing. 

"  Sure  you  know.  You  go  to  see  them,  don't 
you?  \'ell,  then  you  know  enough  1  Some- 
times I  think  we  fellows  in  the  business  know 
too  much!" 

Smith  leaned  back  in  the  padded  leather 
chair. 

"I  get  your  point,"  he  answered. 

T_rE  was  aware  of  somebody  joining  them. 
-*■  -'-Rosenthal  turned  on  the  dim  light  that 
stood  on  a  table  close  to  his  elbow. 

It  revealed  a  clerk,  with  a  note  book  and 
pencil  sitting  there. 

But  this  was  not  the  man  that  drew  Smith's 
interest. 

It  was  the  short,  broad  figure  of  Serge  .  .  . 
Seibert's  cameraman,  who  had  come  in 
quietly,  and  now  stood  before  them. 

In  the  dim  light  he  took  on  the  aspect  of 
monstrosity  .  .  .  abnormality. 

He  had  a  very  large  head,  and  a  thick, 
black  mane  of  hair. 

His  face  was  pale  and  his  eyes  seemed  to 
Smith  unusually  black  and  briUiant.  Yet 
this  unpleasant  impression  was  dispelled  when 
he  smiled,  showing  gleaming,  perfect  teeth,  at 
Rosenthal's  introduction. 

"Ve  think  Serge  is  the  best  cameraman  in 
the  business,  but  \'e  do  not  tell  him  very  often, 
for  already  he  has  the  svell  head!"  said  the 
latter. 

"Quit  your  kidding,  boss,"  said  Serge.  Smith 
was  entertained  immediately  by  the  man's 
speech. 

American  slang  in  a  precise  and  unmistak- 
ably foreign  accent. 

"All  set  to  go?"  he  asked  next,  and  Rosen- 
thal grunted.  ".Ml  right,  shoot!"  he  called 
back  to  the  man  in  the  projection  room, 
adding,  "Stop  her  right  where  I  hold  up  my 
hand." 

"Okay.    If  I  don't  see  you,  sing  out!" 

SMITH  was  surprised  to  find  himself  in  a 
slight  tremor  of  anticipation.  Rosenthal  had 
turned  off  the  light  on  the  clerk's  table,  and 
the  place  was  pitchy.  Smith  thought  it 
might  be  that  palpitant  blackness,  through 
which  only  the  burning  ends  of  cigarettes  were 
\'isible  .  .  .  and  out  of  which  voices  came  as 
though  bodyless,  different  from  the  soft,  warm 
lighted  interiors  of  motion  picture  theaters, 
that  induced  it. 

Clancy  moved  uneasily  beside  him;  let  out 
an  uncomfortable  whisper. 

"  Gee,  chief,  I'm  not  stuck  on  this  looking  at 
a  fellow  after  he's  dead.  It  gives  me  the 
creeps!" 

"Rot!  "said  Smith. 

There  was  a  sizzling  sound  from  the  pro- 
jection room  and  a  white  beam  of  light  shot 
toward  the  screen.  A  flicker  or  two,  and  the 
picture  was  on. 

There  was  the  set  on  Stage  Six,  so  familiar 
now  to  Smith,  and  Yvonne  Beaumont,  enter- 
ing the  scene. 

Smith's  attention  concentrated  as  Hardell 
entered. 

He  recognized  the  man's  tj^pe.  An  animal 
of  sex. 

The  sort  of  man,  who,  when  not  practicing 
it,  is  planning  it. 

Yvonne,  struggling  in  his  embrace,  showed 
plainly  her  aversion  to  his  physical  nearness. 

Later,  using  one  of  the  duelling  swords, 
there  leaped  into  her  eyes  an  unmistakable  lust 
for  vengeance.  Smith  found  himself  unable  to 
decide  whether  it  was  acting,  or  realism,  show- 
ing itself. 

"I  did  not  know  Miss  Beaumont  wounds 
Hardell  in  the  picture,"  he  said  sharply  to 
Rosenthal. 

The  president's  eyes  did  not  leave  the  screen 
as  he  answered  ...  it  was  a  close-up,  showing 
only  the  two  faces,  and  getting  over  in  this  way 
(a  method  taught  Americans  by  foreign  films) 


that  Hardell  received  a  severe  thrust.  The 
action  had  char\ged  before  Rosenthal  spoke. 

"Sure.  Ve  put  it  in  because  she  can  reaUy 
do  it.  It's  good  stuff!"  He  stopped  to  light 
a  cigar,  and  then  added: 

"I  tell  you  ven  I  get  the  idea.  It  vas  be- 
cause I  vent  offer  to  International  Artists  to  a 
preview,  vile  ve  were  vorking  on  the  con- 
tinuity for  this  picture.  In  that  picture  I  saw 
otTcr  there,  they  haff  a  girl  in  a  dueUing  scene 
vid  a  man.  But  she  iss  no  good.  It  is  bum! 
Right  avay  I  see  it.  That  girl  she  throws  that 
rapier  around  like  a  fishing  rod!  I  tell  Yvonne, 
and  she  laughs  herself  sick.  Then  she  says, 
'  Giff  me  a  scene  like  that,  Rosie,  and  ve'U  show 
them  how  it  ought  to  be  done!  Ve'll  knock 
their  eye  out!  My  fathair,  he  haff  no  sons,  and 
so  he  make  me  vat  you  call  Tom  boy!" 

Smith  admitted  it  was  pretty  work. 

A  SILENCE  fell  on  them  as  Hardell's  death 
-'»■  scenecameon.  The  hero,  rushing  in,  finding 
his  sweetheart  at  the  mercy  of  a  man  infuri- 
ated by  pain  and  rage  .  .  .  seizes  the  rapier 
from  Yvonne's  hand,  and  puts  it  through 
Hardell's  heart. 

And  the  next  thing,  startling  in  its  horrible 
familiarity,  was  the  prone  figure  of  the  man, 
the  face  twisted  in  the  same  frightful  grimace 
.  .  .  the  eyes  starting  out  of  the  tortured 
features.  .  .  . 

Clancy  clutched  Smith's  arm,  and  Smith  put 
out  his  hand  and  silenced  him.  There  was 
continued  silence  on  the  part  of  the  little 
audience  as  the  finish  slate,  held  in  the  hands 
of  the  assistant  cameraman,  came  into  the 
scene  .  .  .  obliterated  it  .  .  . 

"  Seihcrl  Productions.     Picture  No.  1S6. 
Serge.    Scene  220.     Take  No.  4." 

Again  the  beam  of  white  through  the  dark- 
ness. 

Smith  roused  himself  from  the  mental  paral- 
ysis into  which  the  amazing  reality  of  the  thing 
had  thrown  him. 

"Is  that  all?" 

Serge  answered. 

"No.  There  is  the  dissolve.  Would  you 
like  to  see  it?" 

"Yes." 

Serge  stepped  back  to  the  projection  room, 
and  soon  Smith  was  again  looking  at  the 
sprawled  figure  of  Hardell  ...  a  few  feet  of 
this  unpleasant  dosc-up,  and  then  the  enemy 
of  the  heavy,  who  enters,  and,  standing  over 
him,  plunges  the  rapier  again  and  again  into 
his  body  ...  as  bayonets  \\'ere  used  in  the 
war. 

"God  Almighty!"  gasped  Clancy.  "They 
couldn't  do  that  without  killin'  the  guy!" 

Serge  laughed. 

"  Ve  can  do  anything  in  pictures!"  exclaimed 
Rosenthal  proudly.  "Just  the  same,  I  say  it 
myself.  Serge,  neffer  have  I  looked  at  a  better 
dissolve  .  .  .  neffer!  But  don't  you  go  hogging 
the  credit.  Vidout  Cedric  Haland's  make-up 
on  the  dummy  you  could  not  do  it!" 

Smith  said: 

"It's  getting  funnier  and  funnier  how  much 
like  the  dead  man  the  dummy  looks  ...  in 
the  picture  .  .  .  and  how  much  like  the  dummy 
the  dead  man  looks!" 

FUNNIER  and  funnier!  Veil,  if  you  vas 
in  my  place  you  vouldn't  think  so!  It's 
getting  fiercer  and  fiercer!  I  tell  you  I  don't 
have  much  more  patience  for  you  to  find  out 
about  it,  and  that's  the  truth,  Mr.  Smith! 
Funny  don't  express  it  at  all!"  returned  Rosen- 
thal sharply. 

"  Meet  me  on  the  set  in  ten  minutes.  I  want 
to  talk  to  you!"  Smith  told  Serge.  Then, 
gripping  Clancy's  arm,  and  forcing  the  ser- 
geant, through  sheer  force  of  will  power,  to 
keep  silence,  he  propelled  him  rapidly  out  of 
hearing. 

Clancy  broke  out  \olubly  the  instant  the 
grip  relaxed. 

"It's  a  dirty,  low-down  frame-up!"  he 
panted.     "They  killed  him  when  they  made 


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I  I 


the  picture  and  the  whole  gang's  sticking  to- 
gether to  cover  up!  Gosh,  can  you  feature  it? 
I'll  bet  that  French  broad  was  tellin'  the  truth, 
all  right  only  she  changed  the  action  to  get 
sympathy!  Gosh,  and  tliat  oily  Jew  .  .  . 
askin'  us  out  here,  and  givin'  us  the  key  to  the 
studio  .  .  .  and  chucklin'  up  his  sleeve  be- 
cause we're  such  dumbbells!  What  kind  of  ash 
cans  do  they  take  us  for,  anyway?  The  low- 
down  is  that  Rosenthal's  first  cousin  to  every 
other  producer  ...  or  darn  near  all  of  'em 
.  .  .  and  his  wife's  first  cousin  to  the  rest!  So 
he  tells  'em  .  .  .  that  he'll  black-list  'em  in 
the  studios  if  they  don't  stay  by  him.  Nat'ully 
they  don't  want  to  gi\-e  up  their  cushy  jobs  .  .  . 
fat  salaries  and  the  rest  of  the  world  enx^yin" 
'em  on  account  of  bein'  in  pictures,  and  so  they 
sit  tight!  IMaybe  they  figure  the  guy's  dead 
anyway  and  tellin'  the  truth  ain't  goin'  to 
bring  him  back  to  life  ...  so  why  let  it  ruin 
'em!" 

"npHAT'S   the  way  it  hits  you,   Clancy?" 

■'•  said  Smith  quietly. 

"You're  darn  tootin'  that's  the  way  it  hits 
me!  I  tell  you.  Cap,  that  French  dame,  or 
the  hero  ...  did  it!  And  the  big  saps  that 
we  are,  we  sit  right  there  lookin'  at  it  and 
enjoyin'  it  .  .  .  just  because  it's  a  motion 
picture!    Gosh,  I  don't  think  much  of  us!" 

"Xo,"  said  Smith  slo.wly,  "it  wasn't  done 
then  .   .   .  Clancy,  old  man  ..." 

.f^nd  then  he  had  only  time  to  lower  his 
tone  to  one  of  sharp  command,  before  Serge 
came  up  to  them. 

"That's  a  pretty  radical  idea,  Clancy!  Keep 
it  to  yourself !    Understand?" 

"Sure.     I'm  wise." 

[  TO  BE  CONTINUED  ] 


A  Mother's 
Sacrifice 


THE  mother  clasped  her  week-old  babe  to 
her  breast. 

"Jly  boy,"  she  cooed,  "what  a  great  man 
you  are  going  to  be." 

.A.nd  then  she  paled  and  grew  faint  as  she 
beheld  the  Grim  Reaper  standing  at  the  foot 
of  the  bed. 

"What  do  you  want?"  she  cried,  terror 
gripping  her  heart. 

"Your  child,"  replied  the  gaunt  figure,  ad- 
\ancing. 

"\o.  no,"  she  moaned,  holding  the  young 
one  tight  to  her  bosom. 

"  'Tis  better  that  I  take  him  now  than  let 
him  grow  up  to  visit  a  thousand  deaths  upon 
you." 

.\nd  stepping  forward  he  was  about  to 
Lay  cold  clammy  hands  upon  the  mite.  Des- 
perately, she  sheltered  the  young  one  beneath 
the  covers  as  she  wailed,  "Take  me  instead — 
but,  oh,  let  him  live !" 

'T'HE  Intruder  paused,  then  demanded, 
-*■  "Would  you  have  him  live  to  bring  shame 
upon  you — a  pariah — shunned  even  by 
thieves  and  murderers?" 

"Yes — no,"  she  contradicted  hysterically, 
"I  will  not  give  him  up." 

"  'Tis  well,"  said  the  Stranger.  "Your  pun- 
ishment be  on  your  own  head." 

.\nd  hiding  his  scythe  beneath  his  robe  he 
turned  to  go. 

"What  greater  punishment,"  she  challenged, 
"than  to  part  with  one  you  love  more  than 
life  itself?" 

"The  torture,"  he  answered  sternly,  "of 
seeing  him  grow  up  to  be  an  actor's  press 
agent!" 

With  an  unearthly  shriek  she  offered  the 
infant   to   him  and   cried: 

"Take  him  —  take  him  —  take  him!" — The 
Miisijue. 


liiiMlH 


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WORDS  AND 

MUSIC 

BY 

LEONARD 

HALL 


Longfellow 


Leonard  Hall 


EVANGELINE 

News  that  the  makers  of  the  film  version  of  Longfellow's  classic  poem, 
"Evangeline,"  were  seeking  a  theme  song  hurst  like  the  well  known  bomb 
shell  in  the  office  of  Photoplay.  Then  it  was  announced  that  A I  Jot  son 
would  write  it.  However,  the  office  bard,  Leonard  Hall,  was  hurried  to  his 
typewriter.     Here  is  the  result: 


FROM  that  land  of  Acadie 
(I  said,  Acadie!) 

0\er  land  and  o\er  sea 

Goes  Gabriel,  that  lovin'  man! 

Night  time  dreamin' — 

Day  time  schemin' — 

Lookin'  for  Evangeline — 
His  !o\in'  little  queen,  baby! 

Huntin'  round  that  old  Louisiana  shore, 

Honey-suckle  noddin'  at  the  cabin  door — 
Hungry  for  those  windin'  arms — 
Hungry  for  those  ioAin'  charms — 

Don't  yuh  hear  him  say — 

REFRAIN 

Don't  yuh  hear  me  callin',  honey — 

E\angeline? 
Bring  me  back  that  little  old  sweet  smile 
sosunn\ — 


Evangeline! 
As  the  shades  of  night  are  fallin', 
Mammy!    Pappy!    Baby!    Honey!    I'm 
a-callin' — 
Gabe,  your  lovin'  daddy 
Is  callin'  yuh  home! 
(Listen,  baby!) 
Hear  my  heart  a'throbbin' ! 
Listen  to  that  fiddle  sobbin'! 
All  my  nights  are  lonely — 
Achin'  for  yuh  only — 
Come  back  home — 
No  more  to  roam — 
I  want  yuh,  need  yuh,  cra\-e  yuh,  honey, 
baby ! — 
E\an-guh-line! 

(MAMMY!) 


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115 


Are  You  Furnishing 
a  Home? 

1  CONTINUED  FROM  PAGE  65  ] 


really  comfortable,  of  a  deep  beise  hand  em- 
broidered in  brifiht  colors. 

The  drapes  in  the  living  room  are  em- 
broidered just  enough.  They  are  of  natural 
linen  and  the  decorations  are  bright  peasant 
shades. 

There  was  a  time,  my  dear,  when  a  book 
niche  was  only  intended  for  books,  but  now  it 
is  made  more  at  tractive  when  little  objets  d'arl 
are  placed  on  the  shelves. 

In  the  mornin;;  room  there  is  such  a  niche 
with  an  easily  accessible  chair  of  champagne 
yellow  to  match  the  walls  and  a  little  table  with 
a  pewter  lamp. 

IT  is  impossible  to  describe  the  home  and  its 
furnishings  in  their  entirety.  I  have  only 
touched  the  high  points  of  interest  and  will 
let  the  picture  finish  my  story.  But  I  must 
add  a  few  "don'ts"  Fay  gave  me. 

Don't  buy  too  much  all  at  once. 

Don't  put  the  wrong  object  in  a  barren  spot. 
Wait  until  you  find  just  the  right  thing  if  it 
fakes  a  year. 

Don't  be  arbitrary  with  your  husband  in 
insisting  on  furniture  he  doesn't  like.  He'll 
be  won  over  gradually. 

Make  the  home  livable.  Don't  have  a  chair 
or  divan  unless  it  is  practical  and  comfortable 
as  well  as  beautiful. 

Express  your  own  individuality  in  your 
hcime  as  you  do  in  your  clothes. 

Havtf  one  room  that  is  all  yours. 

I  defy  the  most  hard-hearted  hotel-dwelling 
bachelor  to  inspect  the  new  home  of  Fay  and 
John  and  not  decide  to  marry  at  once  and 
have  a  house  exactly  like  it. 


Instead  of  a  large  bedroom,  Fay 
■yVray's  home  has  a  tiny  sleeping 
porch.  The  porch  is  off  the  morn- 
ing room  and  one  reaches  it 
through  a  long  hall  where  there 
are  closets  for  dresses,  hats  and 
shoes.  The  bathroom,  finished  in 
cherry  colored  tile,  is  at  the  left 


Helena  Riilbiiisteiii^s 


Mah 


e-iu 


P 


Chart 


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Brunette 

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Valaze  Rouge  in  Red  Geranium. 
Cubist  Lipstick  in  Red  Geranium. 
Valaze  Eye  Shadow   to  match  your 
eyes. 


i 


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Valaze  Cleansing  and  Massage  Cream  (.75,  L25).  Next,  smooth  a  little  Valaze 
Beauty  Foundation  Cream  over  your  face  and  throat — it  lends  the  skin  a  most  flatter- 
ing finish  and  makes  rouge  and  powder  doubly  adherent  (LOO).  Now  your  skin  is 
ready  for  the  clinging,  exquisite  Valaze  Powder  (LOO,  L50).  Next,  blend  in  the 
provocative,  becoming  Valaze  Rouge  (1.00).  Follow  with  Cubist  Lipstick  (1.00)  or 
Water  Lily  Lipstick  (L25).  Both  are  indelible  yet  marvelously  soft.  Lastly,  add  a 
soupcon  of  Valaze  Eye  Shadow  (1.00)  and  bring  out  the  lashes  with  Valaze  Persian 
Eye  Black  (Mascara)  in  black  or  brown  (1.00.  1.50). 


LONDON 


PARIS 


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Philadelphia 
Chicago 

8  East  57th  Street,  New  York  City 

Helena  Rubinstein  Creations  are  obtainable  at  better  stores  or  direct  from  Dept.  P.-} 


When  you  write  to  advertisers  please  mention   rnOTOPLAT  MAGAZINE. 


Il6 


Photoplay  Magazine — Advertising  Section 


[^ — nR[p~-~^ 

Three  great  railroads  invite  you  to  an 
unusual,  carefree  vacation.  Enjoy  their 
hospitaUty!  See  the  West  as  the  Travel 
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1.  G.  Delaplaine,  Mgr. 
BURLINGTON  ESCORTED  TOURS 
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Please  send  me  information  about  Burling- 
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Amateur  Movies 


[  CONTINUED  FROM  PAGE  68  ] 


perforating  size  of  the  16  mm.  film  is  15.95 
mm.,  the  distance  between  the  center  of  one 
perforation  to  the  next  perforation  (center  of 
hole)  is  7.627  mm.,  or  .300  inch. 

The  distance  across  the  film,  from  one  per- 
foration to  the  other  finside  edges)  is  10.49  mm. 
or  .41,^  inch.  The  perforation  itself  measures 
1.829  mm.  or  .072  inch  wide,  and  1.27  mm.  or 
.050  inch  high. 

'V'OU  may  or  may  not  know  it,  but  the  camera 
-'-  aperture  is  slightly  largerall  around  than  the 
projector  aperture  in  16mni.,  as  with  35  mm. 
machines. 

The  dimensions  of  the  camera  aperture, 
which  creates  the  frame  on  the  film,  are  10.41 
mm.  or  0.41  inch  wide  and  7.47  mm.  or  0.294 
inch  high. 

The  projector  aperture  dimensions,  on  the 
other  hand,  are  9.65  mm.  or  0.380  inch  wide, 
by  7.21  mm.  or  0.284  inch  high. 

A  S  this  page  goes  to  press,  most  of  the  ama- 
-**-teur  clubs  are  getting  back  to  work  after 
the  holiday  vacations. 

The  Neighborhood  Players  of  Providence, 
R.  I.,  who  have  several  successful  legitimate 
stage  productions  to  their  credit,  have  entered 
the  amateur  photoplay  field  with  a  600  foot 
16  mm.  production,  "  Be  Yourself." 

Marshall  H.  Cannell  is  president,  Mrs. 
Thomas  R.  Clayton  is  vice-president,  Arthur 
W.  Slocombe  is  secretary  and  R.  Lucian  Apple- 


by is  treasurer.  The  players  have  been  using 
three  cameras. 

A  GROUP  of  cnthusiasticDetroit, Mich., ama- 
-''■teurs  have  organized  under  the  name  of 
the  Amateur  Cinema  Club  with  the  leadership 
of  Mrs.  Lucille  K.  Hughes. 

Dr.  Gilbert  Israel,  an  amateur  expert  in  the 
making  of  scientific  films,  was  chosen  president, 
Dr.  C.  Chandler  was  named  vice-president  and 
H.  M.  Nelson  was  voted  secretary  and  treas- 
urer. Glen  Lyons  is  production  director  and 
Mrs.  Hughes  is  publicity  secretary. 

"Fate,"  a  16  mm.  drama  recording  the  disso- 
lution of  a  young  man's  character,  has  just 
been  completed  by  the  newly  organized  Kino 
Club  of  the  Webb  School  of  Claremont,  Cal. 
Special  outdoor  sets  were  built.  Robert  Bard 
is  president  of  the  club  and  the  leading  roles 
in  "Fate"  were  played  by  Clara  Kock,  Anne 
Bard  and  George  Hirshbrunner. 

"DOBBY  VERNON,  the  popular  Christie 
■'-'comedian,  is  an  enthusiastic,  amateur  fan. 
He  has  one  of  the  biggest  picture  galleries  of 
notables  filmed  with  his  own  camera  anywhere 
and  is  a  runner-up  for  Lon  Chaney,  who  boasts 
the  biggest  home  movie  gallery  anywhere  in 
the  world. 

Elsewhere  you  will  find  an  enlargement  of 
one  of  Bobby's  shots,  showing  Gene  Tunney, 
the  book-worm  and  retired  champion  pugilist 
of  the  world. 


Escorted  TouB^ 

attractive  professions 
"^  ART  and 

advehtisinq 

Meyer  Both  Company,  a  dominant 
factor  for  28  years  in  art  and  advertis- 
ing service,  with  over  5,000  clients 
thruout  the  English  speaking  world, 
offers  practical  instruction  in  these 
two  fascinating  fieKls  open  to  both 
men  and  women.  This  instruction — 
based  upon  so  w^ide  an  experience- 
translates  the  maze  of  vague  theory 
into  demonstrated  fact.  Individual- 
ized home  study  instruction.  If  in- 
terested in  a  career  in  either  of  these 
well  paid  professions  send  for  free 
hook  on  (1)  Art  (...)  or  (2)  Advertis- 
ing (,..). 

MEVER  DOTH    COMPANY 

MICHIGAN  ALVIt.Ar20T1f.iT  Dept  31,  CHICAGO 


Wales 

How  to  banish  them 

A  simple,  safe  home  treat- 
ment— 16  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- 

Bvery 


$2,000  Amateur  Movie  Contest  Rules 


1.  $2,000  in  cash  prizes  will  be  awarded  by 
PHOTOPLAY  as  follows: 

Class  One. 

$S00  for  the  best  amateur  photoplay. 
$250  for  the  second    best  amateur  photo- 
play. 

$150  for  the  third  best  amateur  photoplay. 
$100  for  the  fourth  best  ainateur  photo- 
play. 

Class  Tivo. 

$500  for  the  best  non-dratnatic  picture. 

$250    for    the    second    best    non-dramatic 

picture. 

$1 50    for    the    third    best    non-dramatic 

picture. 

$100    for    the    fourth    best    non-dramatic 

picture. 
In  the  event  that  two  or  more  films  prove 
of  equal  merit  in  their  consideration  for  any 
award,  duplicate  prizes  will  he  given  for  each 
tying  film. 

2.  CLASS  ONE — Devoted  to  photoplays, 
will  embrace  all  pictures  made  by  ama- 
teurs in  which  amateur  actors  appear, 
whether  of  a  dramatic  or  comedy  nature. 
CLASS  TWO— Will  include  all  other 
motion  pictures  such  as  films  of  news 
events,  home  pictures,  travelogues,  sport 
shots,  studies  of  animal,  bird  or  plant 
life,  etc.,  made  by  amateurs. 

3.  In  awarding  prizes  the  judges  will  con- 
sider the  cleverness,  novelty  and  fresh- 
ness of  idea  and  treatment,  as  well  as  the 
general  workmanship.  Under  the  head 
of  general  workmanship  comes  photog- 
raphy, lighting,  editing  and  cutting  and 
titling.  In  Class  One,  added  items  of 
consideration  will  he  direction,  make- 
up and  acting  ability. 

4.  All  films,  to  be  considered  by  the  judges, 
must  come  within  the  following  specified 
lengths: 

If  35  millimeter,  the  contest  film  must  be 
1,000  feet  or  less  in  length. 


If  16  millimeter,  it  must  be  400  feet  or  less 
in  length. 

If  9  millimeter,  it  must  be  60  feet  or  less  in 
length. 

All  filtns  must  be  submitted  on  non- 
inflammable  stock  with  the  names  and 
addresses  of  the  senders  securely  attached 
to  the  reel  or  the  box  containing  the  film. 
Name  and  address  of  the  sender  also  may 
be  part  of  the  film  itself. 

5.  Any  number  of  contest  films  may  he  sub- 
mitted by  an  individual  or  amateur 
organization. 

6.  Any  person  or  amateur  organization  can 
enter  this  contest.  Professional  cinema- 
tographers  are  barred,  as  well  as  anyone 
employed  by  PHOTOPLAY  MAGA- 
ZINE  or  any  relatives  of  anyone  employed 
by  PHOTOPLAY.  Winners  of  PHOTO- 
PLAY'S  first  amateur  movie  contest  may 
compete. 

7.  All  films  are  to  be  addressed  to  the 
judges.  The  Amateur  Movie  Contest, 
PHOTOPLAY  MAGAZINE,  221  West 
57th  Street,  New  York,  and  are  to  be  sub- 
mitted between  October  1,  1928,  and 
midnight  of  March  3lst,  1929. 

8.  The  jury  of  judges  consists  of  Professor 
George  Pierce  Baker  of  Yale,  Philip  K. 
Wrigley,  Stephen  Voorhees,  Colonel  Roy 
W.  Winton,  Wilton  A.  Barrett,  King 
Vidor,  James  R.  Quirk  and  Frederick 
James  Smith. 

9.  PHOTOPLAY  assumes  no  responsibility 
for  loss  of  films  in  transit  and,  while 
every  precaution  will  be  taken  to  safe- 
guard them,  this  publication  will  not  he 
responsible  for  loss  or  injury  in  any  way- 

10.  As  soon  as  possible  after  the  conclusion 
of  the  contest,  the  prize  winners  will  he 
announced  and  the  films  returned  to 
senders  on  receipt  of  sufficient  postage 
for  return  transportation. 


advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Seciion 


117 


Brains  and  Sex 


Appeal 


[  CONTINUED  PROM  PACE  60  j 

like  that  believe  me  you  could  interest  an  Eski- 
mo in  an  electric  fan." 

She  gave  him  her  very  best  smile  and  got  into 
the  front  seat  of  the  car,  carefully  spreading 
out  the  organdie  skirt  so  it  would  not  be 
crushed. 

The  back  of  the  car,  she  noticed,  was  filled 
with  pasteboard   bo.xes. 

npHEY  drove  out  Cahuenga  to  the  Pass,  that 
•'-  wide  thoroughfare  which  is  traversed  each 
day  by  hundreds  of  picture  people  on  their  way 
to  studios,  tourists  northward  bound,  real 
estate  parties  en  route  to  subdivisions,  long 
lines  of  trucks  and  busses.  Just  beyond  the 
entrance  to  the  Pass  the  car  stopped  and  Jerry, 
who  bad  introduced  himself  during  the  short 
ride,  got  out  and  indicated  to  Billie  that  she 
was  to  do  the  same. 

"Well,  here's  your  spot,  sister." 

He  began  unloading  the  boxes  from  the  back 
of  the  car. 

Billie  looked  about  for  some  sign  of  a  camera 
or  other  equipment.  There  was  nothing  to 
indicate  the  shooting  of  a  scene.  For  the  first 
time  she  noticed  that  the  boxes  were  marked  in 
large  letters  "Cutie's  Lunch"  and  on  one  corner 
of  the  lid  was  the  head  of  a  girl  with  blonde 
curls,  topped  by  a  big,  floppy  hat. 

"But  I  thou.ght  this  was  loralioii,"  she  looked 
up  at  him,  puzzled. 

"Sure  it's  location,"  Jerry  grinned.  "And 
this  is  yours." 

He  arranged  the  Cutie  Lunch  boxes  in 
stacks  of  six  along  the  curb. 

"But  where's  the  director — and  the  cam- 
era?" she  demanded. 

"I'm  the  director!  And  we  don't  need  a 
camera  for  this  act.  All  the  Cutie  Lunches 
need  is  a  cute  little  blonde  trick  like  yourself 
to  sell  'em." 

Billie  turned  on  him  indignantly.  "But  I'm 
annclress." 

"Sure  you  are.  But,  listen  sister,  lots  of 
actresses  in  Hollywood  don't  always  eat 
regular.  If  you  make  good  with  the  Cutie 
Lunches  believe  me  you'll  be  eating  three 
squares  every  day  and  you  can  thumb  your  cute 
little  nose  at  all  these  dumb  directors  who 
passed  you  up  when  you  were  looking  for  a 
job." 

An  idea  was  beginning  to  percolate  in 
Billie's  brain.  She  knew  that  one  of  the  best 
known  ways  to  get  into  pictures  was  to  be 
seen.  Girls  who  could  afford  it,  and  many  who 
couldn't,  went  to  i\Iontniarfre  on  Wednesdays 
and  Saturdays  for  lunch — just  to  be  seen. 
She  remembered  the  story  of  the  cute  little 
cigarette  girl  at  a  popular  cafe  who  got  a 
picture  contract  because  of  the  \'ery  sexy  way 
she  threaded  about  the  tables  and  said 
"Ceegarelle,  please."  And  the  story  of  the 
obscure  check  girl  with  the  mop  of  carrot- 
colored  hair  who  was  "disco\ered"  by  a  well 
known  director  when  he  stopped  to  check  his 
hat.  The  Boulevard  was  paved  with  stories  of 
girls  who  had  skyrocketed  to  fame  over-night. 

Suppose  some  director,  on  his  way  to  the 
studio,  noticed  the  way  she  sold  the  Cutie 
Lunches,  and  recognized  in  her  star  stuff. 

"TSTOW  these  lunches  are  absolutely  the  best 
■•-^on  the  market,"  Jerry  opened  one  of  the 
boxes.  "Two  man  size  sandwiches — one  baked 
ham  and  one  cheese — hardboiledegg  and  a  slab 
of  real  apple  pie — all  for  a  quarter." 

The  box  certainly  looked  inviting.  Billie 
remembered  that  she  hadn't  had  any  Ifl-eak- 
fast,  and  that  there  had  been  numerous  days 
when  she  had  missed  lunch  and  dinner. 

"Just  try  one  of  these  sandwiches."  He 
held  out  the  box  and  Billie  took  one  of  the 
sandwiches. 


This  Month's 


1929 


DISTIISGUISHEO 

H.4!\DW'Riril\C 

CONTEST 


I^ST 


1929 


[)[^|2[      \^f^^^lB0^0 


*1۩ 


l>ISTII\(;UISHEI) 

UA!SI)WRITI!SC, 

CONTEST 


:i 


24  OTHER 
PRIZES 

ONE  sentence  .  . .  just  12  wor«ls  ...  to  he 
copied  in  your  own  handwriting. 

Four  impartial  judges — a  Graphologist,  an 
Art  Director,  an  Author,  an<l  a  Corporation 
President — to  select  the  most  distinguished 
handwriting, 

Twentv-five  Interesting  Prizes 


1st  Prize— $100  Cash. 

2inl  Prize— $50  Cash. 

3rtl   Prize — $2^  Cash. 

4lh  to  10th  Prizes— 
^our  ehoice  of  $5 
Cash  or  Graphologist's 
scientifie  analysis  of 


ahilily.  Irait.s.  hidden 
charaeteristics.  etc., 
which  are  reveale<l  hy 
your  liandwritiug. 

11th  to  25tli  Prizes- 
Special  lil>rary  gift 
carton  of  one  hundred 
IMarlhoro.  Cigarettes. 


Here  is  the  first  prize  winner  of  the  1928  con- 
test.   Is  your  handwriting  more  distingnislied? 

{(loJihcsro  -  4  UmJit.  ^  orltos^  mo 

A  LL  you  have  to  do  is  to  copy  the  above  sentence 
jfTL  (Marlboro — A  Cigarette  For  Those  Who  Can 
Afford  20c  For  The  Best)  in  ink  in  your  own 
handwriting  and  send  it  to  aihlress  l)eU)w.  Don"t 
put  it  off!  It  costs  nothing  to  enter  this  contest. 

This  month's  Marlboro  contest  closes  March  31st.  In  case  of  ties 
duplicate  prizes  will  be  awarded.  The  judges  will  be:  Mnie. 
IVadya  Olyanova,  Graphologist:  K.  M.Goode,  Wrilerand  P~v<liolo- 
gisl;  George  Bucher,  Art  Director:  R.  M.  Ellis,  President,  Philip 
Morris  &  Co.  Reproductions  of  especially  distinguished  lianii- 
writing.s  will  he  shown  in  leading  so<iety  magazines. 

PHILIP       MORRIS       &       CO. 

511-C      FIFTH    AVENUE  NEW    YORK    CITY 


/■//./,.  URIH 
G     4.\D  KOll!\l) 


-II  H4i'HHD   IN 
lit  At  1    FOn. 


Mild  as  Maif 


A   CIGARETTE  FOR   THOSE  WHO  CAN  AFFORD  2#c   FOR  THE   BEST 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINB. 


IIJ 


I 


Photoplay  Magazine — Advertising  Section 


ose  unsi 


tnh 


(^XjEOPLE  used  to  thinlc 
I''  that  excess  fatallcame 
°^>3  from  over-eating  or 
under-exercise.  So  some 
people  starved,  but  with 
slight  effect.  Some  became 
very  active,  still  the  fat 
remained. 

THEN  medical  research 
began  the  study  of  obesity. 
It  was  found  that  the  thy- 
roid eland  largely  con- 
trolled nutrition.  One  of 
its  purposes  is  to  turn  food 
into  fuel  and  energy. 

FAT  people,  it  was  found, 
generally  suffered  from  an 
under-active  thyroid. 

THEN  experiments  were 
made  on  animals — on  thou- 
sands of  them.  Over-fat 
animals  were  fed  thyroid 
in  small  amounts.  Count- 
less reports  showed  that 
excess  fat  quite  promptly 
disappeared. 

THEN  thyroid,  taken  from 
cattle  and  sheep,  was  fed 
to  human  beings  with  like 
results.  Science  then  real- 
ized that  a  way  had  been 
found  to  combat  a  great 
cause  of  obesity.  Since 
then,  this  method  has  been 
employed  by  doctors,  the 
world  over,  in  a  very  ex- 
tensive way. 


Next  came 
Marmola 

THENa  great  medical  labo- 
ratory perfected  a  tablet 
based  on  this  principle.  It 
was  called  Marmola  pre- 
scription. 

MARMOLA  was  perfected 
2 1  years  ago.  Since  then  it 
has  been  used  in  an  enor- 
mous way  —  millions  of 
boxes    of  it.      Users   told 


lis  easij 


in 


Z^"' 


'^  -4\ 


^M 


A 


\;- 


-tlM- 


waii 


'I 


others  about  it.  They  told 
how  it  not  only  banished 
fat  but  increased  health 
and  vigor. 

THAT  is  one  great  reason 
— perhaps  a  major  reason — 
why  excess  fat  is  nowhere 
near  as  common  as  it  was. 

No  Secrecy 

MARMOLA  is  not  a  secret 
prescription.  The  com- 
plete formula  appears  in 
every  box.  Also  an  expla- 
nationofthe  results  which 
so  delight  its  users. 

NO  abnormal  exercise  or 
diet  is  required,  but  mod- 
eration helps.  One  simply 
takes  four  tablets  daily  un- 
til weight  comes  down  to 
normal.  Correct  the  cause, 
with  lessened  weight  comes 
new  vitality  and  many  other 
benefits. 

Do  the 
Right  Thing 

THIS  is  to  people  whose 
excess  fat  robs  them  of 
beauty,  youth,  health  and 
vitality.  Reduce  that  fat — 
combat  the  cause— in  this 
scientific  way.  Do  what 
so  many  people,  for  21 
years,  have  found  amaz- 
ingly effective. 

TRY  a  couple  of  boxes 
and  be  convinced.  Watch 
theresults.Then,ifyoulike 
the  results,  complete  them. 
Get  a  box  of  Marmola  today. 


'  Marmola  prescription  ' 
tablets  are  sold  by  all 
druggists  at  $1.00  per 
box.    Any   druggist 
who   is    out  will   get 

.  them  from  his  jobber. 


MARMOLA 

PRESCRIPTION  TABLETS  r-^  THE  PLEASANT  WAY  TO  REDUCE 


"It's  marvelous,"  she  smiled  at  him  be- 
tween bites.  "I'd  think  anybody  would  want 
to  buy  a  sandmch  like  that.  It's  got  plenty 
of  butter,  spread  dear  out  on  the  edges  of  the 
bread,  and  a  real  piece  of  ham  in  it  instead  of 
just  a  sliver  like  most  sandwiches." 

"That's  the  idea,  sister.  If  you're  going  to 
sell  anything,  you've  got  to  be  sold  on  it  your- 
self first.  Now  your  first  customers  will  be  the 
truck  drivers.  You'll  catch  a  flock  of  them 
between  seven  and  eight.  Once  they  get  on 
to  the  idea  that  you're  going  to  be  here  every 
morning  they'll  make  it  a  point  to  pick  up 
their  lunch  here.  And  the  psychology,  as  I 
see  it,  is  this:  A  guy  would  rather  buy  a  lunch 
from  a  good  looking  dame  who  gives  him  a 
smile  along  with  it,  than  to  ha^-e  some  greasy 
Greek  hand  him  a  sandwich  across  a  counter." 

In  spite  of  her  disappointment  about  the 
job,  Billie  was  catching  some  of  Jerry's  en- 
thusiasm. 

"Do  you  think  they'd  be  more — interested — 
I  mean  would  the  lunches  sell  better  if  I  say 
that  I  made  the  sandwiches  myself?" 

"Sure.  That's  good  psychology."  (Jerry 
had  taken  a  night  course  in  salesmanship.) 
"A  guy  likes  to  help  a  girl  that's  trying  to 
help  herself." 

He  rehearsed  her  in  the  act,  showed  her  just 
how  to  hold  out  the  lunch  box,  balanced  on  the 
palm  of  her  little  girl  band,  tried  out  several  of 
her  smiles,  chose  the  one  that  was  most 
appeahng  and  instructed  her  to  "hold  it." 

npHE  same  something  which  had  brought 
-'-  patrons  to  the  Elite  Confectionery  back  in 
Prairie  City  for  a  soda  mixed  by  Billie  Shannon 
brought  customers  for  the  Cutie  Lunches. 

She  was  such  an  incongruous  note,  standing 
by  the  roadside  in  an  outfit  that  belonged  to  a 
garden  party,  that  she  invariably  attracted 
attention. 

Truck  drivers  kidded  her  but  they  gambled  a 
ciuarter  on  the  lunch.  Lonely  j'oung  men  in 
lowslung  roadsters  impulsix'ely  pulled  up  at 
the  curb,  discovering  too  late  that  the  girl 
hafl  lunches  to  sell. 

They  generously  paid  for  their  error  by 
buying  a  lunch  which  they  tossed  overboard  as 
soon  as  they  were  out  of  sight. 

By  noon  only  four  of  the  original  boxes  re- 
mained. 

Before  the  week  was  over  Billie  had  acquired 
"her  public."  The  warm  California  sun  was 
her  spotlight  and  the  mounting  sales  of  the 
lunches  testified  to  her  box  ofBce  appeal.  She 
was  as  proud  of  her  success  as  a  newly  arrived 
star.  She  added  several  bits  of  business  which 
she  felt  bolstered  up  the  act  considerably — 
such  as  nonchalantly  putting  on  a  new  make- 
up when  traffic  was  hea\icst.  She  thought  it 
was  a  very  effective  way  of  attracting  attention 
to  herself. 

And  it  was. 

Perhaps  the  truck  dri\-ers  got  the  greatest 
kick  out  of  it. 

"When  you  have  the  new  scenery  painted  on 
suppose  you  hand  me  a  lunch,  cutie,"  wise- 
cracked a  brawny  Irishman. 

\n<l  Billie  would  look  up  with  an  expression 
of  feigned  embarrassment,  as  per  Lesson 
Number  Six  of  her  Screen  Acting  Course,  park 
the  lipstick,  turn  on  her  Grade  A  smile,  and 
hand  out  the  lunch. 

M.ANY  men  tried  to  date  her  up  but  Billie 
was  out  for  big  time  stuff.  She  scanned  every 
lioUs-Royce  that  went  by.  She  was  confident 
that  someday  a  director  would  "discover"  her 
and  in  her  mind  directors  and  Rolls-Royces 
were  synon}'mous.  In  a  little  diary  she  made 
notes  of  ail  her  "propositions."  ^  Somebody 
might  want  to  make  a  story  out  of  it,  after  she 
had  become  a  star.  The  funniest  story,  she 
thought,  would  be  the  one  of  the  man  in  the 
rather  battered  roadster.  Billie  had  just 
finished  putting  on  her  second  makeup  for  the 
morning  when  he  pulled  in  at  the  curb.  She 
started  to  hand  him  a  lunch  but  he  shook  his 
head. 

"No,  little  giri,  I  don't    want  to   buy    a 


Every  advertisement  in  PHOTOPLAY  JI.\GAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I  K 


lunch."  He  smiled  at  her.  "I  was  wondering 
how  you  would  like  to  play  in  one  of  my 
pictures." 

Billie  sized  up  the  car,  and  the  man's  none 
too  immaculate  getup,  and  assured  him  with 
a  withering  smile  (Lesson  Xumber  Eight)  that 
she  was  too  wise  to  fall  for  a  gag  like  that. 

"But  I'm  Von  Bergheim,  the  director!"  He 
seemed  insulted  that  she  didn't  know  him. 

"Yes,  and  I'm  Clreta  (larbo — out  on  loca- 
tion!" 

She  had  given  a  little  upstage  shrug  and  the 
man  quickly  drove  away. 

ALMOST  every  night  Jerry  picked  her  up. 
checked  over  her  sales  for  the  day,  and 
then  they  would  have  dinner — usually  at  the 
beach.  It  was  fun  to  be  with  Jerry,  even 
though  he  did  talk  about  business  a  lot  and 
was  always  building  aircastles  about  a  string 
of  Cutie  Lunches  which  would  reach  from 
coast  to  coast. 

"Listen,  sister,"  he  would  say  when  they 
strolled  out  on  the  pier  after  dinner,  watching 
the  flicker  of  lights  along  the  shore,  "some  day 
every  tenth  sign  will  be  spelling  out  Cutie's 
Lunch  in  electric  lights — with  maybe  an 
allernatingflashof  youin  that  big,  floppy  hat." 
Tlie  vivid  way  he  described  the  sign  made  it 
seem  a  wonderful  thing. 

".\nd  would  my  name  be  on  the  sign?"  she 
a^kcd  eagerly. 

"Don't  be  ij/,"  he  scoffed.  "It's  the  lunches 
we're  advertising.    Not  you." 

"But,  Jerry,"  she  pouted.  "You  always  seem 
to  forget  that  I'm  an  actress.  I  can't  always 
keep  on  selling  lunches — even  though  I  have 
been  such  a  success  at  it." 

Jerry  generously  overlooked  her  vanity. 

"Sure,  you're  an  actress,"  he  humored  her, 
"but  so  are  hundreds  of  others.  Why  this 
town's  full  of  blondes  that  say  they're  actresses 
just  because  they're  playirtg  in  pictures.  And 
who  ever  hears  of  'em?  Now  you — you're 
different.  You've  got  your  stage  and  you've 
got  your  public.  Have  you  e\'er  stopped  to 
figure  out  just  how  many  people  you  play  to 
in  a  day?" 

Billie  gave  him  one  of  those  Oh-you're-so- 
wonderful  smiles. 

"And  what's  more,"  continued  Jerry, 
"you've  got  me  to  manage  you." 

Billie  cuddled  close  against  him  and  his 
arm  tightened  about  her.  It  was  hard  to 
keep  from  loving  Jerry  when  he  talked  like 
that. 

But  she  knew  that  a  girl  must  not  let  her 
emotions  interfere  with  her  career.  Jerry 
could  only  do  just  so  much  for  her.  He  was  a 
darling  and  all  that  but  she  must  think  of 
getting  on  in  her  art.  So  each  morning  she 
asked  God  to  make  her  a  good  actress  and  make 
some  director  see  her. 

.'Vnd  one  day  the  answer  to  her  prayer,  in 
canary  yellow  Rolls-Royce  with  black  strip- 
ings,  drew  up  at  the  curb. 

It  was  late  afternoon  and  the  last  lunch  box 
had  been  sold. 

Billie  had  taken  out  the  make-up  box  and 
was  drawing  a  little  firecracker  of  rouge  across 
her  lips. 

A  VERY  aloof  and  correctly  uniformed 
-'*•  chauffeur  was  at  the  wheel.  But  it  was  the 
man  in  the  back  seat  who  spoke  to  her.  She 
took  in  the  flower  in  the  buttonhole,  the  cham- 
ois gloves,  the  lavender  handkerchief  peeking 
from  the  breast  pocket.  Her  heart  tapped  an 
exultant  tattoo  against  her  ribs. 

Certainly  this  was  a  director  if  there  ever 
was  one. 

"Are  the  lunches  all  gone,  little  girl?"  he 
asked.    Voice  all  oil  and  honey. 

"Why,  yes,  sir.  They  are.  I  just  sold  the 
last  one." 

In  her  excitement  she  almost  muffed  the 
Grade  A  smile. 

"Then  perhaps  I  can  drive  you  into  town." 

Intuition  told  Billie  that  this  was  Her  Big 
Chance — but  she  didn't  want  to  appear  too 
eager. 


''Women  applicants 
so  often  must  be  told'* 

Says  an  employment  agency  manager 
about  this  phase  of  feminine  hygiene 


TM3MYOjqM3 


'«J 


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No  longer  need  women  fear  offend- 
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WHEN  this  delicate  subjea  is 
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specially  treated.  Finally,  Kotex  is  so 
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of  laundering. 


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I20 


Photoplay  Magazine — Advertising  Section 


S«s 


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The  man  opened  the  door. 

She  hesitated.  She  had  promised  to  meet 
Jerry. 

He  would  be  waiting  for  her. 

"Perhaps  you  don't  know  who  I  am,"  said 
the  voice  of  oU  and  honey. 

Billie  flushed  and  admitted  that  she  did  not. 

"I'm  Morris  Luks — of  the  De  Luxe  Pictures. 
I  guess  you've  heard  of  me." 

Billie  pretended  that  she  had. 

"I've  been  watching  you,"  continued  Mr. 
l.uks.  "I'm  getting  ready  to  make  'Virgin 
I^ips'  and  I  think  I  could  use  a  girl  like  you. 
You're  wasting  your  time  here." 

Billie  saw  her  long  dreamed  of  heaven  just 
around  the  corner. 


go 


""LJGW  about  having  dinner  with  me  to 
•*■  ■'■night?"  suggested  Mr.  Luks.    "I  could  gc 
over  some  of  the  scenes  with  you — "   . 

She  found  herself  stepping  into  the  car,  sink- 
ing back  luxuriously  into  the  soft  grey  up- 
holstery. 

Two  hours  later,  alone  with  Mr.  Luks  in  his 
isolated  hillside  house,  she  listened  intently 
while  he  talked  picture  business. 

"I  can  make  an  actress  out  of  any  girl,"  he 
expanded.  "But  I've  got  a  theory  of  my  own 
about  how  to  do  it." 

There  was  an  insinuated  meaning  which 
BUlie  missed. 

"Do  you  think  I'd  make  a  star?"  she  asked 
naively.  It  was  wonderful  being  able  to  talk 
to  a  real  director  like  this. 

"Well,  it  depends  on  just  how  well  you  take 
direction." 


Mr.  Luks  had  finished  a  tall  drink.     His  | 
eyes  were  like  little  pin  points  of  flame  as  he 
came  closer  to  her. 

Something  about  the  way  he  looked  at  her 
made  her  feel  all  shivery  inside.  She  thought  it 
was  stage  fright. 

"  Suppose  we  rehearse  one  of  the  scenes  from 
'Virgin  Lips.' "  His  moist  hand  slid  along  her 
bare  arm  and  she  involuntarily  drew  back. 
Funny  she  should  think  of  Jerry  at  that 
moment — what  nice  clean,  trustworthy  hands 
he  had. 

"  First  of  all,  if  you're  going  to  be  an  actress, 
you've  got  to  learn  to  relax,"  e-xplained  Mr. 
Luks. 

Billie  gave  a  nervous  little  laugh,  for  his  arm 
had  closed  about  her  and  he  was  drawing  her 
close  to  him. 

This  was  so  different  from  the  way  they  had 
rehearsed  scenes  at  the  School  of  Screen 
Technique. 

"  Don't  be  afraid.    Just  let  yourself  go." 

She  felt  herself  being  pressed  back  against 
the  cushions  of  the  low  couch. 

"Don't  let  your  mind  work  at  all,"  he 
whispered  hoarsely.  "Just  let  your  body 
respond,  naturally." 

SHE  tried  to  follow  bis  directions,  but  she  was 
tense,  frightened.     This  was  too  real  to  be 
acting. 

"You  have  just  been  awakened  to  love.  It 
is  burning  you  up  like  a  flame.  You  have 
found  out  that  your  lover  is  going  away.  You 
want  to  hold  him.  Your  arms  go  about  him, 
pressing  him  close  to  you — " 


Meet  Corinne  Griffith's  latest  discovery.  Captivated  by  the  sang- 
froid with  which  Master  Bob  Freeland  laid  the  morning  paper  on 
her  door-step,  La  Belle  Griffith  gave  the  lad  film  work  in  First 
National's  "The  Divine  Lady,"  "Outcast"  and  now  in  "Prisoners." 
His  favorite  actress  is,  oddly  enough,  Corinne  Griffith 


Every  ailTertiscment  In  PHOTOPLAY  MAGAZINE  i9  guaranteed. 


Photoplay  Magazine — Advertising  Section 


121 


Mechanically,  and  with  all  the  fire  of  a 
mechanical  doll,  Billie's  arms  reluctantly  weni 
about  Mr.  Luks. 

Love  scenes,  she  had  always  thought,  should 
be  played  with  nice  young  heroes — like  Jerry — 
not  with  men  like  Mr.  Luks. 

"No — no — not  IJial  way." 

It  was  obvious  that  Mr.  Luks  was  annoyed. 

"This  girl  is  a  hot  little  number — not  an 
iceberg." 

"But  I  don't  want  to  play  bad  girls,  Mr. 
Luks."  She  managed  to  turn  her  face  away 
from  him.  "I  want  to  play  sweet  parts  Hke 
Mary  Pickford  plays — so  my  public  will  love 
me." 

"  A  ND  I  suppose  you  think  that  Pola  Negri 
■**and  Greta  Garbo  are  starving  to  death  be- 
cause they're  not  afraid  to  play  a  love  scene 
like  it  ought  to  be  played." 

"  But  I  have  to  play  a  scene  like  I  fed  it, 
don't  I?" 

Her  voice  was  trembling. 

"Well,  if  that's  all  the  feeling  you  can  put 
into  it  you'd  better  run  along  and  sell  your 
Cutie  Lunches.  I  haven't  any  time  to  waste  on 
you." 

"Then  you  don't  think  I'm  an  actress?"  she 
asked  in  amazement. 

Mr.  Luks  had  released  her  now.  He  picked 
up  a  cigarette  and  lighted  it. 

"An  actress?"  he  said  with  disgust.  "No, 
little  girl,  you're  just  another  blonde — and 
dumber  than  most  of  them." 

It  was  a  very  chastened  Miss  Shannon  who 
went  to  the  Pass  the  following  morning  v\ith 
her  daily  quota  of  Cutie  Lunches. 

She  watched  Jerry  as  he  stacked  the  bo.xes  in 
rowsof  si.\. 

"Jerry,"  she  spoke  hesitantly.  "Did  you 
ever  hear  of  Morris  Luks  of  the  De  Luxe  Pic- 
tures?" 

"Sure  I've  heard  of  him.  He's  the  bird  that 
got  arrested  a  few  months  ago  for  signing  some 
little  e.\tra  girl  up  on  a  phoney  picture  contract. 
Made  her  think  he  was  going  to  make  a  star 
of  her.  You  want  to  steer  clear  of  birds  like 
that." 

He  finished  stacking  the  lunch  boxes  and 
Billie  was  suddenly  very  busy  with  her  makeup 
kit. 

"There's  the  boy  that  knows  how  to  make 
stars,"  Jerry  pointed  to  a  battered  roadster 
which  had  just  passed. 

"Never  think  from  that  car  that  he  was  one 
of  the  best  directors  in  Hollywood,  would  you? 
Now  if  you  could  just  get  him  to  'discover' 
you,  you'd  be  made." 

TJILLIE  stared  after  the  car.  For  the  first 
-'-'time  she  was  ready  to  admit  that  she  was  just 
a  dumb  blonde — so  dumb  that  shehadupstaged 
the  great  Von  Bergheim  when  he  had  asked 
her  if  she  would  like  to  play  in  his  picture.  She 
looked  up  at  Jerry  with  a  wistful,  little  girl 
smile. 

She  wondered  if  he  really  believed  that  she 
wa^    an    actress. 

"I  guess  I've  changed  my  mind  about  being 
an  actress." 

Their  fingers  met  as  she  reached  for  a  lunch 
box. 

"I'd  rather  sell  Cutie  Lunches — and  ha\e 
von  for  my  manager — " 

".\ttagirl!" 

The  box  fell  to  the  ground  for  Jerry  had 
impulsively  gathered  her  in  his  arms  and  their 
lips  met  in  a  first  kiss. 

Passers-by  slowed  down  their  cars,  w'ondering 
if  this  was  a  picture  scene.  But  Jerry  ml 
Billie  were  blissfully  unaware  that  they  had  an 
audicn'.e . 

"You  don't  think  that  I'm  just  another 
blonde,  do  you,  Jerry?"  It  was  of  course  a 
purely  feminine  question,  but  Billie  just  had 
to  ask  it. 

"You're  the  only  blonde  in  the  world  for 
me,"  he  looked  down  at  her  adoringly.  ".And 
listen,  sister,  with  my  brains  and  your  sex 
appeal,  we'll  simply  clean  up  on  these  Cutie 
Lunches." 

And  I  hey  did. 


Miss  Jeanette  hoff  of  Path e  Studio  never  worries  about  spots  on  clothing 
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In  practically  all  the 
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122 


Photoplay  Magazine — Advertising  Section 


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[  CONTINUED  FROM  PAGE  61  ] 


ward,  the  triumphant  ZaSu  and  family  were 
moving  into  their  beautiful  new  abode.  Fur- 
niture, purchased  on  the  installment  plan, 
completed  the  homelike  atmosphere.  ZaSu, 
happy  in  her  new  found  glory,  flitted  back  and 
forth  to  the  studio,  carefree  as  a  butterfly. 

Her  mother  was  aihng,  and  a  trip  to  the 
dentist  revealed  the  need  of  an  expensive 
operation.    ZaSu  readily  advanced  the  money. 

Several  weeks  of  unreal  prosperity  and  then 
the  dream  came  to  an  end. 

TpHE  enterprising  producer  found  himself  on 
*■  the  verge  of  bankruptcy  and  committed 

suicide. 

ZaSu  faced  ruin  more  bravely. 

Nothing  remained  of  the  thousand  a  week 
she  had  earned  so  joyously.  Nothing  remained 
but  debts. 

Dramatic  as  the  catastrophe  had  been,  there 
was  no  curtain  to  descend  on  the  ensuing  woes 
of  the  heroine. 

Creditors  in  grease  paint  had  pursued  ZaSu 
before  the  camera,  but  now,  she  had  to  flee 
from  real  ones! 

With  histrionic  presence  of  mind,  she 
answered  dunning  phone  calls  in  a  negro 
maid's  accents,  ''No,  suh,  she  ain't  heah,  suh," 
said  ZaSu,  tremblingly. 

In  the  meantime  she  tried  to  establish  herself 
with  another  company.  Her  odd  little  per- 
sonality didn't  seem  to  fit  in  to  the  usual 
pictures. 

She  was  considered  a  "tj^e"  and  she  had  to 
go  back  to  doing  bits  in  an  occasional  picture. 

From  a  thousand  dollar  a  week  star  to  a  ten 
dollar  a  day  extra  girl  over  night ! 

ZaSu's  gift  for  eccentric  comedy,  unfortu- 
nately, kept  her  in  these  small  parts  for  over  a 
year.  Then  fate  and  Eric  von  Stroheira  took  a 
hand  in  her  affairs. 

Von  Stroheim  was  casting  "Greed"  and 
needed  a  heroine  who  could  cry  beautifully. 
All  the  leading  women  in  Hollywood  took 
"tests"  for  the  part.  Colleen  Moore,  and 
others,  now  stars  of  the  first  magnitude,  coveted 
the  role. 

The  Goldwyn  lot  teemed  with  excitement  as 
the  competition  neared  an  end.  A  leading  lady 
was  about  to  be  picked ! 

Passing  the  set  where  ZaSu  worked,  Von 
Stroheim  noticed  the  care-worn  face  of  the 
little  comic  actress.  Something  in  the  pathos 
of  her  attitude  as  she  rested  between  scenes 
attracted  him.  Introducing  himself,  he  asked 
her  to  come  to  a  reading  of  the  script.  With 
beating  heart,  ZaSu  climbed  the  steps  to  the 
famous  director's  ofBce. 

As  Von  Stroheim  read  the  sad  parts  of  the 
scenario,  all  that  she  had  suffered  made  her 
feel  the  heroine's  woes.  Real  tears  rolled  from 
ZaSu's  beautiful  eyes!  The  director  glanced 
with  wonder  at  the  grief-stricken  little  face. 
IMany  actresses  could  weep,  but  Von  Stroheim 
had  found  one  who  could  feel! 

Needless  to  say,  ZaSu  found  herself  cast  for 
the  biggest  role  of  her  career,  and  this  time 
safely  on  the  road  to  stardom. 

It  woulc"  be  nice  to  say  that  she  was  happy 
ever  afterward,  but  the  truth  is  that  troubles 
do  not  end  with  stardom. 

A  SCREEN  beauty  must  retire  early  and 
-'•■diet  carefully.  There  is  frequent  need  for 
quieting  influences  to  keep  the  nervous  system 
from  breaking  down  under  the  strain  of  intense 
emotional  demands,  long  hard  hours  under  the 
grilling  lights,  and  worst  cf  all  the  daily  ordeal 
of  the  projection  room. 

Those  who  imagine  that  life  in  the  movies  is  a 
merry  round  should  see  the  tired,  white-faced 
people  who  go  into  the  studio  projection  room 
on  soft,  California  evenings.  It  is  a  black, 
cheerless  little  place  with  a  square  of  white  at 
one  end,  about  one-third  the  size  of  the  screens 


used  in  movie  theaters.  Dante's  inferno  held 
nothing  like  it  for  refined  torture!  Day  after 
day  the  sins  and  mistakes  of  actors,  directors 
and  cameramen  are  thrown  up  to  them.  No 
one  escapes  the  final  reckoning.  Hopes  and 
ambition?  are  built  up  and  smashed  to  pieces 
in  its  pitiless  depths. 

IVIany  a  beautiful  star  has  left  it  with  tears 
in  her  eyes  and  a  premonition  of  the  end  of  her 
triumphs. 

Al  Jolson  once  left  a  projection  room  and 
took  the  first  steamer  for  Europe,  to  forget 
what  he  had  seen.  Only  when  time  had 
softened  the  painful  memory  could  he  be  lured 
back  to  try  once  more. 

The  scenes  shown  are  never  in  sequence. 
Long  shots,  closeups  and  miscellaneous  angles 
are  all  jumbled  together.  Subtitles  are  lacking 
and  the  general  effect  is  that  of  a  crazyquilt. 

Frequently,  an  underdeveloped  print  shows 
the  actor's  faces  as  black  as  minstrels,  while  an 
overdeveloped  print  gives  them  the  appearance 
of  having  fallen  in  a  flour  barrel.  All  defects 
easily  remedied  before  a  public  showing,  but 
very  disheartening  at  the  moment. 

TpHE  actress  watches  herself.    It  has  been 

•'■  said  that  no  woman,  however  beautiful,  is 

camera  proof.    There  is  always  one  angle  of  her- 

face,  one  part  of  her  body,  that  is  not  perfect. 

The  public  never  sees  the  bad  shots,  but  the 
actress  must. 

A  closeup  leaps  on  to  the  screen.  It  is  her 
face  magnified  fifteen  or  twenty  times.  Her 
heart  sinks  as  she  sees  a  tiny  line,  almost 
unnoticeable  in  her  looking  glass,  heavily 
shadowed ! 

It  makes  her  look  old  and  hard. 

"Can't  you  do  something  about  that?"  she 
hears  the  director's  voice  asking  her  in  the  dark. 
He  speaks  to  the  cameraman: 

"Watch  that,  George,  that's  a  bad  angle  of 
her  face." 

Another  shot  leaps  on  the  screen.  It  is  a 
scene  her  heart  is  set  on,  a  big  scene.  .  .  . 
Why  does  the  hght  make  her  nose  stand  out 
like  a  golf  ball  on  the  end?  .  .  .  the  dress  isn't 
as  smart  as  she  thought  it  was  going  to  be  .  .  . 
a  beautiful  yellow,  it  has  photographed  murky 
grey  .  .  .  and  they  made  it  too  tight,  it  makes 
her  hips  look  enormous!  Another  closeup.  A 
bit  of  rouge  she  has  put  under  her  chin  to  take 
down  an  almost  imperceptible  little  sag,  has 
photographed  absolutely  black  like  a  dirty 
neck!    Instead  of  one  little  chin  she  has  three! 

The  director  is  furious.  There  is  a  sarcastic 
remark  and  an  ominous  silence. 

Sometimes  the  actress  has  the  supreme  joy 
of  seeing  herself  beautifully  photographed. 
The  cameraman,  electrician  and  dressmaker 
have  cooperated  in  making  her  a  dream  of 
beauty.  Murmured  compliments  make  the 
little  dark  hades  Paradise! 

IT  is  now  the  director's  turn  on  the  fire.  His 
pride  is  centered  on  scenes  about  to  unreel. 
To  his  dismay  they  have  not  filmed  well.  The 
action,  when  taken,  was  so  full  of  feeling  that 
even  the  stage  hands  wept!  Now  it  comes 
upon  the  screen  Uke  a  piece  of  music  played 
out  of  tune! 

The  impulsive,  staccato  gestures  of  real  life 
are  a  mere  blur  in  the  camera's  eye.  Even 
scenes  of  great  passion  must  be  acted  slowly 
and  deliberately  if  they  are  to  register.  "Tim- 
ing" action  is  one  of  the  great  arts  of  movie 
making. 

The  luckless  actress  squirms  as  she  watches 
her  "big  moments."  The  place  where  she  gave 
that  heartrending  cry  has  photographed  like  a 
great  chasm.  She  shouldn't  have  twisted  her 
mouth  in  that  ludicrous  way.  Real  feeling  is 
often  unphotographic.  One  can't  make  the 
faces  one  would  in  real  life  under  the  stress  of 
emotion. 


Every  advertisement  in  PUOTOPLAT  MAGAZINE  Is  guaranteed. 


Photoplay  Maoazine — Advertising  Section 


12 


Other  scenes  flash  on  the  screen.  She  is  not 
in  them  but  her  heart  is  broken  and  she  still 
wonders  why  things  looked  so  badly.  In  her 
bitter  state  of  disappointment,  perhaps  she 
wonders  if  it  wouldn't  be  better  to  Rive  up 
starring  and  get  a  nice  quiet  job  as  a  telephone 
operator  or  something. 

The  director  is  in  a  good  humor  again.  He 
murmurs,  "Fine  shot,  George!  .  .  .  that  man 
looks  like  a  million!" 

.•\  little  e.xtra  girl,  playing  a  maid's  part,  steps 
on  the  screen.  She  has  the  fresh  appeal  of  one 
unused  to  the  daily  grind  of  movies. 

"Who  is  she?"  queries  the  producer  with 
sudden  interest. 

The  tired  assistant  searches  in  his  notebook 
and  supplies  the  information. 

"Take  a  test  of  her  in  the  morning"  is  the 
order. 

TS/ri'-XT  day,  an  excited  little  extra  girl  will 
■'-^  report,  with  her  hopes  high,  eager  to  tread 
the  thorny  path  of  stardom. 

The  lights  go  up.  The  last  shot  has  been  run 
and  the  little  crowd  of  happy  or  disappointed 
people  file  out. 

The  director  to  go  home  and  tell  the  family 
what  good  stuff  he's  getting  but  that  the  star 
is  a  rotten  actress  .  .  .  and  the  star  to  go 
home  and  cry  all  night,  though  she  knows 
she  must  look  her  best  in  the  morning! 

Keeping  a  star  job  is  no  sinecure.  The 
jealousy  and  hate  of  a  thousand  other  less 
successful  players  follows  the  popularity  of  the 
lucky  one. 

They  are  croaking  her  ruin  long  before  her 
star  actually  descends. 

Prosperity  in  the  moving  picture  business  is  a 
very  perishable  thing,  A  single  indiscretion  in 
the  private  life  of  a  diamond-trimmed  star  has 
put  her  out  of  the  business  forever.  A  wrinkle, 
loss  of  hair,  a  few  extra  pounds  and  her  dia- 
mond-trimmed goose  is  cooked! 

There  is  no  sadder  spectacle  in  the  world 
than  the  has-beens  of  HoUyw^ood.  They  haunt 
the  sunny  boulevards  like  lost  souls,  always 
hoping  to  regain  their  vanished  glory. 

One  of  these  former  favorites  of  a  fickle  pub- 
lic sat  waiting  for  a  friend  in  the  lobby  of  the 
famous  Montmartre  restaurant  of  Hcllywood, 

Her  shoes  were  shabby  and  her  hat  had 
seen  better  days,  but  she  wore  a  beautiful 
leopard  skin  coat,  relic  of  the  glorious  days 
when  she  had  earned  fifteen  hundred  a  week. 

A  friend,  who  was  still  on  the  top  wave  of 
prosperity,  accosted  her  merrily,  and  re- 
marking her  beautiful  wrap,  said: 

"You  must  be  working?" 

"No,"  she  replied,  simply.  "But  if  I  don't 
get  a  job  soon,  I'll  be  the  best  dressed  woman 
in  the  poorhouse!" 

TN"  Hollywood,  an  actor  works  hardest  when 
-•■he's  out  of  a  job.  A  "front "  must  be  kept  up 
at  all  costs,  and  the  illusion  of  grandeur  main- 
tained even  with  the  bailiff  waiting  at  the  door. 

False  optimism  is  the  keynote  of  the  film 
capital.  Tourists  have  difficulty  believing 
that  everyone  is  not  happy  and  everyone  rich, 
in  Hollywood.  Appearances  are  all  that  count 
in  the  City  of  Make  Believe. 

Even  the  shopkeepers  make  believe  that 
their  wares  are  worth  more  than  they  are, 
and  when  they  sell  them  to  impecunious 
actors,  they  have  to  pretend  that  they're 
going  to  get  paid! 

People  who  live  by  their  emotions,  as  actors 
must,  need  the  stimulation  of  beautiful  things. 
Indeed,  extravagance  is  forced  upon  them. 
"Looks"  are  a  player's  stock  in  trade,  and  his 
"job"  clothes  more  important  than  meals. 

"When  we  live  in  palaces  all  day,"  Eugene 
O'Brien  once  said,  in  the  midst  of  a  resplendent 
Graustark  romance,  "  how  can  we  go  home  to  a 
two  room  flat?" 

Diamond-trimmed  stars!  They  have  to 
star\e  before  they  get  their  money,  they  have 
to  spend  it  when  they  get  it,  and  they  don't  get 
it  long! 

Would  you  rather  be  a  twenty-five  dollar  a 
week  clerk  and  happy,  or  a  thousand  dollar  a 
week  star? 


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124 


Photoplay  Magazine — Advertising  Section 


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March  gales  are  here  again,  -with 
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The  Loves  of  Tom  Mix 


[  CONTINLTED  FROM  PAGE  31  ] 


name  horses  because  of  some  peculiar  char- 
acteristic they  possess — some  odd  trait.  Sex 
has  nothin'  to  do  with  a  cowpony's  name. 
You're  just  as  apt  to  hear  a  meek,  quiet 
horse  called  Annie  Laurie,  because  of  supposed 
Scotch  ancestry  an'hard  to  get  anything  out  of, 
as  to  hear  him  named  Harry  Lauder  or  Bobby 
Burns.  It's  mighty  hard,  at  times,  to  find  the 
right  name  for  a, horse,  but  every  one  of  us 
down  there  just  named  this  horse  Sweetheart, 
the  only  one  that  seemed  to  fit  him.  I  sure 
thought  a  lot  of  this  colt.  He  was  a  light  cream 
color  with  long  curly  mane.  Boy  like,  I  sort  of 
regarded  Sweetheart  as  my  property.  He 
would  follow  us  around  an'  snuggle  up  sort  o' 
sweet  an'  lovin'  like.  As  a  four  year  old,  when 
I  broke  him  he  never  showed  any  sign  of  bad 
tricks — never  bucked — or  did  anything  mean 
like  that — just  remained  Sweetheart  to  the 
end  of  the  day.  Another  thing,  this  colt  never 
growed  up — just  remained  always  the  same 
sweet,  affectionate,  lovin'  little  yearlin'. 

If  I  owned  him  today,  I'd  change  his  name 
to  Mary  Pickford. 

THE  next  love  I  remember  was  when  quite  a 
young  man  I  was  a  workin'  on  the  Circle 
Dot  ranch,  close  to  Hog  Eye,  Texas.  One  of  the 
horses  detailed  to  me  was  a  young  five  year 
old  named  Red  Ears.  He  sure  was  a  beautiful 
horse,  but  noonehadevergentledhim.  Mebbe 
that  was  why  they  gave  him  to  me.  Red  Ears 
was  here,  there  an'  everywhere,  kickin'  up  his 
heels  an'  runnin'  off  every  chance  he  got.  I 
spent  half  my  time  ridin'  around  the  draws  an' 
over  the  prairies  either  a  chasin'  or  a  searchin' 
for  this  sorrel,  runaway  pony  with  the  bright 
red  ears.  Red  Ears  could  be  mighty  sweet  an' 
gentle  if  he  wanted  to  be,  but  I  got  to  know 
him.  Whenever  I'd  see  one  of  those  fond,  far- 
away an'  affectionate  looks  in  his  eyes — like  a 
young  doe  deer  lost  from  its  mother  an'  he'd 
remind  me  of  Uttle  Sweetheart — I  knew  the 
sign  an'  made  a  quick  an'  certain  exit,  always  a 
goin'  backwards  until  I  got  so  far  away  that 
he  couldn't  swing  his  heels  on  me,  an'  then  I'd 
turn  an'  make  a  fast  getaway  run  for  the  fence. 
An'  what  a  kickin'  pony  Red  Ears  was — it  took 


two  husky  cowhands  to  rope  an'  saddle  him. 
While  he  wasn't  a  regular  outlaw,  he  came  as 
near  to  it  as  any  colt  ever  could  an'  not  be 
guilty. 

Today,  if  I  was  back  on  the  old  Circle  Dot, 
by  a  vote  of  ten  to  one,  the  cowboys  would  a 
re-named  Red  Ears,  a  callin'  him  Clara  Bow, 
instead  of  what  they  did,  even  if  his  ears  was 
bright  red. 

A  FTER  Red  Ears,  my  affections  sort  o'  wan- 
-'•■dered  around,  not  gettin'  settled  anywhere 
very  much.  Then  I  sort  o'  traded  for  a 
thoroughbred — a  nice,  stately  horse  with  a  lot 
of  the  original  Steel  Dust  in  him — he  was 
always  dignified — not  much  of  a  horse  to  ride 
out  on  the  range,  but  a  mighty  fine  animal  if 
I  wanted  to  go  into  town  a  wearin'  of  my  best 
clothes.     I  thought  a  heap  of  this  new  horse. 

I  named  him  Beauty,  although  at  this  writin' 
if  I  still  owned  him  an'  had  it  all  to  do  over 
again  I'd  call  him  Claire  Windsor. 

About  this  time  I  made  a  trip  down  on  the 
Rio  Grande  where  I  did  quite  a  lot  of  horse 
tradin'  an'  became  the  owner  of  about  the 
wildest,  highfalutin'  co\vpony  I  was  ever 
interested  in.  He  was  sure  hard  to  handle.  If 
I  broke  that  horse  once,  I  broke  him  a  hundred 
times.  There  was  just  no  understandin'  him. 
Even  if  he  came  in  off'n  the  range,  tired  an' 
hungry,  he'd  up  an'  shy  at  a  bale  of  hay,  just 
to  be  doin'  somethin'  unexpected  like.  I  called 
him  Mexico,  seein'  as  how  I'd  got  him  down  on 
the  Border.  In  disposition,  Mexico  reflected 
the  sunbaked  desert  an'  wide,  cactus  covered 
stretches  of  his  native  country.  There  just 
wasn't  any  trick  of  cuttin'  up  that  he  didn't 
savvy  an'  savvy  pronto.  He  was  just  mis- 
chievous an'  hard  to  gentle — I  reckon  he  never 
was  gentled — I  know  I  couldn't  do  it.  Mexico 
had  a  lot  of  grit  an'  you  couldn't  wear  him 
out,  but  with  all  that  he  was  about  the  best 
an'  smartest  circlin'  pony  I  ever  owned.  In 
the  present  up-to-date  way  of  doin'  things, 
if  Mexico  was  over  on  my  ranch  on  the 
Hassayampa  range  in  Arizona,  the  cowboys  by 
unanamous  consent  would  call  him  Lupe  Velez. 

My  wanderin'  affections  at  about  this  period 


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^■-'    Wi     i,. 

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125 


settled  on  a  mighty  good  lookin'  young  horse. 
I  took  him  in  notwithstandin'  the  fact  he  had 
been  traded  around  an  an-ful  lot,  which  as 
everyone  knows,  don't  sound  none  too 'good 
for  no  horse.  Just  as  I  was  fond  of  Mexico, 
I  was  fond  of  this  horse.  His  name  :\hen  I  got 
him  was  Buster.  With  him  around,  about  the 
only  thing  sate  on  the  ranch  was  what  was 
locked  up  in  the  office  safe.  There  wasn't 
a  corral  gate  latch  that  he  couldn't  manage  to 
get  open.  There  wasn't  a  grain  bin  in  the  barn 
that  he  couldn't  pry  into.  Buster  always 
found  some  way  to  bust  a  bottom  board  off'n 
the  corn  crib  an'  help  himself.  He  would  eat 
up  all  his  own  feed  an'  then  drive  the  rest 
of  the  horses  away  just  to  get  their  alfalfa, 
which  he  didn't  want.  He  overlooked  nothin' 
an'  kept  all  the  cowhands  a  guessin'.  Buster 
was  especially  good  to  look  at,  bein'  one  of 
them  slim  kind,  built  for  a  long  race  with  lots 
of  endurance. 

Today,  if  I  had  the  re-namin'  of  him,  I'd 
make  it  Peggy  Joyce. 

■DUSTER,  Red  Ears  an'  Mexico  sort  of  tired 
^  me  of  wild,  tricky  horses,  so  I  decided  to 
trade  for  a  gentle  one  an'  my  affections  this  time 
centered  on  what  was  one  of  the  most  beauti- 
ful young  ponies  I  had  e\'er  seen.  He  had  big 
trustin'  eyes,  sweet  manners  an'  was  always 
gentle — he  seemed  to  have  quite  a  bit  of  the 
same  strain  that  made  little  Sweetheart  so 
wonderful.  I  sure  was  terrible  fond  of  that 
little  pony.  No  matter  how  hard  we  used  him 
about  round-up  time  or  on  the  long,  trail 
herd  drives,  this  pony  remained,  kind,  gentle 
an'  loveable  like.  I  named  him  The  Dove,  as 
he  was  more  like  the  grey-coated,  soft- 
callin'  turtle  doves  we  used  to  hear  in  the 
Cottonwoods  than  anything  else.  Today,  if 
the  namin'  of  him  come  up  again,  I'd  just  put 
Billie  in  front  of  it  an'  call  it  a  good  job. 

As,  I  was  leavin'  Texas,  I  got  me  another 
horse  an'  for  a  time  I  thought  a  heap  of  him. 
He  had  one  peculiar  trait — he  couldn't  be  loose- 
herded — you  couldn't  ever  find  him.  He  just 
kept  movin'  around.  He  was  never  satisfied 
with  the  range  he  was  a  feedin'  on.  He  al- 
ways found  a  way  to  either  get  over  or  under 
the  line  fence  an'  wander  away  to  new  feedin' 
grounds.  He'd  leave  good,  fine,  range  grass 
to  get  over  on  pasture  that  sheep  had  been 
grazin'  over,  an'  where,  as  any  cattleman 
knows,  a  horse  ain't  got  the  slightest  chance 
to  live.  From  there,  you'd  think  reason  or 
good  sense  would  coax  him  back  to  the  home 
corral,  but  it  wouldn't.  Lookin'  for  stray 
horses  you  always  hunt  around  the  long,  grass 
ranges  on  the  south  side  of  the  hills,  but  this 
was  no  help  or  guide  in  locatin'  the  missin' 
Wanderer — that  a  bein'  the  name  I  gave  him — 
when  he  was  strayin'  around,  which  was  most 
of  the  time. 

But  if  I  had  to  do  it  over  again,  I'm  pretty 
sure  that  particular  horse  would  be  called 
Gloria  Swanson. 

"DY  this  time,  as  you  may  have  guessed,  I  al- 
•'-'  ways  liked  the  unusual  horse — the  more  un- 
usual, the  more  I  was  fond  of  'em.  I  had  one 
for  a  little  while  in  Oklahoma — a  Pinto — he'd 
start  out  in  the  mornin'  with  his  head  up  an' 
a  cattleman  a  passin'  along  would  'a'  said, 
"there  goes  a  mighty  good  cowpony,"  judgin' 
from  his  mornin'  style,  but  the  best  thing 
High-Tide,  as  I  called  him,  could  do  was  to 
run  around  in  circles.  Almost  at  any  time,  an 
hour  or  more  after  sun-up,  you  could  expect 
High-Tide  to  tire  an'  quit.  If  he  lasted  through 
the  day  through  easy  ridin',  he'd  generally 
quit  when  you  was  along  way  from  the  ranch 
an'  at  an  hour  when  you  knew  that  dinner 
was  waitin'  in  the  cookhouse.  High-Tide  sure 
wasn't  a  long  distance  horse  an'  instead  of 
bein'  called  High-Tide,  we  should  'a'  named 
him  Pola. 

One  of  the  nicest  young  horses  I  ever  had 
an'  one  I  was  mighty  sorry  I  couldn't  keep,  was 
a  good  lookin'  brown  chestnut  I  traded  for 
in  Missouri.  He  was  one  of  the  most  depend- 
able ponies  I  ever  knew,  always  gentle  an' 
willin' — one  that  would  stay  hitched — throw 


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the  bridle  reins  over  his  head  an'  come  back 
in  six  hours  an'  he'd  be  waitin'.  He  was  one 
of  those  sweet  dispositioned  ponies  that  no 
man  would  ever  have  the  heart  to  put  a  whip 
or  spur  to — always  rehable  an'  dependable. 
Usually  horses  of  this  kind  ain't  smart,  but 
this  one  was  smart  as  a  whip  lash.  I  called 
him  Sister— he  seemed  like  that.  Now  as  I'm 
writin'  this,  an'  stop  an'  close  my  eyes  an' 
remember  Sister,  I  can't  help  but  thinkin'  of 
Dorothy  Dwan — mebbe  that  would  have  been 
a  better  name. 

(~\NE  of  the  cutest  horses  I  ever  had  an'  one 
'^that  took  quite  a  place  in  my  swervin'  affec- 
tions was  a  dark  brown,  peart  lookin'  colt  that 
I  called  Alabam — the  feller  I  got  him  from 
said  he  had  been  shipped  up  from  that  state 
with  a  lot  of  other  horses.  Alabam  was  sure 
an  engagin'  young  colt.  He  was  sly — not 
mean  or  incUned  to  run  away  or  be  tricky, 
although  Uke  any  high-spirited  colt,  he  would 
buck  now  an'  then,  just  to  be  entertainin'. 
yVlabam  would  eat  carrots  out  of  your  hand  an' 
then,  hke  a  streak  of  greased  lightnin',turnan' 
let  both  heels  fly  at  you.  He  was  careful 
never  to  hit  you — just  wanted  to  be  funny — 
but  Alabam  always  kept  you  guessin'  for  fear 
that  unintenrional,  one  day  he'd  misjudge  the 
distance  an'  then  it  would  be  too  bad  for  all 
concerned  except  the  arnica  bottle  an'  court 
plaster  roll. 

I  always  thought  Alabam  was  a  real  cute 
name  for  the  colt  until  in  later  years,  Dorothy 
Sebastian  worked  for  me  in  a  picture  an'  then 
I  knew  I  could  'a'  picked  a  better  one. 

Once  again,  I  got  back  in  Oklahoma  an' 
that  meant  a  new  horse.  I  reckon  I  put  my 
affections  on  this  one,  because  I  couldn't 
understand  him — no  one  could,  so  it  seemed 
— no  one  ever  had.  You've  seen  folks  who 
would  just  sit  an'  day-dream — all  same  this 
Oklahoma  horse. 

He  was  something  of  a  thoroughbred,  like 
Beauty,  but  he  would  put  his  head  over  the 
corral  fence  an'  day-dream. 
_  For  a  while  I  thought  mebbe  he  was  home- 
sick— horses  get  thataway  once  in  awhile,  just 
Hke  us  folks.  I  thought  it  might  be  that 
whoever  he  was  a  pinin'  for  might  Uve  in  that 
direction,  but  I  soon  found  that  direction  had 
notliin'  to  do  with  it,  for  he'd  stand  an'  look 
north,  east,  south  or  west,  whichever  was  the 
handiest,  an'  there  he'd  think.  I  used  to 
wonder  what  he  was  a  thinkin'  about.  Any- 
way, this  horse  would  gaze  away  over  the 
footluUs  an'  forget  to  eat — he'd  stop  an'  day- 
dream. 

I  named  him  "The  Dreamer"  an'  it  seemed 
to  fit  pretty  well  untU  I  met  Mary  Nolan, 
which,  all  things  considered,  might  have  been 
a  better  name. 

T  OOKIN'  back  now,  I  remember  another  in- 
-'-'cidert  of  heavy  affection  on  my  part  for  one 
of  the  nicest  horses  I  ever  had.  I  got  him  from 
the  Bar  "Y"  in  Oklahoma.  There  wasn't 
anything  particularly  different  in  this  horse 
except  a  sunny  disposition  an'  the  fact  he  was 
more  dependable  than  most  of  'em.  No  matter 
the  weather — whether  snow-swept  prairies  or 
velvet-green  pasture  land,  he  was  always  the 
same — a  joy  to  have,  so  that's  what  I  called 
him — Joy.  I  still  think  it  was  a  good  name, 
although  today,  I  might  considered  a  callin' 
him  Leatrice. 

I  once  put  a  lot  of  affection  in  a  young  horse 
I  traded  for  in  Colorado.  I  never  saw  such  a 
friendly  animal — alwaysdnterested  in  you  and 
what  you  were  a  doin'. 

I  an'  the  rest  of  the  boys  around  the  ranch 
called  him  Quaker,  because  he  was  such  a 
Friend. 

Today,  if  I  owned  Quaker,  I'd  give  him  to 
Molly  O'Day,  believin' they  would  fully  under- 
stand one  another. 

Once,  down  in  New  Mexico,  I  had  a  young 
colt  that  I  thought  a  heap  of.  Not  only  was  he 
good  lookin',  smart  an'  attractive,  but  he  had 
a  lot  of  natural  thoroughbred  in  him.  But 
try  as  I  may,  somehow,  I  could  never  get  this 
colt  broke.    In  the  morning  when  I'd  start  out 

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Photoplay  Magazine — Advertising  Section 


127 


to  ride  range  or  look  for  stray  stock,  I'd  have  a 
tough  time  a  gettin'  a  saddle  on  him.  Then 
he'd  start  to  buck.  On  the  days  that  he 
throwed  me,  I'd  take  a  nail  an'  make  a  mark 
on  one  of  the  boards  of  the  corral  fence.  The 
next  day  if  I  managed  to  stick  an'  didn't  get 
throwed,  I'd  put  a  mark  for  myself  on  the 
other  side  of  the  board.  For  quite  a  few  years 
we  stuck  together  and  the  throwin'  an' 
markin'  up  credits  went  on.  Finally,  one  day 
I  counted  up  the  marks  an'  they  was  even  on 
both  sides  of  the  board.  I'd  been  able  to  stick 
as  many  times  as  I'd  been  throwed — it  was  an 
even  break — so  me  an'  this  good  lookin'  pony 
shook  hands  an'  called  it  a  day.  Because  of 
this  constant  changin',  I  had  two  or  three 
names  for  this  horse.  Mebbe  one  of  'em  was 
Victoria. 

13  UT  headin'  now  for  the  end  of  this  essay  on 
•'-'lovin',  at  the  present  time,  my  affections  is 
pretty  well  fi.ved  an'  standardized  an'  I  don't 
waver  around  so  much.  Just  now,  while  I 
can't  call  it  love,  I  may  say  that  I  got  a  lot  of 
interestin'  admiration  for  an  animal  over  on 
my  ranch  at  Mixville  named  Virgil — he's  a 
classic.  Virgil  is  a  mule.  All  mules  is  obsti- 
nate as  everyone  knows,  but  the  rest  of  the 
family  learned  it  from  Virgil.  If  you  want  to 
go  north,  Virgil  heads  south,  an'  the  cowboy 
don't  live  that  can  change  his  mind  or  di- 
rection. 

I'd  hate  to  say  that  at  times  \'irgil  reminds 


me  of  Red  Ears,  Mexico,  Buster,  .Alabam,  the 
Wanderer  or  mebbe  the  horse  ^vith  the  four 
names. 

It  wouldn't  be  nice  to  announce  here  an' 
now  (hat  I  think  there  is  mule  strain  in  any 
of  the  animals  mentioned,  but  when  I  re- 
member some  of  the  things  I've  seen  'em 
do,  I  sure  get  to  thinkin'. 

"DUT  footin'  it  all  up,  in  my  present  day  life, 
■•-'there  is  one  great  love — Tony.  Tony  has  a 
lot  of  tricks  that  mebbe  ain't  so  good,  but  he's 
got  more  keen  savvy,  more  fme  principles, 
more  rough  affection,  more  gentle  considera- 
tion, more  dependable  companionship,  first, 
last  an'  always  than  any  other  thing — man  or 
beast — that  I've  ever  known. 

As  life's  shadows  grow  longer  an'  lengthen 
toward  the  east  the  closer  me  an'  him  seem 
to  be. 

Tony's  is  one  of  those  affections  that'll  end 
only  when  either  him  or  me  crosses  the  pass 
into  the  purple  valley  beyond,  where  the  pas- 
tures are  always  green,  the  streams  always 
blue  an'  the  shade  always  soft  an' cool — that's 
the  valley  from  which  no  one — man  or  beast — 
ever  returns — then  an'  then  only,  will  the  love 
between  Tony  an'  me  cease  to  be  a  livin'  joy. 

I  RECKON,  Jimmy,  if  you  feel  so  disposed, 
you  can  head  this  chapter  "The  Loves  of 
Tom  MLx,"  an'  sign  Tony's  an'  my  name  to  it. 

TOM. 


What  the  march  of  civilization  has  done  for  the  chorus  girl.  On  the 
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28 


Photoplay  Magazine — Advertising  Section 


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The  Broad  A  Baby 

[  CONTINUED  FROM  PAGE  45  ] 

pair  held  something  very  much  like  adoration. 
.She  liked  that,  also.  Furthermore,  the  young 
man  had  none  of  the  Hollywood  veneer  of 
sophistication;  instead  of  looking  bored,  he 
seemecl  brisk  and  eager.  But  who  was  he? 
She  smiled  \vith  just  the  proper  shade  of  en- 
couragement, and  started  to  reply,  but  the 
brayins  tones  of  Mr.  Zoop  discouraged  any 
such  effort. 

The  belligerent  Abie,  listing  slightly  to  port 
as  a  result  of  having  taken  aboard  some  of 
Scotland's  favorite  perfume,  was  flourishing 
his  arms  with  perspiring  zeal. 

"It  ain't  that  I  don't  wish  you  boys  good 
luck,"  be  shouted,  "nor  that  I  think  you're  a 
lot  of  bums.  But  what  I  want  to  know  is  this: 
Since  when  has  youth  and  beauty  got  to  fold 
up  and  check  out  on  account  of  a  voice?" 

MINGLED  jeers  and  cheers  answered  him. 
"Listen,"  howled  Mr.  Zoop,  becoming 
purple,  "we  ain't  got  no  records  as  to  whether 
Cleopatra  dropped  her  Gs,  but  from  her  pic- 
tures we  can  tell  that  that  baby  had  visible 
means  of  support.  Madame  Du  Barry's  boy 
friends  tore  off  passionate  poems  to  her  eyes, 
but  does  history  say  whether  she  was  alto  or 
soprano?  I'm  askink  you.  And  give  a  look  at 
al!  them  paintings  about  Lorelei  luring  the 
sailors.  Not  that  it's  so  much  of  a  trick,  but 
believe  me,  boys,  when  she  sobbed  them  siren 
songs  she  took  good  care  th?t  eighty  per  cent 
of  her  was  out  of  the  water. ' ' 

Several  guests  registered  agreement  with 
these  sentiments,  but  the  si.x  Blotts  brothers 
grinned  amiably  at  one  another. 

"You  been  creeping  around  the  Public 
Library,  ha?"  inquired  Joe,  the  eldest. 

"Not  me,"  gasped  Mr.  Zoop,  flopping  into 
his  chair.  "The  dope  I  got  from  my  Milton,  a 
smart    boy." 

"Well,  it  runs  for  Sweeney,"  said  Mr. 
Blotts  rudely.  "It's  a  great  age  we're  Uving 
in,  Abie,  and  you  should  get  wised  up  on  the 
facts  of  life.    Now,  I'll  ask — " 

The  strange  young  man  stirred  uneasily,  and 
leaned  toward  Brenda.  "Suppose  we  slip 
away  to  a  corner?"  he  suggested,  and  as  she 
rose  impetuously,  he  followed  her  to  a  table 
partly  concealed  by  giant  ferns.  Once  there, 
the  steady  grey  eyes  began  to  watch  her 
hungrily;  then  he  flushed  with  embarrassment. 

"I  forgot  to  introduce  myself,"  he  apologized. 
"My  name  is  Garry  Devlin." 

"  'S  a  nice  name,"  murmured  Miss  Berkeley, 
studying  the  firm  sweep  of  his  jaw.  "How  did 
you  know  me?" 

Mr.  Devlin's  face  grew  radiant.  "Whenever 
your  pictures  played  Saint  Paul,  I'd  see  them 
several  times  a  week.  You — well,  you  helped 
me  a  lot  with  my  work." 

"Saint  Paul,"  echoed  the  star.  "Why, 
that's  funny,  Mr.  Devlin,  I  come  from 
Minneapolis." 

"Then  we're  practically  all  one  family." 

"Well,"  admitted  Miss  Berkeley  with  be- 
coming local  pride,  "it  makes  you  a  sort  of  poor 
relation,  anyhow."  By  this  time  she  had 
decided  that  he  was  too  ruggedly  good  looking 
to  be  an  actor.  "Who  are  you  signed  with?" 
she  fished. 

OH,  I  came  out  here  for  Blotts,"  said  the 
young  man,  dismissing  Joe  with  a  wave 
of  his  hand,  "but  principally  to  see  you.  Do 
you  know  that  your  mouth  is  Uke  an  azalea 
bud?" 

Brcnda's  lashes  lowered  to  suddenly  glowiiig 
cheeks.  Any  other  man  would  have  said 
something  about  rosebuds,  but  this  one  was 
different.  "You  sound  as  though  you  really 
meant  it,"  she  tinkled. 

"I  do,"  declared  the  ardent  Mr.  Devhn. 
"Everything  about  you  is  wonderful.  Your 
voice,  now — it  throbs  and  caresses,  and  that 


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Photoplay  Magazine — Advertising  Section 


129 


little  touch  of  huskiness  gives  it  such  an  at- 
tractive quality." 

"And  don't  you  think  it's  weak  and  fragile?" 

"Certainly  not,"  said  the  cavalier,  frowning 

at  a  waiter  to  sheer  off.     "It's  soft  and  low, 

yes,  but  as  much  a  part  of  you  as  those  iris 

blue  eyes.    You — " 

A  boisterous  hail  from  the  main  table  made 
him  turn  a  reluctant  head,  and  then,  in  answer 
to  the  profuse  beckoning  of  all  the  Blotts 
brothers,  he  escorted  Brenda  back  to  their 
former  seats.  The  massive  Joe  draped  an  arm 
around  his  shoulders,  aad  addressed  the  diners. 

"  A  ND  this  is  the  guy  I  mentioned,"  he 
■'•■gloated.  "He  can  tell  you  anything  you 
want  to  know — Mr.  Garry  Devlin — perfector 
of  the  first  successful  talking  picture."  He 
paused  a  moment,  and  then  inserted  the  har- 
poon. "Owned  and  controlled  by  Blotts 
Brothers,  Incorporated,  and  the  rest  of  you 
fellows  will  have  to  make  out  with  a  punk 
imitation." 

As  Mr.  DevHn  commenced  his  speech,  Miss 
Berkeley  emerged  slowly  from  her  haze  of 
rapture  and  faced  the  cold  grey  dawn  of  fact. 
So  this  was  the  scoundrel  who  threatened  her 
career!  This  earnest  stranger  who  had  had  her 
heart  whirling  within  five  minutes — was  his 
invention  going  to  ease  her  into  the  subtitles 
called  "the  shadowy  corridor  of  oblivion"? 
Down  the  table  she  could  see  the  scrambled 
features  of  Mr.  Zoop,  as  he  scowled  like  a 
venomous  chipmunk,  Abie  was  sore,  and  so, 
Brenda  decided,  was  she. 

She  sat  stonily  until  a  splatter  of  lukewarm 
applause  heralded  the  close  of  Mr.  DevUn's 
remarks.  The  ne.xt  moment  he  was  leaning  over 
the  back  of  her  chair. 

"I'd  hke  to  take  you  home,"  he  admitted. 

Miss  Berkeley's  eyes  glazed  with  hauteur. 
"So  would  a  lot  of  others,  Mr.  Devlin." 

He  smiled  disarmingly.  "Of  course;  but  I 
was  wondering  if  you  wouldn't  give  the  favor 
to  a  newcomer.    And  the  name  is  Garry." 

Brenda,  trying  not  to  look  directly  at  him, 
thawed  in  spite  of  herself.  In  the  background 
hovered  several  rapacious  beauties,  each  dis- 
plajnng  the  fullest  intention  of  pouncing  on 
the  defenceless  Mr.  Devlin  if  he  were  set  free. 
She  drew  the  azalea  bud  into  a  provocative 
pout,  and  her  voice  was  hke  the  rustle  of  silk. 


"All  right,  Garry,  you  win."  Her  trium- 
phant gaze  swept  the  platoon  of  thwarted 
damsels.  "A  stranger  here  needs  someone  to 
look  after  him  unless  he's  old  enough  to  be  out 
of  season." 

Professor  Oscar  Pawle  reposed  with  dignity 
in  the  Berkeley  sun  parlor,  and  meditated  on 
the  inconsistencies  of  fortune.  He  was  a  lank, 
dismal  appearing  man  who  would  have  made 
an  excellent  model  for  a  statue  of  Bigotry,  and 
although  seemingly  an  undertaker's  under- 
study, in  reality  belonged  to  the  loose-lipped 
tribe  that  had  begun  to  clutter  up  the  film 
colony.  When  the  panic  started,  he  had  been 
engaged  in  harassing  a  group  of  youthful 
Poiacks  at  a  school  on  the  sooty  fringes  of 
Pittsburgh.  Then,  purchasing  a  Prince  Albert 
and  a  gates-ajar  collar  that  allowed  his  Adam's 
apple  to  gyrate  freely,  he  trickled  into  Holly- 
wood as  a  professor  of  tone  expression. 

The  estimable  professor,  along  \vith  many  of 
his  species,  including  clergymen,  social  climb- 
ers, ham  actors  and  congressmen  who  have 
made  a  free  trip  to  Europe,  labored  under  the 
delusion  that  all  language  should  be  neatly 
disguised  by  an  illegitimate  English  accent. 
He  recoiled  from  the  raucous  timbre  of  the  Ohio 
and  Wyoming  dialects,  while  the  Louisiana 
drawl  gave  him  goose  pimples. 

He  assembled  a  few  remarks  on  this  subject 
when  Brenda  made  a  timorous  entrance.  The 
first  three  lessons  had  taught  her  how  to  in- 
tone from  the  diaphragm,  and  also  had 
ec|uipped  her  with  a  highly  gilded  inferiority 
complex. 

".•\h,"  said  Professor  Pawle,  in  a  sepulchral 
voice,  "my  little  sunbeam!  Now  then,  Miss 
Berkeley,  I  want  to  hear  an  example  of  your 
chest  tones." 

The  sunbeam  proceeded  to  give  an  excellent 
imitation  of  wrestling  with  a  severe  case  of  the 
croup,  and  ended  by  gasping  hke  a  gaffed  tuna. 

" 'X  ^.\RVELOUS,"  said  the  professor,  who 
•^''•'•lied  easily.  "You  have  the  correct  idea 
regarding  volume,  but  now  we  come  to  the 
more  important  matter  of  accent.  Allow  me  to 
impress  upon  you  that  it  is  the  surest  sign  of 
culture." 

"Is  that  so?"  inquired  Brenda  peevishly. 
"Well,  I've  been  talking  for  over  twenty  years, 
and  nobody  ever  misunderstood  me." 


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Joan  Crawford,  that  feminine  masterpiece,  is  liere  shown  hitching 
a  ride  on  the  ten-ton  truck  that  is  needed  to  haul  her  fan  mail  to 
the  Metro-Goldwyn  studio  ever  since  PHOTOPLAY  published  her  life 
story  and   she   crashed   through   for   a   touchdown   in    "Dancing 

Daughters" 


The  professor  closed  his  eyes  to  denote 
martyrdom  and  then  spoke  in  his  richest 
Piccadilly.  "You  will  endeavor  to  repeat 
after  me  the  following  sentence:  Aw  tomaw- 
toeshawmful?" 

"Are  tomaytoes  harmful,"  prattled  Brenda. 

"Nothing  like  it,"  groaned  the  elocutionist. 
"You  must  lengthen  your  As  and  drop  your 
Rs  altogether." 

"Do  I  have  to  say  'potawtoes,'  too?"  asked 
the  star.     "It  sounds  foolish." 

"I  haven't  time  to  go  into  that  now.  Secondly, 
try  this:  Waitaw,  send  faw  my  caw." 

"Say.  listen,"  protested  Brenda,  "all  that 
fancy  stuff  is  no  use  to  me.  I  play  a  sweetheart 
of  the  lumber  camps  in  my  ne.xt  picture  and 
what  would  I  be  doing  with  a  car?" 

"I  didn't  come  here  to  discuss  the  social 
evil,"  said  Professor  Pawle,  commencing  to 
boil.  "Mr.  Zoop  desires  me  to  equip  you  for 
the  future,  so  pay  strict  attention  to  me.  Let 
me  hear  that  sentence,  please." 

Miss  Berkeley  flapped  her  tonsils  and  tried 
again;  then  quailed  before  the  expert's 
scornful  eye. 

"■X  X'Y  good  woman,"  he  said  icily,  "may  I 
■'■ ''■'-ask  where  you  come  from?" 

"Minneapolis.    What's  it  to  you?" 

"And  do  you  imagine  that  a  producer  would 
allow  a  Minnesota  accent  to  run  wild  through 
his  dramas?"  The  Professor  pronounced  it 
"drahmas,"  with  a  slight  neighing  effect. 

"Why  not?"  countered  Brenda.  "It's  as 
good  as  that  phoney  English  one  of  yours." 

"Rubbish,"  said  the  Professor.  "You'll  be 
a  lady,  or  choke.  Next :  Hawness  my  hawss, 
Tom  Mix,  and  also  my  hawt." 

"Hawness    my oh,    hell!"    screamed 

Brenda,  sprinkling  her  makeup  with  salty 
tears.  "If  I  catch  the  bird  who  started  this, 
I'll  have  him  taken  up  an  alley." 

Then  she  checked  herself,  realizing  that  she 
was  threatening  someone  who  had  become  as 
necessary  to  her  happiness  as  a  news  reel 
photographer  at  a  Hollywood  premriee.  Her 
face  crinkled  into  a  forlorn  smile  as  she  glanced 
at  Professor  Pawle.  "It's  just  my  tempera- 
ment," she  told  him,  as  he  gaped  at  the  sudden 
change,  "and  I'm  ready  to  obey  orders." 

By  the  end  of  a  month  Miss  Berkeley  had 


astounded  the  professor  by  her  adenoidal 
acrobatics.  Besides  being  able  to  imitate 
the  artificial  accents  of  the  so-called  best 
people,  she  could  keep  a  flock  of  polysyllables 
in  the  air  without  appearing  dubious  as  to 
their  meaning. 

Others  were  not  finding  it  so  easy,  and  some 
of  the  five  pointed  stars  began  to  wish  their 
educations  had  been  rounded  off  a  little  better. 
The  leaf-shadowed  drives  of  Beverly  Hills  re- 
sounded to  the  mellow  inflection  of  the  stressed 
consonant. 

During  one  of  Garry  DevHn's  nightly  visits, 
Brenda  kissed  him  with  the  pride  of  ownership, 
and  announced  in  her  painfullyacquired  tones, 
"W'e  start  making  'Passion  in  the  Pines' 
tomorrow,  darhng.  My  first  talker — isn't  it 
wonderful?" 

Garry  regarded  her  perplexedly.  "Of  course 
I'm  glad  to  hear  it,  but  you  don't  need  to  use 
that  twa-taw  voice  with  me.  I'm  afraid 
elocution's  breaking  out  on  you  like  the 
measles." 

Brenda  laughed  airly.  "I'm  beginning  to 
like  it,  and  I  guess  I  did  sound  rather  common 
before.  Why,  Professor  Pawle  says  my  voice 
is  as  clear  as  a  diamond." 

"It  is,"  admitted  Garry,  "but  a  diamond  is 
hard  and  cold,  too.  I  like  your  real  one  better, 
honey;  it's  like  an  opal — color  and  subdued 
fire.  Why  not  use  it  now  that  you  know  how 
to  get  volume?" 

"No,"  said  Brenda  obstinately,  "it  was 
quite  coarse,  really.    The  professor  said  so." 

Garry  laughed  shakily,  and  held  out  his 
arms.  "Well,  I  guess  a  fellow  can't  have  every- 
thing. But  speaking  of  diamonds,  won't  you 
let  me  get  the  ring  tomorrow?  I've  waited  long 
enough,  dear." 

Miss  Berkeley's  iris  eyes  blurred  a  trifle,  then 
she  nodded  happily  and  tried  to  think  of  the 
correct  cinema  procedure  in  such  cases.  Not 
being  able  to  remember,  she  simply  snuggled 
in  almost  plebian  inanner  and  forgot  to 
wonder  if  her  profile  would  register  like  a  cameo. 

THREE  months  later  Abie  Zoop  slouched 
in  his  chair  and  blinked  unhappily  at  a 
young  snowstorm  of  mail  and  telegrams  that 
littered  his  desk.  His  pudgy  features  contorted 
themselves   into    the    near-Napoleonic   scowl 


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IS  he  shifted  his  gaze  to  the  gHstening  figure 
of  Brenda  Berkeley  that  was  framed  in  the 
doorway. 

"What's  the  trouble,  Abie?"  she  inquired 
throatily. 

"  You  should  ask'"  gulped  Mr.  Zoop,  turning 
the  color  of  pale  ale.  "Me  and  you  is  going 
to  talk  business,  baby,  and  I  want  that  you 
shouldn't  have  histories  nor  nothink  when  you 
hear  the  lowdown." 

Brenda  arched  a  well  tweezed  eyebrow. 
"Is  that  the  way  to  talk  to  a  lady?" 

"Oi!"  moaned  Mr.  Zoop,  giving  vent  to  his 
favorite  diphthong.  "Talk  is  what  it's  all 
about.  Listen,  Brenda,  ten  days  ago  we  re- 
leased 'Passion  in  the  Pines'  to  our  Eastern 
exhibitors." 

"Good  for  you,"  said  the  star,  brightening. 
"When  is  the  West  Coast  showing?  I'll 
wear — " 

"Don't  be  so  anxious,"  cautioned  Abie. 
"When  the  picture  was  finished,  I'll  admit  I 
thought  it  was  the  goods.  Oi,  has  Brenda  the 
classy  voice,  I  tells  myself.  But  it's  the  re- 
reaction  of  the  public  what  counts,  baby,  and 
the  public—  your  pubUc — " 

The  blase  Miss  Berkeley  changed  suddenly 
into  the  likeness  of  a  frightened  little  girl. 
"  Why,  .'Vbie,"  she  quavered,  "what — ?" 

"On  the  desk,"  said  Mr.  Zoop,  waving  an 
aimless  palm.  "Just  give  a  look  at  any  of 
them  squawks." 

TQREXDA  scurried  across  the  room,  and 
-'-'piLked  out  a  few  sheets  at  random.  The 
first  was  a  telegram. 

STUPEFACTION  PICTURES 

CULVER  CITY,  CALIFORNIA. 

WILL  REFUSE  ANY  FURTHER  BERK 
ELEY  PICTURES  IF  SHE  TRIES  TO  GO 
RITZY  WITH  HOiSIESPUN  CHARAC- 
TERS. AUDIENCE  DIDN'T  KNOW 
WHETHER  TO  LAUGH  OR  YAWN  AT 
YOUR  SOCALLED  DRAIMA.  RECEIPTS 
DOWN  AFTER  FIRST  DAY. 

MAMMOTH  THEATRE  NEW  YORK. 

Brenda  flushed  indignantly  and  inspected  a 
typed  communication  on  expensive  paper 
headed  by  a  crest. 

"My  dear  Miss  Berkeley: — 

"We  regret  to  inform  you  that  you  no  longer 
hold  the  position  of  our  favorite  screen  actress, 
as  Dora  Delura  was  voted  your  successor  at 
yesterday's  meeting.  The  principal  reason 
for  this  change  is,  that  after  hearmg  Passion 
in  the  Pines,  most  of  our  members  feel  that 
your  diction  is  not  commensurate  with  the 
perhaps  too  roseate  conception  they  enter- 
tained of  your  personality. 
"CLASS  OF  1932  —  MASS.  EMB.\LMERS 
COLLEGE" 

"College  boys!"  sniffed  the  star.  "Whoever 
heard  of  them  sticking  to  anyone  for  more  than 
a  week?"  She  turned  to  a  letter  written  in 
pencil  on  cheap,  lined  paper. 

"Dear  Miss  Berkeley: — 

"As  one  of  your  earnest  admirers,  I  am  writ- 
ing to  tell  you  how  heart-broken  I  am  after 
liearing  your  voice.  It  does  not  seem  possible 
tliat  the  lovable  child  whose  image  I  have 
ihcrished  should  be  so  artificial.  Don't  you 
think  you  could  change? 

"Your  friend,  ELIZABETH  BROWN" 

Brenda's  face  grew  solemn.  This  woman, 
she  knew,  spoke  for  hundreds  of  her  kind. 
Then  the  unreasoning  an.ger  of  those  who  know 
themselves  to  be  wrong  took  possession  of  her, 
and  her  mouth  twisted  ominously. 

"That  one's  bad  enough,"  said  Mr.  Zoop, 
leaning  over  her  shoulder,  "but  that  clippink  is 
what  sinks  you.  It's  by  one  of  them  smart  aleck 
New  York  crickets,  not  that  they  can  make  or 
break  a  picture,  if  you  get  me;  but  when  they 
start  snearink,  Brenda,  it's  time  for  the  red 
light." 

XyfISS  BERKELEY  gazed  mistily  at  the 
•^'-'■half  column  of  metropolitan  criticism, 
wincing  from  the  uppercuts  contained  in  cer- 
tain sentences. 

"Brenda  Berkeley,  hitherto  the  most  sac- 
charine portrayer  of  Our  Nell,  and  who  has 


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Photoplay  Magazine — Advertising  Section 


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baltled  successfully  with  every  lustful  heavy 
in  the  tilms,  is  now  equipped  with  the  addi- 
tional armor  of  the  broad  A.  .  .  .  In  the  iran- 
ncr  of  Eliza  crossing  the  ice,  she  flitted  blithely 
from  one  broad  A  to  another,  although  at 
times  a  bit  fearful  of  splashing  into  the  murky 
waters  of  her  natural  accent,  if  any  .  .  . 
the  audience  roaredwhenMissBerkeley,playing 
the  daughter  of  an  Oregon  woodsman,  turned 
loose  a  line  of  talk  that  would  have  impressed 
a  sentry  at  Buckingham  Talace  ...  so  don't 
fail  to  hear  that  comic  tear  jerker,  that 
anachronistic  heroine,  the  Broad  A  Baby!" 

"That  last  crack,"  lamented  Mr.  Zoop, 
"is  what  you  call  a  slogan,  and  he's  hung  it  on 
you.  Hey,  where  you  goink?  Sit  down, 
Brenda,  we  got  to  talk ." 

"Let  goof  me,  Abie,"  said  the  star.  "I'll  be 
back,  but  first  I'm  going  to  breeze  over  to 
Blotts  Brothers,  and  see  the  fellow  who  thinks 
he's  my  fiance."  She  did  a  httle  deft  retouch- 
ing and  walked  purposefully  to  the  door,  while 
Mr.  Zoop  appraised  the  stitching  on  her  sports 
skirt. 

IF  there  should  be  a  fight,"  he  yelled  after 
her,  "maybe  you  could  sock  him  one  for  me, 
hey?" 

Brenda  drove  rapidly  to  the  Blotts  strong- 
lii^ld  three  miles  away  on  Sunset  Boulevard, 
slammed  her  way  through  various  outer  rooms 
and  proceeded  to  swamp  the  astounded  Mr. 
Devlin  with  a  flood  of  blistering  comment. 

"And  not  only  did  the  picture  flop,  but  they 
made  fun  of  me,"  she  ended.  "Ridicule  does 
a  girl  more  harm  than  all  the  knocks  in  the 
world.  Imagine  calling  me  the  Broad  A 
Baby!  It'U  be  on  everybody's  tongue  in  no 
time." 

Garry  tried  to  hide  a  smile.  "Isn't  it  rather 
deserN'ed,  honey?  Why,  you're  using  your  own 
\oice  right  now,  and  it  sounds  so  much  nicer. 
I—" 

Brenda's  Killarney  eyes  glinted  blue  fire  and 
her  fingers  curled  into  a  fist  that  was  more 
Burke  than  Berkeley. 

"If  you  say  'I  told  you  so,'  "  she  warned, 
"I'll  slap  your  face." 

"I  wasn't  going  to  say  that,"  said  Garry 
gently.  "  What  I  had  in  mind  was  that  if  you'd 
marry  me  right  away,  you  wouldn't  have  to 
bother  about  the  public  any  longer.'" 

"You!"  cried  Brenda  wildly.  "You  and 
your  machine  are  the  reason  for  all  this  grief. 
You're  ruining  my  career  and  hundreds  of 
others. 

"Do  you  think  I'd  marry  you  now?"  She 
tugged  frantically  at  her  engagement  ring, 
then  it  clinked  musically  on  the  desk.  "That's 
what  I  think  of  you!" 

For  a  second  Garry's  face  wore  a  look  of 
anguish,  then  it  hardened  into  a  mask  of  pride. 
"I'm  sorry,"  he  said  briefly,  and  suddenly 
became  interested  in  the  view  from  his  window. 

The  seething  Bliss  Berkeley  returned  to  the 
Stupefaction  lot  to  find  two  worried  gentlemen 
engaged  in  a  huddle  with  Mr.  Zoop.  Both  of 
them  nodded  carelessly,  the  loutish,  cynical 
director  and  the  dapper  press  agent  who  looked 
as  though  he  could  do  with  a  little  more  sleep. 
Abie  suspended  operations  long  enough  to  grin 
reassuringly. 

"You're  through  with  them  poor-but-honest 
roles,"  he  advised. 

"  You  mean  that  I'm  all  washed  up?" 

"A  fat  chance,"  Abie  beamed  elatedly  at  his 
helpers.  "We're  sending  out  publicity  that 
says  'Passion  in  the  Pines'  was  your  kidding 
farewell  to  your  old  parts,  and  that  now,  be- 
cause of  your  natural,  swell,  high  class  accent, 
you'll  be  seen  in  nothink  but  society  dramas. 
So  dry  them  tears,  Brenda." 

The  Broad  A  Baby  blinked  her  lashes  very 
fast  and  managed  a  wry  little  smile.  "What 
tears?  Well,  anyway,  Abie,  why  would  I  be 
crying  if  it  wasn't  for  joy?" 

AS  "Perils  of  the  Plaza"  unfolded,  it  became 
apparent  that  it  was  merely  the  same  old 
Berkeley  yarn,  but  in  evening  dress  with  its 
ears  pinned  back.  Spurred  by  daily  vocal 
exertions  with  the  Professor,  Brenda  shpped 


easily  through  the  opus,  cheered  by  the  inner 
glow  of  one  who  knows  she  is  playing  a  part 
to  the  hilt.  The  derisive  nickname  clung  to 
her,  but  not  in  the  way  Mr.  Zoop  had  feared. 
The  Broad  A  Baby  had  triumphed  in  the  very 
shadow  of  defeat,  and  everyone  spoke  of  her 
en\iously,  admiringly. 

E\'eryone,  that  is,  except  the  invisible  Mr. 
Devlin.  Brenda,  whose  anger  had  speedily 
faded  into  aching  loneUness,  drove  her  roadster 
with  casual  deliberation  around  and  around 
the  Blotts  encampment.  She  maneuvered 
stealthily  in  the  vicinity  of  Garry's  bungalow 
on  Canyon  Drive,  but  with  no  more  success 
than  the  police  in  a  detective  story. 

And  during  working  hours  she  was  supposed 
to  be  romantic! 

The  irony  of  it  was  uppermost  in  her  mind  as 
she  hstened  to  the  director  outline  the  closing 
scene  of  the  picture. 

"Well,  Brenda,"  said  that  gentleman,  "it's 
the  usual  slop.  After  the  millionaire  exits,  you 
walk  to  the  window  and  part  'the  curtains. 
Carlos  comes  up  behind  you,  but  you  don't 
hear  him.  He  touches  your  shoulder  and  says, 
'Gwendolyn.'  That's  all — just  Gwendolyn." 
He  turned  to  the  leading  man.  "Carlos,  let 
me  have  that  baritone  tremble  when  you  say  it. 
Then,  Brenda,  you  turn  swiftly,  give  a  cry  of 
surprise  and  here's  the  gab  to  go  with  it." 
He  read  a  sentence  or  two,  which  Miss  Berk- 
eley repeated  carefully.  "And  when  you  clinch, 
I  want  that  profile  against  his  dark  coat.  All 
set?" 

npHE  actors  nodded,  and  moved  to  their  ap- 
■'-  pointed  stations.  The  director  distributed  a 
few  warning  glances  at  the  felt-shod  electri- 
cians and  technical  men,  then  picked  up  a 
telephone  connected  with  the  recording  ex- 
pert. 

The  camera  man,  c'ad  in  a  singlet  and  run- 
ning pants,  entered  his  suffocating,  sound-proof 
booth  and  a  little  group  of  players  seated 
themselves  well  out  of  camera  range.  The 
director  spoke  tensely  into  the  mouthpiece. 
"Interlock!"  he  ordered,  and  an  eerie  stillness 
settled  over  the  set. 

The  trim,  clipped  accents  of  the  actors  cut 
smartly  through  the  blanket  of  quiet,  as  the 
scene  proceeded.  The  downcast  millionaire 
disappeared  from  the  room,  and  Brenda  walked 
slowly  to  the  window.  Carlos  made  his  en- 
trance and  stole  up  behind  her,  until  his  hand 
rested  on  her  shoulder.  Miss  Berkeley, 
counterfeiting  emotion,  wheeled  suddenly,  un- 
loosing the  cry  of  glad  surprise  as  per  in- 
structions. 

It  ended  in  a  litde  gasp  of  ecstasy.  As  she 
swung  around,  Brenda's  eyes  took  in  a  kaleido- 
scopic glimpse  of  the  complete  stage,  and  they 
were  riveted  now  on  a  tall  figure  that  had 
risen  silently  from  behind  the  cluster  of  idle 
character  people.  Garry  Devlin,  a  bit  thinner, 
but  with  grey  eyes  that  yearned  toward  her 
in  the  way  she  knew  so  well. 

TOO  good  a  trouper  to  wreck  a  scene,  Brenda, 
holding  fast  to  her  leading  man,  looked  be- 
yond him  to  Garry's  outstretched  arms  and 
spoke  her  lines  tremblingly. 

Forgetting  to  act,  her  real  voice  throbbed 
through  the  warm  air  like  a  muted  violin, 
caressing,  alluring,  woven  through  with  a 
dehcious  huskiness;  giving  life  and  color  to  the 
stilted  words. 

"It's  you  at  last!"  she  crooned.  "Oh,  my 
dearest,  never  leave  me  again;  life  is  so  empty 
without  you.    And  I  love  you  so!" 

"Carlos,  old  kid,"  remarked  the  director, 
as  he  made  ready  to  leave,  "you've  been 
in  the  business  a  good  whUe,  but  it's  never  too 
late  to  get  a  pointer." 

"You  know  me,"  said  die  leading  man 
interestedly.  "  Always  ready  to  learn.  What's 
the  tip  this  time?" 

The  director  studied  his  watch.  "It's  an 
hour  since  we  quit,"  he  said  reflectively,  "but 
that  isn't  long  to  some  people.  Oh,  the  lip? 
Just  sneak  out  on  the  set  and  take  another 
look  at  the  fellow  who's  kissing  the  Broad  A 
Baby." 


Every  adTertlsement  in  PHOTOPLAY  MAGAZINE  la  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Don't  Envy  the  Stars 


I  CONTINUED  FROM  PAGE  92  1 


A  change  comes  over  them  all  when  they 
become  stars.  The  criticism  they  undergo 
makes  them  lead  strained,  unnatural  Hves. 
Their  every  gesture  is  cause  for  comment. 
Everyone  waits  with  bated  breath  for  that 
moment  when  they  can  be  accused  of  wearing 
a  tall  Kelly.  The  conscientious  ones,  poor 
dears,  struggle  to  keep  up  a  genial  air.  They 
may  not  thumb  their  noses  at  the  pubHc. 
They  are  in  the  same  position  as  the  sales 
woman  who  confides  that  "that  hat  looks  so 
chick  on  you,  dearie"  when  she  knows  you 
look  a  fright. 

FLORENCE  VIDOR  will  give  out  no  inter- 
views about  her  romance,  nor  her  marriage 
with  Jascha  Heifetz.  Eleanor  Boardman  will 
not  be  photographed  \vith,  nor  speak  about  her 
baby  for  publication.  Both  of  these  stars 
claim  that  they  have  a  right  to  a  personal  life. 


Yet  have  they?  One  unalterable  fact  remains: 
they  knew  what  they  were  getting  into  when 
they  entered  pictures. 

So  don't  envy  the  stars.  Most  of  them  have 
their  troubles.  Even  Billy  Haines  has  suffered 
a  change.  He  isn't  the  gay,  wise-cracking  kid 
he  used  to  be.  They  all  start  out  fresh  and 
agog  and  glowing.  They  end  up  as  public 
servants  with  the  simple  pleasures  denied 
them. 

They  cannot  sup,  nor  shop,  nor  stroll,  with- 
out being  surrounded  by  fans. 

They  strive  so  hard  to  be  good  fellows,  to 
please  everybody,  yet  even  if  they  succeed  in 
impressing  the  pubhc  with  their  genial  man- 
ners, they  are  doubly  harassed,  called  upon 
for  everything.  They  may  not  be  natural; 
they  must  simply  be  stars.  And  as  stars, 
they  are,  for  the  most  part,  miserable  and 
discontented. 


Questions  and  Answers 


!  CONTlNtlED  FROM  PAGE  S7 


M.  A.  T.,  Chicago,  III. — It's  a  fascinating 
and  romantic  story,  but  I  'm  afraid  your  friend 
is  not  the  long-lost  mother  of  Vilma  Banky. 
Vilma  has  a  father  and  mother  in  Budapest  and 
she  was  born  Jan.  9,  1903,  not  Oct.  24.  Also 
she  was  born  in  Nagydorog,  near  Budapest, 
not  in  Presburg.  And  she  was  too  young  to 
have  served  as  a  nurse  during  the  World  War. 
I  am  sorry  to  disappoint  your  friend,  who  is 
evidently  sincere,  but  I  am  afraid  she  has  made 
a  mistake.  Why  doesn't  she  take  up  the  case 
with  the  Hungarian  consul  in  your  city? 

H.  B.,  Dayton,  O. — So  here's  an  answer  to 
that  strange  rumor  about  Davey  Lee's  death! 
With  your  permission,  I'll  print  part  of  your 
letter  just  to  enlighten  other  "fans"  who  asked 
about  Sonny  Boy.  "Some  one  told  me  that 
it  was  announced  over  the  radio  that  his 
(Davy  Lee's)  parents  had  requested  that 
'Sonny  Boy'  should  not  be  sung  any  more 
because  the  httle  boy  had  died."  Now  will 
some  correspondent  tell  the  Answer  Man  what 


announcer  made  such  a  statement  and  what 
radio  station  broadcast  such  a  false  report? 
And  will  some  one  also  please  tell  the  Answer 
Man  how  the  rumor  started  that  Clara  Bow- 
had  died  of  the  flu? 

Movie  Bill,  Enclewood,  N.  J.— -Yes, 
you're  right.  Glenn  Tryon  played  in  two- 
reelers  for  Hal  Roach  before  he  became  a 
high-falutin'  comic  in  feature  length  pictures. 
Don't  know  what  lady  of  the  cinema  makes 
the  most  jack  per  w-eek.  I  don't  have  mer- 
cenary thoughts  when  I  am  looking  at  the 
bee-yew-tiful  girls. 

W.  B.,  Trenton,  N.  J. — Sorry  I  can't  guide 
you  to  a  job  in  the  movies.  Nor  can  I  tell  you 
authors  how  to  sell  scenarios.  Nor  can  I  give 
girls  ad\ice  on  how  to  become  actresses.  Have 
a  heart;  I'm  only  human. 

Constance  A.,  Brighton,  England. — It 
was  a  man,  not  an  ape,   in   "The   Leopard 


Richard  Arlen  takes  the  Tonsil  Test  at  home.    Dick  speaks  his  lines 

into  the  old  family  phonograph,  recording  them  on  a  wax  record. 

He  can  then  play  it  immediately,  and  hear  himself  say,  "Take  your 

hands  off  that  gal,  you  beast!" 

When  you  write  to  advertisers  please  mention  PHOTCPLAT   MAG.iZINB. 


}[av&YO\l  tried 
this  mirror  test? 

If  you  want  to  see  your  com- 
plexion at  its  best,  smooth  on 
a  bit  of  Black  and  White  Perox- 
ide (Vanishing)  Cream— then 
apply  your  face  powder— and 
look  into  your  mirror. 

As  if  by  magic  the  cream  van- 
ishes, leaving  a  dainty  film  of 
protection.  Your  face  powder, 
clinging  to  this  smooth  base, 
blends  with  your  complexion 
as  though  part  of  it.  Your  skin 
instantly  appears  smoother  and 
radiantly  fair. 

More  magical  still,  the  mir- 
ror test— hours  later— reveals 
the  same  appealing  loveliness; 
for  Black  and  White  Peroxide 
(Vanishing)  Cream  holds  face 
powder  on  for  hours  with  nat- 
ural beauty.  Your  dealer  has 
it,   or  will  get  it  for  you. 

HEW  VOaK.   MEMPHiy.  MONTEREY- 

BLACK^^  WHITE 
VeroxLde  Cream 

(VANISHING) 


'34 


Photoplay  Magazine — Advertising  Section 

C^Blder^ustewJe 
forSmattChildrm 

JustRubltOn 


"My  Skin  Nearly 
Drove  Me  Mad!" 

"I  had  pimples  and  blackheads  so  badly,  and 
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looked  red  and  raw.  On  the  advice  of  a 
nurse  friend  I  got  a  jar  of  Rowles  Mentho 
Sulphur  and  used  it  faithfully  for  lo  days. 
In  3  days'  time  there  was  a  big  difference  in 
my  skin  and  today  it  is  as  soft  and  clear  as 
my  lo-year-old  sister's." 

The  sulphur  in  Rowles  Mentho  Sulphur 
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itching  eczema.  It  WORKS !  All  druggists 
sell  it  in  jars  ready  to  use.  Be  sure  it's 
Rowles. 


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Lady,"  although  no  screen  credit  was  given  to 
the  actor  in  the  cast.  Hope  I  haven't  kept  you 
in  suspense. 


P.  P.  B.,  Daytona,  Fla. — Wallace  Beery 
was  Professor  Challenger  in  "The  Lost  World." 
Nancy  Carroll  was  the  girl  you  liked  in 
"Manhattan  Cocktail." 


A.  M.,  Tomahawk,  Wis. — So  you're  out 
after  my  scalp?  Corinne  Griffith  is  five  feet, 
three  inches  tall  and  is  thirty-two  years  old. 
That's  her  real  name  and  she  is  married  to 
Walter  Morosco.  Owen  Lee  is  a  great  big 
girl — five  feet,  seven  inches  tall. 

B.  D.  Y.,  Knoxville,  III. — The  old  picture 
from  Photoplay  is  one  of  Joan  Crawford  who 
first  came  to  the  screen  under  her  real  name  of 
Lucille  Le  Sueur.  It  takes  a  red-haired  girl 
to  be  smart.  Nils  Asther  is  twenty-si.^  years 
old,  si.x  feet,  one-half  inch  tall  and  has  brown 
hair  and  hazel  eyes.  He  is  di%'orced.  Write  to 
him  at  the  JNIetro-Goldwyn-Mayer  Studios, 
Culver  City,  CaUf. 

V.  B.,  Toronto,  Canada. — Dorothy  Mac- 
kaill  was  born  Dorothy  Mackaill  in  Hull, 
England.  She's  twenty-four  years  old,  five 
feet,  five  inches  tall  and  weighs  112  pounds. 
Write  to  her  at  the  First  National  Studio, 
Burbank,  Calif. 

L.  B.,  RoCKJOED,  III. — Monte  Blue  is  very 
much  an  American;  he  has  Indian  blood.  He's 
thirty-eight  years  old  and  married  to  Tova 
Jensen.  Leila  Hyams  is  married  to  Phil  J. 
Berg. 

Teresa,  Cleveland,  0. — If  Lupe  Velez  is  a 
typical  Spanish  girl,  then  I  am  going  to  sail 
fur  Spain  on  the  ne.xt  boat.  Lupe  was  born 
in  Mexico  City,  July  18,  1909.  She  has  black 
hair  and  dark  brown  eyes  and  is  five  feet, 
two  inches  tall.  Her  weight  is  112  pounds. 
Write  to  her  at  the  United  Artists  Studio, 
1041  N.  Formosa,  Hollywood,  Calif. 

M.  A.,  Forest  Hills,  N.  Y. —  Fay  Wray  is  a 
Canadian — born  in  Alberta,  Sept.  15,  1907. 
Sure,  I've  met  Gary  Cooper.  He's  a  great  big 
fellow  with  broad  shoulders. 

Betty  Lee,  Watertown,  N.  Y. — Do  you 
think  that  one  old  man  will'  be  able  to  handle 
all  your  mail?  Just  to  show  you  how  kind- 
hearted  I  am,  here  is  a  notice  for  your  scrap- 
book.  Mrs.  Milton  Sills  (Doris  Kenyon)  was 
born  in  Syracuse,  N.  Y.  Clara's  birthday  is 
in  July,  not  August.  James  Murray  is  twenty- 
six  years  old,  has  light  brown  hair  and  bro\\n 
eyes  and  is  not  married.  His  address  is  the 
Universal  Studios,  Universal  City,  Calif. 
Ramon  Novarro  is  twenty-nine  years  old  \\ilh 
dark  brown  hair  and  brown  eyes.  And  single. 
Write  to  him  at  the  Metro-Goldwyn-Mayer 
Studios,  Culver  City,  Calif.  Richard  Arlen 
is  about  twenty-nine  years  old  and  has  dark 
brown  hair  and  blue  gray  eyes.  He  is  married  to 
Jobyna  Ralston.  Write  to  him  at  the  Para- 
mount-Famous-Lasky  Studios,  Hollywood, 
Calif. 

Mary  A.,  Philadelphia,  Pa. — Lars  Han- 
son played  the  Rev.  Dimmesdale  in  "The 
Scarlet  Letter."  And  he  was  leading  man  for 
Greta  Garbo  in  "The  Divine  Woman."  Mr. 
Hanson  is  now  in  Sweden.  It  was  Einar 
Hansen  who  was  killed  in  California. 

Q.  L.  B.  D.,  New  York,  N.  Y.— Lois  Wilson 
and  Bebe  Daniels  also  played  in  "Monsieur 
Beaucaire."  Gladys  Brockwell  played  the 
old  meanie  of  a  sister  in  "Seventh  Heaven." 
William  Boyd's  hair  is  very  blond.  Goodness, 
he's  a  young  fellow  and  his  hair  won't  turn 
white  for  years  and  years.  As  for  the  lady  whose 
age  you  question,  she  is  thirty  years  old. 
Photoplay  has  records  of  her  career  from  its 
humble  beginnings  and  her  age,  as  given,  is 
correct.     Don't  be  cynical. 


Thousands  of 
mothers  tell  us  they 
would  not  be  without 
Children's  Mtis- 
terole,  the  milder 
form  of  Musterole  es- 
pecially prepared  for 
babies  and  children. 

At  night,  when 
awakened  by  the 
warning,  croupy 
cough,  rub  the  clean, 
^vhite  ointment  gen- 
tly over  the  child's  throat  and  chest. 

Children's  Musterole,  like  regular  Mus- 
terole, penetrates  the  skin  with  a  warming 
tingle  and  goes  to  the  seat  of  the  trouble. 

It  does  not  blister  like  the  old-fashioned 
mustard  plaster  and  is  not  messy  to  apply. 

Made  from  oil  of  mustard,  it  takes  the 
kink  out  of  stiff  necks,  relieves  sore  throats, 
croupy  coughs  and  colds.  All  Druggists.     ~ 
CHILDREN'S 


MILD 

BETTER  THAN  A  MUSTARD  PLASTER 


LOVER'S  KNOT 


or  FRIENDSHIP  RING 

This  pretty  ring  i  s  mad©  of  four 
etrands  or  coils  of  genuine  14IC 
pold  filled  wire,  woven  into  the 
True  Lover's  Knot  that  19  sym- 
bolic of  love  between  loverg,  and 
friendship  between  friends.  It 
is  pretty  withoutbeingshowy.  20 
year  guarantee.  £ach  ring  made 
by  band  by  gold  wire  expert.  It 
looks  good  and  it  IS  good.  PRICE 
50c  postpaid. 

GOOD  LUCK^^--^  '^ 


RING 


A  very  striking,  quaint  and  nn- 
commonrlng.  Skull  and  Crossbones 
design,  witb  two  brilliant,  tlasliing 
green  emeralds  sparkling  outoC  the 
eyes.  Said  to  bring  good  luck  to  tbe 
wearer.  Silver  tioisn.  PRICE  25c 
postpaid. 


COMICAL  MOTTO  RING 


Lota  of  harmless  fun  and  amusement 
Wearintr  thi.i  comical  ring.  Made  in  plati- 
noid liiiiah  (to  rt'seml.le  platinum)  with 
wording  on  ennineloid,  an  illustrated. 
PRICE  ONLY  2Sc  postpaid. 

GuOpags  catalog  of  novelties* 
tricks,  puzzles,  etc.  free  with  every 
order.    Postage  Stamps  accepted. 


JOHNSON  SMITH  &  CO. 


OEPT.  34 


RACINE,  WIS. 


DEJL*/\-TGNE 

Removes  HairinS  Minutes 

Adds  that  touch  of  daintiness  so 
essential  to  feminine  charm.  Tbe 
standard  depilatory  for  20  years. 
Dcl-a-tone   Cream  is   snow- 
white,  fragrant,  and  ready  for 
immediate  use. 
Removes  hair  ia  only  3  minutea 
from  arms,  under  arms,  legs,  back  of 
neck  or  face.  Leaves  skin  smooth, 
white,  dainty. 

Del-a-tone  Cream  or  Powder  is  sold 
by  drug  and  dept.  stores,_or  sen  t  pre- 
paid, in  plain  wrapper,  in  U-  S.  for 
SI. 00.  Money  back  if  desired.  For  gen- 
erous sample  send  10c  to  Miss  Mildred 
Hadley.c/oTheDclatoneCcDept.  83. 
Hair-free  leas    721  N.  Michigan  Ave.,  Chicago,  UUnois* 


r  women  corn  $2S  to  $50  a  week  at  home.  All  or  part 
FnBcinatine  work.    Notluns  to  sell.    We  teaoli  you  at 
Furnish    aU    tools    and    mnteriala.       ARTCRAIT 
STi;blOS,  Dept.  B-3.  427  Diveraey  Parkway,  Chicago. 


When  Writing  Advertisers 
Please  Mention  PHOTOPLAY 


Every  advertlsemeat  iu  PHOTOPLAY  JIAGAZINB  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


^35 


Ten  Years  Ago  in  Photoplay 


THIS  month  Photoplay  fires  a  21  gun 
salute  in  honor  of  the  greatest  institution 
in  motion  pictures. 
No,  it  is  not  the  Picktordian  ringlets,  nor  the 
Gish  nose,  nor  the  Chaplin,  nor  The  Question 
and  Answer  Man. 

It  is  the  great  CecU  DeMUle  Stock  Company, 
now  at  the  very  flowering  of  its  fame. 

"Old  Wives  for  New"  was  one  of  its  first 
fruits,  and  in  March,  1919,  that  great  company 
of  players,   under  the  baton  of  the  sainted 


Gloria  Swanson 

Who  had  just  moved  over  from 

the  Sennett  lot  to  the  Dramatic 

Manse  of  Cecil  B.  De  Mille 


Cecil,  is  grinding  out  the  blistering  beauties 
that  were  to  set  a  new  standard  for  lavishness. 

"The  most  notable  stock  company  the 
dramatic  world  has  seen  since  history  claimed 
Augustin  Daly  for  her  own!"  chants  our 
learned  friend,  Juhan  Johnson. 

Read  these  names  and  remember  the  golden 
age.    All  served  on  the  De  Mille  duty-roster. 

TuUy  Marshall,  Julia  Faye,  Monte  Blue, 
Theodore  Roberts,  Douglas  MacLean,  Ray- 
mond Hatton,  Wallace  Beery,  James  Cruze, 
CJloria  Swanson,  Wanda  Hawley,  Elliott  Dex- 
ter, Lew  Cody,  Bryant  Washburn,  Lila  Lee, 
Ethel  Clayton,  Thurston  Hall,  Kathlyn  Wil- 
liams, ZaSu  Pitts,  Mary  Thurman,  Wallace 
Reid,  Shirley  Mason,  George  Fawcett  and 
I'.ugene  O'Brien. 


There  were  scores  of  others,  too,  great  and 
small — all  serving  humbly  as  Cecil  the  Great 
dished  out  the  roles.  There  has  been  nothing 
like  that  troupe  in  the  history  of  the  cinema. 
It  stood,  and  still  stands,  alone. 

GEORGE  LOANE  TUCKER  has  just 
created  his  "Virtuous  Wives,"  following 
"The  Cinderella  Man."  Anita  Stewart  and 
Conway  Tearle  have  the  leads.     What  a  movie! 

LEW  CODY,  scented  and  silken,  has  just 
founded  the  short  lived  school  of  male 
vamps. 

Here  are  pictures  of  him — sneering  at  Gladys 
Brockwell,  kissing  Mildred  Harris  (poor  pale 
flower!)  on  the  neck,  looking  devilish.  He  tells 
our  Adela  Rogers  St.  Johns  all  about  it. 

"A  male  vampire  e.xists,"  says  Mr.  Cody, 
leering,  "because  all  women  want  to  be  a 
man's  last  love,  not  his  first.  Women  dislike 
amateurs.  They  don't  care  to  be  practiced 
on," 

HERE'S  a  full-page  picture  of  Evelyn  Gree- 
ley ...  we  remember  a  Horace  Greeley, 
but  an  Evelyn?  .  .  .  Tom  Ince  teUing  about 
the  early  days  at  Kay-Bee.  .  .  .  Constance 
and  Faire  Binney  are  "racing  for  stardom," 
says  a  story  by  Arabella  Boone.  .  .  .  The 
Binneys  are  now  devoted  to  matrimony  in  a 
big  society  way.  .  .  .  WaUy  Reid's  new  pic- 
ture is  "The  Dub."  .  .  .  How  young  and 
clean  and  handsome  he  looks.  .  .  .  Nina 
Byron  is  his  leading  woman.  ...  A  middle 
Western  exhibitor  advertised  a  film  of  Ibsen's 
"A  Doll's  House"  as  "a  treat  for  the  kiddies." 
.  .  .  King  Baggott  is  still  a  hero  .  .  .  remem- 
ber that  darling  strip  of  white  hair  on  the  front 
of  his  head?  .  .  .  Gaby  Deslys  has  just  sent 
over  a  picture  from  France.  ...  It  is  called 
"Infatuation,"  and  is  pretty  terrible,  if  you 
ask  us.  .  .  .  The  soldiers  are  back  from  the 
wars  .  .  .  Re.x  Ingram,  Tom  Forman,  Eddie 
Sutherland,  Capt.  Norman  Kerry,  and  Bert 
Lytell.  .  .  .  Alma  Rubens  is  working  in  a 
Russian  picture.  .  .  .  Griffith  is  about  to  film 
"The  Chink  and  the  ChUd,"  by  Thomas 
Burke,  with  Barthelmess  and  LU  Gish.  .  .  .  We 
know  it  is  as  the  immortal  "  Broken  Blossoms." 
.  .  .  The  courts  have  officially  allowed  Samuel 
Goldfish  to  change  it  to  Samuel  Goldwyn.  .  .  . 
Bushman  and  Bayne  are  in  "The  Poor  Rich 
Man,"  a  Metro  picture  .  .  .  and  Maurice 
Costello  is  doing  "The  Captain's  Captain." 

GERTRUDE,  LONG  BEACH— Believe  us. 
Marguerite  Clark  is  NOT  dead.    Let's  hear 
from  you  again,  Gertie! 

LIBERTY  BELL— It's  time  to  ring  again! 
Dorothy  Gish  is  20,  Norma  Talmadge,  22; 
BiUie  Burke,  ii;  Wally  Reid,  27;  Doug  Fair- 
banks, 36. 


Looking  on  the  Dark  Side  of  Life 

I  CONTINUED  FROM  PAGE  39  I 


That  was  straight  from  the  soul  of  an  artist. 
That  was  the  divine  unrest.  No  copy-book, 
namby-pamby  phrase,  this. 

It  is  impossible,  however,  to  carry  on  a  rele- 
vant cons'ersation  with  Farina,  who  has  a 
southern  accent  for  all  his  New  England  birth. 
He  is  too  artistic  to  continue  long  on  one  sub- 
ject and  too  cautious  to  plumb  the  depths  of 
any  given  thesis.  His  mood  changes  momen- 
tarily and   there  seems   nothing  to  be  done. 

Suddenly  he  questioned  me,  "Boy!  Have  you 
ever  been  to  a  banquet?" 

I  nodded. 

"Boy!  I  bet  you  didn't  eat  for  a  week.  The 
gang  went  to  a  banquet  when  we  were  in 
vaudeville.     I  didn't  do  nothin'  but  eat.     I 


didn't  listen  to  no  speeches.  I  just  looked  like 
I  wuz  listenin'." 

Although  he  is  as  dutiful  as  a  June  bride, 
there  is  something  of  the  Prometheus  spirit 
about  Farina.  Perhaps  hfe  bores  him  a  trifle, 
perhaps  he  longs  to  go  his  way  unhampered  by 
"do's"  and   "don't's"  from   various  kinsfolk. 

Pictures  he  dismisses  with  a  word,  "They're 
O.  K."  I'm  afraid  they  bore  him.  The  rest  of 
the  business  of  Uving  is  taken  as  a  matter  of 
course. 

Farina,  like  the  true  pessimist,  does  not  seek 
happiness,  therefore  he  is  not  disappointed 
when  tragedy  comes.  He  does  look  on  the 
dark  side  of  life,  which  is  the  only  attitude 
of  a  real  artist. 


A, 


>n  amazing 
prescription    for 
quick  relief  from 
Constipation  .  .  . 


POISONS 


GONE 


minutes  of  Chewing 

THREE  minutes  ofchewing— in  three 
hours  you  are  literally  a  different 
person! 

On  this  simple,  modern  scientific 
method  the  whole  civilized  world  is 
learning  to  rely  today. 

A  delicious  mint-flavored  tablet — 
Feen-a-mint.  Just  like  chewing  gum, 
but — it  contains  ascientifically-adjusted 
quantity  of  one  of  the  most  remarkable 
laxative  agents  known  I 

And  because  you  chew  Feen-a-mint, 
this  tasteless  laxative  is  carried  into  the 
intestinal  ma.  gradually .  No  cramping, 
no  griping— no  poisoning  of  the  sys- 
tem, either.  For  this  laxative  is  not 
digested  like  ordinary  laxatives— it 
passes  unchanged  from  the  body  after 
its  work  is  done. 

No  wonder  doctors  endorse  the  prin- 
ciple of  this  new  method.  No  wonder 
over  a  million  Feen-a-mints  a  day  are 
bought  by  ex-users  of  pills  and  salts. 

Keep  Feen-a-mint  always  on  hand 
(children  love  it,  naturally).  On  sale  at 
every  drug  store  in  the  United  States 
and  Canada. 

Feen-a-mint 

The  Chewing  Laxative 


Health  Products  Corporation  p.3 

113  N.  13th  St.,  Newark.  N.  J. 

Please  send  free  samples  and  booklet  on  cor- 
recting constipation. 


Name_ 


Address- 


When  you  wrile  to  advertisers  please  mention  PHOTOPLAT  MAGAZINE. 


13' 


Photoplay  Magazine — Advertising  Section 


K^ctually  See, 

Rupture 
ShrinR! 


No  wonder  over  forty  thou- 
sand people  have  dropped 
their  cruel  steel  springs  and 
hard  cushions  and  pads  in 
favor  of  this  amazing  rup- 
ture discovery — a  remarkable 
system  that  actually  tends  tn 
shrink  your  rupture  in  a  new 
way  I  Send  for  a  free  sam- 
ple of  Airtex,  the  air-celled 
materia!    that   "breathes." 


Note  above  how  you  can 
squeeze  this  rupture  inven- 
tion in  your  fist.  That's  be- 
cause it  is  made  of  air-cells 
and  flesh-soft.  Then  when 
you  open  your  fist,  it  regains 
its  normal  shape.  But  when 
you  place  it  over  the  rup- 
ture, it  becomes  cup-shaped, 
thus  tending  to  shrink  the 
rupture  area  back  to  normal 
size) 


Write  name  and  ad- 
dress on  margin  of 
this  ad.  It  will  bring 
you  a  free  sample  of 
these  amazing  air- 
cells  and  newly  dis- 
covered facts  about 
rupture  that  show  you 
how  to  do  away  with 
truss  torture.  Act 
now. 


G^OlbL© 


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Put  your  career  in  the  hands  of  a  man  whose 

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t.i{(.hll*Hlif«hi'A'.*i;ilnlKVe^ 


Particulars    of    Dr.  Esenwein'3    famous    forty- 
I  lesson   course    in  writing   and  marketing  of  the 
Short-Story  and  sample    copy  of   The  WRITER'a 
Monthly  free.    Write  today. 

THE  HOME  CORRESPONDENCE  SCHOOL 
Dept.  95.  Springfield,  Mass. 


SUBSCRIBE  FOR 

PHOTOPLAY 

Subscription  rates  will  be  jound  on 
page  5  below  Table  of  Contents. 


Brief  Reviews  of  Current  Pictures 

I  CONTINUED   FROM  PAGE    13  ] 


PRICE  OF  FEAR,  THE— Universal.— Something 
to  avoid.     {Dec.) 

PROWLERS  OF  THE  SEA— Tiffnny-Stahl.  — 
Devastating  effects  of  a  beautiful  Cuban  girl  on  the 
morale  of  a  Navy  officer.      {September.) 

QUEEN  OF  BURLESOUE—Tiffany-Stahl.— Belle 
Bennett  breaks  her  heart  again  in  a  story  of  show 
folks.      (Jan.) 

RAINBOW,  THE— Tiffany-Stahl.— Good  melo- 
drama of  a  fake  gold  rush.     {Feb.) 

RANSOM' — Columbia.' — Childish  rumpus  over  a 
heavy  international  secret.     Third  rate.     (Oct.) 

RED  MARK,  THE— Pat  he. —Depressing  business 
in  a  tropical  penal  institution.  Some  people  have  an 
odd  idea  of  fun.     (Jan.) 

REDSKIN  —  Paramount.  —  Richard  Di\  scores 
again  in  a  magnificent  color  picture  of  an  Indian  love 
story  that  will  delight  your  eye.     (Feb.) 

*RED  WINE — Fox. — Delightful  and  subtle  com- 
edy of  a  Perfect  Husband  on  the  loose.  A  treat.  (Jaw.) 

RESTLESS  YOUTH— Columbia.  —  Just  a  very 
old — and  very  cheap — story.      (Feb.) 

RETRIBUTION— Warners.— Vitaphone  with  a 
bad  script  but  our  old  friend,  Henry  B.  Walthall, 
registers  neatly.    (Dec.) 

*REVENGE— United  Artists.- The  third  of  the 
three  "R's"  of  Edwin  Carewe  and  Dolores  Del  Rio. 
Pictorially  attractive  gypsy  stuff.     (Oct.) 

RILEY  OF  RAINBOW  DIVISION— Anchor.— 

Trivial  comedy  of  the  training  camps.  (Dec.) 

RILEY  THE  COP— Fox.— J.  Farrell  MacDonald's 
work  is  the  best  thing  in  a  not  too  interesting  picture. 
(Jatt.) 

RIVER  WOMAN,  THE— Gotham.— Fine  and 
sincere  story  with  a  splendid  performance  by  Jac- 
queline Logan.     (Oct.) 

ROAD  HOUSE— Fox.— Proving  that  flaming 
vouth  got  the  idea  from  the  older  generation.  Rather 
hot.      {Oct.) 

ROMANCE  OF  A  ROGUE,  THE— Carlos.— 
Soggy.     (November.) 

♦ROMANCE  OF  THE  UNDERWORLD— Fox — 

Thanks  to  a  sure-fire  story,  neat  direction  and  good 
acting,  this  film  is  one  of  the  best  of  its  kind.  (Jan.) 

ROUGH  RIDIN'  RED— FBC— Buzz  Barton's 
red  liair  triumphs  over  cinematic  slush.    (November.) 

RUNAWAY  GIRLS— Columbia.— Stuffy  melo- 
drama with  a  moral.    ( Dec.) 

SALLY'S  SHOULDERS— FBC— Slightly  exas- 
perating.    (Oct) 

SAL  OF  SINGAPORE— Pathe— Phyllis  Haver 
as  a  bad  girl  who  is  reformed  by  a  little  che-ild. 
Salty  and  picturesque  background.  (Dec.) 

SAWDUST  PARADISE,  THE— Paramount.- 
From  ballvhoo  artist  to  lady  soul-saver,  played  by 
Estlier  Ralston.     (Ocl.) 

SAY  IT  WITH  SABLES— Columbia.— Heigh-ho! 
Anotlier  gold-digger  story.    (September.) 

SCARLET  LADY.  THE— Columbia.— Ho-hum. 
more  Russians.    Silly  stuff.     (Oct.) 

*SCARLET  SEAS— First  NationDl.— Hard-boiled 
story  of  a  tough  skipper  and  his  gal,  who  manage  to 
get  religion  without  spoiling  the  picture.  Good  work 
by  Richard  Barthelmess  and  Betty  Compson.    (Jan.) 

SEVEN  FOOTPRINTS  TO  SATAN  —  First 
National. — I  love  the  title,  don't  you?  But  un- 
fortunately it's  just  a  hodgepodge  mystery  story. 
(Feb.) 

SEX  LIFE  OF  THE  POLYP— Fox-Movietone.— 

Gorgeous  satire  on  a  scientific  lecture,  by  old  Profes- 
sor Robert  Benchley.     (November.) 

SHADY  LADY,  THE— Pathe.— Good  acting, 
some  mystery  and  sharp  comedy.     {Feb.) 

SHAKEDOWN,  THE— Universal.— Another  yarn 
about  a  good  bad-man.    Fair  enough.      (Jan.) 

SHIP  COMES  IN,  A— Pathe-De  Mille.— How 
patriotism  comes  to  an  immigrant  family.  (Sept.) 

SHOPWORN  ANGEL,  THE— Paramount —War- 
time love  story  of  a  naughty  chorus  girl  and  an  inno- 
cent boy.    With  real  drama  and  heart  interest.  (Feb.) 

SHOULD  A  GIRL  MARRY?— Rayart.— Pre- 
senting the  sad  problems  of  a  gal  with  a  past.  (Dec.) 

SHOW  FOLKS— Pathe.— Just  an  obvious  story  of 
theatrical  people  and  their  struggles.     (November.) 

SHOW  GIRL — First  National. — It  misses  the 
piquant  charm  of  the  book  but  still  it  is  an  above-the- 
average  comedy.     (November.) 

SILENT  SENTINEL.  THE— Chesterfield.  —  A 
crook  drama,  of  all  oddities!     (Feb.) 

SILENT  SHELDON— Rayart.-Pleasant  sort  of 
Western.     (Jan.) 


SINGAPORE  MUTINY.  THE— FBO.— Life  in 
coal  hole  of  a  ship — H  that's  what  interests  you.    (Dec.) 

*SINGING  FOOL,  THE— Warners— Saga  of  a 
mammy  shouter.  With  Al  Jolson.  Sobs  and  Vita- 
phone  songs.     (Oct.) 

SINGLE  MAN,  A— Metro- Gold  wyn- Mayer. — 
Aileen  Pringle  and  Lew  Cody  in  their  best  smart-set 
comedy  so  far.       (Oct.) 

SINNERS  IN  LOVE— FBC— Little  gal  alone  in 
a  big  city.  Where  have  you  heard  that  before? 
{November.) 

SINNERS'  PARADE— Columbia.— The  ritzy  side 
of  the  underworld  with  a  snappy  plot.     (Jan.) 

*SINS  OF  THE  FATHERS— Paramount— Emil 
Jannings  in  a  tragedy  of  Prohibition.  Not  one  of  his 
great  pictures — but  nevertheless  eminently  worth 
your  while.     (Jan.) 

SIN  TOWN— Pathe.— Just  a  poor  Western.   (Oct.) 

SIOUX  BLOOD— Metro-Goldwyn-Mayer.  —  In- 
dian wiioopee  that  might  have  been  filmed  in  1910. 
(Jan.) 

SISTERS  OF  EVE— Rayart —Mystery  story  of 
a  missing  millionaire  who  is  not  missed  by  his  hard- 
hearted bride.     Fair  enough.     (November.) 

SKIRTS— Metro-Goldwyn-Mayer.  —  Syd  Chap- 
lin in  a  soggy  British  comedy.     (September.) 

SMALL    TOWN    SINNERS— Hugo    Brahn. 
German  fillum,  with  most  of  the  action  in  a  barroom. 
(Feb.) 

SMILIN*  GUNS— Universal.— Hoot  Gibson  in  a 
really  funny  one.     (Oct.) 

SMOKE  BELLE W— Big  Four.— Conway  Tearle 
returns  in  an  Alaskan  yarn.  Some  splendid  blizzards. 
(November.) 

SOMEONE  TO  LOVE— Paramount.— "  Buddy  " 
Rogers  and  Mary  Brian  in  a  thoroughly  agreeable 
picture.     (Jan.) 

SOMME,  THE— New  Era.— Made  in  Britain.  A 
grim  presentation  of  the  Somme  campaign  of  1916. 
(Feb.) 

SON  OF  THE  GOLDEN  WEST— FBC— Tom 

Mix  has  changed  his  studio  but  not  the  plot  of  his 
pictures.     (November.) 

SOUTH  OF  PANAMA— Chesterfield.— You've 
guessed  it.  It's  all  about  love  and  revolution  in  a 
Latin  republic.     (Jan.) 

SPEED  CHAMPION.  THE— Rayart.  —  If  you 
can  get  steamed  up  over  the  adventures  of  a  grocery 
boy.    (September.) 

SPEED  CLASSIC,  THE— Excellent.— An  auto- 
mobile racing  picture — and  just  like  all  the  others. 
(Feb.) 

SPIELER,  THE— Pathe.— Carnival  life,  as  it 
really  is.  And  Renee  Adoree  knows  her  atmosphere. 
A  good  show.    ( Dec.) 

SPIES  —  UFA.— Metro-Goldwyn-Mayer.—  Dull 
story  made  only  slightly  less  dull  by  fantastic, 
Germanic  treatment.      {Dec.) 

STICK     TO     YOUR     STORY— Rayart.-Fun 

among  the  reporters.  My.  what  a  life — and  what  a 
picture!     (Dec.) 

STOLEN  LOVE— FBC— A  quickie.  Try  the 
show  down  the  street.  (Dec.) 

STOOL  PIGEON— Columbia.— Gang  melodrama. 
(Feb.) 

STOP  THAT  MAN— Universal.— Arthur  Lake  in 
a  comedy  that's  a  riot  of  fun.  Watch  this  lad! 
(Septimber.) 

STREET  OF  ILLUSION— Colurabia.—Back- 
stage  story  and  an  interesting  defense  of  the  Thespian 
ego.     (Dec.) 

STRIVING  FOR  FORTUNE  —  Excellent.  — 
Doity  woik  in  the  sliip-yards.     (November.) 

SUBMARINE— Columbia.— A  great  thriller,  with 
a  fine  situation  and  some  spectacular  scenes,  almost 
spoiled  by  unimaginative  handling.  Worth  seeing, 
nevertheless.     (November.) 

SWEET  SIXTEEN— Rayart.— Mild  but  fairiy 
pleasing  story  of  a  modern  girl.  (Dec.) 

SYNTHETIC  SIN  —  First  National.  —  Colleen 
Moore  goes  through  her  usual  antics — but  the  story  is 
missing.      (Feb.) 

TAKE  ME  HOME— Paramount.— Bebe  Daniels 
in  a  natural  comedy  of  back-stage  life.     (November.) 

TAXI  13— FBC— Chester  Conklin  in  the  funny 
adventures  of  a  superstitious  taxi  driver.     (Oct.) 

♦TERROR,  THE — Warners. — Mystery  stuff,  well 
presented  in  an  all-talkie.     (Oct.) 

THAT  PARTY  IN  PERSON— Paramount— A 
talkie  with  Eddie  Cantor,  the  only  logical  contender 
for  Al  Jolson's  crown.    Come  again,  Eddie.     (Feb.) 


Every  advertisement  in  PBOTOrLAT  M.^GAZINE  Is  ffuaranteed. 


Photoplay  Magazine — Advertising  Section 


THREE  RING  MARRIAGE— First  National- 
Heart  interest  and  comedy  in  an  original  story  of 
circus  life.     {September.) 

THREE  WEEK-ENDS— Paramount.— It  has 
Clara  Bow,  but  that's  about  all  you  can  say  for  it. 
(Feb.) 

THROUGH  THE  BREAKERS— Gotham- 
South  Sea  Island  story — and  a  really  good  one.  {Dec.) 

THUNDERCLOUD,      THE— Anclinr.— A      good 


TIDE  OF  EMPIRE— Metro-Goldwyn-Mayer.— 
Standard  pattern  story  of  Gold  Rush  but  acted  and 
directed  with  a  verve  that  puts  it  over.     {Dec.) 

TIMES  SOUARE—Gotham.— Arthur  Lubin  im- 
itates Al  Jolson  and  so  invites  the  inevitable  odious 
comparisons.     {November.) 

TOP  SERGEANT  MULLIGAN— Anchor —Fair 
enough  war  burlesque  but  enough's  enough.  {Sept.) 

TRACKED— FBO.— Ranger,  the  dog.  in  a  picture 
that  is  better  than  most  human  efforts.     (Feb.) 

TRAIL  OF  COURAGE.  THE  —  FBC— Cactus 
epic  and  simply  terrible.    (September.) 

TYRANT  OF  RED  GULCH— FBC— Not  a 
Western,  in  spite  of  the  title.  Just  a  badly  bent  story. 
{Feb.) 

UNCLE  TOM'S  CABIN— Universal.— Originally 
reviewed  in  Januar\'.  Sound  effects  have  increased 
its  box-office  value.     {Oct.) 

UNEASY  MONEY— Fox-Europa.— German  pic- 
ture, well  directed,  well  acted  and  original  in  theme. 
{Feb.) 

VARSITY — Paramount. — The  more  sentimental 
side  of  life  at  Princeton.  Charles  Rogers  and  Mary 
Brian  will  make  it  popular  with  the  young  folks. (Oc/.) 

VEILED  WOMAN,  THE— Fox.— Hollywood's 
foreign  legion  in  a  not  bad,  not  good,  story.     {Feb.) 

VIKING,  THE  —  Technicolor-M.-G.-M.  —  How 
Liff  the  Lucky  discovered  America,  told  in  color  and 
with  plenty  of  whiskers.     {Jan.) 

VIRGIN  LIPS— Columbia.— Respectable,  in  spite 
of  the  title  and  some  dangerous  costumes  worn  by 
Olive  Borden.     {November.) 

WAGES  OF  CONSCIENCE— Superlative.— But 

where  was  the  conscience  of  the  producer  of  such  a 
picture?      (Feb.) 

♦WATERFRONT— First  National.— Jack  Mul- 
hall  proves  that  he  can  be  attractive  even  with  a  dirty 
face.  And  he  is  again  aided  by  Dorothy  Mackaill. 
A  comedy  with  originality.     {November.) 

WATER  HOLE,  THE— Paramount.— De  Luxe 
Zane  Gray  Western  that  marks  tlie  return  of  Jack 
Holt.     (November.) 

WEDDING  MARCH,  THE— Paramount.— Von 
Stroheim's  romance  of  old  Vienna,  messed  up  with 
some  repellant  scenes  and  characters.  Some  good 
moments,  but.  as  a  whole,  a  waste  of  time,  money  and 
talent.     (November.) 

WEST  OF  ZANZIBAR— Metro-Goldwyn-Mayer. 
— Lon  Chancy  goes  cripple  again.  So  does  the  plot. 
{November.) 

WHAT  A  NIGHT!— Paramount.— Bebe  Daniels 
in  a  gaggy — and  gaga — newspaper  story.     (Feb.) 

WHILE  THE  CITY  SLEEPS— Metro-Goldwyn- 
Mayer. — Lon  Chancy  au  naturel.  Swell  crook  story. 
(September.) 

WHIP,  THE— First  National.— Dorothy  Mackaill 
in  an  English  sporting  melodrama  that  just  misses 
being  thrilling.     (September.) 

WIN  THAT  GIRL— Fox.— With  Sue  Carol  and 
Dave  Rollins.  Otherwise  nothing  to  recommend  it. 
(November.) 

WOLF  OF  WALL  STREET.  THE— Paramount. 
— Whether  you  have  won  or  lost  money  in  Wall  Street, 
or  haven't  played  the  stock  market  at  all,  George 
Bancroft  and  Baclanova  will  give  you  one  of  the  most 
entertaining  talkies  so  far  made.  A  delightful  eve- 
ning.    (Feb.) 

♦WOMAN  DISPUTED,  THE— United  Artists.— 
Norma  Talmadge  and  Gilbert  Roland  are  excellent  in 
a  stirring  drama  of  Central  Europe  during  the  war. 
(September.) 

WOMAN  FROM  MOSCOW,  THE— Paramount, 
— Pola  Negri's  swan  song  for  Paramount.    (Oct.) 

*WOMAN  OF  AFFAIRS,  A— Metro-Goldwyn- 
Mayer. — Greta  Garbo  and  John  Gilbert  in  what  is 
none  other  than  Michael  Arlen's  "The  Green  Hat." 
Why  waste  space  urging  you  to  drop  everything  and 
see  this  one?     (Jan.) 


WOMEN    THEY    TALK    ABOUT 

Charming  Vitaphone  comedy.     (Oct.) 


■Warners." 
National 


WRIGHT    IDEA,    THE— First    National.— But 
gone  wrong.     (Oct.) 

YELLOW   CONTRABAND   —   Pathe—  Dope 
smuggling  and  other  cute  modern  occupations.  (Dec.) 


YOUNG. WHIRLWIND,  THE— FBC. 

tertainment,  with  Buzz  Barton.  (Dec.) 


-Kid  en- 


FOOT  PAIN  J 

CONE  in  10  minutes 

OR  COSTS  YOU  NOTHING 

Burning,  aching,  lived  feeling  in  the  feet 
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pains  in  toes,  instep,  ball  or  heel — dull  ache 
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SCIENCE  sajs  9+%  of  all  foot  pains  re- 
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Pain  stops  like  magic.  Soon  band  may  be 
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138 

Screen  story 

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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"ALI^AMERICAN.  THE"— Supreme.— From 
the  story  by  Ronald  de  Gastro.  Adapted  by  Ronald 
de  Gastro.  Directed  by  R.  William  Neill.  The  cast: 
Charlie  Patter S07i,  Charlie  Paddock;  Mary  Brown, 
Julanne  Johnstone;  Coach  Regan,  Harvey  Clarke; 
Assistant  Coach,  Donald  Stuart;  Harold  Fellows,  Jack 
Sclwyn;  Grandpa* Brown,  Emil  Chautard;  Man-About- 
Town,  Crauford  Kent;  Professor,  Richard  Pennell; 
Physical  Instructress,  Eileen  Manning;  Bal for  Champ, 
Bob  Maxwell;  French  Champ,  Raoul  Paoli. 

"ALL  AT  SEA" — M.-G.-M.— From  the  story  by 
Byron  Morgan.  Continuity  by  Ann  Price  and  Byron 
Morgan.  Directed  by  Alf.  Goulding.  The  cast: 
Olof  Jensen,  Karl  Dane;  Rollo  The  Great,  George  K. 
.Arthur;  Shirley  Page,  Josephine  Dunn;  Shirley's 
Father,  Herbert  Prior. 

"BLACK  HILLS,  THE  "—Dakota.— From  the 
story  by  Ra venal  Anderson.  Continuity  by  Sol 
Lowman.  Directed  by  Norman  Dawn.  The  cast: 
Edith  Bidwell,  Susan  Denis;  Jack  Merrill,  George 
Fisher;  Dude  McGee,  Bob  Webster;  Lizzie  McGee, 
Aldine  Webb;  Soapy,  George  Chandler;  Dick,  Roy 
Daw. 

"BLOCKADE"— FBO.— From  the  story  by 
Louis  Sarecky  and  John  Twist.  Continuity  by  Har- 
vey Thew.  Directed  by  George  B.  Seitz.  The  cast: 
Bess,  Anna  Q.  Nilsson;  Vincent,  Wallace  MacDonald; 
Gwynn,  James  Bradbury,  Sr. ;  Hayden,  Walter  Mc- 
Grail. 

"BROADWAY  FEVER"  —  Tiffany-Stahl.  — 
From  the  story  by  Viola  Brothers  Shore.  Continuity 
by  Lois  Leeson.  Directed  by  Edward  Cline.  The 
cast:  Sally  McAllister.  Sally  O'Neil;  Eric  Byron, 
Roland  Drew;  Lila  Leroy,  Corliss  Palmer;  Butler, 
Calvert  C_arter. 

"CIRCUMSTANTIAL  EVIDENCE"  —  Ches- 
terfield.— Fromtheslory  by  Wilfred  Noy.  Directed 
by  Wilfred  Noy.  Photography  by  M.  A.  Andersen. 
The  cast:  Jean  Benton,  Helen  Foster;  Henry  Lord, 
Charles  Gerrard;  Arthur  Rowland,  Cornelius  Kecfe; 
Lucy  Bishop,  Alice  Lake;  Tony  Benton,  Ray  Hallor; 
The  Judge,  Fred  Walton;  Prosecuting  Ally.,  Jack  Tan- 
ner. 

"CLEAR  THE  DECKS"— Universal.— From 
the  story  by  E.  J.  Rath.  Continuity  by  Earl  Snoll  and 
Gladys  Lehman.  Directed  by  Joseph  Henaberry. 
The  cast:  Trask,  Reginald  Denny;  Sydney,  Olive 
Hasbrouck;  Nurse,  Lucien  Littlefield;  Pussyfool,  Otis 
Harlan;  Blondie,  Colette  Mcrton;  Trumbull,  Brooks 
Benedict;  Mate,  Robert  Anderson;  Aunt,  Elinor 
Leslie. 

"COHENS  AND  KELLYS  IN  ATL.\NTIC 
CITY,  THE"— Universal.— From  the  story  by 
Jack  Townley.  Adapted  by  Earl  Snell.  Directed  by 
William  J.  Craft.  Photography  by  Al  Jones.  The 
cast:  Mr.  Cohen,  George  Sidney;  Mrs.  Cohen,  Vera 
Gordon;  Mr.  Kelly,  Mack  Swain;  Mrs.  Kelly,  Kate 
Price;  Pal  Kelly,  Jr.,  Cornelius  Keefe;  Miss  Rosie 
Cohen,  Nora  Lane;  Miss  Rosenberg,  Virginia  Sale; 
Murderer,  Tom  Kennedy. 

"DIPLOMATS,  THE"— Fox  Movietone.— From 
the  story  byArthurCaesarandClarkandMcCullough. 
Scenario  by  Arthur  Caesar.  Directed  by  Norman 
Taurog.  Photography  by  Ben  Kline.  The  cast: 
Two  Diplomats,  Clark  and  McCullough;  Princess, 
Marguerite  Churchill;  Prime  Minister,  Andreas  de 
Scgurola;  Countess,  Cissy  Fitzgerald;  King,  John 
Sainpolis;  Isl  Intelligence  Officer,  John  Baston;  2nd 
Intelligence  Officer,  Andre  Cheron;  Steward,  Joe 
Marba. 

"DESERT  NIGHTS"— M.-G.-M.— From  the 
story  by  Jolin  T,  Neville.  Adapted  by  Dale  Van 
Every.  Directed  by  William  Nigh.  Thecast:  Hugh 
Rand,  John  Gilbert;  Steve,  Ernest  Torrence;  Diana, 
Mary  Nolan. 

"DOCTOR'S  SECRET,  THE"— Paramount.  — 
From  the  play  "Half  an  Hour"  by  Sir  James  M. 
Barrie.  Adapted  by  William  C.  DeMille.  Directed 
by  William  C.  DcMille.  The  cast:  Lillian  Garson, 
Ruth  Chattcrton;  Richard  Garson,  H.  B.  Warner; 
Hugh  Paton,  Jolin  Loder;  Dr.  Brodie,  Robert  Edcson; 
Mr.  Redding,  Wilfred  Noy;  Mrs.  Redding,  Ethel 
Wales;  Susie,  Nancy  Price;  Wethers,  Frank  Finch- 
Smiles. 

"DRIFTER,  THE"— FBO.— From  the  story  by 
Oliver  Drake  and  Robert  De  Lacy.  Continuity  by 
George  W.  Pyper.  Directed  by  Robert  De  Lacy. 
The  cast:  Tom  McCall,  Tom  Mix;  Ruth  Martin, 
Dorothy  Dwan;  Happy  Hogan,  Barney  Furey;  Pete 
Lawson,  Al  Smith;  "Uncle"  Abe,  Ernest  Wilson;  Seth 
Martin,  Frank  Austin;  Hank,  joe  Rickson;  Hench- 
man, Wynn  Mace. 

"  FLOATING  COLLEGE.  THE  "—Tiffany- 
Stahl. — From  the  story  by  Stuart  Anthony.  Con- 
tinuity by  Stuart  Anthony.  Directed  by  George 
Crone.  Photography  by  Harry  Jackson.  The  cast: 
Pal  Bixby,  &,lly  O'Ncil;  George  Dewey,  William 
Collier,  Jr.;  Frances  Bixby,  Georgia  Hale;  The  Dean, 
Harvey  Clark;  Snug,  Georgie  Harris;  Nathan  Bixby, 
E.  J.  Ratcliffe;  Miss  Cobbs,  Virginia  Sale. 

"FUGITIVES"— Fox.— From  the  story  by 
Richard  Harding  Davis.  Scenario  by  John  Stone. 
Directed   by   William   Beaudine.     The  cast:     Alice 


Carroll.  Madge  Bellamy;  Dick  Starr,  Don  Terry;  Jim- 
jny,  Arthur  Stone;  Al  Barrow,  Earle  Foxe;  Earl  Rand, 
Mathew  Betz;  Uncle  Ned,  Lumsden  Hare;  Mame, 
Jean  Laverty;  Mrs.  Carroll,  Edith  Yorke;  Seal,  the 
i?af,  Hap  Ward. 

"GLORIOUS  TRAIL,  THE"— First  National. 
From  the  story  by  Marion  Jackson.  Directed  by 
Albert  Rogell.  The  cast:  Pat  O'Leary,  Ken  May- 
nard;  Alice  Harper,  Gladys  McConnell;  Gus  Lynch. 
Frank  Hagney;  Horse-Collar  Keller.  Les  Bates;  Bill 
Keller,  James  Bradbury,  Jr.;  Jimmy  Bacon,  Billy 
Franey;  High  Wolf,  Chief  Yowlache. 

"  HIS  CAPTIVE  WOMAN  "—First  National.— 
From  the  story  by  Donn  Byrne.  Scenario  by  Carey 
Wilson.  Directed  by  George  Fitzmaurice.  The  cast: 
Officer  Thomas  McCarthy,  Milton  Sills;  Anna  Janssen, 
Dorothy  Mackaill;  Alastair  de  Vries,  Gladden  James; 
"Fatty"  Fargo,  Jed  Prouty;  Means,  Sidney  Bracey; 
Lavoris  Smylhe,  Gertrude  Howard;  Baby  Meyers, 
Marion  Byron;  Howard  Donegan,  George  Fawcett; 
Judge  of  the  Court,  William  Holden;  District  Attorney, 
Frank  Reichcr;  Governor  of  the  Island,  August  Tol- 
laire. 

"JAZZLAND"— Quality.— From  the  story  by 
Samuel  Merwin.  Continuity  by  Ada  McQuillan. 
Directed  by  Dallas  Fitzgerald.  The  cast:  Stella 
BaggoU,  Vera  Reynolds;  Homer  Pew,  Carrol!  Nye; 
Hamilton  Pew,  Forrest  Stanley;  Ertiesl  Hallam, 
Bryant  Washburn;  Martha  Baggoit,  Virginia  Lee 
Corbin;  Kitty  Pew,  Violet  Bird;  Joe  Bitner,  Carl 
Stockdale;  Wilbraham,  Edward  Cecil;  Nedick,  George 
Rapli ;  Jackson,  Nicholas  Caruso ;  Mrs.  Baggott^ 
Florence  Turner;  Mr.  BaggoU,  Dick  Belfield. 

"LITTLE  SAVAGE,  THE"— FBO.— From  the 
story  by  Frank  Howard  Clark.  Continuity  by  Frank 
Howard  Clark.  Directed  by  Louis  King.  Photog- 
raphy by  Virgil  Miller.  The  cast ;  Red,  Buzz  Barton; 
Hank,  Milburn  Morante;  Baby,  Willard  Boelner; 
Kitty,  Patricia  Palmer;  Norton,  Sam  Nelson;  Blake, 
Ethan  Laidlaw. 

^•LOOPING  THE  LOOP"— UFA- Par  amount.— 

From  the  scenario  by  Arthur  Robison  and  Robert 
Liebmann.  Directed  by  Arthur  Robison.  Photog- 
raphy by  Carl  Hoffmann.  ,The  cast :  The  Clown.  Werner 
Krauss;  The  Girl,  Jenny  Jugo;  The  Artist,  Warwick 
Ward. 

"LUCKY  BOY"— Tiffany-Stahl.— From  the 
story  by  Viola  Brothers  Shore.  Directed  by  Norman 
Taurog  and  Charles  C.  Wilson.  Photography  by 
Harry  Jackson  and  Frank  Zukor.  The  cast:  Georgie 
Jessel,  George  Jessel;  Momma  Jessel.  Rosa  Rosanova; 
Poppa  Jessel,  William  K.  Strauss;  Eleanor,  Margaret 
Quimby;  Mrs.  Ellis,  Gwen  Lee;  Mr.  Ellis,  Richard 
Tucker;  Mr.  Trent,  Gayne  Whitman;  Becky^  Mary 
Doran. 

"MANHATTAN  KNIGHTS"  —  Excellent.  — 
From  the  story  by  Adeline  Leitzbach.  Directed  by 
Burton  King.  Photography  by  Eddie  KuU  and' 
Walter  Haas.  The  cast:  Margaret,  Barbara  Bed- 
ford; Robert  Ferris,  Walter  Miller;  James  Barton, 
Ray  Hallor;  Henry  Ryder,  Crauford  Kent ;  Chick 
Watson,  Eddie  Bolland;  Julia,  Betty  Worth;  Duke 
Mellis.  Noble  Johnson;  Barry,  Joe  Burke;  Cuiseppi, 
Leo  White. 

"NOTHING  TO  WEAR"— Columbia.— From 
the  story  by  Peter  Milne.  Continuity  by  Peter 
Milne.  Directed  by  Erie  C.  Kenton.  Photography 
by  Joe  Walker.  The  cast:  Jackie  Standish,  Jacque- 
line Logan;  Phil  Standish,  Theodore  Von  Eltz; 
Tommy  Butler,  Br>'ant  Washburn;  Irene  Hawley, 
Jane  Winton;  Detective,  William  Irving;  Maid, 
Edythe  Flynn. 

"MY  MAN" — ^Warners. — From  the  story  by 
Mary  Canfield.  Scenario  by  Robert  Lord.  Directed 
by  Archie  L.  Mayo.  Photography  tfy  Frank  Kcfson. 
The  cast:  Fannie  Brand,  Fannie  Brice;  Joe  Halsey, 
Guinn  Williams;  Edna  Brand,  Edna  Murphy;  Landau, 
Andreas  De  Segurola;  Waldo,  Richard  Tucker; 
Thome,  Arthur  Hoyt;  Sammy,  Billy  Seay;  Mrs. 
Schtdtz,  Ann  Brody;  Forelady.  Clarissa  Selwynne. 

"OUTLAWED"— FBO.— From  the  story  by 
George  W.  Piper.  Continuity  by  George  W.  Piper. 
Directed  by  Eugene  Forde.  Photography  by  Nor- 
man Davol.  The  cast:  Tom  Manning,  Tom  Mix; 
Ann,  Sally  Blane;  Scth,  Frank  M.  Clark;  Dervish, 
Al  Smith;  McCasky.  Ethan  Laidlaw;  Sagebrush, 
Barney  Furey;  Sheriff,  Al  Ferguson. 

"PREP  AND  PEP"— Fox.— From  the  story  by 
John  Stone.  Scenario  by  John  Stone.  Directed  by 
David  Butler.  The  cast:  Cyril  Reade,  David  Rol- 
lins; Dorothy  Marsh,  Nancy  Drexel;  "Flash"  Wells. 
John  Darrow;  Col.  John  Marsh,  E.  H.  Calvert; 
Bunker  Hill,  Frank  Albertson;  Coach,  Robert  Peck. 

"REDEEMING  SIN.  THE"— Warners.— From 
the  story  by  L.  V.  Jefferson.  Adapted  by  Harvey 
Gates.  Directed  by  Howard  Brctherton.  The 
cast:  Joan  Villaire,  Dolores  Costello;  Dr.  Raoul 
Deboise.  Conrad  Nagel;  A  Sewer  Rat,  Georgie  Stone; 
Petite.  Phillipe  De  Lacy;  Father  Colomb,  Lionel  Bel- 
more;  Lupine,  Warner  Richmond;  Mttzi,  Nina 
Quartaro. 

"RESCUE,  THE*"— Goldwyn-United  Artists. 
■ — From  the  story  by  Joseph  Conrad.  Scenario  by 
Elizabeth  Meehan.  Directed  by  Herbert  Brenon. 
Photography  by  George  Barnes.  The  cast:  Tom 
Lingard,  Ronald  Colman;  Lady  Edith  Trovers,  Lily 


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Damita;  Trovers,  Alfred  Hickman;  Carter,  Theodore 
Vun  Eltz;  Hassim,  John  Davidson;  D'Alcacer,  Philip 
StranKc;  Joraensen,  Bernard  Siegel;  Datnatt,  Sojin; 
Belarab.  Harry  Cording;  Immada,  Laska  Winters; 
Jnffir,  Duke  Kahanamoku;  Shaw,  Louis  Morrison; 
Tenga,  Christopher  Martin;  Wasub,  George  Rigas. 

"RIVER.  THE" — Fox.— From  the  story  by 
Tristram  Tupper.  Scenario  by  PhiHp  Klein  and 
Dwijiht  Cummins.  Directed  by  Frank  Borzagc. 
riioto^iraphy  by  Ernest  Palmer.  Tlie  cast:  Allen 
John  Pender,  Charlea  Farrell;  Rosalee,  Mary  Duncan; 
Sat7i  Thompson.  Ivan  Linow;  Marsdon,  Alfredo 
Sabato;  Widow  Thompson,  Margaret  Mann;  The 
Miller,  Bert  Woodruff. 

"SATANESQUE"— Sparta.— From  the  story  by 
John  Reinhardt.  Directed  by  John  Rcinhardt. 
Photography  by  John  P.  Whalen.  The  cast:  Count 
IJmberto  Delia  Saradesca,  Jack  Hoyle;  Coutit  Guide 
Saradesca,  Norman  Trevor;  Felipe,  F.  Schumann- 
Heink;  Luigi,  Alexis  Demitrius;  Crezia,  Florence 
AUen. 

"SKY    SKIDDER,    THE"— Universal.— From 

the  story  by  Val  Cleveland.  Adapted  by  Va!  Cleve- 
land. Directed  by  Bruce  Mitchell.  Photography  by 
William  Adams.  The  cast:  Al  Simpkins,  Al  Wilson; 
Stella  Ilearns.  Helen  Foster;  Silas  Smythe,  Wilbur 
McGaugh;  Bert  Beetle,  Pee  Wee  Holmes. 

"SQUARE  SHOULDERS"— Pathe.— From  the 
story  by  George  Dromgold,  Houston  Branch  and 
Peggy  Prior.  Adapted  by  George  Dromgold , 
Houston  Branch  and  Peggy  Prior.  Directed  by  E. 
Mason  Hopper.  Photography  by  Dave  Abel.  The 
cast:  Slag,  Louis  Wolheim;  Tad.  Junior  Coghlan; 
Eddie.  Philippe  De  Lacy;  Mary  Jane,  Anita  Louise; 
Carlwright,  Montague  Shaw;  Hook.  Jolmny  Morris; 
Delicate  DoJi,  Kewpie  Morgan;  Commandant,  Clarence 
Geldcrt. 

"TROPICAL  NIGHTS"  -Tiffany-Stahl.  — 
From  the  story,  "A  Raid  on  the  Oyster  Pirates."  by 
Jack  London.  Continuity  by  Bennett  Cohen. 
Directed  by  Elmer  Clifton.  Photography  by  John 
Hoyle.  The  cast:  Mary  Hale,  Patsy  Ruth  Miller; 
Jim,  Malcolm  McGregor;  Harvey.  Ray  Hallor; 
Stavnmv,  Wallace  McDonald;  Singapore  Joe,  Russell 
Simpson. 

"TROPIC  MADNESS"— FBC— From  the  story 
by  Ramon  Romeo.  Continuity  by  Wyndham  Git- 
tens.  Directed  by  Robert  Vignola.  The  cast: 
Juanila.  Leatrice  Joy;  Koki,  Lena  Malena;  Hender- 
son, Geo.  Barraud;  Johnson,  Henry  Sedley;  Lennox, 
Albert  Valentino;  /"ranfeie,  David  Durand. 

"  UNDER  THE  SOUTHERN  CROSS  "-UNrvER- 
SAL. — Directed  by  Lew  Collins.  The  cast:  Patili, 
Patiti  Warbrick;  Miro,  Witarina  Mitchell;  Rangi, 
Hoana  Kcepa;  Anu,  Ani  Warbrick;  Te  Kahu, 
Apirihana  Wiari;  Paiaka,  Te  Paiaka;  Tamanui,  the 
fat  carver,  Paora  Tamati;  Eura,  carver's  wife,  Ewa 
Tapiri. 

"WILD  ORCHIDS"— M.-G.-M.— From  the  story 
by  John  Colton.  Adapted  by  Willis  Goldbeck. 
Directed  by  Sidney  Franklin.  Photography  by  Wm. 
Daniels.  The  cast:  Lillie  Sterling,  Greta  Garbo; 
John  Sterling,  Lewis  Stone;  Prince  de  Gace,  Nils 
A  St  her. 

"WOLF  SONG" — Paramount. — From  the  story 
by  Harvey  Fergusson.  Adapted  by  John  Farrow. 
Directed  by  Victor  Fleming.  The  cast;  Sam  Lash, 
Gary  Cooper;  Lola  Salazar,  Lupe  Velez;  Gullion, 
Louis  Wolheim;  Rube  Thatcher,  Constantine 
Romanoff;  Don  Solomon  Salazar.  Michael  Vavitch; 
Duenna.  Ann  Brody;  Ambrosia  Guiierrez,  Russell 
Columbo;  Louisa,  Augustina  Lopez;  Black  Wolf, 
George  Rigas. 

"YELLOWBACK,  THE"— FBO.— From  the 
story  by  James  Oliver  Curwood.  Continuity  by  John 
Twist.  Directed  by  Jerome  Storm.  Photography  by 
Phil  Tannura.  The  cast:  O'Mara,  Tom  Moore; 
Elsie,  Irma  Harrison;  Jules,  Tom  Santschi;  Poleon, 
Wra.  Martin;  McDougal,  Lionel  Belmore. 


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Girls'  Problems 


[  continued  from  page  16  ] 

Irene: 

I  think  that  you  should  frankly  ask  the  boy 
in  question  about  this  other  girl.  Really,  it  is 
the  only  way  to  know,  and  it  is  the  only  way  in 
which  you  can  be  fair  both  to  yourself  and  to 
him. 

Fluffy: 

By  all  means  do  not  consider  dyeing  your 
hair.  It  sounds  very  lovely,  as  it  is.  And  re- 
member that  a  good  permanent  will  not  hurt 
the  hair — but  the  permanent  must  be  skillfully 
done. 

Carmen: 

No,  you  are  not  overweight — in  fact,  I  think 
your  weight  is  just  about  right.  But  I  do  think 
that  you  wear  your  dresses  too  short.  I  don't 
l)!ame  people  for  taking  you  to  be  a  child.  Your 
method  of  hair  arrangement  sounds  charming 
and  original. 


GROW-^ 

Yes,  Grow  Eyelashes 

and  Eyebrows  like  this 

in  30  days 

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•*"  way  to  make  eyelashes  and  eyebrows  actually 
grow.  Now  if  you  want  long,  curling,  silken  lashes, 
you  can  have  them — and  beautiful,  wonderful  eye- 
brows. 

I  say  to  you  in  plain  English  that  no  matter  how 
scant  the  eyelashes  and  eyebrows,  I  will  increase 
their  length  and  thickness  in  30  days — or  not  accept 
a  single  penny.  No  "ifs,"  "ands,"  or  "maybes."  It 
is  new  growth,  startling  results,  or  no  pay.  And  you 
are  the  sole  judge. 

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Over  ten  thousand  women  have  tried  my  amazing 
discovery,  proved  that  eyes  can  now  be  fringed  with 
long,  curling  natural  lashes,  and  the  eyebrows  made 
intense,  strong  silken  lines!  Read  what  a  few  of 
them  say,  I  have  made  oath  before  a  notary  public 
that  these  letters  are  voluntary  and  genuine.  From 
Mile.  HefHefinger,  240  W.  "B"  St.,  Carlisle.  Pa.: 
"I  certainly  am  delighted  ...  I  notice  the  greatest 
difference  • .  .  people  I  come  in  contact  with  remark 
how  long  and  silky  my  eyelashes  appear."  From 
Naomi  Otstot,  5437  Westminster  Ave.,  W.  Phila., 
Pa.:  "I  am  greatly  pleased.  My  eyebrows  and 
lashes  are  beautiful  now."  From  Frances  Raviart, 
R.  D.  No.  2,  Box  179,  Jeanette.  Penn.:  "Your  eye- 
lash and  eyebrow  beautifier  is  simply  marvelous." 
From  Pearl  Provo,  2954  Taylor  St.,  N.  E.,  Minne- 
apolis, Minn.:  "1  have  been  using  your  eyebrow  and 
eyelash  Method,  It  is  surely  wonderful."  From 
Miss  Flora  J.  Corriveau,  8  Pinette  Ave.,  Biddeford, 
Me.:  "I  am  more  than  pleased  with  your  Method. 
My  eyelashes  are  growing  long  and  luxiuious." 

Results  Noticeable  in  a  Week 

In  one  week — sometimes  in  a  day  or  two — you 
notice  the  effect.  The  eyelashes  become  more  beau- 
tiful— like  a  silken  fringe.  The  darling  little  upward 
curl  shows  itself.  The  eyebrows  become  sleek  and 
tractable — with  a  noticeable  appearance  of  growth 
and  thickness.  You  will  have  the  thrill  of  a  life- 
time— know  that  you  can  have  eyelashes  and  eye- 
brows as  beautiful  as  any  you  ever  saw. 

Remember  ...  in  30  days  I  guarantee  results  t\iz\, 
will  not  only  delight,  but  amaze.  If  you  are  not 
absolutely  and  entirely  satisfied,  your  money  will 
be  returned  promptly.  I  mean  j  ust  that — no  quibble. 
no  strings.  Introductory  price  $1.95.  Later  the 
price  will  be  regularly  $5.00. 


$5.00.  ^2j 


ffftA)^^ 


Grower  will  be  sent  C.  O.  D,  or  you  can  send 
money  with  order.  If  money  accompanies  order 
postage  will  be  prepaid. 


LUCILLE  YOUNG. 
S563    Lucille  Young  Building.  Chicngo.  IlL 

Send  me  your  new  discovery  for  growing  eye- 
lashfs  and  eyebrows.  H  not  absolutely  and 
entirely  satislit^d,  I  will  return  it  within  30  days 
and  you  will  return  my  money  without  question. 

Price  C.  O.  D.  is  $L9S  plus  few  cents  postage. 
If  money  sent  with  order  price  is  §1.95  and  post- 
age is  prepaid. 

State  whether  money  enclosed  or  you  want 
order  C.  O.  D_ 


Naroe_ 


6t.  Addres3_ 
City — 


When  you  write  to  advertisers  please  meDUon  PHOTOPLAY  MAQAZINR 


I40 


Photoplay  Magazine — Advertising  Section 


c/fe/z^ANNPEMINGTON 
Guards  Her  Health  an 
Beauty  L^V--. 


Thf  petite,  famout 
dancer.  Ann  Pen- 
nington, chtsckino 
her  ii<  eight  on  a 
BANSOhjHEA  L  TH 
SCALE. 

EVERYday,  she  checks  her  weig—. 
"In  the  intense  competition  of 
stage,  business  or  social  life,"  she  ad- 
vises, "you  must  keep  at  yourellicien- 
cy  weight  to  make  a  good  impression." 
This  is  best  done  by  daily  checking 
your  real  weight,  without  clothes,  on 
a  HANSON  HEALTH  SCALE. 
Every  home  should  have  one  of  these 
famous  scales.  Compact  and  sturdy 
six-spring  construction.  Weighs  to  250 
lbs.  Accurate  for  children  or  adults; 
guaranteed  for  5  years.  Cannot 
tip.  Beautifully  finished  in 
colors,  white  or  black. 


At  leading  stores  or 
direct  from  factory 


k 


^ 


^^  I  Marie: 

Yes,  you  are  overweight — almost  twenty 
ounds  overweight,  in  fact.  I  think  that  you 
hould  seriously  consider  dieting,  and  you 
should  certainly  read  my  booklet  on  weight 
reduction,  which  will  help  you  to  diet  wisely. 
If  you  were  slimmer,  with  your  coloring  you 
would  be  of  a  decidedly  exotic  type. 

Carolyn  L.  : 

You  also  are  over\\-eight — I  should  say  you 
are  ten  pounds  too  heavy.  But  your  case  is  not 
so  serious  as  Marie's!  My  suggestion  to  her 
will  do  nicely  for  you. 

If  your  hair  is  becoming  when  worn  long,  and 
>'ou  have  gone  through  the  troublesome  "grow- 
ing-in"  period,  I  think  you  would  be  silly  to  cut 
it  again.    By  all  means  wear  it  done  up. 

Dolly: 

You  are  not  very  much  overweight — in  fact, 
good  hearty  e.xercise  is  all  that  a  girl  of  your 
age  needs  to  keep  her  weight  right.  Dancing 
is  one  of  the  best  exercises  you  could  have  in- 
cidentally, and  you  like  it. 


^^ 


HAIVSOIV 


HXAI.TH    SCAXS 


^^ 


^"^ 


HANSON  BROS.  SCALE  CO.  | 

553  N.  Ada  Street.  Chicago,  III.  I 

Send  booltlet  describing  Hanson   Health  ■ 

Scales,  sbowins  famous  people  keepiog  at  ' 

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Name I 

Address I 


PCKTTY  ANKLES  $^./^ 

AND    CALVI/Sr      pei'paif 

ALflOST  ItlMEOMTELY  I 

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Ankle  Bands,  will  support  and 
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They  fit  like  a  glove.  Can  be  worn  nn-     'iS 
deranykind  of  nose  without  detection.      ' 
You  can  note  thedifference  inshapeof 
ankle  at  once.  Can  be  worn  at  nicht 
and  reduce  while  you  sleep,  orduring 
the  day  deriving  then  extra  benefit 
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Write  for  Dr.  Walter's  Special 
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DR.  JEANNE  P.  H.  WALTER 
389  Fifth  Avenue  New  York 

"Don't  Shout" 

*'I  heai  you.  I  can  hear 
now  as  well  as  anybody. 
•How?    Wiih  ihe  MORIEY 

PHONE.  I've  a  pair  in  tnv  eais 
now,  but  they  aie  invisible.  1 
would  not  know  I  bad  ibem  in 

myself,  only  ihat  I  bear  all  rishl." 
The  MORLEY  PHONE  foi  the 


DEAF 

.  to  the  ears  what  glasses 
are  to  the  eyes.      In* 
visible,  comfortable. weight-, 
lesa  and  harmless.      Anyone 
cu  adjust  iL    Over  100,000  sold.     Write  for  booklet  and  lestimonials 
THE  MORLEY  CO..  Dept. 789.  lOS.lSlh  St.  Phiia. 

MUSIC  LESSONS  .."..HOME 


You  can  read  music  like  this  quickly 
Write  today  foronr  FREE  BOOKLET.  Ittellgfaowtolearn 
to  play  Piano,  Organ,  Violin,  Mandolin,  Guitar,  Banjo,  etc. 
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AMERICAN  SCHOOL  Of  MUSIC     67   Manhattan  BulTtHnE.  CHICAGO. 


ERV 


Are  You  Always  Excited?     Fatigued?     Worried? 
Gloomy?  Pessimistic?  Conetipation.  indiscalion.  cold 
_  sweats,   duly   upclla  and    b^nhftitneaq  are  caused  by 

NERVE  EXHAUSTION.     Driuja,   Cnit-a   and   m^dicineji  cannot   help 
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CoDfidcncu.    Send  25c  for  this  amazing  book. 
RICHARD  BLACKST0Ne,N.223,  FLATIRON  BUILDING,  NEW  YORK 


Fritzie.- 

Your  trouble  is  a  common  one — you  are  self- 
conscious.  Try  to  be  natural  with  other 
people,  to  e.xpress  clearly  to  them  the  thoughts 
that  )'ou  carry  in  your  mind. 

G.  T.: 

Your  hair  is  a  chestnut  tinged  brown,  and  is 
very  pretty.  You  are  right  in  being  proud  of  it 
and  taking  good  care  of  it.  Do  not  neglect 
brushing  it,  even  though  it  seems  oily.  Con- 
stant brushing  will  tend  to  lessen  the  oil 
instead  of  promoting  it. 

M.  K.  H.: 

You  deserve  a  good  spanking.  And  you 
don't  deserve  a  good  husband.  I  think  you 
should  look  at  the  man  to  whom  you  are 
married  with  real  gratitude.  I  kno\v  of  hun- 
dreds of  women  who  would  gladly  change 
places  with  you. 

RuFUS: 

Yellow  eyes  have  always  seemed  to  me  the 
loveliest  of  all — because  they  are  so  rare,  I  sup- 
pose. In  your  case  I  would  certainly  dress  in  a 
manner  to  emphasize  such  an  asset.  I'd  comb 
my  hair  back  from  my  face,  to  give  my  eyes  full 
play,  and  at  night  use  just  a  dash  of  mascara  on 
those  curly  black  lashes.  Being  dark  and  sal- 
low your  best  colors  are:  amber,  yellow,  orchid, 
burgundy,  all  pinks,  cream  and  ivory  white. 

"Broken  Hearted": 

I  think  the  reason  for  your  lack  of  pop- 
ularity with  the  boys  is  the  fact  that  you  are 
far  too  self-conscious.  In  fact  your  self- 
consciousness  amounts  almost  to  conceit. 
Certainly  you  are  foohsh  in  not  dancing  with 
boys  that  are  shorter  than  you.  You  are  only 
accenting  your  height  by  being  so  over  careful. 

Cherry: 

Don't  tell  yourself  that  you  are  going  to  lose 
//;<■  boy  after  a  few  dates.  Convince  yourself 
that  you  are  going  to  keep  him  and  you  will. 


The  mental  thing  is  quite  important  in  your 
case.  Try,  by  all  means,  to  be  more  tolerant 
and  less  overbearing  in  your  conversation. 
That  is  important.  And  don't  think  that  you 
need  rela.x  in  any  of  your  high  ideals.  You  are 
quite  right  in  your  attitude  toward  boys  and 
their  relations  to  you. 

L.  S.: 

If  you  have  a  radio  or  a  phonograph  do 
exercise  with  their  help.  The  bending  exercises 
will  be  especially  beneficial.  Be  as  natural 
and  unaffected  with  the  boys  as  you  are  with 
the  girls.  And  you  will  no  longer  be  a  social 
failure.  As  to  colors — shades  of  green  and 
brown  will  be  the  best  answer  to  your  problem. 
Especially  Nile  green  and  beige. 

Lillian  Lee  I. ; 

Apply  rouge  far  out  on  your  cheeks,  towards 
your  ears.  Make  a  smooth  surface  that  follo\\  s 
the  far  line  of  the  cheek.  This  will  make  your 
face  seem  plumper.  Blue,  violete,  lacquer 
red — you  will  be  lovely  in  them.  But  no  color 
will  be  absolutely  unbecoming  to  you.  You 
are  wearing  your  hair  in  the  best  possible 
fashion.     No,  you  are  not  underweight. 

Trixie  : 

If  you  must  wear  blue,  you  will  be  sweetest 
in  the  powder  shade.  You  will  be  lovelier, 
though,  in  orange,  yellow,  lipstick  red  and 
kindred  colors.  Your  fair  skin,  with  your  dark 
hair  and  eyes,  should  lend  a  lovely  contrast. 

M.  J.: 

The  moles  can  only  be  safely  removed  by 
the  treatment  of  a  skin  specialist.  Have  you 
tried  covering  them  with  a  liquid  powder? 

Molly: 

The  popularity  that  grows  out  of  "petting" 
is  a  false  and  cheap  popularity.  Holding  your- 
self aH'ay  from  commonness  will  pay  in  the 
end.  Slen  seldom  marry  the  girls  who  are 
too  ready  to  "pet." 

"Questionnaire": 

Shades  of  blue  will  be  your  most  becoming 
colors.  Especially  the  glorious  shades  that  are 
being  worn  this  year.  You  are  also  one  of  the 
few  women  who  can  wear  the  shades  of  purple 
and  lavender  that  Paris  this  year  is  sponsoring. 

Eleanor: 

You  are  not  overweight — in  fact  you  are 
underweight.  Don't  let  any  one  tell  you  you 
are  too  heavy,  for  it  is  not  so. 

"Devoted  Admirer": 

Don't  worry  about  being  shy  and  self-con- 
scious— I  am  sure  that  it  enhances  your  charm. 
The  fact  that  you  have  attracted  one  young 
man  proves  that  you  are  not  lacking  in  appeal. 

Ruth: 

Read  popular  books  and  keep  up  with  cur- 
rent events.  This  should  help  you  carry  on 
interesting  conversation  with  the  other  sex. 
Remember,  however,  that  the  most  popular 
girl  is  often  the  girl  who  is  the  best  listener. 
Cultivate  this  habit. 


Absent  Without  Leave 


;  CO.NTINUED  FROM  PAGE  53  1 


him  to  school,  he  attended  Eton  where  he  was 
put  in  the  same  house  with  young  Prince 
Henry.  At  Eton  His  Highness  was  plain 
Henry  Windsor  who  had  no  special  pri\'ileges. 
"They're  rather  shy,  all  the  royal  family," 
said  Loder.  "Shy  and  blond  and  charming. 
Henry  used  to  invite  us  to  his  room  in  the 
afternoon  for  tea  and  talk.  The  tea  was  excel- 
lent. The  talk  rather  bromidic,  I'm  afraid. 
There  was  the  latest  news  about  football  to  be 
gone  over  and  much  about  rowing.    Affairs  of 


state  bored  us  and  their  discussion  was  con- 
sidered in  poor  taste. 

"We  never  thought  of  Henry  as  a  prince. 
He  was  fairly  good  in  his  studies,  better  at 
sports,  and  always  quiet. 

"There  was  great  excitement  when  the 
Prince  of  Wales  came  from  Oxford  to  visit  on 
Sunday  afternoons.  He  used  to  drive  down  in 
an  open  sports  car  (always  alone,  for  he  is  a 
lonely  fellow)  and  we  boys  hung  out  the  win- 
dow to  see  him. 


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"Oh,  mind  you,  we  weren't  entranced  be- 
cause he  was  successor  to  the  throne,  but 
merely  because  he  was  from  0.\ford.  All  Eton 
boys  respect  Oxford  men  and  look  up  to  them. 

"Sometimes  Prince  Henry  invited  us  to 
have  tea  with  his  brother  and,  when  C|uestioned 
enough,  he  would  regale  us  with  line  tales  of 
life  at  Oxford." 

Loder  paused  to  ask  the  waitress  at  the 
restaurant  where  we  were  lunching  what 
buckwheat  cakes  were.  He  decided  to  take 
a  chance. 

WK  really  love  our  royalty  in  England," 
he  continued.  "They  are  a  symbol  of 
something  fine  and  substantial.  They  are  the 
nation.  Strangely  enough,  even  the  poorest  of 
us  or  even  those  with  political  differences, 
respect  them. 

"On  the  very  day  that  I  was  going  to  Holly- 
wood I  passed  by  Buckingham  Palace  in  a 
cab.  The  King  was  just  coming  out  of  the 
gate  for  his  morning  canter  and  the  cab 
driver  stopped,  open-mouthed.  That  man 
was,  no  doubt,  a  socialist.  He  had  probably 
shouted  no  end  of  times,  'To  'ell  with  kings,' 
yet  he  stopped  and  took  off  his  hat  and  waited 
until  the  King  of  England  had  passed.  And  he 
was  impressed.  He  found  himself  in  the 
presence  of  the  British  Empire!" 

He  paused,  turning  a  ring  on  his  finger. 
The  ring  had  been  taken  from  a  captured 
Bedouin  sheik. 

"King  George  is  a  simple,  kindly  man.  He 
visited  Eton  while  I  was  there  and  I  was  one 
of  those  chosen  to  be  in  his  guard  of  honor. 
Taught  as  I  was  to  conceal  my  feelings,  1 
didn't  let  anyone  know  how  excited  I  was. 
We  drew  up  at  attention  and  he  passed  down 
the  line  to  speak  to  each  of  us. 

"His  words  were  far  from  brilliant,  but  I 
shall  never  forget  them.  He  asked  me  in 
what  house  I  was.  'Ah,'  said  he,  'Henry  is  in 
that  house.    Is  he  a  good  student?'  " 

When  Loder  left  school,  Henry  bade  him  an 
English  farewell.  It  is  done  by  placing  a 
right  hand  on  a  left  shoulder.  The  prince 
was  younger  than  Loder  and  remained  while 
John  went  away  to  war  as  one  of  the  King's 
hussars.  It  was  during  the  war  that  he  met 
Wales  riding  alone  in  Suez.  He  saw  him 
again,  alone,  behind  the  lines  in  France.  They 
talked  of  England  and  their  homesickness. 

Even  then  Loder  was  not  finished  with 
royalty.  On  a  military  mission  to  Germany, 
after  the  war,  he  was  thrown  in  contact  with 
the  cousins  of  the  Windsors,  the  German 
princes.  He  found  that  they  had  the  same 
shy  manner  that  characterized  the  English 
family. 

AT  this  time  a  theatrical  career  had  not 
entered  young  John's  head.  He  knew  that 
the  army  bored  him,  but  when  he  got  his 
release  he  turned  business  man. 

It  took  no  psychic  powers  to  discover  that 
Ger  ■nans  liked  English  pickles  and  Worcester- 
shire sauce.  But  the  German  mark  was 
sounding  ifs  death  rattle  at  that  moment 
and  imported  delicacies  were  out  of  the 
question.  Loder  and  a  friend  found  that  they 
could  manufacture  these  condiments  in  Ger- 
many at  very  little  cost.  They  did.  And  sud- 
denly the  mark  took  a  turn  for  the  better. 
Importing  began  again  and  the  business 
failed. 

Loder  gathered  up  his  pickles  and  was 
on  the  verge  of  leaving  when,  through  a  friend, 
he  found  work  as  an  actor  with  V¥A.  This 
led  him  to  England  as  a  leading  man  anrl 
eventually  to  America. 

It  was  in  Hollywood  that  he  met  the  young- 
est princeling  of  the  royal  family. 

At  a  dinner  at  Pickfair  Prince  George  was 
the  honored  guest.  He  discovered  that  Loder 
was  English  and  they  chatted  together. 

"What  are  you  doing  here?"  asked  Loder. 

"I'm  absent  without  leave,"  said  Prince 
George. 

"So  am  I,"  said  Loder,  thinking  of  foggy 
London  nights  and  jagged  reflections  from  the 
lights  along  the  damp  streets. 


EARLE      LIEDERMAN,       The    Muscle    Builder 

Author   of   "Muscle   Bulldlno."    "Science   of   Wrcafling." 
"  iSecrets  of  Ulrenijth"  "Here's  Healtli,"  "Endurance,"  etc. 

NEW  BODIES  ^?#^2^ 

Have  you  ever  watched  a  magician  pick  wriegling 
rabbits  out  of  a  high  hat?  A  wiuiderful  trick,  you  say- 
Well.  I'm  a  magician  oi  a  diflerrnt  sort— a  magician 
that  builds  health  and  strength  into  your  body  in  Just 
24  hours.  And  It  is  no  trick.  It  took  me  19  years  of 
tireless  planning  and  experimenting  to  be  able  to  do  It. 

People  call  me  the  AIuscle-Buikler,  because  I  take 
weak,  run-down  bodies  and  transform  them  into  strong, 
virile,  handsome  bodies  in  double-quick  time.  Aiid  I 
aciually  do  it  in  ^4  hours. 

In  the  Privacy  of  Your  Own  Room 

By  this  I  do  not  mean  that  you  must  exercise  24 
hours  continuously.  My  scientific  short-cut  to  healthy, 
handsome.  Ijroad-shouldered  bodies  must  be  taken  in 
short  15  minute  doses.  Because,  if  you  exercised  more 
than  that  In  my  high-pressure,  quick  development  way. 
you  would  tear  down  more  than  I  can  build  up.  So  all 
I  ask  of  you  is  15  minutes  of  your  spare  time  each  day 
for  !)0  days  (actually  only  22  '^  hours  time)  doing  simple, 
easy  exercises  under  my  guidance.  You  can  do  them 
in  the  privacy  of  your  room,  it  you  wish,  but  you  must 
do  them  every  day  to  get  the  best  results. 

And  What  Results! 

In  the  first  30  days  I  guarantee  to  add  one  whole 
Inch  of  real,  live  muscle  on  each  of  your  arms,  and 
two  whole  inches  of  the  same  revitalizing  strength  across 
your  chest.  I'll  take  the  kinks  out  of  your  back, 
strengthen  and  broaden  your  shoulders,  give  you  a 
wrist  of  steel,  and  a  fighting,  peppy  personaUty  that 
just  yells  youth,  vigor  and  vitality  all  over. 

I  Work  Inside  As  Well  As  Out 

Your  heart,  your  liver,  your  kidneys,  your  lungs— all 
your  internal  organs  get  the  jolt  of  their  young  lives 
when  I  start  to  work  on  them.  And  they  settle  down 
to  an  orderly,  well-mannered  existence  that  means  a 
new  kind  of  happiness  for  you — the  joy  of  living  that 
only  a  healthy,  virile  body  can  give  you.  And  the 
headaches,  constipation  troubles,  aches  and  pains  that 
are  always  caused  by  weakened,  flabby  bodies  somehow 
miraculously  disappear. 

You  See  It  in  Her  Eyes 

And  will  your  friends  notice  the  difference!  Just 
watch  that  girl  you  love  so  dearly  fight  to  hold  your 
attention!  And  the  boys  in  your  crowd — they'll  look 
up  to  you  as  a  real  leader.  Instinctively  they  worship 
strength  and  the  leadership  that  must  go  with  It.  But 
let  me  tell  you  all  about  it. 

Send  For  My  New  64-Poge  Book 

Muscular  Development'^ 

IT  IS  FREE 

I  do  not  ask  you  to  send  me  a  single  cent.  All  I  do 
ask  Is  that  you  write  today  for  my  free  64-pagt  book 
"Muscular  Development"  so  you  will  be  able  to  read  for 
yourself  just  what  I  do  for  you  and  what  I  have  done  for 
others.  This  book  contains  4.s  full  page  photographs  of 
myself  and  many  prize  winning  pupils  I  have  trained. 
Many  of  these  were  pitiful  weaklings.  Look  at  them  now! 
I  want  you  to  have  a  copy  for  the  sake  of  your  future 
health  and  happiness,  so  send  today^do  it  now  before 
you  turn  this  page. 


i( 


n 


"1 


EARLE  LIEDERMAN,  Dept.  103 
305  Broadway,  New  York  City 

Dear  8ir:  Please  send  me,  without  obligation  on 
my  part  whatever,  a  copy  of  your  latest  book, 
"Muscular  Development." 


I  Name. . . 
I  Address 
I  City  ... 
I 


Stale  .. 

(Please  write  or  print  plainly) 


._! 


When  sou  write  to  advertisers  please  mention  PHOTOPI^AT  MAG.iZINE. 


Photoplay  Magazine — Advertising  Section 


Blanche  V.  Ericksen,  Ramona,  Okla. 


Donald  M.  Bump,  Orchard  Lake,  Mich. 


Mellin's  Food-A  Milk  Modifier 

Balanced  Nourishment 

Careful  study  in  regard  to  food  requirements  during  the  first 
year  of  life  followed  by  close  observation  in  relation  to  actual  results 
places  Mellin's  Food  in  a  position  to  demand  recognition  as  a  scientific 
and  practical  modifier  of  milk  for  infant  feeding. 

The  selection  of  Mellin's  Food  and  milk  in  the  preparation  of 
nourishment  for  a  baby  who  must  be  bottle  fed  is  a  wise  choice,  for 
such  a  diet  supplies  essential  food  elements  for  tissue  growth,  muscular 
activity,  bodily  warmth  and  bone  structure,  thus  making  ample  pro- 
vision to  meet  every  nutritive  demand  of  early  life. 


Mellin's  Especially  suitable  Mcllill's 

Food  when  it  becomes  time  to  wean  Food 

Biscuits  the  haby  from  the  bottle  BisCuitS 

A  sample  box  sent  free,  postage  paid,  upon  request. 

Mellin's  Food  Co.^^      177  State  St.,      Boston,  Mass. 


Elvery  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


X^hile  your  lovely 
'best"  china  is  getting 
,  gay  sparkle  from 
vory's  clean,  odorless 
uds,  your  hands  are 
irotected  by  Ivory's 
mrity   and   mildness. 


Your  party  linens, both 
snowy-white  and 
tinted,  stay  newer- 
looking  longer  when 
tubbed  in  Ivory.  And 
your  hands  stay 
smooth  and  white 
when  they  use  Ivory 
for  laundering  and 
other  soap-and-water 
tasks. 


Tlie  hands  that  set  a  table  with  fine  linen  and  glcunni!;  silver 
should  themselves  look  ready  for  the  party.  They  can  —  if  they 
use  Ivory  whenever  they  use  soap. 


ja/r  IV I  life  hands 

when  you  use 
a  kind  soap  for  every  soap-and-water  task 


WONDERFUL  HANDS!  Like  actresses 
they  play  a  double  part — one  mo- 
ment at  household  tasks— another 
moment  charming  in  the  eyes  of 
the  world. 

Can  it  be  done?  It  is  being  done 
in  innumerable  servantless  homes. 
In  their  own  living  rooms  we 
have  talked  to  attractive  women 
who  are  keeping  their  hands  grace- 
ful and  young. 

This  is  about  what  they  say: 
"The  least  expensive  way  to  keep 
the  hands  smooth  and  soft  is  to 
use  Ivory  Soap  for  every  soap- 


and-water  task.  Ivory  protects  the 
hands  while  they  are  working.  For 
Ivory  is  so  gentle  that  it  is  a  baby 
soap.  It  is  efficient  soap,  too.  We 
find  it  does  sturdy  cleansing  tasks 
well." 

Isn't  this  simple  and  sensible 
beauty-advice? 

After  all,  hands  that  are  treated 
like  ugly  ducklings  all  the  work- 
ing day  can't  be  expected  to  turn 
into  white  swans  even  after  an 
eleventh -hour  manicure  —  for 
lotions  can't  undo  the  harm  to 
sensitive  skin  and  cuticle  caused 


by  the  use  of  harsh,  parching 
soaps. 

Isn't  it  wiser  to  use  Ivory — 
which  really  is  a  form  of  beauty- 
insurance?  After  each  Ivory  cleans- 
ing task  dry  your  hands  well.  Then, 
with  your  usual  grooming,  they 
are  always  ready  for  parties. 

PROCTER   &   GAMBLE 

FREE!  A  little  book  on  charm.  "What 
kind  of  care  for  different  complexions?  For 
hands.'  For  hair,  for  figures.'"  A  little  book, 
"On  the  Art  of  Being  Charming",  answers 
many  questions  like  these  and  is  free. 
Address  Winifred  S.  Carter,  Dept.  W-39, 
P.  O.  Box  1801,  Cincinnati,  Ohio. 


IVORY 


SOAP 


Kind    to    everything    it    touches 


99  ^Vioo  Vo  Pure    "It  floats" 


©  1829.  P.  t  O.  Co. 


IPANA  is  the  Tooth  Paste  for  you ! 

your  teeth  will  shine -your gums  will  be  firm 

FOR  the  health  of  your    ^■■Bps  '^^S  ^^^^    invigorated   your  For   Ipana    is   specifically  com- 

gums— and  the  beauty    ^B^M[v        ■  %vhole  mouth  feels.  pounded  to  tone  and  invigorate  the 

of  your  teeth— will  you  P"!  |  "^P      ^  Now  keep  it  up,  twice  gums  while  it  cleans  the  teeth.  Its 

make  this  simple  experi-    \^    '  a  day,  for  at  least  30  days.  special  virtue    in    massage    is    its 

Dient?  $  '%■  'K    Result:   cleaner,  whiter,  content  of  ziratol  —  a  stimulating 

Stop  at  the  next  drug    /      *  »    brighter  teeth ...  firmer,  hemostatic  widely  used  by  dental 

store  you  pass  and  get  a  harder,  healthier  gums  specialists.     And  it  is  this  ziratol 

full-size  tube  of  Ipana  Tooth  Paste.       ...  and  before  a  month  is  out!  content,   plus   Ipana's   splendid 

Tonight  brush  your  teeth  and  The  greatest  enemy  of  our  gums,  cleaning  power,  that  has  won  for 

gums  with  it.  Then  spread  some       any  dentist  will  teU  you,  is  our  Ipana  the  hearty  support  of  den- 

Ipana  on  your  fingertips  and  rub      modern  diet  of  soft   and  savory  tists  the  country  over, 
your  gums  a  moment  or  two.               foods.  For  this  fare  gives  gums  no 

Tomorrow^,  start  the  day  Avith      work,  no  stimulation.    The  blood        1  he  coupon  offers  you  a  lo-day 

another  brushing  and  massage  with       does  not  circulate   freely   within  tube  of  Ipana,  gladly  sent.  But  the 

Ipana.  Note  how^  clean,  how  fresh       their  w^alls.    The   tissues   become  full-tube  trial  makes  a  fairer  test. 

__^^_^____^_^__^_______^      soft,  tender,  anemic.   "Pink  tooth  So  get  a  regular  tube — enough  foi* 

fa'w Js?s't'r^I^New*V°rkfN! Y?  ^'  brush"  often  w^arns  of  w^orse  100  brushings  —  from  the  nearest 

P^Ti''ln"c1r/i?':'Sio!ceL'^^aS^7o°c°o™      troublcs  ou  the  Way.  druggist.    A   full   month's   use  of 

partly  the  cost  of  packing  and  mailing.  -  ^  n  ,       i  t  •!!  l  • 

N  aturaliy,  you  can  t  change  your  Ipana    will    prove    not    only    its 

jj^  diet.   But  with  Ipana  and  massage  cleaning    pow^er    and    delicious 

Citj, State you  can  counteract  the  damage  soft  taste,  but  its  benefit  to  your  gums  1 

©B.-M.  Co.,  1929  c         1         1  11  - 

^:;;;i;;SSiiiiii;;;;i;i^^^;;;ii;^^iii;        toods  do  your  gums.  aS   Well. 


APRIL 


/ 


/' 


The  TSldtional  Quiae  to  (Motion  Pictures 

cynup 


25  Cents 


^oW  Talking  Pictures 


T/)is  Cover  Drawijig  is  a 


*5p- 


RefinemM  io  Smoking, 

K^After  every  smoke 
Refresh  the  mouth  with '-^ 

I  uf E  SAVERS 

THE    CANOY    MINT    WITH    THE    HOLE 


FOR         "they 


TAKE  YOUR  B 


REATH  AWAY 


Photoplay  Magazine — Advertising  Section 


eceptive 


THERE  are  fads  and  fashions  in  foods 
as  well  as  in  gowns,  and  the  present 
generation  is  committed  by  custom  and 
the  mode,  to  serving  soft,  delicious  meals 
— without  fibre,  without  roughage! 

Which  is  precisely  why  the  American 
nation,  themost  advanced  in  dental  science, 
has  the  greatest  burden  of  gutn  troubles  to 
bear. 

For  the  human  gum  needs  exercise !  De- 
prived of  it  by  the  fare  of  modern  civiliza- 
tion, gums  grow  weak  and  unsound.  And 
teeth  become  affected. 

Watch  out  for  "Pink  Tooth  Brush!" 

If  ever  your  tooth  brush  "shows  pink" 
set  it  down  as  a  warning  that  somewhere 


on  your  gum  wall  a  soft  spot  has  come. 
Unchecked,  this  tender  spot  may  lead  to 
serious  trouble — gingivitis  or  pyorrhea. 

Get  after  "pink  tooth  brush"  with 
Ipana  and  massage.  Gently  massage  your 
gums  twice  daily,  with  your  brush  or 
with  your  fingers.  Speed  the  flow  of  blood 
to  the  tiny  cells  of  the  gums — wastes  are 
swept  away  promptly — depleted  tissues 
are  restored — and  healthy  gums  are  yours ! 

Ipana  Tooth  Paste  has  a  special  virtue 
that  gives  it  power  to  tone  the  gums: 
it  contains  ziratol  —  an  antiseptic  and 
hemostatic  widely  used  by  the  dental 
profession.  Thousands  of  dentists  recom- 
mend Ipana  and  massage  not  only  for  the 
beauty  that  it  brings  to  teeth,  but  for  the 
health  it  gives  to  gum*. 

Gtpe  Ipana  a  full  month's  test! 

We  will  gladly  send  you  a  ten  day  sample 
of  Ipana,  if  you  will  mail  the  coupon. 
Even  the  small  sample  will  show  you  that 
Ipana  has  a  delicious  taste,  and  that  it 
keeps  the  teeth  clean  and  sparkling! 

But  to  demonstrate  all  of  Ipana 's  good 
effects  in  oral  health,  a  longer  test  is 
needed.    Buy  a  full-size  tube  (enough  for 


\tis  harming  your  gums, 
endangering  your  teetk. 
..protect  them  both  with 

Ipana 

Toothpaste 

100  brushings)  from  your  druggist.  Start 
to  use  it  tonight.  Use  it  for  at  least  one 
month.  You  will  be  amazed  how  clean 
your  mouth  will  feel,  how  white  will  be 
your  teeth  .  .  .  how  healthy  your  gums. 
^ ©  lOig 

BRISTOL-MYERS  CO.,  Dcpt.  1-49 
73  West  Svccr,  New  York,  N.  Y. 

Kindly  send  mc  a  trial  tube  of  IPAN.\  TOOTH  PASTE. 
Enclosed  is  a  cwo-ceot  stamp  to  cover  partly  the  cost  of  packing 
and  mailing. 


Njf 


City 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


"THE    CA]¥ARY 
MURDER  CASE" 


M  he  worurs 
qreatest  entertainment- 

aiTAI^lTY 

malkbuf  wrtctures^  _^  ^ 


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ment until  you  have  seen  a 
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melodrama  by  S.  S.  Van  Dine.     With  William  Powell  as  "  Philo  Vance," 

James  HaU,  Louise  Brooks,  Jean  Arthur.   A  Malcolm  St.  Clair  Production.       Silent  — "  If  it's  a  Paramount 
Also  presented  in  a  "silent"  version,  for  theatres  not  yet  equipped  for  sound. 

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Tune  in  on  KNX,  Paramonnt  Pictures — Los  Angeles  Evening  Express  Radio  Statif^n,  broadcasting 
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Brery  advertisement  in  PHOTOPLAY  MAGAZINE  19  guaranteed. 


The  World's   Leading   Motion   Picture   Publication 


FREOBBICK    JAUES    SUITH 

VANAOINU  CDITOB 


MARK    LARKIN 

WRSTFRN    KDITOB 


Contents 


Vol.  XXXV 


0^.= 


The  High-Lights  of  This  Issue 


Cover  Design 

Clara  Bow — Painted  from  Life 


Charles  Sheldon 
6 


As  We  Go  to  Press 

Last  Minute  News  from  East  and  West 

Brief  Reviews  of  Current  Pictures  8 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets  10 

The  Voice  of  the  Fan 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck     16 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long- Shots        James  R.  Quirk    27 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

How  Talkies  Are  Made  Al  Cohn    28 

The  New  Art  That's  Transforming  the  Movies 

Don't  Be  Discovered  Mark  Larkin    32 

There's  Many  a  Slip  Betwixt  a  Screen  Engagement 
and  Popular  Favor 

The  Cisco  Kid  Himself  Tod  Hastings    34 

Proving  That  They  Do  Come  Back 


What  Are  Your  Correct  Colors? 

Laurene  Hempstead 
Here's  What  Every  "Red-head"  Should  Know 


40 


The  Studio  Murder  Mystery     The  Edingtons    42 

Within  One  Installment  of  the  Solution 


Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 


46 


Hollywood's  Apostle  to  the  Scots       Cal  York    50 

Aberdeen  Wants  to  Listen  In  on  Scandal 


The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

The  Old  Shoe  (Fiction) 

Adele  Whitely  Fletcher 

He  Was  Passe  as  an  Actor  but  He  Kindled  the  Spark 
of  Genius  in  Another 

Wanted — A  New  Name  for  the  Talkies 

There's  $500  in  This  for  Some  One 

Lillian  Fights  Alone  Leonard  Hall 

Meet  the  Real  Miss  Gish 

The  Big  Boy  Tells  His  Story 

As  lold  to  Dorothy  Spensley 
Beginning  the  Life  of  Gary  Cooper 

Amateur  Movies  Frederick  James  Smith 

Have  You  Entered  Photoplay's  $2,000  Contest? 

Avoid  Trick  Diets  Dr.  H.  B.  K.  WilHs 

In  Which  Common  Sense  Wins  a  Round 

How  the  Stars  Make  Their  Homes  Attractive 

Lois  Shirley 
Some  Ideas  for  Beautifying  Your  Dwelling 

The  Philosophy  of  Crime  Mark  Larkin 

S.  S.  Van  Dine's  Reflections  on  Murder 

One  Star  Is  Enough  Katherine  Albert 

Jobyna  Ralston  Gracefully  Retires  Before  Richard 
Arlen'a  Career 

Hot  Stuff 

The  Spanish  Stars  Give  Recipes  for  Their  Favorite 
Dishes 

Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film 
Folk 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


52 


56 


58 


63 


64 


66 


67 


68 


71 


72 


76 


91 


150 


<^- 


»,;^ 


A  complete  list  of  all  photoplays   reviewed   in  the   Shadow   Stage  this  issue  will  be  found  on  page  14 


rt^= 


i.^ 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Editorial  Ofiices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 

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

James  R.  Quirk.  President  Robert  M.  Eastman,  Vice-President  Kathryn  Dougherty.  Secretary  and  Treasurer 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba:  $3.00  Canada;  $3. .SO  to  foreign  countries.    Remittance3 

should  be  made  by  check,  or  postal  or  express  money  order.    Caution — Do  not  subscribe  through  persons  unknown  to  you. 

Entered  as  second-ola-ss  matter  April  24,  1912.  at  the  Po3totnce  at  Chicago,  ni..  under  the  Act  of  Marob  3,  1879. 

Copyright,  1929.  by  the  Photoplat  PUBLlsmNO  company,  Chicago. 


As  We  Go  to  Press 


WILLIAM  RUSSELL  died  suddenly 
in  Los  Angeles  on  February  18. 
Flu  and  pneumonia  caused  his 
death.  .  .  .  John  Barrymore  and  Dolores 
Costello,  our  most  famous  honeymooners, 
are  back  at  the  Warner  Studio  ready  for 
work.  .  .  .  Dole's  first  picture  will  be 
"Hearts  in  Exile."  .  .  .  Jack's  next  is  to 
be  "General  Crack,"  a  story  about  a  soldier 
of  fortune,  dated  18th  Century.  .  .  .  Inaug- 
uration Day  started  a  lot  of  film  folk  on 
fresh  careers  with  the  new  President.  .  .  . 
Dick  Barthelmess'  new  First  National  con- 
tract took  up  on  March  4.  .  .  .  Clara  Bow, 
Richard  Dix  and  William  Powell  all  began 
new  productions  on  that  day.  .  .  .  Between 
pictures  Clara  made  a  flying  trip  to  Broad- 
way, and  Dix's  new  film  was  begun  after  he 
had  spent  months  in  the  East,  working  and 
romping.  .  .  .  Bill  Powell  has  just  com- 
pleted a  long  holiday  tour  to  New  York  and 
Havana,  much  of  the  time  in  the  company 
of  Mr.  and  Mrs.  Barthelmess.  .  .  .  Warner 
Brothers  hang  out  flags  and  hire  a  band, 
because  two  of  filmdom's  dear- 
est and  best  have  just  gone  to 
work  for  them.  .  .  .  Tom 
Meighan  will  Vitaphone  his 
way  through  "The  Argyle 
Case,"  and  Pauline  Frederick 
the  Great  is  to  make  "Divorce 
Evidence"  as  a  talkie.  .  .  . 
Don't  be  surprised  to  hear  that 
Baclanova,  the  Russian  tigress, 
and  Nicholas  Soussanin  are 
married.  The  lady  has  just  re- 
ceived her  divorce  from  a 
shadowy  husband  in  Red  Rus- 
sia. .  .  .  Nothing  further  on 
the  rumor  that  Bessie  Love  is 
engaged  to  be  married.  Ever 
since  Bessie's  tremendous  hit 
in  "The  Broadway  Melody" 
she  has  been  reported  amo- 
rously entangled,  but  history 
tells  us  that  every  hit  brings  a 
rumor  of  betrothal,  marriage, 
or  both  in  sequence.  .  .  .  Even 
in  death,  the  late  Casson  Fergu- 
son upheld  the  trouper's  tradi- 
tion. He  played  his  last  scene 
in  "Dynamite"  for  Cecil  De 
Mille  the  day  before  he  died. 
.  .  .  Nils  Asther  is  suffering 
some  twinges  of  contract  com- 
plaint at  Metro  -  Goldwyn- 
Mayer,  and  threatens  to  re- 
treat to  Sweden  and  open  an 
antique  shoppe.  In  the  mean- 
time, he  is  telling  his  woes  to 
Seena  Owen.  .  .  .  Aileen 
Pringle's  contract  at  the  same 
studio  has  not  been  renewed. 
This  causes  no  surprise,  as  La 
Belle  Pringle  has  been  dis- 
satisfied with  her  stories  for 
some  time  past.  .  .  .  Smarty 
Billy  Haines  will  take  his  first 
trip  to  Europe  about  June  1. 
Bill  rates  a  three  month  vaca- 
tion, after  a  couple  of  years  of 
frenzied  posing  and  leaping 
before  the  camera. . . .  Wallace 
MacDonald  and  Doris  May, 
who   separated   last  fall,    are 


Last  Minute 

NEWS 

from 

East  and  West 


together  again,  and  may  be  seen  cooing  in 
some  of  the  quieter  Holly-wood  night  spots. 
.  .  .  Karl  Dane  is  going  to  open  a  beauty 
parlor  in  Hollywood,  with  Karl,  no  doubt, 
posing  for  the  "before  taking"  picture.  .  .  . 
As  your  eye  meets  this,  Camilla  Horn  may 
be  on  her  way  to  Africa  to  play  the  lady  lead 
in  "Trader  Horn."  She  is  now  dickering. 
Camilla  denies  that  she  is  related  to  the 
ancient    Trader.  ...  Mary    Pickford    is 


P  &  A  Photos 
Here  comes  the  bride,  not  to  mention  the  groom! 
On  St.  Valentine's  Day  Ruth  Roland,  the  former 
serial  queen,  and  Ben  Bard,  actor,  were  made  one 
by  a  Presbyterian  dominie,  with  three  hundred  of 
filmdom's  finest  in  attendance.  Ruth  and  Ben 
were  engaged  for  a  long  time,  and  the  wedding, 
was  an  event  in  the  history  of  the  cinema  city 


broken  out  with  social  ennui  after 
entertaining  fifty  women  for  a  week. 
Twenty-five  were  from  newspapers  and  the 
rest  a  flock  of  contest-winning  beauties  from 
25  American  cities.  For  relief  Mary  and 
Doug  went  down  to  Agua  Caliente  to 
gambol  a  bit.  .  .  .  About  April  1,  William  J. 
Locke  will  check  out  of  Hollywood  for 
Merrie  Old  England,  what,  what?  The 
famous  novelist  will  have  in  his  pocket  a 
check  for  $50,000  and  under  his  arm  the 
manuscript  of  a  story  that  Joe  Schenck  did 
not  want  for  Norma  Talmadge.  And  as 
Locke  will  probably  turn  it  into  a  fiction 
best-seller,  it  would  seem  that  his  California 
sojourn  was  hardly  a  total  loss.  .  .  .  That 
old  dame,  Rumor,  hath  it  that  Ann  Penning- 
ton, of  "Scandals"  and  100  per  cent  Itnees 
fame,  will  arrive  in  Hollywood  April  1  to 
make  "The  Gold-Diggers"  for  Warner 
Brothers.  But  maybe  it's  just  April  foolish- 
ment.  .  .  .  Looks  as  though  Janet  Gaynor 
may  end  the  suspense  once  and  for  all  by 
aimouncing  her  engagement  to  Lydell  Peck, 
the  young  San  Francisco  busi- 
ness man  she  has  known  for  a 
long  time.  She  promised  her 
mamma  that  she  would  under- 
go at  least  a  year's  engage- 
ment before  breaking  the  news 
to  her  palpitating  public.  .  .  . 
Sue  Carol  is  probably  under 
contract  to  Fox  by  this  time, 
with  her  first  film  to  be  "The 
Exalted  Flapper."  .  .  .  George 
O'Brien  broke  a  toe  while 
filming  "A  Son  of  Anak." 
That's  one  of  the  best  things 
George  does.  He  also  frac- 
tured one  during  the  making  of 
"Noah's  Ark."  .  .  .  F.  W. 
Mumau,  director  of  "Sunrise" 
and  "Four  Devils,"  is  going  to 
holiday  in  Germany  as  soon  as 
he  finishes  "Our  Daily  Bread" 
for  Fox.  After  three  months  he 
will  return  to  Hollywood  to 
make  two  more  pictures,  at  the 
rate  of  one  a  year.  .  .  .  After 
Olive  Borden  finished  her  first 
picture  for  RKO,  she  took  her 
mother  to  San  Francisco  for  a 
serious  operation.  ...  If  Col- 
leen Moore  signs  again  with 
First  National  in  July,  it  will 
be  for  two  years  at  the  rate  of 
two  pictures  a  year,  and  they 
will  make  noises.  Husband 
Johnnie  McCormick  is  now 
negotiating  a  new  document. 
Colleen  has  two  more  to  make 
under  the  old  contract.  .  .  . 
And  Billie  Dove  has  just 
signed  for  five  years  more  on 
the  First  National  lot.  She  is 
to  make  twelve  films,  all  gab- 
bles. .  .  .  Late  this  month 
Corinne  Griffith  will  also  head 
for  Europe.  Husband  Wal- 
ter Morosco  will  go  along  to 
furnish  the  romance,  and  Busi- 
ness Manager  Bill  Goetz  to 
hand  the  laughs.  When  she 
returns  in  June  she  will  start 
work  on  "Lillies  of  the  Field." 


Photoplay  Magazine — Advertising  Section 


Kathryn   McGuiye, 

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Picture,  "Childreti  of 
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THE  nMJVCO^—Attradive,  four  eye- 
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Suptorls  where  support  is  needed  —  bends  where  the  foot  bends 

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motion  pxctu^  ^^^^^^  ^,,. 

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S"  ^IHI"!^' 


Brief  Reviews  of 

Current  Pictures 


^Indicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


ADORATION— First  National. — Concerning  the 
post-revolution  romance  uf  a  Romanoff  prince  and 
princess.    Ornamented  by  Billie  Dove,     (yaw.) 

*ATR  CIRCUS,  THE— Fox.— Collegiate  stuff  in 
an  aviation  training  scliool.     Good.     (November.) 

AIR  LEGION,  THE— F BO.— Story  about  the 
air  mail  service  that  has  nothing  but  a  good  idea  to 
recommend  it.  (Dec.) 

AIR  MAIL  PILOT,  THE— Superlative.— Another 
air  mail  story  which  breaks  all  the  rules  of  aviation. 
{Dec.) 

ALIAS  JIMMY  VALENTINE— Metro-Gold\\Tn- 
Mayer. — The  old  favorite,  revived  with  William 
Haines.     Good.     (.Ocl.) 

ALL-AMERICAN.  THE— Supreme.— How  a  col- 
legiate sprinter  mops  up  the  Olympic  Games,  demon- 
strated by  Charlie  Paddock.     {March.) 

ALL  AT  SEA— Metro-Goldwyn-Mayer. — A  Dane- 
.\rthur  comedy.     The  title  explains  it.     {March.) 

AMAZING  VAGABOND,  THE— FBC— Not  so 
amazing.  Just  the  usual  stunts,  on  land  and  in  the 
air.     {Ja7t.) 

ANNAPOLIS  —  Pathe.  —  Pleasant  romance  and 
drama  among  the  admirals  of  the  future.   {November.) 

APACHE,  THE— Columbia.— Just  the  romance  of 
two  sweet  kids  in  the  Latin  Quarter — if  you  believe  in 
such  things.     {Feb.) 

AVALANCHE— Paramount.— Higli-class  Western 
with  lack  Holt  and  Baclanova — the  picture  thief  I 
{Jan.) 

AVENGING  RIDER,  THE— FBO.  —  Simple- 
minded  Western  mystery  story.     {Jan.) 

AWAKENING,  THE  —  United  Artists.  —  First 
starring  picture  of  Vilma  Banky  and  Waltt^r  Byron, 
lie's  a  nice  looking  lad.  A  "Marie-Odile"  plot. 
(November.) 

BANTAM  COWBOY,  THE— FBC— Only  good 
because  Buzz  Barton  is  in  it.     (Oct.) 

BEAUTIFUL  BUT  DUMB— Tiffany-Stahl.— 
Patsy  Ruth  Miller  in  gay  comedv.       (Oct.) 

BEGGARS  OF  LIFE— Paramount.— The  low- 
down  on  lioboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  song  I  {Dec.) 

BEHIND  THE  GERMAN  LINE&— UF.VPara- 
mount. — The  German  side  of  the  war,  with  excellent 
and  authentic  battle  scenes  spoiled  by  some  obviously 
studio  shots.     {Feb,) 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  who's  got  the  emerald?     {November.) 

BIG  HOP,  THE— Buck  Jones. — Mr.  Jones  crosses 
the  Pacific.    A  good  film.     {Oct.) 

BIT  OF  HEAVEN,  A— Excellent.— Broadway  vs. 
Park  Avenue.    A  good  performance  by  Lila  Lee.  {Oct.) 


-Fun  in  the  life  of 


BITTER  SWEETS— Peerless.- 
a  girl  detective.    {Dec.) 

BLACK  ACE,  THE— Pathe.— So-so  Western  that 
will  fill  in  a  blank  evening.      {Jan.) 

BLACK  BIRDS  OF  FIJI  —  Australasian.  — 
Another  South  Sea  Island  picture — only  so-so.   {I-'tb.) 

BLACK  BUTTERFLIES-Ouality.— Exposing  tlm 
wicked  ways  of  the  fake  Bohemians.     {November.) 

BLACK  HILLS,  THE— Dakota.— In  which  the 
dam  bursts  again.     (March.) 

BLOCKADE  — FBO.— Bootlegging  made  attrac- 
tivf  by  .Anna  Q.  Nilsson.  A  good  melodrama. 
{March.) 

BLOW  FOR  BLOW— Universal.— More  adven- 
tures of  Hoot  Gibson,  if  you're  interested  in  Westerns. 
(Feb.) 

BROADWAY  DADDIES  —  Columbia.- Trite 
Btorj'  but  well  acted.     {Oct.) 


BROADWAY  FEVER  —  Tiffany-Stahl.  —  Sally 
■  O'Neil  being  literally  too  cute  for  words  in  a  trivial 
story.     {March.) 

BROTHERLY  LOVE  —  Metro-Goldwyn-Mayer. 
— Messrs.  Dane  and  Arthur  in  burlesque  prison  re- 
form. The  big  moment  is  a  football  game  between 
two  rival  penitentiaries.     {November.) 

BURNING  BRIDGES  —  Pathe  —  Better-  than  - 
usual  Western,  with  that  good  hombre,  Harry  Carey, 
in  a  dual  role.  {Dec.) 

BURNING  THE  WIND— Universal.— One  of 
Hoot  Gibson's  lapses.     {Oct.) 

CAMERAMAN,  THE— Metro-Goldwyn-Mayer. 
— Buster  Keaton  redeems  himself  in  this  one.  Lots  of 
laughs.     {Oct.) 

*CANARY  MURDER  CASE,  THE— Paramount. 
—Logical  and  well  constructed  mystery  story. 
William  Powell  is  perfectly  swell  as  the  detective. 
(Feb.) 

CAPTAIN  CARELESS— FBO.— You'll  like  Bob 
Steele.     {Oct.) 

CAPTAIN  LASH— Fox.— A  coal  stoker's  romance 
or  love  on  the  waterfront.    Rather  strong  stuff.  (Feb.) 


Pictures    You 
Should  Not  Miss 

"In  Old  Arizona" 

"The  River" 

"Tke  Canary  Murder  Case" 

"Wild  Orchids" 

"7th  Heaven" 

"The  Singing  Fool" 

"Interference" 

"Mother  Knows  Best" 

"Street  Angel" 

"The  Patriot" 

"Four  Devils" 

"Wings" 

As  a  service  to  its  readers.  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


CAPTAIN  SWAGGER — Pathe. — Good  comedy 
in  wliich  Rod  La  Rocque,  as  a  nauglity  aviator,  is  per- 
suasively reformed  by  Sue  Carol.     (November.) 

♦CARDBOARD  LOVER,  THE— Metro-Goldwyn- 
Mayer. — Snappy  French  farce  comedy  with  Marion 
Davies — also  Jetta  Goudal  and  Nils  Aslher.  Sophis- 
ticated and  charming.     {Oct.) 


'CASE  OF  LENA  SMITH,  THE— Paramount.— 
Sincere  drama  of  tlic  love  affair  of  a  servant  girl,  her 
hardships  and  her  martyrdom.  A  real  picture  for 
intelligent  adult  audiences.     {Feb.) 

CAVALIER,  THE— Tiffany-Stahl.— Richard  Tal- 
madge  in  some  imitations  of  Douglas  Fairbanks. 
(Jan.) 

CELEBRITY— Pathe.— A  prize-fighter  gets  cul- 
ture.    Meaning  Mr.  Tunney?     (Oct.) 

CHARGE  OF  THE  GAUCHOS  —  FBO.— How 
the  Argentine  Repubhc  got  that  way.  With  Francis 
X.  Bushman.  {Dec.) 

CHEYENNE— First  National.— Ken  Maynard  in 
one  particularly  swell  Western.  {Dec.) 

CIRCUMSTANTIAL  EVIDENCE— Chesterfield. 
— Nothing  that  you  could  care  about  in  a  big  way, 
{March.) 

CIRCUS  KID,  THE— FBO.— You  can  sleep 
through  it.     {Dec.) 

CITY  OF  PURPLE  DREAMS,  THE  —  Rayart.— 
Story  of  wheat  pits  of  Chicago.  Top  heavy'  with 
drama.      {Jan.) 

CLEARING  THE  TRAIL— Universal.— Again 
saving  the  old  ranch.     {Oct.) 

CLEAR  THE  DECKS  —  Universal.  —  Reginald 
Denny  in  one  of  the  oldest  farce  plots  in  the  world. 
{March.) 

CLOUD  DODGER,  THE— Universal.— A  battle 
in  the  air  for  a  dizzy  blonde  1     {Oct.) 

CODE  OF  THE  AIR— BiscHoff.— More  air  stuff. 
Good  adventure  story.    {Oct.) 

COHENS  AND  KELLYS  IN  ATLANTIC  CITY, 

THE — Universal. — For  those  who  like  this  sort  of 
thing.     {March.) 

COME  AND  GET  IT— FBC— Contains,  among 
other  things,  a  good  boxing  match.  {Dec.) 

COMPANIONATE  MARRIAGE  —  Gotham.— 
Lots  of  propaganda.  With  sucli  a  live  topic,  this 
should  llave  been  a  better  picture.     (Oct.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  {Dec.) 

CRASH,  THE — First  National. — Not  an  under- 
world melodrama,  but  a  swell  thriller  with  a  good  per- 
formance by  Milton  Sills  and  a  rousing  train  wreck. 
{November.)  • 

DANGER  STREET — FBO. — A  rich  bachelor, 
disappointed  in  love,  drowns  his  grief  in  a  gang  war. 
Well,  that's  one  way  to  forget.     {November.) 

DEMON  RIDER,  THE— Davis.— Just  a  West- 
ern.    {Dec.) 

DESERT  NIGHTS  —  Metro-Goldwyn-Mayer.  — 
One  of  Jack  Gilbert's  less  fortunate  vehicles.  {March.) 

DIPLOMATS.  THE  —  Fox-Movietone.  —  Clark 
and  McCullough  in  a  two  reel  talkie  that  will  give  you 
some  laughs.     {March.) 

♦DIVINE  LADY,  THE— First  National. — The  old 
dirt  about  Lady  Hamilton  and  Lord  Nelson,  told  in 
romantic  fashion.  Pictorially  beautiful,  thanks  to  the 
lovely  face  of  Corinne  Griffith.     {Dec.) 

DIVINE      SINNER,      THE— Rayart.— Austrian 

drama  with  daring  but  grown-up  theme.      {Oct.) 

♦DOCKS  OF  NEW  YORK,  THE— Paramount.— 
A  drama  of  two  derelicts,  powerful,  dramatic  and 
stirring.  Superbly  acted  by  George  Bancroft  and 
Betty  Compson.  Worthwhile  adult  entertainment. 
{November.) 

♦DOCTOR'S  SECRET,  THE  —  Paramount.  — 
Barrie's  playlet,  "Half  and  Hour,"  emerges  as  a 
superior  and  well-constructed  talkie.  It  is  brilliantly 
acted  and  well  worth  your  time  and  money.   (March.) 

DOG  LAW — FBO. — Giving  Ranger  a  good  break. 
(November.) 

[  continlted  on  page  14  ] 


Photoplay  Magazine — Advertising  Section 


^e  Souths  Very  Soul 
Jfiea^ir^  to  you  from  Down  inDlxie 


HEAI^TS^  DIXIE 

is  the  first  authentic  screen  record  of  the  Old  South  ever  produced.  It  is 
a  singing,  dancing  comedy  with  music  —  all  the  actors  speaking  their 
parts    in    a    100%   Dialog  Dramatization    of  Dixieland    and    its    people. 

100 

native  entertainers,  including  the  famous  Billbrew  Chorus  of  60  Voices,  re- 
live the  vivid  romance  of  Ante-Bellum  Days  below  the  Mason  and  Dixon 
Line.    All  the  happy-go-lucky  joy  of  living,  laughter  and  all-embracing 
gusto  of  plantation  life  has  been  re-created  with  thrilling  realism  .... 

Forty  negro  spirituals  are  sung  by  a  magnificent  chorus— a  plantation  orchestra  struts 
its  stuff — folk  songs  are  hummed  by  roustabouts  and  stevedores  as  the  "Nellie  Bly" 
pulls  into  the  wharf.    Cake-walks,  folk  dances — breathlessly  beautiful,  crowd  the 
action  of  this  greatest  of  all 


'■^n 


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FOX    MOVIETONE   productions 

Watch  for  it  at  your  favorite  theatre 
Presented  by  WILLIAM  FOX 

Story  and  Dialog  by  Walter  Jf  eenis 
PAUL  SLOANE  Production 


J'.o       J!,,t.. 


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itn 


?y:i 


jk  I    »    ', 


AR  THOSE 
HEARTS  BEAT 
THE  CADENCES 
OF  THEIR  RACE.. 

.  .  along  the  levees 
and  in  the  cotton 
fields . .  .strummin' 
banjos . . .  chanting 
spirituals . . .  where 
life  is  infused  with 
an  ageless  melody 
—  throbbing  with 
emotion  —  epic  in 
its  simplicity. 


lETCTNE 

More  than  Sound^Life  itself!  j 


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The  Monthly  Barometer 

■  I  'HIS  month  the  three  prize-winning  letters 
■'-  are  all  about  the  talkies.  The  "Sound  vs. 
Silence"  controversy  still  leads  all  other  sub- 
jects in  Photoplay's  mail.  Next  comes  the 
Starving  Stardom  problem.  It's  surprising  the 
number  of  "fans"  who  complain  about  the 
too-thin  girl.  Underworld  and  crook  melo- 
dramas are  receiving  an  avalanche  of  brick- 
bats; the  public  seems  to  be  fed  up  on  them. 

Greta  Garbo's  return  to  Sweden  is  causing 
some  anxious  moments.  Last  month  Greta 
led  all  other  stars  in  Photoplay's  letters. 
Joan  Crawford  and  Clara  Bow  were  her  nearest 
competitors.  John  Gilbert,  Gary  Cooper  and 
"Buddy"  Rogers  were  the  leaders  among  the 
men.  Among  the  newcomers,  Baclanova  seems, 
by  all  odds,  the  most  interesting  personality  to 
the  "fans." 

"Wings,"  "Interference,"  "On  Trial,"  "The 
Singing  Fool"  and  "The  Shopworn  Angel"  are 
the  most  discussed  of  the  newer  pictures.  But 
wait  till  they  see  "In  Old  .\rizona." 

This  department  is  your  open  forum.  What 
have  you  to  say,  either  in  praise  or  criticism? 
Remember  that  your  opinions  guide  the  trend 
of  the  movies. 

$25.00  Letter 

San  Antonio,  Texas. 
I  have  just  seen  my  first  all  talking  picture. 
Imagine  my  surprise  when  I  found  that  the 
film  had  a  well-defined  plot,  that  the  players 
were  real  actors,  and  that  the  picture  was  as 
interesting  as  a  good  play  on  the  legitimate 
stage. 

Motion  pictures,  as  a  whole,  have  disin- 
tegrated into  e.\ploitations  of  bewildering 
scenic  effects,  sex  appeal  or  enormous  produc- 
tion costs.  Producers,  for  the  most  part,  have 
lost  sight  of  the  fact  that  a  plot  is  essential  to  a 
good  picture,  in  the  haze  of  attempting  to  out- 
do each  other  in  elaboration.  Acting  is  sacri- 
ficed before  background.  The  selection  of 
actors  depends  upon  their  sex  appeal  alone. 
The  long-suffering  public  is  surfeited  with  this 
sort  of  thing. 

_  The  talking  picture,  in  centering  the  atten- 
tion upon  the  players  themselves,  offers  a 
panacea.  Given  good  actors,  well-written 
plays,  pleasing  but  unostentatious  scenic 
effects,  clever  direction  and  correct  photog- 
raphy, the  talkies  must  become  what  they  are 
intended  to  be — the  acme  of  interesting  enter- 
tainment. 

10 


The  readers  of  PHOTOPLAY  are  in- 
vited to  write  to  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. 


The  public  will  sigh  with  relief  when  the  last 

plotless  picture  has  been  withdrawn  from  the 

screen   and   clever,   interesting   and   effective 

spoken  pictures  may  be  enjoyed  everywhere. 

Mrs.  W.  J.  L.ACKEY. 


,00  Letter 


Minneapolis,  Minn. 

Naturally  the  voice  of  the  infant  talkies  is  a 
little  squeaky.  So  was  yours  and  mine  when 
we  were  young.  Whenever  I  read  or  hear  a 
razz  on  talking  pictures,  I  ponder  anew  on 
evolution. 

Why  have  some  of  the  species  progressed 
only  physically,  still  retaining  their  monkey 
mentalities?  Surely  these  ridiculers  of  this 
advance  in  entertainment  must  be  throw- 
backs  from  the  goof  who  guffawed  at  the  iirst 
automobile. 

Of  course,  the  spoken  words  are  annoying  to 
the  Giddy  Gertie  who  dislikes  competition 
while  she  gurgles  to  her  girl  friend;  likewise 
disturbing  to  the  Hang-over  Harry  who  drops 
into  the  cinema  for  a  nap. 

Personally,  I'm  for  the  talkies.  They're 
already  proving  a  show-down  for  the  "dees." 
"dose,"  and  "dem"  Hash-hustling"  Hannahs 
who  came  before  the  screen  without  a  brain 
cell  working  and  have  been  losing  ground  ever 
since.  Real  actors  will  elevate  the  screen  from 
a  magic  lantern  show  to  an  intelligent,  living 
thing. 

Frank  M.  Woollen. 


$5.00  Letter 

Philadelphia,  Pa. 

Have  you  been  reading  about  the  terrible 
depression  that  has  fallen  upon  the  legitimate 
theaters;  about  the  men  in  the  box-offices  who 
go  days  without  seeing  a  human  face  peering  in 
at  them;  about  all  those  big  out-of-town  buyers 
who  seem  to  be  staying  out  of  town? 

It  seems  to  me  that  one  of  the  reasons  why 
the  movies  aren't  complaining  of  such  a  fate,  is 
that  in  spite  of  occasionally  poor  pictures,  fre- 
quent mediocre  ones  and  a  few  inane  stories, 
the  audience  almost  always  gets  its  money's 
worth.  It  isn't  necessary  to  peel  off  many  bills 
from  the  banlc-roll  to  see  a  movie,  and  the 
evening  is  well  spent.  Now  that  the  talkies  are 
here,  it  looks  like  more  money's  worth  than 
ever. 

The  prospect  for  the  movies  is  becoming 
even  more  inviting.  New  recruits  from  the 
stage,  new  stars,  new  personalities — what 
more   can   we   want? 

At   present   the   best    talkies   are   copying 

methods  from  the  stage,  but  just  wait  until 

some  big  fellow  comes  along  to  do  for  the 

talkies  what  D.  W.  Griifith  did  for  the  movies. 

Rose  Devon. 

A  Brickbat  for  the  Baby  Stars 

PhoenLx,  Ariz. 

Every  year  I  have  observed  the  selection  of 
the  Wampas  Baby  Stars  with  considerable 
interest. 

Not  yet,  however,  have  I  been  able  to 
determine  the  rules  governing  this  selection. 
For  while  I  keep  in  touch  with  Hollywood  per- 
sonalties through  your  columns,  and  through  a 
fairly  regular  attendance  at  the  theaters,  there 
has  never  yet  been  a  time  when  even  half  the 
list  of  Wampas  babies  was  familiar  to  me. 

I  realize,  of  course,  that  this  yearly  selection 
is  in  the  nature  of  encouragement  to  the  new- 
comers, nevertheless  I  fail  to  understand  why 
the  babies  should  be  so  new  as  to  be  practically 
unknown  to  the  general  pubUc.  Many  girls 
with  several  worthwhile  performances  to  their 
credit  are  completely  ignored  by  this  seemingly 
omnipotent  body  in  favor  of  a  girl  who,  the 
organization  blithely  admits,  has  made  but  one 
picture  and  that  picture  unreleased. 

After  all,  it  is  the  movie-going  public  that 
determines  in  the  end  which  new  star  is  most 
likely  to  succeed. 

Dorothy  Noeetker. 
[  continued  on  page  131  ] 


Photoplay  Magazine — Advertising  Section 


1 1 


li  ye- 


^, 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


12 


Photoplay  Magazine — Advertising  Section 


Capt  George  Eded 

**-  reach  fifraZuchf 
instead  ff a  sweet^ 

"AN  S.  O.  S.  from  the  'Florida' !  We  change  our  course.  We  on  the 
•ilX.  'America'  strain  to  arrive  in  time  to  rescue  the  men  on  their 
sinking  ship,  350  miles  away.  Through  the  icy,  freezing  storm  and  high 
seas  we  plunge  on — all  speed  ahead!  Then  the  night-time  rescue,  the 
search  lights,  the  whirling  waves,  the  manoeuvering  to  get  near  the 
'Florida.'  Finally,  the  'Florida's'  crew  coming  off  one  at  a  time,  pulling 
themselves  through  the  water  on  the  line  our  men  had  thrown  them. 
These  32  men,  dazed,  many  half  clothed,  needed  reviving  after  their 
long  exposure.  Hot  coffee,  food  and  Lucky  Strikes — these  gave  new  life 
to  many  of  them  and  we  on  board  the  'America,'  crew  and  passengers 
alike,  found  after  the  strain  and  struggle  that  there  was  nothing  quite 
so  comforting  and  relaxing  as  the  inviting,  toasted  flavor  of  Lucky  Strikes. 
Playing  this  game  with  'Davy'  is  ever  fascinating,  ever  thrilling.  And  we 
who  follow  the  sea  must  be  ever  ready  for  adventure.  Ours  is  an  active 
life,  demanding  nerve  control  and  physical  fitness.  In  my  health  pro- 
gram I  have  found  that  Luckies  are  most  important  not  only  because 
they  provide  a  respite  for  frazzled  nerves  and  an  exhausted  body  but 
because  whenever  I  crave  anything  which  is  over-fattening,  I  say  to 
myself,  'Reach  for  a  Lucky  instead  of  a  sweet.'  In  the  toasted  flavor  of 
Luckies,  I  get  complete  satisfaction.  And  I  find  that  toasting,  by  remov- 


ing the  irritants,  protects  my  throat." 


<afc<S ---^-^-^ 


^^-z<^jL<^ 


George  Fried 

Commander  of  "S.  S.  America" 


u 


REACH  FOR  A  LUCKY  INSTEAD  OF  A  SWEET." 


I  1929.  The  American  Tobacco  Co.,  Manufacturers 


44 


It%  toasted 

No  Throat  Irritation -No  Cough. 


Every  a.lviMtisi!ini;tit  iu  PnOTOPLAY  MAGAZINE  l3  guaranleed. 


Photoplay  Magazine — Advertising  Section 


13 


hemic  tesm^ 


A-  r|^  Authorities  at- 
*y^^^i  tribute  the  enor- 
mous increase  in  Cigarette 
smoking  to  the  improve- 
ment in  the  process  of  Ciga- 
rette manufacture  by  the  ap- 
plication of  heat.  It  is  true 
that  during  the  year  1928, 
Lucky  Strike  Cigarettes 
showed  a  greater  increase 
than  all  other  Cigarettescom- 
bined.  This  confirms  in  no 
uncertain  terms  the  public's 
confidence  in  the  superiority 
of  Lucky  Strike. 


When  sou  iviite  to  advertisers   please  mention  PHOTOPLAY   MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


4 


Fashion  decrees  that  the  figure  be 

slender  and  [graceful.  Women  who  are 
fat  in  spots — in  the  ahdoinen,  hips, 
throat,  underarm,  or  elsewhere — need 
no  lon«^er  worry! 

Simply  use  the  wonderful  Frances 
Jordan  Reducer  10  minutes  daily!  It 
does  away  with  massape  treatments — 
with  hot  baths,  dietinj;;,  strenuous  exer- 
cise, and  drugs.  It  removes  the  fat  jtist 
^vhere  you  ivant  it  reinoi'cd — no  where 
else.  There  is  no  discomfort — no  exer- 
tion— -no  wrinkles  nor  flabby  flesh! 

The  Frances  Jordan  stimulates  the 
circulition  and  the  fat  spots  are  ab- 
sorbed. It  relieves  constipation  and 
tones  up  the  nerves. 

This  remarkable  Frances  Jordan 
originally  sold  for  $15.00.  Very  large 
sales  now  permit  us  to  sell  direct  to  you 
for  $5.00.  Act  today!  Send  $5.00  in 
cash,  money  order  or  check.  Satisfac- 
tion guaranteed  or 
p3oney  refunded. 


IREDUCER 

Frances  Jordan,  Inc. 

802G  RNANCE  BUilDlNG,  PHILADELPHIA 


Button  Ruptuie 
Newest  Way 


rwithouti 
iPiessuieJ 


Science     now     advises 
discarding    cruel    steel 
springs,    barbarous    leg 
straps,  and  other  har- 
ness   that    press 
against    the    rupture 
and    thus    prevent    na- 
ture   from    healing    it.      A 
new   sensible   method   has 
been  perfected,   after  thou- 
sands   of    test    cases,    called 
Magic    Dot  —  entirely   different 
from  any  other  way.    It  is  no  larger 
than  a  quarter.    Instead  of  "press- 
ing,"   it    "seals"    rupture,    and    of 
course  allows  users  to   run,   jump, 
bend  and  cough  in  perfect  safety. 

Breathes  Air 

With  this  l-25th  oz.   device   is  a  new 
kind  of  i)ad,  air-porous  and  washable. 
It    actually    breathes    air,    and    cannot 
p  off  The  rupiure — a  feature,   you'll 
lijinKiy  admit,   that  is  lacking  in  youi' 
pirsi-nt   ap|(Hani'e.     In   fact,    it   is   so 
siiiK^rior    and    difTcrent    that    it    is 
juai.scd   hy    physicians   as   "an   en- 
lirrly   new   depnrtuie."     Users   re- 
port    they     have     forKOtten     they 
are  wearing   it.     But  don't  buy 
It  yet. 

See  It  First 

By  a  special  ar- 
rangement,   you    can 
now   have    it   sent   to 
your    home    without 
obligation    to    wear 
it.     Don't    send    a 
penny  or  order  it   now.     Just 
write    for    full    description    of 
Magic    Dot    and    details    of 
this  unusual   "no  o  b  1  i  g  a 
tion"   ofTer.    Tear  out  this 
ad  now  and  write  today,   for 
quick  relief. 

NEW  SCIENCE   INSTITUTE 
7559  Clay  St.,  Steubenville.  0. 


"y%»*^ 


Brief  Reviews  of  Current  Pictures 


1  CONTINUED  FROM  PAGE  8  | 


DOMESTIC  MEDDLERS— Tiffany-Stahl.— The 
Lternal  and  ^veil-worn  tiiangle.     {Fel>.) 

DO  YOUR  DUTY— First  National.— Charlie 
Murray  plays  /hi-  piece  about  the  honest  traffic  cop 
and  the  crooks.    Not  so  hot.  {Dec) 

DREAM  OF  LOVE— Metro-Goldwyn-Mayer.— 
The  prince  and  tlie  pretty  peasant — again.  Phony 
stuff  in  spite  of  Joan  Crawford  and  Nils  Asther. 
(/■.•(..) 

DRIFTER,  THE— FBC— Just  another  Western. 
But  send  the  kids,  anyway,  because  Tom  Mix  is  in  it. 
(March.) 

DRIFTWOOD— Columbia.— Looks  like  a  tenth 
carbon  copy  of  "Sadie  Thompson."    {Jan.) 

*DRY  MARTINI— Fox.— Sophisticated  comedy 
among  the  American  dry  law  ex-patriots  of  tlie  Ritz 
bar  in  Paris.     Naughty  but  neat.     {November.) 

DUTY'S  REWARD— Elbee.— More  cops,  crooked 
politics,  etc.    {Dec.) 

EVA  AND  THE  GRASSHOPPER— UFA— Some 

remarkable  insect  photography  and  a    not-so-good 
modern  story.     Anyway,  a  novelty.     (.Feb.) 

FIRST  KISS,  THE— Paramount.— Young  love, 
phu'cd  hy  Fay  Wray  and  Gary  Cooper  and  set  in  a 
deep  sea  background.     {November.) 

FLEET'S  IN,  THE— Paramount.— Clara  Bow 
among  the  sailors.  Of  course,  you  won't  miss  it. 
{November.) 

FLOATING  COLLEGE,  THE— Tiffany-Stahl.— 
Based  on  one  of  those  university  cruises,  this  picture 
had  possibilities  that  aren't  realized.  (March.) 

FLYIN'  BUCKAROO,  THE— Pathe.— How  to 
capture  bandits.     (Feb.) 

INLYING  FLEET,  THE  —  Metro-Goldwyn- 
Mayer. — The  training  of  a  flyer,  told  with  thrills,  ac- 
curacy and  an  absence  of  bunk.  It's  a  real  picture; 
you'll  like  it.     (Feb.) 

FORBIDDEN  LOVE— Pathe.— English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damita.     (Dec.) 

"FOUR  DEVILS— Fox.— Dramatic  and  beautifully 
presented  story  of  Continental  Circus  life,  with  great 
performances  by  Janet  Gaynor,  Charles  Morton  and 
Barry  Norton.     You'll  want  to  see  it.     (Dec.) 

FUGITIVES  —  Fox.  —  Conventional  story  of  a 
wronged  girl  and  a  Horatio  Alger  district  attorney. 
(March.)  v 

FURY  OF  THE  WILD— FBC— More  real  meat 
for  Ranger.     (November.) 

GERALDINE — Pathe. — Light  and  amusing  com- 
edy with  Marion  Nixon  and  Eddie  Quillan.    (Jan.) 

GHOST  TALKS,  THE— Fox.— A  talkie  farce. 
Plenty  of  laughs.     (Feb.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 
little  slow  but  pleasant  enough.  Sally  O'Neil  wears 
her  one  expression.     (Dec) 


GLORIOUS  TRAIL,  THE— First  National.— 
Ken  Maynard  and  Tarzan  work  on  that  first  overland 
telegraph  line.     Vou  know  the  rest.     (March.) 

GRAIN  OF  DUST,  THE— Tiffany-Stahl.— Inter- 
esting drama  based  on  the  David  Graham  Phillips 
novel,  with  the  grief  rather  heavily  stressed.    (Nov.) 

GUARDIANS  OF  THE  WILD— Universal.— 
Too  bad  that  Rex.  the  wonder  horse,  can't  write  his 
own  stories  and  put  some  horse-sense  into  them. 
(November.) 

GUN  RUNNER,  THE— Tiffany-Stahl.— Bullets 
and  romance  in  a  South  American  republic.  Frothy 
entertainment.     (Feb.) 

HARVEST  OF  HATE,  THE— Universal.— In 
which  the  great  talents  of  Rex.  the  wild  horse,  are 
ignored  to  make  footage  for  a  trite  romance.    (Jan.) 

HAUNTED  HOUSE,  THE— First  National.— 
Too  much  Chester  Conklin  and  not  enough  mystery. 
(November.) 

HEAD  OF  THE  FAMILY,  THE— Gotham.— 
Rather  cuckoo  farce.     (Jan.) 

HEARTS  OF  MEN— Anchor.- And  producers 
ain't  got  no  heart.      (Oct.) 

HEY,  RUBE— FBC— Carnival  life  film  that  has 
the  real  stuff.  (Dec.) 

*lllS  CAPTIVE  WOMAN— First  National.— Get- 
ting away  with  murder  in  the  South  Seas.  However, 
good  performances  by  Milton  Sills  and  Dorothy 
Mackaill  make  this  melodrama  worth  your  attention. 
With  sound  and  talk.     (March.) 

HIS  LAST  HAUL— FBC— Just  a  tear  jerker. 
(Dec.) 

HIS  PRIVATE  LIFE— Paramount.— One  of 
those  French  farces  that  is  full  of  doors  and  bores. 
However,  it  has  Adolphe  Menjou.  (Dec.) 

HOLLYWOOD  BOUND  —  Warners.  —  Talkie 
farce  that  sounds  as  though  it  had  been  written  by 
someone  who  never  had  been  nearer  Holly%vood  than 
Parsons,  Kans.     (November.) 

HOMESICK— Fox.— Sammy  Cohen  as  a  New 
York  tourist  in  California.     Fairly  funny.  (Dec.) 

*HOME  TOWNERS,  THE— Warners.- Smooth- 
est talkie  so  far.  Good  lines,  by  George  M.  Cohan, 
and  a  fine  performance  by  Doris  Kenyon.  (Dec.) 

HOUSE  OF  SHAME,  THE— Chesterfield.— Do- 
mestic drama — if  that's  what  you  want.     (Feb.) 

HUNTINGTOWER  —  Paramount.  —  Imported 
Scotch — celluloid.  With  Sir  Harry  Lauder  and  a  lot 
of  atmosphere.     (Feb.) 

I  FORBID — Fan-Maid  Pictures. — An  over-ripe 
Kosher  film  of  breaking  hearts.     (November.) 

*IN  OLD  ARIZONA — Fox.— Pointing  the  way  to 
bigger  and  better  talkies.    A  fine  Western  that  pleases 
the  eye,  the  ear  and  the  dramatic  instinct.     (Feb.) 
[  CONTINUED  ON  P.^GE   146  ] 


Photoplays  Reviewed  in   the    Shadow    Stage    This   Issue 

Save  this  magazine — Refer  to  the  criticisms  before  you  pic\  out 
your  evening's  entertainment.     Ma\e  this  your  reference  list. 


Page 

All  Faces  West — Pioneer 113 

Black  Pearl,  The— Rayart 114 

Bride's     Relations,     The  —  Sennet  t- 

Educational 115 

Broadway  Melody,  The— M.-G.-]SI..  .  .   52 

Charlatan,  The — Universal 55 

China  Slavers,  The — Trinity 114 

Dummy,  The — Paramount 53 

Eligible     Mr.    Bangs,    The — Coronet- 
Educational lis 

Eternal  Love — United  Artists 54 

Faker,  The — Columbia 114 

Girls  Who  Dare — Trinity 113 

Hardboiled— FBO 54 

Haunted  Lady,  The — Universal 54 

His  Lucky  Day — Universal 55 

Honeymoon     Abroad  —  World  Wide 

Pictures 115 

In  Holland — ^Fox-Movietone 115 


Page 

Just  Off  Broadway — Chesterfield 113 

Leatherneck,  The — Pathe 54 

Love  in  the  Desert— FBO 113 

Man  Higher  Up,  The— M.-G.-M 115- 

Moulin  Rouge — World  \A'ide  Pictures. .   55 

Object — Alimony — Columbia 113 

Pagan,   The— M.-G.-M 53 

Red  Sword,  The— FBO 55 

Ships  of  the  Night— Rayart 114 

Spite  Marriage— M.-G.-M 54 

Strange  Cargo — Pathe 113 

Strong  Boy — Fox 52 

Sunset  Pass — Paramount 55 

Three  Passions,  The — United  Artists.  .  .   54 

True  Heaven — Fox 55 

Weary  River — First  National S3 

Why  Be  Good— First  National 52 

Wild  Blood— Universal 114 

Wolves  of  the  City — Universal 114 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Ml 


brings  /^  you  me  living  pulsC'beatg^Paris 


in 


p  If  there  is  not  a  the- 
atre in  your  totvn 
equipped  as  yet  to 
shotv  "The  Redeem- 
ing Sin"  as  a  Talk- 
ing Picture,  see  it 
as  a  Silent  Picture. 
Either  gives  you 
matchless    enlcr- 

\^  tainment. 


Vitaphone  does  it  again!  Brings  to 
you  adorable  Dolores  Costello — in 
the  crowning  achievement  of  her 
career — "The  Redeeming  Sin. " 

A  swift  unforgettable  drama  that 
wells  up  out  of  the  haunts  of  the 
Parisian  underworld — with  Love  at 
last  emerging — redeemed — tri- 
umphant—  in  the  flowery  fields 
of  France. 


Through  Vitaphone,  you  see  and 
hear  with  the  thrilled  senses  of  a 
spectator  in  the  Montmartre.  Here 
is  science  with  voice — action — 
heart-throb! 

See  and  hear  WarnerBros.  Vitaphone 
Talking  Picture— "T/ie  Redeeming 
Sin."  And  remember — you  can  hear 
the  real  Vitaphone  ONLY  in  Warner 
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Friendly 

Advice 

from 

Carolyn 

Van  Wyck 

on 

Girls' 
Vroblems 


A  little  critical  study  before  your  mirror,  a  little  experi- 
menting with  hairdressing,  cosmetics,  and  color  and  line 
in  your  clothes,  will  make  you  feel  and  look  "right"  and 
help  overcome  self-consciousness 


DEAR  CAROLYN  VAN  WYCK: 
I  need  your  advice  so  much,  Mrs.  Van 
Wyck.  Perhaps  you  will  say  there  is  an 
article  in  Photoplay  I  could  refer  to,  but  I'm 
one  of  those  discouraging  "in-betweens"  of  no 
particular  type  and  without  any  distinctive 
coloring  or  features. 

I  am  five  feet,  three  inches — neither  tall  nor 
short,  you  see.  I  weigh  125  pounds  and  don't 
think  I  am  too  stout  for  my  height,  but  my 
legs  are  too  fat  for  the  rest  of  me.  What  can  I 
do  about  them? 

My  skin  is  rather  dark,  but  clear.  My  hair  is 
that  abominable  medium  brown — how  I  wish 
it  were  auburn  or  gold  or  shiny  black,  instead 
of  just  plain  brown!  It  has  a  slight  natural 
wa\-e.  which  helps  a  little.  I  let  it  grow  into  a 
Garbo  bob  for  a  while,  but  it  wasn't  curly 
enough  to  look  neat  so  I  had  it  cut  quite  short 
again. 

My  eyes  are  dark  brown  and  not  bad.  I've 
been  told  they're  intelligent  looking,  but  no  one 
ever  said  they're  beautiful.  I  guess  they  are 
just  good  average  eyes.  My  nose  is  just  a  tiny 
bit  long  and  so  is  my  chin.  Do  you  think  close 
hats  emphasize  that?  I  just  love  them — the 
snugger  they  fit  and  the  smaller  they  are,  the 
more  I  adore  them.  But  sometimes  I  think 
they  make  my  features  stand  out  too  much. 

My  arms  are  rather  fat,  especially  at  the  top. 
Exercises  haven't  helped  them  much  so  far.  I 
guess  they're  just  hopeless. 

Clothes  are  a  terrible  problem.  I  don't  have 
a  lot  of  money  to  spend  and  I  can't  afford  to 
make  mistakes  in  buying.  I  usually  wear  solid 
colors  because  I  think  they  give  me  height  and 
keep  me  from  looking  dumpy.  Is  that  right? 
What  colors  do  you  think  would  be  best  for  me 
in  the  daytime  and,  because  I  seem  paler  under 
artificial  light,  what  colors  should  I  wear  at 
night?    I  need  your  encouragement  and  advice. 

J.^NET  S. 

A  FTER  all,  Janet,  you're  one  of  the  lucky 
•*  *-girls.  You  haven't  any  major  defects  to 
overcome — even  if  you  did,  there  would  be 
ways  of  covering  them  up  and  bringing  out 


your  best  points.  You  have  a  good  foundation 
on  which  to  build  and  you  need  just  a  few 
"do's"  and  "don'ts"  of  advice.  You  should 
study  yourself  critically  and  carefully  in  front 
of  your  mirror  and  decide  just  what  your  good 
points  are.  Then  make  the  most  of  them.  You 
may  not  achieve  actual  beauty  but  you  are 
bound  to  gain  the  attractiveness  which  results 
from  being  properly  dressed  and  well  groomed. 


Are  You  a  Lucky 
"In-Between"? 

Is  This  Month's  Discussion 


ARE  you  an  "in-between"  — 
neither  blonde  nor  dark,  beauti- 
ful nor  plain?  Then  learn  to  bring 
out  beauty,  by  playing  up  your  best 
points  and  skillfully  hiding  the  bad 
ones. 

Perhaps  you  have  a  specific  prob- 
lem regarding  clothes,  make-up  or 
health.  Perhaps  there  is  some  pui- 
zling  situation  in  your  life  which  a 
few  words  of  impersonal  advice  might 
clear  up.  I  want  to  be  the  friend  in 
need,  who  will  respect  your  con- 
fidence and  help  you  solve  these 
problems. 

Letters  enclosing  stamped,  self- 
addressed  envelopes  will  be  answered 
at  once.  Others  will  be  answered  as 
early  as  possible  in  these  columns.  A 
stamped  envelope  will  bring  you  in- 
formation regarding  the  care  of  the 
skin.  Ten  cents  will  bring  my  book- 
let on  safe  and  sane  reducing.  Write 
to  me  in  care  of  PHOTOPLAY 
Magazine,  221  West  57th  St.,  New 
York. 

CAROLYN  VAN  WYCK 


Instead  of  being  dissatisfied  with  your  hair, 
which  you  describe  as  "just  plain  brown,"  be 
glad  it  has  a  little  wave,  and  e.xperiment  until 
you  find  the  shade  of  rouge  and  lipstick  that 
will  light  up  your  face  and  set  it  off  against  its 
frame  of  brown  hair.  The  right  color  combina- 
tions in  your  clothes  will  also  be  of  tremendous 
help  here.  Plain  brown  hair  can  be  turned  into 
a  veritable  asset,  if  you  go  about  it  intelli- 
gently. 

Perhaps  you  will  find  you  are  more  attractive 
without  rouge,  and  that  a  touch  of  lipstick  is  all 
you  need  for  daytime.  Because  artificial  light 
seems  to  absorb  color  you  may  decide  to  use 
rouge,  with  or  without  lipstick,  at  night.  These 
are  things  you  will  have  to  determine  for  your- 
self, by  taking  a  little  time  and  trouble. 

Small,  brimless  hats  do  accentuate  the  length 
of  nose  and  chin.  Why  not  get  the  snug  little 
hats  that  are  relieved  by  narrow  brims?  They 
are  just  as  chic  as  the  brimless  ones  and  will 
soften  your  features  and  add  roundness  to  your 
face.  Besides,  a  brim  casts  a  shadow  over  the 
eyes  and  adds  mystery  and  depth  to  them. 

Round  necklines  will  also  take  away  from 
the  length  of  your  chin  and  make  your  face 
appear  rounder.  And,  vice  versa,  V  necks  add 
length  to  face  and  neck. 

I  overheard  a  conversation  the  other  day 
which  will  interest  you.  Two  girls  were  dis- 
cussing a  mutual  friend.  Onesaid:  "Wouldn't 
you  think  a  smart  girl  like  Evelyn  would  know 
that  when  you  put  a  tight,  tight  sleeve  around  a 
fat  arm  you're  just  giving  a  good  imitation  of  a 
sausage?  Why  doesn't  she  wear  her  sleeves  a 
Httle  looser,  and  a  little  longer  over  her  ^vrists, 
to  give  her  arms  length  and  grace?"  The 
other  girl  answered:  "Yes,  and  the  same 
principle  applies  to  her  legs.  They're  fairly 
shapely  but  they  are  certainly  fat.  Can't  she 
see  that  those  tight  plain  skirts  she  wears  just 
accentuate  the  roundness  of  her  legs?  And 
skirts  like  that  aren't  even  very  fashionable 
now.  She's  really  in  luck,  if  she  only  knew  it. 
Kick  pleats  and  flares,  and  dipping,  uneven 
hemUnes  are  immensely  chic  and  they  would 
make  her  legs  look  so  much  more  slender  and 
pretty." 

As  a  matter  of  fact,  the  second  speaker  was 

[  CONTINmED  ON  PAGE  102  1 


Photoplay  Magazine — Advertising  Section 


17 


Why 

BE 

Good? 


"WHY  BE  GOOD?" 

— Wlien  it's  so 
■n  11  e  h  more 
flirilling^  to  be 
bad! 


•WHY  BE  GOOD?" 

—When  yon 
meet  Prince 
C  h  a  r  m  i  n  g^ 
who  is  vr  ise, 
w^ealthy  and 
^vonderfiil ! 


SHE'S 

at   it   again. 
Making  hilarious 
whoopee !    .    .   .  This 
daring     darling     is   on 
another     intriguing     tour 
into  the    lands   of   love    and 
whoopee  .  . .  This  time  her  excur- 
sion is    personally   conducted   by 
Cupid  .  . .  She's  a  shop  girl.  Seek- 
ing sensations.  She  finds 
And  HOW!...  Is  it  BAD  to 
good?  Or  GOOD  to  be  : 
Colleen  demonstrates  in  th 
1929  version   of  Flaming 
Youth. ..See  this  exponent 
of   incandescent   youth! 
HEAR  the  hilarity   Vita- 
phone  adds  to  the  whoopee ! 


i/ 


A    First    National    Vitaphone     Picture 


WTien  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


i8 


Photoplay  Magazine— Advertising  Section 


Voted  the  most  fascinating  YoUflg  JpOrtSWOMafl 


by 
JOHN    BARRYMORE 
CORNELIUS   VANDERBILT,  JR 
F.  SCOTT  FITZGERALD 


Miss  Lilias  Moriartv 

of  Boston,  Mass., 
chosen  from    Woodbury 
beauties    in  forty-eight 
States  as  the  mostfascinat- 
ing  young  sport s'jaoma>i. 


Ohe  is  as  full  of  contradictions  as 
she  is  of  bewitchment  and  charm. 

She  has  close-cut  curling  bronze 
hair,  a  pure,  fair  skin,  — no  touch  of 
rouge,  — a  laughing  child's  mouth.  Her 
eyes  are  her  most  unusual  feature.  They 
areratherlong,  setwideapart,of  a  curious       ^"- 
shadeof  blue.  Their  calm,  rather  remote,  far- 
seeing  gaze  gives  the  only  clue  to  her  pre- 
occupation with  one  of  the  most  dangerous 
of  sports. 

No  one  looking  at  her,  would  think  of  her 
as  an  "athlete."  She  weighs  only  a  hundred 
pounds.  She  has  a  little  slim,  fragile,  exquisite 
figure.  Yet  she  is  a  bold  and  fearless  horseback 
rider,  a  keen  shot, — "but  I  only  shoot  clay 
pigeons," — a  self-possessed,  passionately  de- 
voted flyer. 

She  was  born  at  Budapest,  where  her  father 
was  stationed  in  the  diplomatic  service.  She 
speaks  five  languages.  She  has  traveled  about 
the  world  ever  since  she  was  a  baby,  and 
likes  being  on  the  move. 

She  "always  wanted  to  fly."  She  cannot 
explain  its  fascination.  "It's  being  up  above 
everything,  and  all  alone  ..." 

She  uses  Woodbury's  Facial  Soap  because  it 
is  the  only  soap  that  does  not  irritate  her  skin, 
—  a  skin  of  almost  transparent  clearness  and 
fineness. 

"Woodbury's  is  a  wonderful  soap,  for  any- 
one who  is  out  of  doors  as  much  as  I  am. 
There  must  be  something  unusually  pure  and 
mild  about  it,  because  it  keeps  my  skin  in 
perfectly  splendid  condition." 


1 

1 

^^^E^^^^^^^^^^l 

^M 

^^^~^26^^k 

m 

W' 

\ 

||9 

■ 

i^^^^^^^H 

I 

■H 

i^ 

s 

■HH 

'^^^^ 

n 

j^i 

^m 

krl^S^^r-L 

'l 

:.li^^ 

^S 

Miss  Moriartv,  snapped  riding  horseback  in 
Central  Park.  "JFoodbury's  keeps  my  skin 
in  perfectly  splendid  condition,"  she  says 


kJvt  of  hundreds  of  beautiful  Woodbury 
users,  on  whom  we  called  in  big  cities,  in  little 
towns,  throughout  the  country — three  dis- 
tinguished judges  are  choosing  the  loveliest  of 
each  type  .  .  .  Each  month  their  photographs 
will  appear,  together  with  a  brief  story  of  their 
personality.  They  represent  thousands  upon 
thousands  of  women  throughout  America  who 
today  owe  the  charm  of  a  fresh,  clear,  beauti- 
ful complexion  to  daily  care  with  Woodbury's 
Facial  Soap  .  .  .  Commence,  now,  to  take  care 
of  your  skin  with  this  wonderful  soap!  Begin, 
tonight,  to  gain  the  charm  of  "A  Skin  You 
Love  to  Touch!" 

We  shall  be  happy  to  send  you  a  delightful  Woodbury 
set,  containing  a  trial  cake  of  Woodbury's  Facial  Soap, 
the  Facial  Cream  and  Powder,  the  Cold  Cream,  the  treat- 
ment booklet,  and  directions  for  the  new  complete  Wood- 
bury Facial,  for  lO  cents  and  your  name  and  address. 
The  Andrew  Jergens  Co.,  2207  Alfred  St..  Cincinnati, 
Ohio.  For  Canada,  The  Andrew  Jergens  Co.,  Limited, 
2207Sherb"rooke  St.,  Perth,  Ont.         ©  1929,  The  A.  J.  Co. 


Brery  advertisement  in  PHOTOPLAY  MAGAZINE  la  guaranteed. 


EW 


Pictures 


^^OME  pictures  of  a  few  girls  and  a  boy  whose  careers  prove  that  get- 
/-j  1  ^'f^g  °^  'n  the  movies  is  not  all  a  matter  of  luck.    When  Dorothy 

V^ /  Mackaill  came  to  this  country  from  England  a  few  years  ago,  she 

was  merely  a  young,  ambitious  and  unknown  chorus  girl.  Because  she 
had  read  that  producers  looked  for  new  talent  in  the  Ziegfeld  "Follies," 
she  landed  a  job  as  a  dancer.  Because  her  English  accent  struck  some  of 
the  natives  as  being  high-hat,  she  learned  to  speak  New  York.  How 
could  a  girl  with  brains  like  that  fail  to  get  along? 


Hesser 


rt  A  7HEN  Lilyan  Tashman  went  into  the  movies  she  was  just  another  show  girl.   Five  feet  seven 

^  M/inches  tall,  she  was  too  big  to  play  heroines.    As  for  acting,  she  was  no  Duse.    But  Ldyan 

^^    did  have  brains  and  knew  how  to  wear  clothes.   Now  she  shows  Hollywood  what  the  Well 

Dressed  Woman  Should  Wear,  and  producers  page  her  when  they  need  someone  to  give  dash  and 

style  to  a  picture 


Apcda 


([^ /JESSIE  LOVE  made  the  mistake  of  going  into  the  movies,  instead  of  on  the  stage.    For  years 

/"jshe  played  wistful  heroines  when  she  should  have  been  twinkling  in  musical,  comedy.    Came 

the  talkies  and  Bessie,  who  had  said  good-bye  to  the  studios,  was  summoned  from  a  vaudeville 

tour  to  play  in  "Broadway  Melody."    Today,  in  the  midst  of  the  microphone  panic,  Bessie  is  one  of 

the  few  stars  who  know  where  their  next  Rolls-Royce  is  coming  from 


Russell  Ball 


•5  AURA  LA  PLANTE  was  handicapped  by  a  pair  of  dimples.    No  one  takes  a  girl  with  dimples 

I     seriously.    No  one  gives  her  a  chance  at  the  Bigger  and  Finer  things  of  Art.    Laura  was  in 

^^^_^  danger  of  being  "typed"  as  a  light  comedienne.     Fortunately,  as  a  reward  for  her  loyalty 

and  also,  incidentally,  for  her  hard  work,  Laura  was  cast  as  Magno/ia  in  "Show  Boat,"  which  is  one 

of  those  roles  that  every  actress  prays  for 


Hesser 


/30IS  MORAN'S  difficult  problem  was  how  to  grow  up  gracefully.    The  unsophisticated 

J      child  had  to  adjust  herself  to  the  fact  that,  after  all,  the  public  lakes  its  girls  modern   and 

^^_j  snappy.   If  you  waht  to  realize  how  much  Lois  has  changed  since  she  went  into  the  movies 

four  years  ago,  compare  this  newest  photograph  of  her  with  your  memory  of  the  shy  little  girl  who 

gave  the  birthday  party  in  "Stella  Dallas" 


Louise 


yOHN  MACK  BROWN  had  to  live  down  his  reputation  as  a  football  player.    It  was  a  good 
reputation,  but  Hollywood  had  seen  so  many  crack  athletes  fail  before  the  camera  that  it  looked 
upon  Johnny  with  skepticism.    By  his  willingness  to  work  and  to  learn,  as  well  as  by  his  natural 
Southern  courtesy,  Johnny  won  for  himself  a  place  in  the  movie  world.    Here  is  one  football  player 

who  is  running  in  the  right  direction 


The  Modern 

Figure  Favors 


^APMOSETTE 


the  Celebrated  Ten-Point  Elastic 

Sometime  ago,  Chamiosette  made  its  deljul  witli  the  Gossard 
J  jne  of  Beauty.  Great  thiii";s  were  predicted  for  its  success  . .  . 
for  here  was  no  ordinary  fabric,  hut  a  real  su[jer-elastic  ...  an 
epoch-making  achievement. 

The  experience  of  several  seasons  has  more  than  fulfilled 
every  expectation  for  this  marvelous  material.  Today,  the 
smartest  women  demand  Charmosette-Gossards,  thus  combin- 
ing with  suijerior  comfort  and  glove-like  smoothness  the  prac- 
ticability or  much  longer  service. 

Indeed,  Charmosette  has  ten  distinct  points  of  advantage  over 
ordinary  elastic  fabrics:' 

1.  Gossards  in  Charuiosetle  may  be  laundered  daily  in  hot  or  cold  water 

without  injury  to  the  fabric. 

2.  Charmosette  three  times  outwears  any  other  elastic. 

3.  Charmosette  holds  its  shape — will  not  overstretch. 

4.  Charmosette  may  be  cut  and  altered  to  please-  will  not  run,  pull, 

tear  or  break. 

5.  Gossards  in  Charmosette  fit  perfectly — never  "ride." 

6.  Gossards  in  Charmosette  mould  and    support    the  figure  as  is 

impossible  with  ordinary  elastic  fabrics. 

7.  Charmosette  is  free  from  breaks,  needle  cuttings  and  ravclings. 

8.  Cliarmosette  garments,  combined  with  the  new  Royal  Batiste, 

three  times  outwear  any  other  foundation  garment. 

9.  Charmosette  has  none  of  the  faults  of  ordinary  elastic 

fabrics—  it  is  vastly  superior. 
1  O.    Charmosette  is  the  greatest  development  in  the  art  of  fine 
corset   making.     It  may  be  had  only  in  The  Gossard  Line 
of  Beauty,  and  is  obtainable  only  in  stores  which  regularly 
carry  Gossards. 

Here  is  the  season's  newest  Charmosette-Gossard  . . .  a  Solitaire 
combined  with  dainty,  durable  Royal  Batiste,  and  finished  with 
adjustable,  detachable  shoulder  straps.  This  garment  is  destined 
lo  win  many  devotees. 

THE  H.  W.  GOSSARD  CO.,  Chicago,  New  York,  San  Francisco,  Dallas,  Atlanta,  Paris,  London,  Toronto, 

Division  of  Associated  Apparel  IndustTtes,  Inc. 


Buenos  Aires 


iR*><<«fiMr-w., 


When  a  job  depends  on 
new-looking  clothes" 

"  Perhaps  other  girls  would  like  this  hint  from  a  real-life 
story  .  .  .  Since  coming  to  Hollywood  as  one  of  many  'extra' 
girls,  I  have  had  to  make  every  penny  count.  My  clothes  are 
my  most  precious  possessions!  So  every  night  I  go  over  my 
wardrobe,  washing  each  thing  that  is  a  bit  wilted  in  Lux. 

"Sometimes  I  have  had  to  save  on  breakfasts  —  but 
never  on  Lux— that  is  an  essential.  .  .  .  Again  and  again 
I've  been  complimented  on  my  lovely  new  clothes.  And 
I've  gotten  anv  number  of  jobs,  I  know,  because  my  clothes 

.    _  look    nice — thanks    to  Lux." 

SHIRLEY  DORMAN, 
Hollywood,  Cal. 


Every  great  Movie  Studio 
uses  Lux! 

Not  only  "extras"  but  stars— all  the 
great  movie  studios,  with  million-dollar 
wardrobes  to  care  for,  use  Lux!  They 
find  by  scientific  tests  that  pretty  clothes, 
whether  of  sheer  or  sturdier  materials — 
can  actually  be  kept  new  looking  twice 
as  long  with  Lux.'  "For  dollars  and 
cents'  reasons,"  they  say,  "we  don't  dare 
risk  using  anything  but  Lux." 

Lever  Bros.  Co.,  ('am)jri<liic.  Mass. 


The     National     Guide     to     Motion     Pictures 


[TRADIC  MARK] 


Apra,  1929 


Close-Ups  and  Long-Shots 


By  James  R.  Quirk 


HISTORY  will  be  several  gener- 
ations along  before  we  can  get 
a  real  focus  on  the  results  of 
Lindbergh's  epochal  flight  and  char- 
acter. 

Great  as  was  his  initial  accomplish- 
ment it  will  fade  into  the  background 
when  compared  to  his  effect  on 
national  thought  and  manners. 

Lindbergh  has  put  the  cowboy  into  the  dis- 
card as  a  type  of  national  hero.  The  Western 
novel  and  motion  picture  heroes  have  slunk 
away  into  the  brush,  never  to  return. 

"V\  TITHIN  the  past  two  years,  Western  pic- 
^^  tures,  always  sure-fire  profit  earners,  have 
lost  their  popularity.  Western  novels  and 
Western  fiction  have  fared  a  similar  fate. 

The  Western  picture  has  gone  the  way  of  the 
serial  thriller.  The  cow  ponies  are  retired  to  the 
pasture  with  the  old  fire  horses.  Zane  Grey 
and  Harold  Bell  Wright  are  following  Horatio 
Alger  and  Oliver  Optic.  Tom  Mix,  Hoot  Gib- 
son, and  Ken  Maynard  must  swap  horses  for 
aeroplanes  or  go  to  the  old  actors'  home. 

The  great  open  spaces  are  now  landing  fields, 
and  the  bars  in  the  mountains  cannot  hurt 
Little  Nell  because  Little  Nell  is  thumbing  her 
nose  at  them  as  her  lover  pilots  her  over  the  hill 
tops. 

'  I  'HEY  used  to  lure  the  dimes  out  of  little 

"*■  boys'  pockets  with  lithographs  of  Tony  and 

Silver  King  jumping  Stetson  hats  over  ravines, 

and    two-gunmen    shooting    daylight    through 


dastardly  Mexicans  who  had  insulted 
the  ranch-owner's  daughter. 

But  little  boys  have  changed  their 
ideas  since  Lindy  flew  the  Atlantic, 
and  save  their  dimes  until  they  can 
see  Sam  Brown  belted  lads  plugging 
aeroplanes  marked  with  German 
crosses,  or  air  mail  heroes  winging 
through  the  fog  and  the  night  to  save 
the  honor  of  Clara  or  Corinne,  Greta  or  Colleen. 
That's  just  one  little  thing  that  Lindy's  done. 

T  GET  a  stitch  in  the  heart  when  I  think  of 
■*•  Davey  Lee. 

Davey  is  the  wonder  baby  of  "The  Singing 
Fool,"  who  only  failed  to  steal  the  picture  from 
Jolson  because  he  can't  sing  "Mammy." 

Here's  a  full  page  ad  in  a  photoplay  trade 
paper. 

"Davey  Lee,  the  Screen's  Newest,  Biggest 
Box-Office  Star,"  scream  huge  black  letters. 

"The  Whole  World  is  Singing  the  Praises  of 
Sonny  Boy." 

A  ND  here's  a  picture  of  him  with  burnt 
•^  ""Cork  on  his  face,  opening  his  mouth  wide 
because  the  man  tells  him  to. 

Little  Davey's  about  three  now  and  doesn't 
know  any  more  what  it's  about  than  any  stage 
brace  on  the  lot. 

Warner  Brothers  are  going  to  plug  him  to  the 

limit.      They   are   going   to   capitalize   on    his 

astonishing  performance  in  the  Jolson  film  in  a 

big  way.     He'll  make  money   for   everybody. 

[continued  on  page  78] 

27 


H 


ow 


are 


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ALKIES 


Mjde 


The  sound  film  has  changed  everything— Here  is  the  first 
complete  description  of  the  new  film  methods 

By  Al  Cohn 


SILENCE!  That's  the  loudest,  most 
important  word  today  in  the  mak- 
ing of  what  the  English  euphoni- 
ously term  "the  audible  cinema." 
Just  now  we  call  them  "talkies"  and  it 
is  rather  paradoxical  that  the  most  im- 
portant requisite  in  the  creation  of  these 
noisy  shadows  is  "Silence";  for  without 
absolute  quiet  during  actual  production, 
tlie  talkie  would  be  a  rather  messy  afifair. 
In  other  days,  the  magic  command 
was  "Lights!  Action!  Camera!!"  and 
then  the  director  began  shouting  and  his 
puppets  walked  or  made  love,  smiled  or 
wept,  rolled  an  eye  or  heaved  a  bosom. 
Now,  after  ascertaining  if  things  are 
all  okay  in  the  camera  booths,  the  re- 
cording room  and  the  monitor  panel,  the 
players  take  their  places,  there  is  the 
command  "Silence"  or  "Quiet."  The 
director  or  his  technical  assistant  with 
phone  in  hand  calls,  "Interlock."  For 
a  few  seconds  the  proverbial  pin,  if  on 
the  job,  could  be  heard  to  clrop;  then 
comes  the  faint  hum  of  the  synchronized 
motors  from  within  the  almost  sound 
proof  camera  booths. 

THE  eye  of  the  director  is  fastened  on 
the  little  instrument  board  which  is 
the  medium  of  communication  to  other 
parts  of  the  "system."  A  blue  light  and  a 
green  light  are  already  glowing  and  then 
the  larger  red  crystal  becomes  illumi- 
nated as  the  director  gives  the  wave  of 
the  hand  to  signal  the  players  to  begin. 

The  red  glare  says  that  the  system  is 
functioning;  that  the  cameras  are  mov- 
ing at  a  uniform  speed  of  "24";  that  the 
cylinders  loaded  with  film  are  revolving 
in  the  recording  room  ready  to  receive  a 
faithful  record  of  voice  and  other  sound; 
that  the  huge  wax  disk  just  a  step  away  is  revolving,  needle 
poised  to  indent  the  yellow  record;  that  the  monitor  (sometimes 
called  "the  mixer-man")  with  hand  poised  on  mysterious- 
looking  knobs,  and  eyes  peering  at  the  scene  below  through  a 
plate  glass  sound  barrier,  is  waiting  to  see  the  scene  played 
and  to  hear  it,  via  the  monitor  horns  in  the  room  below  him. 

He  is  the  man  who  is  responsible  for  the  quality  of  the  sound 
reproduction  and  he  can  modulate  it  as  he  sees  fit. 


The  director's  signal  box.  The 
round  light  at  the  left — red— is 
turned  on  from  recording  room 
when  equipment  is  ready  for  op- 
eration. Two  switch  buttons  at 
right  are  for  the  purpose  of  sig- 
nalling to  recording  room.  The 
other  lights — green,  blue,  white 
— flash  on  before  and  after  the  red 
to  indicate  recording  stages 


The  cameraman  no  longer  stands  with 
cap  reversed,  turning  his  crank  non- 
chalantly and  looking  about  in  a  bored 
manner.  He  either  stands  outside  his 
booth,  in  the  case  of  a  fixed  camera,  or 
crouches  inside  twisting  or  turning  his 
camera  to  follow  a  player  or  moving 
scene. 

EVEN  the  lowly  "juicer"  has  a  white- 
collar  job  under  the  new  order.  There 
are  no  dirty  carbons  to  handle  because 
the  Klieg,  the  Sunarcs  and  alhed  illumi- 
nants  have  given  way  to  the  huge,  noise- 
less incandescent  bulbs — the  answer  to 
the  humble  electrician's  prayer.  So 
much  for  the  mechanics  of  talkie 
production. 

The  scene  is  "  shot. "  the  director  gives 
the  signal  for  a  "play-back,"  if  one  is 
desired,  and  players,  technicians  and 
any  others  listen  to  every  sound  of  the 
preceding  scene  as  it  is  run  off  again. 
That's  where  the  wax  record  in  the  little 
recording  room  comes  in.  In  a  jiffy  the 
record  on  the  soft  wax  is  being  played 
back.  If  it  is  good,  there  is  every  reason 
to  believe  that  the  record  of  the  scene 
on  the  sound  track  wilt  also  be  good. 
And  back  they  troop  for  the  next  scene. 

IN  only  one  studio — Warner  Brothers 
— is  the  wax  disc  used  for  a  permanent 


record  and  film  recording  not  employed, 
but  censorship  may  compel  these  pio- 
neers to  resort  to  film  reproduction.  It 
is  fairly  easy  to  clip  a  line  or  speech  out 
of  a  piece  of  film  but  a  deleted  speech 
from  a  Vitaphoned  production  calls  for 
a  new  record. 

Developments   during    the   past   six 
months,  especially  along  personal  lines, 
have  been  chock-full  of  interest.     I  believe  that  one  of  the 
most  significant  incidents  of  the  early  autumn  was  the  success- 
ful test  made  by  Mary  Pickford. 

It  prompted  her  to  undertake  the  filming  of  "Coquette"  as 
an  all-talkie. 

A  short  time  later  Harold  Lloyd  took  over  one  of  the  Christie 
sound  stages  at  INIetropolitan  Studios  for  a  test. 

It  had  been  predicted  by  some  of  the  sound-wise  ones  that 


Now  Both  Speech  and  Silence  are   Golden 


28 


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International 

The  monitor  room  of  the  United  Artists  studio  in  Hollywood.    Here  you  see  the  monitor — the  newest  power 
in  celluloidia — at  his  "mixing  table,"  pulling  up  and  toning  down  the  voices  of  the  stars.     Through  the 
observation  glass,  the  monitor  watches  events  out  on  the  studio  floor.    He  observes  the  vocal  tricks  of  the 
film  folk  and  has  his  hand  on  the  proper  knob  to  prevent  voice  skidding 


Harold  would  eschew  the  talkie.  He  won't.  His  rather  high- 
pitched  voice  records  splendidly  and,  more  than  that,  he  knows 
how  to  get  the  most  out  of  it. 

If  his  material  is  good,  Harold's  next  picture  should  be  one  of 
his  greatest  successes,  because  his  voice  will  add  infinitely  to 
his  characterization.  Harold  in  a  "talkie"  should  be  nothing 
short  of  a  knockout. 

MUCH  sympathy  has  been  lavished  on  the  poor  "movie" 
players  because  of  their  supposed  inabihty  to  adapt  them- 
selves to  the  new  medium. 

Even  the  easily  stampeded  producer  frantically  has  signed 
up  stage  players  for  his  taUing  j)ictures,  yet  the  most  signal 
successes  in  the  "talkies"  have  been  scored  by  those  of  the 
screen,  notably  Bessie  Love,  Conrad  Nagel  (who  has  almost 
tripled  his  salar\-  since  Metro-Goldwyn-Mayer  unconsciously 
thrust  him  into  fame  by  farming  him  out  to  the  then  lowly 
Warner  Brothers)  and  Richard  Barthelmess. 

Of  course,  Conrad  had  previous  voice  experience,  coming 
into  pictures  from  the  stage  and  Bessie  has  been  on  tour  in 
vaudeville. 

Edward  Everett  Horton,  who  was  regarded  as  more  or  less 
of  a  "flop"  in  silent  pictures,  scored  in  Warner  Brothers' 
'  'Terror, "  as  did  Louise  Fazenda,  and  both  are  now  in  great 
demand. 

Betty  Compson  and  Dorothy  Mackaill,  of  the  pictures,  were 
great,  1  thought,  in  "The  Barker." 

There  are  other  evidences  of  the  fact  that  the  capable  screen 
actor  will  always  be  pretty  sure  to  have  the  edge  on  the  stage 
player  who  is  a  stranger  to  the  camera.  For  after  all,  we  are 
still  making  pictures. 


Charlie  Chaplin  to  break  out  into  speech  as  it  would  have 
been  for  "Slivers"  or  any  other  famous  circus  clown  of 
another  era. 


ON  the  other  hand,  in  almost  sol 
Chaplin,  the  greatest  of  all  come- 
dians, stands  aloof  and  thumbs  his 
nose  at  the  talkies.  He  says  he  will 
have  some  sound  effects  in  his  next 
picture  and  some  talk — but  not  his 
own.  Those  who  have  heard  Charlie 
on  the  radio  can  understand  why. 
But  there  is  a  much  more  important 
reason  than  the  barrier  of  a  London 
accent.  Charlie  is  essentially  a 
pantomimist.  Personally  I  believe 
it    would     be     as     ill-advised    for 


itary  hauteur,  Charlie 


The  camera  booth 
from  the  inside, 
looking  out.  The 
covered  motors  are 
below  and  drive  the 
cameras  via  flexible 
shafts.  Note  the 
padded  walls  and 
thick  glass  windows 


International 


Sound  films  have   transformed  the 


Microphone  fright  is  rife  in  every  sound  studio.  However, 
Jeanne  Eagels,  instead  of  letting  the  strange  machinery  bother 
her,  proceeded  to  wreck  the  machinery.  It  was  not  tempera- 
ment, but  intensity  of  performance.  In  her  emotional  scene 
at  the  very  end  of  "The  Letter,"  her  voice  rises  and  vibrates 
to  its  highest  pitch.  It  sends  thrills  up  and  down  the  listener's 
spine.  And  the  first  time  it  was  taken,  it  smashed  the  delicate 
wirii:igof  the  recording  instrument.  It  was  the  same  as  a  light- 
ning flash  burning  out  the  electric  light  fuses.  The  actress 
wasn't  cramped  at  all. 

Miss  Eagels  also  shattered  a  microphone  with  the  noise  of  a 


heft  —  a  portable  monitor 
booth  in  the  Paramount 
Long  Island  studios.  By 
means  of  the  radio  horn  at 
the  top,  the  monitor  calls  out 
suggestions  to  the  director 
between  scenes.  Note  the 
signal  box  in  front 


pistol  shot  in  the  same  picture.  Simple 
concussion  produced  the  effect.  The 
next  time  the  scene  was  taken  at  the 
Paramount  Long  Island  studios,  a 
lighter  charge  was  put  in  the  gun  and 
the  microphone  was  placed  farther 
away. 

Ethel  Barrymore  had  a  screen  and 
voice  test  made  at  the  same  company's 
Astoria  studios.  Like  many  another 
actor,  she  could  not  recognize  herself 
when  she  saw  and  heard  the  record. 
"My  dear,"  commented  the  first 
lady  of  the  American  stage,  coming 
out  of  the  projection  room  after  the 
showing,  "I  consider  that  an  excellent 
imitation  of  Elsie  Janis  giving  an  imi- 
tation   of    Barrymore." 

Richard  Dix  has  been  seeing  him- 
self on  the  screen  for  years,  with  stage 
experience  going  back  long  before  that, 
but  his  impression  of  his  voice  test  was  startled  amazement.  He 
never  had  heard  himself  in  a  talkie  until  he  came  to  New  York 
just    before    Christmas. 

IT'S  the  head  kick,"  he  remarked.  "I  never  had  such  a 
sensation.  It  took  days  to  get  used  to  my  own  voice.  You 
don't  know  that  person  on  the  screen,  nor  recognize  the  sounds 
he  makes.  I  found  out  things  about  myself  I  never  knew 
before — for  instance,  a  hesitating  drawl  in  my  speech. 

"The  one  thing  the  stage  actor  must  remember  in  a  talking 
picture  is  that  he  doesn't  have  to  throw  his  voice  out  to  reach 

the  last  row  in  the  balcony. 
He  is  playing  only  for  the 
ringside  seats,  the  first  row 
in  the  orchestra.  The  mi- 
crophone is  just  a  few  feet 
away.  He  must  use  a  con- 
versational tone,  restrain 
his  voice,  talk  naturally." 
The  monitor  room  of  a 
talking  film  studio  is  the 
first  station  on  the  way 
from  the  microphone  to  the 
sound  recording  machinery. 
The  operating  staff  here 
sometimes  have  all  the  op- 
portunity of  a  party  tele- 
phone line  subscriber  for 
listening  in  on  secrets. 

For  the  microphone  exer- 
cises  no   censorship.      Any 


In  the  sound  recording 
room  of  the  Paramount 
Hollywood  studios. 
Here  the  film  powers 
can  make  a  fly's  foot- 
falls sound  like  the 
crash  of  thunder.  Their 
mission,  however,  is  to 
get  perfect  synchroni- 
zation 


SO 


whole  process  of  photoplay  making 


sound  is  grist  to  its  mill.  It  looks  innocent 
enough  as  it  hangs  in  the  midst  of  a  set  while 
preparations  are  made  for  a  camera  shot,  but 
it  is  working  all  the  time.  Usually  it  passes 
on  to  the  monitor  room  nothing  more  e.xciling 
than  a  distortion  of  noises  and  voices,  as  actors, 
props,  grips,  electricians,  assistants  of  all  sorts, 
get  things  ready. 

But  occasionally  there  are  unconscious,  con- 
fidential whisperings  immediately  under  the 
''mike."  Then  the  monitor  room,  may  hear 
some  official  high  in  the  production  department 
suggest  to  the  director:  "How  is  little  Helen 
Hotlips  getting  along  on  this  picture?  I  am 
particularly  anxious  that  she  may  have  a  full 
opportunity  to  make  good."  Or  a  couple  of 
grand  dames  from  the  serious  drama  may  lean 
their  heads  close  together  and  tell  the  one  about 
the  Pullman  car  conductor  and  the  artist's 
model. 

NO  definite  techuic  has  been  established  for 
the  making  of  talkies.  Most  of  us  are  still 
struggling  along  trying  to  develop  something 
approaching  that  of  the  stage  and  screen — a 
sort  of  welding  of  the  two  but  ever  keeping  in 
mind  that  "it's  still  pictures";  that  the  sounds 
and  talk  must  be  subordinated  to  the  visual 
results. 

In  some  of  the  studios  the  movie  director  is 
assisted  by  a  stage  director  who  rehearses  the 
talking  sequences.  In  others  a  stage  technician 
actually  shoots  the  spoken  scenes.  But  there 
has  been  a  noticeable  lack  of  movement  in  the 
early  talking  features  and  audiences  have 
grown  restless,  watching — or  listening  to — 
them. 

Our  first  talking  picture  made  at  the  Metro- 
politan Studios  for  Paramount  release  was 
"The  Carnation  Kid,"  starring  Douglas  Mac- 
Lean.  It  had  originally  been  intended  as  a 
sUent  picture  and  was  shot  as  such  while  the 
sound  stages  were  being  built. 

In  shooting  the  sound  picture  we  learned 
that  three-sided  sets  produced  hollow  voice 
reproduction —  [continued  on  p.age  110  ] 


The  old  fashioned 
arc  lights  have 
departed  to  make 
way  for  the  silent 
incandescents. 
Two  styles  are 
shown  at  left  and 
at  the  extreme 
right.  The  one  at 
tlje  left  is  called 
a  rifle  lamp 


A   Dictionary    of   New 
Talkie    Terms 

In  sink — in  synchronism;  picture  and  sound  per- 
fectly timed  together. 

Outa  sir\k — not  in  synchronism. 

Phased,  or  interlocVedi — all  motors  of  sound  and  pic- 
ture recording  equipment  lined  up  in  readiness 
to  start  out  in  perfect  step  together. 

'is,\on\tor  man — the  person  who  operates  the  volume 
control  on  talking  picture  production,  modulat- 
ing sounds  as  they  come  through  the  microphone 
so  as  to  get  a  more  even  and  natural  tone. 

Three  heWs — the  ringing  of  three  bells  in  a  sound 
picture  studio  as  a  signal  that  a  scene  is  to  be 
taken  and  that  everyone  must  preserve  silence. 

One  bell — the  ringing  of  one  bell  to  indicate  that  a 
picture  has  been  taken  and  that  normal  noise  may 
be  resumed. 

Sound  track — the  narrow  band  of  space  along  the  left 
side  of  picture  film  on  which  is  printed  the  rib- 
bon-like strip  of  light  and  dark  lines  which  con- 
stitute the  record  from  which  sound  is  projected. 

Camera  booth — the  movable  sound-proof  box  with  a 
glass  front,  in  which  cameras  are  enclosed  in  a 
talking  picture  studio  in  order  that  the  sound  of 
the  camera  may  not  intrude  in  the  picture. 

Mike — microphone,  corresponding  to  a  telephone 
transmitter,  through  which  the  sounds  on  the  set 
are  picked  up  and  sent  to  the  recording  machin- 
ery. 


Inkys — incandescent  lights,  the 
talking  pictures  in  con- 
trast to  the  old  noisy  arc 
lights. 

Movieola  —  miniature  pro- 
jection machine  with 
earphones  used  in  the 
cutting  room  of  a  talk- 
ing picture  studio  for 
rapid  viewing  of  pieces 
of  film. 

Amplifier — the  electrical  ap- 
paratus similar  to  that 
in  a  radio  which  magni- 
fies the  strength  of  the 
electrical  current  from 
the  microphone  before 
recording. 

Tormentor — a  large  portable 
wall  draped  with  special 
material  to  prevent 
echo  and  resonance  on 
the  sound  set. 

(Continued  on  page  110) 


silent  lights  used  for 


<)f 


©on't  B 


e 


HOLLYWOOD  has  been  called  "The  Port  of  Missing 
Girls,"  "The  City  of  Shattered  Dreams,"  "The 
Place  of  Heart's  Desire.  " 

Hope  has  blazed  across  its  sunset  sk)' for  some,  for 
others  tragedy  has  stalked  its  pavements.  There  have  been 
successes  that  were  brilHant,  sacrifices  that  were  magnificent, 
failures  that  were  dismal  indeed. 

In  the  last  year  a  new  name  has  been  bestowed  upon  Holly- 
wood— a  name  invented  by  the  "Discoveries."  They  call  it 
"The  Cit}'  of  Broken  Hearts."  Not  a  chamber  of  commerce 
title,  exactly,  yet  in  five  words  it  tells  the  fate  of  those  eager 
souls  who  came  from  far  and  near  to  answer  the  siren  call  of 
over-zealous  producers. 


Danger  signs  line 
that  lead  to  Holly 


It  is  a  tragic  story.  The  initial  chapter  was  written  in  1928 
when  talkies  first  loomed  as  a  problem  on  the  picture  horizon. 

New  requirements  made  exacting  demands.  Producers 
scurried  for  their  financial  ceDars  or  climbed  high  on  the  band 
wagon  to  ride  the  crest  of  the  talkie  wave.  Great  personali- 
ties were  submerged  in  economic  upheaval.  New  blood 
seemed  imperative.  Panic  was  in  the  air.  Certain  first  line 
stars  dropped  out.  Other  great  names  grew  dim.  Pola 
Negri  passed,  Mae  Murray  was  forced  back  to  the  stage, 
Tom  Mix  took  his  spurs  and  ten  gallon  hat  to  vaudeville, 
Blanche  Sweet  submerged  herself  in  matrimonial  seclusion — 
and  the  glory  of  other  names  threatened  to  die  of  dry-rot. 

IT  was  an  emergency  that  thrust  at  the  very  marrow  of  the 
craft.  To  meet  it,  picture-makers  went  on  a  talent  hunt. 
In  all  directions  they  rushed,  beating  the  histrionic  jungles 
and  sending  forth  loud  cries.  They  looked  here,  there,  every- 
where. Wildly  they  sought  "Discoveries."  And  in  their 
frantic  search  they  flung  opportunity  into  the  wrong  laps, 
always  with  a  dramatic  gesture.  They  even  stimulated  their 
forays  with  the  loud  blare  of  publicity.  Each  producer 
glorified  his  "Discover)'"  in  the  pubhc  prints.  Contracts 
were  promised,  studio  facihties  were  put  at  their  command, 
stardom  was  indicated  in  every  act,  futures  were  assured. 
Do  you  wonder,  then,  that  these  poor  little  "Discoveries" 
built  their  hopes  to  the  sky  and  sat  atop  them  in  Cinderella 
grandeur? 

They  have  become  the  stars  of  tragedy,  adding  another 
volume  to  the  unique  history  of  Hollywood. 

Dimples  Lido  was  one  of  the  first  to  meet  defeat  last  year 
— Dimples  Lido  brought  to  Hollywood  from  abroad  by  Carl 
Laemmle,  Jr.,  amid  the  fanfare  of  press  agent  acclaim. 

There  are  many  stories  concern- 
ing the  finding  of  Dimples  Lido. 
Carl  Laemmle,  Jr.,  however,  best 
knows  the  facts. 

Her  right  name  was  Joan,  but 
they  called  her  Dimples,  for  a  very 
obvious  reason,  no  doubt.  Few 
in  Hollywood  ever  knew  her  last 
name.  Universal  called  her  Lido 
— Dimples  Lido — because  it  was 


Lovely  little  Lila  Lee, 
who  was  originally 
chosen  to  fill  Mary 
Pickford's  vacant 
slippers  as  player 
queen  at  Paramount 


32 


{discovered 


By 

MARK 

L  A  R  K  IN 


the  golden  roads 
wood  and  glory! 


on  Lido  Beach,  near  Venice,  Italy,  that  young  Laemmle  dis- 
covered her,  at  least  that  was  the  gist  of  publicity  stories  at 
the  time. 

Those  generous  lines  upon  which  many  Continental  women 
are  built  are  what  defeated  Dimples  Lido.  She  was  dismissed 
as  being  too  fat  to  act. 

The  tragedy  of  her  failure  was  suppressed  with  utmost  care 
and  a  veil  of  secrecy  thrown  over  her  departure.  If  she  left 
with  a  broken  heart,  the  matter  was  strictly  her  own  secret. 

The  case  of  Eva  von  Berne  was 
different.  We  know  definitely 
that  she  left  with  a  broken  heart. 
Like  Miss  Lido,  this  little  Berhn 
girl,  discovered  by  Irving  Thal- 
berg,  was  too  ample  to  act.  In 
Europe,  however,  Miss  Berne's 
weight  was  not  against  her.  Al- 
most immediately  upon  her  return 
to  the  German  capital  she  was 
given  a  contract  at  a  salary  re- 
ported to  be  three  times  as  large 
as  the  amount  she  received  from 
M.-G.-M. 

So  her  sorrow  eventually  turned 
to  joy,  even  though  it  was  a  very 
broken-hearted  and  pathetic  little 
foreign  girl  who  sailed  away  from 
America  unheralded  and  unsung. 
What  a  contrast,  too,  with  her 
arrival.  No  slight  detail  had  been 
overlooked.  Her  American  entry 
was  almost  as  grand  as  that  of  a 
visiting  queen.  But  she  smiled 
bravely  when  she  left,  smiled 
after  a  night  of  tears,  smiled  be- 
cause the  eyes  of  those  she  had 
met  in  the  film  world  were  upon 
her. 

The  day  before  her  departure 
from  Culver  City,  she  wandered 
about  the  big  studio,  looking  at 
famihar  things  she  would   never 


CTRANGE,  sad  stories,  these — 
^of  pretty  little  girls  found  in  the 
world's  four  corners  and  brought 
to  the  great  beauty  mart  that  is 
Hollywood.  Odd,  pathetic  stories 
— of  how  they  danced  in,  full  of 
youth  and  hope  and  loveliness, 
and  left  with  torn  hearts  and  tear- 
filled  eyes.  Dimples  Lido,  Dita 
Parlo — the  list  is  long  and  tragic. 
Some  are  half-remembered 
dreams  of  fresh  faces  and  person- 
alities who  brought  us  a  moment 
of  joy  in  photoplays  long  dusty 
on  the  shelves.  Others  are  not 
even  fading  memiories  in  our 
minds.  Be  wary  of  too  much 
happiness  in  discovery,  for  Holly- 
wood is  not  only  the  place  of 
heart's  desire  —  it  can  be  the  city 
of  shattered  dreams ! 


see  again:  The  commissary  where  she  had  chattered  away 
happy  lunch  hours.  The  flowers  banked  bright  and  gay  in 
their  spaded  beds.  The  green  lawns.  The  bootblack  stand, 
and  "Slickem"  with  his  funny  laugh.  She  hoped  he'd  fix  that 
wobbly  footrest  at  the  second  chair  some  day,  the  one  that  had 
nearly  spelled  disaster  for  her. 

Even  the  day  before  she  left,  Eva  von  Berne  posed  for  pub- 
licity pictures,  posed  knowing  they  were  her  last  pictures,  her 
swan  song  as  a  "film  find,"  as  a  great  "discovery." 

Of  course,  a  plausible  alibi  had  been  devised  to  protect  her — 
the  aUbi  that  her  foreign  accent  made  her  unavailable  for 
talking  pictures.  But  Eva  knew  in  her  heart  that  it  wasn't 
true. 

Fate  was  kind  to  her,  however,  and  the  tragic  blunder  that 
had  brought  her  to  Hollywood  became  the  happy  circumstance 
that  set  her  feet  on  firm  ground  in  her  own  country. 

Hollywood  is  the  cruelest  and  at  the  same  time  the  kindest 
city  in  the  world.  There  is  a 
ruthlessness  apparent  with  many 
fighting  for  success.  But  with 
those  who  have  aimed  at  the  stars 
and  hit  only  the  housetops,  philo- 
sophic understanding  is  at  hand. 
They  have  learned  their  limita- 
tions. They  make  their  way  now 
on  a  less  exalted  plane.  To  them 
the  newcomer  may  safely  turn  for 
a  helping  hand.  It  is  unfortunate, 
however,  that  he  usually  finds 
this  out  too  late. 

Perhaps  if  Mona  Martenson  had 
known,  matters  might  have  been 
different.  But  she  really  never 
learned  her  Hollywood.  She  did 
not  stay  long  enough  to  get  below 
the  surface  of  things.  It  takes 
time  to  dig  beneath  the  film  capi- 
tal's superficiahties.  She  was  ban- 
ished to  her  native  Sweden  for  the 
cardinal  cinema  sin  of  failing  to 
live  up  to  expectations — a  sin  that 
often  wrecks  the  careers  of 
veterans. 

Fortunately  Miss  Martenson 
was  one  "discovery"  who  fell  into 
merciful  hands.  Harry  Rapf  sat 
in  judgment  on  her  future  and  in- 
sis;cd  that  there  be  no  publicity 
ballyhoo  about  her,  that  her  activi- 
ties   [  CONTINUED    ON    PAGE    142  1 


y^VERY  fancy  studio  picture  of  The  Cisco  Kid  in  his  best  Hollywood  store  clothes. 

CJ_^/j[     Warner  Baxter's  work  in  "  In  Old  Arizona,"  Fox's  splendid  talking  picture,  has 

sent  his  stock  up  in  a  bullish  Baxter  market.    Warner  and  his  pictures  are  both 

in  great  demand  these  days.    The  story  of  his  brilliant  come-back  is  on  the  opposite  page. 

3j^ 


The 


F'W  ;   ■ 


Cisco 
Kid 

Himself 


The  wonderful  come- 
back of  Warner  Baxter, 
and  how  it  happened 

By  Tod  Hastings 


Warner  Cisco  Kid  Baxter,  finding  himself  to  be  worth 

§5,000  dead  or  alive,  seems  to  consider  the  whole  thing  a 

huge  joke  on  the  state  of  Arizona 


IN  Hollywood  a  new  roster  is  being  formed — the  roster  of 
those  who  have  been  saved  by  the  talkies. 
Perhaps  in  time  it  will  resemble  the  passenger  list  of  a 
trans-oceanic  liner,  but  at  present  the  names  are  few. 

Heading  the  roll  is  Warner  Baxter. 

Six  months  ago  he  was  taking  the  cinema  count  and  preparing 
to  bow  out  of  the  glare  of  the  Kleigs  for  keeps. 

Today  his  is  a  name  that  means  box-oifice.  He  has  staged  a 
comeback  that  startled  even  himself.  As  the  troubadouring 
Cisco  Kid  of  "In  Old  Arizona,"  that  sensational  talkie  that 
William  Fox  recently  produced,  Warner  Baxter  brought  to 
himself  a  glory  which  he  could  not,  under  any  circumstances, 
have  achieved  in  the  silent  pictures. 

Great  as  the  performance  is,  however,  Baxter  does  not  con- 
sider it  a  comeback.  Nor  is  this  a  matter  of  plain,  unadulter- 
ated ego.  Far  from  it,  in  fact.  For  Warner  Baxter  does  not 
consider  that  he  ever  even  arrived!  And  never  having  arrived, 
naturaUy  he  could  not  come  back,  because,  forsooth,  there  was 
no  place  to  come  back  from. 

There  have  been  great  parts  for  him  in  the  past,  but  no  great 
triumphs. 

Many  times  he  thought  that  he  might  touch  the  hem  of  Fame. 
Many  times  he  thought  that  his  great  chance  had  come,  his  big 
opportunity.  And  each  time  iickle  favor  passed  him  by.  It 
was  just  another  good  part  creditably  done.  It  was  not  out- 
standing, not  irresistible  in  appeal. 

There  was  his  work  in  "Craig's  Wife,"  in  "The  Great 
Gatsby,"  his  splendid  Alessandro  in  the  Dolores  Del  Rio  version 
of  "Ramona,"  his  Nuitane  in  ".41oma  of  the  South  Seas,"  and 
many  other  noteworthy  roles.  But  none  of  them,  despite  the 
skill  with  which  he  characterized  them,  brought  him  recognition. 

For  all  of  which,  according  to  Baxter,  there  was  a  reason. 

"On  the  set,  working  in  silent  pictures,"  he  explained,  "one 
says  one  thing,  and  then  it  goes  into  the  cutting  room  and  to  the 
title  writers,  and  when  it  emerges,  lo  and  behold,  one  finds  him- 
self saying  something  else. " 

AU  of  which  merely  means  that  the  characterization  the 
player  dehneates  is  often  garbled  in  cutting  and  titling. 

Or  to  make  it  simpler  still,  silent  pictures  stifle  personality. 

And  that  is  what  was  happening  to  Warner  Baxter. 


"Personality,  after  all,"  he  says,  "is  in  the  voice." 

Not  always,  Warner,  but  in  your  case,  yes. 

"Therefore,"  he  continued,  "when  an  actor  saj's  one  thing, 
and  a  title  writer  ma^kes  him  say  something  else,  naturally  his 
characterization  is  false  and  the  public  condemns  him  or  at 
least  passes  him  a  lukewarm  reception.  But  that,  thank  the 
good  graces,  can't  occur  in  the  talkies.  A  man  says  what  he 
says,  and  that's  that.  No  cutter  can  chop  out  half  of  it,  no 
smart  title  writer  can  stick  a  wisecrack  into  the  middle  of  a 
serious  speech.  The  result,  therefore,  is  a  sincere  interpreta- 
tion, one  in  which  the  player  gets  over  the  full  measure  of  his 
characterization  and  not  merely  some  film  editor's  idea  of  it." 

Apparently  Mr.  Baxter  feels  that  too  many  cooks  have  been 
putting  garlic  in  the  film  broth  in  Hollywood. 

And  maybe  he's  right. 

IT  is  interesting  to  note  that  the  fight  for  success  is  often  a 
grim  battle.  After  some  ten  years  on  the  stage  and  seven  years 
in  pictures,  Warner  Baxter,  a  splendid  actor,  had  just  about 
decided  to  bow  his  way  out.  He  was  going  to  give  up  the 
ghost,  toss  up  the  sponge,  as  it  were.  He  just  couldn't  seem  to 
get  any  kind  of  worth-while  break.  He  had  dreamed  of  star- 
dom, yes,  but  it  seemed  such  an  empty  dream.  And  in  conse- 
quence, he  was  discouraged.  In  fact,  he  had  become  a  bit 
cynical,  or  if  not  cynical,  at  least  commercial.  Quite  frankly 
now  he  admits  that  he  had  reached  the  point  where  he  was  out 
after  the  money. 

"I  had  planned  to  spend  only  one  year  more  in  the  picture 
business,"  he  admits  now,  "then  I  intended  tocheckout." 

As  to  what  he  would  have  done,  he  does  not  exactly  know. 
Allied  lines,  probably — the  theater,  directing,  even  salesman- 
ship was  a  calling  that  haunted  his  dim  consciousness.  But 
most  of  all,  he  had  always  wanted  to  direct. 

When  the  break  came  for  him  as  the  Cisco  Kid,  he  knew  it 
was  the  big  moment.  Just  the  minute  he  heard  the  playback 
on  the  voice  tests,  he  knew  it.  Talking  pictures  were  made  to 
order  for  Warner  Baxter.  Nothing  could  stop  him.  He  took  a 
theoretical  reef  in  his  belt  and  plunged  into  that  part  with  every 
ounce  of  his  energy,  every  iota  of  his  intelligence,  every 
particle  of  knowledge  gained  in  past  [  CONTINUED  ON  PAGE  131  ] 

35 


What  a  Yilm  First 


Some  of  the  stars  that 

Melody"  made  its 

Chinese  Theater 


Need  we  name 
them?  Oh  well, 
for  the  benefit  of 
a  few  benighted 
souls  who  require 
labels,  here  is  one 
of  Movieland's 
inost  romantic 
cou  pies — the  deb- 
onair Adolphe 
and  the  fair  Kath- 
ryn.  Kathryn  is 
wearing  a  becom- 
ing costume  of 
cherry  and  silver 


Bebe  Daniels  and  Ben  Lyon, 
whose  engagement  was  recent- 
ly reported.  Bebe's  costume  is 
white  and  silver  —  a  gorgeous 
setting  for  her  dark  beauty. 
She  is  wearing  orchids 


Bessie  Love  and  Anita  Page — two 
little  troupers  whose  work  in  "The 
Broadway  Melody"  brought  roars 
of  applause  and  congratulation. 
Bessie  (left)  is  gowned  in  the  pop- 
ular all-white — taffeta  dress,  er- 
mine coat  trimmed  with  fox.  The 
only  note  of  color  is  in  her  orchid 
bouquet  and  gold  slippers.  Anita 
is  also  in  white,  except  for  a  dark 
fox  fur.  Her  gown  is  tulle,  her 
cape  transparent  velvet 


56 


Night  Looks  Like 

shone  when  "The  Broadway 
bow  at  Grauman's 
in  Hollywood 


Young  Doug  and  Joan — the 
most  "are  they  engaged  or 
are  they  married"  couple  in 
Hollywood.  Eddie  Nugent  is 
the  jealous  on-looker.  Joan 
is  the  foil  for  all  the  white 
costumes.  She's  wearing 
clinging  black  velvet  relieved 
only  by  pearls  and  a  spray  of 
lilies  of  the  valley 


Blue-eyed,  blonde  Virginia 
Cherrill,  a  new  star  in  the 
film  sky  —  with  Jack  Gil- 
bert. Virginia  is  charming 
in  a  dashing  chartreuse 
velvet  cape,  allowing  brief 
glimpses  of  her  youthful 
white  moire  dress.  The 
dress  is  made  with  tight 
bodice    and    circular    skirt 


Marion  Davies,  looking 
very  dignified  and  lovely  in 
a  graceful  rose  and  gold 
brocade  wrap,  heavily 
trimmed  with  sable, 
which  almost  completely 
covers  her  short  rose  chif- 
fon dress.  Her  dainty 
gold  slippers  are  trimmed 
with  stunning  rhinestone 
bows 


.W 


Intimate  Snapshots  of  Film  Favorites 

No.  3 
Greta  Garbo  Advertises  for  a  Double 


3S 


5^ 


with 

Leonard 
Hall 


EELiNG  Around 


TALKING  PICTURE  DIRECTOR— "Gome  on,  now,  bark  like  an  antedi- 
luvian monster,  there's  a  good  creature!" 


I 


Just  a  Theme  Song 

Dashed  hurriedly  off  for  "Sins  of  the  Fathers," 
Herr  Emil  Jannings'  Picture. 

Sins  of  the  fathers, 

I  love  you! 
Sins  of  the  fathers, 

'Deed  I  do! 
No  matter  how  hard  I  try  to  he  had 
I  just  can't  act  as  terrible  as  dear  old  dad! 
While  I'm  sitting  all  alone 

Father's  chasing  blondes — 
While  I'm  drawing  thirty  per 
Daddy's  stealing  bonds! 
How  I  envy 
Those  fasciitatin' 
Aggravatin' 
Sins  of  the  fathers — 
/  love  you 
(Sweet  papa!) 
I  love  you! 


The  Gag  of  the  Month  Club 

A  boy  and  girl  leaving  a  talking  picture. 

THE  GIRL— "That  leading  man  gives  me  an  earache!" 

Again  "Variety"  wins  the  embroidered  blinders. 


Bits  from  Lots 

When  you  heard  Richard  Barthelmess  sing  in  "Weary 
River,"  that  was  a  young  gentleman  named  Frank  Withers. 
.  .  .  And  Belle  Mann  sang  so  prettily  for  Alice  White  in 
"Show  Girl"  that  the  Victor  platter  people  have  given  her  a 
recording  contract.  .  .  .  Alice  opened  her  mouth  in  Holly- 
wood, but  Belle  sang  in  Camden.  .  .  .  Milton  Sills  lost  sixty 
pounds  in  a  three  week's  illness,  and  work  is  off.  .  .  .  New 
York  seems  to  be  the  easiest  place  for  famous  actors  to  hide. 
.  .  .  Mr.  and  Mrs.  John  Barrymore,  Norma  Talmadge  and 
Carol  Dempster  have  all  succeeded  in  dodging  inquiring 
reporters  for  weeks.  .  .  .  Tom  Meighan  is  in  New  York,  all 
tanned  by  the  Florida  sun.  .  .  .  "Singing  Porter"  is  the 
latest.  .  .  .  The  Paramount  Theater,  in  Brooklyn,  has  a 
colored  boy  who  mingles  baritone  solos  with  his  lobby  sweeping. 
.  .  .  .\nd  when  they  want  the  house  emptied  I  suppose  they 
start  him  on  "Ramona."  .  .  .  Metro-Goldwyn  gave  110 
stage  actors  voice  tests  in  New  York  and  the  only  one  to  nab  a 
contract  was  Miss  Gwynne  Stratford,  of  ".-^nd  So  to  Bed." 
.  .  .  The  gorgeous  Greta  Nissen  has  been  playing  in  an 
obscure  stock  company  near  New  York.  .  .  .  And  that's  the 
high  cost  of  a  thick  accent! 


Personal  and  Confidential 

Rudolph  Valentino's  valet  is  now  hired  by  Samuel  Goldwyn. 
.  .  .  Between  Christmas  and  New  Year  Paramount  laid  off 
750  studio  people.  .  .  .  Happy  New  Year!  .  .  .  Hard 
winter  for  mo\ae  dogs.  .  .  .  Virginia  Vaili  lost  hers,  a  little 
Scotch  terrier  named  Benny.  .  .  .  And  the  famous  Bill,  who 
co-staxred  with  Chaplin  in  "A  Dog's  Life,"  died  at  the  Chaplin 
studio  at  the  ripe  old  age  of  13.  .  .  .  It  is  rumored  that  Al 
Jolson  and  Ruby  Keeler  are  expectant.  .  .  .  OrviUe  Caldwell, 
former  leading  man,  is  selling  bonds  in  Los  Angeles.  .  .  . 
Cecil  De  ISIille's  middle  name  is  Blount.  .  .  .  Lya  di  Putli 
is  permitted  to  do  solo  flights  in  her  own  plane.  .  .  .  Joe 
Schenck,  the  magnate,  has  paid  Leo  Diegel,  the  golf  pro, 
between  ten  and  twelve  thousand  dollars  for  private  lessons. 
.  .  .  Which  ties  Joe  with  Roxy  for  the  honor  of  being  the 
greatest  golf  bug  in  and  around  motion  pictures.  .  .  .  Roxy 
practices  continually  in  his  palatial  offices  in  his  own  theater. 
.  .  .  Conrad  Nagel's  brother  has  gone  into  the  crystallized 
fruit  business.  .  .  .  Thirteen  hundred  Montana  citizens 
visited  Los  Angeles  in  a  body  not  long  ago,  and  the  crowd  was 
immediately  searched  for  more  Gary  Coopers.  .  .  .  Herbert 
Brenon,  Jr.,  son  of  the  director,  is  a  cub  reporter  on  the  New 
York  Mirror.  .  .  .  Ruth  Roland,  the  serial  queen,  is  reported 
to  have  given  Ben  Bard,  her  ffance,  a  million  dollars  for 
Christmas.  .  .  .  What  a  helpmate!  .  .  .  Greta  Garbo  has 
a  swell  sense  of  humor.  .  .  .  She  told  a  couple  of  French 
picture  directors  that  her  salary  to  make  a  picture  in  Paris 
would  be  SI, 000  a  day,  and  they  fainted  dead  away.  .  . 
That's  what  is  known  as  Swedish  punch.  .  .  .  Leave  it  to  the 
ship  news  reporters  to  tab  the  stars.  .  .  .  The  Grapliic's  man, 
in  New  York,  says  that  Dolores  del  Rio  is  always  pouting  about 
something,  that  Norma  Talmadge  is  incHned  to  be  chicken 
breasted,  that  Florence  Vidor  is  stunning  and  that  Mar\' 
Pickford  twitters  about  .\rt.  .  .  .  Well,  a  ship  news  reporter 
has  no  more  illusions  than  a  bell-hop.  .  .  .  Hedda  Hopper's 
son  Bill  is  six  feet  tall  and  only  in  his  middle  teens.  .  .  . 
Gwen  Lee  lunches  on  sandabs  (that's  a  fish)  and  broccoli  for  the 
sake  of  That  Figure.  .  .  .  .•\nd  believe  it  or  not,  one  of  Fox's 
new  talkie  directors  is  none  other  than  John  Parrott. 

S9 


'_^*Sy 


...^ 


■/ 


Be  "the  girl 
with  the 
wonderful 
red  hair" — 
not  just  an- 
other "car- 
r  ot-t  op." 
Here's  how 
to  do  it 

By    • 

L^aurene 
Hempstead 


This  month's  cover  is  a  color  chart  for  red-haired  girls.  Reading  clockwise 
from  bottom  of  circle,  we  have  soft  red-orange,  orange,  yellow-orange  and 
yellow,  fusing  into  soft  yellow-green,  green,  blue-green  and  blue.  The  left 
side  colors  are  similar  to  the  hair  and  make  it  less  conspicuous  but  a  pleasing 
part  of  the  picture  created  by  the  wearer.  The  colors  on  the  right  are 
opposite  in  character  to  the  color  of  the  hair  and  by  contrast  intensify  it 


This  is  the  third  of  a  series  of  four  articles  on  color  harmony  for 
four  distinct  types — the  brunette,  the  blonde,  the  red-haired  and 
the  brown-haired  girl.  The  writer  of  these  articles,  Laurene 
Hempstead,  is  an  authority  on  color.  Next  month — the  brown- 
haired  girl. 

WHY!  I  never  knew  Anne  was  so  attractive,"  the 
young  man  exclaimed  in  a  tone  of  chagrin  at  hav- 
ing entertained  a  beauty  unawares. 

"I   told  you   Anne   was   the  sweetest  girl   I 
know,'   responded  his  sister. 

"Sweet,"  said  the  man  in  a  tone  of  deep  disgust;  "the  girl  is 
beautiful!  That  hair,  that  wonderful  golden  red  hair,  I 
wonder  why  I  have  never  noticed  it  before." 

"It's  been  that  same  golden  red  for  twenty  years.  During 
most  of  that  time  Anne  has  been  in  and  out  of  this  house  every 
day.  If  you  would  pay  a  little  more  attention  to  your  sister's 
friends — "  she  added  in  a  half-aggrieved,  half-teasing  tone, 
"you  wouldn't  discover  beauties  after  they  become  the  most 
popular  girls  in  town  and  are  all  dated  up  weeks  in  advance." 

"But  that  hair,  it  couldn't  have  been  so  beautiful  all  these 
years — she  hasn't  done  anything  to  change  its  color?"  he  asked 
with  the  horrified  suspicion  with  which  even  the  most  broad- 
minded  men  seem  to  regard  artifice  in  the  change  of  natural 
coloring. 

"  No,  you  silly,  her  hair  has  always  been  that  color,  you  were 

40 


calling  her  carrot-top  ten  years 
ago,  before  you  had  the  sophisti- 
cation or  artistic  sense  to  realize 
that  red  hair  is  beautiful,"  was  the 
sisterly  rejoinder. 

"Well,  it  looks  different  now, 
are  you  sure  it's  natural?  "  he  per- 
sisted. 

"  Well,  it  does  look  a  little  more 

golden  red  with  that  lovely  shade 

of    blue-green    she    was    wearing 

today.     I  helped  her  pick  it  out  myself  and  I  know  how  much  it 

does  for  her,  both  for  her  hair  and  her  skin.     That  black  outfit 

she  has  this  spiing,  that  makes  her  look  so  distinguished,  also 

makes  her  coloring  stand  out.     I  was  with  her  the  day  she 

bought  that,  in  fact  I  insisted  on  her  getting  it,  so  I  deserve 

some  credit  for  her  beauty;  all  she  did  was  to  be  born  with  it." 

"Oh,  yes,  Sis,  you  are  some  artist,  you  can  take  the  credit  if  I 

present  you  with  a  beautiful  sister-in-law.     But,  seriously,  does 

a  color  make  all  that  difference?  Anne  never  did  look  even  pretty 

before  this  spring." 

""^"ES,  seriously,  color  does  make  all  that  difference.    Anne 

J-  used  to  be  ashamed  of  her  red  hair,  and  no  wonder  with  you 
rude  boys  calling  her  red-head  and  carrot-top.  She  used  to 
wear  dull  browns  and  tans  because  she  thought  they  made  her 
hair  look  brown,  and  they  did,  somewhat,  but  they  made  her 
look  rather  monotonous  and  uninteresting,  for  her  hair  really 
isn't  red  enough  to  stand  out  when  she  tries  to  match  it." 

"Well,  I'm  glad  it  isn't  dyed;  I'll  see  that  she  always  wears 
colors  that  make  it  look  golden,"  he  said  with  a  mischievous 
grin  over  his  shoulder  as  he  started  to  leave  the  room. 

"Just  wait  until  you  get  her,  Anne's  all  dated  up  for  weeks. 
She  is  going  to  be  here  for  dinner  Friday — just  in  case  you 
should  happen  to  be  home,"  his  sister  called. 

This  incident  reveals  the  effects  of  colors  on  so-called  red 
hair.     Contrasting  colors,  coor  colors  such  as  blue,  blue-green 


^  hat  A  re  Your 

Correct  Colors? 


and  green,  make  the  color  of  hair  that  is  actually  red-orange, 
not  red,  seem  warmer,  more  vibrant  by  contrast. 

Black,  especially  lustrous  black,  likewise  makes  red  hair  seem 
more  colorful  by  contrast.  White  with  its  absence  of  color 
sometimes  makes  red  hair  seem  more  colorful. 

RKD-orange  tones,  beiges,   tans  and  browns,  on   the  other 
hand,  because  of  their  similarity  with  the  actual  hue  of  the 
hair  make  red  hair  less  conspicuous. 

The  red-haired  girl  may  therefore  make  her  hair  more  strik- 
ing, or  less  apparent,  at  will,  simply  through  the  colors  which 
she  employs  in  her  costumes.  By  changing  the  colors  which 
she  wears  she  may  ajiparently  change  her  iiersonality,  changing 
from  the  quiet  appearing  person  wearing  brown,  which  matches 
her  hair,  to  the  gaw  active  effect  contrasting  colors  give  not  only 
to  the  hair  but  to  the  girl  herself. 

Not  all  red-heads,  however,  will  find  it  advisable  to  utilize 
both  methods  of  color  harmony.  The  girl  whose  hair  is  just 
faintly  reddish,  rather  drab  in  tone,  whose  skin  is  rather  dull  and 
lifeless  should  choose  contrasting  colors  which  will  increase  the 
amount  of  warm  coloring  both  in  her  hair  and  skin. 
If  she  chooses  blue-green  to  increase  the  red  in  her 
hair,  to  bring  out  the  flesh  tints  in  her  cheeks,  it  may 
at  the  same  time  be  reflected  into  the  depths  of  her 
eyes,  making  them  seem  a  deep  rather  than  a  faded 
blue,  giving  them  that  blue-green  cast  which  is  so 
subtle  and  therefore  intriguing.  If  her  eyes  are 
definitely  blue,  a  blue  may  be  even  more  effective. 
If  her  eyes  are  decidedly  green,  green  may  increase 
this  distinctive  color  and  accent  the  hair  and  bring 
desirable  warmth  to  the  cheeks. 

E.xtremely  hard,  vivid,  cold  colors,  a  very  brilliant 
blue,  a  vibrant  green  or  a  blue-green  of  high  intensity, 
should,  like  all  other  extremely  vivid  colors,  be 
avoided.  A  bright  blue  mightmake  the  hair  look  too 
brilliant,  too  glaring  in  color,  at  the  same  time  increas- 
ing the  amount  of  yellow  in  the  skin.  The  hair  would 
look  cheap,  probably  artificial  in  color,  the  skin  would 
appear  jaundiced  and  unhealthy,  while  the  eyes,  dom- 
inated by  a  b!ue  much  more  intense  than  their  own 
coloring,  would  seem  pale,  faded  and  expressionless. 


with  the  skin  as  well  as  with  the  hair,  performing  much  the 
same  function  as  black,  yet  with  the  added  contrast  of  warm 
and  cool  hues. 

While  cool  dark  colors  may  be  most  effective  in  dull  textures, 
black  is  frequently  more  becoming  if  in  lustrous  finish.  A  dull 
black  tends  to  absorb  the  coloring  from  surrounding  surfaces, 
making  the  skin  look  pale  and  frequently  lifeless.  Red  hair, 
especially  the  paler,  more  drab  types  of  red  hair,  may  also  look 
dull  when  dull  black  is  worn.  Shiny  black  satin  and  lustrous, 
rich  black  velvet  reflect  rather  than  absorb  light.  They, 
therefore,  contrast  their  rich  blackness  with  the  coloring  of  the 
individual,  making  the  skin  seem  whiter,  the  hair  more 
colorful. 

WHILE  the  girl  with  vivid  red  hair  and  clear  skin  with 
healthy  color  may  wear  dull  black  effectively,  lustrous 
black  will  frequently  be  even  more  becoming.  The  more  drab 
red-haired  type  will  find  dull  black  unbecoming,  undesirable  at 
all  times,  while  lustrous  black  may  be  flattering,  especially  if 
used  with  an  accent  of  cool  color.     [  continued  on  page  111] 


A  VIVID  green,  a  too  brilliant  blue-green,  would  be 
equally  disastrous.  Softer,  more  subtle,  more  truly 
beautiful  colors  in  these  same  hues  are  much  easier  to 
wear,  more  desirable  for  all  types,  but  especially 
necessary  for  the  girl  with  red  hair,  for  her  coloring, 
which  may  be  so  distinctive,  becomes  tawdry  and 
cheap  when  in  contrast  with  harsh,  vivid,  cool,  some- 
what elusive  colors.  Every  red-haired  girl  should  try 
many  shades  of  blues,  blue-greens  and  greens,  noting 
their  effect  upon  her  hair,  her  skin,  her  eyes.  She 
should  trust  not  only  the  judgment  of  her  mirror  but 
that  of  a  critical  and  sincere  friend. 

Some  red-haired  girls  will  find  rather  pale  tints, 
especially  in  green  or  blue-green,  becoming.  Pale  blue 
usually  lacks  sufficient  character  to  be  effective  with 
the  distinctive  red  hair.  Medium  values,  colors  which 
are  neither  extremely  light  or  very  dark,  are,  if  soft- 
ened or  grayed  rather  than  vivid,  becoming  to  many 
red-haired  types.  Dark,  cool  colors,  dark  blue,  dark 
green  and  dark  blue-green  are  frequently  extremely 
becoming,  as  the  darkness  of  the  color  gives  a  contrast 


'T'O  MAKE  an  attractive  ap- 
-'-  pearance  it  is  necessary  to 
analyze  your  coloring  and 
choose  your  clothes  in  har- 
mony with  it.  And  it's  both 
wisdom  and  fun  to  match  your 
color  combinations  to  your 
moods — at  times  to  bring  out 
vividness  and  striking  effects, 
at  other  times  to  tone  down 
your  coloring  to  quiet,  restful 
notes.  Complexion,  hair  and 
make-up  all  enter  into  this 
study.  The  red-haired  girl 
will  find  it  especially  fascinat- 
ing. There  are  so  many  ways 
by  which  she  can  make  her 
hair  a  real  crown  of  glory.  The 
girl  with  golden-red  hair  and 
warm,  clear  complexion  can 
wear  one  set  of  colors — her 
sister  of  the  drab  hair  with  just 
a  faint  reddish  tinge,  and  dull, 
pale  skin  requires  another  set. 
And  there's  a  trick  to  keep  red 
hair  from  looking  artificial  in 
color. 


H 


sUs*.             1 

•      vl 

HKik -"^i^^^^^^^^^^l 

T/'^  Studio  Murder 

The  police  net  tightens  about  the  baffling  Holly- 
wood murder  and  a  sensational  arrest  nears 


Who  killed  Dwight  Ilardell? 

That  is  the  problem  baffling  the  whole  Los  Angeles  police  and 
detective  departments.  Uardcll,  a  leading  actor  with  the  Superior 
Films  Company,  had  been  found  7nurdcrcd  on  Stage  Six,  following 
a  night's  work  on  close-ups  with  Franz  Seibcrt,  Superior's  ace 
foreign  director.  Investigation  shows  thai  Hardcll  left  the  studio 
in  Scihcrt's  car  at  12:17  A.M.  Apparently  finding  his  way  back 
uilhout  being  observed  by  anyone,  Hardcll  'met  his  death  in  the 
cjstume  of  his  mimic  role  and  on  the  very  spot  where  he  was 
supposed  to  die  in  the  final  scenes  of  Seibert's  film. 

Four  people  come  under  suspicion:  Seiberl's  assistant,  Billy 

43 


West;  West's  sweetheart,  Yvonne  Beaumont;  Beth  MacDougal, 
pretty  daughter  of  the  studio  gateman;  and  the  gateman,  Mac- 
Dougal, himself.  Three  of  these  suspects  "confess"  under  puz- 
zling and  contradictory  circumstances. 

Since  the  police  still  believe  the  murderer  at  large,  the  hunt  goes 
on.  HardeU's  past  record,  an  unsavory  one  in  his  private  life, 
opens  up  many  channels  of  investigation.  It  seems  highly  proba- 
ble that  the  murder  was  committed  by  a  jealous  woman. 

As  the  last  installment  closed.  Chief  Detective  Smith  was  about 
to  question  Serge,  Seibert's  strange  Russian  cameraman.  Now 
go  OH  with  the  mystery. 


Mystery 


"I  wanted  ...  I  had  to  .  .  .  talk  to  Dwight 
Harden,"  confessed  Beth.  "My  father  had  for- 
bidden me  to  see  him  ...  I  went  to  the  stage  and 
Dwight  was  not  there  ...  I  heard  someone  coming. 
I  was  so  scared.  I  started  to  run  .  .  .  and  I  fell 
and  that's  how  I  found  out  that  Hardell  was  there 
all  the  time— and  that  he  was  dead!" 


N' 


Bf  The  EDINGTONS 

Illustrate  J   by    C.    A.    BRYSON 


"O.     No  one  has  moved  it  since  I  set  it  up  here," 
said  Serge  in  answer  to  Smith's  first  question. 

"Do  you  usually  leave  your  camera  on  the  set  at 
night?" 

"No  But  Seibert  wanted  to  re-take  the  death  scene  which 
matched  up  with  the  dissolve  and  I  did  not  want  to  chance 
movmg  the  focus. " 

"I  want  to  check  up.  if  possible^  on  the  film  vou  shot  the 
day  before  Hardell  was  murdered.  " 

"It  will  take  some  time,  but  there  will  be  a  discrepancy.  The 
camera  jams  sometimes  and  we  waste  film  re-threading." 


"Did  that  happen  on  that  day?" 

"Yes." 

"How  many  times?" 

"I  do  not  remember." 

"You  cannot  say  how  much  film  was  wasted  in  that  wav'" 

"No." 

"Well,  find  out  how  much  film  you  loaded  and  how  much 
you  shot  .  .  .  exposed." 

Serge  showed  his  white  teeth  in  his  sudden,  brilliant  smile. 

"They'll  bawl  me  out  good  and  plenty  at  the  'lab'  but  I'll 
tr>'  to  get  the  dope  for  you.  " 

43 


O  p' 


'EN   the  greenest  amateur  knows  enough   to   conceal   his   finger- 
prints," protested  Detective  Smith. 

'But  what  the  greenest  amateur  does  not  know,  and  what  even  the 
expert  criminal  can  hardly  be  acquainted  with  so  soon,  is  the  fact  that 
gloves  do  not  protect  him,"  responded  Professor  Middleton.  "In  wearing 
gloves  the  criminal  nearly  always,  because  he  believes  himself  safe  .  .  .  he, 
or  she  .  .  .  leaves  a  very  legible  palm  print.  The  lower  portion  of  the 
palm,  that  portion  lying  within  the  opening  of  the  ordinary  gloves,  is  as 
absolute  an  identification  print  as  the  finger  print" 


Strange  Murder  Mystery  Reaches   Climax 


"I  understand  that.  I'll  wait  here  for  you." 

"Oh,  I'll  phone  them.  They  might  have 
an  inspiration  to  throw  me  in  the  'soup'  if 
I  went  down  there  in  person!" 

Smith  could  not  detect  any  double 
ineaning  in  the  man's  conversation. 

''Hello.  That  you,  Sam?  Get  me  the 
footage  on  that  stuff  we  shot  the  day  Har- 
dell  was  killed.  Check,  up  all  the  NGs  and 
the  waste  ends  and  the  raw  stock  in  the 
magazines.  Tally  it  with  the  slate  and  let 
me  have  the  total.  Certainly  I  am  not 
kidding.  Do  you  want  Captain  Smith  to 
talk  to  you?"  Evidently  not,  for  Serge 
hung  up. 

SMITH  was  in  the  chair  marked  Assist- 
ant Director,  and  apparently  dozing, 
when  the  cameraman  returned  to  the  set. 
He  lay  back  with  his  lean  brown  hands  on 
his  lean  stomach.  Serge  smirked  at  him 
and  said  under  his  breath: 

"If  3'OU  were  fatter,  my  good  detective, 
you  would  be  very  much  like  a  sitting 
Buddha  ...  in  appearance!  But  I.do  not 
think  you  are  as  wise  .  .  .  no,  not  as  wise!" 
and  he  began  walking  with  quick,  elastic 
steps,  about  the  set.  Smith  opened  his 
eyes  in  time  to  see  him  leap  suddenly  high 
in  the  air,  twirl  his  body  in  a  complete  revo- 
lution and  land  lightly  on  the  balls  of  his 
feet.  Just  then  the  phone  rang  and  he  went 
to  answer  it.  Smith  retained  an  impression 
of  the  man's  legs,  revealed  fully  as  to  shape, 
in  the  golf  stockings  frequently  worn  by 
cameraman  and  assistant  directors.  They 
were  the  strangest  legs  he  had  ever  seen 
.  .  .  very  short,  and  huge  with  bulging 
muscles.    No  wonder  the  man  could  leap! 

"  Film  issued  Seibert  Productions  March 
31.  Unexposed  straight  stock  4800  feet. 
Panchromatic  400  feet.  E.xposed 
total  (straight  stock)  4200  feet. 
Panchromatic  132.  Not  checked 
in  magazine  X  124,  400  straight 
stock.  Total  print  380  feet.  NGs 
and  slated  3520.  Shortage  120, " 
read  Serge  when  he  returned, 
looking  at  the  memo  in  his  hand. 

"Hm  .   .   .   that    means    you 
wasted  120  feet  when  the  camera  jammed! 
mately  how  much  waste  is  there  each  time  it  jams? 


►:?] 


EN  or  fifteen  feet.     It  might  not  all  be  lost  in 


one  of  the  magazines. " 

"Why?" 

"Well,  it  usually  runs  400  feet  to  a  roll.  Suppose 
we've  e.xposed  380  feet,  and  Seibert  starts  a  new 
sequence  of  scenes  which  will  take  more  than  what's 
on  the  roll.     We  take  it  out  and  put  in  a  fresh  one." 

"How  was  the  camera  fixed  when  you  left  it? 
Fresh  loaded  ready  to  shoot?" 

"Yes.  ]My  assistant  had  just  put  on  a  magazine  when 
Seibert  called  it  a  day." 

"Then,  if  no  one  has  touched  this  camera,  why  is  that 
magazine  not  on  it  now?"  said  Smith. 

There  was  a  flicker  ...  it  might  have  been  surprise  .  .  . 
in  the  man's  eyes. 

"You  have  already  examined  the  camera?  I  have  not.  I  will 
see  if  you  are  right."     He  went  to  it  with  his  bouncing  gait. 

"You  are  right,"  he  said,  turning  back  to   Smith. 

"Can  you  explain  it?" 

"I  cannot  explain  it.  It  is  possible  I  am  mistaken.  Very 
often  people  imagine  they  have  seen  the  movements  of  a 
familiar  routine,  when  they  have  not.  It  is  a  subconscious 
thought." 


a9 


"Those  bloody  fingerprints  on  the  canvas  door  were 
j'ours,"  said  Detective  Smith. 

Beth  looked  at  the  detective  and  her  blue  eyes  began 
to  fill  with  tears.  "There  isn't  any  use  in  keeping  things 
back,"  she  said.  "My  father  ...  I  did  not  see  him 
kill  Harden  .  .  .  but  I  know  ...  he  did  it." 

"  Correct.  Can  you  conveniently  get  another  camera  and 
bring  it  here?" 

"  I  think  so.  " 

When  he  returned,  Smith  said:  "I  want  you  to  show  me  how 
a  person  familiar  with  a  camera  woidd  go  about  taking  off  the 
magazine  in  changing  magazines. " 

The  sensitive,  steely  fingers  of  the  man  clasped  the  camera. 

"Here  ..."  he  said,  grasping  the  back  spool,  "or  here," 
taking  the  front  one.    "With  the  [  conti.n'ued  on  page  116] 


^ 


bssip  of  AW 


ByC^l 


When  Louise  Lovely,  who  retired  from  the  screen  and 
married  Australian  millions,  came  back  to  the  Metro- 
Goldwyn-Mayer  studio  to  visit  friends,  she  found  Estelle 
Taylor  gone  completely  oriental  for  her  role  in  "Where 
East  Is  East."  The  use  of  adhesive  tape  tying  back  the 
eyes  gives  that  Ming  Toy  appearance 


"  If  seven  maids  with  seven  mops 

Scrubbed  Hollywood  from  morn  to  e'en, 

Oh,  do  you  think,"  a  censor  said, 
"That  they  could  make  it  clean?" 

BELIEVE  it  or  not,  the  rumor  is  going  around  among  Charlie 
Chaplin's  friends  that  he  is  that  way  about  Georgia  Hale, 
the  Chicago  girl  who  was  his  leading  woman  in  "The  Gold 
Rush." 

There  is  even  talk  of  wedding  bells. 

It  was  Georgia  who  first  brought  Lita  Grey  to  the  attention 
of  Charlie,  and  it  was  Georgia  who  took  Lita's  place  when  she 
became  the  second  Mrs.  C. 

And  now,  Lita  having  faded  out  of  the  picture,  the  little  gray 
clown  is  paying  plenty  of  court  to  the  clever  girl  who  began  her 
career  in  the  famous  quickie  called  "The  Salvation  Hunters," 
the  picture  that  gave  Joseph  von  Sternberg  his  big  shot 
at  fame. 


Clara  Bow  is  telling  the  microphone  a 
thing  or  two.  The  Brooklyn  Bonfire 
madeherradiodebutnotlong  ago  over 
Station  KNX  in  Los  Angeles  during 
Paramount  Hour,  which  is  a  feature 
each  Sunday  night  between  7  and  8, 
Pacific  Coast  time 


THE  dream  home  of  the  late  Fred  Thomson,  western  star,  is 
to  be  sold. 

The  magnificent  $750,000  estate,  15  acres  of  beauty  spot  in 
Benedict  Canyon,  is  under  the  hammer,  because  his  widow 
Frances  Marion,  cannot  bear  to  live  amid  its  stunning  beauties 
without  him. 

There  Thomson  romped  with  his  two  children.  There  he 
planted  and  tended  rare  varieties  of  plants  and  flowers  as  well 
as  common  sorts  that  meant  much  to  him  through  association. 
On  it  stood  a  22-room  mansion — now  filled  only  with  memories. 

Sixteen  of  his  horses  are  to  be  sold. 

Silver  King,  the  great  stallion  that  shared  honors  with  him, 
is  not  to  be  disposed  of — may  never  be  ridden  again. 

46 


Silver  King  is  to  be  the  mourning  Miss  Marion's  one  link 
between  the  sad  present  and  the  golden  days  of  her  life  with  the 
big  preacher-star. 

"PLATE'S  choicest  bit  of  irony  for  the  month. 

Raoul  Walsh,  the  director,  lost  his  right  eye  last 
winter  when  a  leaping  jack-rabbit  crashed  through  the 
windshield  of  his  car. 

And  the  first  story  assigned  to  him  after  his  return  to  the 
studio  was  called  "This  Cock-Eyed  World" ! 

WE  hear  little  Betty  Bronson  has  left  the  parental  roof  and 
established  an  apartment  of  her  own.     What  prompted 
this,  we  do  not  know  exactly,  but  mothers  of  screen  celebrities 


The  Studios 


York 


I 


Unser  Emil  Jannings,  about  to  begin 
performing  a  solo  on  the  Tyrolean 
harp  you  see  on  his  lap.  Herr  Jan- 
nings is  made  up  for  his  Alpine  role  in 
his  current  picture.  And  what  it 
takes  to  hunt  the  edelweiss,  Emil 
certainly  has! 


have  a  habit  of  tightening  the  apron  strings  long  after  daughter 
has  learned  to  cross  the  street  alone,  and  not  always  with 
pleasing  results. 

IN  the  lavish  pet  cemetery  in  the  San  Fernandino  valley,  near 
HoOywood,  there's  a  new  stone. 

On  it  is  carved — "Kahar,  Rudolph  Valentino's  dog.  Born 
in  Alsace,  June  20,  1922.    Died  January  17,  1929." 

Kabar  was  a  Dobermann  pinscher  given  to  Rudie  on  a 
European  trip  while  he  was  still  happily  married  to  Natacha 
Rarabova,  and  was  trained  on  the  Hudnut  estate  in  France. 

After  the  film  star's  death,  Kabar  was  inconsolable,  and 
lived  on  at  Falcon's  Lair,  the  Valentino  home  in  the  hills  above 
Hollywood,  cared  for  by  a  housekeeper. 


Gary  Cooper  takes  all  medals  for  the  novel  present.  He 
recently  gave  Lupe  Velez  a  pair  of  American  eagles,  and 
Lupe  is  finding  them  a  little  difficult  to  care  for  on  the  old 
Velez  estate.  So  she  has  finally  decided  to  ship  them  to 
the  zoo  in  Mexico  City,  where  eagle-handling  facilities  are 
said  to  be  excellent 


And  plenty  of  romantic  folk  todaj'  are  saying  that  Kabar  has 
joined  his  famous  master  in  Valhalla. 

'T^HE  month's  best  title,  and  don't  give  me  an  argument. 
It's  from  Paramount's  gabbie,  "The  Canary  Murder 
Case."     And  it  reads: 

"The  lock  I  can't  pick  is  still  in  Yale!" 

ANOTHER  real  romance  of  the  films  bloomed  in  New  York 
recently,  when  Marjorie  Daw  and  Myron  Selznick  went  to 
the  Munici[)al  Building  and  were  married. 

It  wasn't  a  movie  wedding,  according  to  the  good  old  Holly- 
wood tradition,  with  mobs,  cameras,  music  and  cutaway  coats. 
Marjorie  and  Myron  just  went  up,  got  a  license  and  were 
spliced.  There  were  only  a  few  people  present,  and  the  only 
noise-making  was  the  grunt  of  ferry-boats  in  the  East  River  far 
below. 

Geraldine  Farrar  "discovered"  Miss  Daw  years  ago,  and 
gave  her  a  chance  in  pictures.  Marjie  was  just  a  child  then.  In 
1923  she  married  Eddie  Sutherland,  the  director,  and  divorced 
him  in  1925. 

Myron's  family  has  been  in  the  producing  end  of  pictures  for 
many  years.  The  groom's  last  zoom  into  the  headlines  was 
when  he  won  a  fast  live  minute  bout  with  Jack  Barrymore  on 
the  lawn  of  the  .Embassador  Hotel  in  Hollywood. 

Mj'ron  and  Marjorie  have  known  each  other  for  years.  He 
gave  his  age  as  30,  and  the  bride  blushed  and  confessed  25. 
Good  luck  to  the  happy  pair,  is  the  wish  of  old  Cal. 


B, 


ELIEVE  it  or  not,  Lupe  always  gives  us  the  exciting  moment 

of  the  month. 

She  was  being  interviewed  by  a  conservative,  Boston  news- 

A7 


Tommy  Armour  gets  time  to  win  a  lot  more  golf 
championships.  Jack  Mulhall  is  presenting 
him  with  a  Mulhall  model  Helbros  wrist  watch 
for  being  runner-up  in  the  Los  Angeles  $10,000 
open  tournament.  Both  boys  seem  happy 
about  the  tourney  and  the  timepiece 


There's  a  tragic  story  in  this  picture.  It  shows 
Ralph  Ince  greeting  Molly  O'Day  after  her 
operation  to  remove  fat,  with  sister  Sally  O'Neil 
looking  on.  There's  a  little  of  the  old  fight  and 
snap  in  Molly's  face,  but  her  operation  left  her 
wan  and  wistful 


paper  woman.  The  setting  was  Lupe's  boudoir.  The  night 
was  warm,  so  her  attire  was  scanty  ...  to  be  exact,  only  two 
pieces,  both  of  soft  satin. 

Presently,  Gary  Cooper  appeared  on  the  scene.  This  was  too 
much  for  the  newspaper  woman,  who  excitedly  remarked: 
"  Before  the  interview  can  proceed,  I  will  have  to  ask  you  to  put 
on  a  dressing  gown,  Lupe." 

SPEAKING  of  Lupe,  it  is  the  consensus  of  opinion  that  she 
and  Gary  Cooper  will  be  married  at  an  early  dale. 
The  impression  is  that  the  parental  anxiety  on  the  part  of  the 
elder  Coopers  had  no  retarding  influence  on  the  love  aftair 
between  Lupe  and  Gary. 

It  has  aU  the  ear-marks  of  the  genuine  article. 

TT  was  the  inevitable  question  the  first  time  we  had 
luncheon  with  Lillian  Gish  upon  her  return  from  Europe, 

"What  do  you  think  of  the  talkies?" 

"The  public  has  a  newer  and  better  toy,"  said  Lillian. 

"Give  a  little  girl  a  doll  that  walks  and  she's  delighted.  But 

give  her  one  that  also  says  'Mama'  and  she  is  entranced. 

The  talkies  say  'Mama.'  " 

THE  importance  of  Hollywood  as  a  fashion  center  has  at 
last  been  recognized  in  Paris.  The  great  Poiret,  famous 
French  designer,  is  planning  to  establish  himself  in  the  film 
capital. 

A  deal  is  now  under  consideration  and  the  property  has  even 
been  selected.  Also  a  local  capitalist  has  agreed  to  underwrite 
the  project  to  the  tune  of  $300,000.  Poiret  left  Hollywood 
greatly  elated  and  much  impressed  with  its  potentialities  as  a 
style  mart. 

His  plan  contemplates  the  opening  of  an  elaborate  institution 
under  his  own  name  which  will  specialize  in  interior  decoration 
and  in  period  and  custom  built  furniture  as  well  as  in  gowns  and 
rare  perfumes  and  cosmetics.  The  department  of  decoration 
and  furniture  will  be  under  the  direction  of  Harold  Grieve,  one 
of  Hollywood's  foremost  designers  and  decorators. 

Poiret  will  spend  four  months  in  Hollywood  each  year  and 
eight  months  in  Paris. 


WHO'S  Meta  Morphosis?"  asked  the  big  producer. 
"Why,  metamorphosis  changed  the  whole  aspect  of 
things." 

"Veil  den,"  said  the  producer,  "she  better  next  change  her 
name.    She  can't  be  a  big  star  vit  a  name  like  det." 

TA/HOOPS,  and  my  word! 
'  *       Maria  Corda  has  hired  a  VALET ! 

She  fired  her  colored  maid  and  hired,  as  Lord  High 
Guardian  of  the  Royal  Lipstick,  a  big  husky  man. 

Seven  stage-hands  fainted  the  first  day  Corda  appeared 
on  the  set  with  her  he-maid  toting  the  make-up  box. 

W INFIELD  SHEEHAN  has  picked  the  leading  girl  for  his 
"Fox  Movietone  Follies." 
Her  name,  believe  it  or  not,  is  "Dixie  Lee,"  and  she  was  lured 
away  from  the  singing  stage  by  the  dangling  of  Fox  lucre. 

Incidentally,  every  time  Flo  Ziegfeld  thinks  of  the  use  of  the 
name  "  Follies"  with  the  Fox  picture,  his  lavender  shirt  catches 
fire.  Flo  wants  to  film  his  own  "Follies" — a  Ziegfeld  trade- 
mark, hall-mark,  and  landmark  for  over  twenty  years. 

AL  BO.\SBERG,  that  exceedingly  versatile  title  writer  and 
wit,  was  called  upon  to  serve  as  master  of  the  microphone 
at  Grauman's  opening  of  "Broadway  Melody." 

Many  and  deft  were  the  Boasberg  quips. 

Each  arriving  star  came  in  for  his  or  her  share  of  kidding. 

But  the  fastest  wise  crack  of  all  was  the  one  Al  pulled  on  his 
divorced  wife. 

"Here  comes  the  former  Mrs.  Boasberg,"  he  remarked,  "I 
don't  see  how  she  wears  all  those  swell  clothes  on  the  alimony 
I  give  her." 

THE  news  of  the  engagement  of  Ben  Lyon  and  Bebe  Daniels 
has  busted  us  all  up,  and  we'll  never  be  the  same  again— 
no,  never! 

Whenever  we  needed  a  hot  squib  about  the  romance  of  a 
pretty  heart-cracker  we  could  always  pin  the  yarn  to  Bebe. 

We've  had  her  all  but  hitched  to  a  dozen  eligibles — Harold 
Lloyd,  Jack  Dempsey,  Charlie  Paddock,  Jack  Pickford  and  a 
dozen  others. 

Now  we  have  to  quit. 

The  Lyon  angle  is  just  as  tough. 

Ben  has  been  the  real  sheik  of  the  lots,  though  we  talked 
more  about  Rudie. 

Dozens  of  women  have  loved  him,  though  he  was  never  more 
than  mildly  ruffled.  Barbara  La  Marr  was  very  fond  of  him. 


Who's  that  chap  in  the  middle?  When  Eleanor 
Boardman  marches  off  to  war,  slie  usually  falls 
into  a  shell  hole  and  gets  her  face  dirty,  just  to 
start  hostilities.  This  is  a  scene  from  "She 
Goes  to  War."  The  other  two  are  Edwin 
Chandler  and  Al  St.  John 


Gloria  Swanson  is  one  of  his  best  friends.  Marilyn  Miller 
certainly  cared  in  a  big  way  at  one  time,  and  we  thought  he 
was  losing  sleep  over  Marion  Nixon. 

Now  we  are  all  wrong.  Whenever  we  need  an  attractive  bach- 
elor now  it  will  be  Gilbert  or  Nils  Asther.  This  is  Warning  No.  1. 

OH  how  careful  actors  have  to  be  these  days! 
Lilyan  Tashman  and  Ronald  Cohnan  were  complaining 
loudly  between  scenes  of  "Bulldog  Drummond."  They  told 
each  other  in  no  uncertain  terms  that  the  long  hours  and  the 
night  work  completely  wore  them  out.  They  added  a  few  other 
choice  tidbits  concerning  Samuel  Goldwyn  and  his  methods  of 
picture  making. 

Imagine  their  complete  consternation  when  they  discovered 
that  the  microphones  on  the  sound  stage  were  open  and 
that  Sam  Goldwyn  himself  was  sitting  in  the  recording  room 
hearing  every  word  of  their  conversation! 

RHEBA  CRAWFORD,  "Angel  of  Broadway,"  has  parked 
her  Bible  in  Hollywood  and  proposes  to  build  a  cinema 
cathedral  here.  To  this  there  will  be  attached  a  hotel  for  busi- 
ness and  e.xtra  girls.  Furthermore,  Miss  Crawford  has  refused 
to  enter  pictures. 

She  was  delighted  with  Lon  Chaney,  astounded  at  his  keen 
and  sparkling  intelligence;  she  was  much  pleased  with  Corinne 
Griflith  and  Ernest  Torrence.  Her  frank  admiration  and 
appreciation  of  picture  people  are  in  direct  contrast  to  the  views 
held  by  Aimee  Semple  McPherson,  for  Aimee  doesn't  even 
want  the  members  of  her  church  to  see  a  picture  show. 

We  suppose  a  comparison  between  these  two  women  evan- 
gelists is  inevitable,  since  they  are  in  the  same  locality  at  the 
moment,  but  the  points  of  similarity  are  so  slight,  the  two 
names  will  not  often  be  connected. 

SPE.^KING  of  Rheba  Crawford,  her  first  visit  to  a  studio 
was  to  Corinne  Grifhth's  set.    Upon  her  arrival,  all  the  e.xtra 
men  of  the  compan\' arose,  bowed  profusely,  kissed  her  hand,  etc. 
"  Did  you  say  these  are  extra  people? "  she  inquired.    "  Why, 
I  have  been  all  over  the  world  and  I  have  never  seen  such 
gallantry  in  any  drawing  room." 

What  we  didn't  tell  her  was  that  all  of  these  men  were 
foreigners  and  most  of  them  had  been  distinguished  officers  in 
the  Russian  army  and  \Vere  trained  to  be  gallant. 

IN  his  new  United  Artists  picture,  "Eternal  Love,"  John 
Barrymore  walks  up  snowbanks  and  down  snowbanks  and 
over  snowbanks  and  around  snowbanks  and  across  snowbanks. 


Paul  Poiret,  the  famous  Parisian  dressmaker,  is 
showing  just  exactly  how  he  makes  bad  figures 
better  and  good  figures  wonderful.  Not  that 
Joan  needs  any  particular  help,  for  Heaven's 
sake!  Poiret  is  threatening  to  open  a  branch  in 
Hollywood 


He  walks  and  walks  and  walks.  .And  when  one  of  Holly- 
wood's very  clever  magazine  writers  saw  it  she  remarked, 
"Well,  I  see  that  United  has  made  its  first  Walkie." 

TJOLLYWOOD  etiquette  demands  that  a  dead  romance 
be  shrugged  off — paid  the  dubious  compliment   of  a 
light  word.     Somebody  asked  Alice  White,  the  other  day, 
how  Dick  Grace,  the  stunt  flier,  was. 

"How  should  I  know?"  asked  Alice.    "Believe  me,  I  fell 
for  and  from  Grace  in  short  order!" 

NOT  all  movie  actors  live  according  to  the  hit  or  miss  idea. 
I  point  to  Norma  Shearer. 

She  has  organized  her  life  and  career  with  precision  and  per- 
fection. 

It  is  all  according  to  plan,  and  her  rise  to  fame  and  fortune 
is  proof  that  never  once  did  she  allow  herself  to  be  (lagged 
off  the  main  line. 

She  refused  marriage  till  she  was  certain  she  was  firmly 
founded  as  a  star. 

She  had  little  time  for  love  or  friendship  during  the  days 
of  her  artistic  growth. 

Now  she  looks  toward  another  goal.  Old  Dame  Rumor 
sidles  up  to  say  that  at  the  end  of  1929  she  will  retire  and  attend 
to  the  glorious  business  of  motherhood. 

She  has  three  pictures  to  do  for  M.-G.-M.  this  year — "The 
Trial  of  Marv  Dugan,"  "The  Last  of  Mrs.  Cheynev,"  and 
"Ballyoo." 

It  will  be  characteristic  of  Norma  if  she  does  them  hand- 
somely, closes  her  makeup  box  and  retires  quietly  to  the  sun- 
shine to  await  what  is  euphemistically  called  a  blessed  event. 

LEW  CODY  has  been  desperately  ill  in  New  York. 
At  holiday  time,  it  appears,  he  cancelled  vaudeville  dates, 
because  of  illness. 

Then,  after  a  month's  silence,  came  word  that  he  was  criti- 
cally ill  at  his  New  York  hotel — allowed  to  see  no  one,  running  a 
tremendous  temperature,  and  so  on.  His  manager  did  all  the 
talking,  and  Lew's  sickness  was  in  the  nature  of  a  bombshell  all 
round.  [continued  on  page  82  ] 

49 


Hollywood's  Apostle 

to  the  Scots 


When  Margaret  Mann  went  home,  all 
Aberdeen  wanted  to  hear  secrets 


By 

Cat    York 


ABERDEEN,  Scotland,  has  just  had  its  first  view  of 
a  mad,  bad  movie  mamma,  hot  from  horrid  Hollywood! 
This  palpitating  patootie,  geared  to  tell  aU  about 
the  sins  of  cinemaland,  is  a  dear  Uttle  old  lady  of  sixty 
summers  and  a  lot  of  winters. 

Which  is  another  way  of  saying  that  Margaret  JMann,  un- 
forgettable Mother  Bcrnle  of  Fox's  "  Four  Sons,"  has  come  back 
from  a  long  visit  to  her  ain  folk  in  the  home  town  she  left  thirty- 
eight  years  ago. 

Hollywood's   unofficial   ambassador  of  sweetness  and  light 
has  returned  from  a  gentle  mis- 
sion to  her  own  people. 
After  eleven  years  of 


weary  waiting  and  of  working  in  pifiling  e.xtra  bits,  Mother 
Margaret  came  into  her  own  last  summer  in  John  Ford's  fine 
picture  of  war-battered  Germany. 

Case-hardened  press  agents  saw  a  lot  of  space  in  the  newly 
prominent  little  old  lady  of  F"ox  Hills.  Typewriters  clattered, 
and  before  you  could  say  Joseph  von  Sternberg  she  was  a  per- 
sonage. 

Spotlights  bathed  her  as  the  film  had  its  world  premiere  at  a 
proud  Broadway  theater.  Crowds  cheered  her.  Back  at  the 
studio,  she  played  a  bit  in  "The  River"  for  Frank  Borzage. 
Suddenly,  came  November  1,  and  the  end  of  her  contract.  She 
was  through  at  Fox. 

At  this  black  moment  fate  and  the  postal  service  dealt  her 
a  letter.  It  was  postmarked  Aberdeen,  Scotland — from  her 
sister,  the  sole  survivor  of  six  others. 

"I  am  tryin'  to  wait  patiently  for  your  big  picture,"  she 
wrote,  "but  I  am  afraid  I  sha'n't  be  able  to  see  it  whenitcomes. 
The  cataracts  in  my  eyes  are  growing  worse  rapidly.  Perhaps 
when  'Four  Sons'  gets  here  I  shall  be  blind." 

Margaret  Mann  made  just  one  move,  but  that  was  fast. 
She  trotted  to  the  cable  office  and  wired  her  sad  sister  that 
she  was  coming  home! — home  after  thirty-eight  years. 

On  a  d  a  n  k 
winter  day  the 
fit  tie  old  lady  of 
Fox  Hills  stepped 
from  a  train  and 
peered  at  the 

*-  ^^^^^M  [  CONTINUED 

ON  PAGE  88  1 


Margaret 
Mann,  outside 
her  sister's 
home, being 
interviewed  by 
Aberdeen  tab- 
loid reporters 
on  wild  Holly- 
wood parties 


Special  photo 

tor 

Photoplay 


50 


Th^  vjueen^/ Poverty  Row 

Betty  Compson  made  a  fortune  last  year  in  the  despised 
"Quickies"  while  prima  donnas  lived  on  art  and  crusts* 


I llu slmt i on    hy 
Ken  Chamberlain 


By 

Herbert  Howe 


X 


I  PiCODlJCTiON . ' 


Betty  Compson  is  going  to  do  fourteen  pictures  this  year — most  of  them  in  Poverty  Row.    Last 

year  Betty  pulled  down  $120,000  in  these  less  pretentious  studios — while  a  hundred  second-rate 

stars  were  holding  out  for  parts  that  suited  their  ego 


Hi 


'AX'ING  long  heard  of  the  Sunday  open  house  kept  by 
Betty  Compson  and  husband,  Jim  Cruze,  where  every- 
one is  as  welcome  as  at  a  Salvation  Army  barracks  and 
"of  the  money  bowl  by  the  door,  an  old  Spanish  cus- 
tom, where  departing  guests  may  help  themselves  in  case 
they're  a  little  short,  I  grabbed  my  tambourine,  tilted  my  bon- 
net at  a  rakish  angle  and  set  out  for  Flintridge  with  sticky 
lingers. 

I  hadn't  seen  Betty  since  "The  Miracle  Man"  gave  us  said 
Miracle.  In  those  days  the  Miracle  focused  me  with  wicked 
lashes  and  recited  lines  from  The  Miracle  of  Right  Thought. 
Said  she: 

"You  can  be  what  you  wish  to  be,  do  what  you  wish  to  do, 
if  your  thoughts  correspond  with  your  desires." 
I  was  converted  instantly  but  never  got  anywhere. 

F.ANCY  my  consternation  on  reading  recently  that  evangel- 
ist Betty  was  dedicating  herself  to  the  love  of  money. 
.Vccording  to  her  own  words  she  was  another  Hetty  Green.  I 
saw  the  Rose  of  "The  Miracle  Man,"  with  her  evangelical 
power  of  giving  men  that  do-what-you-will-with-me  feeling, — 
I  saw  her  transformed  into  a  tight-lipped  bad-bonneted  Hetty 
with  a  grouch  bag  at  her  belt.  This  was  hard  to  harmonize 
with  the  picture  of  the  long-lashed  idealist  and  her  flowing 
silver  bowl  from  which  guests  helped  themselves.  I  felt  it  was 
high  time  for  an  old  convert  to  step  in. 

When    I    arrived    palpitant    at    the    open    house     neither 
Betty    nor    the    silver    bowl    were 
to  be  seen.      They    probably   were 
in  a  back  room  making   love. 


*Note  to  Income  Tax  Collectors — Give  her  plenty 
of  "exceptions."      She  gives  half  of  it  away. 


Jim  Cruze  received  me.  The  previous  Sunday  he  had  staged 
a  radio  hour  for  Betty's  benefit.  The  guests  on  arriving  were 
told  that  the  Sanitary  Plumbing  Company  of  Los  Angeles  had 
dedicated  a  radio  hour  to  Betty  Compson  and  Jim  Cruze. 
What  Jim  did  not  tell  Betty  or  the  guests  was  that  the  radio 
hour  of  "The  Sanitary  Plumbing  Company"  was  being  sent  in 
by  a  wire  from  his  garage  where  he  had  placed  a  man  to  deliver 
a  program  of  his  (Jim's)  own  creation. 

With  Betty  and  her  guests  assembled,  the  announcer  came 
on  the  air:  "The  Sanitary  Plumbing  Company  of  Los  .-Vngeles 
is  dedicating  this  hour  in  honor  of  Miss  Betty  Compson  and  Mr. 
Jim  Cruze,  beloved  idols  of  the  motion  picture.  The  Sanitary 
Plumbing  Company  specializes  in — " 

Indignant  whispers  were  heard  from  Betty  Compson  to 
husband  Jim  Cruze  .  .  . 

".\mong  the  announcements  this  evening,"  continued  the 
announcer  in  Jim's  garage,  "we  have  'Noah's  Ark'  at  Grau- 
mann's  Chinese  Theater  in  its  last  week,  and  we  urge  you  to  see 
it  without  fail.  At  the  Cathay  Circle  Theater  'The  Barker'  is 
showing  with  a  distinguished  all-star  cast.  Among  the  great 
performances  ..." 

Everyone  tilted  an  ear,  because  everyone  knew  that  in  "The 
Barker"  Betty  Compson  blooms  again,  even  greater  than  the 
i?oie  of  "The  Miracle  JNLan." 

".Among  the  great  performances,"  continued  the  announcer, 
"  is  that  of  Milton  Sills,  who  is  now  without  a  peer  among  actors 
of  this  age.  Miss  Dorothy  Mackaill  takes  her  place  among  the 
great  stars  of  talking  pictures.  Doug- 
las Fairbanks,  Jr.,  fulfills  all  promises 
and  proves  [  continued  on  page  126] 

51 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


The 


WHY  BE  GOOD?~First  National 

AIN'T  it  just  grand  to  be  naughty?  If  you  don't 
think  so,  see  Colleen  Moore  in  this.  It's  another 
chapter  of  the  jazz  age,  and  the  moral  is:  "Girls,  to  get 
your  man,  seem  to  be  naught}'  but  still  be  nice." 

"Dancing  Daughters"  was  like  that,  but  more  adroit. 
Still,  this  picture  is  clever,  and  Colleen  is  pert.  How  she 
can  dance!  There's  a  cafe  called  "The  Boiler."  It  will 
stand  night  clubs  on  their  ears  and  give  'em  big  ideas. 

The  plot  goes  thus:  Poor  girl,  rich  boy,  love,  a  depart- 
ment store,  pretty  clothes,  mad  papas,  an  understanding 
mamma,  marriage,  'happy  ending.  Neil  Hamilton's  the 
boy.  He's  good.  Girls,  you'll  be  crazy  about  the  love 
story.  The  picture's  lively,  full  of  pep,  a  little  preachy 
but  entertaining.  You'll  like  Louis  Natheau.v  as  the 
sheik. 


STRONG  BOY— Fox 

IF  you  want  a  good  laugh,  see  Victor  McLaglen  in  "Strong 
Boy."  In  this  comedy-drama,  dealing  with  life  among  the 
baggage  smashers,  \'ic  as  the  king  of  the  trunk  tossers,  falls 
in  love  with  a  newsstand  girl  whose  father  is  a  locomotive 
engineer. 

Tho.se  sterling  cut-ups,  Clyde  Cook  and  Slim  Summer- 
ville,  are  a  great  help.  And,  too,  there's  a  little  Sonny-Boy 
sort  of  youngster  who  adds  much.  Leatrice  Joy  is  the  news- 
stand girl,  but  it  doesn't  matter. 

The  story  te'ls  the  romance  of  a  baggage  juggler  and  his 
great  effort  to  become  a  white-collar  guy  to  please  his  gal. 
It's  no  use,  though,  and  he  winds  up  a  grimy  locomotive 
engineer.  But  a  train  robbery  saves  him  and  makes  him  a 
hero,  even  in  the  eyes  of  the  gal  he  loves. 

53 


Shadow 
Stage 

(RKG.  U.  S.  FAT.  OKF.)     M  W 

A  Review  of  the  New  Pictures 


THE  BROADWAY  MELODY— M.-G.-M. 

"'  I  'HE  Broadway  Melody  "  is  going  to  sing  merrily  across 

-L  the  screens  of  the  country,  entertaining  millions  and 
making  new  friends  for  the  talking  pictures. 

For" TheBroadwayMelody"issparkling, smart  andenter- 
taining — a  credit  to  its  makers  and  a  joy  to  the  fans. 

In  it  Bessie  Love,  as  half  a  little  sister  team  who  loves  and 
loses,  gives  the  most  astounding  emotional  performance  in 
many  months.  In  it  the  screen  finds  a  first-rate  singing 
actor  in  Charles  King,  from  the  musical  comedy  stage.  And 
in  it  the  blonde  beauty  of  Anita  Page  blooms  anew. 

The  picture  is  most  notable,  however,  because  in  it  the 
talkies  find  new  speed  and  freedom. 

The  microphone  and  its  twin  camera  poke  themselves  into 
backstage  corners,  into  dressing  rooms,  into  rich  parties,  and 
hotel  bedrooms. 

Smart  Broadway  dialogue  by  James  Gleason  is  e.xpertly 
and  naturally  spoken. 

There  is  one  colored  sequence  with  a  new  song,  "The 
Wedding  of  the  Painted  Doll,"  that  will  start  you  dancing. 

The  story  is  an  odd  twist  of  the  love  triangle — a  little 
sister  team  from  the  vaudeville  honky-tonks  of  the  Middle 
West  in  love  with  the  successful  song  and  dance  man  of  a 
great  New  York  girl  show. 

The  crafty  directorial  hand  of  Harry  Beaumont  has 
tickled,  teased  and  whipped  it  into  a  fast,  funny,  sad  little 
story,  alive  in  turn  with  titters  and  tears. 

Don't  dare  to  miss  "The  Broadway  Melody."  It  is 
Double  A,  triple-distilled  picture  entertainment. 

Why,  Bessie  Love  alone  is  worth  the  tariff  at  the  wicket! 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 


THE  BROADWAY  MELODY 
WHY  BE  GOOD 
THE  DUMMY 


THE  PAGAN 

STRONG  BOY 

WEARY  RIVER 


The  Best  Performances  of  the  Month 

Bessie  Love  in  "The  Broadway  Melody" 

Mickey  Bennett  in  "The  Dummy" 

Richard  Barthelmess  in  "Weary  River" 

Ramon  Novarro  in  "The  Pagan" 

Victor  McLaglen  in  "Strong  Boy" 

Charles  King  in  "The  Broadway  Melody" 

Dorothy  Janis  in  "The  Pagan" 

Anita  Page  in  "The  Broadway  Melody" 

Casts  of  all  photoplays  j'evinved  will  be  found  on  page  ISO 


THE  PAGAN~M.-G.-M. 

FOR  the  first  time  since  "Where  the  Pavement  Ends," 
his  outstanding  success,  Ramon  Novarro  (jlays  a  native 
boy,  a  role  to  which  he  is  eminently  suited.  He  gives  pro- 
found understanding  and  pagan  grace  to  his  characterization 
of  a  half-caste  youth  whose  "only  god  is  nature,  and  whose 
only  law  is  love."  Dorothy  Janis,  a  new  screen  find,  plays 
her  first  big  role  as  Ramon's  native  sweetheart,  combining 
the  warmth  of  the  tropics  with  irresistible  appeal. 

This  tropical  idyl  establishes  W.  S.  Van  Dyke  as  an  un- 
usual artist  and  director.  In  "White  Shadows"  he  shared 
honors  with  Robert  Flaherty;  here  he  stands  alone.  To 
him  and  to  John  Russell,  the  author,  a  coral  reef  is  a  halo  and 
the  South  Seas  are  heaven. 

The  ston,'  unfolds  the  romance  of  two  natives.  If  left 
alone,  they  would  have  mated  as  naturally  as  birds.  Enter 
the  white  man,  with  his  superior  knowledge  of  good  and 
evil.  He  tries  to  make  the  girl  Christian,  and  cheats  the 
trusting  boy  of  his  birthright.  Back  of  this  apparently 
simple  tale  lies  the  terrific  tragedy  of  the  South  Seas.  It  is  a 
tremendous  indictment  against  the  Anglo-Saxons,  who  arro- 
gantly entered  these  magic  islands  to  "save,"  and  remained 
to  betray  and  pollute.  Under  the  delicate  story  surges  the 
powerful  undercurrent  of  Polynesian  history,  portrayed  with 
heartfelt  sympathy  by  the  perfectly-chosen  cast. 

Both  Renee  Adoree  and  Donald  Crisp  are  splendid — 
Renee  as  the  generous-hearted  French  adventuress,  and 
Crisp  as  the  white  trader  whose  greed  and  lust  are  a  deadly 
menace  to  the  lovers. 

The  entire  production  was  made  in  Papeete,  Tahiti. 


THE  DUMMY—Pai amount 

THIS  is  a  bullet-proof  yarn — of  a  tough  oftice  boy  engaged 
by  a  detective  bureau  to  pose  as  a  deaf  mute.  Thereby 
the  sleuths  hope  to  trap  a  gang  of  kidnappers.  Freckled 
Barney  Cook  certainly  lands  the  whole  gang,  too. 

The  picture  looks  like  a  convention  of  new  Hollywood 
faces  imported  from  the  speaking  stage.  The  rosi  er  includes 
such  names  as  Ruth  Chatterton,  Frederic  March  and  John 
Cromwell.  It  is  the  first  film  made  by  Robert  Milton,  the 
veteran  footlight  director.  And,  with  all  the  stage  talent, 
a  Httle  Hollywood  boy  cops  the  honors — INIickey  Bennett. 
He  does  the  office  boy  Sherlock  Holmes  in  glorious  fashion. 
Another  excellent  performance  is  turned  in  by  ZaSu  Pitts. 

"The  Dummy"  is  well  worth  seeing,  despite  its  obvious 
experimental  talkie  crudities.  It  isn't  within  call  of  "Inter- 
ference's" voice,  but  the  fundamental  appeal  gets  it  across. 


WEARY  RIVER—First  National 

REMEMBER  "The  Prisoner's  Song"?  Remember  how 
it  was  written  in  prison  and  how  it  swept  the  radio  loud 
speakers  of  the  land?  Courtney  Riley  Cooper  seems  to 
have  based  his  "Weary  River"  upon  the  incident.  The 
brash  young  gangster  of  "Weary  River"  is  sent  to  prison, 
reforms,  writes  a  song,'  sings  it  over  the  radio  and  wins  a 
pardon.    His  golden  voice  redeems  his  blonde  lady  love. 

The  chief  interest  of  "Weary  River"  lies  in  the  fact  that 
Richard  Barthelmess  talks  and  sings  the  chief  role.  He 
really  talks,  but  the  vocalism  is  a  neat  piece  of  song  doubling. 
Barthelmess  does  splendidly  in  his  first  talking  appearance. 

Betty  Compson  is  the  blonde  who  shares  the  gangster's 
jovs  and  sorrows.  A  strong  hit  is  contributed  by  William 
Holden  as  the  prison  warden. 

53 


Sound   or   Silent,  You  Will   Find   the 


ETERNAL 
LOVE— 

United  Artists 


THE 

LEATHER- 
NECK— 
Pathe 


NOTWITHSTANDING  the  fact  that  Camilla  Horn  is  paid 
$1500  a  week,  she  works  but  a  few  months  of  the  year  and 
is  cast  in  a  Barrymore  picture  where  she  looks  beautiful  but  has 
no  great  dramatic  opportunities.  The  new  Mexican  find,  Mona 
Rico,  is  promising  and  fiery  in  a  small  role.  It's  Jack  Barry- 
more's  picture.  Remember  when  he  was  your  favorite  actor? 
Story  No.  44-A  happens  this  time  in  the  Swiss  Alps. 


DEAR,  dear,  these  talkies!  Take  "The  Leatherneck." 
Corking  drama.  But  what  do  they  do  to  it?  Why,  make 
it  talkie.  The  stoiy  is  about  loyalty  and  sacrifice  in  the  marine 
corps  in  China.  Strong  stuff,  and  virile.  William  Boyd,  Alan 
Hale  and  Bob  Armstrong  are  grand.  But  when  beautiful  Diane 
Ellis  speaks,  bang  goes  a  lovely  illusion.  Despite  vocal  dis- 
tractions, however,  the  picture's  there.    Don't  miss  it. 


THE  THREE 
PASSIONS— 
United  Artists 


SPITE 

MARRIAGE- 

M.-G.-M. 


REX  INGRAM  remains  in  Europe  living  as  he  pleases  and 
working  when  the  spirit  moves.  Personally  he  has  a  great 
time.  Professionally,  he  stands  still.  So  this,  a  story  of 
English  high  life,  is  as  old  fashioned  as  a  nice  girl.  Alice  Terrj' 
with  a  blonde  bob  is  as  unemotional  as  ever,  while  Ivan  Petro- 
vich,  Ingram's  own  discovery,  still  looks  as  if  he  had  a  sup- 
pressed desire.     We  hope  that  boy  never  comes  to  Hollywood. 


IT'S  hilarious.  It's  intense.  It  has  everything  a  good  comedy 
should  have.  And  is  without  those  wise-cracking  titles.  It's 
as  Chaplinesque  as  anything  Busier  Keaton  has  ever  done  and 
it  proves  Dorothy  Sebastian  a  charming  comedienne  of  the 
highest  calibre.  For  all  its  fun,  it  is  the  story  of  a  great  love, 
more  pathetic,  more  vital  than  many  of  the  Immortal  Ro- 
mances.    See  it! 


THE 

HAUNTED 
LADY— 
Universal 


HARD- 
BOILED— 
FBO 


THIS  Adela  Rogers  St.  Johns  story  was  written  some  years 
ago  but  you'd  never  know  it.  It  is  an  interesting  yarn 
about  a  woman  who  has  the  solution  of  the  murder  mystery  and 
is  afraid  to  tell  because  it  will  compromise  her  in  her  husband's 
eyes.  Laura  La  Plante,  always  capable,  gives  a  fine  characteri- 
zation. Laura's  little  mannerisms  are  delightful  and  individual. 
As  an  added  attraction  there  are  e.xciting  polo  scenes. 

51 


THIS  is  a  trite  tale  about  a  gold-digger — show-girl  variety — 
but  is  remarkably  well-acted  by  Sally  O'Neil  and  Donald 
Reed.  A  high  stepper,  working  on  the  theory  that  fools  marry 
for  love  and  wise  gals  for  money,  gets  the  jolt  of  her  sweet 
young  hfe.  Her  bank-account  love  turns  into  the  real  article 
in  spite  of  herself,  even  after  hubby's  millionaire  pop  turns  off 
the  gold  stream.    Modern  and  sophisticated. 


First  and  Best  Screen   Reviews  Here 


THE 
CHARLATAN 

— Universal 


MOULIN 
ROUGE— 
World  Wide 
Pictures 


THIS  murder  mystery  is  jilayed  with  light  sophistication, 
evading  the  heavy  dramatic  angle  which  ordinarily  ac- 
companies such  themes.  A  fashionable  crystal  gazer  finds 
himself  in  the  piquant  situation  of  revealing  his  former  wife's 
infidelities  to  her  present  husband.  The  lady  is  murdered  and, 
disguised  as  the  district  attorney,  the  fake  Hindoo  exposes  the 
murderer.    Fast  work,  neatly  done  by  Holmes  Herbert. 


HERE  is  an  imported  film,  shot  in  a  London  studio  and  in 
the  famous  Paris  music  hall  itself.  It  was  directed  by  the 
German,  E.  A.  Dupont;  it  stars  a  Russian,  Mile.  Chekova; 
and  the  cast  is  both  French  and  English.  The  international  con- 
glomeration results  in  a  fair  picture.  Dupont  is  more  con- 
cerned with  angles  than  with  the  frail  story,  written  by  himself, 
which  revolves  around  an  idol  of  the  Paris  boulevards. 


TRUE 

heaven- 
Fox 


THE  RED 
SWORD— 
FBO 


A  LASS  of  the  German  secret  service  loves  a  lad  of  the 
British  secret  service,  and  so  Mr.  Fo.x  makes  a  picture 
called  "True  Heaven."  The  whole  affair  stretches  the  imagina- 
tion until  it  very  nearly  snaps  back  and  hits  the  author  and 
Director  James  Tinling  on  the  nose.  Speaking  of  operations, 
you  should  see  the  one  Miss  Moran  performs  with  a  pen-knife 
on  George  O'Brien.     Pretty  feeble,  this  effort. 


THIS  picture,  which  was  made  for  a  minimum  expenditure 
of  money,  is  a  good  example  of  artistic  effects  that  can  be 
obtained  without  bankrupting  the  producer.  A  tense  melo- 
drama of  Cossack  brutality  prior  to  the  Revolution,  it  might 
easily  have  become  depressing  but  for  the  fine  directorial  touches 
of  Bob  Yignola.  Carmel  Myers,  in  a  dual  role,  proves  again  she 
can  act  or  look  pretty  as  required.     Meaty  entertainment. 


SUNSET  PASS 
— Paramount 


HIS  LUCKY 
DAY— 

Universal 


JACK  HOLT  returns  to  Westerns.  But  this  is  a  very  high 
class  Western.  You  think  Jack  is  a  cattle  thief  instead  of  an 
honest  man.  You're  wrong.  He  just  pretends  to  be  a  cattle 
thief  so  he  can  catch  the  ones  who  really  are.  Jack's  a  sheriff. 
Yes,  yes,  we  know.  Anyhow,  it's  great  entertainment  and 
Nora  Lane  is  as  fragile  a  little  flower  as  was  ever  bullied  by  a 
moustache-pulling  heavy. 


A  GOOD  story  for  Reginald  Denny  would  probably  prove  a 
fatal  shock  to  the  star  and  his  fans,  so,  perhaps  to  avoid 
wholesale  casualties,  they  continue  to  give  him  the  usual  flimsy 
stuff.  This  time  he's  a  high-pressure  real  estate  nuisance  who 
must  find  suitable  neighbors  for  his  prospective  father-in-law  or 
lose  his  job.  His  proteges  are  ritzy  kleptomaniacs  who  indulge 
their  impulses  at  the  wrong  times.   [  conti.nued  on  page  113  ] 

65 


The  story  of 
the  love  of  an 
old  actor  for 
a  fading  star 
—  and  how 
he  breathed 
into  her  the 
soul  of  an 
artist! 

By 

A  dele 

Whitely 

Fletcher' 


H 


with 


ER  name  was  Sonia  Savina. 
And  it  suited  her.  It  may 
be,  of  course,  that  her  press- 
agent  had  something  to  do 
it  for  certainly  parents  don't 


usually  show  such  farsight.  How- 
ever, Sonia  always  insisted  it  was  her 
baptismal  name  and  she  never  trou- 
bled to  confirm  the  colorful  stories  of 
her  birth  in  the  lush  grasses  of  the 
Nile. 

Sonia's  hair,  as  blue  black  as  you'd 
expect,  folded  about  her  head  like 
dark  wings.  And  her  slanted  green 
eyes  were  darkened  by  the  long  lashes 

that  brushed  her  ivory  pale  cheeks.    She  had  a  figure,  in  the  old 
fashioned  sense  of  the  word.    Curves. 

Her  clothes,  even  off  the  screen,  were  trailing  draperies  where 
they  weren't  actually  needed  and  next  to  nothing  where  a  little 
extra  chiffon  would  have  served.  Always,  even  if  only  in  the 
design  of  some  silk,  peacock  feathers.    And  strange  jewelry. 

This  story  doesn't  tell  of  Sonia  as  a  star.  It  deals,  instead, 
with  the  aftermath  of  her  glory.  But  it  is  wise  to  reminisce  a 
little  in  order  to  appreciate  the  full  import  of  what  followed. 

You  remember  when  the  things  possessed  and  affected  by 
Sonia  Savina  were  the  incensed  essence  of  the  screen's  wicked 
ladies.    Well,  it  was  then  .voung  men  brought  her  declarations 

5(i 


Old 


of  devotion  on  voices  that  broke  and  faltered  in  key.  That 
publicity  seekers  declared  their  intentions  as  nearly  on  the 
front  page  as  editors  would  allow.  That  Midases  of  business 
said  it  with  pearls. 

Some  of  this  love  was  counterfeit.  And  so  were  some  of  the 
pearls.    Sonia  found  that  out  when  she  had  need  to  sell  them. 

But,  through  everything,  there  was  one  admirer  whose  love 
never  wavered.  Only  Harry  Hill  was  the  kind  whose  love 
didn't  matter.    Much. 

Harry  was  getting  old.  He  couldn't  raise  his  voice  over  the 
loudly  boasting  voices.  He  was  self-conscious  about  an  ill 
fitting  plate.    Hardly  anyone  ever  took  the  trouble  to  read  the 


Shoe 


criticisms  of  his  work  on  the  stage.  It's  hard  to  read  yellowed 
clippings.  But,  turning  the  leaves  of  his  scrap  book,  Harry 
must  have  escaped  from  the  present  to  stand  in  scenes  long 
since  shifted,  remembering  a  wig  which  had  especially  become 
him  and  little  flurries  of  applause  melting  to  grow  strong  and 
steady. 

Everj'one  marvelled  that  the  glorious  Sonia  gave  the  drab 
little  man  any  of  her  crowded  time.  His  virtues,  judged  by 
her  standards,  amounted  to  vices. 

As  things  worked  out,  however,  it  was  well  that  she  had  let 
Harry  stick  around.  The  crash  came  sooner  than  it  was  ex- 
pected.    Most  people  thought  Sonia  had  another  fair  year. 


Posed  languorously  on  the 
divan  in  her  candle-lit 
apartment,  Sonia  Savina 
glared  at  the  shabby  little 
man  who  was  her  husband, 
and  at  the  greasy  parcels  of 
delicatessen  food  that  he 
carried.  In  his  eyes  was 
humble,  pleading  adora- 
tion. "Take  those  bundles 
into  the  kitchen!"  she 
stormed.  "You'll  drop  them 
on  the  rug!" 


Illustrated 

By 

Everett 

Shinn 


But  suddenly  the  public  awakened 
to  the  fact  that  real  sirens  wear 
Bromley  dresses  and  conceal  "It" 
beneath  boyish  bobs.  Sonia  was 
through.  And  she  married  Harry 
Hill  the  day  her  producers  advised 
her  that  they  were  not  renewing 
her  contract. 

I  didn't  see  them  when  they  got 
to  New  York  but  I  heard  indi- 
rectly that  Sonia  and  her  husband, 
for  poor  Harry  was  never  more 
than  that,  were  living  in  a  board- 
ing house  in  the  West  Fifties. 
Those  who  met  him  in  managers' 
offices  did  their  best  to  stem  his 
praise  of  Sonia.  Others  chanced 
upon  her  on  the  Avenue.  And 
she  told  them  she  was  considering 
several  offers  and  expected  them 
to  believe  her. 


THEN  SoniaandHarrydropped 
out  of  sight,  in  to  the  limbus  of 
;-'  Has-Beens.  There  seemed  no  hope 

that  she  could  escape  this  category 
now,  any  more  than  he  had. 

Needless  to  trace  their  odyssey 
from  one  boarding  house  to  an- 
other, how  they  moved  from  second  rate  places  to 
worse.  And  always  further  uptown.  No  need  for 
them  to  be  central  to  the  heart  of  theatrical  things 
any  more. 

Months  passed  and  you  never  saw  the  name  of 
Sonia  Savina.  Small  theaters  showed  her  films, 
leasing  them  for  a  song,  but  they  usually  advertised 
an  insignificant  member  of  the  cast  who  had  since 
become  a  great  star. 

Then,  surprisingly  enough,  I  had  a  note  from 
Sonia.  She  had  taken  an  apartment  in  the  East  Fifties  and 
was  giving  a  tea.  .And  in  New  York  East  is  East  and  West  is 
West.  She  had  improved  upon  her  last  known  address  im- 
measurably. 

What  is  more,  Sonia  was  scheduled  to  appear  in  a  Broadway 
production. 

Everyone  speculated  about  this.  Was  she  pocketing  her 
pride  as  a  supernumerary?  Or  could  it  be  that  she  had  a  part 
of  even  moderate  importance?  The  fact  that  she  had  any 
engagement  at  all  permitted  anything  to  be  possible. 

Sonia's  apartment,  rented  furnished,  had  a  dignity.  The 
few  things  she  had  installed  couldn't  [  continued  on  page  138  ] 


--'jCL' 


Wanted 


A  New 

Name 
for  the 

Falkies 


$500  will  be 
awarded  by 

Photoplay 

for  the 
best  suggestion 


The  next  time  you  see  an  audible  motion  picture,  con- 
centrate hard  on  a  smart  new  name  for  the  vocal  tin- 
types.    We  offer  half  a  thousand  dollars  for  the  best! 


PHOTOPLAY  Magazine  wants  a  new  name  for  talking  pictures. 
That  isn't  all.     Photoplay  is  going  to  give  $500  to  the 
person  who,  by  May  15,  devises  and  shoots  in  the  best  suc- 
cessor to  the  present  inelegant  "talkie." 

In  the  pinafore  days  of  the  silent  drama  the  word  coiners  of 
the  country  set  out  to  find  a  new  name  for  the  infant  entertain- 
ment, and  Edgar  Strakosch,  of  Sacramento,  Cal.,  was  given  a 
hundred  dollars  for  the  discovery  of  the  word  "photoplay." 
Now  the  picture  world  is  on  a  frenzied  hunt  for  a  new  title  for 


the  talkies — one  as  dignified  and  yet  as  popular  as  "photoplay." 
The  Exhibitors'   Herald-World,   a  trade  journal,  is  all  for 
"audien."     Other   chance  shots   have    been    cinelog,   drama- 
phone,  phototone,  cinephone  and  photovoice. 
It  strikes  us  that  these  are  all  too  hterary. 
There  must  be  one  that  will  be  dignified  and  yet  with  popular 
appeal.    We'll  give  a  check  for  $500  to  the  man,  woman  or 
child  who  hits  upon  it.     After  all,  no  one  can  sniff  down  $500, 
what  with  income  tax,  spring  clothes,  the  new  car,  and  all. 


Rules  for  the  New-Name-for-the-Talkles  Contest 


1.  $500  is  offered  for  the  best  coined  name  with  which 
to  christen  the  talkies  and  for  the  best  explanation  in  100 
words  or  less,  giving  your  reason  for  your  selection. 

2.  In  the  event  that  two  or  more  names  and  explana- 
tions are  found  of  equal  merit,  duplicate  prizes  of  $500  will 
go  to  the  lucky  contestants. 

3.  Suggested  names,  with  the  accompanying  explana- 
tions, must  be  typewritten  on  one  side  of  a  single  sheet  of 
white  paper  with  your  name  and  address  in  the  upper  left 
hand  comer.  Names  and  explanations  must  be  mailed  to 
The  Talkie  Name  Contest,  Photoplay  Magazine,  221 
West  57th  St.,  New  York  City,  N.  Y.    You  can  send  in  as 


58 


many  coined  words  as  you  wish,  provided  each  is  accom- 
panied by  an  explanation  in  100  words  or  less  and  each  is 
typewritten  on  one  side  of  a  single  sheet  of  paper  as 
specified. 

4.  Names  and  explanations  must  reach  the  office  of 
Photoplay  before  midnight  of  May  15th  to  be  considered. 
Announcement  of  the  winner  or  winners  wiU  be  made  as 
soon  after  that  date  as  possible.  An  editorial  committee  of 
Photoplay  will  judge  the  submitted  words  and  sugges- 
tions and  its  decision  will  be  final.  No  names  or  explana- 
tions will  be  returned  and  Photoplay  reserves  the  right 
to  publish  any  or  all  of  the  suggestions  submitted. 


I 


Eniett  Bachrach 


(JT^/^AS  anybody  seen  Sixxeen  Kelly?    The  course  of  a  Gloria  Swanson  picture  never  runs 

/j     smoothly.    Gloria  has  been  involved  in  her  new  film  for  over  six  months.    And  just  as  the 

,_y  picture  was  nearing  completion,  Eric  von  Stroheim  went  out  as  its  director.    But,  of 

course,  that  doesn't  mean  that  Eric  won't  be  called  back  to  shoot  the  whole  works  over  again. 

Cheer  up.  the  picture  will  probably  be  very  much  worth  seeing  when  it  finally  reaches  the  screen 


yUST  a  little  glimpse  of  romance  in  the  South  Sea  Islands,  where  Ramon  Novarro,  aided  by 
Dorothy  Janis,  does  his  best  to  continue  the  glamorous  legend  created  by  Gauguin,  Maugham 
and  O'Brien.    As  you  can  sec,  life  in  those  far-off  Pacific  Isles  is  just  like  one  grand  summer 
resort.    "The  Pagan"  is  Ramon's  first  burst  of  going  native  since  he  played  in  "Where  the  Pave' 

ment  Ends" 


Loulu 


(^  /  JHY  the  Bridge  of  San  Luis  Rey  faw  down  and  go  boom.    Lily  Damita  thought  her  role  in 

\/y    "The  Rescue"  was  a  little  tame.    Lily  admires  Clara  Bow.    Lily,  who  has  been  doing  some 

heavy  social  research  since  she  came  to  this  country,  thinks  that  American  audiences  want 

more  ;'o>e  de  vwn.  And  who  knows  but  what  Lily  may  be  right?  Oh,  yes,  the  gentleman  who  shares 

this  picture  with  Mile.  Damita  is  Don  Alvarado 


Monroe 


•5ILLIAN  GISH:  at  thirty  she  found  herself  a  legend  and  a  tradition.    Also  the  moat  mis- 

I     understood  public  idol  in  the  whole  photographic  gallery.    The  victim  of  adjectives,  Miss 

^^^^  Gish  is  now  trying  to  fight  for  a  new  place  in  the  limelight.  Across  the  page  Leonard  Hall 

tells  you  about  the  two  Lillian  Gishes.     One — the  aloof  Gish  you  know — is  false.   The  other  is  a 

human  and  charming  girl  who  is  also  a  real  artist 


Fights 

Alone 


A  hardened  cinema  veteran 
who  has  watched  them  come 
and  go  breaks  out  in  defense 
of  the  elder  Gish  and  breaks 
down  the  legend  of  The  Ice- 
Water  Princess 

By  Leonard  Hall 


OUT  in  the  heart  of  the  Hollywoods,  beset  by  the  dollar- 
snorting  dragons  of  filmland,  a  blonde  girl  is  lighting 
alone  for  her  artistic  honor. 
She  is  one  of  the  most  gallant  spirits  in  the  history  of 
pictures. 

She  has  had  more  influence  for  good  upon  the  dancing 
daguerreotypes  than  any  dozen  shinier  stars. 

And   she   is   probably    the    most    misunderstood    and    mis- 
represented public  doll  in  the  entire  photopla\'  world. 
Her  name  is  Lillian  Gish. 

She  has  been  for  years  the  victim  of  as  false  a  tradition  as 
ever  scuttled  a  stellar  ship.  Yet  she  is  probably,  at  this  mo- 
ment, on  the  threshold  of  her  greatest  achievement  in  the  film 
world. 


I  whack  the  typewriter  to 
paint  the  lights  and  shadows 
of  the  real  Lillian  Gish — not 
the  Ice-Water  Princess,  The 
Mauled  Anemone,  The  Slim 
White  Virgin  that  the  movie- 
going  public  thinks  it  knows. 

As  this  is  written  she  is  on 
the  gold  coast,  stubbornly 
and  bravely  fighting  for  the 
integrity  of  her  ne.xt  picture, 
on  which  she  has  focussed 
her  heart.  At  the  expiration 
of  her  late  Metro-Goldwyn 
contract  Lillian  cast  about 
for  the  next  move  to  keep 
her  fame  and  fortune  bright 
under  the  public  sun. 

Half-gods  never  satisfied 
La  Gish,  the  girl  who  grew 
up  under  the  wand  of  Ole 
Massa  Griffith.  Whole 
deities  or  none. 


The  Gish  sisters  together, 
the  time  they  were  co- 


Lillian  Gisli  in  one  of  her  finest  tragic  roles — as 

the  little  whipped  girl  in  Griffith's  unforgettable 

photoplay,  "Broken  Blossoms" 


How  about  the  most  noted  stage  director  in  the  world? 
On  her  own  Lillian  went  to  Germany,  and  bearded  Dr.  Max 
Reinhardt,  producer  of  "The  Miracle,"  in  his  own  castle.    On 
her  own,  she  persuaded  him  to  come  to  America  and  make 

"The  Miracle  Woman" 
with  and  for  her.  On  her 
own,  after  months  of  prep- 
aration abroad,  she  and 
Reinhardt  arrived  in  H0II3'- 
wood  —  only  to  have  the 
great  man  almost  ignored, 
the  prized  and  prepared 
story  ditched  and  another 
handed  them.  But  Lillian 
carries  on — fights  the  good 
fight,  alone. 

That's  the  sort  of  mettle 
the  frail  and  wistful  Lillian 
is  made  of. 

There  are  two  Lillian 
Gishes. 

The  first  is  the  one  the 
public  thinks  it  knows. 

That  Lillian — the  false — 
is  a  frigid,  bloodless  crea- 
ture, aloof,  and  about  as  spry 
and  lively  as  a  frozen  cod- 
fish,  [cont'd  on  page  128] 

65 


Lillian  and  Dorothy  at 
featured  in  "Romola" 


rhe 

Big 

Boy 

tells 

His 

Story 


"I  have  been  hungry,  which  is  of  no  import.     I  have  spent  my  last 

dime  on  a  loaf  of  bread.     I  have  had  to  stall  landladies.     But  what 

man  with  a  taste  for  life  hasn't  had  the  same  experiences?" 


PART  I 

I  AM  somewhat  at  a  loss  in  starting  this  story.  By  all  the 
stars  and  clinical  experiments,  I  should  have  definite  rea- 
sons for  being  what  I  am.  I  should  have  rules  that  im- 
pelled me  to  do  what  I  have  done,  and  kept  me  from 
committing  murder  or  arson. 

I  should  have  a  definite  analysis  of  the  thing  that  made  me 
Gary  Cooper,  motion  picture  actor,  and  kept  me  fr;m  being 
Gary  Cooper,  cattleman. 

And  yet  I  can  no  more  analyze  the  motives  and  jugglings  of 
Fate,  than  I  can  explain  to  you  why  the  lone  call  of  a  coyote, 
rippling  through  the  breathless,  dark  silence  of  a  canyon,  gives 
me  an  infinitely  greater  reaction  than  any  honors  Hollywood 
could  hand  me.  And  what  there  is  about  the  "  whoo  whoo"  of 
the  hoot  owl,  asking  his  eternal  question  in  a  shadowing  cotton- 
wood  tree,  that  strikes  a  vibrant  chord,  deep  within  me.  Those 
are  the  things  that  must  be  answered  first.  They  come  before 
all  the  fuss  and  flurry  of  the  present.  The  ceaseless  chattering 
of  "what  is  success  and  why?" 

I  have  always  felt  that  I  must  be  free.  It  was  that  primordial 
urge  that  sent  me  clambering  up  where  the  eagles  nested  when 
I  was  a  child,  when  my  brother  and  the  neighbors'  kids  con- 
tented themselves  with  chasing  rabbits,  or  the  flat-tailed  bea- 
vers that  dammed  Andy's  creek  before  it  joined  the  Missouri 

H 


River,  flowing  down,  majestically, 
from  the  north,  to  meet  the  great 
Mississippi.  Eagles  soaring  into  the 
lofty  sky,  nesting  in  the  highest  crags 
of  the  mountains  in  back  of  the  ranch 
house,  screaming  as  they  fled  through  space,  were  to  me  the 
very  spirit  of  freedom  and  defiance  to  the  world.  Even  on  that 
Montana  ranch  that  I  loved  I  felt  that  I  must  not  be  fettered, 
tied  down. 

Perhaps  it  was  that  which  kept  me  from  going,  eventualh', 
to  New  York  City.  I  knew  there  was  no  freedom  of  sky  and 
space  and  openness,  there.  So  I  turned  my  face  westward  and 
arrived  in  Los  Angeles.  That  is  where,  paradoxically,  I  con- 
tacted with  a  business  that  is  more  exacting,  more  binding, 
than  any  other,  the  motion  picture  business.  That  is  one  of 
those  funny  tricks  that  Fate  plays  on  us. 

AT  any  rate,  I  was  born,  despite  national  debts,  calamities, 
stock  exchange  flurries  and  hoof-and-mouth  epidemics, 
twenty-seven  years  ago  at  Helena,  Montana.  Whether  it  was 
raining  or  snowing  or  whether  the  Montana  sun  was  shining 
brighter  that  day  for  sheer  joy,  I  cannot  tell  you.  But  I  do  know 
that  on  that  eventful  day  my  dad  stayed  home  from  his  legal 
documents  and  Blackstone  to  amuse  my  little  brother  Arthur, 
who  was  six  and  even  then  taking  an  interest  in  mathematics — ■ 
later  to  designate  his  life  work — by  counting  the  safety  pins 
that  were  to  form  a  valuable  part  of  my  infant  wardrobe. 

As  I  have  said,  my  father  was  a  lawyer.  Today  he  is  a 
retired  judge  of  the  Supreme  Court  of  Montana.  The  years 
that  have  bridged  that  time  have  been  crammed  with  hard 


Beginning  the 
informal  and 
charming  recol- 
lections of  a  Mon- 
tana rancher  who 
became  a  motion 
picture  star 

As  told  by 

Gary 
Cooper 

to 
Dorothy  Spensley 


Gary,  with  his  mother  and  father,  Charles  H.  Cooper,  a  former  judge  in 

Montana.    "It  wasn't,"  says  Gary,  "until  I  played  several  good  parts  in 

films  that  my  family  countenanced  my  adventure  into  pictures" 


work.  He  has  speculated  and  lost.  He  has  -vvorked  nights  and 
toiled  days  over  briefs  and  documents,  to  make  money  to  cover 
the  loss  of  a  lead  mine  that  failed  to  yield,  or  a  gold  mine  that 
was  barren.  My  brother  Arthur  must  have  been  a  tremendous 
consolation  to  him.  Arthur  became  a  business  man,  he  is  now 
connected  with  the  Federal  Reserve  in  Helena.  Now  there  was 
something  tangible,  a  job  like  that.  Something  to  lay  your 
hands  on  and  wrestle  with.  You  could  know  how  to  plan  your 
life,  like  so  many  formal  gardens;  you  knew  each  week,  come 
Tuesday,  that  a  pay  check  would  be  given  you. 

IT  wasn't  until  I  had  played  several  good  parts  in  films  that 
my  family  countenanced  my  adventure  into  pictures.  Until 
then,  although  not  considered  an  out-and-out  black  sheep,  I 
certainly  was  not  a  lamb  of  snowy  hue,  barging  about  the 
country  as  I  did. 

I  have  been  hungry,  which  is  of  no  import.  I  have  spent  my 
last  dime  on  a  loaf  of  bread.  I  have  had  to  stall  landladies  and 
turn  collars  and  wash  socks.  I  never  have  been  reduced  to 
panhandling.     One  time  a  loaf  of  bread  lasted  four  days,  and 


^^-f-^w^. 


I  bought  a  whole  roasted  chicken  on  the  fifth  day's  e.xtra  work 
check.  But  what  man  with  a  taste  for  life  hasn't  had  the  same 
experiences? 

My  father,  himself,  could  well  understand  that.  When  he 
was  seventeen  he  left  his  snug  home  in  Bedfordshire,  in  the 
midlands  of  England,  for  the  strangeness  of  America.  But  he 
was  not  chasing  a  siren  will  o'  the  wisp  like  pictures.  He  had  a 
profession.  Ten  years  after  he  left  England,  Alice  Brazier,  of 
distant  French  stock  transplanted  to  Britain,  followed  him  to 
this  country  and  they  were  married.  Today  after  all  these 
years  of  married  life  I  look  to  them  as  the  supreme  example 
of  wedded  happiness. 

It  is  not  strange,  then,  that,  despite  my  love  of  freedom,  I 
stood  twice  on  the  brink  of  matrimony,  anxious  to  marry  and 
raise  children,  to  have  a  home  of  my  own. 

But  if  I  had  married  the  girl  to  whom  I  was  engaged  in 
Grinnell,  Iowa,  where  I  was  a  student,  and  settled  down  to  the 
life  of  a  reporter  or  cartoonist,  there  would  still  be  that  strange 
desire  tearing  at  me.  I  feel  it  now,  in  Hollywood.  I  would 
feel  it  anywhere  I  went — to  Thibet  or  Bengal.    It  is  as  real  as 

a  pain,  and  as  crucifying.    It  gives 

a  sense  of  incompleteness.    A  vast 

nostalgia. 

jftt^^  Simply,  it  is  the  yearning  for 

f^^J^B  the  range,  the  feel  of  the  land,  the 

^ ''^^P  soil.    The  million  things  that  go 

to  make  an  outdoor  existence. 

To  anyone  who  has  not  lived 
in  the  West,  on  a  ranch,  it  i;  hard 
to  communicate  just  what  the 
feel  of  it  is,  and  the  intensity.  It 
is  more  powerful  than  passion, 
which  can  be  appeased.  It  is  more 
spiritual  than  passion,  in  that  it  is 
a  balm  to  the  soul. 

Nights,  lying  very  quietly  in 
your  bunk,  you  attune  your  ears 
to  every  sound  that  the  darkness 

gives.    [  CONTINUED  ON  PAGE  133  ] 

A  picture  taken  during 
Gary's  stay  in  England. 
Our  hero  is  the  small  boy 
in  the  Buster  Brown  col- 
lar. His  brother,  Arthur, 
is  next  to  him.  At  the 
right  are  two  aunts  and  a 
cousin 


65 


1'  &  A  Photos 


The  first  lady  of  the  land — Mrs.  Herbert  Hoover — has  long  been  an  amateur  movie  fan.    Here  is  Mrs. 
Hoover  filming  the  movie  men  on  the  U.  S.  S.  Utah  during  the  good  will  tour 

Amateur  Movies 

International  Interest  in  Photoplays  $2,000  Film 
Contest  as  It  Nears  Final  Moments 

By  Frederick  James  Smith 


PHOTOPLAY  Magazine's  ,<S2,000  Am 
closes  at  midnight  on  March  31st. 
tension  of  time  and  this  closing  hour 
the  last  call  for  amateurs  to  enter 
their  best  efforts  for  fame  and  fortune. 

Bear  in  mind  that  there  are  eight 
prizes  totalling  $2,000  and  that,  in 
the  event  that  two  or  more  films 
prove  of  equal  merit  for  any  award, 
duplicate  prizes  will  be  given  for 
each  tying  film.  Also  bear  in  mind 
that  the  winning  films  will  be  shown 
to  the  foremost  professional  makers 
of  motion  pictures  in  New  York 
and  Hollywood. 

Thus  it  is  likely  that  the  contest 
may  win  an  opening  for  one  or  more 
lucky  amateurs  in  the  world  of  pic- 
ture making.  Last  year's  contest 
brought  a  five-year  contract  from 
William  Fox  to  Russell  Ervin,  Jr. 
This  year's  contest  is  likely  to 
attract  one  or  more  contracts. 

Photoplay  launched  its  first  con- 
test with  a  very  definite  purpose. 
Photoplay  wanted  to  make  ama- 
teurs everywhere  familiar  with  the 
whole  job  of  picture  making,  from 
shooting  to  cutting  and  editing.  It 
wanted  amateurs  to  experiment. 
Photoplay  believes  that  the  pro- 
fessional picture  makers  of  tomor- 
row may  very  well  be  the  amateurs 

66 


ateur   Movie   Contest 
There  will  be  no  ex- 
is  final.    Hence,  this  is 


College  Topics  staff  of  University  of  Virginia 
filming  "The  Highest  Degree" 


of  today.    Photoplay's  contest  is  the  one  bridge  between  the 

amateur  and  the  professional. 

Read  all  the  rules  hejorc  you  send  your  film.  The  complete 
awards  will  be  announced  as  soon 
after  the  contest  closes  as  is  possi- 
ble. There  will  be  a  public  showing 
of  the  winning  films  in  New  York. 
The  winning  films  will  be  held  for  a 
period  but  the  other  films  will  be 
returned  as  soon  as  the  judges  con- 
clude their  examination. 


ODDLY  enough,  New  York  has 
been  behind  other  cities  and 
towns  in  developing  an  amateur 
movie  club  of  its  own. 

But  an  organization  meeting  was 
held  in  New  York  on  February  13  th, 
at  which  Hiram  Percy  Maxim,  presi- 
dent of  the  Amateur  Cinema 
League,  offered  a  greeting,  and  ad- 
dresses were  made  by  Dr.  Raymond 
L.  Ditmars,  curator  of  the  New 
York  Zoological  Park  and  a  movie 
maker  of  wide  experience,  and  Dr. 
C.  E.  K.  Mees,  Director  of  Re- 
search of  the  Eastman  Kodak  Com- 
pany. Dr.  Mees  made  an  interest- 
ing speech  on  "Recent  Advances 
in  Amateur  Cinematography"  and 
included  a  demonstration  of  Koda- 
color.  The  much-discussed  amateur 
film,     [  continued   on  page  93  ] 


Avoid  Trick  Diets 


SOME  wise  old  sawyer  once 
hoped  to  gain  unilying  fame 
by  voicing  the  wise  old  saw 
about  the  utter  impossibility 
of  making  briclis  without  straw. 
Despite  the  underlying  verily  of 
his  brain  child  and  that  his  name  is 
forgotten,  the  maxim  he  so  proudly 
burgeoned  forth  upon  a  compara- 
tively wise-crackless  age  is  truth 
today — and  particularly  so  in  the 
relation  of  diet  to  health. 

In  the  last  article  Photoplay 
emphasized  the  fact  that  the  bodily 
engine  could  not  be  kept  running 
without  fuel  as  the  opening  gun  in 
its  campaign  to  combat  senseless, 
inane  and  dangerous  dieting  to  grow 
thin  upon  the  part  of  American 
women.  In  this  article  the  body's 
need  for  building  materials  will  be 
explained  and  the  necessity  for  the 
inclusion  of  both  bricks  and  straw 
in  dietaries  will  be  stressed. 

The  human  house  you  call  your 
body  has  four  corner-stones — nitro- 
gen, calcium,  phosphorus  and  iron, 
the  great  quartet  of  building  ma- 
terials, all  vitally  important,  not 
only  for  growth,  but  also  for  the  re- 
placements made  necessary  by  the 
daily  wear  and  tear  of  life. 

The  chemist  regards  nitrogen  as 
a  gas  but  the  dietitian  sees  it  as 
nature's  alchemy  has  transformed 
it  into  protein,  absolutely  essential 
for  muscle-building  and  for  the  re- 
generation of  muscles  frayed  out  by 
conscious  and  unconscious  work. 

Nitrogen  as  a  gas,  forming  a  large  part  of  the  air  we  breathe 
along  with  hydrogen  and  oxygen,  is,  in  itself,  incapable  of 
sustaining  life,  but  without  nitrogen  no  living  cell  can  carry  on. 

When  one  thinks  of  calcium  the  picture  of  a  white-washed 
fence  or  a  piece  of  chalk  flashes  upon  the  screen  of  memory. 
The  layman  recks  little  of  phosphorus  today  since  the  advent 
of  trick  cigarette  lighters  has  challenged  the  humble  match 
which  phosphorus  made  pos- 
sible. 

But  both  calcium  and 
phosphorus  are  essential  in 
the  framework  of  our  human 
house,  making  up  the  bulk  of 
bones  and  teeth  as  well  as  be- 
ing needed  by  all  the  other 
tissues  of  our  bodies. 


If  You  Want  to  Be 
Healthy  and  l^cautiful 

says 

Dr.  H.  B.K.Willis 


HAVE  you  a  problem  of  diet?  Let  Dr.  Willis  of 
PHOTOPLAY  be  your  adviser.  Write  to  him 
in  care  of  PHOTOPLAY,  816  Taft  Building, 
Hollywood,  Calif.  And  be  sure  to  enclose  a 
self-addressed  stamped  envelope  for  reply.  Dr. 
Willis  will  give  your  question  his  personal  atten- 
tion. 


SINCE  hypodermic  injec- 
tions of  iron  preparations 
have  become  popular  for  the 
control  or  alleviation  of  blood 
diseases,  the  thought  of  the 
body's  iron  needs  is  naturally 
moored  in  the  blood  stream 
without  regard  for  the  body 
cells'  equally  important  iron 
demands. 

Now  that  we  know  what 
building  materials  we  need, 
where  do  we  get  them?  For- 
tunately, a  prodigal  Mother 
Nature  makes  that  easy  for 
the  person  who  is  willing  to 
eat  to  live. 

As  has  been  intimated, 


YOU  must  have  fuel  to  run  your  engine. 
You  must  have  repairs  for  broken 
parts.  Last  month  Photoplay  taught 
you  what  and  how  much  starch  to  burn  as 
fuel.  This  month  read  what  Dr.  Willis  has 
to  say  about  replacement  materials  in  your 
diet.  Shun  trick  diets  which  neglect  proper 
sugar  and  protein  components.  The  orange 
juice  and  vegetarian  quack  has  naught  to 
give  you  but  disease.  Eat  wisely  of  things 
the  Good  Lord  has  put  upon  this  earth  for 
that  purpose.  Eat  to  live — not  live  to  eat. 
As  a  nation  our  sugar  consumption  is 
rising  yearly.  Who  gets  it?  Probably  the 
honie  brewer  and  the  men  and  children. 
Surely  not  ten  million  women,  who,  for  the 
sake  of  a  slim  figure,  are  neglecting  the 
problem  of  body  fuel.  Unless  you  have  a 
constitutional  disease  which  the  ingestion 
of  protein  will  aggravate,  eat  meat  as  the 
functioning  of  your  body  indicates. 


protein  is  the  most  readily  available 
source  of  nitrogen.  It  is  the  name 
designating  a  group  of  substances 
whose  chief  components  are  carbon, 
hydrogen,  oxygen,  nitrogen,  phos- 
•phorus  and  sulphur. 

EGG  albumin,  wheat  gluten,  milk 
casein,  meat  and  vegetable  pro- 
teins are  such  substances.  Some  are 
relativel.N'  high  in  nitrogen  value  and 
others  are  relatively  low,  and  they 
differ  widely  in  the  efficiency  with 
which  they  meet  the  body's  nitro- 
gen needs.  Many  contain  recog- 
nizable amounts  ot  all  the  nitrogen 
compounds  which  the  body,  though 
needful  of  such  building  materials, 
cannot  make  for  itself.  Otheis  can 
only  supply  part  of  the  protein  re- 
placement needs.  The  former  are  the 
so-called  efficient  proteins,  the  latter, 
the  inefficient.  It  is  interesting  to 
note  that  two  inefficient  proteins 
may  double  for  one  efficient  protein, 
since  all  of  the  former  do  not  lack 
the  same  nitrogen  compounds. 

The  foregoing  paragraph  smacks 
suspiciously  of  the  classroom,  but 
one  must  be  forgiven  for  growing  a 
bit  didactic  in  a  discourse  so  devoid 
of  any  opportunity  for  humor. 

The  proteins  can  be  divided  into 
two  classes,  the  animal  and  the 
plant  proteins.  The  animal  pro- 
teins are  the  most  efficient — milk 
casein,  for  example — supplying  all 
the  nitrogen  compounds,  or  amino- 
acids,  necessary  to  life.  As  a  matter 
01  fact,  growth  and  full  vigor  can  be  maintained  even  when  this 
foodstuff  is  the  sole  protein  component  of  the  diet. 

The  plant  proteins  are  found  in  the  cereal  grains — wheat, 
corn,  oats,  rice,  peas  and  beans — wdieat  ranking  the  highest. 

How  much  protein  does  one  need?     The  amount  has  been 
estimated  by  investigators  to  range  from  one  to  four  ounces, 
but  experience  has  shown  that  a  daily  protein  intake  of  approxi- 
mately threeounces  is  entirely 
adequate. 

The  pitiable  condition  of 
the  German  children  at  the 
end  of  the  Woild  War  was 
chiefly  due  to  the  fact  that 
they  were  deprived  of  suffi- 
cient protein  to  sustain 
normal,  healthy  growth. 


THOSE  little  war  wrecks 
excited  the  pity  and 
loosened  the  purse  strings  of 
those  diet  derelicts  who  today, 
at  fashion's  dictate,  volunta- 
rily, even  hopefully ,  seek  to  es- 
tablish  in  themselves  the  state 
of  malnutrition  which  they  de- 
plored in  those  Teutonic  tots. 
They  wagged  their  heads  and 
clucked  their  tongues  and 
pointed  to  the  horrors  of  war 
which  deprived  the  children 
of  Central  Europe  of  their 
rightful  start  toward  a  health- 
ful and  vigorous  life.  But 
since  the  mode  masters  have 

[  CONTINUED    ON    P.\GE     111] 

67 


How  the  Stars  Make 


-/: 


By  Lois  Shirley 


*i' 


Where  Corinne  Griffith,  with  the  gray  eyes 
and  chestnut  hair,  takes  the  plunge.  The 
walls  are  a  gold  moire,  and  the  basin  black 
and  gold.  Gold  drapes,  too,  and  the  chair 
black  and  gold 


HOLLYWOOD  is  the  home  of  color. 
Even  the  houses  are  pink  and  green  and  yellow.    Yes, 
I  mean  the  outsides.    And  the  interiors?    Well,  after 
you've  visited  your  favorite  star  you  want   to  go 
straight  home  and  start  using  that  dull  old  mahogany  furniture 
for  fire  wood  and  those  plain  white  sheets  and  tablecloths  for 
dust  rags. 

The  personalities  of  the  stars  are  reflected  in  their  homes. 
The  picture  folk  live  in  an  Italian  riot  of  color,  and  they  know 
what  shades  become  them  most. 

You  are  certainly  careful  enough  about  the  colors  of  your 
clothes,  aren't  you? 

But  you  don't  seem  to  realize  (neither  did  I)  that  your 
home  must  be  as  becoming  to  you  as  your  frock.  So  learn 
about  shades  from  the  stars. 

It  is  true  that  we  all  can't  have  as  beautiful  and  elaborate 
homes  as  those  of  the  film  celebs,  but  we  can,  with  bright 
linens  and  a  few  pots  of  paint,  make  many  of  our  dull  rooms 
gay  and  livable.  [  continued  on  page  81  ] 


X. 


Mary  Brian  tests  a 
grape  fruit  in  her 
own  breakfast  room. 
Her  eyes  are  blue — 
her  hair  brown.  The 
china  is  black  and 
yellow,  and  the  cloth 
green,  with  flowered 
squares 


Doris  Kenyon's  bed- 
room is  a  symphony 
in  gold,  green  and 
cream.  The  walls  are 
cream,  while  the  bed 
has  a  green  spread. 
Drapes  are  green, 
held  by  gold  cherubs. 
A  green  table,  and 
rose  lamps,  complete 
the  picture 


their 


H 


A 


omes  /\ttractive 


Hollywood,  town  of 
butterfly  tints!  And  all 
your  favorite  players 
match  their  domestic 
pretties  with  their  own 
color  schemes! 


^' 


Joan  Crawford  whipping  a  few  eggs  in  her 

own  kitchen.     With  iier  red  hair  and  gray 

eyes,  she  had  the  room  painted  gray  and 

cream,  furnishings  to  match 


Corinne  Griffith's 
holy  of  holies  —  her 
dressing  room.  Cream 
rug  and  woodwork, 
rose  drape  and  cream 
and  silver  glass  and 
chair  make  a  lovely 
nook 


And  this  is  where 
Corinne  Griffith  loves 
to  lounge.  A  cafe  au 
lait  rug,  cream  walls, 
green  and  ivory 
drapes,  with  the  black 
and  gold  furniture, 
form  a  pretty  en- 
semble 


rdollywood    r  opularity 

Laugh  and  they'll  all  laugh  with  you, 

— ache  and  you  ache  alone, 

says 

Herbert  Howe 


SHOW  me  the  labels  on  your  bottles  and  I'll  tell  you  just  how 
popular  you  are:    if  they  read  gin  you're  surrounded  by 
friends,  but  if  they  say  medicine  you're  sneezing  and  aching 
alone. 
Pardon  the  old  Hollywood  cynic  while  he  takes  a  snifif  of  flu 
balsam  and  turns  off  the  radio  o'er  which  a  seraph  at  Aimee's 
Angelus  Temple  is  caroling: 

"There's  a  rainbow  in  the  cloud — 
If  your  heart  is  right  ..." 
I'm  not  one  of  those  strong  souls  who  can  see  rainbows  in 
their  sneezing.  Nothing  depresses  me  more  than  looking  on 
the  Bright  Side  when  I'm  on  the  other.  When  I'm  sick  I'm 
by  the  world  forgot  and  nobody  feels  sorrier  for  anyone  than  I 
do  for  me. 

And  yet  I  do  recall  (the  boy  is  getting  better!)  that  when  a 
doctor  once  placed  me  on  an  orange  diet  without  so  much  as  a 
dash  of  gin,  Samaritan  Marion  Davies  did  force  two  lamb  chops 
down  my  throat.  And  when  I  collapsed  harder  than  Pola  on 
the  doorstep  of  Fred  and  Agnes  Smith,  after  I'd  made  a  tour  of 
Me.xico  collecting  malaria  bugs,  Fred  never  faltered  or  said  a 
foul  word  when  the  doctor  ordered  me  a  recuperative  diet  of 
champagne  but  did  manfully  descend  the  cellar  stairs  and 
bring  forth  magnums  of  here's-to-you.  (There  was  no  Xmas 
cheer  in  the  Smith  home  last  year  but  I  was  saved  from  the 
cemetery.) 

Verily,  ye  know  not  your  friends  until  you're  sick. 


">^0U 
J.  pur 


her 
arple  chaise  lounge,  to  which  she  is  still  confined  after  a 
year  with  a  dislocated  hip.  "  Friends  have  been 
wonderful  to  me — but  they  are  not  the  friends 
I  expected." 

Anna  Q.,  as  we  always  call  her,  has 
ever  rated  One-of-the-most-popular 
in-Hollywood,    even    though    she 
herself  is  a  coffee  drinker. 

Fifteen  years  ago,  or  there- 
abouts, she  stepped  onto  the 
screen  with  three  other  little 
artists'  models;  they  were 
Alice  Joyce,   Mabel  Nor- 
mand   and  Florence  La- 
badie.      And   for  fifteen 
years  the  name  of  Anna 
Q.   Nilsson  has  lit  up 
dark    nights   the   earth 
over.    -^  steady  unflick- 


Study  of  an  ill  Holly- 
wood favorite,  her 
boudoir  jammed  with 
sympathetic  friends. 
Moral:  You're  popu- 
lar in  the  film  capital 
— on  your  feet.  There 
is  little  real  friend- 
ship out  where  the 
soundies  begin.  The 
stars  seldom  send- 
even  their  douljles  to 
extend  sympathy 

70 


ering  name,  exhibitors  put  it  in  lights  even  though  producers 
failed  to  star  it  officially. 

I've  known  Anna  intimately  by  hearsay,  which  was  not  the 
usual  Hollywood  hearsay.  A  charity  worker  in  the  city  of  Los 
Angeles  once  confided  to  me  that  the  film  crowd  is  not  as  gen- 
erous as  their  publicity  accounts  would  indicate.  "But  there  is 
one  woman  in  HoUywood  who  never  fails.  In  emergency  cases 
we  can  always  turn  to  her.  Many  families  owe  their  lives  to  the 
heart  of  Anna  Q.  Nilsson." 

ONE  year  ago  Anna  Q.  fractured  her  hip  in  a  fall  from  a 
horse.  It  wasn't  serious  but  she  went  limping  forth  to 
work  ahead  of  time.  She  didn't  want  to  hold  up  a  picture  and 
cause  expense  to  a  producer.  Valiantly  Viking,  she  walked 
through  that  picture.  On  the  final  day,  after  the  final  scene, 
they  picked  her  up  and  carried  her  to  an  ambulance. 

In  the  hospital  she  lay  dreary  months  battling  the  vision  of  a 
woman  on  crutches.  She  died  from  her  world  during  those 
months.  Not  a  star  or  director  in  the  studio  where  she  had 
served  for  eight  years  ever  called  or  telephoned  or  sent  a  bunch 
of  flowers  .  .  .  Yet  Anna  Q.  was  a  studio  favorite — on  her  feet. 
When  I  revealed  these  facts  I  had  learned,  Anna  warned  me 
that  if  I  did  any  sob-storying  about  her  I'd  never  get  within  her 
gates  again,  and  I  happen  to  want  to  get  in  again  even  though 
she  does  serve  coffee. 

"As  a  matter  of  fact,  I've  had  the  most  wonderful  experience 
in  friendship,"  she  said.    "  There  was  a  girl  I  helped  to  get  a  job 
when  I  was  doing  '  Ponjola. '     I  had  forgotten  her  but  she  re- 
membered me  when  I  was  down,  and  she  came  to  sit  with  me 
when  others  didn't  call,  which  was  nearly  every 
day.    And  two  little  girl  cutters  used  to  write 
me  screaming  letters.    They  would  paste 
up  funny  pictures  out  of  stiUs — Ken 
V  -  I  ^        Maynard   on   his   horse,    say,    with 
Corinne  Griffith's  lovely  face  pasted 
over,  or  some  such  incongruous 
arrangement. 

"I  learned   a  lot  in  the 
hospital.  I  mean  a  lot  about 
myself.     You  can't  blame 
people  for  not  calling  at 
hospitals.    I  recall  how  I 
hated  to  go  to  one.     I 
thought    it    depressing, 
though  I  think  I  usually 
managed  to  send  flow- 
ers.   We're  all  so  busy, 
and   that  seems   a  per- 
fectly   legitimate 
excuse." 

Anna    rearranged    the 
cushions  and  gazed  spec- 
ulatively  into   the   fire  of 
the  grate.     It  was  the  bed- 
room of  her  home  in  Bev- 
erly   Hills,    dimly    rich    and 

[  CONTINUED  ON  PAGE  115  ] 


Illustrated  by 
Ken  Chamberlain 


The 

Philosophy 

of 

(yRIME 


Murder  will  out?  Not 
according  to  S.  S.  Van 
Dine  who  says  that  80  per 
cent  of  the  murders  are 
not  discovered 

By 
Mark  Larkin 


SS.  VAN  DINE  has  brought  crime  to  the  movies  in  a 
big  way. 
Also  a  philosophy  of  murder. 
*       If  not  a  philosophy,  at  least  theories  and  conclusions 
concerning  crime  that  are,  to  say  the  least,  disquieting. 

S.  S.  Van  Dine  writes  murder  mystery  stories.    His  books  are 
among  the  most  talked-of  contributions  to  the  field  of  detective  . 
story  fiction. 

And  now  they  are  being  brought  to  the  screen.    The  first  to 


flicker  forth  in  celluloid  thrills  is  "The 
Canary  Murder  Case,"  which  Para- 
mount recently  filmed.  Another, 
"The  Greene  Murder  Case,"  is 
scheduled  to  follow — in  fact,  may  be 
on  view  as  you  read  this. 

Van  Dine's  real  name  is  Willard 
Huntington  Wright.  For  three  years 
his  identity  was  a  mystery  as  deep  as 
each  story  he  writes.  Then  one  day 
someone  —  evidently  a  prying  indi- 
vidual who  combined  curiosity  with 
a  flair  for  defective  work  —  tore  Van 
Dine's  alias  loose  from  its  moorings, 
ripped  his  nom  de  plume  to  shreds 
and  disclosed  the  name  of  Willard 
Huntington  Wright. 

The  literary  world  sat  up  and 
rubbed  its  eyes.  Editors  who  had 
been  consigning  his  ponderous  and 
wordy  works  on  anthropology  and 
philology  to  their  wastebaskets  sat 
back  and  scratched  their  heads. 


"Wi 


harder,  colder,  more 
cruel  than  men,"  says  S.  S.Van 
Dine.  "They  are  the  perfect 
murderers.  But  they  are  fewer. 
Either  that,  or  they  cover  their 
crimes  so  ingeniously  that  they 
are  not  caught.  Women  can 
be  most  disarming  when  they 
choose.  I  really  believe,  how- 
ever, that  the  killer  type  is  in 
the  minority  among  them,  as 
compared  with  the  same  per- 
centage of  murderers  among 
men." 


S.  S.  Van  Dine's  real  name  is  Willard  Hunting- 
ton Wright.  Six  years  ago  he  had  a  nervous 
collapse.  To  divert  liis  mind  he  read  detective 
stories.  Then  he  began  to  write  them.  And 
after  that,  fame  and  fortune 

Willard  Huntington  Wright.  ...  It  just  wasn't  possible! 

But  that  is  all  a  matter  of  ancient  history  now.  Willard 
Huntington  Wright  has  anne.xed  a  plethoric  bankroll  and 
developed  a  taste  for  classy  clothes  and  Rolls-Royces. 

NOT  only  is  Mr.  Wright  a  gifted  writer  and  photoplaywright, 
he  also  is  an  e.xpert  on  criminology,  and  possesses  one  of  (he 
most  interesting  and  complete  libraries  on  criminology  in  this 
country.  Murder  is  his  hobby.  Not  that  he  commits  it,  of 
course;  he  merely  studies  it.  He 
checks  its  gruesome  details,  estab- 
lishes premises,  theories,  and  then 
compares  them  with  the  facts.  He  is 
a  connoisseur  of  crime. 

Out  of  years  of  observation,  gained 
by  a  diligent  and  intimate  study  of 
crooks  and  their  styles,  Mr.  Wright 
has  arrived  at  an  alarmingly  sensa- 
tional series  of  deductions.  His  study 
of  crime  has,  in  truth,  given  him  an 
exceptional  viewpoint,  one  example 
of  which  is  indicated  in  the  fact  that 
the  oft-quoted  phrase,  "  Murder  will 
out,"  is,  according  to  Mr.  \A'right, 
just  a  phrase  and  nothing  more. 
Crime  is  a  highly  organized  industry, 
a  business  which  despite  its  hazards 
is  extremely  profitable  to  many  who 
engage  in  it  professionally. 

"Scarcely  ninety  percent  of  the 
crimes  committed  are  ever  detected," 
he  says,    [  conti.xued  o.n  page  135  ] 


71 


There's  a  tale  behind  the  career  of  Dick  Arlen — a  story  of  sacrifice  on  the  part  of  Jobyna 
Ralston.     She  retired  from  films  to  mother  her  husband's  fame 

One  Star  is  Enou2:h 


Jobyna  Ralston  tells  why  she  gave  up  her 
career  for  her  husband,  Dick  Arlen 

By  Katherine  Albert 


R' 


ICHARD  ARLEN  is  as  fine  an  artist  as  any  who  has 

crossed    the    film    firmament    in    many    a    day — " 

"Richard    Arlen's    remarkable    work    in — "     "The 

'poignant    beauty    of    Richard    Arlen's    scene    in — " 

"Richard  Arlen  is  excellent^ — " 

Press  clippings!     Hundreds  of  them  couched  in  the  most 
flattering  phrases! 

"Dear  Mr.  Arlen:  You're  my  favorite  actor — "     "We  cer- 
tainly liked  the  wa\'  you  kissed  Jobyna  Ralston  in  'Wings.' 
Even  if  she  is  your  wife  3'ou  put  pep  in  that  kiss — "    "I  never 
miss  one  of  your  pictures.     You 
always  give  me  something  beau- 
tiful   to    remember — "     "Gee, 
you're  a  great  actor — " 

Fan  letters!  Hundreds  of 
them,  from  high  school  students, 
from  college  professors,  from 
truck  drivers  and  bond  salesmen! 

In  less  than  two  years  Dick 
Arlen  has  proved  himself  an 
artist  of  the  highest  calibre.  He 
has  risen  from  an  e.xtra  man  to  a 
favorite  star,  but  his  success  has 
meant  the  career  of  his  wife, 
Jobyna  Ralston. 

The  story  of  his  rise  to  fame 
hinges  upon  the  soul  of  a  woman. 


"TT  TE  both  can't  have  big  careers," 
W  says  Jobyna  Ralston,  "and  Dick 
is  the  best  man  artistically,  that's  all. 
It's  a  survival  of  the  fittest.  I  can't 
make  inore  money  than  he  does.  I 
can't  be  a  bigger  star.  We'd  be  un- 
happy that  way.  But  I'm  happy  now. 
I  have  so  much.  I  have  such  an  im- 
portant job,  the  job  of  keeping  Dick 
sane  and  level-headed." 


a  woman  who  was  more  wife  than  actress,  who  was  willing  and 
.  happy  to  give  up  her  work  for  him,  to  turn  from  her  job  in 

pictures  to  a  more  vital,  and  a  better  job,  that  of  guiding  her 

husband's  destiny. 

Dick  didn't  ask  for  this  sacrifice.     He  doesn't  know  that  it 

has  been  a  sacrifice.      He  doesn't  know  that  Jobyna  said, 

"Some  day,  like  all  of  us,  I  hope  to  do  a  good  piece  of  work,  to 

contribute  something  of  beauty  to  the  screen,  but  now — well, 

I  have  a  better,  more  important  job." 

He  can't  look  at  Jobyna's  radiant  little  face  without  knowing 

he  has  made  her  happy.  For 
her,  happiness  lies  in  the  great 
love  she  has  given  him. 

Charlie  Farrell  introduced 
them  some  time  in  March,  1926. 
Jobyna  Ralston  was,  at  that 
lime,  one  of  the  most  promising 
of  the  younger  players.  She  was 
Harold  Lloyd's  leading  woman. 
She  commanded  a  big  salary  and 
had  her  share  of  fame.  Dick 
was  an  extra  man.  He  was 
under  a  meager  contract  to 
Paramount  and  was  playing  a 
bit  in  "Old  Ironsides." 

But  even  then  he  had  the 
divine  [  continued  on  page  98  ] 


•72 


Photoplay  Magazine — Advertising  Section 


Pond's  Cold  Cream  for  thorough  cleans- 

I    ing  is  the  first  step  in  Pond's  Method. 

Spread  lavishly  with    upward   strokes, 

letting  the  fine  oils  sink  into  the  pores. 

Pond's  Cleansing  Tissues  remove  the 
Q,    cold  cream.    Such  an  economy  of  laun- 
dry and  towels  !    Thistledown  soft,  safe 
for  sensitive  skin  —  Pond's  second  step. 

Pond's  Skin   Freshener  should  always 
3    follow  your  cold   cream  cleansing.     It 
closes   pores;   banishes  oiliness;  firms 
your  skin,  leaves  it  fresh  as  a  rose. 

Pond's  Vanishing  Cream  is  the  finishing 

^    touch  of  Pond's  Method.    Apply  before 

you  powder.   It  protects  your  skin,  gives 

smoothness,  makes  your  powder  cling. 


lAinion^   ilie  beauhjul  tcomeit 
mho  use  Cyoiia  s  proaucis   are: 

U  ke    L^ouniess    xCTtowe 

^1  llrs.  LyOfnclitts  ^Uatiaerbiltf  (Jr 

Qflrs.  0^clen  0f.  QfammonJ 

cLa  ^lilarcfutse  ae  cJoli^nac 

oLaay  oLaveiy 


Zj.  cLeUxyuru/)  ^Jijm/S 


Mr 


K)V^ 


OwiFT,  CLEAN-CUT,  runs  the  modern 
rhythm.  Young,  clean  of  line  is  the  mod- 
ern silhouette.  Alert  and  beautiful  are 
modern  faces — eyes  bright  with  zest  of 
life,  clear  skin  kept  firm  and  young  with 
modern  care. 

Pond's  famous  Method  is  the  open 
secret  of  the  meticulous  grooming  of  skin 
that  modern  life  exacts  yet  must  achieve 
upon  the  wing. 

No  time?    No  matter! 

Pond's  four  simple  steps  are  swift,  yet 
scientific  in  the  precision  of  their  effect. 

When 


Pond's  4  delicious  aids  to  beauty  are 
the  utmost  modern  science  can  offer  in 
exquisite  fineness,  in  amazing  efficacy. 

Follow  PoND's  Method:  Onel  Cleanse 
thoroughly  with  Pond's  Cold  Cream  .  . . 
Tivo!  Wipe  away  cream  and  dirt  with 
Pond's  new  Cleansing  Tissues .  .  .  Three! 
Close  pores,  tone,  firm  the  skin  with 
Pond's  new  Freshener,  banishing  oiliness 
.  . .  Four!  Smooth  on  a  little  Pond's  "Van- 
ishing Cream  for  powder  base  and  pro- 
tection.  Now  you  are  fresh  and  lovely! 

you  write  to  advertisers   please   mention   PnOTOPLAY  MAG 


Give   your  skin   this  complete   care   as 
often  as  you  need  it  through  the  day.   At 
bedtime   thoroughly   cleanse   with   Cold 
Cream  and  remove  with  Tissues. 
Try  this  simple,  swift,  sure  Method. 

cJena  xoi.  joy  cJona  s  4  preparations 
PoND-s  Extract  Company,  Dept. R 

1 1 1  Hudson  Street New  York,  N.  Y. 

Natne 

Street 

City. Stule 


Copyright,  1929,  Poad'e  Extract  Ci>inpany 


iZINB. 


74 


Photoplay  Magazine — Advertising  Section 


98% 


^  of  the 


on  the  screen  are  cared  for  with 

'^Lovely  skin  is  the  most  appealing  charm 
a  girl  can  have,'''*  s?iy  39  leading  Hollywood  directors 


IT  ATTRACTS  you   instantly, 
whenever  you  see  it —  a  skin  that 
is  exquisitely  smooth  and  lovely. 

In  Hollywood,  where  loveliness 
and  magnetism  mean  success,  they 
realize  this  so  well.  "I  don't  know  a 
single  case  where  a  girl  without 
really  beautiful  skin  has  been  able  to 
win  enough  popularity  to  become  a 
star,"-  says  William  Beaudine,  Fox 
director,  voicing  the  experience  of 
leading  directors. 

"Exquisitely  lovely  skin  is  the 
greatest  asset  a  star  can  have,"  the 
screen  stars  say.  And  especially  is 
this  true  now  that  the  huge  new 
incandescent  "sun-spot"  lights  pour 


Mary  Duncan,  Fox  star, 
says  "  Lux  Toilet  Soap  keeps 
my  skin  silken-smooth." 


Betty  Bronson,  Warner 
Brothers— "I  find  Lux  Toilet 
Soap  wonderful  for  my  skin." 


Photo  by  a  S.  Bull,  Hollywood 

Eleanor  Boardman,  famous  for  her  lovely  skin,  says 
enthusiastically:  "Lux  Toilet  Soap  is  excellent  for  the 
very  smooth  skin  a  screen  star  must  have." 


Evc-.y  .iilvertisement  In  PHOTOI'LAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


7S 


lovely  complexions  you  see 
Lux  Toilet  Soap 


down  on  face  and  arms  and  shoulders 
when  a  close-up  is  being  taken. 

Notice  the  exquisite  texture  of 
Mary  Brian's  skin  the  next  time  you 
see  her  in  a  close-up — or  of  Clara 
Bow's,  Dorothy  Mackaill's,  or 
Eleanor  Boardman's. 

ISIine  out  of  ten  screen  stars  use 
Lux  Toilet  Soap 

Of  the  451  important  actresses  in 
Hollywood,  including  all  stars,  442 
use  this  white,  fragrant  soap,  and  all 
the  great  film  studios  have  made  it 
the  official  soap  for  dressing  rooms. 

You,  too,  will  be  delighted  with 
the  way  Lux  Toilet  Soap  keeps  your 
skin  satin-smooth.  Buy  several  cakes 
—  today.  Made  by  the  famous 
French  method,  it  lathers  gener- 
ously, even  in  the  hardest  water. 


Mary  Brian,  P.-iramount  star,  has 
perfect  poise  under  the  searching 
eye  of  the  new  "sun-spot"  close-up 
lights.  She  keeps  her  skin  flaw- 
lessly smooth  with  Lux  Toilet  Soap. 


Photo  by  H.  D.  Carsey.  Hollywood 

Dorothy  Mackaill,  First  National  star,  in  the  modernistic 
bathroom  built  for  her  in  Hollywood.  "So  much  of  a  star's 
charm  depends  on  soft  smooth  skin  —  especially  for  a  close- 
up.    Lux  Toilet  Soap  is  lovely  for  the  skin." 


Luxury  suck  as  you  have  found 

only  in  French  soaps 

at  50^  and  |i.oo  the  cake  .  .  .  now 


10 


Popular  Sue  Carol  says:  "Lux 
Toilet  Soap  leaves  my  skin  glori- 
ously smooth." 


Sally  Eilers,  Sennett-Path^ — 
"Lux  Toilet  Soap  gives  my  skin 
such  velvety  smoothness!" 


When  you  write  to  adtertlsers  please  mention  PIIOTorLAT  MAGAZINE. 


Hot 


Hollywood's  Spanish 

Stars    Give   You   the 

Recipes    of    Their 

Favorite  Dishes 


WHEN  Hollywood's  foreign  stars  entertain, 
they  always  make  it  a  point  to  serve  some  of 
the  dishes  of  their  native  land.  And  so  there 
is  probably  a  greater  variety  of  cooking  in  Hollywood 
than  of  any  city  of  its  size  in  the  country.  Photo- 
play's Cook  Book  has  collected  some  interesting 
recipes  from  the  Latin  stars  and,  if  you  like  your  food 
hot,  these  dishes  will  appeal  to  you.  While  Spanish 
dishes  are  too  highly  seasoned  for  the  daily  fare,  they 
are  splendid  for  an  occasional  treat. 

Lupe  Yelez's  favorite  recipe  is  Spanish  chowder,  which  is 
both  economical  and  easy  to  prepare.  It  is  an  ideal  dish  for  an 
informal  supper  party  because  it  may  be  cooked  in  a  few 
minutes. 

Take  one  can  of  tomatoes  and  one  can  of  red  kidney  beans 
and  cook  them  together  for  ten  minutes.  Then  add  one  pound 
of  finely  chopped  hamburger  steak,  either  raw  or  cooked,  and  one 
chopped  green  pepper.  Season  with  salt,  black  pepper  and  red 
pepper  to  taste.  If  you  like,  you  may  flavor  the  chowder  with 
one  chopped  onion  which  has  been  fried  until  a  golden  brown 
in  butter.  After  adding  the  hamburger  and  seasoning,  cook 
for  five  or  ten  more  minutes,  mixing  thoroughly.  That  is  the 
basic  recipe,  but  you  may  add  trimmings  of  your  own.  For 
instance,  if  you  like,  you  may  add  a  few  tablespoons  of  grated 
cheese  and  a  dash  of  chili  powder. 

BARRY   NORTON   also   contributes   a   Spanish  recipe   to 
Photoplay's  Cook  Book.    Barry's  real  name  is  Alfredo  de 
Biraben  and  he  comes  from  the  Argentine.    His  recipe  is  useful 


..^^ 


Photoplay  Magazine 

750  N.  Michigan  Ave.,  Chicago,  111. 
Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  150  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


Be  sure  to  write  name  and  address  plainly. 
You  may  send  either  stamps  or  coin. 


Lupe  Velez's  home  is  a  bit  of  old  Mexico  in  Hollywood. 
Wlien  Lupe  entertains,  she  treats  her  friends  to 
Spanish  dishes.  On  this  page  you  will  find  Lupe's 
recipe  for  Spanish  Chowder,  one  of  the  many  deli- 
cious foreign  dishes  in  PHOTOPLAY'S  Cook  Book 


because  it  furnishes  a  new  way  of  using  round  steak,  an  econom- 
ical cut  of  beef.     Here  it  is : 

3  lbs.  round  steak  (cut  2)4.  inches  thick)     1  large  onion 
1  small  teaspoon  salt  2  large  tomatoes 

Butter  size  of  an  egg  Grated  cheese 

Season  the  steak  with  salt,  pepper  and  butter.  Then  place 
in  the  oven  in  a  baking  pan  with  ]  2  cup  of  water  and  cook  for 
thirty  minutes.  Cover  the  steak  with  the  sliced  onion  and  cook 
again  for  three-quarters  of  an  hour.  Then  top  off  with  a  layer 
of  tomatoes  and  cook  until  tender.  Just  before  removing  from 
the  oven,  sprinkle  with  grated  cheese. 

Serve  the  steak  with  gravy  made  from  the  liquor  left  in  the 
pan.  Have  the  oven  hot  when  you  first  put  the  steak  in  to  cook 
so  that  the  meat  will  sear  and  the  juices  will  be  kept  in.  It  is 
best,  too,  to  add  the  water  after  the  steak  has  been  in  the  oven 
a  few  minutes.  Then  reduce  the  cooking  temperature  and 
let  the  steak  cook  slowly. 

Ramon  Novarro's  recipe  is  for  Spanish  rice.  Take  1  cup  of 
rice  and  put  it  in  a  frying  pan  with  enough  olive  oil  to  cover  the 
pan  a  half  an  inch  thick.  Stir  it  until  the  grains  are  separated 
and  brown.  Add  1  can  of  tomatoes,  2  finely  chopped  onions 
and  2  chopped  green  peppers.  Then  season  to  taste  with  salt, 
pepper,  and  chili  powder.  Add  enough  water  to  make  the 
mixture  quite  moist.  Cover  the  pan  and  do  not  stir  or  remove 
the  cover.    Allow  this  to  simmer  slowly  for  half  an  hour. 

Any  one  of  these  Spanish  recipes  will  add  interest  to  your 
dinner  menu  or  to  your  party.  In  Photoplay's  Cook  Book, 
you  wiU  find  one  hundred  and  fifty  favorite  dishes  of  the  stars. 
You  may  receive  a  copy  of  the  Cook  Book  by  return  mail, 
simply  by  filling  out  the  little  coupon  on  this  page  and  enclosing 
a  quarter  with  your  request.  Carolyn  Van  Wyck 


Photoplay  Magazine — Advertising  Section 


17 


Her  hair  is  oily 

She  should  use  Packer's  Pine  Tar  Shampoo 

If  you  have  the  kind  of  hair  tliat  loses  its  flufBness  shortly  after 
shampooing,  use  Packer's  Pine  Tar  Shampoo.  This  preparation  is 
tonic  and  mildly  aslringcui  .  .  .  approved  by  dermatologists.  It 
leaves  the  hair  fluffy,  with  a  natural  sparkle.  Use  it  every  four  or 
five  days  at  first;  later  every  week  or  ten  days  may  be  enough. 


V        MEMPQ 


Her  hair  is  dry 

She  should  use  Packer's  Olive  Oil  Shampoo 

Like  all  Packer  soaps,  this  shampoo  is  a  vegetable  oil  soap  ...  in 
addition,  it  contains  a  rich,  soothing  emollient  (and  nothing  to  dry 
the  scalp).  Dry  scalps  will  never  feel  a  stinging  sensation  when 
they  use  this  special  shampoo.  Leaves  your  hair  soft  and  silky  to 
the  touch — more  manageable — and  delicately  perfumed. 


He  has  dandruff 

He  should  use  Packer's  Tar  Soap 

.  .  .  the  soap  that  made  pine  tar  famous  for  shampooing.  Pine  tar 
is  antiseptic,  healing,  with  properties  valuable  in  the  treatment  of 
dandruff.  Packer's  Tar  Soap  is  endorsed  by  dermatologists  for 
skin  and  scalp.  For  noticeable  dandruff  use  Packer's  Tar  Soap 
every  few  days  until  improvement  begins. 


Select  the  shampoo  your  hair  needs 


Acute  cases  of  drj-ness,  oiliness  and  dan- 
druff need  the  care  of  a  dermatologist — a 
doctor  who  is  a  skin  specialist.  But  nearly 
all  scalps  tend  to  be  dry  or  oily,  and  many 
are  mildly  affected  with  dandruff.  Now — 
each  type  of  scalp  can  have  the  special 
shampoo  which  meets  its  particular  needs. 
The  coupon  is  for  your  convenience.  The 
regular  size  of  each  shampoo  is  for  sale 
at  your  drug  or  department  store. 


Check  Sample  Desired 

For  10c  enclosed  send  sample  of 

r.\CKER's 

□  Tar  Shampoo 

□  Olive  Oil  Shampoo 
n  Tar  Soap 


Packer  Mfg.  Co.,  Inc.,  Dcpt.  IG-D,  101  West 
Thirty-first  Street,  New  York,  N.  Y. :  Send  me  the 
ofi:er  checked,  with  28-page  book  on  hair  health. 

Name 


Address_ 
City 


.State_ 


WhcD  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Close-Ups  and  Long-Shots  |^ 


James 
Quirk 


CONTINUED  FROM  PAGE  27  ] 


And  yet  I  shudder  when  I  think  of  what  lies  before 
Davey. 

He'll  be  a  hot  house  plant  forced  in  the  California 
sun.  He'll  be  made  to  act  cute  till  the  soul  revolts. 
He'll  be  petted,  poked,  pampered  and  spoiled.  He'll 
be  carted  and  cajoled  around  the  great  studios — a  cun- 
ning little  human  chattel  at  whom  Fortune  grinned. 

If  he  doesn't  grow  up  a  spoiled  and  smart-alecky  little 
prig,  it  will  be  almost  an  act  of  God. 

BILLHx^INES'  record  for  wise  cracks  has  been  a  little 
low  lately,  but  he  was  heard  to  pull'a  nifty  a  few  days 
since.  Bill  sat  in  a  down  town  Los  Angeles  insurance 
office,  waiting  for  a  friend  of  his,  who  is  head  of  the  com- 
pany. There  was  considerable  commotion  going  on, 
doors  opening  here  and  there.  Finally  Bill  said,  "What's 
all  the  excitement  for?"  An  office  boy  explained  that 
one  of  the  stenographers  was  missing. 

"Has  anyone  thought  of  looking  on  the  boss'  knee?" 
inquired  Bill. 

RAYMOND  GRIFFITH  has  the  last,  low,  guttural 
laugh  on  the  movies ! 

Ray  came  into  pictures  originally  after  he  had  almost 
lost  his  voice  on  the  speaking  stage. 

He  engaged  a  long  period  of  popularity  as  a  silk-hat 
comedian.  Then  things  turned  sour,  there  were  con- 
tract troubles,  and  Ray  disappeared  from  the  public 
eye,  mourned  but  unseen. 

But  great  are  talking  pictures! 

Griffith  was  stood  before  a  microphone,  and,  wonder 
of  wonders,  it  was  found  that  his  husky  whisper  of  a 
voice  came  through  far  better  than  many  a  bell-like 
baritone! 

And  now  Raymond  Griffith  is  in  a  fair  way  to  sit  in 
the  seats  of  the  mighty  once  more.  Great  is  the  talking 
picture! 

WELL,  Hollywood  is  now  twenty-one  years  old, 
and  will  cast  its  first  vote  next  fall! 

It  all  began  in  Sing  Loo's  Chinese  laundry,  which, 
turned  into  the  first  motion  picture  studio,  saw  Francis 
Person  and  Thomas  Boggs  grind  the  crank  that  started 
the  infant  industry  on  its  way  under  the  California 
sun. 

Only  in  the  world  of  the  photoplay  could  such 
colossal  changes  and  growths  take  place  in  the  short 
space  of  twenty-one  years. 

18 


Mighty  cities,  armies  of  players,  legions  of  artists  and 
technicians,  billions  of  dollars,  wonders  and  joys  and 
sins — all  began  in  the  little  laundry  of  Sing  Loo,  who 
will  go  down  in  history  with  other  unsung  witnesses  of 
tremendous  events. 

Hollywood  is  great,  Hollywood  is  powerful,  and  out 
of  it  come  wonders  before  undreamed  of. 

But  Hollywood  must  remember  that  it  and  its  people 
are  only  servants  of  a  great  entertainment  force.  And 
Hollywood  must  be  humble. 

HERE  is  a  letter  from  a  reader.    A  finer  editorial  on 
motion  pictures  could  not  be  written: 

El  Paso,  Texas. 
Editor,  Photoplay  Magazine: 

As  the  daughter  of  a  Methodist  minister,  I  want 
to  "rise  up  in  meeting"  and  tell  what  the  movies 
have  done  for  me.  I  was  born  in  a  parsonage,  and 
reared  with  the  volunteer  assistance  of  all  the  old 
ladies  in  the  congregation  in  the  most  approved, 
mid-Victorian  manner.  The  result  was  that  by 
the  time  I  was  grown  and  had  to  face  the  world 
alone,  I  was  as  well  equipped  to  meet  the  problems 
of  life  as  an  African  lion  hunter  armed  with  a  pop- 
gun. 

I  have  read  much  criticism  against  the  movies 
for  portraying  the  sordid,  sensuous  and  disillusion- 
ing side  of  life,  and  I  want  to  tell  you  that  just  such 
pictures  as  those  did  much  for  me  at  a  transition 
period  of  my  life  to  enable  me  to  adjust  myself  to 
the  jolt  of  discovering  the  world  as  it  is.  They 
educated  me  to  tolerate  the  knowledge  of  the  in- 
evitable existence  of  evil  and  still  cling  to  faith  in 
good,  as  a  whole. 

When  you  show  evil  with  good,  in  their  proper 
relationship  to  life,  you  enlighten — when  you  show 
either  alone,  you  are  cultivating  ignorance.  The 
censors,  in  their  fine  zeal,  are  like  some  of  the 
sweet  old  ladies  of  my  parsonage  days,  in  danger 
of  undereducating  by  withholding  facts. 

I  am  not  decrying  idealism,  but  let  us  be  sensible 
idealists. 

With  our  heads  in  the  clouds  of  aspiration  we 
had  much  better  have  our  feet  on  the  firm  ground 
of  truth. 

Sincerely, 

Anna  Brand 

ONE  of  our  best  known  male  stars  is  responsible  for 
this  one.    His  young  son  is  just  finishing  college  and 
a  friend  said: 

"Do  you  think  your  son  will  forget  all  he  learned 
at  college?" 

,  "I  hope  so,"  came  the  answer.     "He  can't  make  a 
living  necking." 


Sold  in  5c  packages 
from  this  jar; 

never  sold  in  bulk 


THE  NEW  ^4PANISH   PEANUT8 


You  never  knew  there  could  be  peanuts  like  Chicos.  They're 
Spanish.  They're  roasted.  Then  toasted  over  an  open  fire. 
Then  blanched,  salted  just  the  right  amount  .  .  .  What 
flavor !  What  delicious  crispness ! 

To  keep  all  that  wonderful  flavor  and  freshness,  Chicos  are 
sealed  in  glassine  bags.  Packed  in  air-tight  boxes.  Sold 
from  an  air-tight  jar. 

For  a  nickel  all  that  crispy,  crunchy  goodness  is  yours. 
Wherever  you  see  the  gay  Chicos  jar.  Be  one  of  the  first  to 
try  them  today!  One  bag  .  . .  and  you're  a  Chicos  fan  for  life. 

Curtiss  Candy  Company,  Chicago 
OTTO  SCHNERING,  President 


Itl/%I€EI&9     OF     B/%BY     RUTH     C;%I%IOY     ;%IWD     Bi<mBY     RUT 


OUM 


W' 


1 


PEPPERELL  colorel  SHEETS 


make  JUupe    Velez    bedroom  express  her 


PERSONALITY  l  ITf'p'  ''T"  ''77'" 

nnd  Lady  repperell  s  smooth,  nrm 
sheets  at  all  the  best  shops  in  lovely 
rpHEIR  happy  springtime  green     i^g^jj^g  grades  of  peach,  rose,  blue, 
X   gives  the  whole  room  a  keynote     orchid,  Nile  green,  shell  pink,  and 
of  color  that  is  both  subtly  expres-     ^^j^^^  ^3  ^^n  ^3  ^^j^g^ 
sive  of  Miss  Velez'  vivid  personal-  gend  ten  cents  for  the  beautiful 

ity,  and  decidedly  becoming  to  her  ^^^  booklet,  "Personality  Bed- 
rich  coloring.  rooms."  It  will  help  you  select  the 
Lady Pepperell  Sheets  and  Pillow  color  most  becoming  to  your  type, 
Cases  in  the  becoming  color  that  and  it  suggests  dozens  of  workable 
expresses  you  will  make  vour  room     plans  for  bedroom  decoration. 

IPEIPIPIEIIEILIL 

COLORED 

SHEETS  cuu)  PILLOW  CASES 


* 


PiTPPERELL  Manufacturing  Company 
167  State  St.,  Boston,  Mass. 

Please  send  me  the  new  booklet,  "Personality  Bed- 
rooms." I  am  enclosing  one  dime  —  ten  cents'  worth  of 
stamps  (Canada:  twenty  cents). 


it:».j'. 


How  the  Stars  Make  their  Homes  Attractive 


[  CONTINUED  FROM  PAGE  68  1 


Pale  green  and  pale  rose  are  the  colors  she  has  chosen.  The 
bed  is  covered  and  draped  in  green  and  the  drapes  are  held  in 
place  with  gold  cherubs.  The  curtains  are  also  green,  while  the 
walls  are  cream  colored  and  the  sheets  a  blush  pink.  One  of  the 
tinest  pieces  in  the  room  is  the  gold,  full  length  mirror. 

Entirely  different  in  type  is  Bebe  Daniel's  bedroom.  While 
Doris'  is  early  French,  Bebe's  is  Italian  Renaissance.  The 
walls,  bed  spreads  and  sheets  are  cream,  while  the  rug  is  of 
dark  mulberry  red.  The  drapes  are  dark  red  and  gold  brocade, 
with  the  doors  of  the  knickknack  cabinet  in  dark  red  outlined 
in  cream.  Bebe,  as  you  see,  knows  her  colors.  She  has  black 
hair  and  eyes. 

Even  the  kitchen  has  decided  [  continued  on  page  141  ] 


Doris  Kenyon  waits  for  Milton  to  come  down 
to  breakfast.  The  table,  chairs  and  sideboard 
are  red,  while  walls  and  door  are  a  heavy 
cream.  A  linen  table  set,  embroidered  with 
colored  parrots 

The  home  of  Corinne  Griffith  is  one  of  the  most  colorful  and 
elaborate  in  town.  Although  she  has  many  rare  antiques,  the 
modernistic  feeling  is  there. 

Corinne  has  blue  grey  eyes  and  light  chestnut  brown  hair, 
so  she  has  chosen  the  colors  that  suit  her.  One  of  the  cozy 
lounging  rooms,  where  Corinne  and  her  friends  spend  much 
of  their  time,  has  walls  of  cream  with  a  cafe  au  lait  rug  and 
green  and  ivory  drapes.  One  fascinating  modernistic  chair  is 
green  and  cream  striped  with  black  and  this  note  of  black 
is  carried  out  in  triangular  patent  leather  cushions  and  black 
cabinets  and  coffee  tables.  The  long  davenport  is  green.  The 
andirons  are  modernistic  in  shape  as  are  the  lamps  on  the 
mantle.  Green,  cream  and  black  are  the  colors  that  make  this 
room  attractive.  Cream  walls  and  woodwork,  since  they  are 
suitable  to  Corinne's  type  are  used  again  in  the  dressing  room. 

Here  all  the  woodwork,  the  dressing  table  and  the  rug  are 
cream  while  the  satin  drape  that  covers  one  end  of  the  room 
and  conceals  wardrobe  and  shoe  closet  is 
of  shimmering  rose-pink  satin,  a  perfect 
complement  to  Corinne's  coloring. 

Again  the  proper  note  is  used  in 
her  bathroom,  which  boasts  walls 
of  gold  moire  silk  and  basin  of  black 
and  gold  marble.    The  drapes 
are  also  of  gold  and  are  held 
in   place    with   tiny   Lalique 
plaques  each  one  centered  by 
a  head   of   the  divine  lady. 
The    faucets    are    all    gold. 
Here  two  very  becoming  col- 
ors are  used,  black  and  gold. 

A  bedroom  so  definitely 
reflects  the  personality  of  the 
owner  that  it  should  be  given 
more  thought  than  almost 
any  other  room.  Two  stars 
of  different  types  were  good 
enough  to  pose  in  their  bed- 
rooms so  that  you  might  find 
which  type  suits  you  most. 

Doris  Kenyon  is  a  real 
blond,  with  golden  hair  and 
blue  eyes.  Her  bedroom  is 
all  feminine  charm,  all  dainti- 
ness. 


Dorothy  Sebastian  in  a 
corner  of  her  living  room. 
The  phonograph  is 
painted  red,  gold  and 
black,  and  the  drapes  are 
striped  yellow,  red  and 
black.  The  table  is  black, 
with  gold  legs 


Well,  Bebe  Daniels  is  just 
about  to  hop  in!  The 
walls  and  the  bedspread 
are  cream,  with  sheets  a 
paler  shade  of  the  same. 
The  drapes  are  a  dark  red 
and  gold  brocade,  and 
the  rug  mulberry  red. 
Rose  screen 


81 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  49  J 


Word  had  it,  however,  that  Mabel  Normand 
phoned  his  suite  every  night  from  Hollywood, 
though  for  days  Lew  was  unable  to  speak  to 
her. 

TT  is  being  noised  abroad  in  Hollywood  that 
■'-Mar)'  Pickford  has  taken  to  cigarettes  for  her 
new  picture,  "Coquette." 

Perhaps  she's  trj-ing  to  find  out  whether 
there's  a  cough  in  a  carload.  Also  we  hear  that 
the  abstemious  Doug  is  no  longer  averse  to  a 
glass  of  champagne. 

.•\h  me,  this  modern  age  is  tough  on  tee- 
totalers.   Well,  the  world  do  movie! 

WE  are  going  to  try  and  supply 
you  each  month  in  this  depart- 
ment at  least  one  new  word  that  has 
been  barred  from  the  talkies.  Our 
present  offering  is  the  expletive, 
"Lousy." 

In  the  Talkies  you  must  never, 
never  say  "Lousy."  It's  a  bad,  bad 
word! 

HTHERE'S  a  catch  in  it  if  anything  happens 
■*-  to  Anita  Page. 

Not  only  is  she  one  of  the  prettiest  blondes 
and  smartest  children  in  Hollywood  right  now 
— she's  also  one  of  the  most  carefully  policed. 


Doris  Hill,  one  of  the  pretty  girls  at  the 
Paramount  studio,  was  told  off  to  be  a 
ballet  dancer  in  a  new  picture,  and  so  here 
is  Doris,  all  undressed  up  and  set  for  the 
ordeal  by  toe  dancing 

82 


When  Marion  Davies'  admirers  want  to  send  her  posies, 

they  don't  let  a  little  thing  like  miles  bother  them.    Here 

is  Marion  holding  a  box  of  carnations  sent  her  by  mail 

from  London.     It  took  eight  days 


Harry  Crocker,  a  perma- 
nent member  of  the  Chaplin 
forces,  seems  to  be  increas- 
ingly interested  in  La  Belle 
Page  these  days. 

Not  long  ago  they  were 
seen  together  on  one  of  those 
romantic  boat  rides  to  Cata- 
lina  Island. 

And  were  they  spoonily 
alone?     Not  by  a  deckf ul ! 

About  three  chairs  away 
was  Anita's  papa! 

C\^  the  anniversary  of  their 
'^marriage,  Dick  Arlen  and 
Jobyna     Ralston     presented 


each  other  with  a  beautiful  antique  desk.  This 
gesture  distressed  John,  their  colored  butler, 
because  he  knew  it  meant  he  would  have  to  re- 
arrange the  other  furniture  in  the  room. 

That  afternoon  two  friends  of  the  Arlen 
family  dropped  in  and  John  insisted  that  they 
stay  for  dinner,  the  reason  being  that  if  he  had 
company  for  dinner  he  would  not  be  expected 
to  do  the  big  moving  scene. 

After  the  meal  Dick  asked  John  to  move  the 
piano  to  the  other  end  of  the  room.  ".Ah'm 
awful  sorry,  Mistah  Ahlen,"  said  John,  "but  I 
got  so  many  dishes  out  theah.  Makes  a  lot  of 
work  with  company." 

He  remained  in  the  kitchen  for  hours.  At 
last  he  stuck  his  head  through  the  door,  "Ah'm 

[  CONTINUED  ON  PAGE  84  ] 


This  is  the  mansion  that  Mary  Duncan  built  on  the  Fox  lot 
for  her  lucky  Seelyham.    It  is  a  replica  of  an  Oregon  farm- 
house where  Mary  spent  several  weeks  on  location 


Photoplay  Magazine — Advertising  Section 


83 


200,000,000  germs   die   in   15   seconds 

that's  why 

LISTERINE 

full  strength  is  effective  against 

SORE  THROAT 


Prevent  a  cold  this  way? 
Certainly! 


Millions  of  ordinary  colds 
start  when  germs  carried  by 
the  hands  to  the  mouth  on 
food  attack  the  mucous  mem- 
brane. Being  very  deUcate  it 
allows  germs  foothold  where 
they  develop  quickly  unless 
steps  are  taken  to  render 
them  harmless. 

You  can  accomplish  this 
by  rinsing  your  hands  with 
Listerine,  as  many  physicians 
do,  before  each  meal.  Lis- 
terine, as  shown  above,  is 
powerful  against  germs. 

Use  only  a  little  Listerine 
for   this  purpose — and  let   it 


dry  on  the  hands.  This 
simple  act  may  spare  you  a 
nasty  siege  with  a  mean  cold. 
It  is  particularly  important 
that  mothers  preparing  food 
for  children  remember  this 
precaution. 


IISTERINE'S  suceess  against  ordinary  sore 
■i  throat  and  colds  is  based  entirely  on  the 
germicidal  action  of  a  formula  unchanged  in 
48  years. 

You  may  find  it  hard  to  believe  that  Lis- 
terine with  its  pleasant  flavor,  its  gentle 
action,  its  healing  effect,  used  full  strength 
is  so  amazingly  powerful  against  germs. 
Nevertheless,  it  is  true.  Countless  tests 
prove  it. 

Witness  its  destruction  of  germsused  by  the 
United  States  Government  to  test  antiseptics. 

The  stubborn  B,  Typhosus  (typhoid)  germ, 
for  example.  Listerine,  full  strength,  destroys 
200,000,000  of  them  in  1.5  seconds.  Think  of 
it.  And  the  obnoxious  S.  Aureus  (pus) 
germ  is  rendered  harmless  in  the  same  time. 

Recognizing  Listerine's  power  against 
germs,  you  can  readily  understand  why  it 
checks  colds  and  sore  throat  which  are 
caused  by  germs. 

At  the  first  sign  of  either,  gargle  with  Lis- 
terine full  strength.  Keepthistreatmentup. 
Remember  it  is  safe  to  use  this  way  in  any 
body  cavity.  You  will  be  delighted  to  find 
how  quickly  you  get  relief.  In  case  you  do 
not,  consult  your  physician,  as  your  trouble 
may  be  a  symptom  of  a  more  deep-seated 
disease  requiring  expert  attention.  Lambert 
Pharmacal  Co.,  St.  Louis,  Mo. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAOAZINU 


Gossip  of  All  the  Studios 


(.CONTINUED  FROM  PAGE  82  ] 


Hollywood  is  happy  and  excited  again,  for  Chaplin's 
at  work.  Shooting  has  begun  on  Charlie's  next, 
"City  Lights."  Left  to  right,  Carlyle  Robinson, 
assistant  director;  Chaplin;  Henry  Clive,  cover 
artist,  and  Harry  Crocker  and  megaphone 


goin'  to  bed  now,  Mistah  Ahlen. 
little  thing  I  could  do  for  you?" 


Is  theah  any 


BY  the  time  your  eye  falls  on  this  with  a  dull 
thud,  Greta  Glamorous  Garbo  will  be  back 
from  Sweden  ready  to  smash  more  mascuUne 
hearts. 

She  and  Jack  Gilbert  will  have  only  a  few 
weeks  together,  for  Jack  plans  to  hurl  a  few 
rusty  old  garments  into  the  family  trunk  and 
hght  out  for  Europe  the  latter  part  of  May,  to 
be  gone  two  months. 

Incidentally,  the  Garbo  accomplished  the 
impossible  on  her  trip  abroad.  When  she  an- 
nounced that  she  was  going  incognito,  every- 


Together  again ! 
Ruth  Chatter- 
ton  and  Ralph 
Forbes  have 
made  up  and 
are  busy  in  the 
studios.  Ruth 
is  working  in 
"Madame  X"  at 
Metro,  and  here 
are  she  and 
Ralph  with  her 
boss,  Lionel 
Barrymore 


body  laughed  right  out  loud!  As  well  try  to 
disguise  Rin-Tin-Tin  as  a  head  of  cabbage  as  to 
hide  the  face  and  fame  of  Greta. 

But  she  did  it.  In  Chicago  she  registered  as 
"Ahce  Smith,"  and  on  the  boat  she  was  "Greta 
Grassholm."  Not  even  the  studio  press  de- 
partment knew  where  she  hid  out  while  in  New 
York. 

Result,  a  pleasant,  quiet  trip,  untroubled  by 
newspapermen,  mashed  matinee  girls  and  these 
bothersome  suicides  of  the  lovelorn. 

Of  Tlcrr  von  Slrohdm  magnates  now 

Crow  more  and  more  afraid. 
He  turned  a  modest  wedding  march 

Into  a  big  parade. 

\7IRGINIA  CHERRILL,  Charlie  Chaplin's 
*  new  leading  lady,  has  cast  aside  the  pre- 
cedent set  by  other  femmes  who  have  worked 
for  Charlie.  Virginia  just  won't  be  the  demure 
type.  She  won't  affect  that  "mama-what-is- 
liccr"  look.  No  sir,  Virginia  is  going  to  have 
fun. 

At  the  risk  of  being  hit  by  a  Swedish  herring 
upon  Garbo 's  return  from  Europe,  she  ap- 
peared at   the  opening    of    "The   Broadway 


Rin-Tin-Tin,  the 
dog  star,  steps  off 
the  20th  Century 
Limited  at  the 
Grand  Central 
Station  and  takes 
a  look  at  New 
York.  Chaperon- 
ing his  canine 
highness  was  Lee 
Duncan,  merely 
his  owner 


Melody"  with  Jack  Gilbert.  But  it's  not 
serious,  for  Virginia  has  also  been  seen  places 
with  Arthur  Lake  and  Eddie  Sutherland. 

AGNES  AYRES'  little  daughter, 
Maria,  three  years  old,  has  de- 
clared herself. 

"No,  mother,  I'm  never  going  to  be 
married  for  I  don't  like  rice." 

BY  the  time  you  read  this  AUeen  Pringle  will 
be  getting  a  divorce.  What's  that?  You 
thought  she  was  divorced  long  ago? 

For  ten  years  she  has  been  separated  from 
her  husband,  the  son  of  Sir  James  Pringle,  but 
no  papers  have  ever  been  filed.  It  was  a 
friendly  separation.  Aileen  wanted  a  career, 
Pringle  wanted  a  society  woman  wife.  Their 
ways  parted. 

But  now  Mr.  Pringle  wants  to  marry  again, 
so  Aileen,  always  obliging  to  an  old  friend,  will 
get  a  nice,  discreet  divorce. 

[  CONTINUED  ON  PAGE  104  ] 


8J^ 


International  Newsreel 


Photoplay  Magazine — Advertising  Section 


85 


Ja  Below  is  the  famous 
h^  Ingram  Mannequin. 
t|J  Her  image  shows  the  six 
^  spots  most  difficult  to 
care  for,  and  the  text  tells 
you  how  best  to  do  so! 


a  HEALTHY  SKIN 


ca/i  J /ay  umma' 


Use  This  Mannequin  as  a  Chart  to  Examine  Your  Own  Skin 


KEEP  your  skin  healthy  and  it's 
certain  to  be  lovely. 

Guard  especially  the  six  spots  starred 
on  the  Ingram  Mannequin.  They  are 
the  places  where  tiny  lines  form  most 
easily,  where  imperfections  are  most 
quickly  seen  by  every  one  you  meet. 

These  six  starred  places  can  be  such 
traitors.  Regardless  of  birthdays,  they 
speak  of  age.  And  how  much  they  tell 
of  the  condition  of  your  skin ! 

Ingram's  Milkweed  Cream,  slightly 
therapeutic  in  its  effect,  takes  care  ot 
your  skin  as  no  other  cream,  however 
expensive,  can  possibly  do.  It  is  a 
splendid  cleanser,  but  its  special  virtue 
is  that  it  brings  to  all  women  who  use 
it,  a  smoothness  of  skin  hitherto  un- 
known. It  is  perfect  against  roughness, 
redness  and  blemishes.  It  smooths  away 
the  tiny  wrinkles.  It  is  the  indispensable 


1^ 


The  Forehead  . .  Lines  and  wrinkles  are  all 
too  likely  to  form  here  prematurely  unless 
the  skin  is  kept  soft  and  pliable — and  this 
Ingram's  does  with  marvelous  effect. 

The  Eyes  .  .  Puffiness  and  crows'  feet  are 
so  very  aging  and  unbecoming.  To  keep 
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The  Mouth  . .  To  prevent  drooping  lines  at 
corners  of  the  lips,  tone  the  skin  and  keep 
the  muscles  firm  by  using  Ingram's.  It  is 
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culation. 

The  Throat. .  Guard  against  a  crepey  throat 
if  you  value  your  youth.  Ingram's,  with 
its  trace  of  medication  prevents  flabbiness 
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The  Neck. .  Finely  etched,  circular  lines  are 
signs  of  accumulating  birthdays.  Be  faith- 
ful to  your  use  of  Milkweed  Cream.  It 
wafts  well-established  lines  to  obscurity 
and  guards  against  new  ones. 

,  The  Shoulders  . .  Every  woman  who  would 
proudly  wear  evening  gowns  or  sleeveless 
dresses  should  cleanse  her  arms  and 
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with  Ingram's. 


cream  to  those  women  who  value  highly 
the  smooth,  clear  texture  of  their  skin. 

Buy  a  jar  of  Milkweed  Cream  today. 
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come  with  it.  Use  this  cream  faithfully 
for  one  month  and  notice  how  your 
skin  improves  in  tone  and  texture. 

Frances  Ingram,  Consultant  on  Care 
of  the  Skin,  will  gladly  send  you  her 
new  booklet  on  skin  care.  And  if  you 
have  any  special  beauty  problems,  write 
to  Miss  Ingram  for  advice. 

i  1  f  * 

Frances  Ingram,  Consultant  on  Care  of  the  Skin, 
Dept.  A-49,  108  Washington  St.,  N.  Y.  C. 
Please  send  me  your  free  booklet,  "Only  a  Healthy 
skin  Can  Stay  Young"  which  tells  in  complete 
detail  how  to  care  for  the  skin  and  to  guard  the 
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Name^ 


Street- 


Addresi- 


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When  you  write  to  advertisers  please  mention  PHOTOPLAY   MAGAZINE. 


86 


Photoplay  Magazine — Advertising  Section 


ester 

Mild  enough  for  anybody 


Every  adverllsemenl  In  PHOTOPLAY  MAGAZINE  ia  guaranteed. 


Photoplay  Magazine — Advertising  Section 


H7 


fl 


(']  // 


What  a  cigarette 
meant  there 


The  actors  play  their  part — 
and  history  moves  thrillingly  across  the  sil- 
ver screen.  But  on  the  movie  lot,  how  tense 
the  days  of  strain!  And  how  gratefully 
welcomed  those  hard-won  moments  that 
mean  rest,  relaxation  . . .  and  a  cigarette ! 


What  a  cigarette 
means  here 


They  play  their  part,  too — 

these  buyers  of  Chesterfield  tobacco. 

Thousands  of  pounds  auctioned  each  day;  dis- 
tinct types  of  leaf — twenty  grades  of  "bright" 
tobacco  alone;  important  distinctions  of  cur- 
ing; differences  in  texture,  color,  size,  in  the 
natural  sugar  which  means  natural  sweetness 
— and  Chesterfield  quality  to  be  maintained. 

Our  buyers  do  their  part.  In  New  York  or 
Manila,  Paris  or  Alaska,  our  billions  of  Ches- 
terfields taste  the  same.  The  same  wholesome 
fragrance,  the  same  natural  mildness,  the  same 
satisfying  "body,"  because  our  buyers  know 
exactly  what  they  want — and  whatever  it  may 
cost,  they  get  it! 


f 


\ 


Typical  scene  in  tobacco  auction  ware 
Muse,  where  the  farmer's  work  ends 
and  the  manufacturer's  begins. 


and  yet  THEY  SATISFY 


When  you  WTlte  to  advprtlsers   please  mention  PHOTOPLAT  UAOAZINR 


88 


Photoplay  Magazine — Advertising  Section 


*  ^Bobbed  hair 
will  always  be  popular'' 

—predicts  R.  LOUIS,  one  of 
New  York's  leading  style 
authorities  in  hairdressing 


SOME  women 
will  allow 
their  hair  to  grow  long  but  the 
great  majority  will  prefer  the  freedom, 
comfort,  convenience  and  styles  of 
bobbed  hair,"  says  R.  Louis. 
For  short  or  long  hair  combing  is  essen- 
tial, and  good  combs  are  neccessary.  Ace 
Combs  are  made  in  so  many  sizes  and 
types,  from  the  larger  9"  dressing  comb 
down  to  the  handy  little  purse  comb.  All 
combs  are  so  perfectly  finished  that  they 
will  not  injure  the  hair  or  scalp. 

-ACE* 
C€/HI3X 

made  of  the  purest  Hard  Rubber,  are 
strong,  durable  and  sanitary.  Even  the 
surfaces  between  the  teeth  are  smoothly 
finished.  They  cannot  possibly  pull 
or  break  the  hair  or  injure  the  scalp. 
But  be  sure  to  select  ACE  COMBS. 

AMERICAN  HARD  RUBBER  CO- 
1 1  Mercer  Street,  New  York,  N.  Y. 


WHEREVER 
you  find  t hi. 
Cabinet  Display- 
ed there  is  an  as- 
sortment from 
which  to  select  all 
/*f  ACE  COMBS 
yon  need.  Drilg- 
gisls  and  Depart- 
metit  stores  every- 
■where  sell  ACE 
COMBS. 


American  Hard  Rubber  Company 
11  Mercer  Street,  New  York,  N.  Y. 

Enclosed  is  25  cents  (stamps  preferred)  for 
"Current  Style  in  Hair  Combing"  and 
sample  4  inch  Ace  Comb.  Please  send  to 


Hollywood's  Apostle  to  the  Scots 


[  CONTINUED  FROM  PAGE  50  ] 


murky  Aberdeen  of  her  girlhood.  She  looked 
for  quiet  afternoons  of  tea  and  talk,  walks  by 
the  side  of  the  River  Dee,  so  full  of  memories. 
Finally,  a  return,  jobless,  to  the  studios  six 
thousand  miles  to  the  west. 
Little  did  she  reck! 

WITHIN  the  hour  a  reporter  was  tapping 
at  the  door.  By  the  end  of  her  first  day 
at  home  there  were  ten.  Her  wild  Scottish 
career  as  a  film  celebrity  had  begun! 

She  was  the  first  live  movie  actress  ever 
caught  in  the  wilds  of  .•\berdcen — a  httle 
white  haired  old  lady  of  their  own,  Presbyterian 
of  spirit  and  burry  of  speech. 

How  they  went  for  her! 

Old  silver  tea  services  were  hauled  out  and 
polished.  The  manager  of  the  largest  movie 
theater,  one  devoted  to  a  bi-weekly  change  of 
program,  went  stark  mad  in  his  quaint  Cale- 
donian way  and  booked  in  "Four  Sons"  for 
two  whole  weeks.  The  climax  of  her  grandeur 
was  reached  when  for  three  quarters  of  an  hour 
she  addressed  all  the  townsfolk  who  could  be 
jammed  into  Aberdeen's  largest  music  hall — 
a  glamorous  place  she  had  loved  as  a  girl.  And 
on  Christmas  day,  happy  and  vividly  aUve,  she 
walked  eight  miles! 

Scores  of  youngsters  bombarded  her  with 
questions  about  the  movies — pathetic  queries 
from  life-hungry  kids  a  quarter  of  the  way 
round   the   world  from   the  glittering  gates. 

And  the  newspapermen's  questions! 

Margaret  Mann  became,  willy  niUy,  Holly- 
wood's apostle  of  sweetness  and  light. 


"They  asked  me  about  the  wild  par-r-rties!" 
says  Mother  Margaret.  "I  said  I'd  never  been 
to  any.  'But  they  have  champagne  baths?' 
was  asked.  I  said  I'd  never  heard  of  such 
a  thing.  But  I  told  them  how,  when  I  lived  in 
South  Africa,  I  always  put  the  eggs  I  bought 
into  a  pan  of  water.  Those  that  came  to  the 
surface  were  bad.  I  told  them  Hollywood  was 
like  that." 

But  the  Hollywood  apostle  told  them  how 
Alec  Francis  was  warden  of  an  Episcopal 
church,  and  how  Conrad  Nagel  passed  the 
collection  plate,  and  of  such  splendid  women 
as  Irene  Rich  and  Louise  Dresser  and  BeUe 
Bennett  and  some  of  the  younger  girls. 

She  described  the  symphony  concerts  in  the 
Hollywood  Bowl,  and  the  great  Sunrise  Service 
on  Easter  morning,  when  thousands  leave  their 
comfortable  beds  before  dawn  to  greet  their 
risen  Lord  as  the  sun  comes  up  over  the 
mountains'  rim. 

■yES  —  Mother  Margaret  Mann  gave 
^  Aberdeen  a  new  notion  of  Hollywood  and 
its  people! 

Now  she  is  back  in  Hollywood,  minus  a  con- 
tract, but  fuU  of  charm — just  free  lancing 
around. 

If  Elder  Will  Hays  is  really  smart,  he  would 
pay  her  a  hundred  thousand  a  year  to  just 
preach  Hollywood  to  the  deluded  and  mis- 
informed. 

Her  sweet  message  would  do  more  for 
pictures  and  their  people  than  ten  thousand 
gallons  of  official  whitewash ! 


Name — 
Address  - 


Little  Alice  White  giving  one  of  her  best  come-hitlier  looks  to 
Graham  McNamee,  famous  radio  announcer.  This  was  snapped 
on  the  set  where  Mervyn  LeRoy  is  directing  peppery  Alice  in  "Hot 

Stuff" 


BTory  adTertisement  In  PHOTOPLAY  MAGAZINE  la  guaranteed. 


says 


Photoplay  Magazine — Advertising  Section 

iVly  hands,  too,  must  dance  /  t'  " 
charming  ANNA  PAVLOWA 


The  new  Cutex  Liquid 
Polish  "gives  them  sparkle 
and  vivacity 


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PHOTO  BY  HUGE 

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CECIL 

ANNA  PAVLOWA-world- 
famous  artist  of  the  dance— who 
began  her  career  in  her  brilliant 
Imperial  Ballet  of  Old  Russia  .  .  . 

Like  Pavlowa  .  .  .  discerning  women 
everywhere  know  the  effect  of  suave  per- 
fection is  in  great  part  due  to  beautifully 
cared  for  hands.  They  say  that  Cutex  is 
indispensable.  For  it  intelligently  simpli- 
fies the  problem  of  keeping  the  most  re- 
calcitrant finger  nails  shapely  and  shining. 


You  need  only  3  things 

Firs(— the  Cuticle  Remover  to  remove 
dead  cuticle,  whiten  nail  tips,  and 
shape  the  cuticle. 

Secowd— the  Polish  Remover,  fol- 
lowed by  the  flattering  new  Cutex 
Liquid  Polish. 

r/iird— Cutex  Cuticle  Cream  or  Oil 
to  keep  the  cuticle  soft  .  .  .  Cutex 
preparations  Zhi  each.  Polish  and  Re- 
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What  Pavlowa  herself  says  of 

the  flattering  new  Cutex 

Liquid  Polish 

Pavlowa  cherishes  beauty  .  .  .  she  prac- 
tices it!  Her  hands  are  superbly  cared 
for!  She  says  of  the  new  Cutex  Liquid 
Polish: 

"It  helps  to  give  my  hands  sparkle 
and  vivacity.  I  always  use  it  to  '  make- 
up' my  hands,  to  keep  each  fingernail 
shining,  looking  truly  soigne.  It  is  used 
a  great  deal  in  Paris— the  French 
women  know  how  it  flatters  and  im- 
proves the  finger  tips.  All  the  Cutex 
preparations  are  needed  to  make  the 
hand  ready  for  this  brilliant  finish. 
Cuticle  Remover  and  Cream  to  keep 
the  ovals  smoothly  rounded  and  the 
under  nail  tips  immaculately  clean." 


Pavlowa's  exquisite  hands  in  gentle  re- 
pose are  as  powerfully  significant  of  her 
justly  famous  interpretative  power  as 
when  they  fiutter  and  sway  in  the  dance. 


THE  audience  has  collected— hushed  and 
expectant.  Around  the  stage  hangs  a 
great,  dark  curtain.  Then,  the  music  be- 
gins and  suddenly  a  tiny,  exquisite  figure 
appears.  It  is  Anna  Pavlowa,  the  great 
artist. 

First,  she  moves  to  measured,  stately 
rhythms  ...  a  silent  swaying  flower. 
Now  she  is  Pierrette,  whirling  and  gay, 
happy  or  immensely  sad.  Now  she  is  the 
snow-white  swan,  sailing,  dipping,  preen- 
ing, drooping.  Always  her  hands  express 
the  poignant  beauty  of  her  art— Pavlowa 
—whose  hands  are  known  as  the  most 
beautiful  in  the  world. 


Smart  women 

find  the 

flattering  new 

Cutex  Liquid 

Polish 
indispensable 


Special  Introductory  Ojfer—l2<f 


I  enclose  I2('  for  the  Cutex  Midfeet  Manicure 
Set  containing  sufficient  preparations  for  six 
complete  manicures.  {If  you  live  in  Canada 
address  Post  Office  Box  ?.Qb\,  Montreal, 
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Northam  Warren.  Dept.')0'l. 

H4  West  17th  Street.  New  York..N,  Y. 


Wlien  you  write  to  a(ivertl3ers  please  mention   PHOTOPLAY   MAGAZINE. 


9° 


Photoplay  Magazine — Advertising  Section 


The  Newest  Touch  of  Smartness 


Helena  Rubinstein's 

Cosmetic  Masterpieces 

■■■■■I 


3f 


HELENA  RUBINSTEIN 
^World-fftenowncd  Sdcauly  Specialist 


Paris -inspired,  created  by 
one  who  is  artist  as  well  as 
scientist,  the  cosmetic 
masterpieces  of  HELENA 
RUBINSTEIN  are  un- 
questionably the  finest  in 
all  the  world  —  and  the 
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Helena  Rubinstein  has  per- 
fected the  one  indelible  lip- 
stick that  gives  the  lips 
satin -smoothness  and  sup- 
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color.  Helena  Rubinstein 
originated  the  rouges  that 
not  only  enhance  the  skin,  but  actually  protect  and  ben- 
efit it.  And  back  of  the  marvelous  powders  that  bear  her 
name,  is  Helena  Rubinstein's  genius  for  the  blending  of 
colors  and  textures.  On  sheer  merit  the  powder  creations 
of  Helena  Rubinstein  maintain  absolute  supremacy. 
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inimitable  finishing  touches.  Her  creations  proclaim  her 
the  artist  as  well  as  the  scientist ! 

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Valaze  Powder — the  most  exquisite  powder  in  the 
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Valaze  Rouges  flatter  and  protect  the  skin.   Red  Rasp- 
berry for  day  time.  Red  Geranium  for  evening.  Crushed 
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for  day  and  Red  Geranium  for  evening,  i.oo.  Water  Lily 
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with  Valaze  Eyelash  Grower  and  Darkener,  i.oo.  Valaze 
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make  the  lashes  brittle,  i.oo,  1.50.   Valaze  Eye  Shadow 
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The  Cosmetic  and  Home  -  Treatment  Creations  of  Helena  RubinUein 
Are  Obtainable  at  the  Better  Shops,  or  Direct  from   the  Salons 


Write  to  Helena  Rubinstein,  describing 
your  skin  and  hair,  and  you  will  receive 
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"Personality  Make-up"^ the  booklet  that 
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Everj  ailvertlsement  in  PHOTOPLAY  MAGAZINE  Is  euaranleed. 


QUESTIONS  ef  ANSWERS 


Read  This  Before 
Ashing  ^estions 

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  otlier  ques- 
tions. For  this  kind  of  informa- 
tion, a  stamped,  addressed 
envelope  must  be  sent.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  atl  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
S7th  St.,  New  York  City. 


N.  A.  B.,  Pembroke,  Ont. — No,  Fay  Webb 
never  has  had  an  acting  part  in  a  picture, 
although  she  has  been  in  countless  photographs 
taken  around  the  studio.  How  would  you  like 
to  ha\e  a  nice,  easy  job  like  that?  Helen  Kane 
is  playing  opposite  Richard  Dix  in  his  new 
film.  Davey  Lee  and  Rin-Tin-Tin  will  be 
seen  together  in  "Frozen  River."  There  has 
been  some  talk  about  Lon  Chaney's  making  a 
picture  called  "The  Phantom's  Return"  but, 
so  far,  nothing  has  been  done  about  it.  John 
Barrymore  is  forty-seven  years  old.  Would 
you  consider  that  an  insult?  And  Janet 
Gaynor's  hair  is  reddish  brown  —  and  natural. 

H.  G.,  HoLYOKE,  Mass. — Arnold  Kent  died 
Sept.  29,  1928,  of  injuries  received  in  an  auto- 
mobile accident.  And  the  poor  fellow  was 
just  on  the  brink  of  achieving  big  success! 

F.  D.,  High  Point,  N.  C. — Just  to  satisfy 
you  and  a  couple  of  hundred  others,  I'll  broad- 
cast that  Gary  Cooper  was  born  in  Helena, 
Mont.,  May  7.  1901.  He  is  six  feet,  two 
inches  tall,  weighs  180  pounds  and  has  black 
hair  and  blue  eyes.  Some  of  Gary's  newest 
films  are  "Legion  of  the  Condemned, ' '  "Dooms- 
day," "Lilac  Time,"  "The  First  Kiss,"  "The 
Shopworn  Angel"  and  "The  Wolf  Song." 

R.  E.,  OF  California. — You  are  particular. 
Did  I  get  it  right?  Charles  Rogers  is  twenty- 
four  years  old,  six  feet  tall  and  weighs  165 
pounds.  He  has  black  hair  and  black  eyes. 
Mary  Brian  is  four  years  younger  than 
"Buddy."  She  is  five  feet,  two  inches  tall  and 
weighs  109  pounds.    Brown  hair  and  blue  eyes. 

Blondie  of  Pennsylvania.  —  Mustn't 
quarrel;  it  isn't  nice.  Joan  Crawford  is  an 
American  by  birth,  but  of  French  and  Irish 
descent.  Does  that  settle  the  argument? 
Victor  Varconi  played  Bob  in  "Tenth  Avenue." 

Ellen  T.,  Newport,  R.  I. — There  was  an 
article  and  a  handsome  picture  of  William 
Powell  in  the  March  issue  of  Photoplay. 
Mr.  Powell  was  born  in  Pittsburgh,  Pa.,  July 
29,  1892.  He  is  six  feet  tall,  weighs  160  pounds 
and  has  dark  brown  hair  and  gray  eyes.  Cli%e 
Brook  was  born  in  London,  England,  June  1, 
1891.  He's  one  inch  shorter  than  Mr,  Powell. 
Brown  hair  and  gray  eyes.  Both  your  favorites 
will  be  seen  next  in  "Four  Feathers." 

E.  H.  M.,  AvoNDAi.E,  Pa. — You  have  a 
generous,  unassuming  disposition  and  you  are 
inchned  to  be  sensitive.  Am  I  right?  Eleanor 
Boardman  is  thirty  years  old  and  has  light 
brown  hair  and  gray  eyes.  She  is  five  feet, 
six  inches  tall.  Dolores  Del  Rio  is  twenty- 
three  years  old  and  was  divorced  from  Jaime 
Del  Rio  who  died  Dec.  7,  1928.  Charles 
Farrell  is  Charles  Farrell's  real  name. 

Marian  G.,  Chicago,  III. — Your  friend  is 
probably  just  a  bit  jealous.  Perhaps  you 
have  been  raving  too  much  about  John.  .Any- 
way, Mr.  Gilbert  is  five  feet,  eleven  inches  tall. 


A.  B.,  Pembroke,  Ga. — No,  Rudolph 
Valentino  didn't  play  in  "Flesh  and  the  Devil." 
Haven't  you  mixed  it  up  with  "The  Sainted 
Devil"?  Valentino  was  born  in  Castellaneta, 
Italy,  May  6,  1895.  He  was  five  feet,  eleven 
inches  tall  and  weighed  154  pounds.  He  died 
Aug.  23,  1926.  Lon  Chaney  v.as  born  in 
Colorado  Springs,  Colo.,  April  1,  1883.  He 
is  fi\e  feet,  ten  inches  tall  and  weighs  155 
pounds. 

F.  W.  S.,  Boston,  Mass. — ^"EvangeUne"  is 
being  produced  by  United  Artists  with  Dolores 
Del  Rio  as  its  star. 

Jean  T.,  Rock\tlle  Centre,  L.  I. — • 
Charles  Spencer  Chaplin  is  the  correct  name. 
Joan  Crawford  is  twenty-two  years  old..  Write 
for  her  picture  to  the  Metro-Gold«yn-Mayer 
Studios.  Culver  City,  Calif.  I  am  no  fortune 
teller,  but  I  don't  think  that  Pola  Negri  will 
make  any  more  pictures  in  this  country.  I 
believe  she  is  going  to  work  in  England. 


HERE  are  seven  answers  to 
the  persistent  query  of 
"Who's  married  to  whom?" 

Colleen  Moore  is  married  to 
John  McCormick,  the  producer 
of  her  pictures. 

Billie  Dove  is  married  to  Irvin 
Willat,  the  director. 

Norma  Shearer  is  Mrs.  Irving 
Thalberg,  and  her  husband  is  a 
producer. 

Evelyn  Brent  recently  be- 
came Mrs.  Harry  Edwards.  Her 
husband  is  a  director. 

Corinne  Griffith  is  married  to 
Walter  Morosco,  son  of  the 
theatrical  producer. 

Doris  Kenyon  is  Mrs.  Milton 
Sills. 

Laura  La  Plante's  husband  is 
William  Seiter,  the  director. 

PHOTOPLAY  calls  your  at- 
tention to  the  fact  that  many  of 
the  studios  now  have  made  a 
positive  ruling  not  to  send  out 
photographs  unless  money  is  en- 
closed to  pay  for  the  picture  and 
cost  of  mailing.  So,  to  be  on 
the  safe  side,  send  a  quarter  with 
your  request  for  a  photograph, 
as  you  have  done  in  the  past, 
when  writing  for  the  picture  of 
a  star. 


IVL\rgarite  i\I. — Ramon  Novarro  lives  with 
his  family  in  a  big  house  in  Los  Angeles.  It 
has  to  be  a  big  house  because  Ramon  has  a  big 
family.  His  real  name  is  Samaniegos.  John 
Gilbert  has  renewed  his  contract  with  Metro- 
Goldwyn-Mayer,  so  he  isn't  moving  to  another 
studio. 

A.  J.,  St.  Paul,  Minn. — The  girl  friend  is 
absolutely  wTong.  John  Gilbert  and  Gilbert 
Roland  aren't  even  remotely  related.  Gilbert 
Roland  was  born  in  Mexico  and  his  real  name 
is  Luis  Antonio  Damaso  De  /Vlonso.  Try 
saying  that  very  fast! 

M.  S.,  Massena,  N.  Y. — It's  not  a  bit  of 
bother  for  me  to  tell  you  that  Lilyan  Tashman 
has  blue  eyes  and  blonde  hair;  also  that  she 
weighs  119  pounds  and  is  five  feet,  seven  inches 
tall.  Born  in  New  York  City.  Write  to 
Carolyn  Van  Wyck  at  221  W'est  57th  Street, 
New  York,  in  care  of  Photoplay  Mag.azine. 

Rose  M.,  Syracuse,  N.  Y. — What's  this? 
Edward  Martindale  and  Maurice  Costello  are 
one  and  the  same  person?  Look  again,  Rose, 
because  Martindale  and  Costello  don't  even 
look  alike. 

M.  K.,  Baltimore,  Md. — More  family 
fights.  In  this  case,  your  cousin  is  wrong. 
George  Bancroft  has  played  in  quite  a  number 
of  pictures.  Doesn't  vour  cousin  remember 
"Old  Ironsides,"  "Tell 'it  To  Sweeney,"  "The 
Rough  Riders,"  "White  Gold,"  or  "Under- 
world," to  say  nothing  of  a  half  dozen  others? 

N.  C,  Hillsdale,  N.  Y.— Why  this  morbid 
habit  of  kilHng  off  stars?  Nearly  aU  the  stars 
have  been  rumored  dead  and  now  poor  Rin- 
Tin-Tin  is  made  the  victim.  But  I  am  glad 
to  say  that  Rinty  is  very  much  alive  and  his 
newest  pictures  are  "Frozen  River"  and  "The 
Million  Dollar  Collar." 

M.  E.  E.,  Lawrence,  Kan. — Yep,  Richard 
Arlen  has  a  seven  year  old  daughter  by  a 
former  marriage.  I\lr.  Arlen  prefers  not  to 
give  out  his  first  wife's  name,  probably  because 
he  wants  to  spare  herwhat  might  be  unwelcome 
pubhcity. 

Katherine  N.,  Reno,  Nev. — Thanks  for 
all  the  pretty  compliments  and  good  wishes. 
Matty  Kemp  was  born  in  New  York,  Sept.  10, 
1907.  His  real  name  is  Matthias  Kaempf. 
He  has  brown  hair  and  brown  eyes.  Evelyn 
Brent  is  thirty  years  old  and  five  feet,  four 
inches  tall. 

M.  V.  H.,  StTMMERLAND,  B.  C,  CANADA. — 

I'd  like  to  live  in  your  town.  Gilda  Gray's 
picture,  ".\loma  of  the  South  Seas,"  was  re- 
leased in  May,  1926.  "The  Devil  Dancer" 
was  presented  in  December,  1927.  "Pic- 
cadilly." which  was  made  in  England,  hasn't 
been  released  in  this  country  as  yet. 

[  CONTINUED  ON  PAGE  100  ] 

91 


Photoplay  Magazine — Advertising  Section 


Starring  Ann  Pennington  and  Frances 
Williams  of  George  White's  Scandals 


Ann  is  brunette,  and  Frances  is  blonde  —  but 
see  how  perfectly  Tangee  does  for  both !  In  an 
amazing  way,  Tangee  changes  as  you  put  it 
on,  from  its  original  color  to  blush-rose  — 
Nature's  own  shade — and  blends  with  each 
individual  type  of  beauty.  Truly  a  marvel- 
ous lipstick  and  rouge. 

Demand  Tangee  today!   One  lipstick  and 
rouge  for  all  complexions.   On  sale  every- 
where. Tangee  Lipstick  $1.  Tangee  Rouge 
Compact  75^.Tangee  Creme  Rouge  $1.  Also, 
Tangee  Face  Powder,  clinging,  temptingly 
perfumed,  $1.  Tangee  Night  Cream  SI. 
Tangee  Day  Cream  $l.Twenty-five  cents 
more  in  Canada.  Ifthename  TANGEE 
does  not  appear  on  the  package,  it 
is  not  TANGEE. 


lAH^^Z 


Beauty for  20  Cents 


Twenty  cents  brings  you  the  miniature  Tangee  Beauty  Set 
—  all  eix  items  and  the  "Art  of  Make-up  ".  Address  Dept. 
P.P.  4,  The  George  W.  Luft  Co.,  Inc.,  417  Fifth  Avenue, 
New  York. 

IVame , 


1^^" 


Every  advertisement  In  PUUIuI'LAY  IIAGAZI.NB  Is  euaxanteei 


Amateur  Movies 


[  CONTINUED  FROM  PAGE    66| 


Amateur  Heroine  of  Current 
Films:  Janet  Dalzell  as  Kan- 
sas Kitty  in  "Narrow  Paths," 
produced  by  amateurs  of 
New  York  City 


"The  Fall  of  the  House  of  Usher," 
was  screened,  together  with  a  portion 
of  "Ann  How,"  Photoplay's  prize- 
winning  film  of  last  year. 

Stephen  F.  Voorhees  is  chairman  of 
the  sponsoring  committee  of  the  new 
club  and  the  committee  members  num- 
ber: \V.  E.  Cotter,  Mrs.  Frances  Smith 
Dean,  Count  Armand  J.  de  Montagny, 
Countess  de  Montagny,  J.  Gerry  Dob- 
bins, C.  R.  Dooley,  Harry 
Gould,  John  V.  L.  Hogan, 
John  Reed  Kilpatrick,  John 
Lowry,  Herbert  C.  McKay, 
Edward  Munger,  Mrs.  Wil- 
liam Barcklay  Parsons,  Miss 
Elizabeth  Perkins,  Gilbert 
Seldes,  Frederick  James 
Smith,  SterUng  W.  Sutfin, 
Walter  H.  Sykes,  Jr.,  and 
Roy  W.  Winton. 

UNDER  the  guidance  of 
College  Topics,  the  stu- 
dent daily,  undergraduates 
of  the  University  of  Virginia 
have  organized  College  Top- 
ics Productions,  which  is  at 
work  on  a  synchronized 
sound  picture  depicting  the 
honor  system  of  the  uni- 
versity. The  story,  "The 
Highest  Degree, ".was  writ- 
ten and  adapted  for  the 
screen  by  Edgar  D.  Brooke, 
editor  of  College  Topics  and 
the  Virginia  Reel,  campus 
hiunor  publication.  It  will 
run  3000  feet  35  mm.  Prof. 
H.  R.  Pratt  of  theUni- 
versity's  School  of  Dramat- 
ics is  directing.  William 
Mitchell,  in   acting  as   its 


cameraman.  Rector  Wotten,  art  editor  of 
Virginia  Keel  has  charge  of  sets  and  Archer 
Jones,  dramatic  critic  of  College  Topics  is 
writing  titles.  That  cast  is  being  drawn 
chiefly  from  the  Virginia  Players,  the  college 
dramatic  organization. 

OVER  a  thousand  students  packed  the 
Stanford  University  auditorium  at  the 
premiere  of  "The  Fast  Male,"  the  production 
of  the  Stanford  Studios,  amateur  movie  club 
of  Stanford  University.  It  was  necessary  to 
screen  the  film  a  second  night  in  order  to 
accommodate  the  students  turned  away.  The 
gate  receipts  cleared  all  production  expenses 
and  enabled  the  club  to  donate  a  large  amount 
to  the  Stanford  Student  theater  project.  The 
advertising  campaign  for  the  premiere  was 
carefully  planned  and  included  press  announce- 
ments, posters,  window  cards  and  hand  bills. 
Although  most  amateur  premieres  are  well 
pubhcized,  often  the  amount  spent  in  the 
effort  is  entirely  out  of  proportion  and  the 


Snappy  moment  in  the  Stanford  University 

production  of  "The  Fast  Male."    Who  says 

there  is  no  action  in  amateur  films? 


Scene  from  the  much-talked-about  film,  "The  Fall  of  the 
House  of  Usher,"  made  by  two  amateurs,  J.  S.  Watson, 
Jr.,   and   Melville   Webber.     It  is  a  striking  experiment 


Another  Heroine  of  Current 
Amateur  Filtns:  Doris  Evans 
in  "Freshman  Days,"  pro- 
duced by  Flower  City  Club  of 
Rochester 


amateur  exhibitor  finds  that  his  gate 
does  not  defray  more  than  the  expense 
of  the  showing. 

By  carefully  watching  the  actual 
money  spent  in  publicity,  the  Stanford 
Studios  have  been  enabled  to  cover 
production  expenses  and  at  the  same 
time  contribute  to  a  worthwhile  stu- 
dent cause. 


T'^HE  amateur  members 
■'■  of  the  Shadow  Studios 
of  St.  Paul,  Minn.,  are  at 
work  on  a  production  for  the 
PHOTOPL.'iY  contest.  This 
will  be  a  story  of  mixed 
identities  in  a  night  club. 
The  members  are  using  mov- 
ing cameras,  dissolves,  other 
cinematic  tricks  to  build  up 
the  film. 

The  -Amateur  Movie  Club 
of  Hartford,  Conn.,  has  been 
holding  a  competitive  cine- 
salon  at  which  the  best 
Hartford  amateur  photo- 
play, the  best  Hartford 
general  film  and  the  best 
Hartford  color  film  is  to  be 
selected.  Later  the  club  in- 
tends to  challenge  amateur 
clubs  of  other  cities  and 
states.  At  the  annual  busi- 
ness meeting  of  this  group 
Hiram  Percy  Maxim  was 
elected  club  president,  W. 
C.  Goeben  was  named  vice- 
president  and  Harold 
Cowles  was  made  secretary. 

IT  is  interesting  to  note 
that  amateur  movies  have 

[  CONTlNtlED  ON   PAGE   96  ) 


94  Photoplay  Magazine — Advertising  Section 

Eastman  KODAIC  COMPANIT  ^Announces 


for  Amateur  Picture-Takers  Only^ 


Read  these  simple  conditions 


■t  Any  resident  of  the  United 
States  and  its  dependencies 
or  any  resident  of  the  Dominion 
of  Canada  is  eligible^  excepting 
individuals  and  families  of  indi- 
viduals engaged,  either  directly 
or  indirectly,  in  the  manufac- 
ture, sale,  commercial  finishing 
or  professional  use  of  photo- 
graphic goods.  This  contest  is 
strictly  for  the  amateur.  Con- 
test starts  March  1,  closes 
May  31,  1929. 

2  Any  Kodak.  Brownie.  Hawk- 
Eye.  or  other  camera  pro- 
ducing negatives  not  larger  than 
3J4  X  5J-2  inches  (postcard 
size)  and  any  brand  of  film, 
chemicals  and  papers  may  be 
used  in  making  pictures  for  this 
contest.  A  contestant  need  not 
own  the  camera.  The  finishing, 
of  course,  may  be  done  by  his 
dealer. 

2  Both  ordinary  contact 
■^  prints,  and  enlargements  not 
to  exceed  7  inches  in  the  long 
dimension,  are  eligible;  but. 
A  In  the  Special  Enlargement 
Competition,  prints  having 
a  long  dimension  of  not  less 
than  9  inches  or  more  than  17 
inches,  are  eligible.  Entries  in 
the  Enlargement  Competition 
are  eligible  for  Special  Enlarge- 
ment Prizes  only. 
c  Prints  shall  be  unmounted, 
but  an  entry  blank  shall  be 
enclosed.  Use  the  accompany- 
ing blank,  obtain  others  from 
dealers;  copy  the  form,  or  write 
Prize  Contest  Office,  Eastman 
Kodak  Company,  Rochester, 
N.  Y. 

/C  An  entrant  may  submit  as 
many  pictures  as  he  pleases 
and  at  as  many  different  times 
as  he  pleases,  provided  that  the 
pictures  have  been  made  on  or 
after  March  1.  1929,  and  that 
they  reach  the  Prize  Contest 
Office.  Eastman  Kodak  Com- 
pany. Rochester,  N.  Y..  by  the 
specified  closing  date. 
"7  Entries  in  the  Child  Picture 
Contest  to  be  eligible  for  the 
March  award  shall  be  received 
at  the  Prize  Contest  Office. 
Eastman  Kodak  Company, 
Rochester,  N.  Y.,  by  midnight 
of  March  31.  1929;  and  for  the 
April  award  by  midnight  of 
April  ,30.  1929.  The  child  in  the 
picture  shall  not  have  passed 
the  twelfth  birthday. 
Q  A  picture  that  is  to  be  con- 
sidered in  the  Child  Picture 
Contest  must  be  so  designated 
on  the  back. 


In  the  case  of  other  pictures, 
however,  the  entrant  need  not. 
unless  he  wishes  to.  specify  into 
which  of  the  classifications  his 
pictures  should  go.  The  Prize 
Contest  Office  reserves  the 
right  to  change  a  classification 
for  the  benefit  of  the  entrant.  If 
not  classified  on  the  back  by 
the  entrant,  the  pictures  will 
go  into  the  classes  in  which 
they  are  most  likely  to  win. 
Q  Each  prize-winning  picture. 
■^  together  with  the  negative, 
and  the  rights  to  the  use  thereof 
for  advertising,  publication,  or 
exhibition  in  any  manner,  be- 
comes the  property  of  the  East- 
man Kodak  Company. 

IQ   No  prints  can  be  returned. 

except  that  entries  in  the 
Enlargement  Competition  will 
be  returned  upon  request.  All 
mailings  are  at  the  owner's  risk. 
Do  not  send  pegatives  until 
they  are  requested. 
1  I     The  decision  of  the  judges 

will  be  final.  In  the  event 
of  a  tie.  the  advertised  award 
will  be  paid  to  each  of  the  tying 
contestants. 
■J  2    All  pictures  will  be  judged 

50%  on  subject  interest; 
25%  on  composition  and  ar- 
rangement; 25%  on  photo- 
graphic excellence  (correctness 
of  exposure,  etc.). 
12  Mail  pictures  to  Prize  Con- 
-^  test  Office,  Eastman  Kodak 
Company.  Rochester,  N.  Y. 

1  A  An  entrant  may  receive 
only  one  prize.  In  case  the 
judges  select  any  entrant  for 
more  than  one  award,  he  will 
receive  the  largest  thereof.  If 
he  wins,  for  example,  a  $100 
state  prize  in  the  Child  Picture 
Contest,  and  if  either  the  same 
print  or  another  of  his  prints  in 
the  General  Contest  wins  an 
award  larger  than  $100.  he  will 
receive  the  larger  amount.  The 
Eastman  Kodak  Company  will 
consider  the  purchase  of  desir- 
able pictures  even  though  not 
prize  winners. 

1  e  Winners  of  the  state  prizes 
•^  -^  in  the  Child  Picture  Con- 
test for  March  will  be  notified 
as  soon  as  possible  after  March 
31.  and  for  the  April  Contest  as 
soon  as  possible  after  April  30. 
1929;  winners  in  the  Special 
Enlargement  Competition  and 
all  other  classifications  will  be 
notified  as  soon  as  possible  after 
May  31,  1929. 


T' 

X.  HIS  is; 


Prizes 

Grand  Prize  of  $2,500.00 

1 1  prizesof  500.00  each 

1 1  prizesofl  50.00  each 

1 2  5prizesof  1 00.00  each 

21$prizesof     lO.OOeach 

SOOprizesof       5.00  each 

1,223      $30,000.00 

$11,400  in  Special  Monthly 
State  Prizes 

For  the  most  interesting  pic- 
ture of  Children  submitted  dur- 
ing March  and  April.  $100.00 
will  be  awarded  in  each  state 
of  the  United  States  and  each 
province  of  Canada.  SI  1 .400.00 
in  all.  Read  the  details  below. 


HIS  is  a  contest  for  everyone. 
It  is  easy  toenter — and  there 
are  1,223  money  prizes.  Per- 
haps you  have  not  taken 
more  than  a  half-dozen  pic- 
tures in  all  your  life — you 
may  never  before  have  held 
a  camera  in  your  hands — 
yet  your  entry  may  please 
the  judges  most.  And  re- 
gardless of  the  make  of  camera  you  use — from  an  inexpensive 
Kodak,  Brownie  or  Hawk-Eye  on  up  to  a  camera  of  the'  costliest 
kind — your  chance  to  win  is  just  as  good. 

This  prize  money  will  not  be  awarded  for  technical  skill  alone. 
You  do  not  need  to  be  an  experienced  picture  maker  to  win.  The 
hulk  of  this  $30,000  will  go  to  those  who  send  in  the  tn05t  interest- 
i)ig  pictures  in  each  of  10  different  classifications.  Now  is  the  time 
to  get  your  camera  into  action.  The  opportunity  to  win  a  cash 
prize  of  anywhere  from  $2,500  down  is  knocking  at  your  door. 

Here  is  the  way  in  which  the  $30,000  prize  money  is  to  be  dis- 
tributed. You  may  enter  for  each  and  all  of  the  classes.  Send  in  as 
many  entries  as  you  like.  The  more  pictures  you  submit  in  this 
contest  the  better  is  your  chance  of  being  numbered  among  the 
1,223  fortunate  ones  to  win. 

GRAND  PRIZE— For  the  Best  Picture  of  Any  Type— 
The  best  picture  of  all  of  those  submitted  in  the  following  classi- 
fications will  be  awarded  a  grand  prize  of  $2,500. 

STATE  PRIZES— For  Child  and  Baby  Pictures— 

$11 ,400  will  be  awarded  for  the  pictures  showing  the  most  interest- 
ing children  ...  in  both  March  and  April  $100  will  be  given  for 
the  best  child  picture  in  each  state  of  the  United  States  and  each 
province  of  Canada,*  making  114  prizes  in  all. 

*District  of  Columbia  counts  as  one  state;  Hawaii,  Alaska  and 
all  other  U.  S.  dependencies  combined  count  as  one  state;  the 
Maritime  provinces  of  Canada  count  as  one  province.  British 
Columbia  and  the  Yukon  count  as  one  province. 

Snap  as  many  pictures  as  you  want  from  babies  to  boys  and 
girls  who  are  beginning  to  think  of  themselves  as  young  men  and 
women.  Maybe  there's  a  baby  right  in  your  own  family  that  could 
help  you  win  first  prize  by  a  big  margin.  Not  necessarily  a  beautiful 
child,  but  one  with  personaUty,  character,  "IT" — in  eyes  and 
smile  and  dimples.  Maybe  there's  such  a  youngster  next  door,  or 
next  street,  but  no  matter  whose  baby  it  is,  get  the  kind  of  picture 
that  shows  it  at  its  best. 

Every  picture  of  children  that  you  submit  stands  a  chance  of 
winning  the  Grand  Prize;  or  any  of  the  103  prizes  in  each  of  four 
other  awards.  And  even  if  you  don't  come  in  for  a  share  of  the 
prize  money  you  will,  at  least,  have  made  an  attractive  picture  to 
add  to  your  collection.  With  a  little  patience,  however,  you  can 
almost  surely  get  a  picture  good  enough  to  win.  A  striking  close-up 
of  a  boy  or  girl;  a  group  at  play;  youngsters  laughing,  sleeping;  in 
every-day  clothes,  rompers,  overalls  or  fancy  costume.  Anything 
goes  as  long  as  it  is  a  picture  of  children,  and  if  it  has  the  least 


Every  advcrtlaemont  in  PHOTOPLAY  JIAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


95 


the  Largest  Prize  Contest  in  Photographic  History- 

in  Cash  Avrards 


Grand  Prize  $2,500  .  .  .  11  Prizes  of  $500  each  .  .  . 
11  Prizes  of  $250  each  .  ,  .  125  Prizes  of  $100  each  .  .  . 
1,225  Money  Prizes  in  All .  .  .  for  snapshots,  time-exposures, 
enlargements  .  .  .  only  strictly  amateur  photographers  may 
compete  .  .  .  Every  picture-taker  has  an  equal  chatice  to  win! 


spark  of  interest  in  it,  don't  fail  to  send  it  in.  What  looks  to  you  like  a 
■■flop"  may  look  like  a  "wow"  to  the  judges. 

This  award  gives  you  106  chances  to  win:  (1)  You  can  enter  the  March 
contest  for  the  best  child  picture  from  each  state,  (2)  You  can  enter  the 
April  contest  for  the  best  child  picture  from  each  state,  (3)  The  pictures 
that  you  have  entered  for  the  state  contest  during  either  of  these  months 
and  pictures  that  reach  Rochester  during  May  are  all  eligible  for  the  Grand 
Prize  of  $2,500  or  for  any  of  the  one  hundred  three  prizes  in  Awards  No.  2, 
No.  3,  No.  4,  or  No.  10. 

AWARD  NO.  1 — Scenics — For  the  best  picture  ofany  city  or  country 
outdoor  scene  ...  a  first  prize  of  $500;  a  second  of  $250;  a  third  of  $100;  25 
prizes  of  $10  each  and  75  prizes  of  $5  each.  Here's  your  chance  to  capitalize 
your  ability  to  spot  an  interesting  outdoor  subject.  Landscapes  and  marines, 
distant  and  nearby  views,  mountains  and  water,  nearby  bits  of  nature  com- 
position, travel  subjects  and  street  scenes. 

AWARD  NO.  2 — Informal  Portraits — Pictures  made  at  from,  say 
two  to  ten  feet  distance,  for  the  purpose  of  showing  a  person's  features  .  .  . 
a  first  prize  of  $.500;  a  second  of  $250;  a  third  of  $100;  25  prizes  of  $10  each 
and  75  prizes  of  $5  each. 

AWARD  NO.  3— Story-Telling  Pictures— For  the  pictures  teUing 
the  most  interesting  story  ...  a  first  prize  of  $500;  a  second  of  $250;  a  third 
of  $100;  25  prizes  of  $10  each  and  75  prizes  of  $5  each. 

Take  a  picture  in  which  children,  adults  or  animals  do  something — any- 
thing except  looking  at  the  camera.  For  instance,  a  puppy  pulling  at  a  baby's 
sleeve;  children  in  any  form  of  play;  father  proudly  exhibiting  the  new  car 
to  a  friend.  There  are  any  number  of  opportunities  for  you  to  take  pictures 
hke  these. 

AWARD  NO.  4 — Sport  Pictures — For  the  best  pictures  of  sports 
and  games  ...  a  first  prize  of  $500;  a  second  of  $250;  a  third  of  $100;  25  prizes 
of  $10  each  and  75  prizes  of  $5  each.  It  may  be  skating  or  coasting  or  skiing — 
or  baseball,  tennis,  golf.  Hiking,  too  .  . .  and  boating,  archery,  polo  riding — 
all  serve  as  opportunities  to  make  prize  winning  pictures. 

AWARD  NO.  5 — Animal  Pictures — For  the  best  pictures  of  pets, 
live  stock,  wild  animals,  either  at  large  or  in  zoos  ...  a  first  prize  of  $500;  a 
second  of  $250;  a  third  of  $100;  25  prizes  of  $10  each  and  75  prizes  of  $5  each. 

AWARD  NO.  6 — Nature  Study  Pictures— For  the  best  pictures  of 
flowers,  birds,  butterflies,  leaves,  rocks,  spiderwebs,  any  nature  subject .  .  . 
a  first  prize  of  $500;  a  second  of  $250;  a  third  of  $100;  25  prizes  of  $10  each 
and  75  prizes  of  $5  each. 

AWARD  NO.  7— Building  and  Architectural  Detail— For  the 
best  exteriors  of  homes,  churches,  schools,  offices,  libraries,  other  buildings, 
or  portions  thereof .  .  .  a  first  prize  of  $500;  a  second  of  $250;  a  third  of  $100; 
25  prizes  of  $10  each  and  75  prizes  of  $5  each. 

AWARD  NO.  8 — Interior  Pictures — For  the  best  inside  views  of 
rooms,  corridors,  staircases,  or  other  portions  of  homes  or  other  buildings 
...  a  first  prize  of  $500;  a  second  of  $250;  a  third  of  $100;  25  prizes  of  $10 
each  and  75  Jjrizes  of  $5  each. 

AWARD  NO.  9— Still  Life  Studies— For  the  best  pictures  of  art 
objects,  curios,  cut  flowers,  any  still-life  subjects  in  artistic  arrangement  .  .  . 
a  first  prize  of  $500;  a  second  of  $250;  a  third  of  $100;  25  prizes  of  $10  each 
and  75  prizes  of  $5  each. 

AWARD  NO.  10— Unusual  Photographs— For  the  best  pictures 
made  at  night;  pictures  of  fires,  hghtning,  storms,  silhouettes;  or  any  pictures 
that  are  unusual  either  as  to  topic  or  as  to  photographic  treatment  ...  a 
first  prize  of  $500;  a  second  of  $250;  a  third  of  $100;  25  prizes  of  $10  each 
and  75  prizes  of  $5  each. 

Special  Prizes  for  Enlargements — $  1,350 — Any  picture  is  a  better 


picture  when  enlarged.  For  the  best  enlargements  from  negatives  made  on 
or  after  March  1,  1929  ...  a  first  prize  of  $500;  a  second  of  $250;  a  third  of 
$100;  25  prizes  of  $10  and  50  prizes  of  $5  each.  Your  film  dealer  or  photo- 
finisher  will  be  glad  to  help  you  choose  a  picture  likely  to  win.  (See  Con- 
ditions Nos.  2  and  4.) 

Each  of  these  big  cash  prizes  will  have  to  be  won  by  somebody  .  .  .  why 
not  you!  Aim  at  the  big  money  and  you  stand  an  excellent  chance  of  winning 
it  or  of  coming  in  for  one  of  the  smaller  prizes.  Don't  miss  this  chance  of 
winning  a  share  of  the  big  prize  money.  There  is  always  the  certainty  of 
being  rewarded  with  some  excellent  pictures  you  might  otherwise  fail  to  get. 

THESE  ARE  THE  JUDGES.  Observe  how  diversified  are  their  interests 
and  how  broad  are  their  viewpoints  and  experience.  You  must  admit  that  no 
fairer  Board  of  Judges  could  be  assembled  than  that  represented  here: 

Madame  Galli-Curci,  internationally  known  singer;  Miss  Ethel  Barrymore, 
leading  actress;  Howard  Chandler  Christy,  noted  artist;  Clare  Briggs, 
famous  cartoonist;  James  R.  Quirk,  publisher.  Photoplay  magazine;  Rudolf 
Eickemeyer,  distinguished  photographer.  Medalist  Royal  Photographic 
Society  of  Great  Britain;  Hector  Charlesworth,  author,  critic,  editor 
"Toronto  Saturday  Night";  Kenneth  Wilson  Williams,  editor  "Kodakery" 
and  photographic  expert. 

For  the  two  Monthly  Child  Picture  Contests,  the  following  will  be 
judges:  James  R.  Quirk,  Rudolf  Eickemeyer,  Kenneth  Wilson  Williams. 

NOW — read  the  simple  Contest  Conditions  and  get  jour  camera  out! 
Kodak  Film  in  the  familiar  yellow  box  is  dependably  uniform. 
Reduces  the  danger  of  under-  or  over-exposure. 
It  gets  the  picture. 


PRIZE  CONTEST  ENTRY  BLANK 

Name 

{Please   Print) 

Street  Address 

Town  and  State 

Make  of  Make  of 

Camera Film 

Enclose  this  blank  with  your  entry  and  mail  to  Prize  Contest  Office, 
Eastman  Kodak  Company,  Rochester,  N.  Y. 

Do  not  place  your  name  on  either  the  front  or  the  back  of  any  pic- 
ture. Be  sure  that  each  entry  in  the  Slate  Child  Picture  Contest  is  so 
designated  on  the  back.  -. q. 


When  you  write  to  advertisers   please   mention  rilOTOPLAY   MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


Led  design 
s/mpe 
-^  •  frame 

ifmk 

^  as  buds  in 
Carly  Springtime 


KEEPING  PACE  with  the  NEW—  ever 
synonymous  with  the  mark  "Meeker 
Made".  Here  is  one  of  the  fresh,  new  designs 
being  shown  by  the  better  dealers  every- 
where. Beautifully,  softly  hand-colored 
Steerhide.  Ooze  leather  lined.  Silver-finished, 
turn-lock  frame.  Face  of  frame  diSlinftively 
paneled  jet  and  beige.  Fitted  with  coin- 
purse,  beveled  plate  mirror  and  compaft 
with  chain  and  finger  ring.  Just  one  of  the 
garden  of  Meeker  Made  beauties.  See  them 
to  appreciate  them!  Carry  one  to  realize  its 
usefulness. 

Mmadeix 

DISTINCTIVE  LEATHER  GOODS 

tooled,  hand-colored,  hand-laced, 
genuine  imported  steerhide 

HANDBAGS 

Underarms — Vanities 

Billfolds — Novelties 

Made  by 

The  MEEKER  COMPANY,  Inc. 

JOPLIN,  MISSOURI 

Largest  mamifodnrers  of  Steerhide  Leather  Goods 
intfic  V.  S.  A. 


Amateur  Movies 


[  CONTINUED  FROM  PAGE  93  ] 


The  new  De  Vry  Cine-Tone  unit  for  home  talking  movies. 
It  consists  of  a  regular  16  mm.  projector,  geared  to  a  turn 
table,  with  tone  arm  and  electric  pick-up.  This  pick-up 
connects  directly  with  a  radio  loud  speaker.  There  is 
absolute  synchronization 


ruled  at  the  White  House  for  some  years  in  the 
past  and  that  they  will  hold  their  own  during 
the  next  four  years.  Mrs.  Herbert  Hoover, 
wife  of  the  President,  is  an  enthusiastic  ama- 
teur movie  fan.  She  uses  a  Cine-Kodak.  So, 
too,  did  Mrs.  Calvin  Coolidge.  What  amateur 
doesn't  long  to  possess  such  a  gallery  of  notables 
as  must  be  in  the  collection  of  these  two  famous 
first  ladies  of  the  land. 


/"CHEAPER  16  millimeter  projectors  are  be- 
^^-"ginning  to  crop  up  rapidly.  The  new 
Duograph  is  an  attractive  and  very  moderately 
priced  machine,  either  hand  operated  or  motor 
driven.  The  Q.R.S.  projector  is  a  fine  machine 
and  sells  at  a  low  price,  either  in  its  hand 
operating  form  or  equipped  with  universal 
motor.    Have  you  noted,  too,  how  projectors 

I  CONTINUED  ON  PAGE  98  1 


$2,000  Amateur  Movie  Contest  Rules 


1.  $2,000  in  cash  prizes  will  be  awarded  by 
PHOTOPLAY  as  follows: 

Class  One. 
$500  for  the  best  amateur  photoplay- 
$250  for  the  second   best  amateur  photo- 
play. 

$150  for  the  third  best  amateur  photoplay. 
$100  for  the  fourth  best  amateur  photo- 
play. 

Class  Tu'O. 
$500  for  the  best  non-dramatic  picture. 
$250   for    the   second    best   non-dramatic 
picture. 

$150  for  the  third  best  non-dramatic 
picture. 

$100    for    the    fourth    best    non-dramatic 

picture. 

In  the  event  that  two  or  more  films  prove 

of  equal  tnerit  in  their  consideration  for  any 

award,  duplicate  prizes  will  be  given  for  each 

tying  film. 

2.  CLASS  ONE— Devoted  to  photoplays, 
will  embrace  all  pictures  made  by  ama- 
teurs in  which  amateur  actors  appear, 
whether  of  a  dramatic  or  comedy  nature. 
CLASS  TWO— Will  include  ail  other 
motion  pictures  such  as  films  of  news 
events,  home  pictures,  travelogues,  sport 
shots,  studies  of  animal,  bird  or  plant 
life,  etc.,  made  by  amateurs. 

3.  In  awarding  prizes  the  judges  will  con- 
sider the  cleverness,  novelty  and  fresh- 
ness of  idea  and  treatment,  as  well  as  the 
general  worktnanship.  Under  the  head 
of  general  workmanship  comes  photog- 
raphy, lighting,  editing  and  cutting  and 
titling.  In  Class  One,  added  items  of 
consideration  will  be  direction,  make- 
up and  acting  ability. 

4.  All  films,  to  be  considered  by  the  judges, 
must  come  within  the  following  specified 
lengths: 

If  35  millimeter,  the  contest  Mm  must  be 
1,000  feet  or  less  in  length. 


If  1 6  millimeter,  it  must  be  400  feet  or  less 

in  length. 

If  9  millimeter,  it  must  be  60  feet  or  less  in 

!e.  gth. 

All    films    must    be    submitted    on    non' 

inflammable  stock   with   the   names  and 

addresses  of  the  senders  securely  attached 

to  the  reel  or  the  box  containing  the  film. 

Name  and  address  of  the  sender  also  may 

be  part  of  the  film  itself. 

5.  Any  number  of  contest  films  may  be  sub- 
mitted by  an  individual  or  atnateur 
organization. 

6.  Any  person  or  amateur  organization  can 
enter  this  contest.  Professional  cinema- 
tographers  are  barred,  as  well  as  anyone 
employed  by  PHOTOPLAY  MAGA- 
ZINE or  any  relatives  of  anyone  employed 
by  PHOTOPLAY.  Winners  of  PHOTO- 
PLAY'S first  amateur  movie  contest  may 
compete. 

7.  All  films  are  to  be  addressed  to  the 
judges.  The  Amateur  Movie  Contest, 
PHOTOPLAY  MAGAZINE.  221  West 
57th  Street,  New  York,  and  are  to  be  sub- 
mitted between  October  1,  1928,  and 
midnight  of  March  31st,  1929. 

8.  The  jury  of  judges  consists  of  Professor 
George  Pierce  Baker  of  Yale,  Philip  K. 
Wrigley,  Stephen  Voorhees,  Colonel  Roy 
W.  Winton,  Wilton  A.  Barrett,  King 
Vidor.  James  R.  Quirk  and  Frederick 
James  Smith.  • 

9.  PHOTOPLAY  assumes  no  responsibility 
for  loss  of  films  in  transit  and,  while 
every  precaution  will  be  taken  to  safe- 
guard them,  this  publication  wilt  not  be 
responsible  for  loss  or  injury  in  any  way. 

10.  As  soon  as  possible  after  the  conclusion 
of  the  contest,  the  prize  winners  will  be 
announced  and  the  films  returned  to 
senders  on  receipt  of  sufficient  postage 
for  return  transportation. 


B-'ery  advertisement  In  PHOTOTLAY  MAGAZINE  la  guaranteed. 


Photoplay  Magazine — Advertising  Section 


97 


C^yTastyeast  for  8  days 

and  get  this 


VALUABLE  PENCIL 


This  sturdy  looking  youngster  is  a 
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Eversharp  Pencil  free. 


Offer  open  for  only  short  while  to 
introduce  new  yeast  food  in  delicious  form 


HERE'S  an  opportunity 
to  get  a  genuine  Walil 
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go  to  your  local  dealer  and  get 
a  24  bar  box  of  Tastyeast. 
When  you've  eaten  the  24 
bars,  send  in  the  wrappers 
with  the  coupon  at  the  bottom 
of  this  page.  The  postman  will 
bring  you  the  pencil  postpaid. 
We  want  you  to  try  this 
delicious  health  bar,  rich  in 
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B.  And  we  offer  the  Eversharp  Pencil  as  a 
reward  for  giving  Tastyeast  a  fair  trial. 
'  Tastyeast  is  a  new  discovery!  It  is  the 
only  original  food-confection  offering  rich 
quantities  of  vitamin  B  in  easily  available 


form  for  normal  nu- 
trition at  all  ages.    It  ■ 
was  perfected  after 
three  years  of  scientific 
research  in  our  labo- 
ratories.    And   now 
you  can   get  it  right 
from  your  local  dealer. 
Health-building  yeast 
in  delicious  new  form. 
Any  objection  you 
may  have  had  to  the 
taste  of  yeast  need  not  bother  you  now. 
You'll  never  taste  it  in  Tastyeast.  Yet  it's 
there,  with  all  its  health  giving  quahties. 

Doctors  prescribe  it 

Y^ou  know  that  doctors  have  long  pre- 
scribed yeast  as  a  health  food.  And  so, 
once  you  make  Tastyeast  a  regular  part 
of  your  daily  diet,  you  banish  forever 
stomach  trouble,  skin  blemishes  and  con- 
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Now  with  Tastyeast  you  can  get  plenty 
of  vitamin  B,  so  essential  to  daily  diet. 
Already  many  doctors  are  prescribing 
vitamins  in  this  wonderful  new  form. 

Make  the  8  day  health  test 

Thousands  of  people  have  already  made 
the  8  day  health  test  and  proved  what 
Tastyeast  can  do.  It's  easy  for  you  to 
prove  it  too.    Eat  three  of  these  creamy 


LOOK  AT  THIS 
BEAUTIFUL  PENCIL 

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sharp,  and  it  will  be  sent  to 
you  free!  See  coupon  below 
for  our  offer. 

delicious  bars  every  day 
an  hour  or  two  after 
each  meal.  Then  note 
the  results!  Your  whole 
system  will  begin  to 
tone  up. 

Right  now,  today,  go 
to  your  local  dealer  and 
get  a  box  of  Tastyeast. 
If  you  cannot  get  it, 
send  $1.20  and  your 
dealer's  name  to  Green  Bros.  Co.,  33  Essex 
St.,  Springfield,  Mass.  They  will  send  you, 
postpaid,  one  24  bar  box  of  Tastyeast. 

Send  back  the  wrappers  according  to 
the  offer  in  the  coupon  below  and  we 
will  send  you  a  splendid  Eversharp  Pen- 
cil, free. 


Green  Bros,  Co. ,33  Essex  St. .Springfield,  Mass. 
I  enclose  24  Tastyeast  wrappers*.    Please 
send  me  a  genuine  Eversharp  Pencil,  free. 

Name 

City State 


*We  will  accept  12  Tastyeast  and  12  Big  Banker 
Candy  Bar  wrappers.  Big  Banker  is  that  delicious 
wholesome  5-ccnt  candy  bar— the  nutty  nougat 
caramel  treat  — made  by  the  makers  of  Tastyeast. 


When  you  write  to  advertisers  please  mention  PHOTOPI/AT  MAG.1ZI.NE. 


Photoplay  Magazine — Advertising  Section 


DelighLfulanrf 

so  Inexpensive,/ 

Millions  of  discriminating 
women  have  thus  expressed  their 
appreciation  of  Black  and  White 
Face  Ponder— the  largest-selling 
popular -priced  face  powder  in 
the  world. 

This  pure,  fine  powder  goes 
on  smoothly,  does  not  streak  or 
appear  artificial,  adheres  for  hours 
without  renewing  and  keeps  the 
complexion  looking  youthfully 
fresh,  smooth  and  beautiful.  At 
all  dealers.     Try  it! 

NEW  YORK-MEMPHIS 
MONTEREY 


BLACK-^WHITE 

FACE  POWDER. 


Amateur  Movies 


I  CONTINUED  FROM  PAGE  96  ] 


are  becoming  more  decorative.  They  are  tak- 
ing on  color  and  ornamentation,  following  in 
the  trail  of  dc  luxe  radios. 

The  Eastman  Company  now  sells  a  com- 
bination Kodascope  screen  and  card  table  at 
$30.  Closed,  it  is  an  attractive  bridge  table. 
Open,  it  is  an  alimiinum  screen,  I8J-2  by  25 
inches. 

Another  important  accessory  for  amateurs 
is  the  new  Bell  and  Howell  Filmo  projector 
safety  shutter.  With  this  in  place  you  can 
allow  prolonged  projection  of  a  single  frame 
picture  without  injury  to  the  lilni.  The  shutter 
gives  illumination  and  safety. 

"PHOTOPLAY  received  so  many  inquiries 
■'-  about  the  new  home  talkie  device  of  the  De 
Vry  Corporation  that  it  presents  a  picture  in 


another  column.  The  De  Vry  Cine-Tone  is 
compact,  dependable  and  as  easily  operated 
as  the  regular  projector.  It  brings  to  the  home 
the  clear,  iiickerless  movies  projected  by  the 
popular  De  Vry  type  G  16  millimeter  pro- 
jector, plus  voice  and  sound  accompaniment. 
The  attachment  plays  a  regular  record-,  the 
films  being  synchronized  just  as  are  the  talkies 
in  the  big  theaters.  The  Cine-Tone  is  com- 
plete with  connection  for  light  socket  operation 
and  connection  to  your  radio  loud  speaker. 
The  present  combination  unit  can  be  pur- 
chased for  about  $250,  less  than  the  cost  of 
many  projectors  alone.  The  unit,  mountecl 
complete  on  one  base,  can  be  obtained  in  an 
attractive  cabinet  or  it  may  be  purchased 
alone.  There  wiU  be  regular  releases  of  De  Vry 
Cine-Tone  16  millimeter  subjects. 


One  Star  Is  Enough 


i  CONTINtlED  FROM  PAGE  72  ] 


spark,  and  Jobyna  knew  it.  She  also  knew 
that  of  all  the  boys  who  used  to  drop  by  the 
house  on  Sunday  afternoons  Dick  was  the  most 
vivid,  the  most  dominant. 

Jobyna  doesn't  remember  when  he  asked 
her  to  marry  him.  Certainly  there  was  no 
formal  proposal. 

No  fine  speeches.  It  just  happened  like  a 
poem  and  they  both  knew  that  when  they  Had 
the  time  and  when  circumstances  were  right 
they'd  marry. 

Even  in  those  days  Joby  was  a  sensible  little 
person. 

Her  cahn  eyes  saw  clearly  and  she  knew  that 
circimistances  did  have  to  be  right. 

SHE  knew  for  Dick's  own  pride  and  self- 
respect  she  could  not  marry  him  while  her 
salary  was  so  much  bigger  than  his  and  her 
career  more  important. 

And  then  the  happy  circumstances  occurred. 
Dick  was  chosen,  after  hundreds  of  tests  had 
been  made,  for  the  famous  r61e  in  "Wings." 
They  celebrated  that  night  and  began  to  plan 
on  a  wedding. 

Joby  was  happy.  Now  Dick  would  be 
famous  and  important  and  make  money  and 
she  could,  with  a  wifely  conscience,  work 
toward  fulfilling  her  own  destiny  as  an  actress. 
They  would  be  as  other  professional  couples. 
Have  mutual  interests.  Find  joy  in  each 
other's  work. 

And  then  something  happened  that  changed 
the  color  of  Joby's  life  and  made  the  great 
sacrifice  necessary. 

The  night  after  the  celebration  Dick  stormed 
into  till*  house. 

"What  DO  you  suppose  they've  done?"  he 
cried.  "They're  taking  a  test  of  another  man 
for  'Wings.'  And  they'd  promised  the  part  to 
me!" 

Before  Joby  could  stop  him  he  had  the 
telephone. 

He  had  Paramount  on  the  wire. 

He  was  telling  somebody,  an^'body,  every- 
body who  would  talk  to  him  what  he  thought 
of  the  studio  and  each  individual  in  it. 

He  hung  up  the  phone  at  last.  "They  tell 
me  to  come  down  for  another  test,"  said  Dick, 
"but  I  won't!  Let  'em  take  the  part  and  give 
it  to  somebody  else  and  see  if  I  care." 

JOBYN.^'S  heart  stopped  beating  for  the 
fraction  of  a  second,  until  she  could  pull  her- 
self together  and  muster  up  the  courage  she 
needed.  She  talked  to  Dick.  He  mustn't  be 
silly  and  throw  away  the  chance  of  a  lifetime 
just  because  he  was  in  a  temper.    He  must,  of 


course,  go  back  and  have  the  test.  He  mustn't 
scream  at  executives. 

He  must  say,  "Yes,"  and  show  them  what  a 
nice  boy  he  was. 

She  watched  his  face  closely  to  see  if  her 
words  were  having  their  effect.  It  was  the 
crucial  moment  in  their  lives. 

If  Dick  didn't  go  back  .  .  .  She  didn't  dare 
to  think  what  might  happen.  He'd  always  be 
an  extra  man. 

They  couldn't  ever  be  married.  He  had  to 
go  back. 

He  went  back,  had  the  test  and,  of  course, 
got  the  part. 

Dick's  career  had  begun.  Joby's  had  ended. 
Or  had  it?  Hers  had  begun,  too.  Her  career 
was  now  Dick's.  The  great  sacrifice  was  to  be 
made. 

She  saw  her  way  clearly,  as  only  a  woman 
who  gives  a  man  a  great  love  can  see  it. 

Her  manager  wouldn't  believe  her  when  she 
told  him  she  was  going  to  turn  down  leads  in 
two  big,  important  pictures  to  take  a  small 
part  in  "Wings." 

"But,  Jobyna,"  he  gasped,  "your  career!" 

.And  Joby  nodded  wisely  and  thought  of  that 
other  career,  her  career  as  a  counselor  to  Dick. 

She  took  a  small  part  in  "Wings"  so  that 
she  could  be  near  Dick  and  help  him  and 
keep  him  from  doing  the  foolish  things  that 
all  artists  do.  She  knew  that  she  had  been 
right  in  giving  up  better  picture  work  when 
they  stood  together  in  Riverside  and  were 
married  on  a  Saturday  afternoon  off,  January 
28,  1927. 

Of  course,  she  worked  after  that  but  it 
seemed  inane  and  rather  ridiculous.  For  in- 
stance, they  began  to  build  their  home  in 
Toluca  Lake  Park  just  a  few  days  before  she 
was  called  away  on  location.  She  knew  that 
was  wrong. 

A  growing  house  needs  a  woman  as  much  as 
a  growing  child. 

Dick  came  to  the  location  to  spend  a  week 
end  with  her  and  to  tell  her  about  the  home. 
But  they  were  both  unhappy  that  she  was 
away.  And  when  he  left  her  she  had  no  heart 
for  her  work.  Her  work!  Her  real  work 
was  with  Dick! 

They  moved  into  the  newhomeinNovember, 
1927.  And  while  Dick's  career  grew  and 
flourished  like  a  summer  day,  hers  jogged 
along  in  spite  of  herself. 

She  had  to  be  there  for  Dick,  for  he  is  an 
artist  and  she  is  a  wife. 

He  needed  her  for  the  big  things  and  he 
needed  her  for  the  small  ones. 

[  CONTINUED  ON  PAGE  100  ] 


Every  advertisement  In  PHOTOPLAT  MAGAZINE  la  guaranteed. 


Photoplay  Magazine — Advertising  Section 


99 


I^^T-TTF^^l 


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in  this  most  important  purchase.  Buy  from  a 
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lOO 


Photoplay  Magazine — Advertising  Section 


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Please  send  me,  absolutely  free,  nine  fragrances  of 
Vantine^s  Temple  Incense.  1  enclose  four  cents  in 
stamps  to  cover  packing  and  mailing. 


Name 

Street  &  No. 

City  &  State 

Dealer**  Name 

Dealer't  AddresM 

r-i 

One  Star  Is  Enough 


[  CONTINUED  PEOM  PAGE  98  1 


THERE  were  the  many,  many  times  she 
soothed  and  comforted  him  when  things 
went  wrong  at  the  studio.  The  big  times  when 
she  encouraged  and  talked  softly  and  made  him 
see  what  he  must  do. 

And  then  there  were  the  little  times,  too. 
They  were  going  on  a  yachting  trip  with 
friends  and  Dick's  tie  wouldn't  arrange  itself 
and  he  couldn't  find  those  dark  blue  socks 
and  his  favorite  shirt.  And  that  is  enough 
to  make  any  artist  say  he  won't  go  yachting. 

But  when  Joby  only  laughed  at  him  and 
said  certainly  she'd  call  their  friends  and  say 
her  husband  was  ill  and  couldn't  go  he  took 
her  in  his  arms  and  said,  "What're  you  going 
to  do  with  a  wife  who  won't  let  you  go  a  little 
Garbo  once  in  awhile?" 

And  her  sacrifice  was  rewarded  as  it  is  every 
day  when  she  sees  how  he  loves  her  and  how 
happy  and  right  they  are  together. 

So  Jobyna,  Harold  Lloyd's  leading  woman,  a 
capable  actress,  has  let  her  career  do  what  it 
will.  She  has  no  manager.  The  producers 
call  her  direct  when  they  need  her.  She 
doesn't  do  what  other  actresses  are  expected 
to  do  in  Hollywood.  She  sees  that  Dick  does 
the  right  thing  professionally. 


And  that  is  the  story  behind  the  startling 
career  of  Richard  Arlen,  Utile  Joby  Ralston 
of  the  calm  eyes  and  gentle  hands.  The  soul 
of  a  woman  given  for  the  soul  of  a  man. 

Regrets?  She  hasn't  a  one!  A  great 
sacrifice  just  isn't  if  there  are  regrets. 

"YXTE  both  can't  have  big  careers,"  she  said, 

''^  "and  Dick  is  the  best  man  artistically, 
that's  all.  It's  a  survival  of  the  fittest.  I 
can't  make  more  money  than  he  does,  I  can't 
be  a  bigger  star.   We'd  be  unhappy  that  way. 

"But  I'm  happy  now.  I  look  at  the  girls 
around  me,  the  girls  who  haven't  anything 
but  their  careers.  Older  women  running 
around  with  young  men.  Girls  who  have  been 
great  stars  who  aren't  any  more.  What  have 
they  to  look  forward  to?    What  have  they? 

"And  I  have  so  much.  I  have  such  an 
important  job,  the  job  of  keeping  Dick  sane 
and  level-headed. 

"And  when  the  other  girls  are  old  and  not 
pretty  any  more  I  11  be  old  and  not  pretty, 
too,  but  I'U  have  Dick  and  they'll  have  noth- 
ing. 

"As  it  is,  I  have  the  most  important,  most 
satisfying  job  in  the  world." 


Questions  and  Answers 


I  CONTINtTED  FROM  PAGE  91 


E.  G.,  Webster  Groxt:,  Mo. — You  exceeded 
the  quota  in  question  so  I'll  have  to  limit  you 
to  five  answers.  Warner  Baxter  played  Ales- 
sandro  in  "Ramona"  and  the  late  Charles 
Emmett  Mack  was  the  leading  man  in  "Old 
San  Francisco."  James  Hall  played  opposite 
Bebe  Daniels  in  "Swim,  Girl,  Swim,"  and 
Lawrence  Gray  was  the  boy  friend  in  "The 
Palm  Beach  Girl."  Clara  Bow  and  Alyce 
Mills  appeared  in  "The  Keeper  of  the  Bees" 
and  Neil  Hamilton  was  the  man  you  liked  in 
"The  Showdown." 

"Pesty,"  Chccago,  III. — Welcome  back. 
You're  wrong  on  Jack  Pickford's  age.  He  is 
thirty-two,  not  forty-two,  and  three  years 
younger  than  Mary.  Charles  Rogers  is  six 
feet  tall  and  weighs  165  pounds.  Doug. 
Fairbanks,  Jr.,  was  born  Dec.  9,  1910.  His 
mother  was  formerly  Beth  Sully  and,  since 
her  divorce  from  Fairbanks,  Sr.,  has  married 
again.    She  is  now  Mrs.  James  Evans,  Jr. 

T.  G.,  Mexia,  Tex. — The  correct  name  is 
Richard  Semler  Barthelmess.  Dick  was  born 
May  9,  1897,  in  New  York  City.  I  guess 
that  makes  him  an  American.  Billie  Dove 
was  also  born  in  Manhattan,  May  14,  1903. 

F.  K.,  Kansas  City,  Mo. — Hope  I  haven't 
kept  you  waiting  too  long.  Barbara  Kent  is 
nineteen  years  old  and  is  one  inch  under  five 
feet  tall.  She  weighs  102  pounds.  Barbara 
isn't  married.  June  Collyer  is  also  single. 
June  is  two  years  older  than  Barbara  and 
five  feet,  five  inches  tall.  She  weighs  115 
pounds. 

G.  B.  H.,  Clarksburg,  W.  Va. — Any  rela- 
tion to  Herbert?  Now  for  the  man  who  makes 
your  heart  go  flip-flop.  Monte  Blue  is  married 
to  Tova  Jansen  and  his  next  picture  is  caUed 
"No  Defense."  Write  to  him  at  the  Warner 
Brothers  Studio,  5842  Sunset  Blvd.,  HoUy- 
wood,  Calif.  Of  course,  he's  had  a  hair-cut 
since  "White  Shadows."  And  Monte  once 
made  a  picture  called  "Hogan's  Alley."  Come 
in  again  some  time. 


M.  C.  B.,  RiDGEWooD,  N.  J. — Yes,  John 
Gilbert  appeared  in  "Monte  Cristo."  It  was 
made  quite  a  few  years  ago  but  has  since 
been  re-issued. 

Betty  B.,  South  Orange,  N.  J. — Carroll 
Nye  is  twenty-seven  years  old  and  was  born 
in  Canton,  O.  The  room-mate  in  "Varsity" 
was  PhilUps  Holmes.  Write  to  him  at  the 
Paramount-Famous-Lasky  Studios,  Holly- 
wood, Calif.  Ralph  Graves  was  the  man  you 
liked  in  "Submarine"  and  Paul  RaUi  was  the 
one  who  caught  your  eye  in  "Show  People." 
Claude  King  was  born  in  North  Hampton- 
shire,  England.    Come  again. 

Blondy,  Watertown,  Mass. — William 
Boyd  and  Reginald  Denny  both  use  their  real 
names.  Bill  is  thirty  and  Reggy  is  seven  years 
older.  Nick  Stuart  was  born  Nick  Prata  and 
Sue  Carol's  real  name  is  Evelyn  Lederer.  Sue 
is  twenty  and  Nick  is  two  years  older. 

M.  M.,  C.  K.,  M.  K.,  E.  a..  Rock  Springs, 
Mont. — There  now!  You  all  have  your 
initials  in  print.  H.  B.  Warner,  not  Lewis 
Stone,  played  the  father  in  "Sorrell  and  Son." 

A.  M.  K.,  Astoria,  Ore. — Lucky  girl,  to  be 
able  to  eat  all  you  want  and  still  weigh  only 
116  pounds.  Your  criticism  of  that  certain 
picture  is  quite  just.  Both  you  and  the  girl 
friend  are  wrong  about  the  actor  who  played 
in  "The  Chinese  Parrot."  It  was  Edmund 
Burns,  not  John  Boles  or  Kenneth  Harlan. 

C.  M.  H.,  Atlanta,  Ga. — Corinne  Grifiith's 
newest  picture,  "Outcast,"  has  already  played 
in  your  city.  Did  you  miss  it?  Corinne's 
next  is  "Saturday's  Children,"  so  be  on  the 
watch  for  it.  Lewis  Stone's  newest  is  "Wild 
Orchids."  Mr.  Stone  is  forty-nine  years  old. 
Don't  know  anything  about  Molly  O'Day's 
future  plans  but  I  hope  she  comes  back. 
Dolores  Costello  may  be  reached  at  the  Warner 
Brothers  Studio,  5842  Sunset  Blvd.,  Holly- 
wood, Calif.  Both  of  Dolores'  parents  are 
living. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


loi 


When  you  see  and  hear 
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theatre,  you  will  realize  why 
Fox  Movietone  all-dialogue 
talkers  are  the  most  popular 
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The  screen  adaptation  of  this 
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You  see  and  hear  a  living  spec- 
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NOHf 

li  iJie  w  wx^  nail  fas /lion 


SMART  women  have  abandoned  arti- 
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entirely  new  type  of  nail  loveliness  is  now 
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This  exquisite  polish  was  created  for 
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And  this  dainty  nail  sheath  lasts  a  week. 
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I  enclose  lo  cents.  Please  senij  me  Glazo  Samples, 
(polish  and  remover).  Also  booklet  of  complete  mani- 
curiog  inscruciioni. 

Name 


Street. 
City.. 


G  LAZ  O 


Girls'  Problems 


[  COXTIXfED  FROM  P.ACE   16  ] 


making  a  fcrievous  mistake  herself.  Her  feet 
were  unusually  wide  and  large,  but  I  noticed 
?he  was  wearing  \'ery  fancy  shoes  with  many 
intricate  cut-outs  and  strappings  that  added 
to  the  general  impression  of  width  and  size. 
She  should  ha\'e  worn  a  dark,  simply  cut  shoe 
made  on  narrow  lines  to  add  distinction  to  her 
foot  and  take  away  from  its  size. 

Probably  the  Evelyn  they  were  discussing 
makes  another  mistake — it  is  such  a  common 
one.  Fat  legs  should  be  stockinged  in  dark  or 
neutral  colors — never  in  the  pinks  and  bright 
flesh  tints  that  slim  legs  can  afifect. 

You  do  not  tell  me,  Janet,  whether  your  hips 
are  large.  If  they  are,  even  though  you  are  not 
stout,  I  suggest  that  you  wear  a  girdle  or 
corset  of  some  sort,  however  light  in  weight,  to 
give  that  trimness  of  figure  so  essential  in 
wearing  present-day  clothes.  Select  it  care- 
fully. It  is  important  that  you  get  the  kind  of 
garment  that  is  especially  suited  to  your  figure. 
It  need  not  be  expensive,  but  it  must  be  right. 
The  advertising  columns  of  Photoplay  can 
help  you  solve  this  problem. 

And  last,  but  not  least,  comes  the  matter  of 
clothes.  There  is  one  simple  rule  to  be  fol- 
lowed by  all  girls  who  want  to  look  well  and 
have  to  be  careful  what  they  spend.  Choose 
conservative  models — fads  are  not  for  you. 
Don't  buy  flaming  colors  and  patterned  ma- 
terials— except  for  a  change  now  and  then. 
Color  and  faddishness  can  run  riot  in  your 
accessories — scarfs,  jewelry  and  handbags. 
They  will  keep  your  costumes  from  becoming 
monotonous  to  yourself  and  others,  and  will 
make  you  feel  stylish  and  up-to-date. 

Unless  a  girl  is  tall  and  slender  she  should  not 
wear  clothes  that  are  trimmed  in  \nde  bands  of 
solid  colors  running  around  her  figure,  espe- 
cially at  the  hips.  I  think  you  are  wise  in 
cUnging  to  solid  colors  most  of  the  time.  You 
are  not  so  apt  to  tire  of  them  and  they  do  add 
height  and  grace. 

For  daytime  wear  I  think  all  the  browns  and 
tans  woijd  b»  becoming  to  you.  Rose-beige 
should  be  very  flattering.  Some  shades  of  blue 
should  look  well  on  you,  depending  upon  your 
makeup.  The  orange  reds  are  usually  very 
lovely  with  your  coloring,  especially  for  evening 
wear. 

In  the  ]May  issue  of  Photoplay  (the  next 
issue)  Laurene  Hempstead  has  written  a 
splendid  article  about  color  harmony  for 
brown-haired,  brown-eyed  girls,  of  which  June 
Collyer  is  a  t>'pical  example.  I  know  Miss 
Hempstead  can  help  you  tremendously  in  these 
matters,  so  I  won't  go  into  detail  here.  Be  sure 
to  read  her  article. 

I  want  to  close  my  letter  with  a  final  word  of 
advice,  and  perhaps  it  is  the  most  valuable 
thing  I  could  tell  you.  It  is  just  this.  After 
you  have  done  your  best  to  improve  your  looks, 
to  purchase  the  right  things  and  to  wear  them 
with  distinction,  don't  let  yourself  become  self- 
conscious  about  your  appearance.  You  will 
know  you  ha\-e  done  your  utmost  to  look 
"right."  That  should  give  you  confidence  and 
make  you  feel  "  right."  When  you  leave  your 
mirror,  forget  yourself  and  your  clothes.  You 
can  afford  to  then. 

Mattie: 

Practically  the  only  thing  that  will  abso- 
lutely remove  superfluous  hair  is  the  electric 
needle.  As  the  hair  upon  your  face  is  light,  I 
should  let  well  enough  alone  and  not  e.x-peri- 
ment  too  much  with  depilatories,  unless  you  do 
it  under  the  supervision  of  a  beauty  specialist. 
Depilatories  are  fine  and  we  recommend  them 
unreservedly,  but  in  your  case  you  had  best 
let  nature  take  its  course. 

Kay: 

Your  description  of  your  type  sounds  very 
much  as  if  you  belong  to  the  same  general 


group  that  Janet  Gaynor  glorifies.  What  a 
lucky  girl  you  are  if  you  resemble  her,  for  she  is 
one  of  the  most  charming  youngsters  on  the 
screen.  Be  perfectly  natural  with  the  boys  and 
you  will  attract  them.  Don't  get  self-con- 
scious, and  remember — you  have  plenty  of  time. 

"Brown  Eyes": 

A  diet  of  bread  and  water  will  only  make  you 
heavier.  Bread  is  one  of  the  most  fattening 
things  you  can  eat.  Try  this  diet  for  a  month 
or  two:  Salads  with  French  dressing;  green 
vegetables;  lean  meat  or  chicken;  and  fruit  in- 
stead of  desserts.  Omit  sugar  and  butter  and 
potatoes.  You  will  find  that  this  will  help  you 
to  lose  quite  a  bit — and  do  it  rather  quickly. 

Betty: 

If  the  consensus  of  opinion  is  that  the  boy 
you  are  so  fond  of  likes  you,  I  don't  doubt  that 
he  does.  Why  doubt  him  when  you  haven't 
any  reason  to.-" 

Gr.\ce  H.: 

Sex  appeal  is  an  indefinable  something  that 
is  not  a  new  name  for  love,  and  is  certainly  far 
more  than  a  fascination.  I  think  sex  appeal  is 
the  ability  to  charm  the  other  sex  without  con- 
sciously trying  to  do  so.  Be  very  glad  if  you 
have  it. 

Brown-Eyed  Mary: 

Send  for  my  booklet  on  weight  reduction. 
You  are  twenty  pounds  ox'erweight,  and  should 
reduce  sanely — but  surely. 

It  is  a  gracious  thing  for  a  girl  to  tell  a  young 
man  that  she  has  enjoyed  herself  when  in  his 
company,  and  I  certainly  think  she  ought  to 
thatik  him  for  taking  her  out. 

Puzzled: 

Poor  little  girl,  you  are  bewildered  by  the 
process  of  growing  up.  I  can't  blame  you,  for 
many  another  girl  has  been  nonplussed  by  that 
stage  between  childhood  and  womanhood. 
Don't  miss  the  teachers  of  your  passing  school 
days  too  much.  Other  friends  and  advisers  will 
take  their  place. 

JSlARjORrE: 

You  can  look  taller  by  wearing  straight  line 
frocks  and  by  getting  a  high  effect  rather  than 
a  wide  one  in  the  dressing  of  your  hair.  You 
need  not  worry  about  being  very  much  over 
weight.  In  fact,  many  girls  far  heavier  than 
you  do  not  feel  that  they  are  other  than  slim. 

D.  W.: 

Indeed  you  are  foolish  in  missing  dates  be- 
cause some  of  the  boys  you  know  are  shorter 
than  yourself.  Have  a  good  time  and  stop 
being  self-conscious  about  your  height.  Five 
feet,  six  inches  is  not  very  tail,  anyway.  I 
should  call  it  average. 

Peggy: 

\\hy  don't  you  wear  rubber  reducing  stock- 
ings for  a  while?  They  might  help  to  reduce 
your  legs.  And  don't  give  up  the  leg  reducing 
exercises  that  you  are  using.  Sometimes  a  good 
many  months  pass  before  one  can  notice 
results. 

Miss  L.  D.,  New  York: 

Your  mother  is  right.  Follow  the  doctor's 
orders  and  gi\e  your  complexion  a  chance.  It 
mil  probably  clear  up  nicely  and  when  you  are 
older  you  can  use  cosmetics  to  make  yourself 
more  attractive.  At  sixteen  good  health  and 
youth  are  the  best  beautifiers.  Vaseline  will 
gradually  darken  the  lashes,  although  I  sug- 
gest yellow  vaseline  in  preference  to  white. 
Use  it  very  sparingly  and  do  not  let  it  get  in 
your  eyes. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  I3  guaranteed. 


Photoplay  Magazine— Advertising  Section 


"To  me,  a  most  important  reason 
for  preferring  the  new  Frederics  Vita' 
Tonic  Permanent  Wave  is  that  1  have 
confidence  that  my  hair  is  perfect — smooth 
and  soft,  in  wide,  natural  waves.  Tsjo  other 
method  of  waving  is  quite  li}{e  it." 


J 


oun  V^  raw  ford 

, . .  finds  how  to  have 
Naturally  Wavy  Hair 

A  MARVELOUS  new  permanent  with 
soft,  wide,  natural  waves  that  exactly 
reproduce  Nature's  own,  is  the  new'found 
joy  of  Joan  Crawford. 

The  beautiful,  natural  effect  is  obtained 
with  the  New  Frederics  Vita-Tonic  Process 
with  which  the  hair  is  wrapped.  Without 
affecting  the  texture,  it  imparts  to  the  hair 
an  alluring  lustre,  a  soft,  flowing  loveliness. 

Authorized  Frederics  operators  the  coun- 
try  over  are  carefully  trained  to  use  this 
remarkable  new  method.  Make  sure  you 
receive  a  true  Frederics  Vita-Tonic  Wave. 

^"Frederics  Vitd-Tom'c  is  imprinted  on  the 
wrapper  used  on  each,  tress  of  hair.^' 

Send  for  the  booklet,  "The  Glorious  Gift 
of  Lovely  Hair"  which  tells  how  to  care 
for  your  wave,  and  a  generous  free  intro- 
ductory tube  of  the  new  Frederics  Hair 
Trane  Cream,  for  keeping  your  wave  or- 
derly.    Merely  fill  in  and  send  the  coupon. 


This  mark  of  qticility 
will  be  fottiid  on  all 
Frederics  prodttcts. 
Look  for  it  every 
time.  It  i&  your  giKii- 
onlee  o/  salisfaelion. 


qJHESE  glorious  waves  of  loveliness  flow  about 
the  head  of  pretty  Joan  Crawford,  Metro- 
Goldwyn-Mayer's  charming  screen  favorite. 


E.  FREDERICS,  Inc., 

235-247  East  4.';th  Street,  Dept.  24 

New   York   City. 

Please  send  me — free — the  booklet  "The  Glori- 
cus  Gift  of  Lovely  Hair."  also  a  free  introductory 
tube  of  the  new  Frederics  Hair  Trane  Cream. 


\ame . 


Address. 


City. 


.  State , 


jlfS-Dtl^' W  v-..r-.. 


When  you  write  to  advertisers  please  mention   PHOTOPLAY   iHGAZINE. 


104. 


Photoplay  Magazine— Advertising  Section 


Gossip  of  All  the  Studios 


I  CONTINUED  FROM  PAGE  84  ] 


66  W.  46th  St.,  New  York  City. 


THERE'S  plenty  in  a  name,  if  you 
ask  old  Cal. 
A  talkie  director  in  New  York,  be- 
tween Thanksgiving  Day  and  the 
first  of  February,  shot  not  less  than 
forty  short  subjects  for  Metro-Gold- 
wyn-Mayer. 

And   his    name,    honest    and    no 
clowning,  is  Nick  Grindel 

RENEE  ADOREE  is  a  free  woman.  She 
has  just  made  a  little  prayer  (in  French) 
that  she  won't  be  seriously  e.\posed  to  matri- 
mony again.  She  was  first  divorced  from  Tom 
Moore  Then  she  married  William  Sherman 
Gill  a  tailor.  She  filed  suit  for  divorce  just 
before  she  went  to  the  South  Sea  Islands  on 
location.  It  was  her  hope  that  the  papers 
would  be  put  through  and  aU  in  order  by  the 
time  she  returned.  ,    =  .t. 

The  first  news  she  had  when  she  got  ott  tne 
boat  at  San  Francisco  was  that  Gill  had  not 
been  served  for  the  very  good  reason  that  he 
could  not  be  found.  A  few  weeks  later  he 
appeared  in  Reno  and  filed  suit. 

The  marriage  had  been  a  mistake  from  the 
beginning.  „.„  ,        ,  . 

Renee  had  only  known  GiU  for  three  days 
before  they  were  married.  Their  interests 
were  never  the  same.  Gill  was  always  the  bus- 
iness man,  Renee  always  the  artist. 


Loved  by  Americans 

Most  Beautiful 

Women 

MELLO-GLO  Face  Powder  must  be  won- 
derful— so  distinctive — so  exceptional. 
Two  million  of  America's  loveliest  womeri 
know   MELLO-GLO  stays  on  longer  and 
prevents  large  pores— conquers  shiny  nose 
spreads  more  smoothly  and  gives  a  youthiul 
bloom    unknown    before.    These    marvelous 
qualities   are   due  to   a   new   French   Process 
owned  and  used  by  MELLO-GLO  only. 
The  purest  face  powder  known!  MELLO- 
GLO    is   made   of  the    finest   imported   in- 
gredients and  the  coloring  is  passed  by  our 
Federal  Government's  chemists  before  it  is 
used. 

MELLO-GLO  is  an  exclusive  powder  made 
for  and  used  by  Beautiful  Women.  Its  purity, 
smoothness,  softness  and  fineness  insure  you 
against  any  flaky  or  pasty  look  or  irritation 
Your  favorite  store  has  MELLO-GLO  or 
will  get  ic  for  you.  Use  this  truly  wonderful 
Face  Powder  and  protect  your  complexion. 

<J  MELLO-QLO  has  become  so  popular 
among  beautiful  women,  that  any  store  that 
tries  to  substitute  docs  you  an  injustice. 


GREATER  love  hath  no  brother  than  that 
in  the  heart  of  Ramon  Navarro. 
Ramon  has  his  heart  set  on  a  career  of  song, 
and  he  has  planned  for  some  time  on  a  concert 
tour  in  Europe.  Now  one  of  his  brothers  is 
ill  and  Ramon  is  cancelling  the  foreign  trip  m 
order  that  he  may  spend  every  free  hour  with 

the  boy.  „ 

If  the  brother  improves,  Ramon  may  go 
as  far  as  the  east  coast  to  make  phonograph 
records,  but  no  farther. 

There's  a  charming,  genuine  note  among  the 
cream  puff  desires  and  plans  of  some  ot  the 
actors! 


A  BRAVE  girl  double  has  died. 
Leta    Wishard,     doubUng    lor    Ruth 
Elder  in  a  parachute  jump,  was  killed  when 
the  bag  failed  to  open  2,000  feet  in  air. 

To  add  to  the  tragedy,  the  girl's  husband 
watched  her  death  leap  from  the  ground! 

And  so  another  name  is  added  to  the  scroll 
of  those  who  have  gone  to  their  death  in 
pictures  in  order  that  more  famous  names 
might  continue  to  twinkle  in  electric  lights. 

IF  your  name  was  Smith  and  everybody  in- 
sisted on  calling  you  Smith,  wouldn't  you 
get  sore? 

Baclanova,  the  Russian  menace  on  the 
Paramount  lot,  is  tired  of  having  people  pro- 
nounce it  "Back-la-iVO-va."  __ 
The  proper  way  is  "  Back-IOA-ova.  _ 
And  don't  blame  us  if  she  hurls  a  tin  of 
caviar  at  you  the  next  time  you  get  your 
syllables  jammed. 

WHAT  things  the  sensitive  mind  of  a  child 
picks  up  at  the  movies! 

This  was  called  to  Charlie  Chaphn  s 
attention  by  the  parents  of  a  New  York  four- 
year-old.  They  had  taken  him  to  see  Ihe 
Circus,"  and  though  he  had  laughed  heartily 
at  the  picture  he  came  out  of  the  theater  in 
a  most  serious  mood. 

Evidently  the  last  scene,  where  Charlie  sees 
the  circus  wagons  fade  into  the  distance  and 
then  marches  off  alone,  had  made  a  tremendous 
impression  on  his  little  brain. 

"Why  are  you  so  quiet?'   asked  his  mother. 

"Poor  Charlie!  AU  alone  that  way!"  the 
kid  said.  "Can't  he  come  over  and  stay  at  our 
house?" 


BESSIE  LOVE  has  a  new  young  man! 
Bessie  is  not  putting  out  many  press  re- 
ports on  the  present  romance,  as  of  even  date, 
but  she  has  dropped  the  hint  that  he  is  from 
Chicago,  north  of  the  machine  gun  belt,  and 
that  he  has  a  good  supply  of  doubloons. 

[  CONTINUED  ON  PACE  106  1 


An  all-colored  cast  brings  one  of  Octavus  ^^J  Cohen's  famous 

by  Christie  Brothers  under  the  supervision  of  Alfred  Cohn,  torme 
western  editor  of  PHOTOPLAY 

advertisement  In  PHOTOPLAY  MAGAZINE  l3  guaranteed 


Photoplay  Magazine — Advertising  Section  105 


It's  the  money  you  spend 
wisely  that  counts 


Someone  has  said  that  a  rich  man  has  more  fun  keep- 
ing a  budget  than  a  man  of  moderate  means.  Because 
the  money  he  saves  is  tangible,  he  can  see  it  and  invest  it, 
and  put  it  to  work.  However,  a  budget  is  an  invaluable 
help  to  anyone. 

A  budget  helps  you  keep  the  right  proportions  be- 
tween expenses,  prevents  you  from  spending  more  than 
is  best  for  food  and  rent,  or  crimping  more  than  you 
should  on  entertainment  and  luxury.  But  a  budget  is 
not  a  reason  for  getting  cheap  things,  things  in  which 
you  forfeit  quality  by  attempting  to  save  on  price.  A 
budget  says  to  you:  "Here  is  the  amount  of  money  you 
should  spend  for  this.  Spend  all  of  it,  but  don't  spend 
more."  And  it  is  up  to  you  to  get  the  best  that  can  be 
got  for  that  amount. 

The  person  who  spends  his  money  wisely,  who  likes  to 
get  the  utmost  for  it,  always  finds  out  from  advertise- 
ments how  he  can  spend  it  to  the  best  advantage. 

It  is  surprising  how  much  more  wisely  you  can  buy  if 
you  make  it  a  habit  to  read  advertising.  A  little  more 
value  here  ...  a  little  better  workmanship  there  .  .  , 
in  this  thing  slightly  more  durability  .  .  .  that  product 
perhaps  a  bit  finer.  And  every  cent  of  money  you  spend 
for  advertised  merchandise  will  bring  you  greater  com- 
fort, a  higher  quality  of  goods,  and  a  standard  of  excel- 
lence that  is  nationally  recognized. 


It  certainly  pays  to  read  the 
advertisements 


When  you  write  to  advertisers   please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine— Advertising  Section 


Gossip  of  All  the  Studios 


1  tONTINTIED  FROM  PAGE  104  ] 


Beyond  this  Bounding  Bess  refuses  to  go, 
and  her  mother,  when  cross-examined,  just 
says,  "Ask  Bessie." 

Love  and  success  in  the  talkies  seem  to  have 
struck  Bessie  in  Love  almost  simultaneously. 
Must  be  sunny  days  in  the  old  Love  manse. 

CAUTIOUS  people— these  Russians.  Bac- 
lanova  has  had  her  divorce  for  over  three 
months  and  she  is  still  only  engaged  to 
Nicholas  Soussanin.  They  had  planned  upon 
being  married  immediately  the  divorce  was 
granted.  This  is,  by  the  way,  the  first  Soviet 
divorce  obtained  by  a  film  actress. 

What  the  reason  for  the  delay  in  the  wedding 


plans  is,  nobody  knows,  for  Baclanova  has 
very  few  friends  in  the  film  colony.  She  goes 
out  \'ery  little,  her  only  social  activities  being 
at  the  Russian  Art  Club,  where  she  finds  her 
own  people  and  appears  in  plays  in  her  native 
language. 

Monthly  bulletin  from  the  Patsy  Ruth 
Miller  sector. 

That  much  engaged  young  woman  has 
another  flame.  Tay  Garnett  is  reported  this 
way  and  that  about  the  pert  Patsy  Rutli. 
They  both  play  tennis,  and  every  time  Tay's 
name  is  mentioned  Patsy  turns  a  salmon  color 
and  just  can't  help  driving  the  ball  into  that 
mean  old  net. 


Adds  Glossy  Lustre, 

Leaves  Your  Hair 

Easy  to  Manage 

IF  you  want  to  make  your  hair  .  .  .  easy 
to  manage  .  .  .  and  add  to  its  natural 
gloss  and  lustre— this  is  very  EASY  to  do. 
Just  put  a  few  drops  of  Glostora  on  the 
bristles  of  your  hair  brush,  and  .  .  . 
brush  it  through  your  hair  .  .  .  when 
you  dress  it. 

You  will  be  surprised  at  the  result.  It 
will  give  your  hair  an  unusually  rich, 
silky  gloss  and  lustre— instantly. 

Glostora  simply  makes  your  hair  more 
beautiful  by  enhancing  its  natural  wave 
and  color.  It  keeps  the  wave  and  curl  m, 
and  leaves  your  hair  so  soft  and  pliable, 
and  so  easy  to  manage,  thatit  will  ...stay 
any  style  you  arrange  it  .  .  .  even  after 
shampooing— whether  long  or  bobbed. 

A  few  drops  of  Glostora  impart  that 
briglit,  brilliant,  silky  sheen,  so  much 
admired,  and  your  hair  will  fairly  sparkle 
and  glow  with  natural  gloss  and  lustre. 
A  large  bottle  of 
Glostora  costs  but  a 
trifle  at  any  drug  store 
or  toilet  goods  coun- 
ter. 

Try  it! — You  will 
be  delighted  to  see  how 
much  more  beautiful 
your  hair  will  look, 
and  how  easy  it  will 
be  to  manage. 

~Try  It  FREE 

THE  R.  L.  WATKINS  CO.  r^J^'^^^ 

1276  W'est  3rd  Street,  Cleveland,  Ohio 
Please  send  me  FREE  aaample  of  GLOSTORA, 
all  charges  paid. 


Name. 


Address. 


I    ~~hr<':anBHa»ddr<,»»<62WcllinBtonSt.,WoBt.jrormto^Ont^  J 


And  now  it  is  the  cocktail  jacket,  to  be  worn  just  ^^J^^'l^'^^J^l^l 

into  evening.     Estlier  Ralston  wears  a  jacket  of  silver  net  ana 

equins  to  accent  a  gown  of  black  tulle  and  jet.    The  bod.ce  o   the 

gown  is  very  long  and  tight  at  the  back  and  the  voluminous  skirt 

just  skips  the  floor 

Every  advertisement  in  PHOTOPLAT  MAGAZINE  Is  euaranteed. 


Photoplay  Magazine — Advertising  Section 


107 


Either  the  net  is  too  high,  or  else  Patsy 
Ruth  CARES.    \\'rite  your  own  diagnosis. 

""pHE  turtle  doves  are  coo-cooinK  once  again 
■'-  around  the  door  of  the  old  James  Forbes 
mansion. 

For  James  and  Ruth  Chatterton,  his  lady 
wife,  have  made  up  and  are  together  once  more. 

They  were  separated  for  a  httle  over  a  year. 
Ruth,  a  famous  stage  star,  practically  gave 
up  her  footlight  career  to  be  near  her  handsome 
young  husband  at  the  Metro-Goldwyn  studio. 
They  grew  apart,  and  finally  decided  to  dis- 
agree, amicably  enough,  but  firmly. 

Then  the  rich  Chatterton  voice  was  con- 
scripted fof  a  Paramount  talking  picture,  and 
very  shortly  thereafter  Hollywood  was  glad  to 
note  that  Ruthie  and  Jimmy  were  going  to- 
gether. 

In  no  time  at  all  came  the  announcement 
that  they  were  living  together  again.  And 
se\'eral  turtle  do\'es  immediately  went  out  to 
the  old  Forbes  manse  and  began  cooing  a 
serenade. 

PULLING  a  Prince  of  Wales  tumbled  Dan- 
gerous Gwen  Lee  into  the  movies! 

When  Gwen  was  an  e.\tra,  George  Fitz- 
maurice  promised  her  a  few  days'  work  if 
she  could  ride  a  horse  English  fashion.  Gwen 
had  never  done  it,  and  she  didn't  feel  any 
better  when  she  learned  she  was  supposed  to 
play  polo  in  a  slippery  batliing  suit. 

But  up  and  away  went  Gwen,  game  to  the 
last  bounce,  and  in  about  fourteen  seconds  the 
horse  grew  bored  and  tossed  her  off.  Gwen 
lit  on  the  ground  with  a  thump. 

"Ha,  ha!"  laughed  George,  "that's  great. 
We'll  leave  it  in!" 

.\nd  Gwen  Lee  was  a  movie  comedienne! 

'T^H.\T  musical  gurgle  you  hear  is  Dorothy 
•'-  Sebastian  having  the  last  laugh. 

.■\bout  three  years  ago  Dorothy  sweetly 
confided  to  our  shell-pink  ear  that  she  would 
never  marry — that  freedom  was  sweet  and  her 
film  career  the  big  shot  in  her  life. 

"The  usual  bunk!"  thought  we,  and  when  she 
became  engaged  to  Clarence  Brown,  the 
briUiant  director,  we  had  to  gag  ourself  to  keep 
from  yelling  "I  told  you  so." 

Now  Dorothy  has  made  a  sucker  out  of  us 
by  announcing  with  gestures  that  she  is  not 
going  to  marry  Clarence  after  all.  That  is 
her  story,  and  she  is  sticking  to  it.  The  wed- 
ding bells  are  muffled,  and  the  only  music 
on  the  air  is  Sebastian's  last  laugh. 

WELL,  it  would  come  out  sooner  or  later, 
and  it  might  as  well  be  sooner. 

Virginia  Cherrill,  Charlie  ChapUn's  new 
leading  woman,  has  been  married  and  divorced. 
Her  former  helpmate  is  a  nephew  of  Feli.x 
Adler,  and  he  li\'es  in  Chicago,  we  hear. 

Virgie  makes  her  film  bow  toward  the  end  of 
the  first  reel  of  Chaplin's  new  "City  Lights." 
And  gosh  knows  when  that  will  be  seen! 

In  the  meantime,  Virginia  twitters  about 
Hollywood  in  the  company  of  Eddie  Suther- 
land, and  has  herself  a  swell  time. 

MONTE  BLUE'S  baby  boy  was 
bom  on  his  wife's  birthday. 
Sam  Warner,  the  mad  wag,  sent 
the  following  congratulatory  wire: 

"Congratulations    on    Little    Boy 
Blue." 

"N/OU  should  see  the  suite  of  dressing  rooms 
•'■  at  the  Warner  Studio  that  has  been  pre- 
pared for  John  Barrymore  and  Dolores  Cos- 
tello  when  that  famous  pair  of  honeymooners 
go  back  to  toil! 

The  last  word  in  bathrooms  has  been  in- 
stalled. It  is  a  super-special — in  fact,  with 
one  more  gadget,  it  would  be  an  epic.  And 
there  are  many  rooms  just  for  the  accommoda- 
tion of  the  stars'  huge  wardrobes. 

ORANT  WITHERS,  Claire  Windsor's  cur- 
^--'rent  boy  friend,  was  twenty-four  years  old 
the  other  day,  and  the  present  was  a  beauty. 


Rock 
Island 


Gentlemen: 

My  recent  trip  on  the  Golden  State 
Limited  from  Los  Angeles  to  Chicago 
was  most  delightful.  Every  conceivable 
thing  was  done  to  make  the  trip  pleasant, 
convenient  and  luxurious. 

The  ease  with  which  I  was  able  tJ 
transfer  from  the  Golden  State  in  Chicago 
'was  an  added  advantage  of  no  small  import. 

Sincerely  yours. 


z_ 


i-i^*     /    -C«t--i^,^Ct;, 


Laura  La  Plante 


516 


California 

First  not  only  in  transportation 
convenience,  but  in  terminal  con- 
venience as  welL 

In  Los  Angeles  and  San  Diego — the  most 
accessible  stations,  and  in  Chicago ! ! !  La 
Salle  Street  Station,  in  the  heart  of  the 

city    (only   station  on   the  Elevated   Loop)    with 

EnglewoodfUnion  Station)to  double  the  assur- 
ance of  connections  between  East  and  West. 

61V4  hours  Los  Angeles-Chicago.  Shortest 
and  quickest  Chicago- El  Paso,  Phoenix 
and  San  Diego. 

Tickets  and  reservations  at 

Hollywood  Ticket  Office,  6768  Hollywood  Boulevard 

Phones  Granite  1801-1802 

Los  Angeles  Ticket  Office.  212  West  Seventh  Street 

Phone  Metropolitan  2000 

B.  F.  Coons.  General  Agent.  Rock  Island  Lines 

809  Van  Nuys  Building,  Phone  Trinity  4574.  Los  Angeles.  Calif. 

Hugh  H.  Gray,  General  Agent  Passenger  Department 

Southern  Pacific  Lines.  165  Broadway,  Phone  Cortland  4300 

or  531  Fifth  Avenue  at  44th  Street.  Phone  Murray  Hill  8400 

P.  W.  Johnston.  Gen'l  Agt..  Pass'r  Dept.,  Rock  Island  Lines 

723  Knickerbocker  Building.  Broadway  and  42nd  Street 

Phones  Wisconsin  2515-6,  New  York  City 


.^^^^-^ 


"■'";.*-'" 


ARRISO  GORGE 


The  Comfortable  Lotv  Attitude  Route 


When  you  write  to  advertisers  please  mention  PHOTOPLAY   MAGAZINE. 


!08 


''What  makes  your 

ROUGE  spread 

so  easily  and 

on  so 


Photoplay  Magazine — Advertising  Section 

Loosen  Up 
Chest  Colds 


That's 
what 
they'll  ask 
when  you  use 


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Stntt 

a,y 


Claire  dug  down  deep  and  bought  him  an 
onyx  cigarette  case  with  platinum  bands  across 
each  corner. 

Inside,  in  the  fair  one's  own  handwriting,  is 
inscribed  "Amour  de  Clairette  toujours."  Try 
that  on  your  dictionary. 

Grant  is  a  nice  kid,  but  studio  birds  are  be- 
ginning to  whisper  that  he  is  taking  himself  a 
little  too  seriously  and  is  rolling  up  a  snowball 
of  enemies  thereby. 

T  OWELL  waited  and  waited,  but  Pauline 
-'-'never  came  home  to  papa. 

So  Lowell  Sherman,  noted  on  stage  and 
screen,  has  brought  suit  for  divorce  against 
Pauline  Garon,  once  a  short  lived  hope  of  the 
photoplay. 

The  grief  began  in  August,  1927,  when 
Lowell  and  Polly  had  a  spat  over  mean  words 
passed  on  the  set  by  Pauline  and  Gertrude 
Short.  Lowell,  it  was  said,  sided  with  Miss 
Short  against  the  little  woman. 

So  Polly  packed  and  stormed  out,  and  from 
that  day  to  this  has  never  darkened  the  Sher- 
man door  again.    Hence  the  litigation. 

A  LL  Hollywood  is  happy  over  Mae  Busch's 
■'^■come-back. 

There  isn't  a  better  loved  girl  in  town  than 
Mae,  but  she's  had  a  lot  of  luck  lately,  all  bad. 
Some  years  ago,  when  she  was  under  contract 
to  Metro-Goldwyn-Mayer,  she  was  contin- 
ually farmed  out  to  other  companies  at  double 
and  triple  the  money  her  contract  called  for. 

This  didn't  seem  to  Mae  to  be  playing 
pretty,  so  she  was  glad  to  leave  when  the 
document  wore  out. 

Since  that  time  she  has  just  had  occasional 
quickie  jobs — until  the  talkies  came  along. 

On  the  strength  of  her  stage  experience  she 
has  been  given  an  important  role  in  "Night- 
stick," one  of  United  Artists'  biggest  pictures. 
And  Mae's  happy,  and  United  Artists  is  happy, 
and  Hollywood  is  happy,  too. 

WHATE'VER  has  become  of  that  good- 
looking  Alan  Forrest?"  ask  the  girls. 
"The  one  that  used  to  be  Lottie  Pickford's 
husband?" 

Well,  five  years  ago  he  was  one  of  the  most 
popular  come-hither  leading  men  in  pictures. 
Now  he  sells  signs  for  a  living — the  sort  you 
put  on  commercial  automobiles  where  they 
become  legible  by  reflecting  light. 

And  a  good  living  he  makes  too,  thank  you, 
with  a  flossy  set  of  offices  in  the  same  Los 
Angeles  building  that  houses  the  western  office 
of  Photoplay. 

Once  in  a  while  he  works  in  a  picture,  but 
most  often  he  is  satisfied  with  his  sign  business. 

"We  get  no  younger,"  says  Alan,  ringing 
another  prospect. 

The  IrouUc  iviHi  the  Ihcme  songs 

At  present,  it  would  seem, 
h  that  the  Tilt  Pan  Alley  boys 

Can't  quite  locate  a  iheinel 

WFJX,  Lya  di  Putti  has  sailed  away  from 
these  unfriendly  wildwoods  and  Holly- 
woods,  and  another  trumpeted  importation 
seeks  fame  and  fortune  in  the  studios  overseas. 

There's  a  star  role  for  Lya  in  the  British 
International  studio,  in  a  picture  called  "The 
Informer,"  and  perhaps  more  to  follow. 

Hollywood?  Not  again — while  sound  reigns, 
says  Lya. 

Her  last  gesture  was  a  farewell  luncheon  to 
the  press  at  her  hotel — where  many  of  those 
who  have  spoken  unkindly  dropped  in  to  have 
a  last  look  at  the  body. 

They  found  a  sparkling  woman,  twenty 
pounds  lighter  than  when  she  first  passed  the 
Statue  of  Liberty,  and  if  she  had  a  broken 
heart  she  hid  it  well  behind  hospitable  smiles. 
And  her  present  accent  is  one  of  the  cutest  that 
ever  shuddered  a  microphone. 

Cheerio,  Lya.    Drop  in  again  some  day. 

D  UTH  ROLAND  isn't  the  only  Big  House 
■'^and  Lot  Girl  in  the  film  colony. 

Carmel  Myers  is  also  founding  the  family 
1   I  fortune  in  real  estate. 

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Photoplay  Magazine — Advertising  Section 


The  Rose  of  Sharon  owns  four  completely 
furnished  homes — two  at  the  beach,  one  in 
Hollywood  and  one  in  the  Wilshire  district. 

Whenever  one  of  the  four  is  vacant,  Carmel 
moves  in  to  keep  from  losing  rent.  Last  year 
she  won  the  moving  championship  of  the  world 
by  changing  her  residence  IS  times  in  the  12 
months,  and  not  ahead  of  the  sheriff,  either. 

TALKING  pictures  have  been  blessed  and 
cursed  for  many  things,  but  it  remained  for 
a  Los  Angeles  hotel  proprietor  to  pull  the  last, 
lingering  word. 

W.  G.  Howard,  who  runs  an  inn,  has  sued  an 
adjacent  photoplay  theater  for  S3, 500.  He 
says  in  his  complaint  that  while  the  silent 
drama  was  silent  his  hotel  prospered,  but  with 
the  advent  of  sound  pictures  they  began  com- 
plaining that  the  racket  kept  them  awake, 
and  that  many  packed  up  and  quit  on  him. 

At  the  moment  of  boundiiig  and  leaping  to 
press  the  court  hasn't  acted,  and  that  cer- 
tainly is  a  case  to  turn  a  Solomon  gray  and 
haggard. 

THE  moment  has  arrived  for  the 
monthly  gag  from  Eddie  Nugent, 
one  of  our  fiippest. 

"She  couldn't  forget  her  dialogue," 
says  Edward,  "because  of  the  lines 
in  her  face." 

Which  sounds  like  a  theme  song 
for  a  Sennett  comic,  and  allows  Mr. 
Nugent  to  retire  gracefully  into  the 
wings  for  the  April  issue. 

V\  7E  point  to  the  craftiest  little  girl  in  HoUy- 
"^  wood. 

Lila  McComas  is  an  extra.  Some  time  ago, 
while  filming  a  scene,  she  was  thrown  from  the 
back  of  an  elephant — Heaven  knows  why  or 
how — and  immediately  sued  the  Al  G.  Barnes 
circus  for  582,000  and  a  few  paltry  odd  dollars. 

The  case  came  to  trial,  and  a  jury,  largely 
feminine,  awarded  lamenting  Lila  a  measly 
S500. 

She  took  stock. 

"  I  wore  pretty  flapper  clothes,"  she  thought. 
"Short  skirt,  low  neck  and  all  the  rest  of  the 
tricks.  Mayhap  and  forsooth,  they  were 
jealous." 

She  asked  for  and  received  a  new  trial. 

.\t  the  second  hearing  she  wore  clothes  that 
grandma  would  like.  Her  dress  came  from 
neck  to  ankle,  and  her  hat  was  less  a  hat  and 
more  a  bonnet. 

When  the  balloting  was  over  the  second  jury 
awarded  her  $15,000.  What  price  silk  stock- 
ings now? 

TLTEIGH  HO,  Lois  Wilson  has  been  playing 
-*-  -'-Cupid again! 

Lois  is  never  happier  than  when  she  is  pro- 
moting lovey-dovey  among  her  pals.  Unmar- 
ried herself.  Miss  Wilson  seems  to  think  there 
is  nothing  like  good,  old-fashioned  romance  for 
her  chums. 

May  McAvoy  is  Lois'  warmest  girl  friend, 
and  certainly  deserved  a  nice  beau.  Nothing 
could  be  simpler  than  for  the  sly  Lois  to  intro- 
duce ^laurice  Cleary  to  May.  It  wasn't  long 
until  the  engagement  was  announced. 

In  addition  to  working  day  and  night  on 
stage  and  in  talkies,  Lois  seems  to  have  a  lot 
of  fun  acting  as  volunteer  president  of  the 
League  Against  Lonely  Hearts. 

OUT  from  the  shadows  came  The  Old 
Guard  for  Fox's  fine  talker,  "In  Old  Ari- 
zona," and  many  a  film  fan  clucked  remi- 
niscently  at  some  of  the  faces  in  the  film. 

Tom  Santschi,  one  of  the  first  cinema  heroes 
of  the  sun-burned  west  of  the  Sehg  era.  Frank 
Campeau,  veteran  bad  man  of  both  stage  and 
screen.  Pat  Hartigan,  another  he-man  actor 
of  other  days.  James  Marcus,  a  Fox  standby 
of  many  years'  standing.  .'Xnd  Roy  Stewart, 
now  almost  bald  and  already  over-plump, 
whom  First  National  tried  to  sock  over  as  a 
western  star  some  years  back. 

Even  Eddie  Dillon,  who  was  a  comedian  in 
the  far-off  Griffith  days  at  Biograph,  later  a 
director,  and  then  only  a  memory. 


Th 


les 


e  fau 
often 


It,  dear 
with 


109 

ady, 
yourself 


MANY  a  woman  whose  complexion 
is  not  what  it  ought  to  be  shifts 
from  this  cream  to  that — from  one  method 
to  another  and  wonders  why  her  com- 
plexion does  not  improve. 

But  the  fault,  dear  lady,  rests  nearly 
always  neither  with  your  creams,  nor 
with  your  methods,  but  ra'ther  in  frequent 
neglect  of  your  own  internal  cleanliness. 
— And  without  internal  cleanliness  not 
all  the  beauty  aids  in  Christendom  can 
give  your  skin  real  beauty. 

Good  complexions  come  from  within. 
And  there  is  nothing  so  successful  in  keep- 
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what  wonders  salines  do  for  the  complex- 
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ful European  spas  where  they  freshen 
their  complexions  and  tone  their  systems 
by  drinking  the  saline  waters. 

al  Hepatica  is  the  American  equivalent 
of  the  European  spas.  By  clearing  your 
blood  stream,  it  helps  your  complexion. 
It  gets  at  the  trouble  by  eliminating  poi- 
sons and  acidity.  That  is  why  it  is  so  good 
for  headaches,  colds,  rheumatism,  indi- 
gestion, auto-intoxication,  etc. 

Sal  Hepatica,  taken  before  breakfast, 
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does  it  fail  to  work  within  half  an  houc 
Get  a  bottle  at  your  druggist's  today. 
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See  how  this  treatment  can  make  you  feel 
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I  lO 


Photoplay  Magazine — Advertising  Section 


Milton  Sills,  First  National 
star,  presenting  Helbros 
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Strange  how  the  galloping  ghosts,  now  and 
then,  emerge  to  haunt  us. 

LILY  D.\MITA,  the  French  beauty,  gave 
New  York  photographers  plenty  of  work- 
out when  she  bounded  into  the  metropolis  to 
make  personal  appearance  with  "The  Rescue," 
in  which  she  appears  opposite  Ronald  Colman. 

The  papers  were  full  of  shots  of  the  marvel- 
ous Damita  legs,  the  Damita  reading  in  bed, 
the  Damita  curled  up  on  the  floor,  the  Damita 
in  pajamas,  the  Damita  in  ball  dresses,  the 
Damita  doing  practically  everything  but  play- 
ing the  xylophone. 

Interviewed,  the  Damita  said,  "I  hate  the 
milhonaires.  And  I  hate  the  poor  men, 
because  they  talk  so  much  of  love." 

She  didn't  say  why  she  hated  the  million- 
aires or  what  they  talked  about.  And  her  idea 
of  Gallic  sparkle  was  to  come  leaping  out  on  the 
stage  shouting  "Whoopee!"  The  audience 
nearly  swooned  dead  away. 


'T'HE  Tower  of  Babel  was  a  deaf  and  dumb 
-*•  asylum  compared  to  the  modern  Holly- 
wood, according  to  Harry  Carr,  Los  Angeles 
newspaperman.  "The  other  night,"  writes 
Carr,  "I  went  to  a  dinner  party  given  by  a 
belle  who  is  half  French,  half  Spanish. 

"An  Irish  girl  and  a  German  baroness  began 
discussing  the  merits  of  a  scenario  writer  born 
in  Persia  who  was  preparing  a  play  in  which 
a  Cherokee  Indian  director  would  make  still 
more  famous  a  Mexican  star." 

Carr  neglects  to  mention  that  they  were 
eating  American  lettuce  smothered  in  Russian 
dressing,  prepared  by  a  colored  cook  and  served 
by  a  Japanese  house-boy, 

'  I  HE  Stork-by-Proxy  notion  has  a  firm  grip 
■*-  on  Hollywood.  Walter  Long,  the  heax-y, 
and  his  wife  have  just  adopted  a  five  year  old 
boy,  and  I  understand  that  Mr.  and  Mrs. 
Harold  Lloyd  are  about  to  step-up  their  family 
by  adopting  a  little  girl  about  Gloria's  age. 


How  Talkies  Are  Made 


[  CONTINUED  FROM  PAGE  31  ] 


tubby  or  rain-barrel  effects;  that  walls  made  of 
wood  caused  the  voice  to  "bounce,"  hence  the 
adoption  of  composition  material  for  the  build- 
ing of  sets.  Much  surprise  has  been  expressed 
at  the  quality  of  the  voice  reproduction  in 
Fox's  "In  Old  Arizona,"  yet  it  is  a  well-known 
fact  that  the  finest  sound  reproduction  is  that 
obtained  out-of-doors,  where  there  is  nothing 
to  interfere  with  the  capture  of  the  voice  or 
sound  effect  in  its  natural  state. 

WHILE  making  our  first  Christie-Par- 
amount talking  short,  "When  Caesar  Ran 
a  Newspaper,"  we  learned  something  about 
firearms  in  talkies.  The  picture  is  a  film  ver- 
sion of  a  famous  vaudeville  travesty  in  which 
Raymond  Hatton  plays  Julius  Caesar  to  the 
Marc  Antony  of  Sam  Hardy,  Marc  being  press 
agent  for  one  Cleopatra,  a  dancer  from  Egypt. 
In  the  last  few  feet  Marc  commits  suicide  by 
shooting  himself.  We  knew  that  an  actual 
revolver-shot  would  ruin  the  sensitive  micro- 
phone, so  used  a  toy  cap  pistol.  When  the  cap 
exploded  it  sounded  in  the  monitor  room  like 
a  sixteen-inch  gun  and  in  retaking  the  scene 
the  mere  chck  of  the  hammer  provided  the 
desired  effect. 

Perhaps  the  most  interesting  e.xperiment,  in 
our  studio  at  least,  has  been  the  making  of  the 
first  two  Octavus  Roy  Cohen  "Bummin'ham" 
stories,  with  all-negro  casts.  We  discovered 
very  early  that  the  usual  colored  screen  actor 
was  practically  useless  because  it  was  next  to 
impossible  for  him — or  her — to  memorize  long 


speeches.  Of  course  there  are  exceptions,  but 
very  few  of  them.  We  went  to  the  legitimate 
stage  for  most  of  our  principals — the  colored 
legitimate  stage.  One  of  our  principals  in  the 
first  colored  talkie,  "The  Melancholy  Dame," 
is  Evelyn  Preer,  of  the  LaFayette  players,  a 
splendid  actress  who  was  Lenore  Ulric's  under- 
study in  "Lulu  Belle."  The  colored  stage 
players  are  remarkably  quick  "studies"  and 
seldom  "go  up"  in  their  lines.  The  second 
colored  talkie,  "Music  Hath  Harms,"  just 
completed,  we  are  convinced,  will  prove  a 
sensation. 

WE  are  all  trying  to  find  out  what  sort  of 
talkie  entertainment  the  public  wants  in 
abbreviated  forms.  The  Christies  belie\e  that 
the  public  will  tire  of  the  ordinary  \'audeville 
act  and  so  we  lean  more  to  the  one-act  play 
form,  telling  a  complete  story  usually  in  about 
eighteen  minutes.  Lois  Wilson  has  appeared 
in  one  of  these  for  us,  and  she  is  to  do  another, 
with  Edward  Everett  Horton.  By  that  time 
we  expect  to  know  something  of  the  public 
taste — to  obtain  some  hint  of  the  pubUc's  ver- 
dict. 

For  after  all,  the  public  will  decide  the 
ultimate  fate  of  the  talking  picture,  both  long 
and  short.  In  the  meantime,  don't  worry  about 
the  fate  of  your  favorite  stars — you  will  find 
that  most  of  them  mil  do  well  in  the  talkies. 
Jannings?  Garbo?  Myself,  I'd  go  anytime  and 
pay  good  money  to  see  Jannings  act  in  silence; 
and  for  my  dough,  Greta  never  has  to   talk! 


A  Dictionary  of  New  Talkie  Terms 

{Continued  from  page  31) 


Play-back — the  "rushes"  in  sound 
recording.  The  immediate 
playing  of  the  sound  record 
after  the  taking  of  a  scene  in 
order  that  actors  and  director 
may  hear  how  it  all  sounds  and 
see  if  anything  needs  to  be 
changed.  The  play-back  is 
possible  only  from  disc  record- 
ing, like  a  phonograph  record, 
as  in  film  recording  the  film 
must  be  developed  before  the 
sound  can  be  heard. 

Disc — the  wax  record,  like  a  phono- 
graph record,  on  which  sound 
is  recorded. 

Photo-electric  cell — the  small  sen- 
sitive vacuum  tube  which  is 
used  in  the  projection  machine 


of  a  film  record  of  sound  in 
order  to  translate  the  black  and 
white  lines  of  the  sound  track 
back  into  sound,  so  they  may 
be  perceived  by  the  ear  instead 
of  by  the  eye. 

Frequency — a  term  in  physics  de- 
noting the  sound-wave  char- 
acteristics and  range  of  the 
electrical  sound  impulse. 
Sounds  have  a  "wave  length" 
just  as  radio  impulses,  short 
wave  lengths  corresponding  to 
high  frequency  vibrations. 

Sound-proof — the  quality  of  pre- 
venting the  passage  of  sounds, 
insulating  an  enclosed  space 
against  outside  noises. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is  euarantced. 


Photoplay  Magazine — Advertising  Section 


I  1 1 


What  Are  Your 
Correct  Colors? 

1  CONTINUED  FROM  PAGE  41  ] 

The  girhvith  vivid  red  hair  may  wear  soft  eool 
colors  (vivid  ones  arc  even  more  unbecominf;  to 
her  than  to  girls  with  duller  red  hair)  she  may 
wear  blacks,  both  dull  and  lustrous  and  she 
may  employ  most  effectively  neutralized 
red-oranges  which  are  in  reality  browns  and 
beiges.  She  may  approximately  match  the 
color  of  her  hair,  creating  a  most  pleasing 
harmony  of  matching  or  closely  neighboring 
hues.  Browns  darker  and  duller  than  the 
hair  make  it  seem  to  stand  out  with  greater 
emphasis,  gaining  by  pro.ximity  with  less  force- 
ful colors.  Dull  beiges,  lighter  in  value  than 
the  hair,  may  also  give  it  emphasis,  but 
beiges  similar  in  value  to  that  of  the  hair, 
especially  if  the  hair  is  light,  make  the  wearer 
seem  uninteresting,  lacking  in  character.  The 
color  of  her  hair,  her  skin  and  her  apparel  is 
too  similar  in  tone,  making  her  entire  appear- 
ance   monotonous. 

npHIS  drab  red-head  should  avoid  beiges,  and 
■'■  usually  browns  also.  If  she  chooses  them  at 
all  they  should  be  combined  with  an  accent  of 
cool  color,  used  preferably  near  the  face.  An 
accent  of  more  vivid  orange  or  red-orange,  care- 
fully chosen  not  to  clash  with  the  hair,  may  be 
effective  on  beiges  or  duU  browns.  Contrast 
of  light  and  dark  values,  as  light  beige  and  dark 
brown,  may  also  aid  in  giving  emphasis  to  the 
costume,  making  the  wearer  more  interesting 
in  appearance. 

Having  opportunities  for  unusual  distinction 
and  etiectiveness  through  the  use  either  of 
harmonies  of  contrast  or  those  analogous  or 
related  to  the  personal  coloring,  the  red-head 
need  not  feel  limited  in  her  choice  of  color 
even  though  she  wishes  to  appear  at  her  best, 
to  capitalize  the  unusual  coloring  which  she 
possesses.  Violet,  red-violet  and  red  clash 
most  disastrously  with  her  own  coloring,  for 
they  possess  neither  enough  contrast  or 
sufficient  similarity  to  be  harmonious.  Vivid 
red-orange,  orange  and  yellow,  being  either 
more  red  or  more  yellow  than  the  hair,  as  well 
as  outrivaling  it  in  brilliance,  are  likewise 
unbecoming. 

Soft,  creamy  yellow  may  be  pleasing.  Warm 
creamy  off-whites  are  usually  more  becoming 
than  pure  whites  or  cold  blue  whites  which 
make  the  skin  seem  yellow  by  contrast.  An 
accent  of  either  cool  or  warm  color  may  be  com- 
bined with  off-whites  so  that  the  charms  of  the 
red-haired  wearer  will  be  further  emphasized. 

The  more  vivid  red-haired  type,  particularly 
if  she  has  clear  delicately  tinted  skin,  may  wear 
gray  as  well  as  neutral  beiges.  Warm  grays 
frequently  blend  more  easily  with  her  coloring 
but  clear  cold  blue-grays  may  occasionally  be 
becoming,  giving  the  harmony  of  contrasting 
warmth  and  coolness  supplied  by  more  definite 
blues,  greens  or  blue-greens. 

While  extremely  vivid  colors,  either  warm 
or  cool,  should  be  avoided  for  large  areasof  the 
red-head's  costume,  small  quantities  used  as 
accents  may  be  much  more  intense.  Cool 
colors  especially  may  be  most  pleasing  if  used 
in  small  vivid  notes,  with  the  background 
color  kept  more  neutral. 


Avoid  Trick  Diets 


(  CONTINUED  FROM  PAGE  67  ] 

been  able  to  sell  them  the  idea  that  emaciation 
is  beauty,  by  wrong  living  and  neglect  of  diet, 
these  silly,  vapid  women  know  no  bounds  in 
their  efforts  to  tear  down  the  lusty  heritage 
that  is  theirs  by  right  of  ancestry. 


Shampooing 

done  properly  .  .  adds  loveliness  to 

Your  Hair 

Why  Ordinary  Washing . .  fails  to  clean  properly. 
Thus  preventing  the  . .  Real  Beauty  . .  Lustre, 
Natural  Wave  and  Color  of  Hair  from  showing 


THE  beauty,  the  sparkle . . .  the  gloss  and 
lustre  of  your  hair  .  .  .  depend,  almost 
entirely,  upon  the  way  you  shampoo  it. 

A  thin,  oily  film,  or  coating,  is  constantly 
forming  on  the  hair.  If  allowed  to  remain, 
it  catches  the  dust  and  dirt — hides  the  life 
and  lustre — and  the  hair  then  becomes  dull 
and  unattractive. 

Only  thorough  shampooing  will . .  remove 
this  film  .  .  .  and  let  the  sparkle,  and  rich 
natural . . .  color  tones  ...  of  the  hair  show. 

Washing  with  ordinary  soap  fails  to  sat- 
isfactorily remove  this  film,  because — it 
does  not  clean  the  hair  properly. 

Besides — tlie  hair  cannot  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  women,  by  the  thousands, 
who  value  .  .  .  beautiful  hair  .  .  .  use 
Mulsified  Cocoanut  Oil  Shampoo. 

This  clear  and  entirely  greaseless  product, 
not  only  cleans  the  hair  thoroughly,  but  is  so 
mild,  and  so  pure,  that  it  cannot  possibly 
injure.  It  does  not  dry  the  scalp,  or  make 
the  hair  brittle,  no  matter  how  often  you 
use  it. 

Two  or  three  teaspoonfuls  of  Mulsified 
make  an  abundance  of  .  .  .  rich,  creamy 
lather  .  .  .  which  cleanses  thoroughly  and 
rinses  out  easily,  removing  with  it  every 
particle  of  dust,  dirt  and  dandruff. 

The  next  time  you  wash  your  hair,  try 
Mulsified  Cocoanut  Oil  Shampoo  and  just 
see  how  .  .  .  really  beautiful  .  .  .  your  hair 
will  look. 

It  will  keep  the  scalp  soft  and  the  hair 
fine  and  silky,  bright,  fresh  looking,  wavy 
and  easy  to  manage  and  it  will — fairly 
sparkle — with  new  life,  gloss  and  lustre. 


For  Your  Protection 

Ordinary  Cocoanut  Oil  Shampoos  are 
not— "MULSIFIED."  Ask  for,  and  be 
sure  you  get— "MULSIFIED/'^ 


Mulsified 

Wht-n  yuu  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


COCOANUT    OIL 
SHAMPOO 


I  12 


Photoplay  Magazine — Advertising  Section 


If  you  remove 
cold  cveQn\..riqhf 

a  clear,  radiant  skin 
will  reward  you 

BENEATH  the  first  layer  of  dirt  and  dust 
that  your  skin  collects  is  a  fine  mesh  of 
germs,  oil,  rouge,  powder  that  must  besearched 
out  and  removed,  every -single  day,  if  you 
hope  to  keep  a  lovely  complexion. 

Germs  thrive  and  mulitiply  unless  they  are 
effectively  destroyed.  Blackheads,  pimples,  fol- 
low. To  clean  your  skin,  you  should  use  ab- 
solutely hygienic  facial  tissues. 

Kleenex  comes  in  ample  handkerchief 
size  tissues. 

It  rubs  the  cold  cream  off,  instead  of  in.  It 
gets  down  into  the  pores  and  rubs  away  beauty- 
destroying  germs.  Cheaper  than  high  laun- 
dry bills,  softer  than  old  pieces  of  cloth,  safer 
than  any  other  method. 

Kleenex 

Cleansing  Tissues 

Kleenex  Company,  Lake-Michigan  Bldg., 
Chicago,  Illinois.  Please  send  sample  to   ^^  ^ 


Name..... 
Addreis.. 


City. Ztatc. 


Since  a  person's  daily  protein  needs  are  so 

slight  in  comparison  with  the  excess  in  the 
average  diet,  is  it  not  remarkable  that  the 
health  of  the  banting  belles,  existing  on  sauer- 
kraut juice,  pineapple  and  tomato  and  such 
reduction  regimens,  has  remained  as  good  as 
it  has? 

These  girls  are  not  merely  clipping  pounds 
and  ounces  from  their  soft  tissues,  but  they 
are  clipping  years,  months  and  days  from  their 
lives  and  predisposing  themselves  to  chronic 


invalidism,  or,  at  least,  marked  physical 
impairment. 

As  to  the  animal  proteins,  it  is  interesting  to 
note  that  researchers  have  determined  that  in 
comparative  nutritive  value  the  kidney  is 
highest,  the  liver,  second,  and  muscle,  third. 

In  the  next  article  the  discussion  of  the 
body's  building  materials  will  be  concluded. 

The  day's  food  should  contain  about  75  units 
of  protein  each  day  for  an  adult.  Check  your 
diet  against  this  table. 


PROTEIN  TABLE 


FRUITS  SERVING 

Apple 1  medium . . 

Apricots 2  medium . . 

Banana 1  medium . . 

Blackberries Vz  to  %  cup . 

Currants  (dried) Vi  cup 

Dates 4 


APPROXIMATE 
No.  POINTS 

'/2 


Figs  (dried) 2  to  3 

Grapefruit '/2  medium 

Grapes 1  large  bunch  (about  50) . 

Huckleberries Vi  to  2/3  cup 

Muskmelon 1/2  medium 

Orange 1  medium 

Peach 1  medium 

Pear 1  medium 

Pineapple  (fresh) y^    cup 

Prunes 4  to  6 

Raisins '74  cup 

Raspberries V2  to  %  cup 

Rhubarb Vi  to  %  cup  (cooked) 

Strawberries Vz  to  %  cup 

Tomato 1  medium 


VEGETABLES 

Asparagus 1  medium  serving '^ 

Beets About  2  medium 2 

Cabbage "^  to  %  cup \ 

Carrots 1  medium  large 1 

Cauliflower %  cup 2 

Celery 3  stalks Vz 

Chard V2  to  %  cup 2 

Corn 2  small  ears 1 

Cucumbers 6  thin  slices '/a 

Lettuce Vi  solid  head 1 

Onions 4  small 1 

Parsnips 1  medium  large 1 

Peas 1/2  to  2/3  cup 5 

Potato 1  medium 3 

Spinach V2  to  2/3  cup •. 2 

Squash  (winter) Vi  to  %  cup 2 

String  beans Vi  to  2/3  cup 1 

Sweet  potato 1  medium 1 

SEEDS,  CEREALS  and  BREADS 

Beans  (dried) Vi  cup  (cooked) 7 

Bread  (graham) 1  slice 2 

Bread  (white) 1  slice , 3 

Cornmeal %  to  1  cup  (cooked) 3 

Farina Vi  to  '4  cup  (cooked) 3 

Macaroni ^/i  cup    (cooked) 4 

Rice  (White) Vi  to  %  cup  (cooked) 2 

Rolled  oats  or  entire  wheat 

breakfast  cereals Vi  to  ^4  cup  (cooked) 4 

NUTS 

Almonds 15  nuts.' 3 

Peanuts 1 5  nuts 5 

Pecans 12  to  13  halves 1 

Walnuts 7  halves 3 

ANIMAL  FOODS 

Buttermilk 1  cup 

Cheese 1  inch  cube . 

Cottage  Cheese Vi  cup 

Cream 1  cup 

Egg 1  medium . . 

Egg  white 1 

Egg  yolk I 


.  7 
.  7 
.20 
.  6 
.  7 
.  4 
.    3 


Fish 1  large  serving 23 

Gelatine 1  tablespoon 7 

Meat 1  medium  serving 25 

Milk  (whole) 1  cup 8 

Milk  (whole) 1  quart 30 

Milk  (skimmed) 1  cup 8 

Oysters 5  to  7 4 


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Photoplay  Magazine — Advertising  Section 


113 


The  Shadow  Stage 

[  CONTINUED  FROM  PAGE  55  ] 

ALL  FACES  WEST— Pioneer 

npHIS  picture  was  filmed  as  a  tribute  to  the 
-'•  Mormon  faith,  with  money  invested  by 
citizens  of  Utah,  on  the  very  ground  where 
those  religious  folks  lirst  settled.  The  principal 
actors,  including  Marie  Prevost  and  Ben  Lyon, 
were  brought  from  Hollywood.  The  e.xtras 
were  Utahans,  many  of  them  Mormons.  The 
result  is  a  thriller  with  an  amazing  buffalo 
stampede,  fascinating  shots  of  the  covered 
wagons  crossing  the  ri\er  and  good  sincere 
work  by  Marie  Prevost. 

GIRLS  WHO  DARE— Trinity 

nPHIS  is  offered  as  a  puzzle  picture  for  those 
■*■  long  winter  evenings.  Find  the  producer 
who  dared  to  make  it;  find  the  plot;  find  the 
reason  for  it  all.  Send  in  your  answers  in  an 
unstamped  envelope.  There's  an  automobile 
wreck,  an  overturned  canoe,  reckless  young 
millionaire  and  Rosemary  Theby  as  Alabain' 
Kenyan,  the  hostess  of  a  night  club.  What 
more  do  you  want  for  your  money!  Enter- 
tainment?   Not  at  these  prices. 

OBJECT— ALIMONY— Columbia 

CHE  was  only  a  Shopgirl — he  was  a  MiUion- 
'-'aire's  Son.  But  he  did  Right  by  her  and  took 
her  Home  to  his  arrogant  mother,  who  couldn't 
care  for  Shopgirls  in  a  Big  Way.  Misunder- 
standings. Separation.  Brokenhearted,  the 
Brave  Little  Woman  goes  back  to  her  favorite 
Tenement.  The  Little  Stranger  arrives. 
Where — oh,  where  is  Hubby?  Several  years 
later,  the  Unsuspecting  Father  meets  the 
Offspring.  Mother-in-law  repents.  And  the 
Scenarist  is  still  at  Large. 

LOVE  IN  THE  DESERT— FBO 

A  SM.^RT,  sophisticated  and  humorous 
-'  V-ersion  of  the  traditional  Sahara-after- 
midnight  plot.  .\  young  American  goes 
through  hell-fire  to  swipe  a  beautiful  Arabian 
princess  from  a  lecherous  old  sheik  whom  she 
doesn't  want  anyway.  Olive  Borden  is  e.xotic 
as  the  desert  flower  and  Hugh  Trevor  is  at- 
tractive as  the  energetic  hero.  Noah  Beery  is 
frightfully  realistic  as  the  barbarous  infidel 
who  barges  about  eating  foreigners  in  one  gulp 
and  picking  his  teeth  with  bayonets. 

JUST  OFF  BROADWAY— Chesterfield 

npHIS,  boys  and  girls,  is  dished  up  as  enter- 
-'•  tainment.  If  you  believe  in  Santa  Claus, 
Usten  carefully  to  the  following:  A  kind- 
hearted,  he-man  bootlegger;  a  suave,  villain- 
ous hijacker;  the  bootlegger's  collegiate  brother, 
a  cheap  night  club  entertainer  who's  pure  and 
virtuous;  a  bleached  blonde  speakeasy  hostess 
in  love  with  the  hijacker.  What  do  they  do? 
Diitit  csk.  The  same  thing  they  always  do; 
make  bally  whoopee,  drink  wood  alcohol,  and 
blow  one  another's  brains  out.     Pass  it. 

STRANGE  CARGO— Pathe 

CPOOKS  have  come  to  the  talkies.  "Strange 
'■'Cargo"  devotes  an  hour  and  a  quarter  to 
discovering  who  killed  Mr.  Barclay.  The 
picture  is  a  good,  stirring  mystery  play  laid  on 
board  a  yacht  a  thousand  miles  from  anywhere 
but  Davy  Jones'  Locker.  The  cast  is  all 
speaking-stage,  wdth  excellent  performances  by 
Frank  Reicher,  Lee  Patrick,  George  Barraud, 
Claude  King,  Ned  Sparks  and  .iVndre  Beranger. 
Dialogue  is  good,  and  recording  excellent. 
Unfortunately,  it  is  hard  to  put  a  play  in 
movie  form,  as  the  talkie  makers  are  finding 
out. 


Cjven 

when 

teeth 

are 

white 

NOBODY'S  tMMUNE 

4  out  of  5  Neglect  the  Gtifns  and  Surrender 
Health  to  Pyorrhea 

DANGER  seems  so  remote  when  teeth 
are  white.  But,  as  your  dentist  will  tell 
you,  teeth  are  only  as  healthy  as  the  gums. 
And  diseases  that  attack  the  gums  seldom 
reveal  their  presence  until  too  late. 

So  start  taking  proper  care  of  the  gums 
to  preserve  teeth  and  safeguard  health  from 
dread  Pyorrhea — the  disease  of  neglect  that 
ravages  4  persons  out  of  5  after  forty  and 
thousands  younger. 

Every  morning  and  every  night,  when 
you  brush  your  teeth,  brush  gums  vigor- 
ously with  the  dentifrice  specifically  made 
for  this  purpose — Forhan's  for  the  Gums. 

Within  a  few  days  you''ll  notice  an  im- 
provement in  the  way  your  gums  look  and 
feel.  In  addition,  your  teeth  will  look 
cleaner  and  whiter.  For  while  this  denti- 
frice helps  to  firm  gums  and  keep  them 
youthful  (the  surest  safeguard  against 
Pyorrhea)  it  also  cleans  teeth  and  protects 
the  crevices  where  decay  so  often  begins. 

Get  This  Good  Habit 

Remember,  nobody's  immune.  And  the 
safeguard  against  disease  is  proper  daily 
care  and  a  semi-annual  visit  to  your  dentist. 
Get  a  tube  of  Forhan's  from  your  drug- 
gist today.  Two  sizes  —  35c  andf  60c.  Start 
using  it,  morning  and  night.  Teach  your 
children  this  good  habit.  It  will  protect 
their  health.  Forhan  Company,  New  York. 


Forhan's  for  the  Gums  is  far  more  than  an  ordinary 
toothpaste.  It  is  the  formula  of  R.  J.  Forhan.  D.  D,  S.  It 
is  compounded  trith  Forhan's  Pyorrhea  Liquid  used  by 
dentists  everyirhere.  You  iciUfind  this  dentifrice  especially 
effective  as  a  ^um  massage  if  the  directions  that  come  tcith 
each  tube  are  follotced  ctosely.  It's  good  for  the  teeth.  It's 
good  for  the  gums. 


Forhaia's 

FOR   THE    GUMS  9 


YOUR  TEETH  ARE  ONLY  AS  HEALTHY  AS  YOUR  GUMS 


When  sou  write  to  advertiscre  iileasc  mention  PlIOTOT-I,.\Y  M.VGAZIXE. 


114 
Headache 


Photoplay  Magazine — Advertising  Section 


may 


mean  constipation 


Take  this  safe 

delicious 

laxative 


And  get  relief 
in  a  short  time 


IT  is  always  well  to  remember  that  a 
headache  is  often  another  symptom 
of  constipation.  And  the  correct  laxative 
will  bring  grateful  relief. 

But  instead  of  nasty,  nauseating  doses 
that  so  often  upset  the  stomach,  gripe, 
and  irritate  the  nerves,  take  Ex-Lax.  It 
is  safe,  gentle  and  effective.  It's  the" 
family  laxative  —  good  for  children  and 
grown-ups. 

Ex-Lax  is  pure  chocolate  treated  with 
tasteless,  non-habit-forming  phenol- 
phthalein  which  is  prescribed  by  phy- 
sicians for  the  relief  of  constipation. 

Whenever  headache,  biliousness,  list- 
lessness  and  other  uncomfortable  symp- 
toms flash  their  warning,  take  Ex-Lax, 
without  delay.    Results  will  delight  you. 

Get  Ex-Lax  from  your  druggist,  to- 
day. Accept  no  substitutes  if  you  want 
the  best  relief.  Three  sizes,  10c,  25c 
and  50c. 

You  can  also  obtain  Ex-Lax    Fig  Flavor^ '. 
FOR    CONSTIPATION 

EX-LAX 


TASTES    LIKE    CANDY 


THE  BLACK  PEARL—Rayart 

JUST  a  loose-limbed  mystery  with  no  place  to 
go.  It  ambles  along  at  a  lazy  gait,  and  has  a 
regiment  of  people  doing  the  oddest  things  for 
no  real  reason.  This  is  built  on — or  rather,  is, 
formula  number  11:  i.  e.,  the  pearl  eye  is 
snitched  from  Buddha  by  a  souvenir-loving 
American.  For  twenty  years  after,  strange 
Asiatic  curses  are  hurled  at  a  harmless  New 
England  family,  all  because  of  the  cois-ed  poll. 
Very  childish. 

THE  FAKER—Columbia 

■TNIRECTOR  PHIL  ROSEN  should  avoid  all 
-'-^spiritualistic  mediums  (or  is  the  plural 
media?)  after  this  picture  is  released.  Here  you 
ha\e  the  absolute  low-down  on  the  hocus- 
pocus  boys.  It  is  remarkably  well  done,  too, 
and  gives  interest  to  an  ordinary  picture. 
Warner  Oland  is  the  fake  medium,  with 
Jacqueline  Logan  as  his  assistant.  (.)f  course, 
she  gives  it  all  up  to  lead  a  Clean  Life. 

WILD  BLOOD— Universal 

13  EX,  the  wonder  horse,  is  again  given  the 
-'-^short  end  of  a  childish  Western  which  is  a 
cjuiet  slam  at  the  undisputed  intelligence  of 
both  Rex  and  his  fans.  He  did  two  beautiful 
pictures  which  topped  the  bo.x-oifice  records 
for  animal  films,  but  now  they're  handing  him 
stuff  which  doesn't  make  horse  sense.  This 
King  of  Wild  Horses  is  a  perfect  gentleman, 
but  he  gave  them  the  horse  laugh  when  they 
printed  titles  into  his  action. 


SHIPS  OF  THE  NIGHT— Rayart 

HTHIS  honest-to-gosh  old-fashioned  movie 
*■  gives  a  faithful  portrayal  of  South  Sea  life 
as  imagined  by  someone  who's  never  been  ten 
miles  from  Centerville.  Three  villains — a 
Chink  emperor,  a  renegade  beach-comber,  and 
a  Mex  pirate — all  threaten  the  virtue  of  a 
beautiful  girl  searching  for  her  weakling 
brother.  A  schooner  captain  jumps  in  to  save 
them  both  and  makes  a  frightful  mess  of  every- 
thing.   Just  too  childish. 

THE  CHINA  SLAVERS— Trinity 

A  R.^THER  ragged  production  attempting 
■'  *■  epical  heights,  but  handicapped  by  an 
overly-fantastic  story  and  amateur  direction. 
A  mandarin's  daughter  is  thrown  into  the 
China  slave  traffic  of  the  South  Coast.  But 
the  picture  is  notable  for  one  thing.  Sojin,  the 
inscrutable,  plays  a  triple  role  and  really  is 
excellent. 

WOLVES  OF  THE  CITY— Universal 

npHIS  time  the  jade  is  stolen,  but  wait! — it's 
-'-  not  as  bad  as  it  sounds.  The  little  green 
rock  doesn't  get  the  spotlight.  The  indefati- 
gable Bill  Cody  grabs  the  gasps  as  he  literally 
leaps  all  over  the  state  to  save  his  girl  and  pro- 
spective father-in-law  from  a  gang  of  ransom 
crooks.  You  know — millionaire  bachelor 
searching  for  a  thrill,  which  turns  out  to  be 
Sally  Blaine.  A  modern  action  thriller, 
cleverly  directed  by  Leigh  Jason. 


You  are  going  to  see  considerably  more  of  Rudy's  brother,  Alberto, 
in  pictures  soon.  He  is  now  under  the  direction  of  S.  George  Ull- 
man,  who  used  to  manage  the  brilliant  destinies  of  Alberto's 
famous  brother.  Who  knows  but  that  additional  fame  may  come 
to  the  beloved  name  of  Valentino? 


Every  advertisement  In  PHOTOPLAY  JI.iG.^ZINE  is  Bnaranleed. 


Photoplay  Magazine — Advertising  Section 


1 1 


HONEYMOON  ABROAD— 
World  Wide  Pictures 


SOME  chap  with 
or  hettpr.  a  moth 


a  mother-in-law  complex, 
■'or  better,  a  mother-in-law,  is  back  of  this 
one.  The  gaily  pompous  Monty  Banks  stag- 
gers through  five  reels  as  a  downtrodden  bride- 
groom on  an  attempted  honeymoon,  accom- 
panied not  only  by  his  blushing  bride,  but  her 
mother,  her  mother's  angora,  terrier,  parrot, 
and  pet  crow.  It  was  made  in  London  and 
Paris  and  is  funny  in  spots. 

THE  MAN  HIGHER  VP—M.-G.-M. 

TWO  fine  actors  with  rich  speaking  voices 
and  years  of  stage  e.xperience — Hobart 
Bosworth,  Robert  Edeson.  They  present  a 
really  tense  and  dramatic  talking  skit.  .K 
famous  psycho-analyst  devotes  his  life  and 
career  to  vengeance.  His  little  immigrant 
sweetheart  was  kidnapped  from  the  docks 
thirty  years  before.  Eventually  his  enemy 
falls  into  a  carefully  laid  trap.  It  is  one  of  the 
cleverest  denouements  of  stage  or  screen. 
William  de  Mille  directed.    In  three  reels. 

IN  HOLLAND— Fox— Movietone 

IT  would  be  a  great  boon  to  the  picture  busi- 
ness if  Clark  and  McCullough  went  back  to 
vaudeville.  They  may  be  funny  on  the  stage 
but  they  certainly  are  tragic  in  the  talkies.  In 
two  reels  they  got  only  a  handful  of  laughs. 
They  swim  the  .Atlantic  under  water,  climb  the 
.Alps,  fall  into  a  canal, mess upatulippatch, but 
Chaplin  and  Lloyd  needn't  worry-  any.  Weak, 
even  for  a  short  subject. 

THE  ELIGIBLE  MR.  BANG— 
Coronet-Educational 

EDWARD  EVERETT  HORTON  is  the  first 
successful  boiled-shirt  comedian  developed 
by  the  talking  pictures,  and  he  is  the  works  in 
this  one  reel  comedy.  The  comic  plays  a 
woman-hating  bachelor  finally  won  over  by 
the  wiles  of  a  girl  who  out-smarts  him.  Mabel 
Forrest,  Johnny  .-Vrthur  and  Florence  Eld- 
ridge  are  pleasing,  but  it  is  all  Horton.  A 
successful  society  comedy,  with  a  real  story, 
in  one  stanza.    Most  promising. 

THE  BRIDE'S  RELATIONS— 
Sennett-Educational 

'  I  'HIS  one  reel  all-talking  comedy  shows  all 
-'■  the  weaknesses  and  strengths  that  we  can 
expect  from  the  screamies.  When  a  man  falls 
into  a  mud-hole,  it  isn't  so  funny  any  more,  and 
when  we  have  to  hear  bad  gags  too  it  is  terrible. 
On  the  other  hand,  there  is  a  snoring  scene, 
with  three  men  in  a  double  bed,  that  is  a  roar. 
Eddie  Gribbon  is  funny  in  this.  Harry 
Langdon  isn't.  Let's  be  nice  and  call  this  a 
pioneering  experiment. 


Hollywood 
Popularity 

[  CONTINUED  FROM  PACE  70  | 


warm,  in  which  her  gold  hair  made  the  high- 
light.   By  her  side  were  two  heavy  canes. 

"I  became  horribly  depressed  only  last 
week — saw  myself  hobbling  forex-er  through 
life — and  I  took  to  dreaming  of  my  home  in 
Sweden.  I  bought  a  home  for  my  parents  with 
my  first  money.  It  has  two  big  rooms  reserved 
for  me.  I  thought  of  the  peace  and  homeliness 
of  them,  and  I  commenced  planning  how  I'd 
furnish  them.  I  picked  the  wall  paper,  I  se- 
lected pieces  of  furniture  from  here  that  I'd  take 
with  me — those  green  drapes,  that  little  chair. 
Strange,  the  next  day  I  had  a  letter  from  my 
father  saying,  "Why  don't  you  come  to  your 
home,  Anna,  and  rest  until  you  are  well  again? 
We'd  love  it,  you  know  ..." 


c/ki8  test  proDGS  li^kat 
the  LiNiT  ^GQutij  /^(xi\v 
does  Jor  your  skin 


H 


ERE  is  a  test  that  i;%'ill  prove  to  you  that  your  skin  ran  feel 


of  warm  i%-ater;  tiien  -ivasli  your  hands,  using  a  little  soap. 
Immediately  after  dryin{<,  your  skin  feels  soft  and  smooth  as 
k-elvet. 


This  test  is  so  eonvine- 
iug  lliat  you  will  want  to 
[,  use  Linit  in  your  bath. 
Merely  dissolve  half  a 
package  or  more  of  Linit  in  your  tub  and  bathe  as  usual.  A 
bath  in  the  richest  cream  couldn't  be  more  delightful  or  have 
such  effective  and  immediate  results. 

The  exquisite  softness  of  your  skin  is  due  to  a  thin  layer  of 
Linit  that  is  left  on  the  skin  after  your  bath.  This  invisible 
thin  "coating*'  of  Linit  harmlessly  absorbs  perspiration,  elimi- 
nates shine  from  the  skin  and  in  cases  of  irritation  is  most 
soothing. 

Starch  from  Corn  is  the  main  ingredient  of  Linit.  Being  a 
vegetable  product,  Linit  is  free  from  any  mineral  properties 
that  might  injure  the  skin  and  cause  irritation.  In  fact,  the 
purity  and  soothing  quality  of  Starch  from  Corn  are  regarded 
so  highly  by  doctors  and  dermatologists,  that  they  generally 
recommend  it  for  the  tender  skin  of  young  babies. 

Linit  is  so  economical  that  at  least  you  should  give  it  a  trial. 
Let  results  speak  for  themselves. 

Linit  is  sold  by  your  Grocer. 


THE     BATHIVAY    TO     A    SOFT,    SMOOTH     SKIN 


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At  tne  end  oi 
tne  evening 


-Mte  men 
avoided^ 
tier 


ou  can't 
lell  Tvhen  a 
temporary  deodorant 
will  cease  to  protect  you 

FOUR  years  away  from  home  and 
her  old  friends  found  her  lovelier 
than  ever.  But  their  enthusiasm  wore 
off  quickly — in  fact,  before  the  evening 
was  over.   Why  was  it? 

Because  you  can  never  know  when 
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tion odor  and  ugly  stains. 

Odorono,  developed  by  a  physician 
for  his  own  use,  keeps  the  underarm 
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in  a  safe  way.  Doctors  recommend 
it  where  perspiration  is  annoying. 

At  toilet  goods  counters  Odorono  Regular 
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tive skins,  35f  and  60',  and  Creme  Odorono 
in  tubes  25*. 


Odorono  Regular  Strength 
(ruby  colored),  used  twice  a 
week  at  night.  Pat  on  freely. 
Allow  plenty  of  time  to  dry. 

Odorono  No.  3  Mild  (color- 
less), for  especially  sensitive 
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night  or  morning.  Pat  on 
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t^EW  10<f  OFFER:  Mail  coupon  and  lOi 
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and  Creme  Odorono. 

The  Odorono  Company,  Dept.  G-4 
114  West  17lh  Street,  New  Votk 


Anna,  straightened  up.  The  canes  fell  to  the 
floor. 

"It  was  nonsense  of  course,  getting  de- 
pressed." She  gave  the  pillows  a  couple  of 
punches.  "I  shall  be  walking  next  week.  But 
I'm  going  back  home  in  two  years — to  stay,  I 
must  work  a  little  longer.  I've  never  been 
extravagant,  but  comfort  has  become  impor- 
tant, ril  admit.  And  there  are  some  families 
I'm  interested  in  .  .  . 

"I  shall  buy  an  island  in  the  Swedish  archi- 
pelago. Winter  and  summer  sports,  both,  are 
marvelous  there.  Part  of  the  year  I  shall 
spend  on  the  French  Riviera  and  tooting  about 
Europe.  I  haven't  had  much  time  in  my  life 
to  read  or  to  absorb.  I  started  to  work  over 
here  when  I  was  fifteen — a  Swedish  servant 
girl  with  yellow  pigtails  ...  I  haven't  had 
much  time. 

"There  you  are — not  much  time!  We  in 
America  love  Europe  because  over  there  they 
take  time.  While  I  was  in  the  hospital  I  real- 
ized how  profitable  it  is  to  take  time  to  do  the 
little  profitless  human  things  that  are  most 
worth  while." 

T  RECALLED  that  George  Stewart  on  his  sick- 
-'■  bed  had  asked  me  to  give  his  love  to  Anna — 
"a  wonderful  girl,  .'\nna."    George,  the  brother 


of  .-\nita  Stewart  and  a  promising  young  actor, 
had  once  plaj'ed  Anna's  son  in  a  picture.  He  is 
now  recuperating  from  an  illness  of  two  years. 
During  those  two  years  not  one  of  his  Holly- 
wood friends — the  young  kids  of  his  age — has 
come  to  see  him,  although  he  has  telephoned 
them  from  his  bed. 

"But  you  mustn't  blame  them.  Herb,"  he 
said  when  I  got  explosive.  "In  HoUywootJ 
everything  is  making  good,  it  seems.  If  a  fel- 
low can't  do  you  some  good  you  find  a  friend 
who  can.    I  don't  blame  Ihem,  it's  the  game." 

Alice  Terry  on  her  last  visit  to  Hollywood 
said;  "I  don't  think  I  shall  ever  return.  It's 
an  unhappy  place.  We  ha\-e  everything  in  the 
world  that  is  supposed  to  make  a  person  happy, 
and  yet  we  are  not.  I  think  the  trouble  is  that 
there  is  no  real  friendship." 

Here  in  Hollywood  there  is  everything, 
wealth  and  fame  and  adulation,  while  one  is 
still  young.  There  is  everything  except  the 
Greatest  Thing  in  the  World. 

Ambition  and  success  are  often  incompatible, 
and  incompatibility  is  grounds  for  quick 
divorce  in  Hollywood. 

Few  are  the  great  who  can  quit  the  pursuit  of 
wealth  and  fame,  having  learned,  and  turn  to 
"the  little  profitless  human  things  that  are 
most  worth  while." 


The  Studio  Murder  Mystery 

[  CONTINUED  FROM  PACE  45  1 


Other  hand  you  unscrew  this  ..."  touching 
the  screw  that  held  the  camera  magazine  in 
place  .  .  ,  "and  then  you  throw  off  the  chain 
from  this  spool  and  lift  it  off.  The  new  maga- 
zine slips  into  this  slot.  You  tighten  the  screw 
again,  replace  the  wire  chain  on  this  pulley 
and  .  .  .  you're  ready  to  shoot." 

"Thank  you.  Will  you  go  through  that 
several  times?" 

And  then — 

"And  now  show  me  how  a  person  would 
unthread   the   film." 

"Like  this."  Serge  released  the  catch  on 
the  httle  drop  door  at  one  side  of  the  camera 
and  beckoned  Smith  to  conje  closer  to  see 
inside.  Then  he  showed  him  how  the  film 
would  be  removed  from  the  sprocket  wheels. 

"Thanks,"  said  Smith  again,  adding,  "I've 
heard  you  must  clean  out  these  wheels  and 
the  interior  of  the  case  to  prevent  static." 

"That  is  so.  It  must  be  wiped  carefully 
.  .  .  brushed  out  first.  ..." 

"Did  you  do  that  the  last  time  you  used 
your  camera?" 

"Certainly." 

"Thanks.  I  won't  keep  you  any  longer," 
said  Smith. 

"Will  you  go  with  me  to  the  commissary 
and  have  a  drink?"  said  Serge  immediately, 
with  his  flashing  smile. 

"Thanks  again.    I  will." 

"/"^LANCY,  go  get  my  car  and  drive  it 
^-^around  to  the  West  side  entrance  of 
Stage  Six." 

"Sure,  Cap." 

Smith  went  quickly  to  the  set,  whipped  a 
cloth  of  gold  case  from  a  pillow,  smothered 
the  camera  in  it,  and,  holding  the  heavy  object 
carefully  away  from  him,  his  hands  where 
they  would  be  least  likely  to  confuse  prints 
already  made,  started  down  the  steps  of  Stage 
Six.  His  ej'es  encountered  those  of  Izzie 
Cohen,  staring  with  curious  resentment  at  him. 

"Hello,  Cohen.   Will  you  have  a  tart?" 

"Vat?" 

"Will  you  have  a  tart?  I  think  I  must  look 
very  much  like  the  man  in  Stevenson's  suicide 
club,  you  know  .  .  .  who  went  about  with  a 
tray  of  tarts  .  .  .  only  I  believe  he  carried  it 
on  his  head.  I'm  not  sure." 

"Vat  iss  it  you  haf?" 

" .K  camera." 


"  Vere  are  you  taking  it,  please?  " 

"Away." 

"Veil,  you  cannot  do  that,  Mr.  Smith!  Not 
vidout  I  giff  you  a  permit ! ' ' 

"Consider  you  have  given  it,"  said  Smith 
pleasantly,  putting  the  camera  down  carefully 
on  the  seat  and  getting  in  himself. 

"But  it  has  got  to  haff  a  number  and  a 
requisition,  and  efferyt'ing!  I  got  to  keep 
track  off  efferyt'ing  vat  goes  off  the  lot!" 

"  Go  give  it  a  number.  Give  it  anything  you 
want,  old  <:hap!  Say,  how  many  times  do 
cameras  jam  in  one  day ?  " 

"I  do  not  know.   It  depends." 

"Well,  see  if  you  can  answer  this  one.  What 
makes  that  Serge  feUow  leap  up  in  the  air  when 
you're  not  looking  at  him?" 

"Oh,  him?  He  vas  vid  the  Russian  Ballet. 
He  got  vat  you  call  muscle  bound,  so  that  he 
iss  not  good  anymore  on  the  stage." 

"Know  an3'thing  more  about  him?" 

"I  don't  know  noddings  more,  except  he  iss 
full  off  temperament  like  Seibert!  He  makes 
me  lots  of  trouble  in  the  Production  Office.  I 
got  to  charge  that  camera  to  some  company. 
Cameras  cost  money." 

"So  do  murders!" 

CHAPTER  XV. 

PROFESSOR  AMLEY  MIDDLETON  was 
just  returned  from  a  period  of  exhaustive 
research  abroad  and  he  was  finding  his  home 
shores  a  trifle  unproductive  in  material  for  his 
expert  knowledge  to  feed  upon,  when  Smith 
walked  in  and  set  a  motion  picture  camera 
down  on  his  desk. 

"Ah,"  said  the  Professor  with  a  long  drawn, 
greedy  breath,  his  eyes  .  .  .  those  fierce  black 
eyes  with  the  predatory  gleam  of  a  hunting 
eagle  .  .  .  fixeti  on  the  camera.  .  .  ,  "Ah 
.  .  .  being  the  man  you  arc.  Smith,  I  can  safely 
presume  you  have  something  here  of  interest!" 

"And  being  the  man  you  are.  Professor,  I  can 
safely  presume  you  can  make  this  interesting!" 

Which  pleasantries  being  over  Middleton 
stepped  to  his  door,  closed  it,  came  back  and 
seated  himself  at  his  desk. 

"  Commence,"  he  said. 

"HardeU  murder.  You've  read  of  it?  All 
right,  then  you  know  what  the  papers  have 
told.  This  is  new  today  .  .  .  this  camera. 
Frankly  I'm  shooting  at  the  moon.     What  I 


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117 


want  are  the  prints  on  this  portion  letting  into 
the  sprocket  mechanism,  or  on  the  door  that 
opens  into  it." 

"How  many  people,  do  you  think,  have  had 
their  hands  on  that  part?" 

"The  camera  was  wiped  out  thorouf,'hly 
before  it  was  used  last.  Since  then  I  believe 
.  .  .  but  mind  you,  I'm  not  sure  .  .  .  that 
two  men  have  touched  it.  I  should  say  .  .  . 
three  ...  I  have  the  prints  of  two  for  your 
identification.  Of  course,  if  there  should 
prove  to  be  more  prints  on  the  thing,  I'm  out 
and  injured." 

He  pulled  a  packet  out  of  his  pocket  and 
passed  it  over. 

""LJERE  is  a  section  of  film  with  printe  of 
-'-^Serge,  Seibert's  cameraman.  This  slate 
has  the  prints  of  the  assistant  cameraman.  You 
will  find  prints  of  both  these  men  on  the 
camera,  I  am  sure  .  .  .  what  else  ...  I  lea\e 
to  you!" 

"You're  not  holding  these  men  under 
suspicion?" 

"Not  yet." 

"What's  developed  besides  the  newspaper 
stories?" 

"Not  much.  Queer  case.  I  say  not  much, 
and  yet  ...  a  lot.  Nothing  I  can  actually 
prove  now,  but  good  working  material.  I 
e.xpect  these  prints  to  put  me  over  the  hump." 

"I  understood  there  were  plenty  of  prints 
around  that  set!" 

"Humph!  Plenty  is  correct.  Too  plenty! 
That's  why  I'm  looking  in  a  place  where  they 
might  not  be  .  .  .  passing  up  the  obvious!  Of 
course,  if  the  real  criminal  wore  gloves  .  .  . 
then  it's  useless.  It's  a  long  chance  anyway, 
as  ...  " 

"Why  do  you  say  that?" 

"  Even  the  greenest  amateur  knows  enough 
to  conceal  his  fingerprints!" 

"But  what  the  greenest  amateur  does  not 
know,  and  what  even  the  expert  criminal  can 
hardly  be  acquamted  with  so  soon,  is  the  fact 
that  gloves  do  not  protect  him!" 

"Huh?" 

"  Just  that.  In  wearing  gloves  the  criminal 
nearly  always,  because  he  believes  himself 
safe  ...  he,  or  she  .  .  .  leaves  a  very  legible 
palm  print.  That  is,  if  he  has  found  it  neces- 
sary to  bring  his  palm  in  contact  with  any 
object  during  commission  of  his  .  .  .  or  her 
.  .  .  crime.  The  lower  portion  of  the  palm, 
that  portion  lying  inside  the  opening  of  the 
ordinary  glove,  is  as  absolute  an  identification 
print  as  the  finger  print." 

For  a  moment  Smith  looked  back  into  the 
Professor's  bright  eyes.  Then  a  great  con- 
tentment spread  over  his  lean  face. 

"That's  the  best  news  I've  heard  in  a  month. 
When  did  you  fellows  discover  this?" 

"My  very  worthy  colleague  in  science,  Dr. 
Schneickert  of  Berlin  made  this  discovery. "  He 
got  up  and  unlocked  one  of  his  fifing  cabinets. 
Taking  out  a  sheaf  of  records,  he  handed  them 
to  Smith. 

"These  are  copies  of  print  records  which 
helped  to  apprehend  three  murderers.  All  three 
of  these  criminals  wore  gloves." 

Smith  looked  at  them  silently. 

"  When  we  have  sufficient  records  established 
dactyloscopic  science  will  be  as  universally 
applied  to  these  glove  cases  in  crime,  as  finger- 
print taking  is  today." 

Smith  looked  up. 

"That's  great  stuff!" 

"It  will  be  priceless  aid  to  you  people." 

"Beyond  a  doubt!  It  may  be  the  missing 
link  right  now!  I  don't  want  to  rush  you, 
professor,  but  when  can  I  get  your  findings?" 

"I'll  phone  you.     It  won't  be  long." 

CMITH  went  to  his  office  and  locked  himself 
'-'in.  He  hoped  to  spend  at  least  a  couple  of 
hours  working  on  the  murder,  but  that  hope 
was  quashed  immediately  and  continuously  by 
the  demands  of  the  telephone.  First  it  was  a 
group  of  persistent  reporters.  Smith  had  long 
ago  learned  that  it  is  far,  far  better  to  talk  to 
reporters  than  to  refuse  to  see,  or  hear  them. 
He  knew  exactly  how  much  insidious  meaning 


Lovely 

IS  SHE 

....  w/io  knoii^f  these 
essentiaU  to  beauty  / 

SHE  is  so  serene,  so  poised,  so 
confident,  this  lovely  lady. 
Her  skin  islike  creamy  satin,flaw- 
lessly  translucent  —  her  cheeks 
have  the  delicate  roseleaf  flu  sh  of 
youth— her  lips  are  a  provocative 
note  of  scarlet  in  her  oval  face. 
About  her,  there  is  an  air  of  de- 
lightful, refreshing  fragrance. 
These  are  the  secrets  of  her  poise ! 
And  the  secret  of  her  loveli- 
ness? She  knows  these  essentials 
to  beauty . . . 

Lips  inlrigulngiy  accented . . . 

h'ith  Vivaudou  Mavis  Lipstick.  It's  so  comforting  to 
tnow  that  the  alluring  note  of  scarlet  will  stay  witli 
yoa  for  tiours.  This  creamy  lipstick  "goes  on" 
evenly,  making  the  lips  soft  and  beautiful.  In  the 
wanted  shades. 

Skin  like  a  flower  petal . .  . 

Of  course!  Vivaudou  Mavis  Face  Powder  brings  del- 
icacyand  freshness  to  the  skin.  Exquisitelyhne  m  tex- 
ture; in  tints  beautifully  blended  to  harmonize  with 
every  type. 

Thai  delicate  roseleaf  flush  .  . . 

is  achieved  with  Vivaudou  Mavis  Rouge.  Almost 
magical  in  its  perfect,  invisible  blending  of  natural 
skin  tones.  In  lovely  shades.  Dainty  compact. 

^  refreshing  shower  of  Mavis  Talcum 

A  delightful  feeling  of  freshness  is  the  gift  of  Vivaudou 
Mavis  Talcum.  It's  like  a  fragrant  feathery  shower — 
a  delicate  lilm  of  comfort.  In  the  familiar  red  container. 


Vivaudou 

V.   VIVAUDOU,  Inc. 

New  Vork        Paria        Toronto        Chicago        Lo3  Anfjeks 


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ii8 


Photoplay  Magazine — Advertising  Section 


oiijzey  arvoL  LjotL  LoilL 
Lihe^  Lb 

"How  often  I  wished  for  a  smooth, 
soft  face  powder  I  could  apply — and 
forget.  Armand  Cold  Cream  Powder 
was  the  answer  to  my  wish."  Apply 
it  with  a  clean,  firm  puff  and  rub  the 
powder  into  the  puif  before  spreading 
it  on  your  skin.  Used  this  way  it  brings 
out  beauty  as  no  other  powder  can.  At 
leading  toilet  goods  counters.  $1. 

Send  10c /or  tlie  new  "Armand  Ten  Min- 
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could  be  put  into  the  various  ways  of  expressing 
that  the  person  interviewed  "refused  to  talk!" 
So,  one  and  all,  he  greeted  them  genially.  .  .  . 
"Oh  .  .  .  good  morning,  Crandall.  Sorry, 
old  man.  Nothing  new.  I'll  let  you  know 
just  as  soon  .  .  .  say,  I  can  put  you  wise  to  a 
little  news  story  out  there  that  will  keep  you 
going  until  something  breaks.  .  .  ." 

'T'HAT  was  the  way  he  did  it.  Kept  their 
-^  good  humor,  talked  to  them,  but  told  them 
nothing! 

And  then  the  phone  calls  began  getting 
warm  .  .  .  warmer,  and  finally  hot.  First 
Rosenthal,  as  follows: 

"Vat  a  mess!"  were  his  opening  words.  "I 
tell  you,  Mr.  Smith,  I  am  being  vatched  like 
already  I  am  a  criminal!  My  lot  is  full  off 
reporters!  Every  corner  I  go  around  I  bump 
into  vone!  I  cannot  eat  in  the  commissary, 
but  I  must  have  my  meals  sent  in,  and  then 
they  send  me  notes  on  my  tray!  Vat  shall  1 
do?" 

"Talk  to  'em!" 

"But  vat  shall  I  say?  Already  I  haff  said 
efferything!" 

"Say  what  I  do  .  .  .  that  we're  doinj^every- 
thing  we  can  to  clear  up  the  mystery!" 

"Mine  Gott!  Ten  million  times  haff  I  said 
it!  They  don't  belieff  me!  It  gets  vorse  and 
vorse ! 

"Efferybody  commences  to  look  qveer  at 
me  ...  at  me  .  .  .  just  like  I  had  something 
to  do  vid  it!  I  tell  you  it  gets  on  my  nerffs! 
Vy  don't  you  find  out  somethings?" 

"I  am.  You'd  be  surprised!"  returned 
Smith.  "Cheer  up,  Rosie.  Don't  let  'em 
worry  you!" 


"How  can  I  help  it?  I  go  to  eat,  and  the 
place  is  full  off  them !  I  go  to  drive  home,  and 
the  boulevard,  it  is  full  off  them  .  .  .  chasing 
me,  I  tell  you!  I  get  out  to  go  into  my  house 
.  .  .  they  follow  me!  My  Rachel  she  has  a 
nervous  breakdown  already!  My  business  it 
is  going  to  ruin!  Every  place  are  reporters 
chasing  me!  Everytime  I  stand  still  for  a 
minute  they  take  a  snapshot  off  me,  until  I  tell 
you  I  am  on  the  jump  all  the  time  to  keep 
ahead  off  them!  They  go  all  offer  my  lot  .  .  . 
eff  ery  vere ! ' ' 

"If  they  try  to  get  on  that  set  they'll  get  a 
hole  in  'em,"  said  Smith. 

"Sure,  and  that's  only  vere  they  stop! 
Maybe  I  should  carry  a  gun.     Vat  you  think?  " 

"No  .  .  .  no  .  .  .  don't  do  that,  old  man! 
You  just  sit  tight  and  pretty  soon  we'll  have 
some  real  news  for  them!" 

""What's  that?" 

"I  said  pretty  soon  we'll  have  some  news!" 

"At  last  you  haff  found  out  somethings?" 

"Uhuh  .  .  .  say,  why  don't  you  go  out  on  a 
time  .  .  .  forget  your  worries?  Do  you  good. 
Tomorrow  I'll  have  something  to  tell  you." 

"T^H.\T'S  what  my  Rachel  says.    She  buys 

■^  already  tickets  for  the  Orpheum !  Mine 
Gott!  It  is  a  vaste  off  money.  I  do  not  vant 
logo!" 

"Well,  Cheerio.  Maybe  I'll  take  a  run  out 
this  afternoon." 

"  I  vish  you  would  and  I  vish  you  would  hafi 
some  good  e.Kcuse  for  coming,  too!" 

Smith  hung  up  his  recei\'er  with  a  smile.  He 
liked  Rosenthal.  He  appreciated  his  position. 
He  felt  the  sincerity  of  his  protest.  The  phone 
rang  under  his  hand.     It  was  Serge. 


No  snooty  hotel  for  Nancy  Carroll  when  she  hops  home  to  New  York 

for  a  vacation !    Here  she  is  at  home,  up  in  the  Bronx,  showing  Mom 

a  new  step  while  Pop  caresses  the  ivories 


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"  Say,  just  in  case  you  still  want  a  report  on 
that  missing  film.     I've  got  it." 

'■  Vou  mean  you've  accounted  for,  or  located 
all  of  it?" 

"  Ves." 

"I  would  like  to  see  it." 

"Sure.  Any  time  you  come  out.  It  I  am 
not  here,  it  is  at  the  'lab.'  They  will  show 
you." 

"Thanks." 

A  CALL  came  from  Professor  Middleton. 
Smith  listened  to  it  and  then  said : 

"Rather  not  discuss  it  on  the  phone.  I've 
got  an  errand  that  will  take  me  a  couple  of 
hours.  Will  you  be  in  your  office  then?  Fine. 
I'll  be  over." 

From  his  office  he  went  to  the  office  of  a 
concern  that  had  an  agency  for  the  distribution 
of  .American  camera  film. 

"  What  can  I  do  for  you,  Captain?  " 

It  was  the  head  of  the  concern  himself. 
Smith  smiled. 

"You  can  forget  this  little  matter  immedi- 
ately it  is  finished." 

"I  have  found  it  wise  to  have  a  convenient 
memory  .  .  .  that  has  lapses,  you  know!" 

"  Now  we  understand  each  other.  You  keep 
a  record  of  all  your  sales  and  the  time  limit  of 
the  usability  of  film  issued?" 

"Yes." 

"Good.  Did  you  sell  any  film  within  the 
last  few  months  to  this  party?" 

The  man  took  the  notation. 

"I'll  call  my  stenographer  .  .  ." 

"Don't  do  that!  I'd  hate  to  see  a  good  girl 
go  wrong  for  the  sake  of  a  little  bunch  of 
money  .  .  .  and,  I've  a  notion  she  could  sell 
her  information  that  I  asked  for  this  data  at 
quite  a  bit!" 

"I  understand.     I'll  attend  to  it  myself." 

He  was  gone  a  little  whUc'and  came  back  to 
tell  Smith  they  had  no  record  of  any  such 
transaction. 

"You  understand.  Captain,"  he  added,  "we 
are  not  the  only  place  where  such  film  could  be 
purchased.  Just  a  moment  and  I'll  give  you 
the  addresses  of  other  possible  sources." 

In  a  moment  he  was  back  with  a  memoran- 
dum containing  these  firms'  addresses. 

"By  the  way,"  he  said,  "if  you  don't  find 
what  you  want  at  any  of  those  places,  I  suggest 
you  try  the  foreign  agencies." 

"That's  a  good  idea.     Thanks." 

It  was  at  this  last  address  he  found  what 
he  sought. 

■\yriDDLETON  was  plainly  gratified.  He 
■^"•'•sat  gloating  over  the  prints. 

"My  first  American  case,"  he  said. 

Smith  sat  down. 

"That  means  palm  prints!  In  other  words 
my  murderer  was  a  comparatively  calm  and 
collected  person,  who  deliberately  attempted 
to  conceal  his  finger-prints!" 

"It  does." 

"That  means,  also,  that  all  of  those  diver- 
gent clues  have  no  direct  bearing  on  the 
murder!" 

"Apparently." 

"It  is  not  probable  that  West  would  protect 
himself  with  gloves,  and  then  make  those  foot- 
prints afterwards.  There  is  this,  however,  he 
might  have  had  on  gloves,  which  he  did  not 
think  to  remove!  But  what  would  he  be  doing 
inside  the  camera?" 

"Of  course,  you  understand,  I  have  no  palm 
prints  of  the  cameraman  .  .  .  Serge,  you 
called  him,  or  of  the  assistant  camerman.  This 
print  might  belong  to  either  of  them." 

"That's  a  fact.  I'll  remedy  that  my  next 
trip!" 

"In  the  meantime  .  .  ." 

"Keep  this  under  your  hat.  I'm  going  to 
try  out  a  'hunch'  of  mine,  and  if  it  leaks  it's  no 
good!" 

From  Professor  Middleton's,  Smith  went 
out  to  the  studio,  and  walked  into  an  argument 
between  Izzie  and  Abie. 

"I  tell  you,  Abie,  it  ain't  no  use!  You 
should  to  take  a  look  vonce!  Five  hundred  off 
t  'em ,  and  t'ey  just  stand  and  look  like  noddings ! 


119 


H 


S 


TH  E  .>TAR.S    OF 


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SCREEN  Stars  have  now  found  what  they 
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I  tell  you,  ve  got  to  shut  it  up!  Burn  it  up! 
Anyvays,  ve  get  the  insurance!" 

Smith  silently  leaned  over  to  Rosenthal's 
cigars. 

Not  for  anything  would  he  have  interrupted 
this  scene.  It  afforded  him  too  much  enter- 
tainment. 

"TT  iss  Stage  Six  ve  are  talking  about,"  said 
■'■the  president  to  him,  "already  ve  cut  off 
vone  end  .  .  .  the  end  vere  your  men  vid  guns 
are  on  guard  .  .  .  already  ve  coffer  it  up  \vid 
scenery,  so's  they  shouldn't  to  see  even  vone 
corner  of  that  canvas  fence.  But  Izzie  tells  me 
just  now  they  only  stand  around  in  bunches 
and  look  offer  their  shoulders  like  they  seen  a 
ghost  already!  And  I  should  pay  five  hundred 
e.xtra  for  two  days  ten  dollars  apiece,  to  ruin  a 
scene!" 

"That's  just  because  the  murder  is  still  a 
mystery.  Why  don't  you  wait  until  we  clear 
it  up?  They  won't  act  that  way  about  that 
set  then." 

"Listen  to  him,"  said  Izzie  sarcastically, 
turning  to  the  president.  "He  says  to  vait! 
Vait,  ven  ve  haff  got  two  directors  already 
hollering  for  de  luxe  sets,  and  no  place  to  put 


THE  $3,000  contest  for  solutions 
to  "The  Studio  Murder  Mys- 
tery" closed  at  midnight  on  March 
10th.  Solutions  received  after  that 
date  and  hour  will  not  receive  con- 
sideration. 

The  judges  are  now  examining 
the  thousands  of  submitted  solu- 
tions. It  seems  unlikely  that  the 
full  list  of  winners  can  be  an- 
nounced before  the  June  issue,  out 
May  15th. 

"The  Studio  Murder  Mystery" 
will  appear  shortly  in  book  form, 
published  by  Reilly  and  Lee  of 
Chicago,  and  autographed  copies 
are  promised  to  all  the  lucky  win- 
ners by  the  authors,  the  Edingtons. 
These  copies  are  in  addition  to  the 
cash  awards,  of  course. 


them!  I  haff  a  terrible  time  vid  Giddy.  .  ' 
our  art  director!  Already  he  has  made  his 
plans  for  that  ballroom  set,  and  it  is  very 
qviet  .  .  .  very  highbrow,  you  understand?  I 
say  to  him,  'for  Gott  sakes,  Giddy,  put  some- 
tings  on  that  set  to  make  those  people  forget 
there  vas  a  murder  on  that  stage!  Ve  viU  put 
in  some  naked  vomen  .  .  .  veil,  you  know,  not 
all  naked  .  .  .  and  do  efferyt'ing  ve  can  to  pep 
it  up!'  Giddy  has  a  fit  already,  but  ve  do  it! 
But  does  it.  ..." 

"Say,  wait  a  minute,"  laughed  Smith,  "it 
seems  to  me  you  are  having  all  this  trouble  for 
nothing.  Why  don't  you  put  that  scene  on 
another  stage?" 

"Stage  Six  iss  the  only  vone  vid  that  beauti- 
ful marble  dance  floor.  The  other  stages  they 
aren't  so  good.  My  directors  they  von't  use 
them  for  de  luxe  ballroom  stages!  Ve  got 
lights,  efferything  .  .  .  efferything  fixed  for 
the  best  results  on  that  stage  .  .  .  and  then 
.  .  .  he  should  get  himself  killed  on  it!" 

"Tventy  t'ousand  dollars,  Abie,  ve  put  into 
that  set  .  .  .  into  vone  set  .  .  .  think  off  it!" 

Smith  raised  his  eyebrows. 

"That  iss  so,"  sighed  Rosenthal.  "The 
ballroom  scene  vas  the  big  scene  in  that  picture. 
In  a  veak  moment  I  Okayed  Giddy's  sketches 
.  .  .  in  a  veak  moment  I  did  it!" 

"Yeah  and  you  know  what  happens  next? 
Ve  got  two  directors  valking  .  .  .  that's  vat!" 

ABIE  and  Izzie  looked  significantly  at  each 
other. 
Smith  said: 

"Vou  say  it  hke  it  was  the  smallpox!  What 
d'you  mean?" 

"Ven  a  director  valks  it  means  he  von't 
vork!  It  ineans  he  gets  temperamental  and  he 
von't  do  a  thing  until  he  feels  like  it!     But  all 


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Photoplay  Magazine — Advertising  Section 


121 


the  time  ve  got  to  pay  him  his  salary!  All  the 
time  it  costs  us  two  thousand  dollars  a  veek 
apiece  for  these  two  directors!  Sure,  ve  got  to 
pay  it  .  .  .  but  ve  can't  make  them  vork!" 

"That's  funny.  ..." 

"Vonce  already  I  told  you  this  business  iss 
not  funny!"  said  Rosenthal  peevishly. 

"Yeah,  and  vile  ve  pay  t'em  t'ousand  dollars 
apiece,  ve  kiss  that  other  tventy  t'ousand 
goodbye  ..."  said  Izzie. 

"Kiss  it  goodbye  nothings!  You  go  right 
avay  out  there  and  tell  those  people  they  get 
busy  and  do  \at  they  are  told  or  they  get  off  the 
lot  I  You  tell  them  I  said  so!  You  tell  them 
neffer  again  vill  they  be  back  on  this  lot  vidout 
they  do  it!  Then  if  that  boob  off  a  director 
don't  like  the  stuff  he  gets,  you  ha£f  that  set 
coffered  all  up  .  .  .  don't  let  no  dust  get  on  it! 
Kiss  it  goodbye,  I  should  say  ve  von't!  Ve 
shut  that  set  up  and  ve  use  it  in  our  next 
picture  after  this  murder  business  has  been 
settled!" 

Izzie  went. 

"VV  TH.^T'S  Seibert  doing  these  days?"  asked 

**   Smith,  lighting  his  cigar. 

"Cutting  his  picture.  .Alvays  he  shoots  ten 
milHon  more  feet  than  he  needs.  It  iss  like 
cutting  off  his  own  arms  and  hands  to  take 
any  out.  ..." 

"If  it's  good,  why  don't  you  leave  it  in?" 

"Smith,  sometimes  you  don't  use  your  head 
about  pictures,  that's  the  truth!  Leaff  it  in 
.  .  .  and  half  a  twelff  reel  picture  vat  nobody 
vants  to  run  in  their  houses!     I  guess  not!" 

"My  mistake,"  smiled  Smith. 

"And  if  you  think  that  bird  iss  tempera- 
mental ven  he  iss  shooting,  mine  Gott,  you 
should  to  see  him  ven  he  iss  cutting!" 

"Is  he  working  now?" 

"Maybe.  Maybe  not.  He  comes  and  goes 
at  all  hours.  Sometimes  he  vorks  all  night. 
Sometimes  all  day.  Say,  vat  you  got  to  tell 
me?     Vat  you  find  out?" 

Smith  rolled  his  cigar  a  moment  thought- 
fully. 

At  last  he  said: 

"Trust  me,  Rosenthal.  I've  found  out 
something,  but  I  can't  put  it  into  words  so 
soon  ...  It  won't  be  long  though.  Have 
patience!" 

"Patience?  How  can  I  haff  patience  ven 
the  papers  they  say  it!  Mine  Gott,  Smith,  vat 
haff  I  done  .  .  .  beside  being  a  motion  picture 
producer  .  .  .  that  they  should  jump  on  me 
vid  both  feet?  Pretty  soon  even  my  friends 
think  I  know  something  vat  I  don't  know!  I 
try  to  be  patient.  I  don't  ask  you  much  vat 
you  are  doing!  I  see  my  business  being  ruined 
...  for  a  bad  name  ve  vill  get  .  .  .  that  iss 
the  vay  things  go  in  this  vorld  .  .  .  and  I  tell 
you,  more  I  cannot  stand!  Right  here  I  feel 
it!" 

He  hit  his  fat  chest  over  the  heart. 

" Right  here  it  aches  me  all  the  time!  I  can- 
not forget!  All  the  time  I  haff  said  to  myself 
that  I  vill  keep  my  studio  clean!  I  vill  not  let 
dirt  come  on  it.  I  .  .  .  no.  I  vill  not!  But  does 
it  do  any  good?  I  ask  you,  Mr.  Smith,  does  it 
do  any  good  for  a  business  man  to  haff  ideals?  " 

"You  bet  your  life  it  does!" 

Smith  saw  the  puffed  green-white  bags  out  of 
which  the  president's  brown  eyes  gazed  at  him 
wistfully.  He  saw  the  bilious  pallor  of  his  face. 
He  said : 

""YOU'RE  thinking  too  much  about  it.  Your 

■*•  food  isn't  digesting!  Take  your  wife  to 
the  Orpheum  tonight.  You  need  a  good 
laugh!" 

"Laugh!  Ven  my  insides  are  tvisting  vid 
misery?" 

"Sure.     Laugh  anyway!" 

Rosenthal  grunted,  and  picked  up  his  desk 
phone  to  answer  it. 

"Sure.  He  iss  here.  You  vant  to  speak  to 
him?"  He  transferred  the  instrument  to 
Smith.     "For  you,"  he  said. 

Smith  listened  a  moment.     Then, 

"That's  line.     Thanks,"  he  said. 

He  clapped  Rosenthal  affectionately  on  the 
back. 


if  yeu  REALLY 

PRINCESS  PAT 

pcii^der  yculd  surely  Lry  it  ^ 

[HERE  WE  SHALL  TRY  TO  GIVE  THE  FACTS.  READ  CAREFULLY) 


Lillian  Gilmore,  Uni- 
versal Film  Star,  ia 
another  of  the  many 
srreen  and  stage  beau- 
ties who  uses  Princess 
Pat  Powder — and  loves 
it  tool  Just  opening  a 
fresh  box  here,  with  "I 
adore  it!" 


In  the  first  place, 
Princess  Pat  is  the 
only  face  powder 
that  contains  al- 
mond. Your  accus- 
tomed powders 
likely  have  a  base 
of  starch.  This 
change  of  base  in 
Princess  Pat  makes 
a  completely  differ- 
ent powder.  Al- 
mond makes  a  more 
clinging  powder 
than  can  possibly 
be  obtained  with 
starch  as  a  base.  So  point  one  in  favor  of 
Princess  Pat  is  that  it  stays  on  longer. 
Every  woman  will  appreciate  this  advantage. 
Almond  maJtes  Princess  Pa  t  a  softer  powder 
than  can  be  made  with  any  other  base. 
The  softer  a  powder,  the  better  its  application. 
So  point  two  in  favor  of  Princess  Pat  is 
that  it  cein  be  appUed  more  smoothly,  as- 
suring the  peculiarly  soft,  velvety  tone  and 
texture  which  definitely  estabUshes  Prin- 
cess Pat  as  the  choice  of  ultra  fashionable 
women  everywhere. 

A  decidiiig  factor  in  choosing  powder  is 
perfume.  Will  you  like  Princess  Pat — an 
original  fragrance?  Yes.  For  it  steals  upon 
the  senses  subtly,  elusively.  Its  appeal  is  to 
delicacy,  to  the  appreciation  every  woman 
has  of  finer  things.  It  is  sheer  beauty,  haunt- 
ing wistfulness  expressed  in  perfume. 

So  point  three  in  favor  of  Princess  Pat  is 
perfume  of  such  universal  charm  that  every 
woman  is  enraptured. 

Even  beyond  all  these  advantages,  Prin- 
cess Pat  possesses  a  special  virtue  which 

PRINCESS  PAT 

PRINCESS  PAT  LTD.,  CHICAGO 

Princess  Pat  Ice  Astringent  is  the  one  rnnishinQ  cream 
that  acts  lilte  ice  to  close  and  refine  the  pores.  Ideal  as 
the  powder  Itnse — effective  longer — cool,  pleasant,  re- 
freshing as  ice.  Prevents  and  corrects  coarse  pores^ 
Always  use  before  powder. 


should  make  every  woman  choose  Princess 
Pat  as  her  only  powder. 

For  Princess  Pat  powder  is  good  for  the 
skin.  Not  merely  harmless,  mind  you,  but 
beneficial!  And  once  again  the  almond  in 
Princess  Pat  is  to  be  credited — the  almond 
found  in  no  other  face  powder. 

You  know  how  confidently  you  depend 
upon  almond  in  lotions  and  creams,  how  it 
soothes  and  beautifies,  keeping  the  skin  soft, 
pliant  and  naturally  lovely. 

Almond  in  Princess  Pat  face  powder  has 
the  selfsame  properties.  Fancy  that !  Instead 
of  drying  out  your  skin  when  you  powder, 
you  actually  improve  it.  Constant  use  of 
Princess  Pat  powder  is  one  of  the  very  best 
ways  to  correct  and  prevent  coarse  pores, 
blackheads  and  roughened  skin  texture. 

Princess  Pat  has  been  called  "the  powder 
your  skin  loves  to  feel. "  Itisa  mostaptde- 
scription;  for  the  soft,  velvety  texture  of 
Princess  Pat   is  delightful — and  different. 

And  now,  if  you  have  read  carefully, 
learned  the  unusual  advantages  of  Princess 
Pat  you  will  surely  want  to  try  it. 

Your  favorite  toilet  goods  counter  can  supply 
Princess  Pat  almond  base  powder — ia  two  weights. 
These  are  regular  weight,  in  the  oblong  box,  and  a 
splendidly  adherent  light  weight  powder  in  round  box. 
Both  weights  are  made  with  the  famous  Almond  Base. 


The  very  popular  Princesa  Pet  Week-End  Set  ia  offered 
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one  to  a  customer.  Sot  contains  oaaily  a  month's  supply 
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122 


Photoplay  Magazine — Adveutising  Section 


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Rod  La  Roque  and  Billie  Dove  all  alone  on  the  great  big  ocean  with 

a  nose-diving  airplane.     Rod  is  looking  hopefully  for  a  rowboat. 

It's  a  scene  from  their  new  picture,  "The  Man  and  the  Moment," 

a  First  National 


"Good  news,  old  man!  Things  are  begin- 
ning to  break.  That  was  Dr.  .\mden.  I'm 
going  to  talk  to  Beth  MacDougall.  You  go 
out  and  forget  your  worries  .  .  .  we're  over 
the  hump!" 

CHAPTER  XVI 

""Y'OU  stole  out  to  meet  Hardell  after  you 

-I- saw  the  lights  go  out  on  the  set  .  .  .  ?" 

"Yes." 

She  would  not  look  at  him  and  she  had 
gathered  her  gown  into  a  ball  in  her  hand. 

"When  you  got  there  Hardell  was  not  there. 
You  thought  he  was  in  his  dressing  room.  You 
waited,  hoping  against  hope  that  he  would 
return  to  meet  you?" 

"Yes." 

"I  found  your  fingerprints  on  several  things. 
A  book  ...  a  pillow  .  .  .  very  plain  prints 
because  the  set  was  so  dusty.  Then  Hardell 
did  come,  and  before  you  could  speak,  some- 
body else  followed  him!  You  hid  because  you 
did  not  want  to  be  found  out.  You  crouched 
by  that  big  overstuffed  chair.  I  found  your 
prints  on  the  rockers." 

"Yes  ...  I  hid  there.  ..." 

"And  it  was  then  that  you  saw  HardeU 
murdered!" 

Her  eyes  slid  swiftly  to  him.  For  a  long 
moment  she  stared  at  him  .  .  .  stared  as 
though  he  were  telling  her  of  things  she  had 
done  but  could  not  remember.  Then  she 
shook  her  head  slowly  in  denial. 

"No.     I  did  not  see  him  .  .  .  killed.  ..." 

"Those  blood  finger  prints  on  the  canvas 
door  were  yours.  They  are  also  on  this  ..." 
he  drew  a  towel  from  his  pocket.  "You  came 
back  here  and  washed  your  hands,  but  first  you 
tried  to  w'ipe  it  off  on  the  towel.  The  towel 
was  in  the  garbage  can.  Miss  Brown  should 
have  burned  it." 

She  looked  at  it,  and  her  blue  eyes  began  to 
fill  with  tears  ...  to  well  over  ...  to  deluge 
her  white  cheeks.  Then  she  turned  her  face 
away  from  him  and  a  quivering  sigh  came 
piteously  into  the  silence  between  them. 
Smith  waited.  He  felt  she  would  talk  of  her 
own  volition,  and  presently  she  did,  keeping 
her  face  away  from  him. 

"There  isn't  any  use  in  keeping  things  back. 
My  father.   ..." 

" Did  you  see  him  kill  Hardell?" 

"No.  I  did  not  see  him.  But  I  know  .  .  . 
he  did  it."     Flat  despair  in  her  voice. 

"How  do  you  know,  then?" 


"I  never  heard  him  tell  a  lie.  My  father 
hates  a  lie." 

"And  that  is  the  only  reason  you  have?" 

"It  is  enough.  That  .  .  .  and  .  .  .  be- 
cause I  did  not  see  Yvonne  or  Billy  do  it  .  .  . 
and  because.  ..." 

"Your  father  may  never  have  lied  before, 
but  he  lied  the  other  day  at  the  inquest!  He 
lied  ...  to  save  you!" 

And  then  she  turned  to  look  at  him. 

"To  save  me?"  A  tremulous  curving  of  the 
lips  ...  a  smile  of  hope  that  would  not  smile, 
but  hid  its  pathetic  futility  behind  the  sheet 
that  was  caught  and  pressed  against  it! 

"Yes.  Your  father,  I  am  sure,  had  some 
reason  to  believe  you  committed  the  murder! 
He  had  some  reason  that  was  proof  indisputable 
to  him  .  .  .  enough  proof  to  make  him  con- 
fess at  a  time  when  two  other  confessions 
would  have  probably  cleared  him!  But  he 
knew  ...  he  knew  .  .  .  that  you  did  it!" 

"I  want  to  see  my  father!  I  want  to  see 
him!"  She  pulled  herself  up  from  the  pillows 
and  swaing  her  slender  little  feet  to  the  floor. 
Smith  put  out  his  hand  and  forced  her  gently 
back. 

"It  is  not  necessary!     Tell  me  the  truth!" 

"  But  how  can  I  make  vou  believe  me !  I  did 
not  .  .  .  Oh,  I  did  not  kill  him!" 

"Tell  me  .  .  .  all  of  it!" 

Her  fingers  locked  and  struggled  with  each 
other  on  the  thin  covering  of  her  gown.  Her 
eyes  fi.\ed  on  some  distant  point. 

"I  wanted  ...  I  had  to  .  .  .  talk  to 
Dwight.  My  father  had  forbidden  me  to  see 
him  .  .  .  speak  to  him  again.  It  was  to  be 
the  last  lime  ...  I  did  not  want  to  see  him. 
I  knew  I  had  never  really  .  .  .  loved  .  .  . 
cared  for  him  .  .  .  but  .  .  .  but  ...  He 
.  .  .  we  .  .  .  should  have  been  married.  I 
was  afraid  of  having  to  live  with  him  ...  be 
his  wife  .  .  .  but  ...  it  was  right  to  do.  I 
was  going  to  ask  him  ..." 

She  stopped.     Smith  could  find  no  words. 

YOU  know  .  .  .  even  though  you  don't  hke 
to  do  things,  there  are  some  things  .  .  .  you 
have  to  do  ,  .  ."  she  said. 

"I  understand."  Smith's  voice  was  very 
gentle.     She  seemed  to  gather  courage  from  it. 

"I  went  to  the  stage  and  Dwight  was  not 
there.  I  waited.  He  did  not  come.  He  said 
he  would.  Then  I  heard  steps,  but  they  did 
not  sound  like  Dwight's.  I  hid  while  Billy 
West  came  and  stood  still  a  minute,  looking 
about  for  his  s.cript.     Then  he  went  straight  to 


Every  advertisement  in  rnoTOPLAY  JI.\GAZ1NE  is  guaranteed. 


Photoplay  Magazine — Advektising  Section 


12 


his  chair  and  got  it  and  went  out.  I  waited 
some  more  .  .  .  and  ...  I  heard  somebody 
coming  from  the  direction  of  the  gale.  1 
thought  it  was  my  father.  I  knew  if  he  found 
me  there,  waiting  for  Dwight,  he  would  shoot 
Dwight  when  he  came.  He  had  said  lie  would. 
I  was  ...  so  scared  ...  I  started  to  run 
...  to  get  off  the  set,  and  hide  on  the  stage 
somewhere  .  .  .  and  I  fell  and  that's  how  .  .  . 
I  found  out  that  he  was  there  all  the  time  .  .  . 
and  ...  he  was  dead ! ' ' 

"You  mean  Hardell?" 

"Dwight  .  .  .  yes.  I  fell  on  him.  I  was 
...  he  felt  alive.  .  .  he  wasn't  all  cold  .  .  . 
I  felt  his  face,  and  then  I  shook  him,  and  called 
to  him,  and  he  didn't  answer  .  .  .  and  then, 
when  I  pushed  myself  up  from  the  floor,  I  got 
blood  all  o\er  my  hand.   .  .  ." 

"Look  at  me,  Bethl" 

SLOWLY  then  she  turned  to  him.  Her  eyes 
came  up  to  his. 

"You're  telling  me  that  Hardell  was  on  that 
set  all  the  time  .  .  .  and  that  the  only  other 
person  who  came  on  the  set  while  you  were 
there  was  Billy  West  and  that  he  did  not  kill 
him?" 

"No.     He  did  not  kill  him!" 

"  Beth,  did  you  see  anybody  kill  him?  " 

"No!     No!" 

"Beth  .  .  .  did  you  do  it?"  His  eyes  held 
hers. 

"No  .  .  .  no.  .  .  ." 

"Who  was  it  screamed  .  .  .  the  banshee 
that  Lannigan  tells  about?  " 

"I  did  it!  When  Dwight  was  dead  it  scared 
me  so.  I  ...  I  got  up  and  ran.  I  screamed. 
I  did  not  know  I  was  doing  it  until  I  heard 
myself.   ..." 

"You  went  straight  to  that  set  after  the 
lights  were  out?" 

"  In  a  few  minutes  .  .  .  just  as  soon  as  I  was 
sure  Mr.  Seibert  was  off  the  lot  ...  so  he 
wouldn't  come  back  and.  ..." 

".And  Hardell 's  body  was  there  when  you 
first  went  on?" 

"Yes.  I  thought  .  .  .  Billy  West  thought, 
too  .  .  .  because  he  stepped  o\'er  him  .  .  . 
that  it  was  the  dummy." 

"Lannigan  and  your  father  swore  that  Har- 
dell went  out  with  Seibert!  Beth,  are  you 
sure  he  did  not  come  back  later  .  .  .  and  all 
this  happened  later,  and  you  are  not  telling  me 
the  whole  of  it?  "  He  went  close  to  her  and  put 
Ms  hands  on  her  shoulders.  He  felt  her  body 
trembling,  like  the  twanged  vibration  of  a  wire. 
She  had  been  talking  through  clamped  teeth 
and  her  hands  were  clenched  at  her  sides.  He 
saw  that  her  forehead  was  wet  and  her  upper 
lip. 

"  Beth  .  .  .  this  is  hard  to  believe!  All  my 
evidence  is  against  it!" 

"I  can't  help  it!  It's  the  truth!  He  was 
there  ...  all  the  time!  Oh  ...  I  fell  right 
on  him!  I  .  .  .  keep  thinking  of  it  ...  in 
the  night  I  wake  up  and  think  about  it  ... " 
Her  teeth  chattered. 

"Will  Miss  Brown  confirm  what  you  have 
told  me?" 

"Oh,  yes.  She  knows.  Ask  her!  Tell  I 
said  to  tell  you  .  .  .  everything!  Mona 
knows!" 

He  stood  over  her  a  moment,  holding  her 
cold  hands,  trying  to  quiet  her  shaking  body 
.  .  .  trying  to  gi\'e  her  the  calm  courage  of  his 
eyes.  She  turned  her  face  from  him,  and  after 
a  moment,  his  own  eyes  misted,  he  tip-toed 
away. 


"TT  was  a  little  past  twelve  when 
■'-over,"  Mona  Brown  told  Smith. 


Beth  went 
'Seibert 
must  have  passed  her  in  his  car.  It  wasn't 
more  than  fifteen  minutes  before  she  was  back, 
wliite,  and  scared  silly.  She  ran  to  the  basin, 
grabbed  the  towel  hanging  beside  it  and  tried 
to  clean  off  her  hands.  She  wouldn't  say  any- 
thing. 

"I  told  her  to  wait  and  we'd  wash  them. 
Then  she  keeled  over  .  .  .  dead  faint.  I 
cleaned  her  up  and  put  her  to  bed.  She's  been 
out  of  her  head,  off  and  on,  until  yesterday. 
That's  all  I  know." 


H 


DONT  WEAKEN,  MOTHER 


rf 


MODERNIZING  MOTHER.  .  .  Ephode  Number  Three 


THE  MODERN  DAUGHTER— graceful 
as  a  greyhound,  a  star  at  tennis,  golf, 
riding  or  swimming;  with  not  a  nerve 
or  ache  in  her  vital  body — how  she  has 
shattered  hidebound  traditions!  In  a 
less  enlightened  age,  "girls  didn't  do 
such  things";  it  was  unladylike  to  be 
too  healthy. 

Millions  of  mothers  whose  girlhood 
was  repressed  are  being  trained  by 
daughters  to  be  young  again — to  know 
freedom — to  grasp  the  idea  that  drudg- 
ery and  useless  labor  are  a  sinful  waste 
of  life. 

Modess  is  one  of  the  many  recent 
inventions  which  do  away  with  drudg- 
ery and  discomfort  —  the  drudgery  of 
the  old,  senseless  way.  Young  women 
everywhere  have  found  Modess  to  be 
convincingly  better  than  older  methods. 


The  gracious  ease  and  softness  of 
Modess  are  certain  to  please  you.  There 
are  no  square  edges  to  chafe — the  sides 
are  smoothly  rounded.  The  filler  is  a 
remarkable  new  substance  invented  by 
Johnson  &  Johnson,  world-famous 
makers  of  surgical  dressings  and  ad- 
hesive tape.  It  is  as  soft  and  yielding 
as  cotton,  amazingly  absorbent  and  in- 
stantly disposable.  The  gauze  is  cush- 
ioned with  a  film  of  cotton  for  greater 
comfort. 

Modess  is  deodorizing.  Laboratory 
tests  prove  it  to  be  more  efiicient  in 
this  respect. 

You  are  sure  to  prefer  Modess — 
every  woman  does.  Since  it  costs  no 
more — why  not  try  it? 

y/    NEW   BRUNSWICK,    (/       N. J., U.S. A 


WORLDS         LARGEST         ^^AKERS         OF        SUR  GICAL        DRESSINGS 


MoJi 


ess 


(Pronounced  Mo-dess) 
SO       INFINITELY       FINER 


When  you  write  to  advertisers  please  mention  PIIOTOPLAT  MAGAZINE. 


124 

ZIP   ACTUALLY 


DESTROYS 


Photoplay 
HAIR 


Magazine — Advertising  Section 


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Well  groomed  women  are  switching 
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"But  you  can  swear  to  the  time? "  demanded 
Captain  Smith  sharply. 

"  Vcs. " 

"How  does  it  happen  you  were  keeping 
track  of  the  time?" 

"We  were  both  watching  the  clock,  wonder- 
ing how  late  Seibert  was  going  to  work." 

"Thanks,  Miss  Brown,  I  need  not  tell  you 
that  what  you  have  just  told  me  goes  far  to 
corroborate  Beth's  story." 

SMITH  left  the  Superior  Films  lot,  and  the 
hospital  at  sundown.  He  went  directly 
across  the  street  to  the  lunch  room.  It  was  the 
first  time  he  had  honored  "Slim's"  with  his 
presence.     The  proprietor  was  plainly  curious. 

"Well,  Captain,  found  out  anything?"  he 
asked  eagerly,  putting  down  Smith's  pie. 

"W'e  work  at  it  every  day." 

Slim  shook  his  head. 

"I  sure  never  thought  it  was  the  last  time  I'd 
see  that  poor  guy  when  he  went  out  the  gate 
that  night!" 

"So  .  .  .  you  saw  him  go  out?" 

"Sure.  Sometimes  Seibert  stops  for  a  coKe,' 
and  I  was  wonderin'  if  he  was  goin'  to.  .  .  . " 

"Did  he?" 

"No.     But  I  seen  them  all  right." 

"What  time  was  it?" 

"Just  before  Lannigan  come  over.  He 
usually  comes  a  bit  after  midnight  .  .  .  be- 
tween twelve  and  twelve-thirty  .  .  .  Some- 
times a  Httle  later." 

"  Can  you  remember  if  he  was  later  ...  or 
earlier?" 

"Gosh  .  .  .  I  never  looked  at  the  clock  that 
night.  Captain!" 

"Then you  couldn't  swear  to  the  time? " 

"Hell,  no!  I  couldn't  swear  to  nothing!" 
returned  the  man  quickly. 


Smith  paid  for  his  lunch  and  went  out  to  his 
car.  He  travelled  in  the  direction  of  Holly- 
wood and  at  a  certain  corner  he  got  out.  A 
moment  later  the  proprietor  of  the  cigar  store 
there  was  squirming  under  the  sharp  gaze  of  his 
grey  eyes. 

"Just  how  big  a  lie  were  you  telling  about 
Seibert  stopping  at  this  corner  the  night  Har- 
dell  was  murdered?  " 

"I  wasn't  lying!" 

"How  much  is  Seibert  paying  you  .  .  .  how 
much  are  you  being  paid  by  anyone  ...  to 
say  that?" 

"Not  a  damned  cent,  so  help  me  God!" 

"  Vou  know  what  it  means  it  you're  caught  ?  " 

"Say,  who  the  Hell  gave  you  the  right  to 
come  around  here  and  call  me  a  liar?  If  you 
don't  believe  me,  take  a  look  at  that.  ..." 
He  reached  over  and  pulled  out  an  account 
book,  shoving  it  under  Smith's  nose.  Rapidly 
he  thumbed  the  pages.  "There.  That's  the 
box  of  cigars  Hardell  told  me  to  charge  to  him ! ' ' 
He  called  to  the  back  of  the  store,  "Red,  come 
out  here  and  tell  this  guy  what  you  did  with 
that  box  of  cigars  for  Hardell,  the  night  he  was 
murdered!" 

"  "V\  TENT  out  and  pitched  'em  in  his  car,  like 

*V  you  said,  when  they  was  standin'  in  the 
traffic.  Hardell,  he  calls  out, '  Charge  'em,'  so  I 
come  back  and  tells  you  to  charge  'em!"  said 
the  boy,  his  frightened  eyes  leaping  all  about 
Smith's  tall  person. 

"Hardell  told  you  to  charge  them?"  snapped 
Smith. 

"  Honest  to  God,  sir,  he  did ! " 

Smith  looked  at  them  steadily  for  a  moment 
and  then  left.    He  went  to  the  traffic  cop. 

"Are  you  on  duty  between  midnight  and 
one  o'clock?" 


This  is  a  ZIP  year  ^ 


This  is  a  ZIP  year 


Here  is  the  famous  bridge  of  San  Luis  Rey  that  Thornton  Wilder 

wrote  the  novel  about.     Metro-Goldwyn-Mayer  built  it  right  in  the 

studio,  and  you  see  Raquel  Torres  and  Duncan  Renaldo  about  to 

do  their  stuff  on  the  risky  swing 


Every  ndvertlsement  in  FHOTOPLAT  M.\GAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  SEfxioN 


"Sure.  I'm  on  straight  from  now  on  until 
my  relief,  which  comes  later. " 

"Did  you  see  Seibcrt  and  Ilardell  the  nif,'ht 
lie  was  murdered?  You'\e  followed  the  case, 
of  course."    The  man  grinned. 

"Sure,  I  seen  'em,  Captain!" 

"Why  the  devil  didn't  you  say  so?  " 

"Why  the  devil  didn't  you  ask  me?"  retorted 
the  other  with  a  broad  Irish  prin.  "They  was 
the  first  car  in  the  Une  and  that  Hardell  was 
using  his  arm  to  punctuate  his  talk  and  the  lace 
of  it  was  a  llyin'  pretty  in  the  breeze!" 

"Did  you  see  any  more?" 

"Divil  a  bit  more.  They  vvint  on  wid  the 
rest!"  returned  the  man  good  naturedly  and 
put  his  whistle  to  his  lips. 

Smith  turned  his  steps  to  the  building  in 
progress  of  construction  across  the  street.  He 
went  to  the  night  foreman. 

"Have  you  got  the  same  night  crew  on  you 
had  on  the  15th?"  he  asked. 

"Practically.  A  few  men  laid  off.  Two 
sick." 

"  I  wish  you  would  call  them.  Is  there  some 
place  where  they  can  all  get  together?" 

"The  first  floor's  all  right,"  said  the  foreman, 
not,  howe\'er,  without  the  pressure  of  the  law 
being  used  upon  him. 

"All  right.     Make  it  snappy.  " 

A  ND  a  few  moments  later,  standing  on  a 
■'^■jutting  beam,  looking  down  onto  a  mass  of 
upturned  faces  .  .  .  Smith  called: 

"I  haven't  time  to  question  you  in  private. 
Some  of  you  ate  at  the  stand  on  the  corner 
across  from  here  the  night  of  the  15th.  That 
was  the  night  Dwight  Hardell  was  murdered  at 
Superior  Film  .  .  ."  a  sound  came  up  from  the 
men.  They  knew  that  all  right!  "He  was  in 
a  car  that  passed  by  this  corner  around  12:25 
.  .  .  when  you  men  would  be  returning  from 
your  lunch.  Now  nobody  is  going  to  try  topin 
anything  on  you.  We  know  you  couldn't  have 
a  hand  in  it  .  .  .  but  you  can  help  me  to  catch 
the  person  who  did,  if  .  .  .  you  tell  what  you 
know.  Provided  you  know  anything,  of 
course!"  He  stopped  a  moment,  and  then  his 
voice  rang  out  sharply,  "Did  any  one  of  you 
see  a  man  in  a  blue  satin  costume,  lace  at  the 
sleeve  .  .  .  which  would  have  showed  out  of 
the  cuff  of  his  overcoat  ...  in  a  big  purple 
car  .  .  .  that  night,  at  that  time?  " 

Snickers  broke  out  as  he  finished.  The  men 
turned  to  look  in  one  direction  and  glances 
were  e.xchanged  .  .   .  but  no  man  spoke. 

"  Come  now!  The  way  you  are  acting  shows 
me  you  know  something.  I  may  have  to  put 
oneof  you  in  jail  to  find  out.  ..." 

"Goon  .  .  .  tell  the  dick,  Johnson!"  urged 
somebody.     Smith  caught  at  the  name. 

"Johnson?  Johnson!  I  understand  you've 
got  something  to  tell  me!  Come  on  now  and 
then  the  drinks  are  on  me,  boys!" 

".\w  .  .  .  nothin'  .  .  .  only  ...  I  know 
that  director,  that  Seibert.  I  used  to  work  at 
Superior  Films,  but  my  wife,  she  didn't  like  me 
playin'  around  where  those  movie  actresses  are 
.  .  ."he  stopped  to  turn  red  as  a  loud  guffaw 
greeted  this  part  of  his  testimony.  Smith 
interrupted: 

"That's  all  right,  Johnson,  I  don't  blame  her. 
They're  dangerous  babies!  So  you  saw  Sei- 
bcrt, eh?" 

"  I  was  crossin'  the  street  and  I  didn't  get  out 
of  his  way  quick  enough  after  the  traffic 
whistle  blew  and  he  blamed  near  cut  the  pants 
off  me,  that's  all!     Took  time  to  curse  me." 

"Who?  Seibert,  or  Hardell,  the  man  with 
him?" 

"  I  don't  know.  One  of  'em.  Guess  it  was 
Seibert.     He  was  doin'  the  drivin'. " 

"  But  you  saw  Hardell?" 

"The  guy  had  on  a  lace  nightgown  under  his 
coat.     Sure  I  saw  him  ail  right ! " 

"Thanks." 

"D  .\CK  at  his  home.  Smith  went  straight  to  his 
■■^office  and  locked  the  door.  The  persistent 
ringing  of  the  telephone  finally  roused  him  from 
an  almost  feverish  assembling  and  sorting  of 
the  notes  and  objects  on  his  desk  before  him. 
[to  be  continued] 


STARS 


AND  Screen 


DOROTHY 
MACKAILL 

M-G  -  M  screen 
favorite,  is  u 
Health  Builder 
enthusiast. 


(he 


CreeU 


Battle 


sitnpwg°:;°, 


Veep  tadiant\y 

^      "     /-resS  on 

mess  in  any 
the  stage  o|  -^^.^ess  and  bapP  ^^^  ^..een 
U-essejlV*\  •"  ^hv  so  many  f^J^^^^  ^^dv^om- 


stats.socieiy      ^^^^^^  QeeK 


nov/  use 


seicise 


with  the 

hgutey 


heavi 


\  few  min^'f  rreeVc  Health  »u- 


n,orous\y 


veig' 


ht 


est 


desitec 


RHGINAI.D 
DENNY 

llnivtTsal  screen 
fctar.  keepa  fit  in 
15  minutus  m.  day 
witl.    the    Healtli 

fcuilder 


:-  Rattle  «-fV,  .'. 


caUy 
c'lan 


in 


Batti 


rid." 


r  ,ue  Won' 
°^  ■     fnYFreetif"-,    ,^  Minutes 

\K^rtte  for  r  ,„  ^^ m      .^^ 

Health  an^  B  comp^^      j^^ 


JOAN 
CRAWfORD 

M-G-M  screen 
star.  UBes  and 
recommends  ihe 
Health  Builder 


m'«  ^?-»iA. 


KeepsV^ 


Wlien  you  write  to  advertisers  plcaso  mention  PIIOTOPLAT  MAGAZINE. 


126 


Photoplay  Magazine — Advertising  Section 


CHEW      IT 


Veen- a -mint  is  made 
like  chewing-gum  pur- 
posely. For  by  chewing 
you  relieve  constipa- 
tion quickly,  surely  and 
pleasantly  .  .  .  This  is 
the  secret  of  its  world- 
wide use   today  .  .  . 

ANEW  laxative?  No — a  n^-vi method 
of  correcting  constipation:  a 
method  to  which  the  whole  civilized 
world  is  turning  today. 

Feen-a-mint.  Apparently  a  bit  of 
mint  chewing  gum.  Yet  it  contains 
one  of  the  most  remarkable  laxatives 
known. 

And  because  you  chew  Feen-a-mint, 
this  tasteless  laxative  is  carried  into  the 
intestines  gradually.  No  griping — no 
poisoning  of  the  system,  either.  For 
this  laxative  is  not  absorbed  like  ordi- 
nary laxatives  —  it  passes  unchanged 
&om  the  body  after  its  work  is  done. 

In  a  few  hours  —  or  overnight  it 
you  chew  it  at  bedtime  —  it  banishes 
constipation.  Yet  there  are  no  weak- 
ening or  habit-forming  after  effects. 
Feen-a-mint  will  notleaveyoursystem 
weak  and  shaken,  or  enslave  you  to 
dangerous  drugs. 

Ask  your  doctor  about  Feen-a-mint. 
Over  a  million  Feen-a-mints  are 
bought  each  day  by  ex-users  of  pills 
and  salts. 

Children  love  it,  naturally.  Buy  it 
for  the  family.  On  sale  at  every  drug 
store  in  the  United  States  and  Canada. 

Feen-a-mint 

The  Chewing  Laxative 


P-4 


Health  Products  Corporation 
113  N.  13th  St.,  Newark.  N.  J- 

Please  send  free  samples  and  free  booklet  on 
correcting  constipation. 


Address- 


Ten  Years  Ago  in  Photoplay 

a: 


LOOK  at  our  portrait  gallery  this  month 
turns  up  strange,  almost  forgotten  faces. 
Stars  that  were. 

Here  is  Dorothy  Phillips,  for  instance.  She 
married  Alan  Holubar,  the  director.  Alan  died. 
.And  Dorothy  seems  to  have  dropped  from 
public  view. 

And  Lillian  Lorraine,  the  lovely  "Follies" 
prima  donna.  Her  fling  in  pictures  was  over 
long  ago. 

Here's  a  beautiful  Danish  girl  called  "Val- 
keyrian."  Do  you  remember  her?  The 
caption  relates  that  she  worked  for  Fox  and 
World. 

Jeanne  Eagels — of  "Rain"  fame.  Now  she  is 
in  talking  pictures.  One  girl  who  came  back 
to  the  screen  after  great  stage  triumphs. 

Ekaterina  de  Galantha — a  dancer  on  stage 
and  screen.     But  the  years  have  swallowed 


Pretty  Martha  Mansfield,  who  ten 
years  ago  had  come  blooming  into 
pictures  from  Ziegfeld's  girl  gar- 
den, and  who  was  to  lose  her  life 
before  the  camera  six  years  later 


memories  of  her.  And  Grace  Valentine — 
almost,  but  not  quite.     And  Sybil  Carmen. 

And  there  is  sadness  in  this  picture  of  a 
pretty  girl.  It  is  Martha  Mansfield,  beautiful 
Martha,  who  was  burned  to  death  on  a  set. 
One  of  the  few  girls  in  pictures  to  die  in  line 
of  duty. 

Ten  short  years,  and  this  gallery  has  almost 
faded.  The  mills  of  the  movies  grind  not 
only  small,  but  swiftly. 


npHERE'S  a  big  war  on  between  the  friends 
■*-  and  foes  of  the  motion  picture,  in  our  pages 
this  month. 

R.  L.  Giffen  is  its  defender,  while  no  less  a 
viewer  with  alarm  than  Channing  Pollock 
attacks  the  photoplay. 

Pollock  quotes  several  other  writers  on  the 
subject. 

Leroy  Scott,  says  Pollock,  remarks — "The 
movies  are  the  refuge  of  the  second-rater. 
The  man  not  big  enough  to  try  elsewhere, 
or  who  has  tried." 

Cosmo  Hamilton — "I  detest  the  movies." 

Gertrude  Atherton — "The  movies  get  worse 
every  day." 

Harsh  words,  and  it  is  a  little  cruel  to 
reprint  them  now.  For  those  distinguished 
ladies  and  gentlemen  of  letters,  film  prices 
being  what  they  are,  would  hardly  be  so 
venomous  today. 

"DILL  HART  writes  us  a  piece  on  cow-punch- 
■'-'ing  in  Australia  .  .  .  Here's  a  new  picture 
of  httle  Annie  Pennington  and  her  noted 
knees  .  .  .  "Here  Comes  the  Bride"  is  one  of 
the  big  pictures  of  the- month.  Jack  Barry- 
more  is  the  star  and  Faire  Binney  the  leading 
woman  .  .  .  Johnny  Hines  has  just  broken 
into  pictures  .  .  .  Bill  Hart's  new  film  is 
"Breed  of  Men,"  and  Seena  0\Yen  is  his  lead- 
ing woman  ...  All  who  remember  her  as 
Signe  Auen  will  please  raise  their  right  hands. 

"LJERE'S  an  odd  thing. 

X  X    w'g  carry  a  picture  of  a  scheme  to  show 

pictures    to    seriously    wounded    soldiers    in 

hospitals. 

The  picture  is  projected  on  the  ceiling  above 
their  heads. 

Wonder  if  that  was  really  ever  done. 

""PNON'T  Change  Your  Husband,"  says  our 
-•-^learned  Julian  Johnson,  is  a  great  picture. 
It  has  Gloria  Swanson,  Lew  Cody,  Elliott 
De.xter  and  others  of  the  great  stock  company 
.  .  .  Here's  a  new  Geraldine  Farrar  film, 
"Shadows,"  by  \\'illard  Mack,  with  Tom 
Santschl  and  Milton  Sills  .  .  .  And  a  long 
story  on  Marjorie  Rambeau. 


A 


LMA  RUBENS  makes  her  bow  as  a  star. 
The  picture  is  "Dianeof  the  Green  Van." 
Nigel  Barrie  is  her  leading  man. 
(Poor  Alma!    A  tragic  figure  in  1929!) 


MAXINE,  Bozine,  Kas. — I  cannot  tell  you 
the  name  of  Bessie  Love's  husband — probably 
because  she  hasn't  one. 

EDITH  MC,  Dewey,  Okla.— Enid  Markcy 
was  leading  woman  in  "Tarzan  of  the  Apes." 

(.\nd  I  saw  Enid  on  Broadway  a  few  days 
ago,  looking  prettier  than  ever.) 


The  Queen  of  Poverty  Row 

I  CONTINUED  PROM  PAGE  51  ] 


to  be  our  greatest  young  actor.  In  the  support- 
ing cast  are  Mr.  Otto  Lederer,  Miss  Betty 
Bronson  ..." 

Everyone  went  wild.  The  least  he  might 
have  done — since  it  was  a  radio  hour  in  Betty 
Compson's  honor — was  get  her  name  right — 
Miss  Betty  Bronson,  indeed! 

Jim  apologized  for  the  announcer.  Possibly 
the  man  had  taken  a  drink  or  something. 

AN  orchestra  mmiber  followed,  played  by  a 
victrola  in  Jim's  garage. 
The  announcer  came  back:     "We  wish  to 
make  a  humble  apology,"  he  said.     "In  an- 
nouncing the  cast  of  stars  in  'The  Barker'  a 
grievous  mistake  was  made.    It  was  not  Betty 


Bronson  who  played  the  Hawaiian  dancer,  it 
was  Betty  Blythe." 

Pandemonium  such  as  Russia  never  vrft- 
nessed — 

BETTY  told  me  all  this  in  her  boudoir. 
"And  that's  the  wonderful  husband  who 
is  responsible  for  my  eclipse,"  she  laughed. 
"After  'The  Miracle  Man'  I  was  a  star — 
terrible  mistake.  Because  being  a  star  means 
that  you  have  to  carry  all  the  bum  directors 
and  poor  stories  the  studio  chooses  to  wish  on 
you.  In  other  words,  a  star  is  a  waste-basket. 
"I  became  thoroughly  discouraged.  Then 
I  fell  in  love  with  Jim  and  married  bim.  The 
director  of    'The    Covered   Wagon'    was   an 


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127 


artist  to  idolize,  and  he  happened  also  to  be  a 
man  to  love.  1  lost  all  personal  ambition.  I 
ju.st  rested. 

"  But  I  love  money — " 

"Then  it's  true?"  I  quavered. 

"Oh,  yes,"  said  Betty.  "I  live  for  love  and 
money.  I  decided  to  go  forth  and  earn  money. 
Art  had  failed  me.  I'd  take  any  part  in  any 
studio  that  would  pay  me.  Sb  I  went  into 
Poverty  Row — the  little  studios,  you  know, 
where  a  picture  is  produced  in  ten  days  at  a 
cost  of  twenty  thousand. 

"I  took  any  part  they  offered,  so  long  as 
they  paid  my  salary.  And  that's  how  I  came 
back,  just  working." 

Betty,  they  tell  me,  pulled  down  one  hundred 
and  twenty  thousand  smackers  last  year  in  the 
less  pretentious  studios.  And  all  the  time  half 
a  hundred  second  rate  stars  were  holding  out 
for  parts  that  suited  their  ego  and  salaries  that 
they  were  never  worth. 

I  HAD  heard  that  one  of  the  great  studios 
offered  Betty  an  enormous  salary  to  do  two 
pictures  this  year.  "  But  between  pictures  you 
mustn't  work  in  Poverty  Row,"  said  the  ex- 
ecutive. "You  can't  afford  to,  with  your 
prestige." 

"The  devil  I  can't,"  said  Betty,  or  some- 
thing equivalent.  "I  certainly  shall  work  in 
Poverty  Row  whenever  they  offer  me  my 
salary." 

She  went  forth  and  signed  up  for  fourteen 
pictures  for  this  year.  Some  will  be  done  in 
dc  luxe  studios,  but  most  of  them  will  be  done 
in  Poverty  Row. 

Still  I  did  not  understand  how  the  love  of 
money  could  be  reconciled  with  an  open  house 
where  extras  as  well  as  stars  are  welcome  to  eat 
and  where  money  has  been  offered  in  an  open 
bowl. 

"  From  a  child  I've  had  the  fear  of  poverty," 
explained  Betty.  "  Jlother  and  I  were  terribly 
poor. 

"I  used  to  play  the  violin  in  concerts  in 
httle  towns,  mother  accompanying  me.  (Jnce 
I  had  to  be  a  servant  girl,  at  another  time  a 
nursemaid. 

"In  the  studio  there  is  an  old  woman  who 
plays  an  organ  with  her  son,  just  a  boy,  ac- 
companying her  on  the  violin.  They  play  for 
our  emotional  scenes.  Every  time  I  look  at 
that  old  woman  I  see  my  mother.  My  mother 
is  much  younger,  but  still  I  think  of  her  in  that 
old  woman.  .\nd  so  I  send  out  to  my  car  for 
the  rug  to  put  over  the  old  woman's  knees, 
because  the  studio  is  cold.  Fortunately  my 
mother  has  a  beautiful  home  and  all  the  com- 
fort she  wants;  together,  she  and  I,  we've 
managed  to  escape  the  cruelty  of  poverty,  but 
I've  never  been  able  to  shake  the  fear.  I  want 
money,  money,  money,  so  that  everyone  I 
know  may  escape  that  awful  dogging  fear  that 
was  ours  through  so  many  years.  That's  why 
we  kept  the  silver  bowl.  We  kept  it  until  I 
found  a  guest  one  evening  giving  all  the  money 
to  my  servants '  I  decided  that  I'd  have  to  take 
over  the  job  of  apportioning  it." 

Betty  and  I  were  chatting  in  her  sumptuous 
Venetian  boudoir.  The  living  room  and  patio 
were  filled  with  guests:  noted  stars,  opera 
singers,  and  extras  who  hadn't  worked  in  a 
year. 

PAN  BOURKE,  the  actress,  broke  into  the 
■*■  boudoir. 

"Oh,  Fan,  I  have  been  given  some  wonder- 
ful silk  stockings, ' '  said  Betty.  "The  silk 
company  gave  them  to  me.  Here  is  a  pair 
for  you.  .^nd  Herbert  Howe,  will  you  accept 
this  silk  scarf?  .  .  ." 

Jim  Cruze  interrupted  with,  "Hey,  Betty 
one  of  your  old  lovers  is  on  the  phone  and  wants 
to  talk  with  you  ..." 

Betty  answered  the  phone  and  invited  the 
old  lover  to  the  open  house. 

"There  you  are,"  said  Betty,  as  she  put 
down  the  receiver.  "Can  you  blame  me  for 
being  infatuated  with  a  husband  who  puts  an 
old  lover  on  the  phone?  Now  I  must  dress  to 
receive  the  old  lover." 

On  departing  I  asked  Jim  Cruze  what  he 


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thought  of  the  woman  he  was  married  to. 
"She's  given  all  her  life  secrets  to  the  confes- 
sion magazines,"  I  said,  "and  so  the  only  way 
I  can  get  a  hne  on  her  is  through  you." 

Jim  whispered  in  my  ear,  but  I'm  not  a 
sentimental  writer  so  I'm  not  going  to  print 
what  he  said. 

All  I  have  .to  say  is  that  a  gal  who  loves 
money  in  order  to  give  it  away  to  friend  and 
foe  is  a  greater  gal  than  Rose  of  "The  Miracle 
Man,"  and  the  Lord  knows  I  feU  for  her. 


Lillian  Fights  Alone 

[  CONTINUED  FROM  PAGE  63  ] 


This  is  the  old  Gish  curse  —  the  Lillian 
tradition. 

Because  she  has  never  marched  her  emotional 
life  before  the  eyes  of  the  world,  or  had  it 
paraded  by  yellow  newspapers,  she  has  been 
denounced  as  inhumanly  chill. 

Because  she  has  steamed  up  the  interest  of 
brilliant  figures  in  the  literary  world,  she  is 
thought  to  be  merely  a  glinting  Mind,  topped 
by  yellow  hair  and  held  up  by  a  couple  of 
clothes  poles. 

Because  she  has  never  burned  up  Paris, 
bathed  in  a  hotel  fountain,  bought  a  ten-carat 
diamond  and  divorced  seven  idiotic  brokers  she 
has  been  passed  up  for  pretty  numbskulls  not 
fit  to  wind  her  wrist  watch. 

The  whole  tragi-comic  story  of  the  cruel, 
untrue  Gish  tradition  was  summed  up  by  a 
Princeton  boy  a  few  years  ago. 

Referring  to  a  non-petting,  non-skid,  four 
wheel  braked  damsel  of  his  acquaintance,  he 
said  "She's  safe  as  a  Gish!" 

A  smart  crack,  and  it  passed  into  common 
use. 

That's  what  the  world  and  its  sweetie 
thought  of  Lillian  Gish! 

Well,  what  is  the  real  LUlian  Gish? 

Why.  one  of  the  most  human,  most  charming 
and  loveliest  girls  it  is  possible  to  meet  in  this 
most  improbable  of  all  worlds! 

Is  she  just  a  great  white  Mind? 

CHE  has  a  dashing,  vivid,  ever-active  sense 
'-'of  himior. 

With  people  she  likes  she  flames  with  warmth 
and  charm. 

Is  she  the  Snow  Girl  of  the  Cinema? 

She  charms  and  captivates  great  writers  and 
critics  and  has  been  known  to  smile  a  se\"en 
foot  trafiic  cop  out  of  passing  a  ticket  when  she 
has  skipped  past  a  red  light  on  the  .-V venue. 

Does  she  make  a  pose  of  keeping  out  of  the 
spotlight? 

Why,  Lovely  Lil  has  been  an  actress  since 
she  has  been  able  to  stand  alone  on  a  stage  and 
pipe  a  line.  For  25  years  she  has  been  in,  of 
and  for  the  theater  and  the  screen.  Her  life 
has  been  about  as  private  as  that  of  a  popular 
head  waiter. 

Now  she  loves  her  friends  and  her  home  with 
a  consuming  fire.  If  she  likes  to  take  her  ease 
among  them,  preferring  talk  and  tea  to  a  ring- 
side table  in  a  night-club  lunatic  asylum,  is 
she  being  snootily  aloof? 

Look  at  her  service  record,  studded  with 
honors. 

Belasco  called  her  the  most  beautiful  blonde 
in  the  world. 

For  years  she  was  the  chosen  vessel  by 
which  Griffith,  the  star-maker,  poured  his 
genius  across  the  screens  of  the  world. 

Hundreds  of  thousands  of  words  have  been 
written  about  her  by  ink-slingers  great  and 
small. 

FUm  fans  have  been  for  her  and  against  her. 
But  some  have  been  heedlessly  neutral. 

Everything  has  been  said  about  her,  it  seems 
to  me,  save  that  she  is  a  beautiful,  lovable 
human  being  with  a  fighting  heart  almost  with- 
out parallel  in  the  entertainment  world. 

It  is  the  old  Gish  curse — that  we  millions 
prefer  our  idols  to  be  playthings  of  purple 


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passion,  preferably  illicit,  rather  than  decent, 
warm,  loyal  humans. 

It's  Lil's  tough  luck  that  she  is  not  only 
game,  but  clean. 

Sadly  enough,  the  mob  would  rather  hear  of 
Harriet  Goulash  shooting  a  bus-boy  than  see 
Lillian  Gish  make  the  greatest  motion  picture 
in  history. 

We're  an  odd  lot. 

Professionally,  Lillian  has  forgotten  more 
than  the  petted  patooties  of  Hollywood  will 
ever  know — even  if  they  own  six  mauve  Mar- 
mons  and  play  the  stiffest  game  of  contract 
bridge  in  all  filmland. 

Remember  that  La  Belle  Gish,  though  only 
in  her  earUest  thirties,  is  one  of  the  Old  Guard, 
that  neither  dies  nor  surrenders. 

In  her  teens,  with  her  hair  up  and  her  skirts 
down,  she  was  sitting  at  the  feet  of  David 
Wark  Griffith  in  the  old  Biograph  era. 

Later,  a  veteran  of  23,  she  was  conferring 
with  and  advising  the  first  of  the  film  Titans. 

/^NCE,  when  the  Old  Master  of  Mamar- 
^^oneck  was  out  to  pasture,  Lillian  directed 
her  little  sister  Dorothy  in  a  full  length 
comedy,  "Remodelling  Her  Husband,"  and  a 
swell,  tricky  job  she  made  of  it! 

Lillian  could  make  many  of  our  directors 
look  like  monkeys  if  she  went  in  for  the 
megaphone  in  a  big  way. 

She  knows  pictures  front,  back  and  clear 
through  the  middle.  And  behind  her  picture 
experience  lies  ten  years  of  trouping  the  flag 
stations — six  nights  a  week  \rith  the  usual 
matinees,  and  let's  hope  the  ghost  rambles  on 
Saturday  night. 

The  rise  of  the  Larruped  Lily  tradition  was 
simple. 

It  all  came  under  the  heading  of  good 
showmanship. 

Slim,  white  and  wistful,  Lillian  took  a  beau- 
tiful hcking  in  a  film  way. 

Every  time  Walter  Long  or  Donald  Crisp 
took  a  cut  at  her  with  a  table  leg,  400  pound 
piano  wrestlers  alternately  bawled  and  yearned 
to  tear  the  beasts  to  bits. 

So  for  years  Lillian  took  wallopings  in  all 
languages,  including  the  Scandinavian.  For 
years  she  was  a  victim  of  her  own  pecuhar  ex- 
cellence as  the  quivering  victim  of  love,  liquor, 
tuberculosis,  starvation,  pernicious  anemia,  in- 
grown virtue  and  seven  foot  \illains. 

The  public  accepted  her  as  a  cudgelled  posy, 
and  as  nothing  else,  on  screen  or  oflf. 

.\li,  how  we  cra\e  our  sinners!  Even  Lil- 
lian's virtues — quietness,  intelligence,  freedom 
from  scandal — seem  to  have  been  disliked  by 
the  muck-hungry  world. 

Her  unusual  charm  does  remarkable  things 
to  her  publicity,  often  to  her  detriment  as  a 
figure  of  wide  public  interest. 

She  seems  to  cast  a  strange  spell  on  other- 
wise cagey  and  skeptical  newspapermen  when 
they  step  over  the  deadline. 

A  FEW  years  ago  a  national  weekly  sent  one 
-**■  of  its  staff  men  to  do  a  series  on  Lillian 
Gish. 

He  hadn't  spent  an  hour  in  her  presence 
when  his  brains  seemed  to  turn  to  mush,  and 
for  weeks  an  astonishing  layout  of  drool  crept 
across  the  pages  of  his  magazine. 

Instead  of  the  warm,  delightful  Gish  of  fact, 
he  gave  us  a  picture  of  a  white  statue  that  sat 
for  hours  with  slim  hands  folded  and  talked  of 
the  Locarno  conference,  The  Unknowableness 
of  the  Unspeakable  and  the  Influence  of  Lo- 
garithms on  The  Morals  of  Swiss  Bell-Ringers. 

The  fake  Lillian  again! 

Small  wonder  I  was  scared  ossified  when  I 
first  marched  off  to  meet  LUlian  Gish. 

And  how  happy  I  was  when  I  found  that  she 
was  bright,  gay  and  hkable! 

A  fine  true  soul,  this  Gish  girl. 

She  has  worked  like  a  dog  since  she  was  a 
little  child. 

She  lived  in  a  wardrobe  trunk  and  learned 
out  of  self-picked  books  and  from  association 
with  wise  and  clever  men  and  women.  She 
has  fought  for  business  and  artistic  success, 
and  for  the  comfort  and  happiness  of  her  be- 


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ter from  self- consciousness  at  certain  times. 

If  she  constantly  is  aware  that  she  may  be 
offending  others,  good  times  are  impossible 
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That  is  why  mothers  and  daughters  both 
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130 


Photoplay  Magazine — Advertising  Section 


'PfiiSffl'Wnl 


iBIIiOEIl 


Jj  and  Popularity 
with  a 

Buescher 

The  Saxophone  has 
'brought  big  money  to 
many  stars.  As  Orches- 
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Buescher  Band  Instrument  Co..                     (518)   ' 
2754  Buescher  Block,  Elkhart,  Ind.  I 

Gentlemen;  Without  obligating  me  in  any  way  ' 
please  send  me  your  free  literature.  ' 

I  am  interested  in  the  j 

following  instrument \ 


Name 

Street  Address. 
City 


State. 


oens 

Hollywood's  Personalilji  Cigarette 

A  new  and  subtle  way  used  by 
Movie  Stars  to  add  charm  and 
magnetism  to  their  personalities. 
The  "Puff  from  Hollywood"  is  a 
secret   cigarette   blend   perfected 
after  long  experimentation  by  Mark 
Llckter.  Jlollywood's  custom  tobac- 
conist.   Not  merely  a  fancy  smoke, 
these     cigarettes     contain      "IT." 
^'I   Their    exfjuislte,    ambrosial    flavor 
i--\j^  and  delicate  French  colorings  lend 
^    brilliancy,     macnetlsm.    charm    to 
your  per.sonality. 

Never  before  available  to  any  but 
Hollywood  Celebrities.  Limited  Intro- 
ductory offer — IJeautlful  California 
llcdwood  Chest  of  20  of  the  same  hand 
made  cigarettes  used  by  the  famous 
stars.  Pin  Sl.OU  to  this  ad  or  Send  No 
Money  and  pay   postman  on  arrival. 


Address  Mark  Lickter,   HoUywood,  Cal, 


A  historic  picture  of  Lillian  and  Dorothy  Gish  and  D.  W.  Griffith. 
It  was  snapped  on  the  south  portico  of  the  White  House  as  the 
noted  trio  left  after  lunching  with  President  and  Mrs.  Harding. 
Time — the  day  after  the  Washington  premiere  of  "Orphans  of  the 
Storm,"  in  which  D.  W.  directed  the  girls 


loved  mother,  May  Gish.  She  managed  to 
fight  through  when  that  mother  was  stricken 
down,  a  few  years  ago,  with  an  almost  fatal 
illness,  just  as  fortune  could  have  given  her 
all  the  materia!  things  she  missed  during  the 
long  years  of  struggle. 

And  yet  I  don't  suppose  that  some  people 
will  ever  beheve  that  Lillian  Gish  is  not  stuffed 
with  damp  sawdust. 

They  will  not  believe  blood  and  not  ice 
water  courses  through  her  veins. 

Her  pallid  parts  have  helped  build  the  hate- 
ful, untrue  tradition  of  her  wistful  bloodlessness. 

I  wish  people  could  see  her  sitting  at  her 
own  tea-table — laughing  out  loud,  her  cheeks 
a  warm  pink,  and  the  sunlight  in  that  amazing 
crown  of  hair. 

Boy  friends? 

Ten  thousand  women  would  give  their  front 
teeth  to  be  seen  at  a  Broadway  first  night  with 
George  Jean  Nathan,  brilliant  dramatic  critic 
and  First  Bachelor  of  The  United  States. 

V\  TELL,  his  favorite  theater  companion  is  not 
"^  some  buxom,  ruddy  woman  of  the  world, 
but  this  icy  spectre  known  as  Lillian  Gish. 

Perhaps  there  is  a  League  of  Women  carry- 
ing on  a  muttering  campaign  against  her  be- 
cause she  has  corralled  the  Unapproachable 
Bachelor,  The  Flappers'  Dream  and  the 
Widows'  Despair. 

But  when  all  is  said  and  done,  the  adjective 
that  best  describes  LiUian  Gish  is  "gallant." 

Now,  in  the  full  flush  of  young  womanhood, 
she  will  not  submit  to  the  rushing  years. 

Most  of  the  other  veterans  of  her  time  have 
gone  down,  fighting  or  flunking. 

But  Lillian,  at  the  height  of  her  powers, 
battles  forward. 


Public  misunderstanding  or  apathy  do  not 
feaze  her. 

She  has  fought  and  whipped  million  dollar 
suits  brought  against  her  by  Charles  H. 
Duell,  once  her  boss  at  Inspiration  Pictures. 
Even  now,  in  Los  Angeles,  she  faces  actions 
totalling  over  $30,000  brought  by  the  same 
gentleman. 

This  frail  white  lily  is  always  marching  oS 
to  war,  and  when  the  smoke  has  cleared  away 
it  always  seems  to  be  her  opponent  who  is  on 
the  floor  peacefully  dreaming  away  a  long 
count. 

CHE  went  valiantly  on  to  the  end  of  her  con- 
^tract  with  Metro-Goldwyn-Mayer,  keeping 
her  art,  heart  and  salary  up,  and  finished  with 
superb  work  in  that  beautiful  picture  caUed 
"Wind." 

The  critics  sat  up,  rubbed  their  eyes,  and 
realized,  all  over  again,  that  Gish  is  great. 

Now  there  is  this  daring  Reinhardt  adventure. 

She  has  transplanted  this  gigantic  Teuton 
six  thousand  miles  from  his  Austrian  castle, 
has  set  him  down  in  the  mad  world  of  Holly- 
wood. 

And  now  she  proposes  to  make  a  memor- 
able picture  under  his  direction,  to  their  great- 
er glory. 

If  they  take  one  story  away  from  her,  she'll 
make  another. 

She's  a  soldier  and  a  trouper,  this  elder 
daughter  of  the  house  of  Gish. 

It  is  warming  to  think  of  this  golden  girl  out 
on  the  coast,  fighting  for  God,  for  Country 
and  for  Yale. 

It  makes  me  want  to  rear  up  on  my  hind 
legs  and  yell  "Attagirl,  Lillian.  The  gang's 
with  you!." 


Every  advertisement  in  PHOTOPLAT  M.\GAZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


The  Cisco  Kid 
Himself 

(  CONTINUED  FROM  PAGE  35  | 


experience — invaluable  experience  because  it 
was  the  experience  of  the  stage — an  invincible 
groundwork. 

The  result  of  his  effort  is  now  well  known. 
The  Cisco  Kid  laughed  and  talked  and  sang  his 
way  into  the  hearts  of  audiences.  Here  is  a 
characterization  that  will  long  be  remembered, 
not  only  by  the  pubhc  but  by  Warner  Baxter 
himself,  for  it  marked  the  turn  in  the  road  for 
a  man  who  was  fighting  with  his  back  to  the 
wall. 

From  now  on,  look  for  Warner  Baxter  in  the 
romantic  tield  of  film  drama.  He  has  found  his 
medium,  his  forte.  With  a  costume  and  a  song 
he  will  build  brilliant  memories,  each  new  role 
something  for  the  public  to  regard  as  splendid 
entertainment,  something  for  his  fellow  players 
to  look  upon  as  the  work  of  art. 

YOU  will  see  him  next  with  Mary  Duncan 
and  Eddie  Lowe  in  "Through  Different 
Eyes,"  a  drama  of  the  courtroom,  cut  from 
the  pattern  of  "On  Trial,"  but  with  variations, 
naturally. 

For  those  who  ha\-e  been  wondering  what 
quality  it  is  that  spells  success  in  the  talkies, 
what  element  is  indispensable  to  those  am- 
bitious to  become  audible  in  the  films,  Warner 
Baxter  has  interesting  information.  In  fact,  he 
has  the  key  to  the  whole  situation. 

It  is  expressed  in  just  one  word — reson.^nce. 

"If  your  voice  has  resonance,"  says  Warner 
Baxter,  "you  can  succeed  in  talking  pictures. 
With  a  'mike  voice'  and  a  'camera  face'  and 
the  ability  to  act,  you  can't  fail." 

There  it  is,  folks,  just  as  simple  as  that! 
Now  don't  crowd,  there's  plenty  of  room  in 
line. 

Warner  Baxter  has  brought  so  much  to  the 
screen  as  the  Cisco  Kid,  and  promises  so  much 
in  other  features,  that  an  astonishing  amount 
of  widespread  interest  has  been  aroused.  He 
is  married,  my  good  people,  and  this  condition 
has  prevailed  for  the  past  eleven  years.  His 
wife,  Winifred  Bryson,  is  very  talented  herself. 
Their  romance  dates  back  to  the  days  when 
Eddie  Lowe  and  Jimmie  Gleason  and  Warner 
Baxter  and  ^\'inifred  Bryson  were  all  members 
of  the  famous  01i\er  Morosco  stock  company 
in  Los  .-\ngeles. 

Ele\-en  years! 

Not  a  long  time,  though,  when  you  consider 
that  they  were  all  just  a  lot  of  kids  in  those 
days. 


Brickbats^Bouquets 

[  CONTINUED  FROM  PAGE   10  ] 

Some  Words  of  \^  isdoiii 

Westfield,  JMass. 

\\'hen  I  was  a  boy,  about  grammar  school 
age  (and  that  was  a  mere  matter  of  fifty-five 
years  ago)  the  thing  that  most  tried  the  souls 
of  our  parents  was  the  dime  novel  of  that 
highly  moral  period.  And  when  we  were 
detected  reading  one  of  these  "Beadles"  or 
"Monroes"  we  got  very  promptly  and  thor- 
oughly whacked,  and  our  library  confiscated. 

Today  it  is  the  moving  picture  that  causes 
worry  in  some  quarters.  But  parents  should 
accept  the  challenge  in  a  philosophical  spirit, 
go  with  their  children  to  the  show,  and  point 
out  the  moral  taught  by  the  scenario.  Often 
there  is  a  sermon  woven  in,  and  it  is  your  duty 
to  separate  the  gold  from  the  dross,  and  bid  the 
young  mind  retain  the  precious  metal. 

Joseph  C.  Dltort. 


7/  is  with  great  bUasitre  that  I 
express  my  admiration  for 
•MAYBELLINE'-which  I  hare 
used  for  some  time  with  most 
gratifying  results.  It  is  truly  an 
indispensable  beauty  aid  to  the 
woman  who  would  look  her  best." 
Sincerely, 


J/lvj\j- 


Jw^ 


"  Cyl^AYBELLINE"— as  though 
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cause the  formula  of  this  wondrous 
beauty  aid  is  secret. 

Moreover,  "MAYBELLINE"  is 
perfectly  harmless,  having  been  used 
for  many  years  by  millions  of  beau- 
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Obtain  it  in  either  the  solid  form 
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counters. 

\LAYBELLINE  CO. 
CHICAGO 


ijclash  ^eautijier 


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and 

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Your  druggist  either  has.  or  can  easily  get 
Dr.  Hand's  Teething  Lotion  for  you. 

Mail  this  Coupon 

for  I 

Trial  Bottle  i 


Hand  Medicine  Co., 

105  No.  5th  St.,  Dept.  312,  Philadelphia,  Pa. 
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the  name  of  my  druggist.  Please  send 
sample  of  Dr.  Hand's  Teething  Lotion. 

Drjggist's  Name 

Name  _ 

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aty- 


PiioroPL.\Y  M.\G.\ziNE — Advertising  Section 
Health  vs.  Dieting 

Ne%vport,  Ky. 

I  have  always  liked  the  mo\'ies,  but  the 
actresses  have  my  pity,  with  their  string-bean 
figures.  Joan  Crawford  is  so  skinny  that,  when 
she  turns  her  face,  it  looks  as  though  her  eyes 
were  going  to  pop  out  of  her  head.  Poor  girl,  it 
isn't  her  fault.  Dolores  Costello  looks  as 
though  she  would  break  in  half  were  she  to 
bend  over.  Josephine  Dunn  looks  sickly. 
Greta  Garbo  is  far  from  alluring  in  my  eyes. 
Molly  O'Day  is  the  most  attractive  actress  on 
the  screen,  and  now  she  has  to  reduce.  The 
stars  mentioned  above  are  only  a  few  of  many 
who  are  supposed  to  be  examples  of  perfect 
figures.  I  wonder!  Why  don't  the  stars  wake 
up?  I'm  sure  the  public  would  rather  have 
healthy  looking  actresses  before  their  eyes 
than  puny,  sickly  ones.         ■^^^■ 

The  moving  picture  industry  won't  realize 
this  menace  until  it  loses  another  great  star 
like  Barbara  La  Marr. 

Miss  L. 


K. 


Sute  . 


UowlJouth 

Practice  this  simple  preventive  measure 
and  you'll  look  and  feel  younger— much 
youngerthanyour  years.  TakeDr. Edwards' 
Olive  Tablets,  nightly.  Better  than  calomel. 
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CLEARED  IN  15  DAYS 

Get  rid  of  Pimples,  Blackheads,  Oillnams, 
Sallow  Skin,  Enlareed  Pores.  Have  &  »<>ft. 
velvety,  white  skin.  New.  dilTorent  mothi.d. 
Amazine  results  in  thougands  of  cases.  WRITE 
TODA'X  for  FREE  BOOK:  explains  everythlne. 

DOROTHY  RAY,  646  N.  Michigan,  Suite  1549.  CHICAGO 


SKIN 


'Eat,  Girls,  Eat"; 


Turin,  N.  Y. ' 
Why  murder  our  favorites  because  they  are 
fat?  It  doesn't  seem  to  me  we  are  so  pleased 
with  them  if  we  must  have  them  made  to  order. 
Why  demand  unnatural  slimness,  and  be  in- 
directly the  cause  of  the  death,  ill-health  or 
retirement  of  your  favorite?  Eat,  girls,  eat. 
Anti-Diet  Ann. 

Lessons  in  Americanism 

Princeton,  N.  J. 

In  all  probability  there  can  be  no  one  more 
competent  to  write  on  the  benefits  of  the 
American  movies  than  I.  A  few  months  ago  I 
came  to  the  United  States  from  the  British 
West  Indies,  where  I  had  been  living  all  my 
life. 

Previous  to  my  arrival  in  America,  I  had 
seen  very  few  movies  and,  as  they  were  all 
mediocre  and  uninteresting,  I  had  about 
decided  to  give  them  up  as  a  poor  form  of  enter- 
taimnent.  But  then,  as  I  have  said,  I  came  to 
this  country.  It  is  scarcely  possible  to  imagine 
my  surprise  and  delight  to  find  the  movies  not 
only  the  highest  kind  of  entertainment  and 
enjoyment,  but  also  the  surest  and  easiest  way 
to  get  acquainted  with  the  American  people. 
Through  the  movies,  I  came  to  learn  their 
customs  and  habits  and  history  better  and 
more  quickly  than  I  could  from  any  number  of 
instructors.  Gradually  the  ideas  of  the  average 
citizen  seemed  to  take  possession  of  me. 
Because  of  this,  my  whole  aspect  of  life  has 
changed,  and  I  feel  as  though  I  had  lived  here 
all  my  life. 

Eric  Kocher. 

Why  the  Ballyhoo? 

Minneapolis,  Minn. 

Last  night  I  saw  and  heard  "  Caught  in  the 
Fog."  Up  until  the  finish  of  the  picture,  I 
think  it  could  be  called  a  fair  production.  But 
just  before  the  final  clinch,  when  everyone  was 
waiting  for  the  close-up,  what  should  Conrad 
NagelandMayMcAvoy  do  but  turn  and  face 
the  camera  and  say  something  about  "Hope 
you  liked  us.    Come  and  see  us  again." 

If  the  ejaculations  that  could  be  beard 
around  me  mean  anything,  then  people  don't 
want  to  be  deprived  of  the  usual  romantic  kiss 
at  the  end  of  the  picture. 

Geneva  Thompson. 

A  Plea  to  the  "Indifferent  One" 

Detroit,  Mich. 
I  hope  Greta  Garbo's  visit  to  Sweden  is  but 
a  short  vacation  and  that  the  indifferent  one 
will  return  soon  to  shine  the  highest  among  the 
stars.  Perhaps  we  can  find  another  Swanson, 
Gish,  or  Bow,  but  never  a  girl  like  Garbo.  She 
is  the  star  supreme. 

Emil  Backstrom. 


Nary  a  traffic  cop! 

You've  watched  soft  fleecy  clouds  in  a  blue  sky, 
and  ■wished  you  could  drift  upon  a  cloud  bank. 
Floating  over  cool  quiet  ■waters  in  an  Old  Town 
Canoe  is  about  as  near  as  you  can  come  to  realiz- 
ing that  delightful  day-dream.  No  bit  of  errant 
thistledown  could  rest  more  lightly  on  the  stream. 

Get  away  from  the  dusty  road!  Enjoy  the 
relaxation  of  canoeing  in  an  Old  Town.  Old 
Town  Canoes  have  the  grace  and  beauty  of  real 
Indian  lineage.  Easy  to  handle,  and  perfectly 
balanced.  Priced  as  low  as  $67.  From  dealer  or 
factory. 

Write  today  for  free  catalog.  It  shows  and 
prices  many  light,  water-tight  models.  Paddling, 
sailing  and  square-stern  canoes,  extra-safe  Sponson 
models,  dinghies  and  sturdy  family  boats.  Also 
speedy  craft  for  outboard  motors — racing  step 
planes  and  hydroplanes.  Old  Town  Canoe  Co., 
924  Main  Street,  Old  Town.  Maine. 

Vld  Town  Canoes' 


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Kill  The  Hair  Root 


My  method  Is  the  only  way  to  prevent  the  hair  from  grow- 
ing again.  Easv.  painless,  harmless.  No  scars.  Booklet 
Iree.  Write  today,  enclosing  3  red  stamps.  We  teach 
beauty  culture.    25  years  In  business. 

D.J.    MAHLER, 
264-C  Mahler  Park,  Providence.  R.  I. 


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The   Big   Boy  Tells 
His  Story 

I  CONTINUED  FROM  PAGE  65  1 


The  faint  mournful  note  of  the  loon,  in  the  far 
distance.  The  round  gurgle  of  Andy's  creek 
as  it  parts  to  pass  the  huge  boulder  in  its  center. 
The  soft  patter  of  the  chipmunks  as  they 
stealthily  come  to  nuzzle  at  the  door,  in  search 
of  food.  The  coyotes,  and  the  deep  howl  of  a 
wolf,  tracking  a  lamed  mountain  lion. 

Out  in  the  corral  the  horses  are  neighing, 
disturbed  by  a  skulking  coyote.  Vou  learn  to 
recognize  your  favorite  mount's  whinny,  o\'er 
all  others.  The  cattle  are  stamping  restlessly, 
and  lowing.  You  wriggle  out  of  bed,  climb  into 
pants  and  sweater,  grab  a  rifle  and  speed  out 
to  the  corral. 

Overhead  a  har\'est  moon  is  shining,  and  the 
Missouri  is  gUding  by,  painted  in  silver.  Al- 
ready at  the  corral  is  Roy  Smith,  who  always 
packs  a  Luger,  chews  Durham  and  spits  through 
his  teeth.  No  one  knows  where  he  came  from. 
No  one  asks.  It  would  do  no  good  anyway. 
He  is  one  of  the  cowboys.  There  are  always 
a  few  about  the  ranch,  no  matter  how  great  a 
drain  on  our  purse. 

A  few  shots  are  fired  at  a  speck  that  is  fast 
disappearing  into  the  hills.  Roy  goes  back  to 
the  bunkhouse,  and  I  wander  down  to  the 
river.  In  the  cottonwoods,  etched  against  the 
moonlit  sky,  is  a  hoot  owl.  All  is  very  quiet 
now.  The  sky  is  set  with  stars.  To  a  boy, 
alone  like  this,  it  seems  that  God,  himself, 
might  brush  aside  the  canopy  of  the  heavens 
to  look  down  and  see  how  His  world  is  pro- 
gressing. 

A  T  the  edge  of  Andy's  creek,  I  pause,  my 
-''■toes  squirming  among  the  cool,  damp 
grasses,  then  I  throw  myself  onto  the  ground, 
belly  to  the  kind  earth,  arms  stretched  out, 
utterly  rela.\ed.  The  earth  has  its  message  of 
health  and  vitality  that  seeps  through  the  pores. 
I  roll  over  on  my  back.  Perhaps  I  am  the 
creator  of  all  this  bliss.  Who  knows?  Surely, 
at  midnight,  and  all  by  myself,  I  am  king  of 
the  world.  A  Genghis  Kahn  of  this  one  perfect 
moment,  .\lexander  and  Napoleon  and  Tam- 
erlane were  puny  midgets,  rushing  madly  about 
like  frightened  gnomes  with  their  stunted 
ideals. 

Thoughts  race  on.  What  of  the  Indians  who 
once  roamed  over  here?  Threw  themsehes 
flat  on  the  cool  grass,  as  I  had  done,  slaked 
their  thirst  in  the  icy  water.  Pitched  their 
tepees,  perhaps,  on  this  very  spot.  Lived  and 
loved  and  fought  and  died — and  loved.  What 
was  this  mystery  about  women,  any^vay? 
There  were  few  women  on  our  ranch — mother, 
the  school  teacher,  a  few  Mttle  girls  who  were 
neighbors,  a  few  slatternly  women  who  cooked 
and  scrubbed  and  kept  the  bunkhouse  clean. 
But  what  was  all  this  mystery  of  se.x?  Some- 
day, when  I  was  older,  I  would  meet  a  girl  and 
ask  her  to  marry  me,  and  she  would.  I  would 
get  a  little  house  and  then  there  would  be 
children.  Perhaps  I  would  be  a  lawyer,  like 
dad.  But  always  I  would  return,  return  here 
where  the  far  horizons  beckon. 

'X'HIS  night  is  mine.  And  the  day  that  fol- 
■*•  lows,  and  the  high  noon,  sun  baking  the 
earth,  and  the  red  and  amber  sunsets,  staining 
the  skies,  coloring  the  cliffs  that  rise  in  back  of 
the  house,  painting  their  slake  sides  in  tawny 
hues,  then  fading  to  layers  of  purple,  like  chif- 
fon, or  whatever  you  call  that  thin  stuff  a 
'woman  wears. 

It's  hard  to  explain  this  to  a  person  who 
hasn't  lived  in  the  West,  hved  out  in  the  open, 
and  sniffed  the  tangy  mesquite  and  sage. 

I  was  six  when  dad  bought  Sunnyside.  It 
was  a  ranch  about  sixty  miles  from  Helena. 
A  thousand  acres  of  rolling  plain.  At  one 
boundary  was  the  Missouri  River,  shaped  like 
a  side-winder  snake  in  a  sort  of  "S,"  in  the 
upper  loop  of  which  lay  our  ranch.    The  other 


No  woman 

can  afford  to  risk  body  odor 


I 


MAGINE,  if  yoii  can,  a  woman  ac- 
tually knowing  that  she  is  subject 
to  perspiration  odor — and  yet  doing 
nothing  about  it!  But  only  too  often 
one  doesn't  know.  The  unfortunate 
truth  of  the  matter  is  that  we  be- 
come so  accustomed  to  our  own 
particular  bodily  odor  tJiat  we  are 
seldom  conscious  of  it  ourselves. 

The  scientific  fact  is  that  every- 
one perspires  continually  and  that 
all  perspiration  has  an  unpleasant 
odor. The  odor  does 
exist,  and  other      '^^^^^^^^^^ 
people  about  us  do 
not  fail  to  notice  it. 
That  is  why  women 
of  relinement  safe- 
guard  their   femi- 
nine daintiness 
from  even  a  trace  of 
perspiration  odor. 
There  is  one  sure, 
positive    and    easy 


And  for  the  Sanitary  Napkin 
"Mum"  has  been  used  for  over  25 
years  by  the  most  fastidious  w  omen 
in  the  better  circles  of  American 
and  European  life.  Doctors  and 
trained  nurses  in  every  land  urge 
its  use,  not  only  for  perspiratiuii 
odor,  but  also  with  the  sanitary 
napkin,  because  of  its  absolute 
safety  and  effectiveness. 


way  to  do  it.  ''Mum"  is  the  word! 
Mum  "  is  a  delicate  snow  -  white 
cream — ^dainty  and  easy  to  use  — 
that  absolutely  and  lastingly  pre- 
vents every  trace  of  perspiration 
odor,  as  it  occurs.  "Mum"  does  not 
check  perspiration  itself — it  simply 
prevents  the  of/or.  "Mum"  is  anti- 
septic and  soothing,  and  entirely 
harndess  to  clothing. 

Apply  "Mum  in  a  few  seconds, 
as  you  dress.  Then  for  aU  day  and 
evening  you  are 
J ree  —  as  dainty 
and  fresh  as  when 
you  step  from  the 


morning  bath. 

You  will  find 
"Mum"  in  conven- 
ient 35c  and  60c 
jars  at  your  drug  or 
department  store. 

Mum  Mfg.  Co.,  Inc. 
80  Varick  St.,  New  York 


66 


Mu 


1^ 


m    IS 


th 


e  wo 


rd! 


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134 


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makes  e^es 

bristht 

Merely  darkening  the  lashes  will 
not  beautify  eyes  which  are  dull 
and  lifeless.  Eyes  must  shine  to 
be  truly  alluring,  and  nothing 
gives  them  that  glistening  appear- 
ance as  safely  as  Murine. 

Murine  contains  no  belladonna 
or  any  other  harmful  ingredient. 
Therefore  you  may  use  it  freely, 
not  only  to  brighten  up  your  eyes 
but  to  rid  them  of  dust  and  other 
irritating  particles  which  cause 
a    bloodshot   condition.     Try   it! 


Hi 


E.VES 


Success  in 

through  Palmer  Training 

Edwin  Meyers,  successful  scenario 
writer  and  member  of  the  staff  of 
Edwin  Carewe,  producer  for  United 
Artists  Studios,  says':  ^^Through 
Palmer  training  1  made  my  jirst 
big  step  toiuard  the  mastery  of 
dramatic  technique  and  the  under- 
standing of  screen  requirements.''* 

ffllxtlP/wla 
Charles  Kcnyon,  another  well  known  scenario  writer, 
author  of  "The  Iron  Horse"  and  other  screen  successes, 
says:  ^^The  Palmer  Institute  is  better  equipped  to 
teach  the  screen  story  than  any  institution  outside  of 
the  motion  picture  studio.** 

The  writer  for  the  screen  of  today  must  know  the  tech- 
nique of  the  "talkie"  as  well  as  that  of  the  silent  picture. 
Palmer  training  teaches  both.  H  undrcds  of  Palmer  students 
in  photoplay  and  short-story  writing  are  enjoying  dividends 
in  actual  cash.  The  coupon  will  bring  you  complete  in- 
formation. 

PALMER    INSTITUTE    OF    AUTHORSHIP 

CLAYTON  HAMILTON  . . .  PRESlDtNT 

Dept.  12-R,  Palmer  Building,  Hollywood,  Calif. 

I  am  interested  in:  □  Short  Story  Writing  D  English  and  Self- 
Expression  D  Photoplay  Writing  □  Criticism  Service 

Natne  


Address. 


j^U  corrtspondenct  strictly  eonjidtntial.  No  laUiman  wilt  call. 


extremity  of  Sunnyside  was  elevated  by  moun- 
tains, not  as  high  as  the  Tetons  over  in  Wyom- 
ing, that  are  something  like  t\vel\'e  thousand 
feet,  but  gentler,  more  friendly  giants.  In  the 
shadow  of  these  was  built  our  rambling  ranch 
home. 

Sunnyside.  If  there  was  ever  a  more  ironic 
name  for  a  place.  It  was  called  that  because 
it  lay  on  the  sunny  side  of  the  river.  It 
caused  us  more  grief,  sorrow  and  joy  than 
anything  in  the  world.  Dad  bought  it  with 
the  idea  of  raising  cattle  on  a  large  scale.  It 
was  overgrown  with  lush  grass.  A  cattleman's 
paradise. 

'T'WO  weeks  after  we  moved  in,  a  dam  broke 
■'-  fifty  miles  upstream  and  the  water  swept 
and  heaved  down,  coming  just  to  the  dooryard 
of  our  house.  It  was  a  miracle  that  we  weren't 
carried  along  with  it.  The  flood  no  sooner 
abated,  than  it  commenced  to  rain.  It  rained 
for  thirty-eight  days.  We  thought  of  Noah  and 
retribution  and  a  few  other  divine  things  and 
decided  we  were  being  punished  for  unborn 
sins. 

The  idea  of  building  an  Ark  was  suggested, 
and  \-etoed.  The  mountains,  towering  over  us, 
offered  a  haven. 

Those  were  the  trying  days,  that,  small  as 
I  was,  I  remember.  What  a  brave  fellow  my 
mother  was,  eking  out  suflicient  meals  with 
dwindling  supplies,  and  how  my  father  wal- 
lowed through  muck  and  gravel  and  mud  and 
water  to  get  to  the  nearest  town  for  potatoes 
and  flour  and  bacon. 

When  the  clouds  lifted  and  the  rains  ceased, 
we  discovered  our  fertile  grazing  land  had  a 
three-foot  covering  of  gravel  and  rock.  Boul- 
ders as  big  around  as  kegs  were  strewn  over 
what  was  recently  ripe  ground. 

We  had  on  our  hands  a  thousand  acre  white 
elephant,  named  Sunnyside. 

Gradually,  by  sweating  and  sla\'ing,  part  of 
the  ground  was  sah-aged.  We  bought  a  few 
milk  cows.  I  went  to  a  Uttle  log  school  on  the 
ranch  and  learned  the  necessary  preliminary 
studies. 

Arthur  went  along,  too.  His  slate  was  al- 
ways neater  than  mine.  His  columns  were 
always  added  correctly.  His  handwriting 
rounder,  handsomer. 

The  way  things  were,  we  spent  our  winters 


in  Helena;  our  Springs,  Summers  and  Falls  at 
the  ranch. 

When  I  was  nine  or  ten,  the  whole  family 
went  to  England  to  visit  my  grandparents,  and 
I  was  given  a  few  years  schooling  at  Dunstable 
in  Bedford. 

I  didn't  like  England,  particularly,  although 
I  did  admire  the  extraordinary  heroics  of  Eng- 
lish history.  I  didn't  hke  the  Eton  coUars  and 
the  long  trousers  and  short  jacks  and  high  hats 
we  were  made  to  wear  on  Sundays.  I  didn't 
like  the  close  compactness  of  the  tiny  gardens, 
tended  for  centuries,  and  the  ultra-formal 
parks.  It  weighed  down  on  me,  all  the  evi- 
dences of  this  country's  terrific  age.  I  wanted 
to  feel  the  stark  youth  of  .America.  I  wanted 
the  noisy  wind  from  the  plains  as  it  whistled 
and  tossed  my  hair. 

My  grandfather,  on  my  father's  side,  was 
something  of  a  nabob  in  Bedfordshire.  His 
little  estate  was  next  to  the  vast  estate  of  the 
Duke  of  Bedfordshire  and  Arthur  and  I  used 
to  peep  with  disgust  through  our  privet  hedge 
at  the  graveled  paths  and  trimmed  cypress  of 
His  Lordship's  carefully  tended  ducal  gardens. 

And  there  was  no  hunting  of  the  kind  I 
lilced.  We  tried  hunting  once,  on  the  Duke's 
estate,  and  had  the  seats  of  our  pants  tanned 
for  poaching.  There  was  no  game  in  it.  It  was 
nothing  like  chasing  along  for  hours  on  a  slim 
little  pony  with  the  devil  in  him,  and,  any 
minute,  a  chance  to  shoot  a  mountain  lion  or 
coyote. 

"Y\  7"E  went  to  London,  and  saw  the  theaters 
''»  and  the  puppet  shows.  But  nothing 
quenched  my  burning  thirst  for  the  sight  of  a 
Cottonwood,  or  the  rifle-like  report  of  a  beaver 
slamming  his  flat  tail  against  the  water  as  he 
hastily  scuttled  out  of  sight. 

In  my  early  teens,  returning  from  London 
long  since,  and  completing  my  grammar  school 
education  in  Helena,  I  was  sent  to  Bozeman, 
a  nearby  town,  and  sniaUer,  to  cram  four  years 
of  high  schooling  into  two  and  a  half. 

It  was  during  the  period  of  the  War  and 
every  town,  aU  over  the  states,  was  more  or 
less  hysterical.  Bozeman  was  no  exception. 
I  got  to  running  around  in  one  of  the  school 
sets.  The  boy  who  looked  the  most  adult  in 
our  crowd  would  buy  a  couple  of  quarts  of 
hard  liquor  and  then  we  \AOuld  start  in  to 


One  of  Life's  Great  Moments — when  a  boy  buys  his  first  motorcycle. 
At  the  age  of  seventeen,  Gary  began  to  burn  up  the  roads.  During 
his  more  restrained  hours,  he  attended  high  school  in  Helena, 

Montana 


Every  advi^rtisement  In  PHOTOPLAY  MAGAZINE  la  Buaranteed. 


Photoplay  Magazine — Advertising  Section 


drink  it.  There  was  nothing  vicious  about  our 
drinking  bouts.  It  was  harder  on  our  stomachs 
than  our  morals.  We  thought  w'e  were  a  bunch 
of  hell-raising,  two-fisted  guys.  Everyone  goes 
through  that  liberating  period.  And  I,  with 
my  freedom  fetish,  took  it  big. 

But  it  wasn't  that  which  put  an  official  halt 
to  our  activities  as  much  as  the  fact  that  I 
fell  in  love.  I'd  hardly  call  it  love,  looking 
back  now.  It  was  more  or  less  a  symbol  of 
my  maturity.  We  danced,  skated  and  drank 
together,  the  whole  crowd.  I  don't  believe  I 
ever  saw  the  girl  alone,  except,  perhaps,  to 
escort  her  to  her  home. 

THE  school  board  heard  of  our  little  set's  es- 
capades and  seized  upon  me  to  save,  as  a 
brand  from  the  burning.  I  was  a  boy  from 
another  town  who  needed  protection  and  guid- 
ance. I  was  warned  against  my  sinful  life,  the 
wages  of  Jim  Crow  and  shapely  ankles.  The 
girl  and  I  were  separated,  with  long  lectures, 
before  we  had  even  thought  of  a  romance. 

Nevertheless,  it  was  a  suggestion.  I  began 
to  contemplate  the  other  se.x  with  favor,  all 
the  while  turning,  with  the  fervor  equal  to 
that  of  a  young  ascetic,  to  my  studies. 

liVc.v;  month  Gary  Cooper  will  relate  Ins  ad- 
ventures in  reacliing  Hollywood.  Be  sure  to 
wateli  for  the  May  issue  of  Photoplay.] 


I 


The  Philosophy  of 
Crime 


[  CONTI.NUED  FROM  I>AOE    71  ] 

"and  at  least  eighty  percent  of  the  murders  are 
never  discovered !" 

That,  ladies  and  gentlemen,  is  a  startling 
statement. 

"A  man  is  found  dead  with  a  gun  near-by." 
Mr.  Wright  elaborates.  "There  are  powder 
marks  on  his  temple,  there  is  no  evidence  of 
struggle.  Police  declare  it  suicide.  The  cor- 
oner's jury  renders  a  verdict  of  self-inflicted 
death.    But  who  put  the  revoher  there? 

"Someone  is  discovered  seated  in  a  chair, 
dead.  The  room  is  undisturbed  except  for  a 
shattered  chandelier  which  lies  on  the  floor 
and  which  struck  the  victim  on  the  head  and 
dealt  the  death  blow.  It  is  called  accidental 
death.  But  does  anyone  know  who  was  up- 
stairs when  the  chandelier  so  mysteriously  fell? 

"So  it  goes  ad  infinitum,  cases  without  num- 
ber, piling  the  records  high  in  every  city. 
Cases  judged  solely  on  appearances  and  circum- 
stantial evidence." 

MR.  WRIGHT  was  asked  a  short  time  ago 
if  there  is  such  a  thing  as  a  perfect  alibi. 

"Who  knows?"  he  answered.  "The  only 
alibis  we  know  of  are  those  that  w-ere  unsuc- 
cessful, those  that  failed.  Certain  it  is  that 
the  person  who  possesses  a  perfect  alibi  is  not 
going  to  expose  it,  not  going  to  tip  his  hand,  so 
to  speak." 

There  are,  it  seems,  five  primary  motives  for 
murder,  judging  by  the  \'an  Dine  compilation: 

"First,"  says  ?>Ir.  Wright,  "there  are  mur- 
ders for  profit;  these  lead  all  others.  Then 
there  are  murders  for  jealousy.  A  recent  ex- 
ample, apparently,  is  the  crime  that  occurred 
on  Long  Island  a  short  time  ago.  A  man  and 
woman  were  found  shot  outside  a  bungalow. 
No  sign  of  struggle,  no  tell-tale  clue,  nothing. 
What  was  it,  a  tryst  interrupted?  Suicide? 
Or  was  it  an  accident?  There's  the  mystery — 
solve  it.  Next,  I  think,  come  murders  for  re- 
venge, followed  by  killings  for  ambition.  And 
last,  the  pathological  crimes — the  abnormal 
sex  murders,  which  are  usually  the  most 
fiendish  of  all." 

Because  of  the  baffling  stories  he  writes — 
stories  that  defy  solution  by  the  most  ingeruous 
minds — I  wondered  if  \'an  Dine  had  developed 
a  contempt  for  law,  or  a  desire  to  abuse,  misuse 
or  pervert  it.  In  fact,  terrible  though  the  sug- 
gestion may  seem,  I  wondered  if  he  had  ever 


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36 


Photoplay  Magazine — Advertising  Section 


Make  This 
Free  Test 

IYou  try  it  first 
on  a  single  lock 
of  your  hair  to 
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himself  considered  the  possibility  of  commit- 
ting murder. 

His  answer  to  this  question  was  almost  as 
amazing  as  the  ending  of  one  of  his  stories: 

"Murderers,"  said  he,  "are  born.  It  is  a 
twist  of  the  mind.  It  exists  only  in  the  crim- 
inal class.  The  majority  of  persons,  no  matter 
what  the  provocation,  wUl  not  kill.  No  doubt 
you  can  think  of  persons  you  have  known  who 
have  been  placed  in  positions  and  surrounded 
by  provoking  circumstances  which  seemingly 
would  have  justified  murder.  Yet  those  in- 
dividuals did  not  kill.  They  conid  not  kill. 
They  were  not  the  killer  type.  They  would  die 
first  themselves.  I,  fortunately,  am  of  that 
class." 

TXrOMEN  murderers,  Mr.  Wright  thinks, 
^^  are  much  more  clever  killers  than  men. 

"They  are  harder,  colder,  more  cruel,"  he 
says.  "They  are  the  perfect  murderers.  But 
they  are  fewer.  It  is  quite  unusual  for  women 
to  kill.  Either  that,  or  they  cover  their  crimes 
so  ingeniously  that  they  are  not  caught. 
Women  can  be  most  disarming,  you  know, 
when  they  choose.  I  really  believe,  however, 
that  the  killer  type  is  in  the  minority  among 
them,  as  compared  with  the  same  percentage 
of  murderers  among  men."     M 

The  strongest  word  in  the  English  language, 
according  to  Mr.  Wright,  is  "Murder."  For 
that  reason  he  uses  it  in  the  title  of  each  of  his 
books. 

There  is  no  other  word  so  dramatic,  so  grip- 
ping, so  compelling. 

Also  he  resorts  to  another  idiosyncrasy  in 
devising  his  titles.  The  proper  noun  in  each 
title  must  contain  sLx  letters — six,  no  more, 
no  less.  For  example,  take  the  first  book  he 
WTote:  "The  Benson  Murder  Case."  Note 
the  word  Benson — six  letters.  And  "The 
Canary  Murder  Case."  Count  the  letters  in 
Canary.  Then,  too,  observe  the  word  Greene 
in  "The  Greene  Murder  Case."  And  in  "The 
Bishop  Murder  Case," — not  yet  off  the  press 
as  this  is  being  written^Bishop,  you  will 
notice,  contains  the  significant  six  again.  And 
following  this  book  will  come  "The  Scarab 
Murder  Case."  Again  the  strange  six  in 
Scarab. 

For  this  literary  phenomenon  Mr.  Wright 
has  no  explanation  except  his  enigmatic  smile. 
Perhaps  it  is  superstition.  Maybe  he  regards 
it  as  a  magic  symbol,  a  talisman  insuring  suc- 
cess. Possibly  he  does  it  because  there  were  by 
accident  six  letters  in  the  proper  name  of  his 
first  title — a  novel  which  met  with  instan- 
taneous success.  It  would  be  only  human  to 
follow  such  a  lead.  I  know  a  scenario  writer 
who  won't  undertake  to  write  a  script  unless  he 
can  sit  in  the  camp  chair  in  which  he  wrote  his 
first  successful  photoplay.  .This  chair  now 
stands  behind  his  mahogany  desk  in  bis  pala- 
tial Beverly  Hills  home,  a  grotesque  and  in- 
congruous monument  to  his  success.  It  is  his 
shrine  of  luck.  It  may  be,  therefore,  that  even 
in  the  soul  of  a  great  novehst  there  is  a  grain 
of  this  same  superstition. 

SUPERSTITION  or  not,  Willard  Huntington 
Wright's  career  is  one  of  the  most  spec- 
tacular and  dramatic  that  has  ever  been  in- 
scribed on  Hollywood's  roll  of  fame,  a  scroll 
recording  careers  that  are  fraught  with  bizarre 
and  wild  adventures. 

Six  years  ago,  he  was  flat  broke  and  flat  on 
his  back,  his  strength  exhausted  by  the  overtax 
of  work.  And  for  two  years  and  eight  months, 
this  man  was  confined  to  his  bed,  the  victim  of 
a  shattering  physical  and  nervous  collapse. 
For  practically  three  years  he  was  not  allo\\cd 
to  write  a  line.  For  almost  one  year,  he  v  as 
not  allowed  to  read.  Finally,  however,  he  pre- 
vailed upon  the  doctors  to  permit  him  to  reed 
detective  stories.  And  that  started  him  on  the 
road  to  fame. 

"It  is  not  in  the  least  original  to  say  this," 
he  told  me,  "but  invariably  some  apparently 
inconsequential  thing  shapes  a  fellow's  destiny. 
I  set  out  to  write  a  monograph — a  small  book 
outlining  the  history  of  mystery  fiction.  I 
hadn't   the  slightest  intention  of  writing  a 


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137 


murder  mystery  yarn  myself.  I  merely  in- 
tended to  do  an  analytical,  scholastic  work 
bearing  on  this  type  of  story.  The  history  of 
this  kind  of  fiction,  you  know,  is  compara- 
tively brief,  beginning  with  the  works  of  Poe, 
who  originated  the  form. 

"After  completely  solving  the  mystery  of 
the  mystery  story,  however,  I  determined  to  do 
one  myself,  so  I  turned  from  my  mass  of  data 
and  notes  to  this,  for  me,  precarious  under- 
taking. 

"The  result  was  'The  Benson  Murder  Case,' 
in  which  I  created  the  character  of  Philo  Vance, 
detective-genius  who  sol\-es  the  intricacies 
and  mysteries  with  which  I  obscure  my 
imaginary    murders. 

"Invariably  Vance  brings  the  guilty  party  to 
justice,  an  inviolable  rule  governing  this  type 
of  writing." 

IN  addition  to  being  a  distinguished  author, 
Mr.  Wright  is  also  a  worthy  mathematician. 
Therein,  perhaps,  lies  the  secret  of  his  great 
success  as  a  deviser  of  mystery  stories,  for 
after  all  a  mystery  story  is  nothing  more,  he 
says,  than  an  elaborate  literary  puzzle. 

Mr.  Wright,  like  all  who  labor,  has  one  con- 
suming ambition.  In  a  way,  this  ambition  is 
quite  unique.  He  hopes  never  to  have  to 
u  rite  another  murder  mj'stery  story.  Imagine 
that !  Each  book  that  he  does  means  a  small 
fortune,  yet  he  hopes  never  to  have  to  do 
another. 

He  wants  to  write  about  biology  and  anthro- 
pology. And  his  crowning  ambition  is  to 
complete  the  philology  upon  which  he  was 
working  at  the  time  he  collapsed  and  became 
rich  and  famous. 


The  famous  Renee  Adoree  part. 
The  little  Metro-Goldwyn  player 
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Then  comes  a  clean  skin — clean  to 
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138 


Photoplay  Magazine — Advertising  Section 


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The  Old  Shoe 


I  CONTINUED  FROM  PAGE  57  ] 


entirely  dispel  the  original  charm.  She  always 
had  gone  in  for  rubber  plants.  Some  hang- 
o\er  from  her  childhood  probably.  They  may 
have  connoted  elegance  behind  Nottingham 
lace  curtains  in  her  home  town.  And,  of  course, 
the  incense  burner  from  an  indefinite  ancient 
temple  would  have  the  place  of  honor. 

There  were  a  confusing  number  of  white 
candles  burning. 

.\nd  a  fire  made  the  room  a  little  stuffy. 

But  an  effect  was  secured.    What  more? 

Sonia  was  herself,  that  afternoon.  Her  hair 
was  drawn  from  a  center  part  and  coiled  on 
her  neck.  Her  earrings  of  heavy  gold  were  inlaid 
with  mosaic  work.  Her  slippers  of  black  fur 
had  painted  ivory  heels. 

.\nd  her  teai  gown  was  a  flowing  robe  in  which 
all  the  colors  of  the  peacock  swirled  in  a  batiked 
pattern. 

If  the  past  months  had  laid  any  humbling 
hand  upon  Sonia  Savina,  she  bounced  back 
into  her  old  airs  and  graces  \nth  the  resiliency 
of  a  rubber  ball.  However,  it  is  doubtful  that 
she  ever  realized  her  predicament. 

She  amplified  her  bare  statement  that  she 
was  to  have  a  part  in  a  new  play. 

"It  means,"  she  said  "that  I  can  stay  in 
New  York.  I  got  so  bored  with  Hollywood. 
]\Iy  dear,  you'\-e  no  idea  how  awful  that  town 
can  be.  There's  just  no  food  for  your  intel- 
ligence there.  Mentally,  you  starve.  Starve, 
my  dear. 

"My  part  isn't  the  lead  but  it  interests  me, " 
she  continued.  "And  I  always  say  it's  vulgar 
to  think  only  of  money.  Not  that  they  aren't 
paying  me  handsomely. " 

TWO  or  three  guests  slipped  out  of  earshot. 
A  maid  passed  sandwiches  and  little  cakes. 
There  was  tea,  in  the  strict  prohibition  sense 
of  the  word,  on  a  long  table,  supplemented  with 
ice.  ginger  ale  and  fruit  juices.  And  Sonia, 
reclining  on  a  chaise  longue,  poured  what  Uttle 
old  fashioned  beverage  her  guests  desired. 

(The  chaise  longue,  by  the  way,  was  the  pride 
of  her  heart.  It  was  of  black  satin,  festooned 
with  heavy  gold  lace,  and  dripping  ermine 
tails.) 

I  joined  a  little  group  which  stood  apart. 

"How  did  she  ever  get  the  engagement,  no 
matter  what  her  lule's  like?  "  an  editor  wanted 
to  know. 


A  dramatic  critic  sampled  the  Scotch. 
"U-m-m,  not  bad.  About  seventy  a  case,  I 
imagine."  Then  he  offered  an  explanation. 
"Violet  Mason's  the  star  of  Sonia's  play,"  he 
reminded  us.  "And  she  won't  have  anyone  too 
clever.  Then  Hill  knows  the  director,  and 
these  theatrical  people  are  sentimental  nuts. 
They'd  help  an  old  friend  any  time,  provided 
they  were  sure  he  was  definitely  out  of  the 
running." 

That  came  as  close  to  e.\-plaining  the  unbe- 
lievable fact  that  Sonia  had  been  engaged  for 
a  Broadway  production  as  anything  could,  so 
we  dropped  the  subject. 

COME  of  the  guests  asked  for  Harry  Hill. 
'-'Sonia  seemed  surprised  that  he  was  remem- 
bered, that  anyone  should  trouble  to  inquire 
about  him. 

"Harry?"  she  said,  and  it  was  almost  as  if 
she  was  trying  to  place  him.  "Oh,  he's  all 
right.    Thanks." 

I  waited  after  the  others  had  gone.  I  had 
given  Sonia  her  first  interview,  and  we  always 
maintained  a  specious  sort  of  friendship. 

"Happy  about  the  new  part?"    I  asked. 

She  yawned  and  reached  for  a  large  maca- 
roon. 

"  Oh,  it's  all  right.  I  had  to  have  something. 
Things  have  been  awinl  slow. 

"Harry  hasn't  bad  a  job  in  ages."  Sonia 
could  be  very  frank.  "I  can't  count  on  a  thing 
from  him. 

"He  has  a  little  laid  by,  enough  to  take 
care  of  himself.    That's  all." 

The  maid  came  in  and  was  paid  for  the 
hours  she  had  been  there. 

And  I  remembered  the  California  house, 
overrun  with  servants. 

"You  know,"  Sonia  picked  up  the  conversa- 
tion where  it  had  been  interrupted,  "sometimes 
when  I  think  of  myself  tied  to  an  old  man  Uke 
Harry  I  get  scared." 

Someone  was  coming  up  the  stairs. 

"That  you,  Harry?"  Sonia  called.  "I'm 
being  interviewed. " 

Plainly  he  was  meant  not  to  interrupt.  But 
he  didn't  get  the  cue. 

Poor  Harry  Hill.  You  thought  that  or  its 
equivalent  whenever  you  saw  him.  The  last 
few  months  had  left  indehble  traces  on  him. 
He  was  old,  gray.    He  must  have  worried,  for 


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139 


Sonia  as  well  as  for  himself,  every  time  a  new- 
pawn  ticket  appeared.  When  there  was  nothing 
left,  what  then? 

His  arms  were  filled  with  inelegant  and  un- 
mistakable bundles.  A  bottle  of  milk,  a  loaf 
of  bread,  and  another  package,  the  brown 
wrapping  spotted  by  the  delicatessen  contents. 

S(_)XI.\  went  to  answer  the  telephone,  and  I 
asked  Harry  why  he  hadn't  been  at  the  tea. 

He  smiled.  •■Idodgeparties,"hesaid.  ".Age 
should  have  some  compensation.  I've  outlived 
the  pleasure  of  dolling  up  in  spats  and  a  gay 
cravat  and  talking  pretty  nonsense.  But  I  can 
remember  the  time  when  I  thought  it  was  fun 
to  balance  my  hat,  my  stick  and  a  teacup." 

Then  Sonia  came  back  and  he  paled  beside 
her.  Actually  she  seemed  to  hypnotize  that 
little  man.  His  eyes  glued  themselves  to  her 
face  and  became  nakedly  beseeching.  He 
seemed  to  sense  that  he  had,  in  some  way, 
displeased  her. 

"Cakes  come  all  right?"  he  asked.  Sonia 
nodded. 

".And  the  sandwiches?  Were  they  what 
you  wanted,  dearie?  I  didn't  know  e.xactly 
but  I  told  the  man  to  be  sure  and  make  them 
up  e.Ktra  nice." 

He  stood,  fumbling  with  his  packages. 

"How  about  the  limes?"  he  asked.  "They 
get  here?" 

"Oh,  my  God,  yes,"  Sonia  said.  "They got 
here.  Why  wouldn't  they?  Will  you  please 
tell  me  thai,  Harry/  You  ordered  them,  didn't 
you?    And  paid  for  them? 

"  Take  those  bundles  into  the  kitchen,  please. 
You'll  drop  them  on  the  rug  the  ne.xt  thing  you 
know.  You  make  me  so  nervous  .  .  .  standing 
there  hke  that.     Go  on,  will  you?" 

Harry  left  and  I  proceeded  to  gather  up  my 
things  too. 

"I)on't  leave  me  alone  with  him  now  or 
we'll  have  a  row,"  Sonia  said.  "Men,oldmen, 
putter  so." 

I  could  hear  Harry  moving  about  in  the 
kitchen.     But  she  didn't  lower  her  voice. 

"I  suppose  people  wonder  why  I  married," 
— at  least  she  nodded  her  head  towards  the 
door  in  lieu  of  a  pronoun — "considering  all 
the  men  who've  been  nuts  about  me. 

"Harry's  actually  twenty  years  older  than 
me.    But  he's  mad  about  me,  my  dear." 

Sonia's  tone  became  indulgent. 

"He  thinks  I'm  the  most  beautiful  thing 
alive.  All  that  sort  of  bosh.  Cries  sometimes, 
like  a  baby,  because  he  can't  buy  me  the  sort 
of  things  I  used  to  have. 

"There  you  are.  I  suppose  it's  always  the 
man  who'd  give  you  the  earth  who  hasn't  the 
price  of  department  store  pearls. 

"The  trouble  with  Harry  is  that  he's  too 
good.  He'll  never  get  anywhere.  He  has  the 
craziest  notions  about  life.  1  have  to  watch 
my  step,  otherwise  he  might  keep  me  back  too. 
You  can't  be  too  careful. " 

SONI.A  stretched  like  a  sleepy  cat  and  reached 
for  a  bonbon. 

"One  thing  about  Harry,  though.  I  don't 
have  to  keep  all  fi.xed  up  for  him  the  way  I 
did  for  the  others.  And  I  can  always  meet 
people  on  parties  and  things  to  have  fun  with. 

"  Harry's  comfortable  to  live  with.  Like  an 
old  shoe.    You  know?  " 

The  premiere  of  the  play  in  which  Sonia 
appeared  will  long  be  remembered.  Even  those 
none  too  kindly  disposed  towards  her  rather 
dreaded  the  fiasco  they  felt  she  would  be. 
Rumors  had  come  in  from  the  try-out  towns. 
Without  a  doubt  some  of  the  New  York  critics 
had  their  typewriters  inked  with  acid,  antici- 
pating the  notices  they  would  write. 

But  the  curtain  went  up  that  night  to  give 
everyone  of  us  the  surprise  of  our  Uves. 

Sonia  played  Mrs.  Mortimer  Legrand,  a 
matron  of  an  upper  social  circle,  having  a 
clandestine  affair  with  her  husband's  physician. 
That  the  producer  had  ever  trusted  her  with 
this  part,  about  third  in  importance,  can  only 
be  explained  as  one  of  those  ine.xplicable  things 
that  do  happen  in  the  theater. 

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not  very  much  to  say  but  a  great  deal  to 
conxey.  And  she  achieved  this  by  subtleties 
of  which  those  who  knew  her  best  would  have 
beliex  ed  her  incapable.  Watching  her,  I  had 
a  sense  of  unreality. 

On  the  screen,  Sonia  had  gone  slithering 
about  in  a  way  either  to  alarm  or  amuse  a 
man.  But  now  she  was  a  personality  to  intrigue 
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TN  a  formal  drawing-room  scene,  her  gown  cut 
-'■from  black  satin  and  a  single  ruby  resting 
on  her  throat  with  the  warm  and  crimson  color 
of  blood,  she  was  undoubtedly  alluring. 

It  was,  as  a  matter  of  tact,  almost  impossible 
to  reconcile  the  woman  on  the  stage  with  Sonia 
Savina,  late  of  the  films.  Physical  things  were 
the  same,  such  as  her  eyes  and  her  hair.  But 
the  essence  of  her  belonged  to  a  stranger. 

During  the  intermission  those  who  knew 
Sonia  hurried  to  the  lobby  to  greet  each  other 
with  amazement. 

"This  will  give  her  a  new  lease  on  pro- 
fessional life, "  one  of  the  newspaper  men  said. 
"A  damn  fine  performance  and  no  mistake. 
Miraculous,  coming  from  that  dumbbell. 

"They'll  sign  her  up  for  the  talkies  now  or 
I  miss  my  guess." 

"Watch  the  old  fellow  get  his  walking 
papers,"  another  said. 

But  would  Sonia  be  able  to  sustain  this  new 
charm  and  interest? 

The  second  act  proved  she  would.  Violet 
Mason  couldn't  prevent  her  taking  a  curtain 
caU. 

However,  alone  on  the  stage  and  stepping  out 
of  herpart,  Sonia  became  famihar  immediately. 
While  she  had  been  acting  you  had  forgotten 
her  broad,  heavy  hands  and  feet.  Now  her 
manner  lacked  dignity.  She  had  the  flavor  of 
a  small  town  woman  being  neighborly  over  a 
back  fence. 

But  in  the  third  act  she  became  a  stranger 
again.  .\nd  when  I  went  backstage  after  the 
final  curtain  I  was  able  to  carry  sincere  con- 
gratulations with  me. 

"Rehearsal  in  half  an  hour,"  a  call  boy 
shouted  and  his  words  came  back  to  him,  in 
echo,  from  the  emptied  theater. 

Everywhere  there  was  contusion.  Violet 
Mason  was  probably  on  a  rampage.  She  didn't 
like  members  of  her  cast  having  curtain  calls. 
But  there  didn't  seem  much  she  could  do  about 
Sonia's  part  without  changing  the  entire  plot. 

At  the  obscure  dressing  room  marked  Miss 
Savina,  I  hesitated  to  knock.  Harry  Hill  was 
inside. 

"You  can't  let  me  down  like  this,"  I  heard 
him  say.  ""Vou  can't  turn  your  back  on  me. 
It  isn't  fair.  I've  waited  all  my  life  for  you. 
Love  me  ..." 

T_riS  old  voice  had  a  timbre  to  it  that  had 
^  -^never  been  there  before.  It  was  charged 
with  desperation.  It  was  the  voice  in  which  a 
starving  man  might  cry  for  bread.  I  forgot  I 
had  no  right  to  listen.  Having  imagined  such 
an  eventuality  so  often,  there  was  something 
famihar  about  it  now. 

"I've  tried,  Harry,"  Sonia  whined.  "And 
I'm  tired  now.    Leave  me  alone." 

"Come  on,  dearie,  make  an  effort.  Once 
more,"  he  coaxed. 

Then  I  remembered.  It  was  a  line  from  the 
play  he  had  given,  a  line  from  Sonia's  big 
scene  in  the  last  act  when  Mrs.  Legrand  finds 
her  lover  a  laggard. 

From  his  seat  in  the  front  row  Harry  had 
sensed  this  lack  in  her  performance. 

Sonia  tried  the  hne,  forcing  her  flat  voice  to 
burn  with  desire. 

Having  no  true  emotion  of  her  own  there 
was  nothing  to  interfere  with  her  assuming  the 
emotion  given  to  her. 

Tonight  the  "old  shoe"  had  reaped  his 
reward  for  years  of  trouping.     For  he  must 


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have  known  that  through  his  conception  of 
Mrs.  Legrand,  Sonia  had  been  able  to  win 
respect  she  never  could  have  attained  for  her- 
self. And  a  lo\e  as  enslaving  as  his  would  ask 
no  more  than  this. 

The  difference  between  the  performances 
Sonia  had  given  out  of  town  and  her  perform- 
ance tonight  was  explained.  The  first  had 
been  her  own. 

Careless  of  Harry,  in  a  way,  not  to  have 
schooled  her  for  a  curtain  call,  too. 

Shamelessly,  I  continued  to  listen. 

"I  guess  I  made  them  sit  up  and  take 
notice,"  Sonia  said.  "I  guess  I  proved  I  was 
good,  didn't  I,  Harry?" 

"You  sure  did,  lovey, "  he  assured  her.  "I 
was  proud  of  my  wonderful  girlie." 

"  AND  that  cat.  Mason!"  clearly  Sonia  hated 
■'•■the  star.  "I  guess  I  showed  her  up  for  a 
ham.  Huh?"  She  was  greedy  for  the  praise 
Harry  was  so  willing  to  give. 

"Kiss  your  old  man,"  he  said. 

"Goon,"  Sonia  complained.  "Youalways 
have  to  get  mushy.  And  I'm  tired.  You 
don't  realize  the  strain  of  creating  that  part, 
I  guess." 

"Just  one  httle  kiss,"  Harry  begged. 

She  laughed.  She  could  afford  to  be  gen- 
erous tonight.  "One  little  kiss  never's  been 
enough  for  you  yet.  And  you'll  get  all  grease 
paint.    Now  be  care — " 

"Oh,  my  Beautifull  My  Beautiful!"  Harry's 
whispers  barely  reached  me  as  I  walked  away. 

So  let  this  moment  shape  a  happy  ending. 
It  leaves  Sonia  with  her  succ  ess.  Il  leaves 
Harry  with  Sonia. 


How  the  Stars  Make 

Their  Homes 

Attractive 

[  CONTINUED  FROM  PAGE  81  ] 

to  spruce  up.  The  plain  white  woodwork  of  a 
few  years  ago  is  definitely  "out."  You  must 
ha\-e  a  gay  kitchen.  Joan  Crawford,  with 
gray  eyes  and  red  hair,  complements  herself  in 
color  by  a  kitchen  with  walls  of  cream  and  all 
shelves  and  cabinet  doors  in  green.  Even  the 
stove  and  the  face  of  the  clock  are  green  and  the 
kitchen  dishes  are  multi-colored,  with  a  cloth 
of  cream  bordered  in  three  shades  of  green. 

The  dining  room  and  breakfast  nook  must 
be  considered.  It  used  to  be  that  blondes 
avoided  red.  It  is  now  known  as  one  of  their 
best  colors.  So  Doris  Kenyon's  breakfast  and 
luncheon  room  is  done  with  dark  red  furniture. 
The  walls  and  door  are  very  dark  cream  and 
the  luncheon  set  is  natural  colored  linen  em- 
broidered with  parrots  in  bright  colors. 

Little  Mary  Brian,  with  blue  eyes  and  dark 
brown  hair,  has  a  dining  room  done  in  green, 
yellow  and  black.  The  China  is  as  gay  as  it  is 
interesting,  striped  in  yellow  and  black,  while 
the  cloth  is  green  with  flowered  squares  of 
yellow,  rose  and  black. 

■pxOROTHY  SEBASTIAN,  hazel  eyes  and 
■*-^dark  brown  hair,  has  one  of  the  most  at- 
tractive homes  in  Hollywood.  It  is  done  in  the 
modernistic  style  throughout.  The  living  room 
boasts  a  dull  red  rug,  red,  yellow  and  black 
striped  drapes,  a  gold  upholstered  couch  with 
black  arms  and  black  and  gold  coffee  table. 
The  ceiling  is  beamed  and  the  light  fi.xtures 
are  also  modernistic  and  interesting. 

Many  new  ideas  are  to  be  found  in  her 
Brentwood  house.  Her  phonograph  is  painted 
in  red,  gold  and  black.  There  is  a  stunning 
black  desk  bordered  in  gold,  in  the  den,  and  a 
dainty  low  table  by  the  fireplace  in  modernistic 
style. 

The  colors  that  the  stars  have  used  should 
help  you  in  brightening  up  your  home  and  in 
finding  the  colors  that  best  suit  your  type. 

It's  little  details  that  make  a  house  worth- 
while. 


WIN  A  PRIZE 


141 


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142 


Photoplay  Magazine — Advertising  Section 


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[  CONTINUED  TROM  PACE  33  1 


be  guarded  from  the  prying  pencils  of  Holly- 
wood scribes  and  that  she  be  given  every  pro- 
tection from  the  possibility  of  the  sting  of 
defeat.  Miss  Martenson  had  known  CIreta 
Garbo  in  Sweden.  She  had  come  to  Holly- 
wood unannounced.  She  had  failed.  Under 
Rapf's  humane  guidance  she  had  gone  back. 
No  one  but  herself  was  aware  of  her  heartache, 
of  the  nights  she  had  spent  in  pain  and  tears. 
So  you  see  the  failure  of  a  ''discovery"  is  not 
always  the  fault  of  the  producer.  The  oppor- 
tunity is  offered,  but  the  gift  of  talent  is  often 
lacking  in  the  subject.  If  the  producer  is  at 
fault,  that  fault  lies  in  his  anxiety  to  bring 
renown  to  himself  through  his  selection  of  a 
"  find. "  This  sometimes  warps  his  judgment, 
makes  him  too  enthusiastic,  too  hasty. 

RUTH  TAYLOR  has  not  come  out  so  hand- 
somely. Not  that  she  was  a  producer's  pro- 
tege, yet  she  was  regarded  as  a  "discovery," 
one  for  whom  Paramount  held  high  hopes.  Even 
"baby  stardom"  did  not  add  materially  to  her 
prospects,  although  she  was  considered  one  of 
the  most  promising  of  the  Wampas  1928  crop. 
Her  failure  to  live  up  to  predictions  in 
"Gentlemen  Prefer  Blondes"  is  perhaps  the 
obstacle  that  blocked  her  road  to  fame.     .\. 


case,  no  doubt,  of  too  much  advance  publicity, 
too  loud  a  ballyhoo.  Only  the  miracle  of  a 
phenomenal  performance  can  raise  her  now 
from  the  leading  lady  ruck,  a  position  from 
which  there  is,  for  many,  no  direction  to  bow 
but  out. 

SEVERAL  years  ago — about  two  and  a  half, 
I  think — Richard  Rowland,  then  head  of 
First  National,  was  dining  in  a  cafe  in  Paris.  A 
girl  of  startling  beauty  was  one  of  the  enter- 
tainers. Rowland  watched  her  graceful  move- 
ments, her  sinuous  languor,  and  was  so  much 
impressed  that  he  determined  to  give  her  a 
chance  in  pictures.  Thenceforth  she  was  known 
as  Dick  Rowland's  Discovery.  She  was  a 
Russian  of  high  caste,  reduced  by  the  vicissi- 
tudes of  war.  Her  name  was  NataUe  Earache, 
one  of  a  family  of  eight. 

She  came  to  Hollywood  and  was  entered  at 
First  National  as  Natalie  Barr.  The  only 
picture  she  ever  worked  in  was  "Framed," 
a  Milton  Sills  production,  in  which  she  played 
the  vamp.  After  that  she  strangely  dropped 
out.  Only  recently  she  re-appeared  in  New 
York,  one  of  eight  international  beauties  sent 
to  America  to  represent  foreign  countries.  Nov/' 
she  has  disappeared  again. 


Phyllis  Haver  is  banging  on  the  door  of  opportunity  for  little 
Dorothy  Ward.  Phyllis  found  the  child  behind  the  counter  of  a  five 
and  ten  cent  store,  and  introduced  her  to  Cecil  B.  De  Mille,  who 
gave  her  a  bit  in  "The  Godless  Girl."  Now  Pathe  has  written  her  a 
five-year  contract.  Will  little  Dorothy  climb  to  glory,  or  will  she  be 
another  pathetic  victim  of  "The  City  of  Broken  Hearts"? 


Every  adverllscmont  in  PIIOTOPLAT  MAGAZINE  Is  euaiantced. 


Photoplay  Magazine — Advektising  Section 


No  quicker  way  of  commanding  public  at- 
tention is  offered  than  to  be  announced  as  a 
"discovery. "  But  it  is  a  dramatic  pitfall  with 
oblivion  lurking  in  its  depths.  When  Andre 
AJaltoni,  son  of  a  European  bottling  baron, 
was  brou{;ht  to  this  country  by  Universal  some 
three  years  ago  he  was  looked  upon  as  a 
"discovery"  with  success  assured.  He  had 
won  considerable  recognition  in  foreign  films, 
and  the  powers  that  be  at  the  "U"  believed 
he  could  add  to  that  standing  in  America.  So 
great  was  their  enthusiasm  that  they  paid  him 
$275  per  week,  a  large  stipend  for  one  untried, 
even  in  the  Promised  Land  of  Pictures. 

l-"rom  the  very  beginning  Andre  Mattoni 
was  doomed,  the  victim  of  psychological  defeat. 
He  was  completely  baffled.  Not  only  Holly- 
wood but  all  .\merica  puzzled  him.  He  seemed 
unable  to  adapt  himself  to  our  ways.  So  he 
went  home,  a  "wash-out,"  and  if  he  has  since 
succeeded,  that  gladsome  news  has  never 
percolated  to  America. 

LYA  DE  PUTTI  was  another  brilliant  Euro- 
pean "discovery"  of  whom  much  was  ex- 
pected. She  had  achieved  a  phenomenal 
triumph  with  Emil  Jannings  in  "Variety" 
and  on  the  strength  of  that  showing  was 
imported  by  Paramount.  Her  first  picture 
was  "Sorrows  of  Satan,"  filmed  at  the  Long 
Island  studio.  And  in  it  de  Putti  was  disap- 
pointing. Some  said  she  was  miscast,  others 
claimed  she  lacked  the  spark.  She  clung  on 
for  about  a  year,  then  began  to  drift.  Pitiful 
in  the  extreme  for  de  Putti.  A  vibrant  actress 
with  the  Hollywood  "breaks"  against  her. 
Now  she  finds  her  only  demand  in  the  quickies. 
But  some  day  perhaps  that  will  change.  There 
may  come,  even  in  the  quickies,  another 
magnificent  role  like  the  sensuous  part  she 
played  in  "  Variety."  Then  de  Putti  will  again 
be  a  dramatic  queen. 

-\  topsy-turvy  town,  this  Hollywood.  High 
estate  in  poHtical  circles  means  nothing  in 
picture  circles.  Royalty  that  was  becomes 
democracy  that  is  in  "The  City  of  Broken 
Hearts. "  That,  perhaps,  is  why  distinguished 
Russians  fare  so  badly.  Natalie  Golitzin,  pro- 
tege of  Elinor  Glyn  and  a  Russian  princess  with 
everything  at  her  command  during  the  reign 
of  the  Czar,  has  been  unable  to  get  a  "break" 
in  Hollywood.  With  her  family  she  lives  in 
the  film  colony,  appearing  only  in  the  most 
obscure  roles.  To  a  large  degree,  Josephine 
Borio,  another  Russian,  has  suffered  a  similar 
fate.  Good  fortune  seemed  with  her  when 
John  Gilbert  made  "The  Cossacks."  She  was 
given  a  promising  part  but,  in  the  end,  it  was 
discovered  to  have  little  bearing  on  the  story, 
and  went  finally  to  that  purgatory  of  all 
players — the  cutting  room  floor.  Miss  Borio's 
golden  opportunity  may  yet  come  to  her. 

Two  other  great  Russians  who  were  stalked 
by  failure  were  Viatcheslav  Tourjansky,  a  di- 
rector eminently  successful  in  Europe,  and  his 
wife,  Natalie  Kovanko,  a  splendid  actress. 
Tourjansky  did  a  picture  called  "Michael 
Strogoff, "  starring  his  wife  and  released  in  this 
country  by  Universal.  It  was  a  brilliant  thing, 
somewhat  "arty"  as  all  Russian  efforts  are, 
but  on  the  strength  of  it  Tourjansky  and  his 
wife  were  both  acclaimed  "discoveries"  and 
brought  to  Hollywood. 

TN  America,  however,  Tourjansky  could  not 
-'■accustom  himself  to  sw-ift  action.  To  M.-G.- 
M.,  who  had  bim  under  contract,  he  was  a 
thorn  in  the  side.  Their  treatment  for  this 
affliction  was  to  assign  him,  sensitive  artist 
that  he  was,  to  a  Tim  McCoy  horse-opera! 
(Jf  course  this  did  not  work,  so  they  wished 
him  on  United  Artists  and  he  became  a  charter 
member  of  that  gorgeous  battalion  of  directors 
that  undertook  to  direct  John  Barrymore  in 
"Tempest."  In  the  end  he  left,  another  de- 
feated "discovery,"  his  wife  with  him.  She 
is  a  talented  actress  who  never  got  a  chance 
to  act. 

The  last  of  the  foreign  "discoveries"  to 
depart  was  Dita  Parlo,  sent  back  untried  by 
Paramount  to  Germany  whence  she  came.  She 
was  brought  to  Hollywood  following  her  rather 


Frank  tiontn-liin  in  rhnrs*'<>fl'nitedArtUts  XTardrobe  and  Mona 
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WHEN  YOU  SEE  priceless  gowns 
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take  note  that  they  are  immaculate. 
They  have  to  be.  For,  the  eye  of  the 
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How  do  the  great  movie  studios  keep 
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ENERGINE  Cleans  Everything 
Nothing  takes  the  place  of  Energine  for 
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For  a  quarter  of  a  century  Energine  has 
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I-'ur  eighteen  years  this  method 
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''WW" 


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A  noted  surgeon  lias  discovered  an  amazing  way  to  grow 
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luxuriant  new  hair  1  The  startling  discovery  of  the  almost 
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self bald.  Today  his  liair  is  full  and  thick. 

FAMOUS  SURGEON'S   DISCOVERY 

Hereis  hisown  personal,  home  treatment,  called  Dermo- 
Ray.  At  last  a  liome  method  endorsed  by  science.  Guar- 
anteed to  bring  you  these  same  results  in  30  days— 
or  you  pay  notbing.  You  can  use  Dermo-Ray  in  any 
home  \vith  electricity.  The  warm,  soothing  Infra- Red  Rays 
vitajize  thti  scalp  while  you  rest — a  few  minutes  each  day 
is  all  the  time  required. 

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sensational  success  in  tlie  UFA  production, 
"Homecoming." 

It  is  said,  however,  that  Miss  Parlo  is  to  re- 
turn to  Paramount  in  the  early  summer  to  do 
a  talkie. 

.Vlthough  it  had  been  Paramount's  hope  to 
play  Miss  Parlo  opposite  Maurice  Chevalier 
in  "Innocents  of  Paris,"  undoubtedly  she 
proved  to  be  "not  the  type." 

Remember  when  all  the  studios  were  seeking 
new  Mary  Pickfords?  A  cute  little  girl  called 
"Cuddles"  came  to  view  at  that  time.  OlTicial 
doors  swung  wide,  flunkies  bowed  and  scraped. 
Conferences  were  held.  Papers  were  signed. 
Then  grandiloquent  gestures  were  made  in  the 
public  prints. 

THE  little  girl  called  "Cuddles,"  who  had 
been  a  bright  spot  in  Gus  Edwards'  "School 
Days"  revue,  was  announced  as  a  second  Mary 
Pickford. 

The  career  of  "Cuddles,"  otherwise  Lila 
Lee,  was  almost  wrecked  on  the  rocks  of 
publicity.  She  was  years  lighting  for  a  place. 
A  most  capable  actress  indeed,  Miss  Lee,  but 
a  young  lady  with  a  personality  all  her  own. 
It  was  only  through  tireless  struggle  that  she 
saved  herself  from  oblivion. 

One  wonders  if  it  is  a  sin  to  keep  marriage  a 
secret.  Two  years  ago  Patricia  Avery  was 
secretary  to  Cedric  Gibbons,  art  director  for 
M.-G.-.M. 

People  used  to  look  at  her  in  awe  and  say, 
"Isn't  she  striking!  Why  doesn't  somebody 
give  her  a  break?  Too  bad  they  can't  see 
talent  right  under  their  noses." 

Then  one  day  John  Stahl  passed  her  way — 
John  Stahl  who  at  that  time  was  directing  for 
"M.-G.-M.  but  who  now  is  the  Stahl  in  Tiffany- 
Stahl. 

John  saw  the  pretty  little  secretary  en- 
throned behind  the  keyboard,  and  the  gods 
of  luck  smiled.  Miss  Avery  immediately 
became  a  "discovery" — not  one  lured  from  a 
foreign  shore,  but  found  under  foot,  so  to 
speak.  She  exchanged  her  typewriter  for  a 
make-up  box  and  played  with  Lillian  Gish  in 
"  Annie  Laurie. "  Things  looked  bright  indeed. 
Among  her  transient  glories  came  "Baby 
Stardom  "  in  the  Wampas.  Shortly  thereafter 
however,  some  prying  person  discovered  that 
Patricia  Avery  was  married.  Merrill  Pye,  art 
director,  was  her  husband!  No  sin,  of  course, 
yet  many  who  felt  responsible  for  her  success — 
and  when  one  succeeds,  it  is  appalling  the 
number  of  individuals  who  feel  responsible — 
were  aggrieved  because  they  had  not  been  let 
in  on  the  secret.  Perhaps  it  had  a  bearing  on 
the  case,  perhaps  not.  The  fact  remains, 
ne\-ertheless,  that  not  so  long  after  this  news 
leaked  out.  Miss  Avery  discovered  that  she 
was  no  longer  with  M.-G.-M.  Of  late  she  has 
been  seen  in  the  quickies. 

IT  is  often  difficult  to  follow  the  course  of  a 
"discovery"  who  has  dropped  out.  Pride 
urges  strange  disguises,  discouragement  builds 
barriers  that  deflect  the  most  diUgent  search. 
Some  continue  to  struggle  ineffectuaUy,  their 
flame  of  hope  unquenched.  Others  enter  allied 
Unes,  marry  or  return  disillusioned  to  their 
homes. 

Sally  Rand,  who  streaked  across  the  sky  two 
years  ago  as  a  brilliant  bonde,  has  taken  her 
dancing  feet  and  silk-clad  legs  to  vaudeville. 
The  lure  of  films  may  have  faded  for  her,  or 
possibly  she  hopes  to  return  via  the  route  of 
the  talkies.  She  tried  hard  and  worked  inde- 
fatigably  in  pictures,  but  apparently  her  per- 
sonality was  not  for  the  screen,  and  Pathe, 
having  sponsored  her  as  a  "find,"  was  forced 
to  witiidraw  its  backing. 

Nowhere  else  in  all  the  world  does  destiny 
choose  such  devious  channels  or  offer  such 
prophetic  tokens  as  in  this  "City  of  Broken 
Hearts."  Early  in  her  career,  Joyce  Compton 
worked  in  a  picture  called  "The  Lost  World, " 
little  reaUzing  that  the  words  epitomized  her 
fate.  She  is  struggling  hard  to  recapture  her 
own  "lost  world,"  and  if  she  succeeds  it  will 
be  a  triumph  for  determination  and  persistence. 
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is  supposed  to  be  the  magic  sesame,  the  certain 
guarantee  of  success.  An  intriguinR  thought, 
tliis.  and  one  lending  itself  to  further  comment. 
Early  in  1928,  a  piquant  little  English  girl 
as  blonde  as  a  sunflower,  came  to  Hollywood 
to  try  her  luck  at  pictures.  Her  name  was 
I''lora  Bramley  and  she  was  the  niece  of  I.  C. 
Ereud,  business  associate  of  Joseph  M.  Schenck. 
Backed  by  influence  such  as  that,  it  would 
seem  to  the  casual  observer  that  failure  just 
could  not  be.  She  was  elected  to  "Baby 
Stardom"  last  year  and  distinguished  herself 
by  selUng  more  tickets  and  bo.\es  to  the 
W'ampas  Frolic  than  any  other  candidate.  And 
that,  oddly  enough,  was  the  height  of  her 
activity.  Her  uncle  gave  her  a  most  elegant 
little  roadster,  so  that  she  could  dash  from 
studio  to  studio.  She  dashed  in  vain.  Screen 
potentates  were  called  upon  to  do  their  best 
by  Flora,  but  their  "best"  was  httle  indeed. 
Tiring  of  this  unproductive  pursuit,  Miss 
Bramley  finally  accepted  a  rdle  in  the  stage 
version  of  "Interference. "  She  is  now  appear- 
ing in  stock  in  San  Francisco. 

TTIE  sacrificial  altar  of  films  is  piled  high 
•'■  with  futile  offerings  of  beauty.  Good  looks 
are  sold  in  Hollywood  at  a  cut-rate  price.  In 
no  other  city  does  pulchritude  lie  so  long  on 
the  bargain  counter,  nor  is  it  so  often  bought 
for  the  cost  of  a  wedding  ring.  This  does  not 
mean,  of  course,  that  every  screen  marriage 
carries  a  price  tag  or  that  love  is  necessarily  a 
commercial  commodity.  Romance  bears  the 
same  rainbow  hues  in  Hollywood  as  elsewhere, 
with  even  more  pigment  in  the  colors.  Ann 
Christy,  a  "discovery"  of  1927,  has  long 
considered  marrying  John  Darrow,  an  actor. 
Miss  Christy  no  doubt  will  continue  her  screen 
career,  matrimony  notwithstanding.  A  stormy 
courtship  this  has  been,  with  disaster  ever  lurk- 
ing in  the  offing.  In  fact,  as  this  is  being 
written,  rumor  insists  that  all  is  ended,  that 
the  affair  can  be  filed  among  the  broken  souve- 
nirs. 

Miss  Christy  has  not  fulfilled  the  prophecy 
made  for  her  two  years  ago  as  a  Baby  Star,  and 
even  now  she  is  off  on  a  detour  of  Westerns 
while  journeying  the  rutty  road  from  comedy 
to  drama. 

The  fate  of  innumerable  other  "discoveries" 
still  hangs  in  the  balance.  Of  the  few  who 
have  succeeded,  Lupe  Velez  is  the  outstanding 
example.  Lupe  bears  the  distinction  of  having 
been  "discovered"  three  times — once  in  Me.xi- 
co,  once  at  a  benefit  entertainment  in  Los 
Angeles,  and  once  by  F.  Richard  Jones,  then 
director  for  Douglas  Fairbanks. 

The  role  with  Fairbanks  is  the  one  that  gave 
her  an  assured  place  in  Hollywood's  cinema 
scheme  of  things. 

Of  the  other  potential  "finds,"  the  course 
of  two  will  be  interesting  to  watch.  Dorothy 
Ward,  discovered  by  Phyllis  Ha\'er  a  year  ago 
last  Christmas  behind  the  counter  of  a  five  and 
ten  cent  store,  and  who  now  has  a  five  year 
optional  contract  with  Pathe.  If  she  survives 
the  first  option,  she  has  a  good  chance  of 
success. 

Then  there  is  Mona  Rico,  discovered  by 
Ernst  Lubitsch  when  he  noticed  her  beautiful 
hands.  Watch  for  her  in  the  new  Barrymore 
picture,  "Eternal  Love,"  in  which  she  is 
reputed  to  do  good  work. 

npHERE  are  few  dramatic  circumstances  to 
-*■  recommend  many  of  the  "discoveries"  now 
strugghng  in  the  cinema  field.  Their  successes 
may  prove  sensational,  their  failures  noble, 
their  victories  really  ironic  defeats.  For  them, 
Hollywood  may  become  "The  Place  of  Heart's 
Desire"  or  "The  City  of  Broken  Hearts," 
depending  on  which  way  they  travel  in  their 
journey  toward  the  stars.  . 

Since  one  swallow  does  not  make  a  summer, 
neither  does  one  spectacular  "discovery"  indi- 
cate this  avenue  as  the  unobstructed  thorough- 
fare to  fame. 

Discovery  Lane  is  a  route  with  many  byways. 
Its  tollgates  exact  a  tribute  that  few  can  pay. 
It  is  a  road  to  be  avoided,  for  it  offers  no 
smooth  shortcut  to  stardom. 


145 


IT  KEEPS 

TEETH 
WHITE 


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J J . .  and  smile! 

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Brief  Reviews  of  Current  Pictures 

[continued  from  page  14] 


-Too    little    of    the 


INSPI  RATI  ON— Excellent.- 
title  role.  (Dec.) 

♦INTERFERENCE—  Paramount.— Drama  and 
suspense  in  a  Grade  A  murder  story.  Well  acted 
and  well  spoken — yes,  it's  a  talkie.    (Dec.) 

INTO  NO  MAN'S  LAND— Excellent.— An  un- 
usually dull  war  picture.  (Dec.) 

*IRON  MASK.  THE— United  Artists.— Doug 
Fairbanks  goes  back  to  D'-4r/ogHa« — hurray!  Action 
and  more  action.    A  good  evening.     {Feb.) 

JAZZ  AGE,  THE— FBO.--Flaming  youth  and 
mostly  a  bad  imitation  of  "Our  Dancing  Daughters." 
{Feb.) 

JAZZLAND — Quality. — If  you  can  guess  what  this 
is  all  about,  you  ought  to  get  a  prize.     (March.) 

*JEANNE  D'ARC— Societe  Generale  de  Films.— 
A  rarely  fine  artistic  achievement  and  a  significant 
picture.  You  may  not  see  it  at  your  local  theater  but 
you  will  feel  its  influence  in  future  films.     (Feb.) 

KID'S  CLEVER,  THE— Universal.— But  the  film 
isn't.     (November.) 

KING  COWBOY— FBO.— Please.  Mr.  Mix.  don't 
do  anything  like  this  again!    (Jati.) 

KING  OF  THE  RODEO— Universal.-Hoot  Gib- 
son's best  contribution  to  Art  in  a  long  time.     (Jan.) 

*KIT  CARSON— Paramount.—Fred  Thomson  in 
an  above  par  Western.     (Oct.) 

LADY  OF  CHANCE,  A— Metro-Goldwyn-Mayer. 
— Norma  Shearer  in  a  drama  of  a  gold-digger  who 
reforms.     If  they  only  would  in  real  life!     (Feb.) 

LADY  OF  THE  PAVEMENTS  —  United  Artists. 
—  In  whicli  the  vivid  Lupe  Velez  runs  away  with  a 
Griffith  picture.     (Feb.) 

LAST  WARNING,  THE— Universal.- Muddled 
mystery  with  no  plot  but  a  lot  of  fancy  sets  and 
fancier  photography.     (Feb.) 

LEGEND  OF  GOSTA  BERLING,  THE— 

Swedish  Biograph. — European  film  with  Greta 
Garbo,  proving  that  Hollywood  changed  an  ugly 
duckling  into  a  swan.      (Jan.) 

LIGHTNING  SPEED— FBO.— Adventures  of  a 
newspaper  reporter — as  the  movies  see  'era.       (Nov.) 

LINDA — Mrs.  Wallace  Reid  Production. — Maud- 
lin sentimentality.     (Feb.) 

LINGERIE— Tiffany-Stah!.— Alice  White  and 
Malcolm  McGregor  in  a  war  romance  that  you'll 
like.     (Oct.) 

LION'S  ROAR,  THE— Educational.— A  Bennett 
comedy  with  all  the  incidental  noises.     (Feb.) 

LITTLE  SAVAGE,  THE— FBO— A  Western  that 
is  saved  by  some  good  human  interest  touches. 
(March.) 

LITTLE  WILDCAT,  THE— Warners.— Nothing 
to  shoot  up  the  blood  pressure.     (November.) 

LOOKOUT  GIRL,  THE— Quality.— Not  worth 
your  valuable  time.    (Feb.) 

LOOPING  THE  LOOP— UFA-Paramount.— For- 
eign drama  of  circus  life,  with  an  old  theme  but  with 
some  good  continental  atmosphere — if  that's  what 
you're  looking  for.     (March.) 

LOST  IN  THE  ARCTIC— Fox.— Interesting  and 

worthwhile  story  of  Arctic  Exploration.    (Oct.) 

LUCKY  BOY— Tiffany-Stahl.— In  which  George 
Jessel  does  a  Jolson  and  goes  in  for  tear-jerking. 
Silent,  with  lapses  into  sound  and  singing.     (March.) 

MADELON— Universal.— A  talkie — so  bad  that 
it  should  be  a  museum  piece.     (November.) 

MAKING  THE  GRADE— Fox.— An  excellent 
movietone,  based  on  a  George  Ade  story.  (Dec.) 

MAKING  THE  VARSITY— Excellent.— Anyway, 
it  took  ingenuity  to  turn  a  football  game  into  a  ser- 
mon.    (Jan.) 

♦MANHATTAN  COCKTAIL— Paramount.— A 
story  of  life  in  New  York's  theatrical  circles — told 
with  a  kick.     (Dec.) 

MANHATTAN  KNIGHTS— Excellent.— Crooks. 
a  plot  with  whiskers  but  plenty  of  action.     (March.) 

MAN  IN  HOBBLES,  THE— Tiffany-Stahl.- 
What  "in-laws"  can  do  to  an  ambitious  artist.  Good 
comedy.     (Dec.) 

MAN  OF  PEACE,  A— Warners.- The  Vitaphone 
picks  up  the  Ozark  drawl.  Too  bad  that  Hobart 
Bosworth's  first  talkie  had  to  be  something  like  this. 
(Jan.) 

MAN'S  MAN,  A— Metro-Goldwyn-Mayer.  — 
Lively  satire  of  Hollywood  life  as  it  isn't.  But  funny. 
(Feb.) 

MARCHING  ON— Fox.— Chic  Sale  in  a  char- 
acter study  of  a  Civil  War  veteran.  Tears  and 
laughter.    It's  a  Movietone.  (Dec.) 


MARKED  MONEY— Pathe.— Pleasant  comedy 
with  human  interest.     (Dec.) 

MARQUIS  PREFERRED  —  Paramount.— Light, 
sophisticated  and  amusing  Menjou  comedy.     (Feb.) 

MASKED  ANGEL.  A— Chad  wick.— Just  dumb. 
(Del.) 

MASKS  OF  THE  DEVIL— Metro-Goldwyn- 
Mayer. — John  Gilbert  is  great  in  a  weird  and  sinister 
story.     (Dec.) 

MATA  HARI:  THE  RED  DANCER— National 

Big  Three  Production. — German  importation  that 
relates,  in  a  confused  fashion,  some  of  the  exploits  of 
the  notorious  spy.     (Feb.) 

*MATING  CALL,  THE— Paramount-Caddo.— 
Thomas  Meighan,  Evelyn  Brent  and  Renee  Adoree 
in  an  unusual  story  of  strong  dramatic  appeal.  (Oct.) 

*ME,  GANGSTER— Fox.— Sentimental,  melo- 
dramatic and  yet  completely  absorbing.  Introducing 
an  unusual  newcomer,  one  Don  Terry,  whose  perform- 
ance is  worth  seeing.     (November.) 

MIDNIGHT  LIFE— Gotham.— Night  club  stuff 
and  a  bit  bloodthirsty.     (Ocl.) 

MODERN  MOTHERS— Columbia.— Show  folks 

vs.  Babbitts.     (Ocl.) 

MORGAN'S  LAST  RAID  —  Metro-Goldwyn- 
Mayer. — An  old-time  mr-lodrama  made  passable  by 
modern  embellishments.     (November.) 

*MOTHERKNOWSBEST— Fox.— Edna  Ferber's 

story  of  a  stage  mother  whose  dominating,  relentless 
ambition  for  her  daughter  sends  the  girl  to  fame.  A 
remarkable  performance  by  Madge  Bellamy  and 
great  acting  by  Louise  Dresser  and  Barry  Norton. 
(November.) 

MUST  WE  MARRY?— Trinity.— Must  we  make 
pictures  like  this?  (Dec.) 

*MY  MAN — Warners. — A  chance  to  hear  Fannie 
Brice  sing  all  her  best  songs.  Not  much  on  story  but 
a  good  Vitaphone  novelty.     (March.) 

NAME  THE  WOMAN— Columbia.— And  also 
name  the  plot.    (Oct.) 

NAPOLEON'S  BARBER  —  Fox  Movietone.  — 
Historical  drama  witli  chin  chatter.  Cheer  up,  there's 
only  two  reels  of  it.     (Jan.) 

NAUGHTY  BABY— First  National.— Bad  Alice 
White!  Naughty  Jack  Mulhall!  Mean  producers' 
Why  make  us  suffer  tlirough  a  stupid  evening?  (Jan.) 

NAUGHTY  DUCHESS,  THE— Tiffany-Stahl  — 
Lame  effort  at  sophisticated  farce.     (Feb.) 

NED  McCOBB'S  DAUGHTER— Pathe.— Plenty 

of  action  plus  sound  drama  plus  fine  acting.    (Dec.) 

NIGHT  BIRD,  THE  —  Universal.  —  Reginald 
Denny  goes  back  to  the  prize-ring,  where  he  is  at  his 
best.     (November.) 

=<=NIGHT  WATCH,  THE— First  National.— War 
story  witli  navy  background  and  some  good  drama. 
/lH(/BiIIieDove.    (Ocl.) 

♦NOAH'S  ARK— Warners.— Big  cast,  big  theme, 
big  flood.    Your  money's  worth.     (Ocl.) 

NOISY  NEIGHBORS  —  Pathe.  —  Slapstick  and 
trite  melodrama.     (Feb.) 

NONE  BUT  THE  BRAVE— Fox.— Once  more  the 
college  hero  makes  good.     (Oct.) 

NOTHING  TO  WEAR— Columbia.— Light  but 
entertaining  farce  that  isn't  hard  to  watch.    (March.) 

OFFICE  SCANDAL,  THE— Pathe.— Very  funny 
comedy  of  newspaper  life.     (Feb.) 

OH  KAY! — First  National. — Colleen  Moore  in 
some  agreeable  nonsense.    (Ocl.) 

OLD  CODE,  THE— Anchor. — Heaven  help  the 
Indian  on  a  night  like  thisi    (Ocl.) 

ONE  MAN  DOG,  THE— FBO.— Exhibiting  the 
more  than  Hollywood  intelligence  of  Ranger.     (Feb.) 

*ON  TRIAL  —  Warners.  ■ —  Vitaphone  version  of  a 
drama  that  will  hold  you  spell-bound.  Also  the  return 
of  Pauline  Frederick  as  a  talkie  star.  Recommended. 
(Jan.) 

ORPHANS  OF  THE  SAGE— FBO.— Hoss  pitch- 
er.    (Oa.) 

♦OUTCAST- First  National.— Corinne  Griffith 
is  excellent  in  a  daring,  well  directed  and  interesting 
drama.    Send  the  children  to  a  Western.     (Jan.) 

OUTLAWED— FBO.— Not  so  hot.  Mr.  Mix,  not 
so  hoti     (March.) 

OUT  OF  THE  RUINS— First  National.— Dick 
Barthelmess  in  a  pretty  uniform  and  a  Buster 
Keaton  expression.     (Oct.) 

OUT  WITH  THE  TIDE— Fearless.— Great  hand- 
fuls  of  melodrama.     (November.) 

PACE  THAT  KILLS,  THE— True  Life.— <)ne  of 
those  propaganda  films — aimed  at  the  dope  evil.  And 
dull.     (Feb.)- 


BJwry  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


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PHIPPS— Metro-Goldwyn-Mayer.— A  short  talkie 
sketch  that  you'll  forget  before  you  leave  the  tiieater. 
(Frb.) 


IN    PARIS— Fox.— Pretty    tire- 


PLASTERED 

some.     (Dec.) 

PORT  OF  DREAMS— Universal.— Proving  that 
\'ou  can't  make  a  "7th  Heaven"  just  by  slowing  down 
tlie  scenes.    This  one  is  full  of  yawns.     {November.) 

POWER  OF  THE  PRESS.  THE— Columbia.— 
Good  slant  on  newspaper  atmosphere.  With,  of 
course,  the  usual  heroic  "cub"  reporter.     (Jan.) 

PREP  AND  PEP— Fox.— Good  boys'  story  of  life 
in  a  military  academy.     (.March.) 

PRICE  OF  FEAR,  THE— Universal.— Something 
to  avoid.     (Dec.) 

OUEEN  OF  BURLESOUE—Tiffany-Stahl.— Belle 
Bennett  breaks  her  heart  again  in  a  story  of  siiow 
folks.     (Jan.) 

RAINBO^W.  THE— Tiffany-Stahl.— Good  melo- 
drama of  a  fake  gold  rush.     (Feb.) 

RANSOM — Columbia. — Childish  rumpus  over  a 
heavy  international  secret.     Third  rate.     (Oct.) 

REDEEMING  SIN,  THE  —  Warners.  —  Latin 
Quarter  atmosphere  mingled  with  religious  hysteria. 
The  story  is  improbable  but  the  picture  has  a  certain 
pull.     (March.) 


—Depressing  business 
Some  people  have  an 


RED  MARK,  THE— Pathe. 
in  a  tropical  penal  institution, 
odd  idea  of  fun.     (Jan.) 

REDSKIN  —  Paramount.  —  Richard  Dix  scores 
again  in  a  magnificent  color  picture  of  an  Indian  love 
story  that  will  delight  your  eye.     (Feb.) 

*RED  WINE— Fox.— Dchghtful  and  subtle  com- 
edy of  a  Perfect  Husband  on  the  loose.  A  treat.  (Jan.) 

♦RESCUE,  THE  —  Goldwyn-United  Artists.  — 
Ronald  Colman  at  his  best.  But  an  unsatisfactory 
debut  for  the  charming  Lily  Damita.  Too  much 
Conrad  plot  but  good  atmosphere  and  detail.  (March.) 

RESTLESS  YOUTH— Columbia.  —  Just  a  very 
old — and  very  cheap — story.     (Feb.) 


— Vitaphone    with    a 
Henry  B.  Walthall, 


RETRIBUTION— Warners. 

bad  script  but  our  old  friend, 
registers  neatly.    (Dec.) 

♦REVENGE- United  Artists.— The  third  of  the 
three  "R's"  of  Ed\vin  Carewe  and  Dolores  Del  Rio. 
Pictorially  attractive  gypsy  stuff.     (Oct.) 

RILEY  OF  RAINBOW  DIVISION— Anchor.— 

Trivial  comedy  of  the  training  camps.  ( Dec.) 

RILEYTHECOP— Fox.— J.  Farrell  MacDonald's 
vork  is  the  best  thing  in  a  not  too  interesting  picture. 
(Jan.) 

♦RIVER,  THE— Fox.— An  unusual  and  daring 
story,  well  played  by  Charles  Farrell  and  Mary 
Duncan.  A  drama  that  is  not  for  the  children. 
(.March.) 

RIVER  WOMAN,  THE— Gotham.— Fine  and 
sincere  story  %vith  a  splendid  performance  by  Jac- 
queline Logan.    (Ocl.) 

ROAD  HOUSE— Fox.— Proving  that  flaming 
youth  got  the  idea  from  the  older  generation.  Rather 
hot.     (Ocl.) 

ROMANCE  OF  A  ROGUE,  THE— Carlos.— 
Soggy.     (November.) 

♦ROMANCE  OF  THE  UNDERWORLD— Fox- 
Thanks  to  a  sure-fire  story,  neat  direction  and  good 
acting,  this  film  is  one  of  the  best  of  its  kind.  (Jan.) 

ROUGH  RIDIN'  RED— FBC- Buzz  Barton's 
red  hair  triumphs  over  cinematic  slush.    (November.) 

RUNAWAY  GIRLS— Columbia.— Stuffy  melo- 
drama with  a  moral.    (Dec.) 


SALLY'S   SHOULDERS- 

perating.     (Ocl.) 


FBO.— Slightly  exas- 


SAL  OF  SINGAPORE— Pathe.— Phyllis  Haver 
as  a  bad  girl  who  is  reformed  by  a  little  che-ild. 
Salty  and  picturesque  background.  (Dec.) 

SATANESOUE— Sparta.— An  American  film,  but 
European  in  treatment,  with  its  story  of  class  con- 
flict in  romance.     (March.) 

SAWDUST  PARADISE,  THE— Paramount — 
From  ballyhoo  artist  to  lady  soul-saver,  played  by 
Esther  Ralston.     (Ocl.) 

SCARLET  LADY,  THE— Columbia.— Ho-hum, 
more  Russians.    Silly  stuff.     (Oct.) 

♦SCARLET  SEAS— First  National.- Hard-boiled 
story  of  a  tough  skipper  and  his  gal,  who  manage  to 
get  religion  without  spoiling  the  picture.  Good  work 
by  Richard  Barthelmess  and  Betty  Compson.    (Jan.) 

SEVEN  FOOTPRINTS  TO  SATAN  —  First 
National. — 1  love  the  title,  don't  you?  But  un- 
fortunately it's  just  a  hodgepodge  mystery  story. 
(Feb.) 

SEX  LIFE  OF  THE  POLYP— Fox-Movietone  — 
Gorgeous  satire  on  a  scientific  lecture,  by  old  Profes- 
sor Robert  Benchley.     (November.) 

SHADY  LADY,  THE— Pathe.— Good  acting, 
some  mystery  and  sharp  comedy.     (Feb.) 

SHAKEDOWN,  THE— Universal.— Another  yarn 
about  a  good  bad-man.    Fair  enough.     (Jon.) 


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SHOPWORN  ANGEL,  THE— Paramount.— War- 
time love  storv  of  a  nauglily  chorus  Rirl  and  an  inno- 
cent boy.    With  real  drama  and  heart  interest.  (.Feb.) 

SHOULD  A  GIRL  MARRY?— Rayart.— Pre- 
senting the  sad  problems  of  a  gal  with  a  past.  {Dec.) 

SHOW  FOLKS — Pathe. — Just  an  obvious  story  of 
theatrical  people  and  their  struggles.     {November.) 

SHOW  GIRL— First  National.— It  misses  the 
piquant  charm  of  the  book  but  still  it  is  an  above-the- 
average  comedy.     {November.) 

SILENT  SENTINEL,  THE— Chesterfield.  —  A 
crook  drama,  of  all  oddities!      {Feb.) 

SILENT  SHELDON— Rayart. — Pleasant  sort  of 
Western.     {Jan.) 

SINGAPORE  MUTINY,  THE— FBO.— Life  in 
coal  hole  of  a  ship — if  Ihal's  what  interests  you.  {Dec.) 
*S1NGING  FOOL,  THE— Warners.— Saga  of  a 
mammy  shouter.  With  Al  Jolson.  Sobs  and  Vita- 
phone  songs.     {Ocl.) 

SINGLE  MAN,  A — Metro-Goldwyn-Mayer.— 
.Eileen  Pringle  and  Lew  Cody  in  their  best  smart-set 
comedy  so  far.       {Ocl.) 

SINNERS  IN  LOVE— FBO.— Little  gal  alone  in 
a  big  city.  Where  have  you  heard  that  before? 
{November.) 

SINNERS'  PARADE— Columbia.— The  ritzy  side 
of  the  underworld  with  a  snappy  plot.     {Jan.) 

*SINS  OF  THE  FATHERS— Paramount. — Emil 
Jannings  in  a  tragedy  of  Prohibition.  Not  one  of  his 
great  pictures — but  nevertheless  eminently  worth 
your  while.     {Jan.) 

SIN  TOWN— Pathe.— -Just  a  poor  Western.   {Oct.) 

SIOUX  BLOOD— Mctro-Goldwyn-Mayer.  —  In- 
dian wlioopee  that  might  have  been  filmed  in  1910. 
{Jan.) 

SISTERS  OF  EVE — Rayart. — Mystery  story  of 
a  missing  millionaire  who  is  not  missed  by  his  hard- 
hearted bride.    Fair  enough.     {November.) 

SKY  SKIDDER,  THE— Universal.— They  arc 
aviators  now.  instead  of  cowboys.  And  the  thrills  are 
new.     {March.) 

SMALL  TOWN  SINNERS— Hugo  Brahn.  — 
German  fillum,  with  most  of  the  action  in  a  barroom. 
{Feb.) 

SMILIN'  GUNS— Universal.— Hoot  Gibson  in  a 
really  funny  one.     {Oct.) 

SMOKE  BELLEW — Big  Four.— Conway  Tearle 
returns  in  an  Alaskan  yarn.  Some  splendid  blizzards. 
{November.) 

SOMEONE  TO  LOVE — Paramount. — "Buddy" 
lingers  and  Mary  Brian  in  a  thoroughly  agreeable 
picture.      {Jan.) 

SOMME,  THE— New  Era.— Made  in  Britain.  A 
grim  presentation  of  the  Somme  campaign  of  1916. 
{Feb.) 

SON  OF  THE  GOLDEN  WEST— FBO.— Tom 
Mix  has  changed  his  studio  but  not  the  plot  of  his 
pictures.     {November.) 

SOUTH  OF  PANAMA— Chesterfield. — You've 
guessed  it.  It's  all  about  love  and  revolution  in  a 
Latin  republic.     {Jan.) 

SPEED  CLASSIC,  THE— Excellent.— An  auto- 
mobile racing  picture — and  just  like  all  the  others. 
{Feb.) 

SPIELER,  THE — Pathe. — Carnival  life,  as  it 
really  is.  And  Renee  Adoree  knows  her  atmosphere. 
A  good  show.    {Dec.) 

SPIES  —  UF.\. — Metro-Goldwyn-Mayer. —  Dull 
story  made  only  slightly  less  dull  by  fantastic, 
Germanic  treatment.      (Dec.) 

SQUARE  SHOULDERS— Pathe.— A  story  of 
father  love,  with  Louis  Wolheim  as  the  hard-boiled 
dad.     {.March.) 

STICK  TO  YOUR  STORY— Rayart.— Fun 
among  the  reporters.  My,  what  a  life — and  what  a 
picture!     {Dec.) 

STOLEN  LOVE— FBO.— A  quickie.  Try  the 
show  down  the  street.  {Dec.) 

STOOL  PIGEON — Columbia.— Gang  melodrama. 
{Feb.) 

STREET  OF  ILLUSION— Columbia.— Back- 
stage story  and  an  interesting  defense  of  the  Thespian 
ego.     {Dec.) 

STRIVING  FOR  FORTUNE  —  Excellent. — 
Doity  woik  in  the  ship-yards.     (November.) 

SUBMARINE— Columbia.— A  great  thriller,  with 
a  fine  situation  and  some  spectacular  scenes,  almost 
spoiled  by  unimaginative  handling.  Worth  seeing, 
nevertheless.     (November.) 

SWEET  SIXTEEN— Rayart.— Mild  but  fairly 
pleasing  story  of  a  modern  girl.  (Dec.) 

SYNTHETIC  SIN  —  First  National.  —  Colleen 
Moore  goes  through  her  usual  antics — but  the  story  is 
missing.      (Feb.) 

TAKE  ME  HOME— Paramount. — Bebe  Daniels 
in  a  natural  comedy  of  back-stage  life.     (November.) 

TAXI  13— FBO. — Chester  Conklin  in  the  funny 
adventures  of  a  superstitions  taxi  driver.     (Oct.) 

»TERROR,  THE— Warners.— Mystery  stuff,  well 
presented  in  an  all-talkie.     (Oct.) 


FORMS  FOR  JUNE  ISSUE  CLOSE 
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Samples  flee.  Madison  I'roducts.  504  Broadway.  New 
Yoik. 

LET  .ME  ADD  $:;0  A  WEEK  TO  YOUK  PAY  WITII- 
out  interleiinf  with  >our  present  occupation.  Inter- 
esting. iJleasallt  work.  Partleulals  free.  Albert  MiJls. 
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EDUCATIONAL __^ 

U.SED  COltUESPO.NDENCE  SCHOOL  COURSES 
rented,  sold  and  excliansed.  Bargain  cataloB  tree. 
(Courses  bought).      Lee  .Mountain.   Bos  70,   Pisyah.   Ala. 

HELP    WANTED.    INSTRUCTIONS 


WANTED  IM.MEDIATELY.  MEN  —  WOMEN  TO 
qualify  lor  Government  .lobs;  $125-$250  Mo.  Write,  In- 
struction Bureau.   Dept.    2(»5,   St.   Louis,   Mo. 

Nn!N— WOMEN.  18  UP.  GOVERNMENT  JOBS. 
$105.(I0-$2S0.00  month.  .Steady.  Common  education 
suttieient.  Valuable  book  with  list  positions — sample 
eoaeliing — free.  Write  immediately.  Franklin  Institute. 
Diirt.    1'115.    Koeliester.    N.    Y'. 

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ented.  If  you  liave  an  itl.a  for  sale  write.  Hartley,  Box 
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INVENTORS:    WRITE  FOR  FREE  BOOKLET  "SUG- 

gestions     from     .Manufacturers    on     What    To     Invent." 
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HELP   WANTED 

HOMEWORK:  WOMEN  WANTING.  OBTAIN  KE- 
liable  kinds.  Write  for  intormation.  Enclose  stamp. 
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FIREMEN.  BRAKEMEN.  BAGGAGEMEN  (WHITE 
or  colored),  sleeping  car.  train  porters  (colored),  $150- 
$250  niontlily.  Eiljeiience  unnecessary.  950  Railway 
Bureau.  East  St.  Louis.  111. 


HOW  TO   ENTERTAIN 


PLAY.S.  lAlUSICAL  COiMEDIES  AND  REVDES.  MIN- 
strels.  comedy  and  talking  songs,  black-face  skits,  vaude- 
ville acts,  monologs,  dialogs,  recitations,  entertainments, 
juvenile  plays  and  songs,  musical  readings,  make-up 
goods.  Catalog  free.  T.  S.  Denisoii  &  Co.,  623  Soutli 
Wabash.  Dept.  70,  Chicago. 

OF    INTEREST    TO    WOMEN 

HEMSTITCHING  AND  IMCOTING  ATTACHMENT. 
Guaranteed.  Fils  any  sevvin;:  maeliiiie.  Tlie  old  re- 
liable. (iOc  prepaid  or  sent  cod.  Cireulais  free. 
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PERSONAL 


LET  ME  READ  YOUR  CHARACTER.  SEND  RIRTH 
date  and  12c.  Gia]iliolo::ist,  2:1(19  Lawrence.  Toledo. 
Ohio. 


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cents?  And  high  premiums  for  all  rare  coins?  We 
buy  all  kinds.  Send  4e  for  large  coin  folder.  May 
nie'an  much  profit  to  you.  Numismatic  Co..  Depf.  75. 
Ft.    Worth.    Tex. 

MOVIE    NOVEL    EXCHANGE    AND    STAR    PHOTOS 

PHOTOS— 8x10  ORIGINALS,  ALL  FAMOUS  MOVIE 
stars,  latest  poses:  Special  25c  each  or  5  for  $1.00. 
Scenes  from  recent  photoplays  25c  each  in  lots  of  5 
iir  more  Stamps  or  money  order.  Bram  Studio  280. 
Film   Centre.    i)th   Ave.,    at   44tli.   New   York. 

,TOIN    MOVIELAND   BOOK    CLUB.      INFORJIATION 

*>(■  250  movie  stars'  brilliant  pliotogiaphs.  Catalog, 
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MONEY 

FOR  YOU! 

600. 


Offered  for  the 
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for  the   Talkies. 


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issue   for   conditions   of 

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L 


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149 


THAT  PARTY  IN  PERSON— Paramount.— A 
talkie  with  Eddie  Cantor,  the  only  loRical  contender 
for  Al  Jolson's  crown.    Come  again,  Eddie.     {Feb.) 

THREE  WEEK-ENDS— Paramount.— It  has 
Clara  Bow,  but  that's  about  all  you  can  say  for  it. 
(Feb.) 

THROUGH      THE      BREAKERS— Gotham.— 

South  Sea  Island  story — and  a  really  good  one.  (Dec.) 

THE— Anchor. — A      good 
(Ort.) 


Photoplay  Magazine — Advertising  Section 

Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 


THUNDERCLOUD, 

scenic,  .but  shy  on  drama. 


TIDE  OF  EMPIRE— Metro-Goldwyn-Mayer.— 
Standard  pattern  story  of  Gold  Rusli  but  acted  and 
directed  with  a  verve  that  puts  it  over.     (Dec.) 

TIMES  SOUARE—Gotham.— Arthur  Lubin  im- 
itates Al  Jolson  and  so  invites  the  inevitable  odious 
comparisons.     (November.) 

TRACKED— FBO. — Ranger,  the  dog,  in  a  picture 
that  is  better  than  most  human  efforts.     (Feb.) 

TROPICAL  NIGHTS  —  TifTany-Stahl.  —  South 
Sea  Island  story  with  an  original  twist  to  the  plot. 
(March.) 

TROPIC  MADNESS— FBO.— Turbulent  melo- 
drama of  England  and  the  South  Seas.     (March.) 

TYRANT  OF  RED  GULCH— FBO.— Not  a 
Western,  in  spite  of  the  title.  Just  a  badly  bent  story. 
(Feb.) 

UNCLE  TOM'S  CABIN— Universal.— Originally 
reviewed  in  January.  Sound  effects  have  increased 
its  box-office  value.     (Oct.) 

UNDER  THE  SOUTHERN  CROSS— Universal. 

— The  natives  of  New  Zealand  are  the  actors  in  this 
picture.  It's  different  and  it  has  primitive  charm. 
(March.) 

UNEASY  MONEY— Fox-Europa.— German  pic- 
ture, well  directed,  well  acted  and  original  in  theme. 
(Feb.) 

VARSITY — Paramount. — The  more  sentimental 
side  of  life  at  Princeton.  Charles  Rogers  and  Mary 
Brian  will  make  it  popular  with  the  young  folks. (Oc/.) 

VEILED  WOMAN,  THE— Fox —Hollywood's 
foreign  legion  in  a  not  bad,  not  good,  story.     (Feb.) 

VIKING,  THE  —  Technicolor-M.-G.-M.  —  How 
Lief  tile  Lucky  discovered  .America,  told  in  color  and 
with  plenty  of  whiskers.      (Jan.) 

VIRGIN  LIPS— Columbia. — Respectable,  in  spite 
of  the  title  and  some  dangerous  costumes  worn  by 
Olive  Borden.     (November.) 

WAGES  OF  CONSCIENCE— Superlative.— But 
where  was  the  conscience  of  the  producer  of  such  a 
picture?     (Feb.) 

♦WATERFRONT— First  National.— Jack  Mul- 
hall  proves  that  he  can  be  attractive  even  with  a  dirty 
face.  And  he  is  again  aided  by  Dorothy  Mackaill. 
A  comedy  with  originality.     (November.) 

WATER  HOLE,  THE— Paramount.— De  Luxe 
Zane  Gray  Western  that  marks  the  return  of  Jack 
Holt.     (November.) 

WEDDING  MARCH,  THE— Paramount.— Von 
Stroheim's  romance  of  old  Vienna,  messed  up  witn 
some  repellant  scenes  and  characters.  Some  good 
moments,  but,  as  a  whole,  a  waste  of  time,  money  and 
talent.     (November.) 

WEST  OF  ZANZIBAR— Metro-Goldwyn-Mayer. 
— Lon  Chancy  goes  cripple  again.  So  does  the  plot. 
(November.) 

WHAT  A  NIGHT!— Paramount.— Hebe  Daniels 
in  a  gaggy — and  gaga — newspaper  story.     (Feb.) 

*WILD  ORCHIDS  —  Metro-Goldwyn-Mayer.  — 
Greta  Garbo  and  Nils  Asther  in  a  story  that  proves 
that  tropical  heat  melts  all  conventions.  The  scene  is 
Java — the  details  are  superb — and  the  picture  is  a 
riot  for  audiences.     (.March.) 

WIN  THAT  GIRL— Fox.— With  Sue  Carol  and 
Dave  Rollins-  Otherwise  nothing  to  recommend  it. 
(November.) 

WOLF  OF  WALL  STREET.  THE— Paramount. 
— Whether  you  have  won  or  lost  mone>'  in  Wall  Street, 
or  haven't  played  the  stock  market  at  all.  George 
Bancroft  and  Baclanova  will  give  you  one  of  the  most 
entertaining  talkies  so  far  made.  A  delightful  eve- 
ning.    (Feb.) 

WOLF  SONG — Paramount.— Mountains,  trees 
and  some  good  singing  by  Lupe  Velez.  But  not  such 
a  good  break  for  Gary  Cooper.     (March.) 

WOMAN  FROM  MOSCOW,  THE— Paramount. 
— Pola  Negri's  swan  song  for  Paramount.     (Oct.) 

*WOMAN  OF  AFFAIRS,  A— Metro-Goldwyn- 
Mayer. — Greta  Garbo  and  John  Gilbert  in  what  is 
none  other  than  Michael  Arlen's  '"The  Green  Hat." 
Why  waste  space  urging  you  to  drop  everything  and 
see  this  one?     (Jan.) 

-      WOMEN    THEY    TALK    ABOUT— Warners.- 

Charming   Vitaphone  comedy.      (Oct.) 

WRIGHT  IDEA,  THE— First  National.— But 
gone  wrong.     (Oct.) 

YELLOWBACK,  THE —' FBO.  —  More  Royal 
Mounted  Police,  with  the  usual  help  from  the  scenery. 
(March.) 

YELLOW  CONTRABAND  —  Pathe.—  Dope 
smuggling  and  other  cute  modern  occupations.  (Dec.) 

YOUNG  WHIRLWIND,  THE— FBO.— Kid  en- 
tertainment, with  Buzz  Barton.  (Dec.) 


Eat  what  you  please 

Wear  what  you  please 
Do  what  you  please 

Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found 
this  easy  way  to  take  off  2  to  4  pounds  once 
or  twice  a  week.  These  women  take  refreshing 
Fayro  baths  in  the  privacy  of  their  own  homes. 

Fayro  is  the  concentrate  of  the  same 
natural  mineral  salts  that  make  effective  the 
waters  of  twenty-two  hot  springs  of  America, 
England  and  Continental  Europe.  For  years 
the  spas  and  hot  springs  bathing  resorts  have 
been  the  retreat  of  fair  women  and  well 
groomed  men.  i 

Excess  weight  has  been  removed,  skins  have 
been  made  more  lovely,  bodies  more  shapely  and 
minds  brighter. 

The  Hot  Springs  Are  Novt'  Brought  to  You 

A  study  of  the  analyses  of  the  active  ingredients 
of  the  waters  from  twenty-two  of  the  most  famous 
springs  have  taught  us  the  secret  of  their  effective- 
ness. You  can  now  have  all  these  benefits  in  your  own 
bath.     Merely  put  Fayro  into  your  hot  bath. 

It   dissolves    rapidly.     Vou    will    notice    and    enjoy    the 
pungent  fragrance  of  its  balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stimulating 
perspiration,  forces  lazy  body  cells  to  sweat  out  surplus 
(at  and  bodily  poisons.  Add  Fayro  to  your  bath  at  night 
and  immediately  you  will  lose  from  2  to  4  pounds  in  an 
easy,  refreshing  and  absolutely  harmless  manner.  "- 

Consult  your  physician  and  he  will  tell  you  that  Fayro  'is 
certain  to  do  the  work  and  that  it  is  absolutely  harmless. 

Fayro  will  refresh  you  and  help  your  body  throw  off  worn  out 
fat  and  bodily  poisons.  Your  skin  will  be  clearer  and  smoother. 
You  will  sleep  better  after  your  Fayro  bath  and  awaken  feeling 
as  though  you  had  enjoyed  a  week's  vacation. 

Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also  concentrate  its 
effect  on  abdomen,  hips,  legs,  ankles,  chin  or  any  part  of  the  body 
you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath.  You  will 
find  you  have  lost  from  2  to  4  pounds.  And  a  few  nights  later 
when  you  again  add  Fayro  to  your  bath,  you  will  once  more  reduce 
your  weight,  ./is  soon  as  you  are  the  correct  weight  Jor  your 
height  do  not  try  to  reduce  further.  No  need  to  deny  yourself 
food  you  really  want.  No  need  for  violent  exercise.  No  need 
for  drugs  or  medicines.  Merely  a  refreshing  Fayro  bath  in  the 
privacy  of  your  own  home. 

Try  Fayro  at  Our  Risk 

The  regular  price  of  Fayro  is  Ji.oo  a  package.  With  the  coupon 
you  get  3  full  sized  packages  and  an  interesting  booklet  "Health 
and  Open  Pores"  for  $2.50  plus  the  necessary  postage.  Send  no 
money.  Pay  the  postman.  Your  money  refunded  instantly  if 
you  want  it. 


HERE'S    PROOF 

Read  what  Fayro  Baths 
have  done  for  others 

"Three  Fayro  baths  reduced 
my  weight  II  pounds  in  8 
days.  I  feel  better  than  J 
have/ell  for  years." 

"I  weigh  16  pounds  less  and 
feel  younger  and  sleep  better. 
Fayro  is  wonderful." 

"My  double  chin  vanished  in 
the  magic  of  Fayro  baths." 

"My   hips   were    always   too 

prominent  until  J  commenced 

Fayro  baths.     I  have  lost  12 

pounds." 

"Thank   you  for    Fayro.      I 

lost  14  pounds  in  three  weeks; 

feel  better  and  certainly  look 

better."  ^ 

"Since  childhood  my  thick 
a  nkles  have  always  betn  a 
source  of  embarrassment. 
Fayro  baths  have  reduced 
them  beautifully.  Thank  you 
very  much." 

For  obvious  reasons,  names 
are  not  quoted,  but  every 
letter  published  has  been 
authorized  and  names  and 
addresses  will  be  given  on 
request. 


fAYRO 


If  each  healthful  bath  of  Fayro  does  not 
reduce  your  weight  from  2  to  4  pounds,  we 
will  refundyour  money  withoutaquestion. 
You  risk  nothing.  Clip  the  coupon  and 
mail. 


Fayro.  Inc.  ph-4-29 

821  Locust  St.,  Pittsburgh,  Pa. 

Send  me  3  full  sized  boxes  of  Fayro  in  plain  package. 
I  will  pay  the  postman  $2.50  plus  the  necessary  postage. 
It  is  understood  that  if  I  do  not  get  satisfactory  results 
with  the  first  package  I  use.  I  am  to  return  the  other  two 
and  you  will  refund  all  of  my  money  at  once. 


Name. 


Address. 


City SUte 

If  you  live  outside  the  United  States  send  International 
Money  Order  with  coupon. 


When  you  write  to  advertisers  please   mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 

Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


An  extraordiDEiry  offer  to  introdaee  Rieger  8  high  quality 

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■'.\LL  FACES  WEST" — Pioneer. — From  the 
story  by  Rav  Jolinson.  Directed  by  Ray  Johnson. 
Photography  bv  King  Grey.  Tlie  cast:  Matlhm, 
Ben  Lyon;  .4Wf/ii.  Marie  Prevost;  Kit,  James  Mason; 
The  Stranger,  Tex  Driscoll. 

"BLACK  PE.\RL,  THE" — Rayart. — From  the 
stor\-  by  Mrs.  Wilson  Woodrow.  Adapted  by  Artliur 
Hoe'rI.  Directed  by  Scott  Pembrolce.  Photography 
bv  Hap  Depew.  The  cast:  Eugenie  Bromley,  Lila 
Lee;  Robirl  Lalhrop,  Ray  Hallor;  Silas  Lalhrop, 
Tliomas  Curran;  Bertram  Chilsolm,  Carlton  Stock- 
dale;  Steve  Ru-nyun,  George  French;  Dr.  Drake. 
Howard  Lorenz;  Wiggenbollom,  Baldy  Belmont: 
Sarah  Runyun,  .■\dele  Watson;  Eugene  Bromley, 
Lew  Short;  Claude  Lalhrop,  Art  Rowlands. 

"BRIDE'S  RELATIONS,  THE"  —  Sennett- 
Educational.— Directed  by  Mack  Sennett.  The 
ca"st:  Johnnv.  the  hriiiegroom.  Johnny  Burke;  Belty. 
the  hriilc,  Thclma  Hill;  Cousin  Homer,  Harry  Gribbon; 
Untie  Eli,  Andy  Clyde;  Aunt,  Sunshine  Hart;  Mrs. 
Roseberry,  another  aurU,  Louise  Carver;  Cousin  Ruth, 
Ruth  Kane. 

"BROADWAY  MELODY,  THE"— M.-G.-M.— 
From  the  story  by  Edmund  Goulding.  Continuity  hy 
Sarah  Y.  Mason.  Directed  by  Harrj'  Beaumont. 
The  cast:  Queenie,  Anita  Page;  Hank,  Bessie  Love; 
Eddie.  Charles  King;  Umle  Bernie,  Jed  Proutsj 
Jock,  Kenneth  Thomson;  Stage  Manager,  Edward 
Dillon;  Blonde,  Mary  Doran;  Zanfield.  Eddie  Kane; 
Babe  Halrick,  J.  Emmett  Beck;  Slew,  Marshall  Ruth; 
Turpe,  Drew  Demarest. 

"CHARLATAN,  THE"— UNrvERSAL.— From  the 
story  by  Ernest  Pascal  and  L.  Praskins.  Directed  by 
George  Melford.  Photography  by  George  Robinson. 
The  cast:  Comji*  Merlin,  Holmes  Herbert;  Peter 
Dwighl,  Holmes  Herbert;  Florence  Talbot,  Margaret 
Livingston;  Richard  Talbot,  Rockliffe  Fellows;  Doctor 
Pavnier,  Philo  McCullough;  Mrs.  Paynter,  .\nita 
Garvin;  Frank  Deering,  Crauford  Kent;  Mrs.  Deering. 
Rose  Tapley;  Jerry  Slarke,  Fred  Mackaye;  Ann  Tal- 
bot, Dorothy  Gould. 

"CHINA  SLAVERS,  THE"— Trinity.— From 
the  story  by  Rupert  Hughes  and  Colvin  Holwey. 
Adapted  bv  L.  V.  Jefferson  and  Cecil  B.  Hill.  Directed 
bv  Frank  S.  Mattison.  Photography  by  Jules  Cron- 
jager.  The  cast:  Ming  Fay.  Wing  Foy  and  The 
Cobra,  Sojin;  Foo.  Iris  Shan;  Mark  Conovan,  Albert 
Valentino;  ir<//i>  Kegg,  Jimmie  .\ubrey;  Sam  Warren, 
Ben  Wilson;  The  Mandarin,  James  Leong. 

"DUMMY,  THE"  —  Par.wiount.  —  From  the 
stage  comedy  by  Harvey  J.  O'Higgins  and  Harriet 
Ford.  Adapted  by  Herman  J.  Mankiewicz.  Directed 
bv  Robert  Milton.  The  cast:  Agnes  Meredith,  Ruth 
Chatterton;  Trumbell  Meredith.  Frederic  March; 
Walter  Babbing,  John  Cromwell;  Barney  Cook,  Mickey 
Bennett;  Peggy  Meredith,  Vondell  Darr;  Dopey  Hart, 
lack  Oakie;  Rose  Cleason.  Zasu  Pitts;  Blackie  Baker, 
Richard  Tucker;  Madison,  Eugene  Pallette. 

"ELIGIBLE  MR.  BANGS,  THE"— Coronet 
Educational. — From  the  story  by  Robert  Housum. 
Directed  by  Hugh  Faulcon.  The  cast:  Mr.  Bangs, 
Edward  E.  Horlon;  Tom.  Johnny  Arthur;  Luctlle, 
Florence  Eldridge;  Jane,  Mabel  Forrest. 

"ETERNAL  LOVE" — United  .  Artists. — From 
the  story  "Der  Koenig  die  Bernina"  by  Jacob 
Christopher  Heer.  Adapted  by  Hans  Kraly.  Directed 
by  Ernst  Lubitsch.  The  cast:  Marcus  Pallram. 
John  Barrymore;  Ciglia.  Camilla  Horn;  Lorenz 
Gruber,  Victor  Varconi;  Pia,  Mona  Rico;  Rev.  Tass. 
Hobart  Bosworth;  Housekeeper.  Bodil  Rosing;  Pia's 
Mother,  Evelyn  Selbie. 

"FAKER,  THE" — Columbu. — From  the  story 
by  Howard  J.  Green.  Continuity  by  Howard  J. 
Green  Directed  by  Phil  Rosen.  Photography  by 
Teddy  Tetzlaff.  The  cast:  Rila  Martin.  Jacqueline 
Logan;  Bob  Williams,  Charles  Delaney;  Hadrian,  the 
faker,  Warner  Oland;  Jolm  Clayton,  Charles  Hill 
Mailes;  Frank  Clayton.  Gaston  Glass;  Emma,  Flora 
Finch;  Believer,  David  Mir;  Hadrian's  Aid,  Lon  Poff; 
Detective,  Fred  Kelscy. 

"GIRLS  WHO  D.^RE"— Trinity.— From  the 
story  by  Cecil  Burtis  Hill,  .adapted  by  Cecil  Burtis 
Hill.  Directed  bv  Frank  Madison.  Photography  by 
Jules  Croniagcr.  The  cast:  C/;f/ /?a»i/oV,  Rex  Lease; 
Robert  Randolf,  Ben  Wilson;  Mrs.  Randolf,  Sarah 
Roberts-  Sally  Casey,  Priscilla  Bonner;  .Miss  Casey. 
Her  Aunt,  May  Hotely;  Pat  Moran.  Eddie  Brownell; 
Dick  Burke,  Steve  Hall;  " Alabam"  Kenyon,  Rose- 
mary Thcby. 

"HARDBOILED" — FBO. — From  the  stor^'  by 
Arthur  Somers  Roche.  Screen  play  by  Enid  Hibbard. 
Directed  by  Ralph  Ince.  Photography  by  Robert 
Martin.  The  cast:  Teena  Johnson,  Sally  O'Neil; 
Kyle  Stannard,  Donald  Reed;  Minnie.  Lilyan  Tash- 
man;  Scotty,  Bob  Sinclair;  Warren  Kennedy,  Ole  M. 
Ness;  Jerry,  Tom  O'Grady;  John  Stannard,  Alphonz 
Ethier. 

"HAUNTED  LADY,  THE"— Universal.— From 
the  story  by  Adela  Rogers  St.  Johns.  Continuity  by 
PaulSchofield.  Directed  by  Wesley  Ruggles.  Photog- 
raphy  by   Gilbert   Warrenton.      The   cast:     Laura 


Hunt,  Laura  La  Plante;  Burke  Iniies,  Huntly  Gordon; 
Maurice  Greer,  Jolin  Boles;  Vera  Greer,  Jane  Winton; 
Janet,  Nancy  Dover;  Mrs.  Grant,  Julia  Swayne 
Gordon;  Pancho,  Eddie  Phillips. 

"HIS  LUCKY  DAY" — Untversal. — From  the 
story  by  John  B.  Clymer.  Directed  by  Eddie  Cline. 
The  cast:  Charles  Blayden,  Reginald  Denny;  Kay 
Weaver,  Lorayne  Duval;  Jerome  Van  Dyne,  Otis  Har- 
lan; Spider,  Eddie  Phillips;  Weaver,  Harvey  Clarke; 
Dcnvager,  Cissy  Fitzgerald;  Chauffeur,  Tom  O'Brien. 

"HONEYMOON  ABROAD"  —  World  Wide 
Pictures. — From  the  story  by  Rex  Taylor.  Adapted 
by  Tim  Whelan.  Directed  by  Tim  Whclan.  The 
cast:  The  Groom,  Monty  Banks;  The  Bride,  Gillian 
Dean;  Motiier-in-Law,  Lena  Holliday;  The  Vamp. 
Judy  Kelly;  The  Villain,  Colin  Kenny. 

"IN  HOLLAND" — Fox-Movietone. — From  the 
stor>'  by  Paul  Gerard  Smitli.  Directed  by  Norman 
Taurog.  Photography  by  Ben  Kline.  The  cast: 
Bobby,  Bobby  Clark;  Paul,  Paul  McCullough; 
Cretchen,  Marjorie  Beebe;  Hans,  George  Bickel; 
Chairman,  James  Marcus;  Peter,  Ralph  Emerson. 

"JUST  OFF  BROADWAY"  —  Chesterfield.— 
From  the  story  by  Fanny  d'Morga'  Scenario  by 
Arthur  Hoerl.  Directed  by  Fri..ik  O'Connor. 
Photography  by  M.  A.  Andersen.  The  cast;  Tom 
Foit'ler,  Donald  Keith;  Violet,  Ann  Christy;  Marly 
Kirkland,  Larry  Steers;  Rene,  De  Sacia  Mooers;  Wm. 
Grady,  Jack  Tanner;  Bennie  Barnett,  Syd  Saylor; 
Bessie,  Berjd  Roberts;  Ed.  Fowler,  Albert  Dresden. 

"LEATHERNECK,  THE"— Pathe.— From  the 
storj'  by  Elliott  Clawson.  Adapted  by  Elliott  Claw- 
son.  Directed  by  Howard  Higgin.  Photography  by 
John  Mescall.  Tlie  cast:  Otto  Schmidt,  Alan  Hale; 
Joseph  Hanlon,  William  Boyd;  William  Jones,  Robert 
Armstrong;  Heckla;  Fred  Kohler;  Tanya,  Diane  Ellis; 
Tanya's  Brother,  James  Aldine;  Petrovilch,  Paul 
Weigel;  Cook,  Jules  Cowles;  Top  Sergeant,  Wade 
Boteler;  In  Court  Martial  Scene,  Joseph  Girard, 
Philo  McCullough,  L':e  Shumway,  Lloyd  Whitlock, 
Mitchell  Lewis. 

"LOVE  IN  THE  DESERT  "—FBO.— From  the 
storj'  by  Harvey  Thew.  Directed  by  George  Melford. 
Photography  by  Paul  Perry.  The  cast:  Zarah, 
Olive  Borden;  Bob  WinsUm,  Hugh  Trevor;  Abdullah, 
Noah  Beery;  Harim,  Frank  Leigh;  Fatima,  Pearl 
Varvell;  Mr.  Winslow,  Wm.  H.  Tooker;  Mrs.  Wins- 
lent',  Ida  Darling;  Houdish,  Alan  Roscoe;  Briggs. 
Fatty  Carr. 

"MAN  HIGHER  UP,  THE"— M.-G.-M.— 
From  the  story  by  William  C.  DeMille.  Directed  by 
William  C.  DeMille.  Photography  by  Lynn  Smith. 
The  cast:  Dr.  \'on  Rache,  Hobart  Bosworth;  John 
Morgan,  Robert  Edeson. 

"MOULIN  ROUGE" — World  Wide  Pictures.^ 
From  the  story  by  E.  A.  Dupont.  Directed  by  E.  A. 
Dupont.  Photography  by  Werner  Brandes.  The 
cast:  Parysia,  Star  of  Moulin  Rouge  Revue,  Mile. 
Olga  Chekova;  Margaret,  Eve  Gray;  Andre.  Jean 
Bradin. 

"OBJECT  —  ALIMONY"—  Columbu.— From 
the  story  by  Elmer  Harris.  Adapted  by  Sig  Herzig. 
Directed  by  Scott  R.  Dunlap.  Photography  by 
Joseph  Walker.  A.  S.  C.  The  cast:  Ruth  (Butler) 
Rulledge,  Lois  Wilson;  Jimmy  Rulledge.  Hugh  Allan; 
Mrs.  Carrie  Rulledge,  Ethel  Grey  Terr5';  Rcnaud 
Graham,  Douglas  Gilmore;  Al  Bryant,  Roscoe  Karns; 
Mabel,  Carmelita  Geraghty;  Jimmy  Rulledge.  Jr.. 
Dicke\-  Moore;  Boarding  House  Owner.  Jane  Keckley; 
Philip  Stone.  Thomas  Curran. 

"PAGAN,  THE"— M.G.-M.— From  the  story  by 
John  Russell.  Scenario  by  Dorothy  Farnum. 
Directed  by  W.  S.  Van  Dyke.  Photograpliy  by 
Clyde  De  Vinna.  The  cast:  Henry  Shoesmith,  Jr., 
Ramon  Novarro;  Madge,  Renee  Adoree;  Tito, 
Dorothy  Janis;  Joranson.  Donald  Crisp. 

"RED  SWORD.  THE"— FBO.— From  the  story 
bv  S.  E.  V.  Taylor.  Continuity  by  Wyndham  Gittens. 
Directed  bv  Robert  Vignola.  Photography  by  Nick 
Musuraca.  The  'cast:  Paul,  William  Collier,  Jr.; 
Vera.  Marian  Nixon;  Katherine.  Carmel  Myers; 
Russian  .\clress,  Carmel  Myers;  Veronoff,  Demetrios 
.Mexis;  Litovski,  Alan  Roscoe;  Fideleff,  Charles 
Darvas;  Cook,  Barbara  Bozoky. 

"SHIPS  OF  THE  NIGHT"— RAY'AET.-From 
the  story  by  Frederick  L.  Ncbel.  Directed  by  Duke 
Worne.  Pliotography  by  Hap  Depew.  The  cast: 
Johanna  Hearne,  Jacqueline  Logan;  Yul  Sen,  Sojin; 
Dan  Melov.  Jack  Mower;  Alec,  Andy  Clyde;  Donald 
Hearne,  .Arthur  Rankin;  Cramsey,  Glen  Cavender; 
C/ii>/  of  Police,  Thomas  A.  Curran;  Moja,  Frank 
Lanning;  Motilla,  J.  P.  McGowan;  First  Mate,  Frank 
Moran. 

"SPITE  MARRIAGE"— M.-G.-M.— From  the 
story  by  Lew  Lipton.  Continuity  by  Richard 
Schayer.  Directed  by  Edward  Sedgwick.  Photog- 
raphy bv  Reggie  Lanning.  The  cast:  Elmer,  Buster 
Keaton;  Trilby  Drew.  Dorothy  Sebastian;  Lionel 
Benmore,  Edward  Earle;  Ethyl  Norcrosse,  Leila 
Hyams;  Nussbaum,  William  Bechtel. 


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Photoplay  Maciazixk — Advertising  Section 


"STRANGE  CARGO"— Pathe.— From  the  story 
by  Benjamin  Glazer  and  Mclcliior  Lengyel.  Adapted 
by  Horace  Jackson.  Directed  by  Benjamin  Glazer. 
Pliotography  by  Arthur  Miller.  The  cast;  Diana, 
Lee  Patrick;  Rulh,  June  Nash;  Brucf,  George  Barraud; 
Barclay.  Kyric  Bellew;  Hungt-rford,  RusFell  Gleason; 
Dr.  Sleeker.  Frank  Reichcr;  Captain,  Claude  King; 
First  Mate,  Ned  Sparks;  A/rs.  Tmvnsend,  Josephine 
Brown;  Boatswain,  Charles  Hamilton;  FiVsi  Stranger, 
Andre  Bcranger;  Second  Stranger,  Otto  Matiesen; 
Short,  Harry  Allen;  Neil  Stoker,  Warner  Richmond. 

"STRONG  BOY"— Fox.— From  the  story  by 
Frederick  H.  Brennan.  Scenario  by  James  K. 
McGuinness  and  Andrew  Bennison.  Directed  by 
John  Ford.  Photograpliy  by  Joseph  August.  The 
cast:  "Strong  Boy"  Bloss,  Victor  McLaglen;  Mary 
McGregor,  Leatrice  Joy;  Pete.  Clyde  Cook;  Angus 
McGregor,  Farrell  Macdonald;  Wilbur  Watkins, 
Kent  Sanderson;  Baggage  Master,  Tom  Wilson;  Slim, 
Slim  Summerville;  Baggage  Man.  Robert  Ryan; 
Baggage  Man,  Jack  Pennick-  Wobby,  Douglas  Scolt; 
O^ieen  of  ^isonia,  Eulalie  Jensen;  Pres.  and  Gen. 
Manager,  David  Torrence;  Prima  Donna,  Dolores 
Johnson. 

"SUNSET  PASS"— Paramount.— From  the  story 
by  Zane  Grey.  Scenario  by  J.  Walter  Ruben  and 
Ray  Harris.  Directed  by  Otto  Brower.  Pliotog- 
raphy by  Roy  Clark.  The  cast:  Jack  Rock.  Jack 
Holt;  Leatrice  Preston,  Nora  Lane;  Ashleigh  Preston, 
John  Loder;  Chuck,  Christian  J.  Frank;  Shorty,  Pee 
Wee  Holmes;  Windy,  Chester  Conklin;  Clink  Peeples, 
Pat  Harmon;  Amos  Dabb,  Alfred  Allen;  Clark.  Guy 
Oliver. 

"THREE  PASSIONS,  THE"— United  Artists. 
— From  the  storj'  by  Cosmo  Hamilton.  Adapted  b>' 
Rex  Ingram.  Directed  by  Rex  Ingram.  The  cast: 
Lady  Victoria  Burlington  (Blossy),  Alice  Terry;  Hon. 
Philip  Wrexham,  Ivan  Petrovitch;  John  Battle  Wrex- 
ham, Viscount  Bellamont,  Sliayle  Gardner;  Lady 
Bellamont,  Claire  Eames;  "Bobbie."  Gerald  Fielding; 
The  Hairless  Man,  Andrews  Engleman;  Father 
Aloystus,  Leslie  Faber. 

"TRUE  HEAVEN"— Fox.— From  the  story 
"Juditli"'  by  C.  E.  Montague.  Adapted  by  Dwiglit 
Cummins.  Directed  by  Jame.'i  Tinling.  Photography 
by  Conrad  Wells.  The  cast:  Lieut.  Philip  Gresson, 
George  O'Brien;  Judith,  Lois  Moran;  British  Colonel 
Ma n non,  Phillips  Smalle\' ;  Germa n  General,  Oscar 
Apfel;  British  Sergeant  Major,  Duke  Martin;  British 
Spy,  Andre  Cheron;  British  Colonel,  Donald  Mac- 
Kenzie;  Madame  Grenot.  Hedwig  Reicher;  Gresson's 
Chauffeur,  Will  Stanton. 

"WEARY  RIVER"— First  National.— From 
the  story  by  Courtney  Ryley  Cooper.  Adapted  by 
Bradley  King.  Directed  by  Frank  Lloyd.  The  ca.^t: 
Jerry,  Richard  Barthelmess;  Alice,  Betty  Compson; 
Wardeti,  Wm.  Holden;  Spadoni,  Louis  Natheaux; 
Blackie,  George  Stone;  Elevator  Boy,  Raymond 
Turner;  Manager,  Gordon  James. 

"WHY  BE  GOOD?"— First  National.— From 
the  story  by  Carey  Wilson.  Directed  by  William  A. 
Seiter.  The  cast:  Pert,  Colleen  Moore;  Peabody.  Jr., 
Neil  Hamilton;  Ma  Kelly,  Bodil  Rosing;  Pa  Kelly, 
John  Siiinpolis;  Peabody,  Sr.,  Edward  Martindel; 
Tom,  Eddie  Clayton;  Jerry,  Lincoln  Stedman; 
Jimmy,  Louis'  Natheaux;  Julie,  Collette  Merton; 
Susie,  Dixie  Gay. 

"WILD  BLOOD"— Universal.— From  the  story 
by  George  Morgan.  Continuity  by  George  Morgan. 
Directed  by  Henry  MacRae.  Photography  by  George 
Robinson.  The  cast:  i?f.r."Rex;  jack  Crosby,  Jack 
Perrin;  Mary  Ellis,  Ethlyne  Clair;  Luke  Connor, 
Theodore  Lorch;  John  Ellis,  Nelson  McDowell; 
Starlight,  Starlight. 

•■WOLVES  OF  THE  CITY"- Universal.— From 
the  story  by  Val  Cleveland.  Continuity  by  Val  Cleve- 
land. Directed  by  Leigh  Jason.  Photography  by 
Chas.  Stumar.  The  cast:  Jack  "Speed"  Flynn, 
William  Cody;  Helen  Marsh,  Sally  Blane;  Mike, 
Al  Ferguson;  Roscoe  Jones,  Monte  Montague; 
"  Mother "  Machin,  Louise  Carver;  Frayik  Marsh, 
Charles  Clary. 


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Here  is 
Brennan 

Brennan  while 
he  was  bald. 


I  was  just  as  bald  as  this  picture.  It  is  a 
true  photograph  without  any  tampering 

or  retouching.  It  is  exactly  as  I  used  to  look.  Then  look  at 
the  full  head  of  hair  I  have  in  the  picture  on  the  left! ...  As  I 
have  stated  so  often,  1  don't  know  whether  I  am  the  first 
man  who  discovered  this  great  secret,  but  1  do  know  I  have 
it,  that  I  grew  my  own  hair  and  that  I  am  growing  hair  on 
the  heads  of  other  men. 

Bald  Men 

GiDwHair  Quick 


And  Brennan  af- 
ter Vreeland  grew 
his  hair.  Write 
and  I  will  tell  you 
Brennan's  story 
and  give  you  his 
address. 


Here  is 
Wiseman 

Wiseman  was 
bald  like  this. 

But  Wi.seman 
grew  this  head  of 
hair  with  my  won- 
derful hair  grow- 
ing fluid.  All 
about  Wiseman 
and  how  he  did  it, 
if  you  write.  You 
will  get  his  ad- 
dress, too. 


Besides  the  Free  Am- 
poule of  fluid,  I  will  send 
photographs,  names,  ad- 
dresses  of  men  and 
women  who  successfully 

used  my  Wonder  Fluid  for  Dan- 
druff .Falling  Hair  and  Baldness. 

VREELAND 

1254  Euclid-WiniisorBuil(liiis,ae?ebiid,0. 


What  I  accomplished  on  my  own 
head  and  on  other  heads  I  can  do 
for  you,  provided  you  are  under  45 
yearsof  ageand  loss  of  hair  was  not 
caused  by  bums  or  scars.  Anyhow, 
I  must  succeed  or  you  pay  nothing. 
No  apparatus.  My  home  treat- 
ment is  simple,  quick,  inexpensive. 

Mail  This 
FREE  Coupon! 

Mail  the  coupon  today  — Right 
Now — I  will  send  you,  immedi- 
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grew  my  own  hair  on  my  own 
bald  head.  «-----  "2^' 


My  Name..- 
My  Address. 


State 


When  you  write  to  ailvertiscrs   please   mention   PIIDTOPLAT   M.AGAZINB. 


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The    National    Guide     to    Motion    Pictures 


"June 
Gollyer 


This  Cover  Drauing  is 
a  Color    Chart  for   Clothes 


Hollywood's 
Strangest  Marriage 


ASK  TEE  SALESWOMAN 

IN  ANY  SMART  SHOP 


wdlieliijouujkii 
tku  cxike.  moKeS  Silk. 
siockmcj6  look  hdteA^ 
and  u)0cii  lonacA . . . 

You  probably  wash  your  stockings  shortly 
after  every  wearing.  (At  least,  you  should!) 
Doesn't  this  frequent  washing  of  delicate 
silken  fibers  simply  cry  for  extra-care? 

The  next  time  you  buy  silk  stockings, 
ask  the  saleswoman  how  to  wash  them  to 
get  the  longest  wear.  She  will  mention 
two  important  precautions  —  "Lukewarm 
water"  and  then — "Ivory  Soap."  (In  the 
finest  department  stores  of  30  leading  cities, 
9  out  of  10  salespeople  advise  only  Ivory 
for  silk  stockings.) 

Why  salespeople  advise  Ivory 

"The  wrong  soap  will  often  fade,  discolor, 
or  weaken  stockings.  But  you  can  wash 
any  stockings  well  if  you  use  lukewarm 
water  and  the  right  soap.  Ivory  Soap  or 
Ivory  Flakes  is  best  —  Ivory  is  pure." 
—  heading  New  York  Store. 

"We  never  recommend  anything  but 
Ivory  —  other  soaps  are  likely  to  cut  the 
silk." — Boston  Specialty  Shop. 

"Ivory  is  the  best  thing  to  use  for  silk 
stockings  —  best  for  the  color  and  best  for 
the  silk." —  Chicago  Department  Store. 

Ask  the  saleswoman  yourself.  Whether 
you  live  as  far  East  as  New  York  or  as  far 


JlU:lZi Arrr^ 


West  as  San  Francisco,  you  will  find  Ivory 
overwhelmingly  the  first  choice  among 
these  experts  in  leading  stores.  And  you  will 
never  hear  an  adverse  criticism  about  Ivory. 
.  .  .  Instead  you  will  hear:  "It  is  mild."  "It 
is  pure."  "It  is  safe."  .  .  . 

And,  of  course,  this  is  quite  natural  .  .  . 
a  soap  that  is  safe  for  a  baby's  skin  is  certain 
to  be  extra-^iS^  for  fine  silks  and  woolens. 

PROCTER    &    GAMBLE 

FRtE!  A  little  book,  "Thistledown  Treasures 
— their  sekctior,  and  care, "  gives  specific  directions 
for  washing  silks,  woolens,  rayons.  Simply  send 
a  post  card  to  Winifred  S.  Carter,  Dept.  W-59, 
Box  1801,  Cincinnati,  Ohio. 


IVORY  SOAP 


PURE 


^»W 


A  recent  investigation  shows  that 
9  out  of  10  salespeople  in  the  finest 
stores  of  30  leading  cities  ad- 
vise only  Ivory  for  silk  stockings. 


...KIND  TO  EVERYTHING  IT  TOUCHES 


©  lUL'y.PA  G  Co 


Photoplay  Magazine — Advertising  Section 


rlere  are  the  facts 

boiled  doion  -  about  troubles  of  the  Gums 


The  Cause  ....  Soft  food,  hasty  eating 
The  Effect  ....  Tender,  bleeding  gums 

The  Warning "Pink  tooth  brush" 

The  Remedy  ....  Ipana  and  massage 


QUICKLY  and  telegraphically, 
those  four  lines  above  give  you 
the  gist  of  the  profession's  findings 
about  troubles  of  the  gums. 

You  might  attend  dental  clinics, 
study  the  professional  journals,  or 
simply  chat  things  over  with  your 
own  dentist.  However  you  check  up, 
wherever  you  seek  the  facts,  you  will 
find  authorities  agreed  on  this:  the 
present  rise  of  tooth  troubles  origi- 
nating in  the  gum  structure  is  trace- 
able to  these  soft,  delicious  foods  that 
modern  taste  demands. 

"Take  an  ordinary  dinner,  for  in- 
stance, from  the  soup  to  the  sweets," 
writes  one  famous  specialist.  "//;^f re 
were  anything  that  demanded  real  masti- 
cation we  should  soon  grumble  at  the 
cook." 

Which  is  precisely  why  gum 
troubles  today  are  almost  a  national 
scourge — why  X-ray  files  the  country 
over  are  becoming  crowded  with  pic- 
tures showing  the  dire  results  of  gum 
neglect! 

For,  like  any  living  tissue,  the 
gums  need  exercise!  Deprived  of  itby 
modern  fare,  they  grow  weak  and 
tender.  And  teeth  become  affected — 
sometimes  their  loss  is  threatened. 

hook  out  for  "pink  tooth  brush" 

If  your  tooth  brush  "shows  pink," 
it's  an  infallible  sign  that  worse  trou- 
bles are  on  the  way — gingivitis.Vin- 
cent's  disease  or  possibly  pyorrhea. 
Gum  massage  is  the  profession's 
weapon  against  "pink  tooth  brush." 
"Massage  moves  along  the  sluggish  blood 
itream,"  says  a  standard  text,  "and 


makes  way  for  the  fresh  blood  from  the 
heart  to  flow  through  the  mouth  tissues. " 

Give  your  gums  this  gentle  fric- 
tionizing  twice  daily.  Speed  the  rich, 
cleansing  blood  through  the  tiny  ves- 
sels of  the  gum  walls — wastes  are 
swept  away  —  depleted  tissues  are 
restored  —  pink,  healthy  gums  are 
yours  again! 

Ipana  Tooth  Paste  has  a  special 
ingredient  that  gives  it  power  to  tone 
the  gums  as  well  as  clean  the  teeth. 
It  contains  ziratol,  an  antiseptic  and 
hemostatic  widely  used  by  gum  spec- 
ialists. So  thousands  of  dentists  rec- 
ommend Ipana  for  this  massage. 
They  know  the  health  it  brings  to 
gums  as  well  as  the  beauty  it  brings 
to  teeth. 

Give  Ipana  a  full  month's  trial 

We  will  gladly  send  you  a  10-day 
sample  of  Ipana.  The  coupon  will 
bring  it,  and  your  first  brushful  will 
show  you  that  Ipana  has  a  delicious 
taste  and  a  remarkable  power  to 
brighten  and  polish  your  teeth. 

But  it's  better  to  start  at  once  with 
a  full-size  tube  from  the  druggist.  It 
contains  over  100  brushings — a  much 
fairer  test  of  Ipana's  power  to  firm  up 
your  gums  and  to  improve  the  health 
of  all  your  mouth!  eisaa 


BRISTOL-MYERS  CO.,  Dept.l59 

73  West  Sueet.  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. 


IPANA  Tooth  Paste 


Nam 


Street. 


City  ■ 


.State. 


When  you  write  to  advertisers   please  mention  PHOTOPLAT  MAGAZINU 


Photoplay  Magazine — Advertising  Section 


'*. .     :tA 


'^'"".■.:^'^K:'''"'7.y,^  ^., 


TRADE  ^^t^^^^^MAftn- 


Ghiximount  Pictures 


Etery  adverllsemont  In  PHO'l'orLAY  MAGAZINE  Is  guaranteed. 


The  World's   Leading   Motion   Picture   Publication 


FREDERICK  JAMES  SMITH 


Contents 


Vol.  XXXV 


MARK   LARKIN 
WESTcnK  EorroB 


For 

May 
1929 


<^= 


J4MES  R.  Quirk' 

=  EDITOR    AND.  PllBLlbHKR 


No.  6 


!r«5S> 


The  High-Lights  of  This  Issue 


Cover  Design  Charles  Sheldon 

June  CoUyer — Painted  from  Life 

Brief  Reviews  of  Current  Pictures  6 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets  8 

The  Voice  of  the  Fan 

As  We  Go  to  Press  10 

Last  Minute  News  from  East  and  West 

Hollywood  Puddings!  13 

Photoplay's  Cook  Boolv  Tells  You  How  to  Make 
Them 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck     18 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long-Shots        James  R.  Quirk    29 
The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

She  Fell  in  Love  with  Her  Husband 

Mark  Larkin     32 
The  Amazing  Story  of  the  Strangest    Romance  in 
Filmland 

How  They  Manage  Their  Homes 

Alma  Whitaker    34 

The  First  of  a  Series  of  Word  and  Picture  Visits  to 
"Cinema  Castles" — Pickfair 

The  All  Star  Blonde  Herbert  Howe    37 

The  Hollywood  Boulevardier  Visits  the  Celebrated 
Danish  Beauty  of  Idaho — Jeanette  Loff 

The  Great  Talkie  Sleep  Test 

Dr.  Leonard  Hall 

The  Professor  Talks  Right  Out — Without  Orchestra 
Accompaniment 

The  Studio  Murder  Mystery     The  Edingtons    40 

Solution  to  the  Fascinating  Thriller  of  Filmland 
The  Girl  From  Woolworth's  (Fiction  Story) 

Grace  Mack     46 
What  Happened  When  a  Social  Lion  Tried  to  Crash 
the  Movie  Gate 


Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

What  Are  Your  Correct  Colors? 

Laurene  Hempstead 
Hints  for  the  Brown  Haired  Girl 

The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

The  Girl  Who  Walked  Back       Herbert  Howe 

Otherwise,  Bessie  Love 

That  Old  Devil,  Camera        Katherine  Albert 

What  It  Did  to  Ruth  Chatterton 

Everything,  but — (Fiction  Story) 

France  Goldwater 

What  Happened  When  the  Star  Quit  the  Picture  and 
the  Double  Had  Her  Moment 

The  Big  Boy  Tells  His  Story 

As  told  to  Dorothy  Spensley 
Gary  Cooper  Comes  to  Hollywood 

Amateur  Movies  Frederick  James  Smith 

Photoplay's  Contest  Closes  with  Many  Interesting 
Entries 

Watch  Your  Diet  Dr.  H.  B.  K.  Willis 

How  to  Achieve  Beauty  of  Figure  and  Complexion 
Through  Health 


48 


53 


54 


60 


65 


68 


70 


72 


73 


Tips  vs.  Art 

The  Former  Wins 


Mark  Larkin    74 

at  Least  at  Henry's 

38       Wanted— a  New  Name  for  the  Talkies  76 

Send  in  Your  Suggestion — There's  a  $500  Prize  for  the 
Best  One 

Questions  and  Answers  The  Answer  Man    88 

What  You  Want  to  Know  About  Films  and   Film 
Folk 

Casts  of  Current  Photoplays  152 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


<^. 


-d^ 


A  complete  list  of  all  photoplays   reviewed   in  the    Shadow^   Stage  this  issue  will  be  found  on   page   16 


^i 


=.^ 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  III. 

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

James  R.  Quirk.  President  Robert  M.  Eastman,  Vice-President  Kathryn  Dougherty,  Secretary  and  Treasurer 

Yearly  Subscription:  $2.50  in  the  United  States,  its  dependencies,  Mexico  and  Cuba;  $3.00  Canada;  S3. .SO  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  Postolllce  at  Chicago.  111.,  under  the  Act  of  Mareb  3,  1879. 

Copyright.  1929.  by  the  Photoplay  Publishinq  Company,  Cblcaga 


Brief  Reviews  of 

Current  Pictures 


•4rlndicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


ADORATION — First  National. — Concprning  the 
post-revolution  romance  of  a  Romanoff  prince  and 
princess.    Ornamented  by  Billie  Dove.     (Jan.) 

*AIR  CIRCUS,    THE— Fox.— Collegiate  stuff 
in    an    aWation     training     school.        Good. 
(^November.) 

AIR  LEGION,  THE— FBO.— Story  about  the 
air  mail  service  that  lias  nothing  but  a  good  idea  to 
recommend  it.  {Dec.) 

AIR  MAIL  PILOT,  THE— Superlative.— Another 
air  mail  story  which  breaks  all  the  rules  of  aviation. 
iDec.) 

ALL-AMERICAN,  THE— Supreme.- How  a  col- 
legiate sprinter  mops  up  tlie  Olympic  Games,  demon- 
strated by  Charlie  Paddock.     (March.) 

ALL  .■VT  SEA — Metro-Goldwyn-Mayer. — A  Dane- 
Arthur  comedy.     The  title  explains  it.     (March.) 

ALL  FACES  WEST— Pioneer. — Western  thriller 
filmed  with  Mormon  money.  Marie  Prevost  and  Ben 
Lyon  are  in  it.     <^.A.pril.) 

AMAZING  VAGABOND,  THE— FBO.— Not  so 
amazing,  .lust  the  usual  stunts,  on  land  and  in  the 
air.      (Jan.) 

ANNAPOLIS  —  Pathe.  —  Pleasant  romance  and 
drama  among  the  admirals  of  the  future.   (November.) 

APACHE,  THE — Columbia. — Just  the  romance  of 
two  sweet  kids  in  the  Latin  Quarter — if  you  believe  in 
such  tilings.     (Feb.) 

AVALANCHE — Paramount. — High-class  Western 
with  Jack  Holt  and  Baclanova — the  picture  thiefl 
(Jan.) 

AVENGING  RIDER,  THE— FBO.  —  Simple- 
mindei  Western  mystery  story.     (Jan.) 

AWAKENING,  THE  —  United  Artists.  —  First 
starring  picture  of  Vilma  Hanky  and  Walter  Byron. 
He's  a  nice  looking  lad.  A  "Marie-Odile"  plot. 
(November.) 

BEGGARS  OF  LIFE — Paramount. — The  low- 
down  on  hoboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  songl  (Dec.) 

BEHIND  THE   GERMAN   LINES— UF.VPara- 

mount. — The  German  side  of  the  war,  with  excellent 
and  authentic  battle  scenes  spoiled  by  some  obviously 
studio  shots.     (Feb.) 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  who's  got  the  emerald?     (November.) 

BITTER  SWEETS— Peerless.— Fun  in  the  life  of 
a  girl  detective.    (Dec.) 

BLACK  ACE,  THE — Pathe. — So-so  Western  that 
will  fill  in  a  blank  evening.     (Jan.) 

BLACK  BIRDS  OF  FIJI  —  Australasian.  — 
Another  South  Sea  Island  picture — only  so-so.   (Feb.) 

BLACK  BUTTERFLIES— Quality.— Exposing  the 
wicked  ways  of  the  fake  Bohemians.     (November.) 

BLACK  HILLS,  THE— Dakota. — In  which  the 
dam  bursts  again.     (March.) 

BLACK  PEARL,  THE— Rayart.— Loose-limbed 
mystery  tliat  rambles  aimlessly  through  the  Orient. 
(.April.) 

BLOCKADE  — FBO.  — Bootlegging  made  attrac- 
tive by  .\nna  Q.  Nilsson.  A  good  melodrama. 
(March.) 

BLOW  FOR  BLOW — Universal.- More  adven- 
tures of  Hoot  Gibson,  if  you're  interested  in  Westerns. 
(.Feb.) 

BRIDE'S  RELATIONS,  THE— Sennett-Educa- 
tional. — One  reel  talking  comedy  sad  and  funny  by 
turns.    Eddie  Gribbon  is  best.     (April.) 

BROADWAY  FEVER  —  Tiffany-Stahl.  —  Sally 
O'Neil  being  literally  too  cute  for  words  in  a  trivial 
story.     (March.) 


•     BROADWAY  MELODY,  THE— Metro-Gold- 
wyn-Mayer.— Brilliant  all-talkie  of  backstage 
life,  with  Bessie  Love  astonishing.    (April.) 

BROTHERLY  LOVE  —  Metro-Goldwyn-Mayer. 
— Messrs.  Dane  and  Arthur  in  burlesque  prison  re- 
form. The  big  moment  is  a  football  game  between 
two  rival  penitentiaries.     (November.) 

BURNING  BRIDGES  —  Pathe.—  Better-  than  - 
usual  Western,  with  that  good  hombre,  Harry  Carey, 
in  a  dual  role.  (Dec.) 

•  CANARY  MURDER  CASE,  THE— Para- 
mount.— Logical  and  well  constructed  mystery 
story.  William  Powell  is  perfectly  swell  as  the  de- 
tective.    (Feb.) 

CAPTAIN  LASH — Fox. — A  coal  stokers  romance 
or  love  on  the  waterfront.    Rather  strong  stuff.  (Feb.) 

CAPTAIN  SWAGGER— Pathe.— Good  comedy 
in  which  Rod  La  Rocque,  as  a  naughty  aviator,  is  per- 
suasively reformed  by  Sue  Carol.     (November.) 

•  CASE  OF  LENA  SMITH,  THE— Paramount. 
— Sincere  drama  of  the  love  affair  of  a  servant 
girl,  her  liardships  and  her  martyrdom.  A  real 
picture  for  intelligent  adult  audiences.     (Feb.) 


Pictures   You 
Should  Not  Miss 

"In  Old  Arizona" 

"The  River" 

"The  Canary  Murder  Case" 

"Wild  Orchids" 

"7th  Heaven" 

"The  Singing  Fool" 

"Interference" 

"Mother  Knov^s  Best" 

"Street  Angel" 

"The  Patriot" 

"Four  Devils" 

"Wings" 

As  a  service  to  its  readers,  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


CAVALIER,  THE— Tiffany-Stahl.— Richard  Tal- 
madge  in  some  imitations  of  Douglas  Fairbanks. 
(Jan.) 

CHARGE  OF  THE  GAUCHOS  —  FBO.— How 
the  Argentine  Republic  got  that  way.  With  Francis 
X.  Bushman.  (Dec.) 


CHARLATAN,  THE— Universal.— Murder  mys- 
tery done  with  nice  light  touch,  especially  by  Holmes 
Herbert.     (April.) 

CHEYENNE — First  National.— Ken  Maynard  in 

one  particularly  swell  Western.  (Dec.) 

CHINA  SLAVERS,  THE— Trinity.— Ragged 
story  of  the  Oriental  slave  trade,  but  smartly  acted  by 
Sojin.     (April.) 

CIRCUMSTANTIAL  EVIDENCE— Chesterfield. 
— Nothing  that  you  could  care  about  in  a  big  way. 
(March.) 

CIRCUS  KID,  THE— FBO.— You  can  sleep 
through  it.     (Dec.) 

CITY  OF  PURPLE  DREAMS,  THE  —  Rayart.— 
Story  of  wlieat  pits  of  Chicago.  Top  heavy  with 
drama.     (Jan.) 

CLEAR  THE  DECKS  —  Universal.  —  Reginald 
Dennv  in  one  of  the  oldest  farce  plots  in  the  world. 
(March.) 

COHENS  AND  KELLYS  IN  ATLANTIC  CITY, 

THE — Universal. — For  those  who  like  this  sort  of 
thing.     (March.) 

COME  AND  GET  IT— FBO. — Contains,  among 
other  things,  a  good  boxing  match.  (Dec.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  (Dec.) 

CRASH,  THE— First  National.— iVo(  an  under- 
world melodrama,  but  a  swell  thriller  with  a  good  per- 
formance by  Milton  Sills  and  a  rousing  train  wreck. 
(November.) 

DANGER  STREET— FBO.— A  rich  bachelor, 
disappointed  in  love,  drowns  his  grief  in  a  gang  war. 
Well,  tliat's  one  way  to  forget.     (November.) 

DEMON  RIDER,  THE— Davis.— Just  a  West- 
ern.    (Dec.) 

DESERT  NIGHTS  —  Metro-Goldwyn-Mayer.  — 
One  of  Jack  Gilbert's  less  fortunate  vehicles.  (March.) 

DIPLOMATS,  THE  —  Fox-Movietone.  —  Clark 
and  McCullough  in  a  two  reel  talkie  that  will  give  you 
some  laughs.     (March.) 

•  DIVINE  LADY,  THE— First  National.— The 
old  dirt  about  Lady  Hamilton  and  Lord 
Nelson,  told  in  romantic  fashion.  Pictorially  beauti- 
ful, thanks  to  the  lovely  face  of  Corinne  Griffith. 
(Dec.) 

•  DOCKS  OF  NEW  YORK,  THE— Paramount. 
— A  drama  of  two  derelicts,  powerful,  dramatic 
and  stirring.  Superbly  acted  by  George  Bancroft  and 
Betty  Compson.  Worthwhile  adult  entertainment. 
( November.) 

•  DOCTOR'S  SECRET,  THE— Paramount.— 
Barrie's  playlet.  "Half  an  Hour,"  emerges  as  a 
superior  and  well-constructed  talkie.  It  is  brilliantly 
acted  and  well  worth  your  time  and  money.  (March.) 

DOG  LAW — FBO. — Giving  Ranger  a  good  break. 
(Novernber.) 

DOMESTIC  MEDDLERS— Tiffany-Stahl.— The 
eternal  and  well-worn  triangle.     (Feb.) 

DO  YOUR  DUTY— First  National.— CharUe 
Murray  plays  his  piece  about  the  honest  traffic  cop 
and  the  crooks.    Not  so  hot.  (Dec.) 

DREAM  OF  LOVE — Metro-Goldwyn-Mayer. — 
The  prince  and  the  pretty  peasant — again.  Phony 
stuff  in  spite  of  Joan  Crawford  and  Nils  Asther, 
(Feb.) 

DRIFTER,  THE — FBO. — Just  another  Western. 
But  send  the  kids,  anyway,  because  Tom  Mix  is  in  it, 
(March.) 

DRIFTWOOD — Columbia. — Looks  like  a  tenth 
carbon  copy  of  "Sadie  Thompson."    (Jan.) 

•     DRY    MARTINI— Fox.— Sophisticated   com- 
edy among  the  American  dry  law  expatriates  of 
the  Ritz  bar  in  Paris.   Naughty  but  neat.    (November.) 
[  CONTINUED  ON  PAGE  16  ) 


Photoplay  Magazine — Advertising  Section 


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r  VF  A.     iTlVF  T  IMli  i.  Vfil  J-J  and  dance  eolertainnx^t, ' 

dazilihg  with  |«aatifial  girls,  comes  to  the  screen  of  your  nearest  theatre. 

WILLIAM     FOX    present, 

,  this  gorgeous  extravaganza  with  a  eonvicUoo  that  yon  wiU  await  it  each 
year  with  expectancy.  No  ibcatre  anywhere  can  duplicate  this  unrivaUed 
revue  with  a  briUianl  cast  of  200  including : 

'     LOIS  MORAIS.  SUE  CAKOL.  DAVID  ROLLINS,  SYLVIA  FIELD, 
DAVID  PERCY.  SHARON  LYNN.  DOHOTm'  JORDAN, 
DIXIE  LEE,  TILLER  GIRLS. 


Mtt&icand Lyrics  Dy 
Dave  Stamper 
.,    .    Con  C<^rad 
Sid  .Mitchell  . 
and  Archie  Cottier 


Story  by 
-Harlan  Thompson 


Profiui'tid  by 
Marcel  Silver^ 

,  Staged  by  ■:  - 
Edward  Royce 


n 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE 


j^rickb 


atsi 


Three  prizes 

are  given  every  month 

for  the  best  letters-^ 

$25,  $10  and  $5 


and 


Bouquets 

The  REAL  CRITICS, 

the  FANS, 
GIVE  THEIR  VIEWS 


The  Monthly  Barometer 

nPHE  talkies  continue  to  be  one  of  the  most 
■'-  discussed  subjects  of  Photoplay's  letter 
writers.  The  opinions  are  many,  although 
most  of  our  correspondents  like  the  old  silent 
films  best.  Just  now  Photoplay's  readers 
seem  to  be  worried  a  bit  as  to  whether  or  not 
they  are  actually  hearing  their  favorites  in 
song.  They  know  that  a  lot  of  voice  doubling 
is  being  done  and  they  want  to  be  sure  that 
they  are  really  hearing  their  idols.  Knowledge 
that  Dick  Barthelmess  talked  but  did  not 
sing  in  "Weary  River"  upset  their  faith  a  bit. 

There  is  a  tremendous  interest  among 
readers  in  our  now  famous  "What  Are  Your 
Correct  Colors?"  series.  This  expert  adx^ce  on 
colors  seems  to  be  proving  of  great  value  and 
service  to  Photoplay's  army  of  followers. 

Dr.  H.  B.  K.  Willis'  department  on  diet  is 
much  discussed  by  writers.  Here  is  a  service 
feature  of  vital  interest  to  all  feminine  readers. 

Who  are  the  most  discussed  personalities? 
The  big  six  continue  to  be  Clara  Bow,  Greta 
Garbo,  Joan  Crawford,  John  Gilbert,  Gary 
Cooper  and  Nils  Asther. 

$25.00  Letter 

Pittsburgh,  Pa. 

Movies!  a  word  embodying  amusement, 
education,  and  happiness.  How  much  this 
single  word  means  to  us — and  does  for  us! 
How  Uttle  the  majority  of  us  realize  what  it 
has  done  for  us — what  it  is  doing — and  what 
it  shall  do  for  us! 

What  has  caused  this  astonishing  change  in 
our  homes,  our  dress,  and  our  health?  Why 
have  we  become  more  interested  in  our  homes, 
more  particular  and  painstaking  in  our  dress, 
and  perhaps,  most  important,  why  are  we  so 
much  more  considerate  of  our  health? 

We  have  seen  beautiful  homes  in  the  movies, 
attractively  furnished.  We  think  how  lovely 
it  would  be  to  ha\'c  a  home  so  pleasant,  and 
soon  we  fmd  ourselves  trying  to  improve  our 
own.  Likewise,  we  try  to  beautify  our  appear- 
ance, and  in  order  to  do  so,  to  improve  our 
health. 

But, there  is  another  thing  we  now  owe  to 
the  movies.  The  "talkies"  will  be  of  greatest 
aid  to  the  people.  Soon  we  \\ill  take  more 
care  in  expressing  ourselves  clearly  and  im- 
pressively. We  will  improve  our  speech  as 
we  have  our  appearance,  our  home,  and  our 
health. 

The  movies  are  urging  us  up  out  of  vulgarity. 

8 


The  readers  of  Photoplay  are  in- 
vited to  write  to  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. 


They  are  bringing  to  the  people  culture,  a 
virtue  before  considered  as  impossible  for  all 
to  obtain. 


Marjorie  Young. 


.00  Letter 


Cragmor,  Colorado. 

I  am  an  ordained  Minister.  The  last  two 
years  of  my  life  have  been  spent  in  a  San- 
atorium for  the  treatment  of  tuberculosis. 
Every  Monday  night  the  patients  are  treated 
to  a  movie  show  in  the  large  dining  room  of 
the  main  building. 

I  suppose  our  audience  is  one  of  the  strangest 
in  the  world.  There  can  be  found  people  from 
every  walk  of  life.  There  is  the  scientist,  the 
artist,  the  professional  man,  the  common 
laborer  and  the  idler.  They  come  in  their 
beds  wheeled  in  by  a  house-man,  in  wheel 
chairs  and  reclining  rest  chairs.  There  for 
two  hours  we  forget  the  tragedy  of  illness  and 
suffering  and  sorrow  surrounding  us  and  lose 
ourselves  in  the  play. 

While  we  are  just  on  the  outskirts  of  a 
thriving  city  of  about  thirty  thousand  popula- 
tion where  are  many  churches  and  con- 
sequently many  Ministers,  in  the  two  years 
I  have  been  here  there  has  been  but  one 
religious  service.  While  it  is  not  my  object 
to  disparage  the  church  I  do  wish  to  give 
credit  where  I  feel  it  is  due. 

The  Motion  Picture  show  most  certainly 
suppUes  a  very  definite  want  in  the  Uves  of 


the  people  here;  a  want  that  can  be  hardly 
understood  by  those  who  have  never  been 
isolated  from  the  activity  of  the  world.  We 
who  of  a  necessity  must  be  inactive  derive  a 
lasting  benefit  from  the  action  in  our  picture 
shows.  They  enable  us  to  keep  abreast  of 
the  things  going  on  in  the  world. 

V.  E.  Tygart. 

$5.00  Letter 

North  wood,  N.  D. 

What  ails  the  moving  picture  producers 
these  days?  They  fall  all  over  themselves 
hunting  for  new  faces.  Who  wants  to  sit 
through  a  picture  and  see  some  unknown 
youngster  struggle  through  six  reels  in  the 
star  part  and  mess  up  the  whole  picture 
horribly?     I  don't. 

What  do  these  young  things  know  about 
acting  anyhow?  Practically  nothing.  That 
being  the  case  why  shove  a  green  youngster 
up  to  the  top  and  push  better  .and  more 
experienced  screen  folks  into  the  background? 
A  few  of  the  youngsters  are  worth  while. 
Take  "Buddy"  Rogers,  for  instance.  He  has 
made  his  place  in  the  movie  world  and  I 
beUeve  he  has  the  ability  to  hold  that  place 
indefinitely.  But  for  every  one  that  is  good 
there  are  about  four  who  are  all  wet  as  far  as 
acting  ability  goes.  The  producers  seem  bent 
on  adding  new  faces  to  the  screen  regardless 
of  whether  the  owner  of  the  pretty  face  can 
act  or  not.  Is  that  fair  to  the  folks  who  have 
worked  hard  to  win  their  place  in  the  hearts 
of  the  movie  going  public?  Is  it  fair  to  the 
public  in  general?  Let  us  have  the  stars  we 
know  and  love  in  better  pictures,  with  an 
occasional  new  face,  and  we  will  be  satisfied. 

I  believe  in  giving  the  youngsters  a  chance 
but  start  them  at  the  bottom  and  let  them 
work  up  the  same  as  in  any  other  business. 
Then  by  the  time  they  get  a  leading  part  they 
will  know  how  to  handle  it. 

PiNA  Brown. 

What  Are  Morals? 

Kansas  City,  Missouri. 
This  Movie  Censorship!  Up  to  this  month  I 
laughed,  but  now  I  am  disgusted.  I  have  two 
concrete  examples:  the  censoring  of  "The 
Green  Hat,"  and  the  lack  of  it  in  "The 
Barker."  The  first,  unadulterated,  could 
never  have  attained  the  frankness  of  the  latter. 
Not  that  I  did  not  enjoy  "The  Barker."    I 

[  CONTIKTJED  ON  PAGE  94  ] 


Photoplay  Magazine — Advertising  Section 


This  antiseptic  shampoo  gets  rid 
of  dandruff  quickly 


Though  powerful,  Listerine,  at  the  same  time,  is  so 
safe,  that  it  will  not  harm  the  tenderest  tissues. 
Indeed,  it  has  a  soothing  effect.  Actually  balm  to 
burning,  itching  scalps.  After  a  Listerine  treatment 
your  head  feels  simply  great. 

At  the  first  sign  of  dandruff,  simply  douse  full 
strength  Listerine  on  the  scalp  and  massage  vigor- 
ously, keeping  the  treatment  up  several  days.  If 
scalp  is  excessively  dry  a  little  castor  or  olive  oil  may 
be  used  in  connection  with  the  shampoo.  It  is  the 
combination  of  antiseptic  and  massage  that  does  the 
work.  You  will  simply  be  delighted  by  results. 
Lambert  Pharmacal  Company,  St.  Louis,  Mo.,  U.S.A. 

LISTERINE 

The  Safe  and  Soothing  Antiseptic 

kills   200,000,000  germs   in   15    seconds 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINil 


BE  on  guard  against  dandruff.  Don't  let  it  get  the 
upper  hand.  Treat  it  immediately  with 
Listerine  as  a  precaution  against  thin  hair  and  bald- 
ness. 

Literally  tens  of  thousands  have  been  benefited  by 
this  simple  pleasant  treatment. 

Once  you  realize  that  dandruff  is  a  highly  infec- 
tious condition  caused  by  germs,  you  can  appreciate 
the  effectiveness  of  full  strength  Listerine  in  check- 
ing it. 

Because  used  this  way,  Listerine  is  an  effective 
germicide — so  active  it  even  destroys  200,000,000 
of  the  stubborn  Bacillus  Typhosus  (typhoid)  and 
Staphylococcus  Aureus  (pus)  germs  in  15  seconds. 

We  could  not  make  such  a  statement  unless  we 
were  prepared  to  prove  it  to  the  entire  satisfaction  of 
the  medical  profession  and  the  U.  S.  Government. 


As  We  Go  to  Press 

Last  Minute  NEWS  from  East  ^;?^West 


PHYLLIS  HAVER  is  going  to  step  off 
the  deep  end  into  matrimony  about 
April  23.  Place— New  York.  Party 
second  part — Billy  Seaman.  He  has  built 
her  a  beautiful  pent-house  home  on  the 
summit  of  a  16-story  building.  .  .  .  Nils 
Asther  will  be  Garbo's  leading  woman  in 
her  first  picture  after  her  Swedish 
holiday.  The  Gilbert-Garbo  picture 
team  seems  to  be  cold  at  present, 
but  personally,  just  as  warm  as 
ever.  .  .  .  Harry  Carey,  the  famous 
Western  star  veteran,  will  have  the 
name  role  in  "Trader  Horn."  He 
joins  Director  Van  Dyke,  Edwina 
Booth,  Duncan  Ronaldo  and  others 
in  New  York  and  then  sets  sail  for 
Africa.  .  .  .  Bryant  Washburn  and 
Dahlia  Pears,  of  Toronto,  are  mar- 
ried. The  first  Mrs.  Washburn, 
Mabel  Forrest,  recently  got  her 
final  decree.  .  .  .  Estelle  Taylor, 
holidaying  in  the  East,  decided  to  go 
to  work  in  New  York.  Tiffany- 
Stahl  offered  her  a  lot  of  money  to 
play  opposite  George  Jessel  ia  his 
new  talkie-singie,  "The  Broadway 
Kid."  It  will  be  Estelle's  first 
talking  role.  .  .  .  May  McAvoy  says 
she  will  marry  Maurice  Cleary  in 
June,  but  that  she  will  not  retire 
from  the  screen.  .  .  .  Doug  and 
Mary  start  "The  Taming  of  the 
Shrew"  about  Jxme  1.  This  is 
their  answer  to  the  public's  prayer 
that  they  be  seen  together  in  one 
picture.  Mary  celebrated  their 
wedding  anniversary  March  27  by 
opening  "Coquette"  at  the  United 
Artists  Theater,  Los  Angeles. 
Now  Colleen  Moore  is  going  to 
sing,  the  occasion  being  her  new 
picture,  "When  Irish  Eyes  Are 
Smiling,"  founded  on  the  pretty 
ballad  by  the  late  Ernest  R.  Ball. 
Colleen  has  been  taking  vocal 
lessons  for  six  months  and  pooh- 
poohs  the  idea  of  a  voice  double. 
James  Hall  is  her  leading  man  in 
the  new  one.  Incidentally,  Colleen 
and  her  husband  open  their  new 
mansion  in  May  with  a  house- 
warming  that  will  show  off  the 
electric  clock  and  all  her  other 
trick  gadgets.  .  .  .  Billy  Bakewell, 
who  played  dual  roles  in  Fairbanks' 
"The  Iron  Mask,"  has  been  signed 
by  Warner  Brothers  for  four  films. 
.  .  .  And  Hoot  Gibson  has  signed 
with  Universal  for  another  year.  .  .  . 
Jean  Hersholt  is  through  at  Uni- 
versal and  has  no  plans  at  the 
moment  of  screaming  to  press.  .  .  . 
Dick  Barthelmess,  who  is  busy 
on  "Drag,"  after  a  Mexican  holiday, 
says  the  Rebels  took  one  good  look 
at  him  and  began  fighting.  Alice 
Day  gets  a  big  chance  as  Dick's 
leading  lady  in  the  new  one.  .  .  . 
Tommy  Meighan  has  completed 
his  first  talkie,  "The  Argyle  Case," 
for  Warners,  and  goes  to  New  York 

10 


late  in  April.  He  will  spend  some  time  at 
White  Sulphur  Springs  before  opening  his 
home  at  Great  Neck,  L.  I.  .  .  .  Sally  Blane, 
RKO  baby  star,  threatens  to  become  en- 
gaged to  Tommy  Lee,  the  son  of  Hollywood's 
big  Cadillac  man.  .  .  .  Bebe  Daniels  may  be 
starring  for  that  company  very  soon,  for 


Edwina  Booth  gets  the  coveted  role  of 
the  white  girl  worshipped  by  African 
savages  in  Metro-Goldwyn's  filming 
of  "Trader  Horn."  Edwina  is  a  former 
bathing  girl  of  the  Hal  Roach  forces 
and  for  a  long  time  has  played  bits  in 
Metro  pictures.  She  hails  from  Utah 
and  her  father  is  a  physician.  She  got 
the  part  because  she  had  (real)  long 
blonde  hair.  The  company  had  to  have 
a  leading  woman  with  genuine  tresses 
because  the  heat  of  the  tropics  would 
ruin  a  wig 


heavy  confabs  heading  that  way  have  been 
in  progress  for  some  time.  .  .  .  And  Olive 
Borden  is  already  starring  in  their  first 
talkie,  "Help  Yourself  to  Happiness."  .  .  . 
Charlie  Chaplin,  after  shooting  about  60,000 
feet  of  "City  Light,"  ordered  about  half  of 
it  retaken  because  a  sidewalk  on  the  set 
was  about  a  foot  and  a  half  too 
wide.  Just  another  eccentricity  of 
genius.  .  .  .  Walter  Byron,  who  was 
once  reported  engaged  to  Carolyn 
Bishop,  Gene  Tunney's  former  girl 
friend,  is  now  being  seen  at  the  soda 
water  bars  with  Isobel  Sheridan, 
Mary  Pickford's  cousin.  Isobel  is 
visibleinpictures,onceina while.  . . . 
Lon  Chaney  is  back  in  Hollywoo  1 
winding  up  shooting  on  "Thunder." 
He  and  his  troupe  were  on  location 
at  Green  Bay,  Wis.,  for  some  time. 
.  .  .  Those  other  wanderers,  Dol- 
ores Del  Rio's  company,  have  come 
back  from  a  long,  trying  location 
trip  among  the  bayous  of  Louisiana, 
where  they  were  making  scenes  for 
"Evangeline"  on  the  real  ground. 
.  .  .  Ina  Claire,  the  lovely  stage 
star,  has  arrived  in  Hollywood  to 
start  her  first  talking  picture  for 
Pathe.  She  made  many  pictures 
some  years  ago.  .  .  .  Mary  Duncan 
has  been  paying  her  first  visit  to  New 
York  since  she  left  "The  Shanghai 
Gesture"  to  go  into  pictures.  She'll 
be  back  in  Hollywood  by  May.  .  .  . 
Gloria  Swanson  at  last  got  started 
on  the  dialogue  version  of  "Queen 
Kelly,"  with  Patd  Stein  directing. 
He's  the  third  megaphone  man  on 
that  job,  the  first  two  having  been 
Erich  von  Stroheim  and  Edmimd 
Goulding.  Gloria  has  just  com- 
pleted a  new  six-room  studio 
bungalow,  with  a  black  and  silver 
bed  on  a  mezzanine  floor,  and  a 
bathroom  with  black  tub,  black 
floor  and  green  walls. . . .  Clara  Bow 
came  home,  after  a  visit  to  New 
York  incognito,  to  begin  work  on  a 
circus  picture,  and  Maurice  Cheva- 
lier, the  French  star,  will  be  in 
Hollywood  in  time  to  start  his 
second  American  picture  by  May  1. 
He  has  been  a  great  stage  favorite 
in  New  York.  .  .  .  April  15  will  see 
Moran  and  Mack,  the  blackface 
buffoons,  hard  at  their  picture  work, 
with  Betty  Brent  supporting.  .  .  . 
Metro-Goldwyn  threatens  to  re- 
make "Anna  Christie,"  this  time 
with  talk.  It  is  rumored  that 
Blanche  Sweet,  who  was  marvelous 
in  First  National's  silent  version, 
will  get  the  chance  to  speak  Eugene 
O'Neill's  lines.  .  .  .  Johnny  Mack 
Brown,  after  glorifying  himself  in 
"Coquette,"  is  back  on  the  Metro 
lot  waiting  for  an  assignment. 
.  .  .  Tim  McCoy  has  given  up  the 
screen.  His  pals  are  grooming  him 
to  run  for  the  governorship  of 
Wyoming. 


o  the  pablic  •  •  •  a  ^^secret 


99 


This  is  the  first  time  any  gum 
manufacturer  has  ever  re- 
vealed the  ingredients  of  his 
product  to  the  public  /  /  /  I 
do  it  largely  as  a  matter  of 
personal  pride,  I'll  admit.  I'm 
proud  of  the  purity  and  qual- 
ity of  Baby  Ruth  Gum  /  /  / 
Here's  what  Baby  Ruth  Gum 
is  made  of:  pure  chicle,  from 
Central  America.  Full-cream 
milk.  Pure  cane  sugar.  Finest 


peppermint  money  can  buy 
— lots  of  it!  /  /  /  There  you 
have  the  secret  of  its  cool,  re- 
freshing flavor — the  real  mint 
flavorthatyou  can-'tc/iewjout. 
That  is  why  it  sweetens  the 
breath,  aids  digestion,  so  ef- 
fectively. And  that  is  why  it  is 
sweeping  the  country  with  un- 
precedented popularity  /  /  / 
Try  Baby  Ruth  Gum  today. 
I'msureyou  willbedelighted ! 


YOL    CAN 
CHEW   OUT 
ITS  FLAVOR 


EVERY  Diir  KEEP 


AMD 


by  eating  these  better  bra]¥  flakes 


For  your  health's  sake — for  real  pleasure 
in  eating — help  yourself  to  Kellogg's  Pep 
Bran  Flakes. 

These  better  bran  flakes  have  flavor 
that  you  never  dreamed  could  be  so 
delicious!  Extra  crispness  that  makes 
each  spoonful  a  treat!  Natural  qualities 
that  help  keep  you  fit. 

PEP  gives  these  bran  flakes  their  better 
flavor.  The  healthful  elements  of  the 
wheat  make  them  nourishing.  Just 
enough  extra  bran  to  be  mildly  laxative. 

Everybody  likes  Kellogg's  Pep  Bran 
Flakes.  Just  watch  the  children  eat  them. 
For  their  luncheon  or  evening  meal  you 
couldn't  give  them  a  finer  dish. 

Your  grocer  has  these  better  bran 
flakes.  Look  for  the  red-and-green  pack- 
age.   Made  by  Kellogg  in  Battle  Creek. 

Important— Kellogg's  Pep  Bran  Flakes  are  mildly 

laxative,  all-bran — another  Kellogg  product — is  100% 

bran  and  guaranteed  to  relieve  constipation. 


PEP  BRAN  FLAKES 

WITH   OTHER  PARTS  OF  WHEAT 


PEP 

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WITH  OTHER  PARTS 
OF  WHEAT 


Hollywood  Puddings! 


Jobyna    stirs    one — and    that's 
Dick's    weakness    now 


Now  that  winter  is  just  a  memory  and  we  are  tired  of  the 
heavier,  heat-producing  foods,  let's  make  a  pudding.     A 
light,  frothy  pudding,  in  keeping  with  springtime  moods 
and  tastes. 

Jobyna  Ralston  has  contributed  one  of  those  easy-to-make 

and  delightful-to-eat  brown  tapioca  puddings  for  Photoplay's 

Cook  Book.    The  children  will  adore  it — it's  the  kind  of  dessert 

that's  both  good,  and  good  for  them. 

First  you  add  two-thirds  cup  of  ordinar>'  tapioca  to  one  quart 


.a^ 


Photoplay  Magazine 
750  N.  Michigan  Ave.,  Chicago,  111. 

Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  150  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


Be  sure  to  write  name  and  addresa  plainly. 
You  may  send  either  stamps  or  coin. 


of  water,  letting  it  soak  for  an  hour.  Then  add  two  and  two- 
thirds  cups  of  brown  sugar,  one  cup  of  finely  chopped  nuts,  and 
just  a  pinch  of  salt.  Mix  thoroughly  and  cook  in  a  slow  oven 
until  thick,  being  careful  to  stir  it  often.  Cool  in  icebox  and 
serve  with  whipped  cream. 

The  busy  housewife  will  appreciate  the  fact  that  this  dessert 
can  be  made  early  in  the  day  and  left  in  the  icebox  until  needed. 

Richard  Arlen's  favorite  is  Peach  Cabinet  Pudding,  so  it  is 
safe  to  assume  this  is  the  one  served  oftenest  at  the  Arlen  table. 
This  is  a  much  fancier  recipe  than  Jobyna's  and  is  suitable 
for  quite  a  formal  dinner.  You  will  need  the  following  in- 
gredients: 


/  cat!  peaches 

J  3  cup  powdered  sugar 

2  tablespoons  sherry  flavoring 

1  tablespoon  brandy  flavoring 

Z  cups  milk 


Yolks  3  eggs 

Whiles  3  eggs 

34  cup  sugar 

J^  teaspoon  salt 

l]/2  tablespoons  granulated  gelatine 


2  tablespoons  cold  water 

Drain  the  peaches  and  cut  in  quarters.  Sprinkle  with 
powdered  sugar  and  pour  the  flavoring  over  them. 

Then  make  a  custard  of  the  milk,  egg  yolks,  sugar  and  salt, 
and  just  before  removing  from  fire  add  gelatine,  which  has 
been  soaked  in  cold  water.  Strain  this,  and  when  slightly 
cooled,  add  the  liquor  drained  from  the  peaches.  Stir  until 
the  mixture  begins  to  thicken.  Then  add  whites  of  eggs  beaten 
stifT. 

Line  a  mould  with  the  peaches,  pour  in  the  custard,  and  chill. 

Carolyn  Van  Wyck. 

13 


14 


Photoplay  Magazine — Advertising  Section 


So 


UND 


i-    -f-    ^    ^    ^    ¥- 


CTURES 

a  pro  dad  ofi/ie 


Leading  producers  who  use 
exclusively  the  Western 
Electric  system  of  sound 
pictures : 

WARNER  BROS. 

FOX  FILMS 

VICTOR  TALKING  MACHINE 

PARAJIOUNT  FAMOUS  LASKY 

METRO.GOLDWYN-JLVYER 

UNITED  ARTISTS 

FIRST  NATIONAL 

UNn-ERSAL 

HAL  ROACH 

CHRISTIE 

COLUMBIA  PICTURES 

HAKOLD  LLOYD 


When  it  is  a  Sound 
Picture  the  director 
discards  his  mega- 
phone.  The  sensitive 
microphone  must  not 
pick  up  even  a  tvhis- 
per  to  interfere  with 
the  sound  in  the 
actioiu 


Western  Electric, 
working  with  produc- 
ers and  exhibitors,  has 
made  possible  a  new 
art   of  entertainment 


Out  of  a  half  century's  experience,  engineers 
in  the  Bell  Telephone  Laboratories  developed  for 
Western  Electric  the  first  successful  system  of 
sound  pictures. 

This  system,  which  embraces  both  Vitaphone 
and  Movietone,  has  been  adopted  as  standard  by 
the  country's  leading  motion  picture  producers. 

These  producers,  on  their  part,  have  had  to  create 


The  monitor,  operating  delicate  apparatus,  controls  the  volume 
of  sound  from  actors  or  orchestra  and  sound  machines. 


a  new  studio  technique  to  introduce  desired  sounds 
into  the  picture  and  to  keep  undesired  sounds  out. 
And  exhibitors  in  more  than  two  thousand 
theatres  have  shown  characteristic  eagerness  to 
serve  their  public  by  equipping  their  houses  with 
the  Western  Electric  sound  system.  Science,  art 
and  business,  working  shoulder  to  shoulder  have 
accomplished  it. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  l9  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Telep/i 


to/ie^ 


\  Yesterday's 
dream  is 
today^s  fact 


MOVING  pictures  with  sound  are  here!  This  new, popular 
entertainment  made  possible  by  Western  Electric  is 
less  than  three  years  old,  but  already  it  has  taken  such  strides 
as  to  make  certain  of  continuing  development  and  wide 
application. 

Hear  leading  stars  of  motion  pictures,  opera,  concert  and 
stage  in  lifelike  renderings  when  you  see  them  on  the  screen. 

Hear  and  see  the  world's  greatest  personalities  as  they 
talk  from  the  screen. 

Hear  intelligent  orchestral  accompaniment  to  feature 
pictures — played  from  the  screen. 

Hear  the  actual  roar  of  the  airplane,  the  thunder  of  gal- 
loping hoofs,  the  scream  of  the  locomotive's  whistle. 

What  was  yesterday's  dream  is  today's  fact.  And  tomor- 


row.' 


Here  is  an  art  now  in  the  early  stages  of  its  develop- 
ment which  is  revolutionizing  the  field  of  motion  picture 
entertainment. 


Westerd 

SOUND 


liven  in  the  theatre  projection  booth,  Sound 
Pictures  have  brought  a  new  technique,  which 
Western  Electric  equipment  serves. 


\Etectric 

SYSTEM 


When  you  write  to  advertisers  please  mention  niOTOPLAT  MAGAZINE. 


i6 


Photoplay  Magazine — Advertising  Section 


Fashion  decrees  that  the  figure  be 
slender  and  graceful.  Women  who  are 
fat  in  spots — in  the  abdomen,  hips, 
throat,  underarm,  or  elsewhere — need 
no  longer  worry! 

Simply  use  the  wonderful  Frances 
Jordan  Reducer  10  minutes  daily!  It 
does  away  with  massage  treatments — 
with  hot  baths,  dieting,  strenuous  exer- 
cise, and  drugs.  It  removes  the  fat  iust 
where  you  want  it  renxoved — no  where 
else.  There  is  no  discomfort — no  exer- 
tion— no  wrinkles  nor  flabby  flesh! 

The  Frances  Jordan  stimulates  the 
circulation  and  the  fat  spots  are  ab- 
sorbed. It  relieves  constipation  and 
tones  up  the  nerves. 

This  remarkable  Frances  Jordan 
originally  sold  for  $15.00.  Very  large 
sales  now  permit  us  to  sell  direct  to  you 
for  $5.00.  Act  today!  Send  $5.00  in 
cash,  money  order  or  check.  Satisfac- 
tion guaranteed  or 
paoney  refunded. 


tDUCER 

Frances  Jordan,  Inc. 

8kg  rnance  building.  philadelphia  , 


ARTIfT^EAl^  MORE 

Througli  art  training  you  may  find  the  way  to 
a  large  income.  Hundreds  of  successful  students 
of  the  Federal  School  of  Illustrating  are  now 
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are  making  even  more.  Through  the  Federal 
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big  money  themselves — give  you  their  drawing 
secrets.  la  your  spare  time  at  home  you  may 
learn  their  methods  of  Illustrating,  Cartooning, 
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eral Training.  Send  us  your  name,  age,  occupa- 
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BOW  LEGS  and  KNOCK- 
KNEES  UNSIGHTLY 

Those  aifllcted  wUh  BOW 
LEGS  .sliould  wear  the  ■■PER- 
FECT LEG  FORMS"  and 
overcome  thia  derormity. 
Trousers    hans    perfectly 

Straight,  Mndc  of  thp  highest  grndc 
Aluminum.  SftiiiUiry,  light,  Duruhlc 
Easy  to  put  on  or  off.  Send  for  booklet 
flhowing  photoB  of  men  with  and  with- 
out the  'TERFECT  LEG  FORMS." 

PERFECT  SALES  CO. 
HO  N.  Mayfleid  Ave.,  Dept.  54,  CHICAGO 


Brief  Reviews  of  Current  Pictures 

[  CONnNUED  FROM  PAGE  6  1 


•  DUMMY,  THE — Paramount. — In  this  excel- 
lent all-talking  crook  melodrama,  two  Holly- 
wooders — ZaSu  Pitts  and  Mickey  Bennett — steal 
honors  from  a  lot  of  stage  stars.     {A  pril.) 

DUTY'S  REWARD— Elbee.— More  cops,  crooked 

politics,  etc.    i^Dec) 

ELIGIBLE  MR.  BANGS,  THE— Coronet-Educa- 
tional.— A  clever  little  dress-suit  comedy  in  one  reel, 
with  Edward  Everett  Horton  fane.     {April.) 

ETERNAL  LOVE— United  Artists.— John  Profile 
Barrymore  and  Camilla  Horn  get  romantic  in  the 
Swiss  Alps.     {April.) 

EVA  AND  THE  GRASSHOPPER— UFA— Some 

remarkable  insect  photography  and  a    not-so-good 
modern  story.     Anyway,  a  novelty.     iFeb.) 

FAKER,  THE— Columbia.— Well  done  expose  of 
spiritualistic  charlatans,  with  Warner  Oland  fine  as 
the  phoney  spook-chaser,     (April.) 

FIRST  KISS,  THE— Paramount.— Young  love, 
played  by  Fay  Wray  and  Gary  Cooper  and  set  in  a 
deep  sea  background.     (November.) 

FLEET'S  IN,  THE— Paramount.- Clara  Bow 
among  tlie  sailors.  Of  course,  you  won't  miss  it. 
(November.) 

FLOATING  COLLEGE,  THE— Tiffany-Stahl.— 
Eased  on  one  of  those  university  cruises,  lliis  picture 
had  possibilities  that  aren't  realized.  (March.) 

FLYIN'  BUCKAROO,  THE— Pathe.— How  to 
capture  bandits.     (Feb.) 

•  FLYING  FLEET,  THE— Metro-Goldwyn- 
Mayer. — The  training  of  a  flyer,  told  with 
thrills,  accuracy  and  an  absence  of  bunk.  It's  a  real 
picture;  you  'II  like  it.     (Feb.) 

FORBIDDEN  LOVE— Pathe —English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damita.     (Dec.) 

•  FOUR  DEVILS— Fox.— Dramatic  and  beauti- 
fully presented  story  of  Continental  Circus 
life,  with  great  performances  by  Janet  Gaynor. 
Charles  Morton  and  Barry  Norton.  You'll  want  to 
see  it.     (Dec.) 

FUGITIVES  —  Fox.  —  Conventional  story  of  a 
wronged  girl  and  a  Horatio  Alger  district  attorney. 
(.March.) 

FURY  OF  THE  WILD— FBC— More  real  meat 
for  Ranger.     (November.) 

GERALDINE — Pathe. — Light  and  amusing  com- 
edy with  Marion  Nixon  and  Eddie  Quillan.    (Jan.) 

GHOST  TALKS,  THE— Fox.— A  talkie  farce. 
Plenty  of  laughs.     (Feb.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 
little  slow  but  pleasant  enough.  Sally  O'Neil  wears 
her  one  expression.     (Dec.) 

GIRLS  WHO  DARE— Trinity.  —  Sleuths  fail  to 
find  a  reason  for  this  picture.  Who  cares  if  girls  do, 
after  this  one?     (April.) 

GLORIOUS  TRAIL,  THE— First  National.— 
Ken  Maynard  and  Tarzan  work  on  that  first  overland 
telegraph  line.     You  know  the  rest.     (March.) 

GRAIN  OF  DUST,  THE— Tiffany-Stahl.— Inter- 
esting drama  based  on  the  David  Graham  Phillips 
novel,  with  the  grief  rather  heavily  stressed.    (Nov.) 


GUARDIANS  OF  THE  WILD— Universal.— 
Too  bad  that  Rex.  the  wonder  horse,  can't  write  his 
own  stories  and  put  some  horse-sense  into  them. 
(November.) 

GUN  RUNNER,  THE— Tiffany-Stahl.— Bullets 
and  romance  in  a  South  American  republic.  Frothy 
entertainment.     (Feb.) 

HARDBOILED— FBC— Hackneyed  story  about 
a  gold-digging  show  girl,  but  well  played  by  Sally 
O'Neil  and  Donald  Reed.     (April.) 

HARVEST    OF    HATE,    THE— Universal.— In 

which  the  great  talents  of  Rex.  the  wild  horse,  are 
ignored  to  make  footage  for  a  trite  romance.    (Jan.) 

HAUNTED  HOUSE,  THE— First  National.— 
Too  much  Chester  Conklin  and  not  enough  mystery. 
(November.) 

HAUNTED  LADY,  THE— Universal.— Laura 
LaPlante  knows  who  did  the  murder,  but  is  afraid  to 
tell.    She  and  the  story  are  good.     (April.) 

HEAD  OF  THE  FAMILY,  THE— Gotham.— 
Rather  cuckoo  farce.     (Jan.) 

HEY,  RUBE— FBC— Carnival  life  film  that  has 
the  real  stuff.  ( Dec.) 

•  HIS  CAPTIVE  WOMAN— First  National- 
Getting  away  witli  murder  in  the  South  Seas. 
However,  good  performances  by  Milton  Sills  and 
Dorothy  Mackaill  make  this  melodrama  worth  your 
attention.     With  sound  and  talk.     (March.) 

HIS  LAST    HAUL— FBC— Just  a  tear   jerker. 

(Dec.) 

HIS  LUCKY  DAY— Universal.— Another  flimsy 
story  for  Rpggy  Dennv.  with  the  star  a  dizzy  realtor. 
(April.) 

HIS  PRIVATE  LIFE— Paramount.— One  of 
those  French  farces  that  is  full  of  doors  and  bores. 
However,  it  has  Adolphe  Menjou.  (Dec.) 

HOLLYWOOD  BOUND  —  Warners.  —  Talkie 
farce  that  sounds  as  though  it  had  been  written  by 
someone  who  never  had  been  nearer  Hollywood  than 
Parsons,  Kans.     (November.) 

HOMESICK — Fox. — Sammy  Cohen  as  a  New 
York  tourist  in  California.     Fairly  funny.  (Dec.) 

•  HOME  TOWNERS,  THE  —  Warners.— 
Smoothest  talkie  so  far.  Good  lines,  by  George 
M.  Cohan,  and  a  fine  performance  by  Doris  Kenyon. 
(Dec.) 

HONEYMOON  ABROAD— World  Wide  Pictures. 
— Monty  Banks  in  a  spotty  comedy  made  in  London 
and  Paris.    (April.) 

HOUSE  OF  SHAME,  THE— Chesterfield.— Do- 
mestic drama — if  that's  what  you  want.     (Feb.) 

HUNTINGTOWER  —  Paramount.  —  Imported 
Scotch — celluloid.  With  Sir  Harry  Lauder  and  a  lot 
of  atmosphere.     (Feb.) 

I  FORBID — Fan-Maid  Pictures. — An  over-ripe 
Kosher  film  of  breaking  hearts.     (November.) 

IN  HOLLAND — Fox  Movietone — Another  by 
those  fine  stage  comedians.  Clark  and  McCullough. 
(April.) 

•  IN  OLD  ARIZONA— Fox.— Pointing  the  way 
to  bigger  and  better  talkies.  A  fine  Western 
that  pleases  the  eye.  the  ear  and  the  dramatic 
instinct.     (.Feb.) 

I  CONTINUED  ON  PAGE  143  ] 


Photoplays  Revie-wed  in  the    Shadow    Stage   This  Issue 

Save  this  magazine — Refer  to  the  criticisms  before  you  pic\  out 
your  evenings  entertainment.     'bAa\e  this  your  reference  list. 


Page 

Alibi — United  Artists 56 

Behind  Closed  Doors — Columbia 57 

Betrayal — Paramount 55 

Born  to  the  Saddle — Universal 108 

Bridge  of  San  Luis  Rey,  The— M.-G.-M.  56 

Brothers— Rayart 108 

Chinatown  Nights — Paramount 56 

Close  Harmony — Paramount 54 

Hearts  in  Di.xie — Fox 55 

Hot  Stuff— First  National 56 

House  of  Horror,  The — First  National.  57 

Letter,  The — Paramount 54 

Lone  Wolf's  Daughter,  The — Columbia.  57 
Lure    of    the    South    Seas,    The — Co- 
operative   108 


Page 

Mysterious  Island,  The— M.-G.-M .54 

Navajo — Goodwill 108 

Peacock  Fan,  The— Chesterfield 108 

Royal  Rider,  The— First  National 108 

Shanghai  Rose — Rayart 57 

Sideshow,  The — Columbia 57 

Sonny    Boy — Warners 56 

Speakeasy — Fox 55 

This  Is  Heaven — Goldwyn-United  Ar- 
tists    56 

Trail  of  the  Horse  Thieves,  The— FBO. .  108 

Voice  of  the  Storm,  The— FBO 108 

When  Dreams  Come  True — Rayart .  .  .  108 
Winged  Horseman,  The — Universal.. . .  57 
Woman  I  Love,  The— FBO 108 


Brery  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


FPe  toM  you 
to  pt*^patre 
for  thie  best 

»ud 


Photoplay  Magazine— Ai)vi;iiri.siNG  Section 

''A 


17 


H 

it 


ere 
IN  I 


A  film  M'hosc  ''^ 
g:reatne§s  jj 

lias   taken       ||) 
Los  Ang^eles     I  ■ 
by  storm  at 
its  brilliant 
World 
Premiere. 

It  will  come 
to  j'onr  city 
SOOIV! 


Read! 

Read! 

"All  Los  Angeles 
flanked  the  scene  with 
popping  eyes.  The 
most  ambitious  effort 
of  Frank  Lloyd  since 
his  memorable  "The 
Sea  Hawk."  Excels 
that  picture  in  spec- 
tacular elements.  One 
of  the  best  examples 
of  the  new  art  of 
synchronization."— 
Los  Angeles  Evening 
Press. 

"One  of  the  most 
picturesque  films  of 
the  year.  No  set  has 
been  more  artistically 
•Jesigned  or  photo- 
graphed. Miss  Griffith 
sings  several  songs 
and  very  prettily." — 
I.MS  Angeles  Eveninz 
Herald. 

"If  Lady  Hamilton 
were  half  as  lovely  as 
Corinne  Griffith  you 
couldn't  blame  Lord 
Nelson  for  being  will- 
ing to  sacrifice  fame, 
wife  and  all  else  for 
ber." — Los  Angeles 
Examiner. 

"  Lovely  l>eyond 
comparison  in  its 
embellishments  of 
setting  and  costume." 
— Los  Angeles  Times. 


Every  picture  a 
"Double  Feature 


When  you  write  to  advertisers  please  mention  PHOTOrLAY  !inr.  \ztvt- 


Teacher,  housewife,  office  worker,  beauty  specialist,  nurse,  actress,  journalist,  saleswoman — these  are 
just  a  few  of  the  careers  which  women  follow  so  successfully.     How  shall  a  girl  choose  wisely  from  such  a 

tempting  and  varied  list? 

Friendly  Advice  from  Carolyn  Van  Wyck  on 

Girls'  Problems 


DEAR  CAROLYN  VAN  WYCK: 
More  than  anything  else  in  the  world 
I  want  to  be  a  movie  actress.  I  feel  sure 
I  would  be  successful  because  I  have  always 
done  well  in  amateur  theatricals.  I  am  attrac- 
tive looking  and  my  features  photograph  well. . 
My  health  is  good,  and  I  have  a  small  nest-egg 
to  tide  me  over  until  I  begin  to  earn. 

My  parents  think  I  should  enter  a  business 
office  and  be  a  secretary.  I  took  a  stenographic 
course  at  high  school  and  could  easily  brush  up 
on  my  speed.  But  how  can  I  become  inter- 
ested in  business  when  in  my  heart  there  is  just 
one  career  I  long  for?  I  know  it  isn't  all 
glamour  and  that  acting  isn't  easy,  but  I  would 
be  satisfied  with  even  a  small  success. 

My  folks  think  that  if  I  fail  I  will  come  home 
discontented,  with  warped  views  about  life. 
I'm  old  enough  to  take  care  of  myself  and  I 
wouldn't  be  afraid  of  hard  work  and  loneUness, 
and  even  deprivation.  Don't  you  think  I 
should  have  my  chance? 

hortense  m. 

T~\ear  Carolyn  Van  'Wyck: 
-*-'  My  father  is  a  physician  on  the  staff  of  a 
city  hospital.  He  never  had  a  son  to  follow  in  his 
footsteps,  but  all  his  life  he  has  hoped  I  would 
take  up  nursing  when  I  was  old  enough  to 
choose  a  profession.  And  I  know  I  am  disap- 
pointing him  cruelly  by  planning  to  enter  a 
normal  school  to  begin  my  training  as  a  teacher. 

But,  Mrs.  Van  Wyck,  proud  as  I  am  of  my 
father's  fine  work,  I  don't  feel  I  am  suited  to 
the  e.xacting  demands  of  a  nurse's  life.  I  have 
been  brought  up  in  the  atmosphere  of  hospitals 
and  doctors  and  I  want  to  get  away  from  it 
now.  I  would  like  to  get  into  a  small  town 
school  and  settle  down  and  become  part  of  the 
community  hfe. 

I  have  the  patience  which  is  essential  to  both 
professions,  but  I  know  I  would  be  happier 
teaching.  And  yet,  I  hate  to  make  this  im- 
portant decision  alone.  My  mother  will  not 
advise  me.  She  would  like  me  to  make  my 
father  happy,  but  she  doesn't  feel  it's  right  to 
influence  me  one  way  or  the  other.  She  says 
I'm  old  enough  to  choose  for  myself.  What  do 
you  think? 

Cecile  G. 

IS 


Hundreds  of  letters  like  these  from  Hortense 
and  Cecile  come  to  me  every  month.  A  girl 
has  reached  an  important  turning-point  in  her 
life  when  she  faces  the  problem  of  choosing  her 
career,  and  while  older  and  wiser  persons  may 
guide  her,  the  real  decision  must  be  hers.  She 
alone  knows  what  things  she  can  give  to  her 
work  and  what  things  she  must  get  from  it. 
She  must  analyze  her  abilities  and  her  limita- 
tions. She  must  try  to  gauge  her  capacity  for 
plodding  along  under  dull  routine  without  be- 
coming drab  and  stale  herself.  It  is  for  her  to 
decide  whether  she  is  equal  to  the  brilliant 
performances  required  by  certain  professions, 
such  as  acting  and  writing.     Can  she  let  her 


What  Career  Shall 
I  Ckoose? 

Is  This  Month's  Discussion 

SO  many  fascinating  vocations  from 
which  to  make  a  choice.  So  many 
roads  beckoning  to  the  girl  who  is 
ready  to  shoulder  her  share  of  the 
world's  work.  No  wonder  she  is  a 
little  bewildered. 

Perhaps  I  can  help  you  solve  this 
difficult  problem.  Write  me  some- 
thing about  yourself,  your  abilities  and 
talents,  your  opportunities  and  aims. 

You  may  have  other  questions  to  ask 
—what  clothes  and  colors  are  suited  to 
you,  what  to  do  to  make  hair  and  com- 
plexion more  attractive. 

For  a  personal  reply,  or  for  my  skin 
pamphlet,  be  sure  to  enclose  a  stamped, 
self-addressed  envelope.  Other  letters 
will  be  answered  as  quickly  as  possible 
in  the  magazine.  Ten  cents  will  bring 
you  my  booklet  on  sane  reducing. 

Write  me  in  care  of  PHOTOPLAY 
Magazine,  221  West  57th  Street, 
New  York. 

Carolyn  Van  Wyck 


imagination — all  the  brilliancy  of  mind  and 
spirit — flare  up  in  her  work,  and  remain  poised 
and  normal  in  her  private  hfe? 

TvJO  matter  what  work  she  chooses,  she  mil 
■'■  ^  have  to  make  some  compromises.  The  girl 
who  follows  a  profession  may  have  to  renounce 
some  of  the  joys  of  a  quiet  home  hfe.  The  girl 
to  whom  home-making  most  appeals  may 
dream  a  little  wistfuUy  of  the  glamour  and 
glory  of  public  hfe.  Each  has  to  weigh  the 
sacrifices  of  her  chosen  career  against  the  re- 
wards. Great  love  for  her  work,  and  the  con- 
sequent joy  in  the  doing  of  it,  will  compensate 
her  for  many  seeming  sacrifices. 

So  much  has  been  said  and  written  on  the 
subject  of  the  amateur  who  tries  to  break  into 
the  movies  that  it  seems  hardly  necessary  to 
repeat  it  here.  Out  of  every  thousand  girls  who 
are  swept  off  their  feet  by  the  urge  to  see  them- 
selves among  the  romantic  shadows  of  the  sil- 
ver screen,  I  suppose  there  is  one  who  has  that 
rare  thing  which  we  duUy  call  "dramatic 
ability,"  and  the  requisite  physical  quahdes 
to  make  her  a  successful  actress. 

And  before  that  one  girl  has  the  chance  to 
prove  her  power,  there  are  a  hundred  hurdles 
to  be  jumped,  a  hundred  disappointments  to  be 
faced.  There  are  so  many  lesser  talents  trying 
to  make  a  place  for  themselves,  and  there  is 
room  for  so  few,  that  she  is  lost  in  the  crowd. 
Only  by  great  good  luck,  transcendent  beauty 
or  abihty,  or  after  long  and  gruelling  days, 
weeks,  months,  and  sometimes  years  of  striv- 
ing is  she  able  to  make  a  definite  place  for  her- 
self. In  no  other  profession  that  I  know  of  are 
the  odds  so  against  one. 

My  advice  to  Hortense  is  this: 

Unless  you  have  studied  the  special  require- 
ments of  this  profession  and  feel  sure  you  are 
peculiarly  fitted  for  it — • 

Unless  you  have  money  enough  to  hve 
modestly,  but  in  proper  surroundings,  for  at 
least  a  year — a  year  in  which  you  may  earn 
nothing,  or  only  a  few  dollars  here  and  there — 

Unless  you  have  the  stamina  and  moral  fibre 
to  meet  disappointment  after  disappointment 
without  losing  courage,  to  meet  temptation 
with  firmness — 

I  CONTINLTED  ON  PAGE  98  ] 


Photoplay  Magazine — Advertising  Section 


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Photoplay  Magazine — Advertising  Section 


VoteJ. 

tne  i^oveliest 

of 


t 


'7 


F.  SCOTT   riTZGERAXD 

COR1\£I.Ii;S  VA]VDERBILr,jR. 

JOHN   BAJRKYMORE 


Mrs.  Hester,  snapped  beside  the  Plaza 
fountain  in  New  York  City.  She  has 
used  Ifoodbury's  ever  since  she  can 
remember,  and  has  a  skin  like  a  child's. 


Mrs.  George  Franklin  Hester  of  Richmond,  Virginia  .  .  chosen 
from  Woodbury  beauties  of  48  States  as  the  loveliest  of  wives 


SHE  is  tall,  slim  as  a  wand,  with  beautiful 
bright   brown  eyes,  full  of  golden  lights, 
and  a  skin  like  a  Marechal  Niel  rose. 

Her  face,  seen  in  repose,  is  grave  and  rather 
dreamy.  When  she  smiles  it  breaks  into  a  look 
of  enchanting  mischief — of  lovely  archness. 

She  was  born  in  Richmond,  Virginia,  and 
comes  of  a  long  line  of  Southern  beauties. 
She  made  her  debut  at  eighteen,  and  four 
years  later  she  married — a  young  Southerner 
like  herself.  She  is  still  in  her  early  twenties. 

The  things  that  interest  her  are  music  and 
books,  beautiful  color,  texture,  line.  She  is  a 
musician,  and  has  studied  the  violin  since  she 
was  five.  She  plays  golf  to  please  her  husband 
and  the  piano  to  please  herself.  "Butterfly" 
is  her  favorite  among  modern  operas;  "  The 
Bridge  of  San  Luis  Rey"  among  recent  books. 

She  opens  her  eyes  in  wonder  at  Northern 


women — their  energy,  dash,  ambition.  "They 
all  do  things— in  the  South  we  just  live." 


/^UTOF  HUNDREDSof  beautifulWood- 


bury  users,  on  whom  we  called  in  big 
cities,  in  little  towns  throughout  the  country — 
three  distinguished  judges  are  choosing  the 
loveliest  of  each  type  .  .  .  Each  month  their 
photographs  will  appear.  They  represent 
thousands  upon  thousands  of  women  through- 
out America  who  today  owe  the  charm  of  a 
fresh,  clear,  beautiful  complexion  to  daily  care 
with  Woodbury's  Facial  Soap  .  .  .  Commence, 
now,  to  take  care  oi  your  skin  with  this  won- 
derful soap!  Begin,  tonight,  to  gain  the  charm 
of  "A  Skin  You  Love  to  Touch!" 

We  shall  be  happy  to  send  you  a  delightful  Wood- 
bury set,  containing  a  trial  cake  of  Woodbury's  Facial 
Soap,  the  Facial  Cream  and  Powder,  the  Cold  Cream, 
the  treatment  booklet,  and  directions  for  the  new  com- 
plete Woodbury  Facial,  for  10  cents  and  your  name 
and  address.  The  Andrew  Jergens  Co.,  2209  Alfred  St., 
Cincinnati,  Ohio.  For  Canada,  The  Andrew  Jergens  Co., 
Ltd., 2209  Sherbrooke  St.,  Perth, Ont.   O  1929,The  A.  J.  Co. 

Every  adverllscment  in  PHOTOPLAY  M.\G.*ZINE  la  guaranteed. 


Marriage  seems  to  her  an  absorbing  career 
in  itself.  She  doesn't  see  how  married  women 
find  time  for  outside  jobs — "especially  when 
they  have  babies."  She  says  she  isn't  an  old- 
fashioned  wife  or  a  new-fashioned  wife — 
"just  a  wife!" 

She  has  used  Woodbury's  Facial  Soap  ever 
since  she  can  remember,  and  she  has  the 
loveliest  skin  in  the  world;  soft  as  a  child's, 
dazzlingly  white,  with  deep,  vivid  color  in  lips 
and  cheeks. 

"I  am  thrilled  at  being  chosen  a  Woodbury 
beauty  by  three  such  distinguished  men,"  she 
declared.  "I  love  Woodbury's  Facial  Soap. 
To  me  it  is  the  perfect  soap  for  the  skin.  It 
has  a  special  delicacy  and  mildness  that  I've 
never  found   in   any  other  soap." 


f  t  'wo  years  ago  Maria  Casajuana, 
I  a  smouldering  Spanish  beauty, 
was  pulling  telephone  plugs  in  a 
telephone  exchange  in  Barcelona.  Fox, 
on  the  lookout  for  sultry  types,  staged 
a  beauty  contest  in  Spain,  and  Maria 
stopped  giving  wrong  numbers  long 
enough  to  win.  In  just  a  little  time 
she  was  saying,  "Hello,  Hollywood!" 
They  changed  her  name  to  Maria 
Alba,  taught  her  English  and  smart 
dressing,  and  gave  her  a  part  in  a  two 
reel  comedy.  Since  then  she  has  played 
in  "Blindfolded,"  "Road  House,"  and 
"Joy  Street,"  and  there  are  big  parts 
to  come.  Fox  thinks  she  has  one  of 
the  most  distinctive  personalities  among 
younger  film  players.  Barcelona  papers, 
please  run  "Home  Town  Girl  Makes 
Good" 


/5  ITTL'E  Janet  Gaynor  came  rolling  into  fame  on  the  tidal  wave  of  "The  Johnstown  Flood," 

q/       the  Fox  film  special  of  several  years  ago.     Since  that  watery  photoplay,  her  rise  has  been 

V^  skyrocketish.    Her  first  great  success  was  "7th  Heaven,"  and  her  work  in  "Sunrise"  and 

"Street  Angel"  fixed  her  firmly  in  the  affections  of  the  fans.    Janet  is  the  prize  Sweet  Little  Girl 

of  filmland 


Thomas 


(Tfyf  ?HEN  Diane  Ellis,  Pathe's  new  and  extremely  deadly  blonde,  wants  to  get  reminiscent, 

yy    she  sits  down  at  a  typewriter  and  pecks  out,  "Now  is  the  time  for  all  good  men  and  true 

to  come  to  the  aid  of  their  party."    For  she  was  a  stenographer  when  the  sleuths  of 

filmdom  found  her  and  discovered  that  she  filmed  like  a  million  dollars.    You  saw  her,  no  doubt, 

in  "The  Leatherneck" 


Bull 


/T'f'E^  years  back,  when  romantic  drama  was  the  thing,  Marion  Da  vies  contributed  such 

^_^y]_     lavish  films  as  "When  Knighthood  Was  in  Flower."     She  stepped  to  zippy  modern  farce 

with  "The  Patsy"  and  "Show  People."    Now,  with  the  talkies  at  their  height,  the  song- 

and-dance  thing  is  here.    And  Marion  is  polishing  up  her  steps  and,  under  the  tutelage  of  Albertina 

Rasch,  learning  some  new  ones 


Hommcl 


y^ORAL  REEFE,  in  this  case,  is  not  the  name  of  a  new  Florida  subdivision,  but  that  of  the 
i  chiffon  frock  worn  in  this  picture  by  the  highly  ornamental  Esther  Ralston  of  Paramount. 
\^  The  attention  of  you  ladies  is  called  to  the  bolero  jacket  embroidered  in  pearls  and  brilliants. 
And  the  attention  of  young  gentlemen  needs  to  be  called  to  the  contents  of  Coral  Reefe,  and  so 

forth.    Or  does  it? 


Louise 


(TT  /  5ILLIAM  HAINES  looks  out  upon  a  pleasant  and  generous  world,  and  seems  to  find  it 

y/y     all  quite  nice.  Once  tagged  as  the  smart-aleck  of  Metro'Goldwyn-Mayer,  Smiling  Willie 

seems  to  have  settled  down  into  the  traces  and  to  be  taking  his  stellar  labors  seriously. 

Watch  him  in  "Alias  Jimmy  Valentine"  and  "The  Gob."    But  he  will  always  be  just  a  big,  prank' 

some  boy  to  most  of  us ! 


^.oieeae^^M^ 


Illustrated     for    you 
here  ia  Model  772  of 
Rayon  crepe,  with    hip 
panels    of    elastic.     It    is 
softly  lined  with  sateen  in 
front  and  back.     $3.50. 

The    dainty  uplift   bandeau   of 
radium  silk  is  $1.00. 


'0 


WELL  PROPORTIONED  — gracefully  curved  —  gallantly 
poised  .  .  .  there  is  no  charm  like  that  of  a  lovely  figure. 

College  Girl  foundations  are  designed  to  protect  lovely 
figures,  designed  to  assist  figures  to  loveliness.  You  will 
find  in  them  a  new  comfort,  a  new  delight  in  your  costumes. 

THE  JACKSON  COMPANY,  JACKSON,  MICHIGAN 

Creators  of  College  Girl  Foundation  Garments 

276  Fifth  Avenue,  New  York  —  36  South  State  Street,  Chicago  —  819  Santee  Street,  Los  Angeles 

J>\vision  of  Associated  Apparel  Indttstries,  Inc. 


jLiow  the  Ltovely   Underthings 


worn 


by  B 


are  kept  like  new 


In  New  York's  famous  Fashion  Salons  sheer 
lingerie  and  stockings  worn  by  mannequins 
are  kept  '■'■Like  new  twice  as  long  with  Lux" 


ISN'T  it  every  girl's  problem  nowa- 
days— keeping  sheer  things  lovely  in 
spite  of  everyday  wear? 

Now  famous  Fifth  Avenue  dressmakers 
have  solved  this  very  problem  of  yours! 

Mannequins  in  these  exclusive  salons 
must  wear  lingerie  as  exquisite  as  the 
gowns  they  model.  Of  course  these  sheer 
things  must  be  charmingly  fresh  and 
new  looking.   Yet  they  must  last! 

By  actual  tests,  these  exclusive  houses 
have  found  that — 

"The  enchanting  loveliness  of  manne- 
quins' lingerie  and  stockings  is  actually 
re-newed  again  and  again  with  Lux  .  .  . 
and  with  Lux  these  sheer  things  stay  like 
new  twice  as  long. " 

Other  world-famous  authorities  on 
lovely  clothes  agree!  All  Hollywood's 
great  movie  studios — New  York's  gor- 
geous musical  shows — buyers  in  132 
leading  department  stores  find  that  "Lux 
actually  doubles  the  life  of  fabrics 
whether  of  sheer  or  of  sturdier  weave" 


EAUTIFUL 


M 


ODELS 


A  GLIMPSE  BEHIND  THE  SCENES  in  a  Jamous  Fifth 
Avenue  salon,  showing  beautiful  girl  models  preparing  to 
display  smart  gowns.  New  York's  exclusive  dressmakers — 
Bergdorf-Goodman,  Hickson,  Jay-Thorpe,  Hattie  Carnegie, 
Kurzman,  Tappe,  Frances  Clyne,  Milgrim,  Stein  and  Blaine, 
and  Bruck-Weiss — all  insist  on  Lux! 

WHAT  IS  THE  MAGICAL  SECRET  OF  LUX  ?  Why  does 
Lux  cleansing  keep  fine  things  like  new  so  much  longer?  Be- 
cause Lux  is  made  of  the  finest  materials  known  —  by  a 
special  very  costly  process  .  .  .  Lux  has  no  harmful  alkali, 
as  many  soaps  have,  whether  flakes,  chips  or  cakes.  And  with 
the  instant  Lux  suds  there  is  no  rubbing  to  weaken  or  strain. 


The     National     Guide     to     Motion     Pictures 


[TRADE  HARK] 


May,  1929 


Close-Ups  and  Long-Shots 


By  James  R,  Quirk 


THE  agile  Douglas  Fairbanks  is 
all  hot  and  bothered  these  days. 
Having  bumped  off"  D'Artag- 
nan's  screen  life,  and  sent  his  latest 
opus  forth  to  gather  in  a  few  million 
more  shekels,  he  is  running  up  his 
blood  pressure  raving  over  the  low 
state  of  literature  in  the  bawdy  and 
irreverent  motion  picture  magazines. 

Seems  as  how  the  fan  magazines  ain't  done 
right  by  the  gods  and  goddesses  of  Beverly 
Hills  and  the  sacred  Academy  of  Motion  Picture 
Arts  and  Sciences. 

TT  TE  depraved  and  scurrilous  editors  are  al- 
^^  ways  belittling.  We  have  no  manners 
and  we  do  not  know  our  place.  Furthermore,  a 
fan  magazine  writer  was  seen  passing  the 
Hollywood  hotel  where  the  holy  light  of  the 
Academy  burns,  without  removing  his  hat  and 
bowing  his  head. 

And  what's  more,  the  magazines  are  making 
fortunes  blackmailing  and  blackjacking  the 
reluctant  screen  actors  into  permitting  their 
pictures  to  be  seen  by  millions  in  national 
advertisements. 

I  AOUGLAS  endorses  cigarettes  with  frequent 
■^-'^  reference  to  the  name  of  his  new  picture, 
and  once  Mary's  beauty  adorned  thousands  of 
drug  store  windows,  but  that's  difi"erent.  The 
king  can  do  no  wrong,  and  it  is  some  time  since 
the  queen  accepted  a  large  check  for  such 
purposes. 

Now,  Photoplay  has  no  quarrel  with  Mary. 


Put  it  right  down  in  your  notebook 
that  Mary  Pickford  is  just  as  genuine 
and  sweet  today  as  ever.  That's  one 
hundred  per  cent  of  both  qualities; 
and  we  are  happy  to  inform  you  that 
our  Hollywood  secret  service  reports 
that  she  has  done  a  grand  job  of 
acting  in  her  new  picture  "Coquette." 


"D  UT  Sir  Douglas  has  gone  in  for  reform,  and 
-*~^riding  beside  him  into  the  fray  is  the  goodly 
squire,  Conrad  Nagel.  Mounted  on  palfries  of 
righteousness  and  indignation,  and  all  decked 
out  in  the  panoply  of  their  screen  fame  and 
academic  honors,  they  have  assigned  to  them- 
selves the  job  of  pummeling  the  fan  magazines 
into  submission. 

Splendid  actors  and  worthy  gentlemen  both, 
and  no  doubt  well  meaning.  So  were  Don 
Quixote  and  Sancho  Panza,  but  you  cannot 
blame  the  intended  victims  for  snickering  a 
little  as  they  break  ofif  their  lances  in  the  sails  of 
windmills. 

Be  yourself,  Doug.  Be  yourself,  Conrad. 
You  are  motion  picture  actors  and  as  such  are 
generally  taken  seriously.  But  when  you  start 
tilting  at  windmills  you  are  in  danger  of  becom- 
ing ridiculous. 

TT  all  seems  to  have  started  in  earnest  when 
-^-another  motion  picture  publication  ran  an 
interview  about  Friend  Conrad  which  he 
claimed  was  a  deliberate  misrepresentation. 
The  writer,  it  seems,  did  not  take  his  subject 
seriously.    In  fact,  he  indulged  in  a  little  fun  at 

22 


the  expense  of  the  widely  press-agented  gentle- 
man, and  the  article  got  Conrad  so  hot  his 
collar  almost  caught  fire. 

Conrad  took  an  evening  ofif  and  composed  an 
irate  letter  to  the  editor,  complained  that  the 
writer  was  "an  Englishman,  educated  abroad, 
and  admitting  an  abiding  contempt  for  our 
American  institutions,  including  churches." 

"TS  it  possible,"  he  asks,  "for  a  foreigner,  with 
J-such  views,  to  properly  place  before  Amer- 
ican readers  an  accurate  picture  of  our  film 
players?  I  doubt  it.  .  .  .  With  best  wishes  for 
the  continued  success  of  your  magazine,  .  .  . 
etc.,  etc." 

My,  my,  the  rascal  should  be  deported. 
Horrible  fellow. 

Disrespectful  to  our  institutions  and  churches, 
and  all  that  sort  of  thing. 

Beastly,  I  calls  it. 

Then,  while  in  the  mood  for  irating,  Conrad 
grabs  several  more  sheets  of  paper  and  writes 
me  a  long  lecture  on  the  publishing  business, 
the  art  of  criticism,  and  the  ethics  of  adver- 
tising. 

He  complains  among  other  things  of  our  ad- 
vertising, pointing  particularly  at  the  Gossard 
Corset  advertisements  which  we  have  always 
been  proud  to  have  in  Photoplay. 

THAT  reminds  me.  Conrad  was  so  nice 
about  telling  me  all  about  how  to  run  a 
magazine  that,  after  seeing  him  in  "The  Re- 
deeming Sin,"  I  really  must  ofifer  to  go  out 
and  give  him  a  few  lessons  in  acting.  I 
don't  know  any  more  about  acting  than  he 
does  about  the  publishing  business,  but  I  like 
to  be  helpful. 

DOUG  has  gone  about  the  matter  in  another 
way.  He's  going  right  into  the  publishing 
business  and  show  us  all  up.  Yes  sir.  A  group 
of  the  immortals  who  run  the  outfit  have  tied 
the  Academy  of  Motion  Picture  Arts  and 
Sciences  up  with  a  comparatively  small  fan 
magazine  published  in  Hollywood  that's  going 
to  publish  NOTHING  BUT  THE  TRUTH  about  pic- 
tures and  picture  people.  If  they  do  that  they 
ought  to  have  a  million  circulation  in  no  time. 
Photoplay  wouldn't  dare  to  be  so  rash. 

Our  bounding  star  is  out  to  sell  advertising, 
too.  He  wired  many  of  the  motion  picture  con- 
cerns in  the  East  asking  for  advertising  support 
for  the  official  academy  paper,  and  proclaimed 
that  his  paper  would  represent  the  motion  pic- 
ture industry  and  personalities  "with  clean, 
interesting  and  truthful  information,"  and  adds 
coyly,  "The  amount  of  good  this  publication 
can  do  by  influence  with  fan  public  and  example 
to  other  publications  is  tremendous." 

We  wired  Douglas  asking  if  he  included  us  in 

30 


this  brave  generalization,  but  he  ducked  adroit- 
ly and  answered  that  there  was  no  intent  to 
reflect  either  on  Photoplay  or  any  other 
publication.  Guess  he  was  panning  "The 
Christian  Herald"  or  "The  Police  Gazette." 

THE  internal  revenue  folks  are  just  a  little 
hard  on  the  motion  picture  actors.  A  law 
is  a  law  and  they  are  bound  to  carry  it  out,  but 
it  does  seem  that  they  should  realize  that  there 
are  trade  customs  in  Hollywood  as  well  as  in 
Detroit  or  Pittsburgh. 

Since  the  beginning  it  has  been  almost  an 
unwritten  law  that  the  stars  drawing  big  salaries 
should  live  in  a  style  befitting  their  income.  It 
is  part  of  the  business  to  make  a  show  of  pros- 
perity, and  just  as  a  salesman  spends  for  busi- 
ness entertaining  and  travelling  expenses,  it  has 
been  the  universal  practice  for  prosperous 
motion  picture  people  to  go  to  unusual  expense 
to  keep  themselves  in  the  limelight  of  publicity. 

The  government,  however,  says  no,  and  a 
lot  of  the  stars  are  now  suffering  from  acute 
income  tax  pains.  With  few  exceptions  they 
draw  the  big  salaries  for  a  few  years,  and  it  is 
hard  enough  to  lay  a  few  dollars  away  for  the 
rainy  days  that  generally  follow  the  bright 
light  of  popularity. 

IN  Montreal  they  won't  permit  children  under 
sixteen  to  go  to  the  movies  without  adult 
chaperonage.  But  girls  may  marry  at  fourteen. 
Imagine  a  wife  calling  up  her  mother  and  say- 
ing, "Ma,  hubby  is  late  at  the  office  (or  at  the 
brewery,  as  the  case  may  be)  and  won't  you 
come  and  take  me  to  see  'Speakeasy'.-*  I  hear 
it's  good." 

EIGHTY  letters  from  readers  today  about 
sound  pictures.  Seventy-one  in  praise. 
Nine  to  the  contrary.  And  in  every  single  case 
the  nine  objectors  haven't  seen  one  of  the  really 
fine  pictures  released  in  the  past  few  months. 

That  seems  to  settle  the  controversy.  The 
public  likes  good  ones,  and  dislikes  the  poor 
ones  made  during  the  early  experimental  stages. 

The  Western  Electric  Company,  which  de- 
veloped the  first  successful  system  for  sound 
pictures,  has  taken  a  very  wise  step.  They  are 
advertising  to  the  public,  not  claiming  perfec- 
tion, not  making  claims  beyond  the  actual 
merits  of  their  truly  wonderful  scientific  de- 
velopment, but  asking  indulgence,  and  assuring 
continued  effort  toward  perfection  in  their  own 
magical  instruments  and  in  studio  technique. 

Only  two  thousand  theaters  are  now  equipped 
but  this  company  is  throwing  all  its  resources 
into  speeding  up  the  making  of  this  delicate 
equipment,  and  it  is  doubtful  that  in  two  years 
there  will  be  a  motion  picture  theater  of 
any  consequence  that  is  not  "wired."  I 


"  You  Are 
Looking 

Well!" 


An  untold  story  of 
the  dark  days  when 
the  then  unknown 
Gilbert  Roland 
spent  eight  months 
in  a  California  sana- 
torium 

By 

Katherine  Albert 


By  one  of  those  remarkable  twists  of  fate  which  could 
happen  no  place  but  in  Hollywood,  Gilbert  Roland  and 
Katherine  Albert  were  botli  patients  in  the  same  sanatorium 
five  years  ago. 

They  came  back  from  the  brink  of  the  valley  with  that 
perfect  health  which  only  fighting  spirit  can  give.  A  nd  the 
comradeship  built  in  the  struggle  will  never  die.  It  is  ex- 
pressed in  one  grim  battle  cry — a  secret  that  Gilbert  Roland 
has  always  kept  close  to  his  heart.  Katherine  Albert  tells 
it  here  only  because  it  is  a  message  of  victory,  of  what 
determination  and  the  will  to  live  can  do  for  one  whom  the 
doctors  say  may  die. 

WHEN  I  saw  Gilbert  Roland  at  the  United 
Artists  Studios  not  long  ago,  he  said,  "  You're 
looking  well." 

I  gave  him  an  appraising  stare.  "You're 
looking  well,  too,  Gilbert.  Don't  look  as  if  you  had  ever 
been  ill  a  day  in  your  life." 

Only  we  two  knew  the  tragedy  in  those  trite  lines. 
Behind  them  was  the  stor>'  of  half  a  year  of  bondage. 

"  You  are  looking  well." 

"  You  are  looking  well,  too." 

This  has  the  same  significance  as  a  fraternal  pass  word. 
It  bespeaks  the  days  when  health  was  the  rising  and 
setting  of  the  sun,  the  Einstein  theory  and  bread  and 
butter. 

Gilbert  Roland  spent  eight  months  at  Barlow's  Sana- 
torium. He  was  there  before  I  came  and  the  first  time  I  ever  saw 
him  was  the  day  that  I  was  installed.  A  white  aproned  nurse  had 
carried  my  grip  over  to  my  cottage.  I  think  I  was  crying  a 
little  as  I  followed,  because  I  saw,  in  a  haze,  Gilbert  and  two 
other  boys  walking  down  the  road.  They  looked  so  brown  and 
healthy  that  I  was  cheered. 


George  Cannons 


It  is  a  far  cry  from  the  ill  and  lonely  Louis  Alonzo,  a 
discharged  department  store  worker,  to  Gilbert 
Roland,  leading  man  to  Norma  Talmadge.  The 
transformation  is  one  of  those  things  that  could 
happen  only  in  Hollywood 

I  saw  a  lot  of  Gilbert  after  that.  There  were  eight  of  us  who 
clung  together.  We  were  the  younger  ones  (Gilbert  was  only 
eighteen  at  the  time).  We  might  get  well  and  we,  unlike  the 
hopeless  cases,  could  begin  every  sentence  with,  "When  I  get 
out  of  here  ..." 

The  boys  and  girls  were  divided      [  continued  on  page  130  ] 

31 


THE  BRIDE 

The  amazing 
story  of  the 
strangest  ro- 
mance in  Hol- 
lywood's weird 
and  wonderful 
history 


She  Fell  in  Love 


WHEN  reduced  to  the  bare  facts,  the  important 
happenings  of  life  often  assume  sensational  sig- 
nificance. 
Who  would  suspect  that  beneath  the  well  ordered 
affairs  of  Corinne  Griffith  lies  a  story  so  unique,  so  weird,  so 
bizarre  that  it  challenges  credence! 

On  January  twenty-first,  1924,  she  married  Walter  Morosco 
inabarroominTiaJuana,  Mexico.  Corinne  Griffith!  Patrician 
of  Hollywood,  orchid  of  the  screen,  aristocrat  of  the  film  world. 
Married  in  a  Tia  Juana  bar!  With  the  whir  of  the  little  ivory 
ball  and  the  call  of  the  croupier  from  the  back  room  replacing 
the  strains  of  Lohengrin,  with  the  clink,  of  ice  in  tall  glasses, 
with  the  clatter  of  slot  machines  and  the  clanging  din  of  the 
mechanical  piano  in  the  corner,  she  entered  wedlock  in  a  cere- 
mony more  remarkable,  more  original,  more  startling  than  any 
yet  conceived  by  scenario  writer  or  director. 

The  uninvited  guests  were  Mexicans  and  a  sprinkling  of  Japs 
and  Chinese  with  here  and  there  a  dissipated  American.  There 
were  ribald  jests  in  guttural  tones  from  the  Mexicans,  bland 
silence  from  the  Orientals,  and  maudlin  respect  from  the  Amer- 
icans who  stood  with  doffed  hats,  sensing  sublimity  in  this 
strange  occasion. 

To  Corinne  Griffith,  however,  it  was  a  bit  unreal,  a  bit 
theatrical,  almost  a  bit  absurd. 

Shortly  before  her  marriage,  her  husband  had  been  in  the 
plumbing  business.  She  married  him,  first  of  all,  because  she 
wanted  to  love  him.  She  was  not  interested  in  men  at  the  time, 
but  she  wanted  to  be  interested  in  Walter.  He  was  considerate, 
he  was  sincere,  he  had  a  marvelous  sense  of  humor  and  an  in- 
tuitive appreciation  of  dramatic  art  inherited  from  his  father. 
She  thought  that  he  would  make  a  good  husband.    His  sagacity 

S2 


and  understanding  of  the  problems  in  the  motion  picture  busi- 
ness seemed  uncanny.  He  worshipped  her  devotedly,  and  she 
knew  that  it  was  inevitable  that  some  day  she  would  love  him  as 
he  loved  her. 

In  no  sense,  of  course,  did  she  consider  herself  undignified  by 
these  strange  proceedings  in  a  foreign  saloon.  Even  in  the  San 
Francisco  Bar,  with  the  border  habitues  for  an  audience,  with 
the  sizz  of  seltzer  bottles  punctuating  the  dolorous  words  of  the 
prefect,  Corinne  Griflith  was  still  the  patrician,  still  the  aristo- 
crat. Straight  and  tall  she  stood,  dominating  the  situation  with 
as  much  assurance  as  if  it  had  been  merely  the  rehearsal  of  a 
scene  in  a  picture,  and  commanding  the  respect  of  all  who  felt 
her  presence.  A  peculiar  glow  of  sunlight  filtered  through  the 
shuttered  windows  and  reflected  from  the  polished  surface  of  the 
bar.  It  lit  the  participants  with  an  almost  ethereal  effect. 
Finally  it  caught  the  attention  of  the  Mexicans  and  their  levity 
changed  to  awe.  Many  crossed  themselves,  considering  the 
light  a  sacred  omen,  a  religious  significance  for  good. 

WHEN  the  function  had  ended,  the  prefect  handed  Walter 
the  marriage  certificate  to  sign.  Quite  gallantly  he 
passed  it  to  Corinne.     But  the  official  interrupted. 

"No,  no,"  he  said.    "In  Mexico  the  man  signs  first!" 

And  that  was  the  one  grim  touch  of  humor.  They  all  laughed 
loudly  at  the  jest  as  they  affixed  their  signatures  to  the  docu- 
ment on  the  bar  .  .  . 

Of  course,  the  wedding  in  the  saloon  was  wholly  an  accident. 
Plans  for  the  event  had  been  arranged  the  week  before,  and  it 
was  originally  intended  that  the  ceremony  should  take  place  in 
the  office  of  the  prefect  above  the  saloon. 

But  Walter's  grandmother  was  convalescing  from  a  siege  of 


THE  GROOM 


Before  the  glass-littered 
bar  of  the  San  Francisco 
Saloon  in  Tia  Juana,  a 
Mexican  prefect  married 
Walter  Morosco  and  Co- 
rinne  Griffith.  Neither 
understood  a  word  of  the 
ceremony  that  founded 
one  of  the  hs.ppiest  homes 
in  all  filmland !  Love  moves 
in  a  mysterious  way  its 
wonders  to  perform! 


Illustrated  by 

Frank  Godwin 


with  Her  Husband 


illness  and  had  been  unable  to  negotiate  the  steep  flight  of  stairs 
that  led  to  the  Mexican  ofticial's  cluttered  quarters.  Perforce, 
then,  the  affair  was  conducted  in  the  bar. 

Neither  the  bride  nor  groom  understood  the  ceremony, 
neither  could  read  the  marriage  certificate  that  they  signed. 
Yet  there  was  drama  in  the  occasion,  the  drama  of  ridiculous 
contrasts  that  became  sublime. 

A  few  days  following  the  event  they  sailed  for  Honolulu  on 
their  honeymoon,  and  none  knew  of  the  wedding  until  their  re- 
turn. In  fact,  this  is  the  first  time  the  true  story  of  that  mar- 
riage has  ever  been  told.  It  is  significant  because  it  was  the 
first  wedding  in  Mexico  of  American  cinema  celebrities,  and  it 
set  the  precedent  for  such  sensational  unions  as  the  Lita  Grey- 
Charlie  Chaplin  affair  and  the  ]\Iadge  Bellamy-Logan  Metcalf 
match,  not  to  mention  other  conspicuous  elopements  which 
have  transpired  since. 

Had  it  not  been  that  neither  wanted  the  world  to  know  of 
their  matrimonial  ventures,  their  wedding  might  have  been  one 
of  those  elaborate  church  happenings  for  which  Hollywood  is 
famous. 

CONSIDERING  the  tradition  of  his  family  and  the  fact  that 
he  had  been  reared  in  the  atmosphere  of  the  stage,  it  was  but 
natural,  of  course,  for  Walter  to  switch  his  activities  from  com- 
mercial fields  to  the  cinema  realm.  He  disposed  of  his  interests 
in  the  plumbing  fixtures  and  supplies  establishment,  gave  up  the 
idea  entirely  of  being  a  big  pipe  and  joint  man,  and  thus  became 
free  to  follow  the  dictates  of  much-cherished  desires.  And  it 
was  not  long  until  he  made  his  mark  in  the  film  world.  In  fact, 
he  did  so  well  for  Warners  that  they  wanted  to  advance  him 
rapidly  as  director.     But  he  chose  to  forego  this  opportunity 


By 

Mark  Larkin 


and  to  devote  himself  exclusively  to  the  development  of  his 
wife's  career. 

There  is  probably  no  more  delicate  or  whimsical  story  in  all 
of  Cupid's  archives  than  the  complete  romance  of  Corinne 
Griffith  and  Walter  Morosco.  Its  very  inception,  even,  was 
intriguing.  They  met  at  the  Ambassador,  at  a  "Rooster-and- 
Hen"  party  which  was  among  the  most  resplendent  ever  given. 

CORINNE  did  not  know  then,  of  course,  that  some  da}'  she 
would  marry  Walter. 

But  Walter  knew.  From  the  very  first  moment  that  he  laid 
eyes  on  her  he  knew.  So  he  asked  Jack  Pickford  to  introduce 
him — deliberately  he  asked  it,  with  malice  aforethought. 

And  that  is  how  the  romance  began. 

There  were  two  large  tables  in  the  Cocoanut  Grove  that 
night — one  graced  by  feminine  beauty,  the  other  reflecting  the 
glory  of  man. 

Both  were  gorgeous  in  decorative  splendor.  In  the  center  of 
the  table  occupied  by  the  ladies,  a  pert  and  amused  hen  held 
sway,  her  bright  comb  and  sleek  feathers  of  white  icing  a 
tribute  to  the  cunning  of  the  chef.  This  was  the  piece  dc 
resistance  in  the  decorative  scheme  of  things;  all  else — favors, 
incidental  table  dress — contributed  to  the  elegance  of  the 
centerpiece. 

At  the  table  of  the  men,  this  same     [continued  on  page  90] 

33 


How  They  Manage 


Pickfair.    Replica  of  an  eighteenth  century  domain,  built  on  the  top  of  a  hill  and  set  in  twelve 

acres  of  California  landscape.     Beauty  and  order  reign  everywhere,  within  and  without.     An 

exquisite  setting  for  happiness  and  hospitality 


E 


An 


VEN  European  nobility  angles  for  invitations  to  Pick- 
fair — that  home  which  Doug  and  Mary  built  high  upon  a 
sunny  Beverly  hill  in  California  soon  after  they  became 
Mr.  and  Mrs.  Douglas  Fairbanks, 
aura  of  glamour  surrounds  it — even  for  the  neighbors. 


One  can  cut  no  end  of  a  dash  by  having  been  a  guest  of  Mary 


and  Doug.     One  then  has  a  popular  subject  of  conversation 
forever  after. 

Inside  the  hallowed  portals  Mary's  pet  name  for  Doug  is 
"Tiller,"  and  Doug's  pet  name  for  Mary  is  "Hipper."  These 
are  strictly  reserved  for  the  chummiest  occasions. 

About  four  years  ago,  when  it  was  decided  the  house  should 

be  made  a  httle  more  dis- 
tinguished, a  famous  Cali- 
fornia decorator  was  called 
in.  She  recommended  tear- 
ing down  and  rebuilding. 

"Oh,  Tiller,  shall  we?" 
sighed  Mary. 

"Certainly  not,  Hipper!" 
snorted  her  lord  and  master. 
"We  built  this  together! 
We'll  improve  it — add  to  it 
— but  the  same  old  house 
stands." 

(We  suspect  that  at  this 
point  Mary  squeezed  Doug's^ 
hand — then  went  forth  to 
do  battle  with  the  deco- 
rator.) 


A  corner  of  Doug's  room. 
This  room  is  often 
turned  over  to  some 
honored  or  well-loved 
guest,  at  which  times 
Doug  cheerfully  retires 
to  the  sleeping  porch 


their  IT. 


omes 


Doug  and  Mary's  Pick- 
fair — not  just  a  show- 
place  but  a  real  homCy 
gracious  and  beautiful 

By  Alma  Whitaker 


"CACH  month  Photo- 
-^^PLAY  will  take  you  to  a 
famous  Hollywood  home. 
These  will  not  be  casual 
visits — but  they  will  reveal 
every  detail  of  the  house  and 
its  management.  Photo- 
play will  show  you  the 
machinery  of  Hollywood 
home  operation.  In  turn 
Photoplay  will  present 
the  homes  of  Charlie  Chap- 
lin, Corinne  Griffith,  Marion 
Davies,  Harold  Lloyd,  and 
Milton  Sills 


Then  it  was  the  decorator  who  sighed.  Thereafter  she  con- 
fined her  flights  of  fancy  to  creating  a  suitable  frame  for 
America's  Mary — to  transforming  the  old  home  into  an  ex- 
quisite replica  of  an  18th  Century  domain. 

Twelve  acres  of  gorgeous  California  landscape  surround  the 
house  on  the  hilltop.    There  are  flower  beds  and  arbors  galore, 
and  much  of  the  ground  near  the  foot  of  the  hill  has  been  left 
with  its  own  wild  beauty,  where  nature  has  already  planted 
many  flowering  shrubs. 

Then  there's  the  swimming  pool,  scene  of  many  joyous 
parties  during  the  long  summer  days.  A  sheikish  looking 
marquee  contains  comfy  chairs  galore,  cushioned  with 
bright  oil  cloth  that  wet  bathing  suits  cannot  spoil.  There 
are  snug  dressing  rooms  behind  taU  shrubs. 

ON  the  lawn  stands  a  replica  of  the  famous  "Rising 
.Sun"  bronze  which  won  so  much  discriminating  praise 
at  the  Panama-Pacific  E.xposition.  And  there  are  impudent 
cupid  fountains  and  picturesque  Italian  garden  seats  in 
profusion. 

The  automobile  entrance  to  this  home  is  not  impressive 
— just  a  door  into  domesticity,  shrouded  with  precious 
hand-made  lace. 

One  mounts  a  mere  flight  of  steps  to  the  house,  but  oh, 
the  vision  of  loveliness  that  greets  one  in  the  hallway  at  the 
head  of  the  stairs! 

Its  floor  is  polished  parquetry,  with  never  a  rug  to  mar  its 
shining  charm.  It  is  a  gallery  rather  than  a  hall,  lined 
with  precious  brocaded  18th  Century  chairs,  their  white 
wood  mellowed  with  age.  Lovely  cabinets,  mirrors,  an 
occasional  picture.  This  is  where  guests  enjoy  dancing 
and  bridge  after  small  dinner  parties. 

The  dominating  color  scheme  of  the  house  is  a  cool,  pale 
green,  rich  and  infinitely  soft.  Heavy  rugs  of  this  color 
cover  most  of  the  floors  where  rugs  are  used. 

The  huge  living  room  also  has  this  bare,  patrician  effect. 
Rich  goldenrod  yellow  curtains  reach  from  floor  to  ceiling 
— but  no  drapes  are  allowed  to  mask  the  view  in  any  of  the 
downstairs  rooms.     A   complete  suite  of   18th   Century 
furniture  was  obtained  for  this  room,  the  lovely  tapestry 
standing  forth  unshrouded  by  any  pillows.     One  Mercier 
painting  of  three  girls  adorns  a  wall.    A  white  grand  piano 
is  draped  with  a  priceless  an- 
tique throw — but  on  its  Na- 
poleonic stool  sits  Little  Mary, 
adopted    by    Big    Mary   from 
sister    Lottie,    practising    her 
very  modern  scales. 

Little  Mary  is  already  taller 
than  Big  Mary — a  happy,  for- 
tunate little  girl.  She  attends 
public  school  in  Beverly  Hills, 
but  has  a  governess  at  home. 

On  the  mantel  stands  a  clock 


that  graced  the  Tuileries  in  Napoleon's  time,  and  some  hand- 
some old  candelabra. 

On  a  little  French  table  in  one  corner  stands  a  picture  of 
Lord  and  Lady  Mountbatten,  inscribed  "To  Doug  and  Mary, 
from  Edwina  and  Dickie." 

And  on  a  cabinet  is  a  miniature  of  Lillian  Gish,  one  of  Mary's 
dearest  friends  for  many  years.     Mary  is  an  inventive  girl. 


Reading  from  left  to 
right:  "Tiller"  and 
"Hipper' '—master  and 
mistress  of  Pickfair. 
They  believe  that  a 
man's  home  is  his 
castle  —  inviolate, 
sacred  to  the  family 
circle 


35 


First  of  Photoplay's  Hollywood  Home  Visits 


Doug  used  to  rush  through  the 
house  with  his  dogs,  leaving  the 
doors  wide  open.  So  Mary  con- 
cocted a  self-closing  sliding  door 
that  functions  perfectly.  And  she 
contrived  a  sliding  mirror  to  mask 
a  gaunt,  empty  fireplace  in  the  din- 
ing room  during  the  summer  season. 

THE  dining  table  has  a  satinwood 
top  that  came  from  the  late 
Baroness  Burdett-Coutts'  famous 
collection.  In  each  corner  of  the 
room  is  a  built-in  china  cabinet,  with 
mirrored  backs  to  set  off  the  porce- 
lain treasures.  None  of  the  rich 
silver  adorns  the  sideboard.  It  is 
all  kept  in  the  pantry. 

A  dainty  little  breakfast  room, 
with  a  circular  window  to  let  in  all 
the  sun,  is  carried  out  in  the  same 
period. 

Once  there  was  a  big  bush  out- 
side that  window  that  obscured  the 
view.  Mary  reluctantly  decided  to 
let  it  go.  But  when  the  gardener 
began  his  work,  he  found  a  bird 
sitting  defiantly  on  her  egg-filled 
nest  in  its  branches. 

"Build  the  tree  up  again  until 
her  eggs  are  hatched,"  came 
the  order  —  and  the  bush 
stood  until  the  day  the  mam- 
ma departed  with  her  young 
brood. 

The  house  is  filled  with 
clocks!  Scores  of  clocks  — 
mostly  small  ones,  and  in  all 
sorts  of  odd  shapes.  All  of 
exquisite  workmanship,  and 
all  marking  happy  hours. 
They  stand  everywhere,  and 
the  chorus  of  their  ticking  is 
soft  and  friendly. 

Actually,  the  home  of 
Doug  and  Mary  is  quite 
small.  There  are  only  four 
master-bedrooms,  for  in- 
stance. But  there  are  five 
reception  rooms,  because  the 
halls  are  furnished  cosily  as 
rooms. 

One  of  Mary's  prides  is  the 
"book  room" — not  the  li- 
brary, for  "That  would  sound 
so  formal,"  as  Mary  herself 
says. 

IN  the  snug  little  book 
room,  only  one  wall  of  vol- 
umes is  visible,  but  there 
Mary's  inventiveness  comes 
in  once  more.  These  shelves 
open  outward  on  hinges,  re- 
vealing two  more  walls  of 
books  behind  them.  No  vul- 
gar display  of  bookish  culture 
in  Pickfair! 

Because  of  the  scarcity  of 
bedrooms,  Doug  and  Mary 
often  turn  out  of  their  own 
quarters  when  the  house  is 
filled  with  guests. 

Actually,  they  have  only 
one  guest  room — even  as  you 
and  I.  And  so  a  big  sleeping 
porch    often    accommodates 

36 


Typical  Family  Dinner 
at  Pickfair 

Boiled  Halibut  with  Hot  Tartar  Sauce 
French  Fried  Potatoes 
Fillet  of  Chicken  a  la  Poulet 
Sweet  Potato  Croquettes 

Spinach  with  Egg  Sauce 

Hearts  of  Lettuce  with  French  Dressing 

Neapolitan  Baskets  with 

Hot  Chocolate  Sauce 

Coffee 

Formal  Dinner 

Caviar  Canapes 

Iced  Celery  Hearts  Salted  Nuts 

Consomme  with  Eggballs 

Lobster  in  cases 

Fillet  of  Beef  a  la  jardiniere 

Potato  Rings  Peas  a  la  Francais 

Roast  Wild  Duck 
Buttered  Wild  Rice 

Orange  Cream  Sherbet 

Romaine  Salad 

Custard  Souffle  with  Foam  Sauce 

Petits  Fours 

Crackers  and  Cheese 

Cafe  Noir 


The  living  room  at  Pickfair.    The  curtains  are  a 

rich  yellow,  the  rug  a  cool  green.     The  mantel 

clock  once  graced  the  Tuileries 


Titled  and  humble  feast  at  this   board.     The 

sliding  mirror  masking  the  empty  fireplace  in 

summer  is  Mary's  own  invention.     The  table 

top  was  once  part  of  a  famous  collection 


master  and  mistress  on  these  occa- 
sions. The  guest  room  is  furnished 
with  satinwood  furniture  —  pale 
gold  bedspreads  on  twin  beds, 
chintz  curtains,  long  mirrors. 

Want  to  peep  into  Doug's  room? 

It  looks  like  a  DuBarry  boudoir, 
with  its  famous  satinwood  beds, 
canopied,  from  the  house  of  the 
Baroness  Burdett  -Coutts.  But 
handsomely  framed  pictures  of 
Mary  look  from  all  corners.  Here 
are  books — "The  Care  of  Patience 
Worth,"  "Mind  Makes  Men 
Giants,"  "The  Biography  of  an 
Attitude,"  "Best  Plays  of  1927- 
1928,"  and  "The  Baffle  Book," 
crime  stories.  And  a  magazine 
turned  down  at  a  cigarette  adver- 
tisement wherein  the  name  of  the 
master  appears.     Doug! 


MARY'S  room  hasn't  been  done 
overyet  to  match  the  rest  of  the 
grandeur.  When  it  is  it  will  be  fur- 
nished with  undersized  furniture — 
because  she  is  such  a  tiny  chate- 
laine. 

But  now  it's  just  a  pretty  bed- 
room such  as  any  girl  might  have. 
A  three-quarter  white  bed 
with  lace  coverlet  over  pale 
pink,  and  lots  of  pillows. 
Gold  toilet  articles  on  a 
dainty  dressing  table.  A 
cupboard  crammed  with  hun- 
dreds of  pairs  of  No.  3  shoes. 
And  a  plain  white  bathroom 
like  yours  or  mine.  Off  the 
bedroom,  a  little  chamber 
where  Nugget,  the  world's 
star  canar}',  reigns.  Nugget 
is  known  to  the  family  as 
"  Baby,"  and  can  whistle 
i  "Yankee  Doodle"  and  "Over 
There" — I've  heard  him  do 
it.  He  accompanies  Mary 
everywhere — even  to  Europe, 
and  when  she  does  her  nails, 
he  perches  on  the  edge  of  the 
bowl  and  calmly  takes  a 
quiet  little  bath. 

LITTLE  Mary's  room  is 
really  very  grand,  because 
it  must  be  a  guest  room  too, 
now  and  then.  So  it  boasts 
handsome  twin  beds,  and  rich 
Venetian  furniture.  One 
pretty  little  cabinet  forms  a 
sort  of  shrine  for  a  picture  of 
the  much-loved  Grandma 
Pickford,  who  died  last  year, 
and  her  favorite  miniature  of 
Aunt  Mary  at  16.  Lots  of 
her  baby  dolls  keep  Little 
Mary  company,  but  her  toi- 
let articles  are  grown-up 
silver. 

The  upstairs  hall  is  a  de- 
lightful, chummy  lounging 
place,  with  deep  chairs,  writ- 
ing desks,  card  tables  and 
books. 

So  much  for  the  material 
Pickfair. 

[  CONTINUED  ON  PAGE  133  ] 


All-Star 

Bl  ONDE 


The  Hollywood  Bou- 
levardier  visits  the 
celebrated  Danish 
beauty  of  Idaho  and 
grows  a  little  inco- 
herent 

By 
Herbert  Howe 


Jeanette  Loff  was  born  in  the  town  of  Orofino, 
which  means  fine  gold  in  Spanish.  She  played  an 
organ  in  a  small  Oregon  movie  theater  until  Holly- 
wood beckoned.  Mr.  Howe  declares  that  she  is  the 
justification  of  gentlemen's  preferences 


SHE  was  born  in  the  Idaho  town  of  Orofino,  which  in 
Spanish  means  fine  gold;  she  moved  to  the  Canadian  tovyn 
of  Wadema,  which  is  Indian  for  mud-hole;  she  ended  in 
Hollywood,  which  is  a  mixture  of  both. 
This  month  has  been  just  one  Love  after  another  for  me: 
first  Bessie,  then  Jeanette.  I  know  Jeanette's  name  is  spelled 
Loff  but  that's  incorrect.  The  original  Danish  is  Lov  and  is 
pronounced  as  Lupe  Velez  pronounces  Love,  which  is  the  most 
poignant  way. 

Jeanette's  father,  coming  over  from  Denmark  with  his  Nor- 
wegian bride,  didn't  consider  Lov  a  proper  name  for  his  future 
progeny,  meaning  what  it  does  in  English,  so  he  changed  the 
spelling.  Thus  he  differed  from  D.  W.  Griffith  who  changed 
Juanita  Horton  to  Bessie  Love.  D.  W.  was  right,  Jeanette's 
papa  wrong.    Both  gals  are  Loves. 

Jeanette  lives  in  one  of  those  Spanish  apartment  casas  that 
Spaniards  come  to  Hollywood  to  copy  in  order  to  make  Spain 
Spanish  and  not  disappoint  tourists. 

I  fumbled  foolishly  at  the  iron  gate  while  a  male  duenna 
eyed  me  suspiciously.  (There  have  been  so  many  burglaries  in 
Hollywood  recently,  Phyllis  Haver  losing  her  jewels,  etc.) 
Inside  was  a  patio  resembling  Joseph's  coat  in  tile,  a  fountain 
and  a  fireplace  and  stairs  that  led  temptingly  above.  I  turned 
to  a  door  on  the  left  and  rapped.  A  small  casement  opened 
romantically,  as  in  a  speakeasy,  and  in  it  was  framed  the  in- 
toxicating vision  of  Lov. 

I  praised  her  discretion  in  peering  out.  When  you  are  both 
a  Lov  and  a  blonde  you  can't  be  too  careful  in  Hollywood. 
We  kidnap  or  sign  them  on  sight,  and  it's  often  the  same  in  the 
end. 

The  apartment  was  softly  dim.  Scandinavians,  I've  noted, 
choose  dark  backgrounds.     Maybe  it's   the  old  instinct  for 

Herb   tells   the    story   of   another   Love    on    Page   60 

37 


shutting  out  the  glare  of  snow.  Then  again  it's  possible  that 
dark  settings  are  more  becoming  to  blonde  sunniness. 

On  a  low  black  marble  table  an  everlasting  candle  burned  in  its 
rubv  glass,  the  sort  you  light  in  dim  cathedrals  and  place  before 
the  Virgin.  Jeanette  sat  squarely  before  it.  Jimmy  Fidler, 
who  accompanied  me,  asked  if  the  candle  was  symbolic  of  any- 
thing. Evidently  the  lad's  bringing  up  did  not  include  church- 
going.  I  explained  it  was  customary  to  burn  the  candle  before 
a  saint  or  virgin,  placing  at  the  same  time  a  quarter  or  more  on 
the  table. 

Jeanette  looked  at  her  bare  table  and  observed  vaguely  that 
her  candle  seemed  to  be  for  lighting  cigarettes.  This  seemed 
a  sacrilege,  looking  at  Jeanette.  Surely  one  should  leave 
something. 

PERHAPS  you  saw  Jeanette  in  "Hold  'em,  Yale."  Yale  held 
'em  and  "  Annapolis"  sent  for  Jeanette.  A  logical  sequel  for 
Jeanette  was  "Love  Over  Night." 

Jeanette  was  playing  an  organ  in  a  movie  theater  of  Oregon 
when  she  decided 'to  see  in  the  flesh  the  shadows  she'd  so 
musically  aided.  She  came  to  Hollywood  and  home  saw  her  no 
more.    I  repeat  that  we  kidnap  them  or  sign  them  on  sight. 

Though  Jeanette  has  been  in  Hollywood  less  than  three 
years  she's  all  set  to  go:  she's  played  in  a  Western,  been  dis- 
covered by  de  Mille,  and  is  getting  a  divorce. 

You  may  have  seen  her  in         [  continued    on   page     92  ] 


The  Great 

Talkie 

Sleep 


Test 


Old  Dr.  Hall 


By 


Prof.  Dr.  Leonard  Hall 

{Not  Yale) 

Aged  scientist  seems  to  prove  that  the  scream- 
ing cinema  need  not  spoil  your  movie  nap 


The  Famous  Case  D. 


TALKING  pictures  can  be  slept  through! 
Scientific  experiments,  conducted  in  my  New  York 
laboratories,   have  proven  that   the  great  bugaboo  of 
the   Blab   Films   has   been  blown  higher   than  a   film 
star's  nose. 

Laymen  have  long  feared  that  the  Screaming  Cinema 
sounded  the  death  knell  for  one  of  the  greatest  of  indoor 
pastimes.  Sleeping  at  the  Movies. 

My  researches  have  shown  that  this  is  not  the  case.  The 
talking  picture  is  safe  for  the  snoozer! 

I  chose  for  my  tests  my  best  girl,  to  be  called  hereafter 
Case  D.  She  was  selected  as  a  sleeper  of  no  ordinary  attain- 
ments. Among  her  best  known  slumber  feats  are  sleeping 
through  a  concert  by  Creatore's  Band,  the  late  eruption  of 
Mt.  Etna,  the  e-xplosion  of  a  gallon  of  cider  and  a  wreck  on 
the  Elevated.  When  awake  she  can  detect  a  dinner  bid  at  a 
quarter  of  a  mile — asleep,  she  will  miss  the  last  cornet  solo 
by  Gabriel. 

Case  D.  was  subjected  to  five  tests.    They  follow: 

"THE  HOME  TOWNERS."  Case  D.  slept  throughout  this 
picture.  Upon  being  awakened,  she  did  not  know  who  was 
in  the  cast,  what  the  film  was  about,  why  the  chicken  crossed 
the  road  or  the  name  and  location  of  the  theater.  She  had 
dreamed,  she  said,  that  Wallace 
Beery  was  pounding  her  on  the 
head  with  an  ax  helve. 

"MY  MAN."  Case  D.  dozed 
through  half  of  this  picture.  She 
remembers  Miss  Fannie  Brice  sing- 
ing "My  Man,"  but  does  not  recall 
hearing  Mr.  Al  Jolson  singing 
"Sonny  Boy."  When  told  that 
Mr.  Jolson  had  not  appeared  in  the 
picture,  she  eloquently  expressed 
nothing. 

"THE  TERROR."  Case  D. 
stayed  awake  through  four  fifths  of 
this  mystery  talker.  "I  was  fas- 
cinated by  Miss  Fazenda's  scream- 
ing," she  said,  "though  I  could 
easily  have  slept  through  the  entire 
picture." 

"THE  BARKER."  This  ex- 
cellent film  very  nearly  stumped 
Case  D.  She  succeeded  in  sleeping 
only  through  the  opening  sequence. 
"The  shouts  of  'Hey,  Rube'  awak- 
ened me,"  she  confesses.  "It 
sounded  so  personal." 


OLD  DR.  HALL,  Professor  of 
Newt  Culture  at  Handlebar 
University,  Nebraska,  is  one  of 
the  Halls  of  Montezuma,  men- 
tioned in  the  famous  Marine 
Hymn.  He  is  the  author  of 
"Through  Hollywood  with  Gun 
and  Camera,"  and  many  other 
unpopular  works.  For  the  past 
twenty  years  he  has  been  a 
familiar  figure  in  the  studios  until 
detected  and  thrown  out.  Next 
month  he  promises  another  un- 
reliable article,  this  time  on 
The  Ear-Plug  Test  for  Lisping 
Actors.  "I  have  a  message  for 
Photoplay  readers,"  says  Dr. 
Hall,  "but  I  just  can't  remem- 
ber what  it  is." 


"INTERFERENCE."  Case  D.  fell  apart  here,  remaining 
awake  through  the  entire  film.  She  refused  to  state  whether 
it  was  William  Powell  or  a  pin  sticking  her. 

These  experiments,  tabulated,  show  the  following  results, 
for  the  benefit  of  insomniacs  and  those  suffering  from  nervous 
disorders: 

"The  Home  Towners" 1.000 

"My  Man" 500 

*"The  Terror" 290 

"The  Barker" 100 

"Interference" 000 

*Twenty  percent  claimed  here,  and  allowed,  because  Case  D. 
had  just  had  two  helpings  of  cheese  cake. 

I  must  stress  the  fact  that  Case  D.  is  a  normal,  healthy 

young  woman,  not  given  to  the  use  of  strong  drink  or  narcotics. 

"I  have  often  been  awakened  by  the  crawling  of  a  June  bug," 

she  says,  "or  the  sound  of  an  eclair  falling  upon  a  feather  bed." 

The  satisfactory  results  of  these  experiments,  given  to  the 

world  here  for  the  first  time,  bring  a  message  of  cheer  to  You, 

and  You,  and  You.     They   prove   that   the  motion  picture 

theater  is  still  safe  for  those  seeking  rest  and  surcease  from  the 

horrors    and    perplexities    of    this 

naughty    world.      They    definitely 

make  known  the  fact  that  any  de- 
termined movie  sleeper  can,  with- 
out the  aid  of  opiates,  sleep  through 
any  photoplay,  sound  or  silent. 

Two  of  my  young  laboratory  as- 
sistants, Drs.  John  Gilbert  and 
Carl  Laemmle,  are  busily  engaged 
in  perfecting  what  we  scientists 
call  "the  selective  snoozer." 

This  device,  when  completed,  will 
allow  the  patron,  marked  X,  to 
sleep  through  all  sound  shorts  of 
jazz  bands,  sister  teams,  small-time 
vaudeville  comics,  amateur  opera 
singers,  Swiss  bellringers,  yodelers, 
xylophone  players  and  hoop-rollers. 
As  the  shorts  conclude,  two  well- 
trained  electrons,  accompanied  by 
several  ions  and  ohms,  will  ap- 
proach the  patron  and  nip  him  on 
the  ankle.  Thus  awakened,  he  is 
permitted  to  view  the  feature  howler 
with  no  more  discomfort  than  a 
slight  feeling  of  dizziness. 


Patent 

Not 

Applied 

For 


/^^LD  Dr.  Rube  Goldberg,  inventor,  describes  his  No-Snooze-At- 
(__^ Talkies  Device  thus:  Cross-eyed  hunter  shoots  at  decoy  duck  and 
misses.  The  bullet  hits  water  pipe  and  water  spouts  up,  saturating 
sponge  and  causing  its  weight  to  pull  string  and  start  electric  fan.  Fan 
blows  cold  air  off  cake  of  ice  and  gives  dwarf  a  chill.  Dwarf  moves  body 
and  waves  arms  in  effort  to  keep  warm,  ringing  large  bell  which  keeps 
young  lady  awake  during  talkie! 

39 


HOLUVW^OOD 


STUDIO  MURDERER 


Tlic  crime  that  baffled  the 
police  of  Los  A  ngelcs  is  solved! 

If  you  entered  solutions  in 
Photoplay's  $3,000  contest 
you  will  want  to  read  the  offi- 
cial solution.  But  before  you 
go  on,  read  a  resume  of  what 
Iws  gone  before. 

DiL<ight  Harden,  a  leading 
actor  of  the  Superior  Films  Company,  is  found  murdered  on  Stage 
Six,  following  a  night's  work  on  close-ups  alone  with  Franz  Sei- 
bert,  Superior's  ace  foreign  director. 

Police  investigation,  in  the  hands  of  Chief  Detective  Smith,  re- 
veals that  Seibert  and  Hardell  left  the  studio  at  12:17  A.  M.  It  is 
obvious  that  Hardell  must  have  found  his  way  back  unobserved, 
although  the  galeman  swears  to  the  contrary. 

As  the  investigation  progresses,  a  number  of  studio  workers  and 
players  come  under  direct  suspicion.  There  are  "confessions" 
under  puzzling  circumstances.  The  mystery  grows  more  baffling 
day  by  day. 

Now  read  what  actually  happened  and  check  tip  with  your  own 
solution. 


Confronted  with  Evi- 
dence, Franz  Seibert 
Kills  Himself 


CHAPTER  XVII 


I 


By 

The   Edingtons 


Th 


Studio 
Murder 

Mystery 


AM    at    my    office," 

came  the  excited  voice 

of    the    president    of 

"Superior  Films.    "Can 

you  come  right  out  here? 

It   iss  .  .  .  veil,   over   the 

phone  I  cannot  tell  you  .  .  . 

but    it    iss   very    important.  ..." 

"Has  something  happened?"  Smith's  pulses  quickened  to  the 
beat  of  excitement  in  the  voice  from  the  other  end  of  the  wire. 
"Mine  Gott,  yes!    At  the  show  I  got  it!    At  the  Orpheum! 
An  idea!   Please  to  come  right  away!" 
"Won't  it  wait  until  morning?" 

"Right  avay  I  must  see  you  or  I  vill  bust  vide  open!"  was  the 
graphic  response. 

"Well,  if  that's  the  case,"  laughed  the  detective,  "I  guess 
I'll  have  to  forego  my  beauty  sleep  and  toddle  out!  You  are  at 
the  studio?" 

"  Yes — in  my  office." 
"  All  right,  sit  tight.    I'll  be  there!" 

When  he  opened  the  door  Rosenthal  literally  pounced  upon 
him. 

" NefTer  in  my  life  hafif  I  been  so  vorked  up !  Ihaffit!  I  tell 
you  I  haff  it!"  he  shouted,  running  forward  and  pulling  the 
detective  into  the  room. 

"Is  it  contagious?"  asked  Smith. 


J*0 


DAILY  ELAGLE 


COMMITS  SUICIDE! 


"Yes,  yes!  Oi,  vat  am  I 
saying?  Mine  Gott,  I  hope 
not  vas  vat  I  mean!  You 
vas  only  trying  to  be  funny, 
eh?  I  tell  you  this  is  no 
time  to  be  funny!  I  haff  it 
I  tell  you!" 

Rosenthal's  eyes  were 
fairly    popping   out   of   his 

head  with  the  excess  of  his  agitation.  He  made  nervous,  futile 
gestures  at  his  hair,  his  clothing — pushed  papers  wildly  about  on 
his  desk.    All  the  time  his  breath  came  in  excited  gasps. 

"Well,  all  right.  You've  got  it,  old  man,  but  calm  down  long 
enough  to  tell  me  what  it  is,"  said  Smith,  lighting  a  cigar. 

"  First  I  tell  you  who  committed  that  murder!" 

Smith  looked  up  intently. 

"Who?" 

ROSENTHAL  came  over  and  whispered  a  name  into  his  ears, 
and  Smith  shook  his  head  with  a  dry  smile. 

"I  got  the  same  idea,  but  I've  just  checked  over  everything! 
Hardell  was  seen  by  at  least  five  people  after  he  left  this  studio 
in  Seibert'scar!" 

Rosenthal  protested  vehemently. 

"No  difference  does  that  make!  It  means  nothing!  You 
vait.  From  the  beginning  I  tell  you!  I  told  you  my  Rachel 
gets  tickets  for  the  Orpheum  tonight?  Oi,  ven  I  think  almost  I 
giff  them  to  Izzie  Cohen.    Veil,  first  I  am  bored  silly  .  .  .  ven 


Foreign  Director-Mur- 
derer Was  Member  of 
Occult  Society 


I  am  not  miserable  thinking 
about  my  vorries.  Same 
old  stuff  .  .  .  you  know  .  .  . 
a  bunch  off  dogs  yelping 
and  jumping  thru'  hoops, 
and  some  acrobats,  and  a 
man  vat  told  dirty  stories 
so  fast  between  nice  vones 
you  vas  laughing  at  vone 
ven  you  meant  to  be  laughing  at  the  other  .  .  .  veil,  anyvay 
Rachel  is  giffing  me  dirty  looks  because  I  onlj'  sit  and  groan. 

""K  /TINE  Gott,  something  comes  out  on  the  stage  that  hits  me 
J- VJLright  between  the  eyes!  Just  like  that!  The  minute  I  see  it 
the  idea  comes  .  .  .like  a  flash.  Up  I  jump,  and  grab  Rachel  by 
the  arm,  and  I  haff  to  slap  little  Izzie  because  he  busts  out  cry- 
ing, and  Rachel  she  von't  speak  to  me  all  the  vay  out  because  I 
made  her  step  on  a  man's  corns  and  he  bawls  her  out.  Veil,  it 
vas  fierce,  I  tell  you,  but  finally  I  get  them  out,  and  put  them 
in  a  taxi  and  send  them  home.  Then  right  avay  I  rush  out  here. 
Almost  I  haft'  a  collision,  but  I  don't  care  I  am  so  excited.  I  tell 
you  I  see  it  all!  I  know  that  iss  the  vay  it  happened!"  Rosen- 
thal drew  out  his  voluminous  silk  handkerchief  and  began 
mopping  his  brow.     Smith  saw  that  his  hands  were  shaking. 

"Quite  clear,"  he  said  dryly.     "But  what  you  neglected  to 
tell  me  is  .  .  .  who  came  out  .  .  .  and  what  did  he  do?" 

"The  man  .  .  .  the  actor  .  .  .  and  right  avay  I  see  that  iss 
the  vay  Hardell  vas  killed!  Listen  ..."  Rosenthal 
glanced  hastily  at  the  door  behind  Smith,  and  at 
the  windows.  Jumping  to  his  feet  he  pulled  down 
the  blinds,  crossed  to  the  door  and  locked  it.  Then 
he  drew  a  chair  up  close  to  Smith's,  and  leaning 
forward  began  whispering  rapidly  into  the  de- 
tective's ear,  his  eyes  darting  here  and  there  about 
the  room  as  though  the  very  walls  had  ears 
against  which  he  must  disguise  his  words. 

As  he  talked  Smith's  matter-of-fact  air  dropped 
from  him.  He  partook  of  Rosenthal's  excite- 
ment. When  the  president  of  Superior  Films 
finally  leaned  back  and  looked  at  him,  the  eyes 
of  the  two  men  met  in  mutal  fires  of  speculation. 
"Veil,  am  I  not  right?"  demanded  Rosenthal 
breathlessly. 

"  Wild  and  far-fetched  as  your  theory  is  ...  I 
believe  ...  by  Jove,  I  believe  you  are!"  ex- 
claimed Smith,  adding,  "But  ...  I  wonder  if 
the  man  ever  did  anything  of  that  sort  .  .  .  pro- 
fessionally, you  know?  He'd  have  to  be  pretty 
darn  clever  ..." 

"You  vait!     Ve  find  out!"     He  picked  up  a 


The  film  stopped.  In  the  darkness  that 
followed  before  the  switching  on  of  the 
lights,  no  one  saw  Seibert's  swift  move- 
ment as  he  slipped  a  tiny  white  pellet  to 
his  lips.  "Don't  mo ve,Seibert!"  Detective 
Smith  barked  and  the  lights  appeared. 
The  director  laughed  mirthlessly.  "I 
am  no  fool.  I  know  when — when  I  am 
cornered.  It  is  you  who  are  the  fools — 
the  imbeciles — the  cowards.  And  yet — 
fools  that  you  are — you  defeated  me!" 


Extra!    The  Hardell  Murder  Mystery  Solved  I 


The  tense  audience  in  the  darkened  projection  room  watched  the  film  of  the  crime  as  reconstructed 
by  Detective  Smith.     The  horrified  watchers  saw  Seibert,  rapier  in  hand,  return  to  the  prone  actor 
.  .  .  urging  him  on  to  intensify  his  expression.    They  saw  him  lean  over, 
pressing  the  rapier  against  the  actor's  heart.  .  .  . 


portfolio  from  his  desk.  "Vile  I  vas  vaiting  for  you  I  get  this 
out  of  the  Publicity  Department  files.  Ve  alvays  take  biogra- 
phies off  our  people. 

"  Ve  use  them  in  writing  stories  for  fan  magazines  and  news- 
,)apers,  you  understand  .  .  .  that  iss,  our  people  under  con- 
tract. I  haff  not  yet  read  this  .  .  .  but  .  .  Ah  .  .  .  here!" 
and  he  ran  a  pudgy  finger  down  a  column  marked,  "Former 
Occupations,"  and  handed  the  book  to  Smith,  who  read  aloud. 

TOURED  Russia,  France,  America  and  England,  1907.  .  . 
1912,  in  vaudeville.  Played  also  before  the  crowned  heads 
of  Europe.  Started  motion  pictures  in  America  in  1914  ..." 
Smith  continued  reading  silently  then  until  the  end  of  the 
biography,  when  suddenly  he  leaned  forward.  His  quick  move- 
ment showed  plainly  that  something  had  struck  a  vibrant  note 
in  his  brain.  He  had  come  to  a  page  under  the  heading  "Hob- 
bies."   He  read  aloud  again — 

"  Not  interested  in  usual  games.    Does  not  make  collections. 


Hobby,  if  any,  an  interest  in  the  occult.  Thought  to  have  be- 
longed, while  in  Europe  to  leading  organizations  of  this  kind, 
scientific  research  societies,  etc.,  spending  many  hours  on 
investigations  into  matters  occult  and  metaphysical.  It  is 
rumored  has  a  rare  library,  containing  ancient  and  valuable 
manuscripts  on  these  subjects." 

Smith  raised  his  eyes  to  find  Rosenthal's  fixed  expectantly 
upon  him. 

"I  haff  heard  that  Black  Magic  is  still  practiced  ..."  but 
Smith  put  up  a  deprecating  hand. 

"No  .  .  .  not  .  .  .  that  .  .  .  but  ..."  and  he  let  out  a 
breath  of  triumph.  "We've  got  him,  Rosie,  old  fellow!  We've 
got  him!  That  is,  he's  hooked,  but  the  thing  now  is  to  land  our 
fish!" 

"I  haff  thought  of  that  also,"  said  Rosenthal  quietly. 

"You  have?    Shoot!" 

"All  the  vay  out  here,  my  mind  goes  jumping  about,  trying 
to  find  the  vay.    Then  I  get  it!    From  a  picture  ve  made  last 


Actor  Murdered  by  Mad  Foreign  Director! 


year  I  get  it!  In  the  picture  vone  of  the  vitnesses  in  a  murder 
case  turns  out  to  be  .  .  .  veil,  to  be  all  off  on  his  testimony! 
How  do  they  prove  it?  They  stage  it  offer,  and  show  how  that 
vitness  has  had  ears,  and  hears  wrong!  Veil,  ve  do  the  same 
thing!    Ve  stage  it  offer  again!" 

"Huh?"  Smith's  eyes  were  fixed  quizzically  on  the  other. 
Never  before  in  the  detective's  experience,  had  he  dealt  with 
a  person  who  had  the  power  to  wave  a  magic  wand  and  dupli- 
cate, regardless  of  the  talent  or  money  involved,  a  complete 
episode  of  life.    Rosenthal  became  impatient. 

"  Sure,  sure!"  he  repeated  testily,  "  Ve  do  it  offer.  The  whole 
thing!  Vid  the  same  'props'  .  .  .  the  same  people  .  .  . 
effery  thing!" 

"  The  same  people  .  .  .   ?"  questioned  Smith  stupidly. 

"  OURE,  sure!  Mine  Gott,  Smith,  don't  I  tell  you  many  times 
Dve  do  anything  in  pictures?"  Rosenthal's  mind  was  already 
leaping  ahead,  planning  the  scene,  timing  the  action,  and  he  did 
not  like  being  held  up  to  explain. 

He  was  accustomed  to  working  with  minds  that  instantly 
grasped  ideas,  that  never  conceded  the  impossibleinpictures, and 
here  was  a  man  who  put  up  a  fence  of  buts  and  ifs!  He  shook 
his  head  impatiently,  and  forced  himself  to  tell  the  detective, 
how,  and  why,  any  happening  under  the  sun  could  be  dupli- 
cated by  the  artists  of  Superior  Films.    He  said, 

"You  are  vondering  how  ve  can  bring  Hardell  back  to  life, 
maybe,  for  vat  ve  vant?  How  ve  can  cast  the  other  vone? 
Easy!  I  got  a  make-up  man  that  can  make  a  fence  post  look 
like  George  Vashington!  Sure!  You  don't  belieff  me!  Vait!  I 
show  you!"    He  hurriedly  pulled  a  sheaf  of  photographs  from 


a  cabinet  drawer,  and  jammed  them  into  Smith's  hands.  "Look! 
Effery  vone  of  those  pictures  vas  the  same  man!  Effery  vone!" 
he  exclaimed. 

"Impossible,"  said  Smith.  It  was  not  an  exclamation.  It 
was  a  statement  of  fact. 

"T  TEN  vill  you  realize  that  nothing  is  impossible  in  pictures!" 

V  shouted  Rosenthal.  "Itell  you  the  man  vat  posed  for  all 
five  of  those  pictures  ...  for  Lincoln,  Vashington,  the  Kaiser, 
The  Christ,  and  that  East  Indian  hunchback,  is  right  here  in 
my  studio!  One  thousand  dollars  a  veek  I  pay  him,  vether  he 
vorks  or  not!  Now  do  you  say  I  don't  know  vat  I  am  talking 
about?"    His  eyes  blazed  at  Smith. 

"Well,  I'm  not  used  to  such  wonders,  Rosenthal  .  .  .  give 
me  time.  My  only  worry  is  that,  if  we  start  this  thing,  you 
know,  we  can't  afford  to  have  a  slip  up  ...  I  want  to  be  darn 
sure  it's  not  going  to  be  a  flivver!  I'd  be  the  laughing  stock  of  the 
city!" 

"The  fellow  vat  laughs  last,  laughs  best,"  said  Rosenthal 
dryly.  "  But  I  see  I  got  to  convince  you.  I  get  Cedric  Halland 
himself  to  come  out  here  .  .  .  tonight  .  .  .  now  ..."  He 
plumped  exasperatedly  down  in  his  chair  and  called  a  number, 
.lifter  a  long  wait  he  thrust  his  fat  lips  close  to  the  phone. 

"Cedric,  that  iss  you?  Rosenthal.  I  am  at  my  office  at  the 
studio.  I  vant  you  should  come  out  immediately.  Vat? 
Veil,  call  a  taxi  and  charge  it  to  me." 

He  turned  to  Smith, 

"  His  car  iss  in  the  shop,  but  he  comes  right  avay  by  taxi." 

"The  sooner  we  do  this  the  better,  but  we'll  have  to  do  it  on  a 
foggy  night!"  Smith  said.  "The  same  kind  of  night.  Did  you 
think  of  that?  I  suppose  you  will  tell  me  you  can  make  a  foggv 
night?" 

"If  it  vas  for  a  picture  only,  ve  could  make,  sure!"  snapped 
Rosenthal.    "But  for  this  .  .  .  no.    Ve  got  to  vait." 

"Another  thing.  That  car  .  .  ,  it  cost  a  mint!  We'll  have 
to  borrow  it.  There  isn't  another  like  it  .  .  .  especially  made 
and  all  that  ..."    Rosenthal  grunted. 

"And  maybe  that  car  iss  in     [continued  on  page  113] 


The  five  suspects  in 
the  Hardell  mur- 
der: Billy  West, 
Seibert's  young 
assistant;  Yvonne 
Beaumont,  West's 
actress  sweetheart ; 
Director  Franz 
Seibert;  Beth  Mac- 
Dougal,  daughter 
of  the  studio  gate- 
man;  and  Serge, 
the  Russian 
cameraman 


lllus  trated 

by 

C.   A.   BRYSON 


kS 


The  Fable  of  $50,000 


Before  Taking 
Hollywood 


How  the  charming  Mr. 
Locke  wrote  a  story  for 
a  Beeootiful  Film  Lady, 
and  then  sailed  away 
with  a  plump  check  and 
no  production  at  all ! 

By 
Harry  Lang 


After  Taking 
Hollywood 


BY  this  time,  William  John  Locke,  of  England,  has  Joseph 
M.  Schenck's  cheque  for  850,000. 
And  Joseph  M.  Schenck  of  Hollywood  has  William 
John  Locke's  original  story  for  Norma  Talmadge's  next 
picture.     You  see,   not  so   many   months  ago,   Mr.   Schenck 
brought  Mr.  Locke  and  his  family  from  England  to  Hollywood 
just  to  write  that  storv— for  $50,000. 

Well,  Mr.  Locke  has  the  §50,000,  and  Mr.  Schenck  has  the 
story.  There's  only  one  catch  in  it  all — that  is,  THAT  MR. 
LOCKE'S  STORY  WON'T  BE  NORMA  TALMADGE'S 
NEXT  PICTURE!  And— take  this  from  United  Artists 
otYicials — it  won't  EVER  be  Norma  Talmadge's  ne.xt  picture. 
And — take  this  from  them,  too — Mr.  Locke  may  be  the  fore- 
most novelist  of  all  England,  or  even  of  the  world,  iJfT  .  .  .   !!! 

Now,  this  story  isn't  at  all  about  what  Mr.  Schenck  thinks 
now  of  Mr.  Locke,  nor  even  of  what  the  United  Artists  officials 
think  of  Mr.  Locke.  This  story  is  about  what  Mr.  Locke 
thinks  of  Hollywood  and  motion  pictures  and  things  like  that. 

You  see,  at  the  end  of  March,  Mr.  Locke,  after  packing  up 
his  pens  and  his  pads  and  his  things  and  his  familv,  was  going 
back  to  England— with  Mr.  Schenck's  $50,000.  And  he 
doesn't  e.xpect,  for  the  present  at  least,  to  do  any  more  original 
writing  for  the  films. 

"Ahfter  all,"  he  admits  now,  "my  job  in  this  world  is  novel 
writing,  y'  know.  And  I  must  place  that  first  in  all  my 
activities!" 

Now  let  us  go  to  interview  Mr.  Locke,  in  the  oh-so-lovely 
Beverly  Hills  home  where  he  wrote  the  $50,000  story  that's 
never  going  to  be  screened.     Let  us  go  with  Mr.  Locke  into 
his  study,  where  he  pens  his  thoughts 
in  longhand.     And  let  us  sit  down 
with  the  tall,  thinnish,  blond,  long- 
haired,  65-year-old,   Woodrow   Wil- 
sonish-smiled  Mr.  Locke  and  sip  a 
cocktail  and  ask  him  questions  and 
have  him  answer  us,   now  that  he's 
seen  Hollywood  from  the  inside. 

"Mr.  Locke,"  let  us  begin,  "a 
few  months  ago  you  were  good 
enough  to  write  some  lovely  things 
about  Hollywood,  having  seen  it  for 
just  a  week,  and  now  tnat  you've 
seen  it  for  several  months,  inti- 
mately, one  wonders  if  you've 
changed  any  of  your  original 
ideas  .  .  ." 

Mr.  Locke  beams  and  strokes  his 
long  yellow  hair,  of  which  he  is  very 
proud,  being  sixty-five. 

"Oh,  I  find  it  the  most  hard-work- 


ing community  I've  ever  come  across  in  my  life,"  he  tells  you. 

"You  wrote,  back  then,  about  'the  peace  and  quiet  of  cinema 
production,'  but  admitted  that  was  founded  on  but  a  week's 
impressions?    Have  you  changed  your  mind?" 

"Oh,  no,  nono,  nono,"  he  crows.  "I  still  think  it's  so. 
I  admire  the  very  great  patience  of  the  directors  and  the 
artists." 

" — And  the  producers,  too?"  you  ask.  Mr.  Locke  appears 
pained.    The  word  "producers"  afTects  him  somehow  or  other. 

"I've  seen  more  of  the  directors  than  I  have  of  the  pro- 
ducers," he  says,  and  he  looks  very  much  as  though  he  wishes 
you  wouldn't  mention  producers  ever  again.  But  one  is  so 
obtuse! — one  simply  persists  .  .  . 

"Is  Mr.  Schenck  going  to  produce  the  story  you  wrote  for 
Miss  Talmadge?"  one  asks,  naively. 

"/^H,  I  don't  know.    I  don't  know  anything  about  the  story 
V— 'at  all,"  says  Mr.  Locke,  who  wrote  it.     Which  strikes 
one  ?s  very,  very  strange,  so  one  looks  a  bit  bewildered,  and 
Mr.  Locke  tries  to  make  it  plainer. 

"Mr.  Schenck  and  I,"  he  tells  you,  "both  fulfilled  our  con- 
tracts, and  that's  about  all  there  is  to  that."  He  says  some- 
thing lovely  about  the  California  climate  then,  and  appears 
hopeful  that  that  might  be  a  fitter  subject  for  discussion. 
But  it  isn't. 

"Now,  Mr.  Locke,  let  us  be  frank,"  one  begs  him.  And 
he  answers: 

"Eh?     Yes?  .  .  ." 

"Mr.  Locke,"  one  goes  on,  "it  is  very  freely  reported  in 
Hollywood  that  there  wasn't  com- 
plete agreement  between  yourself 
and  United  Artists  or  Mr.  Schenck 
on  your  story.  Wouldn't  you 
care  to  say  something  definite  about 
that,  for  yourself?" 

Mr.  Locke,  who  ordinarily  doesn't 
look  a  bit  over  45,  looks  quite  his 
age  now.  He  strokes  his  hair  some 
more,  doesn't  look  a  bit  overjoyed, 
and  phrases  an  answer  with  a  bit  of 
care.  These  Uhmeddic'n  press  fel- 
lows are  so  importunate,  now!  .  .   . 

"It  would  be — ah — very  difficult 
to  do  that  without  criticizing  or 
treading  on  anyone's  corns,  now. 
Uh.  Ah.  Uh.  I'd  much  prefer  to 
keep  to  my  general  impressions  of 
pleasure  and — uh — the  hard  work 
and — ah — sincerity  of  the  artists  and 
directors."  [continued  on  page  96] 


MOTION  Picture  Producer 
contracted  with  William 
J.  Locke,  the  English  author  of 
famous  best  sellers,  to  write 
Norma  Talmadge's  next  star- 
ring picture.  Mr.  Locke  wrote 
the  story,  the  producer  paid 
him  in  full,  but  no  camera  ever 
ground  on  the  story,  and  none 
ever  will.  Interviewed,  Mr. 
Locke  says  "Er — the  climate  is 
—  ah,  salubrious,  and — um — 
my  word!" 


u 


Whoopee. 

Here  Comes 

Mary 

Bobbed,    audible,    and 

coquettish    in    her 

latest   picture 


/ 


BEHOLD  the  new  Mary  Pickford!  In  her  forthcoming 
film,  "Coquette,"  she  brings  her  admirers  two  new 
things — a  windblown  bob  and  a  voice.  Mary's  haircut  is 
significant.  It  marks  the  passing  of  an  epoch,  for  it  means 
that  the  kid  parts  of  The  Little  Biograph  Girl  are  no  more, 
and  that  Mary  is  now  a  grown-up  lady,  on  screen  as  well  as 
oft".  Furthermore,  for  the  first  time  a  Pickford  picture  may 
have  a  sad  ending.  All  of  which  goes  to  show  that  Mary  has 
bowed  to  time  and  change  in  her  first  talkie. 


Mary  Pickford  and  Matt  Moore 

in  a  dramatic  moment  from  her 

new  picture, 

"Coquette" 


Mary  seems  to  be  getting  a  bit  coy  and 
kittenish  with  Johnny  Mack  Brown,  her 
leading  man  in  "Coquette."  The  storm- 
tossed  bob  makes  our  Mary  look  younger 
and  prettier  than  she  has  in  a  long  time. 
Do  you  like  the  haircut? 


45 


Qk  Girl  From 


The  scion  of 
the  Boston 
Flowers  hired 
her  for  back- 
ground in  his 
test  film — but 
read  what  hap- 
pened 


HAROLD  FLOWER  had  arrived  in 
Hollywood  with  a  very  elaborate 
English-tailored  wardrobe,  an  over- 
dose of  self-confidence,  and  the  firm 
conviction  that  Nature  had  equipped  him  to 
be  one  of  the  great  lovers  of  the  screen. 

He  was  just  past  twenty-one  with  a  sapling 
figure  and  a  face  which  he  felt  might  very 
easily  be  mistaken  for  John  Barrymore's. 
That  he  knew  nothing  whatever  about  acting 
seemed  to  Harold  to  be  quite  unimportant. 
_  He  had  made  what  he  thought  was  an  exten- 
sive study  of  the  screen  and  had  reached  the 
conclusion  that  the  very  best  springboard  for 
overnight  stardom  is  a  name.  The  proud  old 
name  of  Flower  had  graced  the  Boston  Social 
Register  for  many  generations.  Harold  was 
ready  to  offer  it  to  the  highest  bidder. 

He  parked  his  roadster  of  robin's  egg  blue 
in  front  of  one  of  the  largest  studios  and  pre- 
sented himself  at  the  casting  window. 


I 


'M  Harold  Flower,"  he  announced  impor- 
tantly, "of  the  Boston  Flowers—" 

He  paused  for  this  to  have  its  effect  upon 
the  pimply-faced  youth  who  was  gazing  at  him 
indifferently  through  the  grilled-iron  window. 
The  effect  was  exactly  the  same  as  if  he  had 
said  of  the  Podunk  Smiths. 

"Nothing  today,"  came  the  reply.  It 
sounded  like  a  ventriloquist's  dummy  had 
spoken. 

"But  I  say—"  Harold  couldn't  believe  that 
the  boy  had  understood  him.     "Don't  you  know  who  I  am?" 

The  pimply-faced  one  remained  indifferent.  "Wouldn't 
make  any  difference  if  you  was  the  Prince  of  Wales.  Company's 
all  on  location."  He  snapped  a  cigarette  stub  into  a  cuspidor 
across  the  room  and  reached  for  the  telephone. 

"I  have  some  photographs  here."  Harold  started  to  un- 
fasten the  large  envelope  he  was  carrying. 

"  Casting  hours  from  nine  to  twelve.  Bring  'em  back  then  if 
you  want  'em  looked  at."  His  manner  indicated  that  it  was 
immaterial  whether  the  photographs  were  ever  exhibited  or  not. 

It  was  a  bad  beginning  but  Harold  refused  to  let  it  discourage 
him.  He  was  determined  to  be  an  actor.  In  a  way  he  had  set 
his  heart  on  the  Paradox  Studio.  He  liked  their  slogan  "//  it's 
a  Paradox  show  it's  the  best  show  in  town."   Naturally,  a  Flower 

-46 


could  only  be  associated  with  the  best.  There  were  other 
studios  however.  In  the  days  that  followed  Harold  visited  all  of 
them,  leaving  a  sheaf  of  expensive  photographs  at  each  one  and 
explaining  his  identity.  But  the  studio  people  it  seemed  had 
never  heard  of  the  Boston  Flowers.  Harold's  letters  home  did 
not  mention  this.  The  family  had  been  sufficiently  upset  by  his 
announcement  that  he  had  decided  to  be  an  actor.  In  fact  his 
father  had  made  some  impulsive  threat  about  disinheriting  him 
if  he  ever  saw  his  name  on  a  movie  screen.  For  a  time  it  looked 
as  though  he  would  never  have  occasion  to  exercise  this  threat. 
Then,  after  more  than  a  fortnight  of  idleness,  Harold  dis- 
covered that  well-dressed  youth  can  sometimes  get  by  where 
ancestry  proves  a  total  flop.  He  made  his  first  appearance 
before  the  camera  as  one  of  a  crowd  in  a  baUroom  scene.    This 


Woolworth's 


By 

Grace 
Mack 


was  followed  by  other  ballroom  scenes.  At  the  end  of  a  few 
months  he  had  been  cast  as  a  gigolo  in  a  Parisian  cabaret 
sequence,  an  unsung  football  hero  in  a  college  epic,  and  a  poilu 
in  a  war  picture.  His  dream  of  stealing  the  picture,  however, 
remained  unrealized. 

STILL,  he  was  beginning  to  get  on  to  the  Hollywood  racket. 
He  had  learned  the  trick  of  putting  whitening  on  his  teeth, 
had  learned  to  pencil  his  pale  blue  eyes  and  to  make  up  his  chin 
so  that  it  looked  more  forceful.  He  engaged  a  lifeguard  to  put 
some  class  into  his  swimming  and  to  teach  him  a  few  fancy 
dives.  An  hour  each  day  was  spent  at  a  gymnasium  with  a 
Swede  boxer  who  had  a  right  hook  that  left  him  absolutely 
punch  drunk.     He  paid  a  cowboy  extra  twice  as  much  as  he 


Illustrated   by 

Everett   Shinn 


On  the  following  day 
Harold  did  some  Western 
riding  in  Griffith  Park, 
attired  in  chaps,  spurs 
and  a  Tom  Mix  hat. 
Before  the  big  scene  he 
explained  to  his  poker- 
faced  cameraman:  "In 
this  scene  I'm  the  bold, 
bad  man  of  the  mesa. 
I  make  love  to  Jennie, 
who  is  a  poor  little  ranch 
girl.  I  foil  a  lot  of  evil 
cowboys  and  then  I  ride 
away.  We'll  put  in  a 
title  something  like, 
'Love  'em  and  leave 
'em'" 


was  earning  as  an  actor  to 
teach  him  bronco  busting. 

All  that  this  resulted  in, 
however,  was  a  chance  to 
double  for  three  or  four  pop- 
ular male  stars  whom  he  very 
slightly  resembled.  They  got 
the  glory  and  Harold  got  a 
couple  of  cracked  ribs  from 
falling  off  a  horse  in  a  stunt 
scene  and  pneumonia  from 
swimming  the  icy  rapids  in  a 
Northwest  Mounted  picture. 

BUT  his  belief  in  himself 
never  wavered.  He  was 
confident  thathecoulddoany- 
thing  that  any  popular  young 
juvenile  could  do.  He  had 
watched  them  work.  It  was 
a  cinch.  They  had  abso- 
lutely nothing  that  he  didn't 
have.  What  he  needed  was 
a  director  to  discover  him. 
But  how  was  a  director  even 
going  to  see  him  when  he  was 
just  one  of  a  crowd. 

Then  one  day  it  occurred 
to  him  that  he  might  insert 
himself  into  the  foreground 
""  by  inventing  a  little  "busi- 

ness" of  his  own.  It  was  a 
gangster  murder  scene.  Harold  was  one  of  a  group  of  reporters. 
He  waited  until  he  was  sure  he  would  be  picked  up  by  the 
camera  and  then  he  leaned  over  to  touch  the  body.  Un- 
fortunately the  script  called  for  this  bit  of  action  to  be  per- 
formed by  the  star.  When  Harold  beat  him  to  it  an  assistant 
director  bawled  out : 

"Hey  there!    Whadda  you  think  you're  doing — a  solo?" 
For  a  moment  it  looked  as  if  they  were  going  to  put  Harold 
off  the  set.    His  ears  tingled  with  the  words  "ham  extra"  and 
"screen  hog"  which  the  assistant  director  scathingly  applied 
to  him  as  he  shoved  him  into  the  background. 

It  was  this  episode  which  made  Harold  realize  that  something 
had  to  be  done.  If  he  played  extras  any  longer  he  would  be 
marked  for  life.  [  continued  on  p.^ge  138  ] 

^7 


Who  brought  this  up?  Any- 
way, "The  Two  Black  Crows" 
are  all  ready  to  caw  into  the 
microphone.  Here  is  big 
Charlie  Mack  greeting  his 
little  pal  and  partner,  George 
Moran,  on  the  latter's  arrival 
in  Hollywood.  Once  hands 
were  shaken  and  hats  waved 
for  the  benefit  of  camera- 
men, the  famous  comics 
were  hustled  out  to  the  Para- 
mount studio  to  black  up 
and  begin  work  on  the  first 
of  two  talkies  they're  to 
make  for  that  company 


ossip  of  AW 


Said  Clara  Bow  to  Alice  While, 

"It  surely  is  a  lovely  night!" 

"Oh,  I  don't  know!   Oh,  I  don't  know!" 

Said  Alice  White  to  Clara  Bow. 

WHAT  gets  over  in  Hollywood,  doesn't  make  a  hit  in  New  York! 
The  newest  instance  is  little  Lupe  Velez. 
Out  where  the  talkies  begin  Lupe  has  been  looked  upon  as  a  ball  of  fire. 
Lifted  from  Mexican  cabaret  obscurity  by  producers,  she  is  on  the  edge 
of  stardom.  It  is  natural  that  she  would  lose  her  head.  And  Lupe  has 
lost  it.  She  squanders  the  high  salary  she  draws  down.  She  acts  pretty 
much  as  she  pleases  in  public.  All  of  which  did  very  well  —  until  she 
collided  with  Broadway. 

LUPE  blew  into  the  metropolis  evidently  determined  to  give  Broadway 
a  very  rough  idea  of  a  Hollywood  hoyden  off  the  reservation. 

The  second  day  she  was  in  town  United  Artists  gave  an  elegant  luncheon 
for  her  at  the  Park  Central  Hotel.  Lupe  came  bounding  in  wearing  a  half 
pound  of  clothes  and  screeching  like  the  noon  whistle  at  the  plow  works. 

She  pounced  on  Jack  Cohen,  intelligent  but  modest  picture  critic  for  The 
New  York  Sun,  and  barked,  "I  know-a  you.  I  knew-a  you  in  California! 
What-a  you  mean  comeeng  to  my  party?     I  no-a  like  you!" 

When  Cohen  came  out  of  his  faint,  he  was  told  it  was  just  clean  fun,  and 
Lupe's  insistence  on  that  fact  only  added  to  his  discomfiture.  Her  other 
girlish  pranks  included  shouting  across  the  table  at  any  one  who  addressed 
his  neighbor  above  a  whisper,  and  sticking  the  damp  end  of  a  guest's  cigar  in 
a  salt  cellar.  If  David  Belasco  had  been  there,  she  would  probably  have 
pulled  his  chair  from  under  him. 


LUPE'S  cute  tricks  didn't  get  over  so  well, 
and  there  was  plenty  of  muttering  among 
the  lowly  populace  of  mere  writers  and  critics. 

A  couple  of  days  later  her  hotel  gave  her  a  tea, 
large  and  swell,  butLupewasachangedgal.  True, 
she  didn't  wear  enough  clothes  to  wad  a  pea- 
shooter, but  she  was  comparatively  calm  and 
restrained. 

Cal  imagines  that  United  Artists  piped  her 
down  on  the  wild  Mexican  foolishment.  Velez 
just  overtrained  on  her  debut,  that's  all. 

But  Lupe  was  a  riot  when  she  appeared  per- 
sonally with  "Lady  of  the  Pavements."  Hot  and 
entertaining  across  the  footlights. 

But  not  quite  placid  enough  for  a  luncheon 
partner. 

JiS  ! 


Join  the  Painters' 
Union  and  see  the  girls. 
Iris  Ashton,  one  of  the 
Fox  Movietone  Follies 
beauties,  has  merely 
slipped  on  a  coat  of 
paint  and  is  ready  for 
the  camera.  But  Iris 
doesn't  look  very  hap- 
py about  it,  somehow. 
Perhaps  she  is  thinking 
of  the  fatal  moment 
when  she  will  have  to 
scrub  it  off! 


One  day  while  Director  Mil- 
lard Webb  was  waving  his 
arms  at  the  actors  dur- 
ing the  making  of  "Gentle- 
men of  the  Press"  at  Para- 
mount's  Eastern  studio,  a 
beautiful  girl  walked  on  the 
set  and  smiled.  Three  players 
and  a  property  man  fell  dead. 
And  lo  and  behold,  it  was 
nobody  but  our  beautiful-as- 
ever  Beverly  Bayne,  just 
dropping  in  to  see  what  the 
talkies  are  all  about,  any- 
way! Why  not  give  her  back 
to  us  in  the  talkies? 


T/^ 


e 


TUDIOS 


By 

Cal 
York 


C 


LARA  BOW'S  visit  to  New  York  was  just  about  as  noisy  as  a  cream- 
,)uff  falling  on  a  feather  bed. 

The  scintillating  sorrel-top  registered  at  a  hotel  as  Stella  Ames,  and  had  a 
maid  and  a  chaperon,  the  latter  being  Mrs.  Clarence  Badger,  wife  of  the 
director. 

She  did  a  little  modest  night-clubbing,  but  that  was  all. 

Her  one  personal  appearance  was  at  the  Paramount  Theater  in  Brooklyn, 
her  home  town,  and  all  the  folks  turned  out. 

Police  fought  off  crowds,  the  house  was  sardine  full  at  the  one  per- 
formance she  graced,  and  for  all  I  know  there  were  fireworks,  band  music 
and  dancing  in  the  streets. 

It  was  a  great  night  for  Brooklyn,  which  is  usually  in  the  shadow  of  its 
more  famous  sister  borough,  Manhattan,  across  the  East  River.  Home 
Town  Girl  Makes  Good. 

THE  Bow  heart  seems  to  remain  in  the  film  capital  despite  the  fact  that 
she,  personallv,  is  in  New  York. 

Hollywood's  big  gas-and-tire  man,  Frank  Muller,  is  reported  to  be  the 
latest  "Samson." 

A  wire  from  the  vivacious  Clara  fell  from  the  Muller  pocket  the  other 
day  and  was  swept  to  an  obscure  corner  of  the  Muller  gas  station  where  a 
gas  buver  found  it. 

Did'he  read  it  before  returning  it  to  the  owner? 

I'll  sav  he  did! 

And  therein  he  found  many  endearing  young  terms.  Clara  made  it  plain 
that  Mr.  Muller  was  her  Samson  and  she  was  his  Delilah  and  that  if  he 
didn't  be  nice,  she'd  "get  a  Samson  with  longer  hair."  Another  blithe 
sentiment  was  embodied  in  the  following:  "I'm  drinking  a  toast  to 
your  eyes,"  said  Clara;  "may  they  never  meet." 

ANOTHER  amazing  story  from  Hollywood. 
This  time  it's  a  true  one  and  not  conceived 
at  a  press  agent's  Underwood. 

Many  months  ago  W.  S.  Van  Dyke's  publicity 
man  took  a  "gag"  picture  of  the  director  with  a 
group  of  blondes. 

The  caption  stated  that  Van  Dyke  was  at- 
tempting to  pick  one  of  the  gals  to  play  the 
leading  role  in  "Trader  Horn." 

It  was  just  a  publicity  stunt  and  the  girls  had 
been  gathered  from  the  casting  office.  All  went 
well  until  one  of  the  e.xtras  said,  "  I  won't  do  this 
picture  unless  I  get  paid  for  it.  I'm  not  in  this 
business  for  my  health,  but  for  the  checks.  This 
is  work,  isn't  it?" 

45 


Sweet  rest  for  the  tired 
business  man!  The 
first  picture  of  Nancy 
Carroll  as  Bonnie  in 
the  Paramount  picture 
version  of  the  brilliant 
drama  of  life  backstage 
"Burlesque."  This  is 
the  big  chance  of 
Nancy's  fair  young  life. 
And  when  it  comes  to 
filling  tights,  La  Carroll 
certainly  has  what  it 
takes ! 


Ruth  Chatterton  and  Lionel  Barrymore  just  have  a  good 
heart-to-heart  talk  about  a  scene  for  "Madame  X,"  in  which 
the  eldest  Barrymore  boy  is  filming  Mrs.  Ralph  Forbes.  When 
it  is  over  Lionel  will  go  into  the  sound-proof  cage,  wave 
"allez!"  and  the  bit  will  be  immortal! 


The  incident  was  closed.  Van  Dyke  went  to  the  South  Sea 
Islands  to  do  "The  Pagan."  He  returned  and  started  to  look 
for  the  lead  in  "Trader  Horn."  They  thought  of  Camilla  Horn 
and  Mary  Nolan.  Both  actresses  were  too  expensive.  Van 
Dyke  was  worried.  Hundreds  of  tests  were  made.  And  then, 
one  day,  he  said,  "Who  was  that  spunky  little  extra  girl  who 
wouldn't  do  a  gag  picture  without  a  day's  check?" 

The  girl's  name  was  Edwina  Booth.  She  has  the  only 
woman's  part  in  "  Trader  Horn" ! 


A  RTHUR  CAESAR,  Broadway  wit  and  playboy  who  now 
■^^does  talkies  for  Fox,  has  most  of  the  film  colony  pan- 
icked all  the  time  with  his  nifties. 

At  a  Wampas  meeting  the  other  day  Arthur  said  that 
Warner  Brothers  had  performed  the  stupendous  feat  of 
taking  the  Bible,  an  established  hit  for  years,  and  making 
a  flop  out  of  it. 

P.  S.     He  meant  "Noah's  Ark." 

MARION  D.4VIES'  benefit  for  war  orphans  was  pronounced 
a  success.  Three  local  theaters  were  taken  over.  Their 
regular  attractions  were  given  plus  performances  by  Al 
Jolson,  Marion  Harris  and  other  headliners,  who  donated  their 
services. 

Jimmy  Hall,  who  was  master  of  ceremonies  at  one  of  the 
houses,  deserves  an  especial  laurel  wreath  all  his  own.  Gus 
Edwards  was  late  and  it  was  Jimmy's  duty  to  stall  for  time.  If 
you've  ever  been  a  master  of  ceremonies  and  one  of  your  acts 
was  late,  you'll  know  just  how  Jimmy  felt. 

But  who  cared  about  time  and  Gus  Edwards,  with  Mary 
Pickford,  Douglas  Fairbanks  and  Gloria  Swanson  in  the 
audience? 

IF,  after  my  years  of  effort,  you  still  don't  believe  that  Holly- 
wood is  the  maddest  pin-point  on  a  nutty  globe,  read  this. 

Out  in  a  tiny  Missouri  hamlet  called  Marionville,  proud  of  its 
1,200  people,  Jennie  Benjamin  ran  the  town  millinery  shop. 
Once  she  did  a  modest  business.  Then  the  coming  of  the  auto- 
mobile allowed  townswomen  to  drive  to  Springfield,  two  hours 
away,  where  hats  were  better  and  more  plentiful. 

Tired  of  listening  to  her  arteries  harden.  Miss  Jennie  took  all 
her  meagre  savings  and  came  to  Hollywood  to  get  a  job  in  the 
movies.  The  first  day  the  little  old-fashioned  woman  called  at 
the  Warner  studio. 


We  seldom  see  Billie  Dove  this  close 
to  nature,  minus  the  silver-spangled 
frocks  into  which  she  is  poured. 
Soon  after  this  picture  was  snapped, 
Bill  hooked  a  halibut  weighing  fully 
892  or  114  pounds,  and  at  least  THIS 
long! 


"I'm  a  hat  creator  from  the  East,"  she  said.  "I'd  like  to 
connect  with  your  company." 

Two  days  later  they  called  her.  "Report  for  work  tomorrow 
morning." 

For  the  past  several  months  the  little  milliner  from  Marion- 
ville has  been  designing  snappy  modes  for  Warner. 

Beauty,  fame  and  fortune  storm  the  gates  of  filmland  in  vain. 
Miss  Jennie,  from  Old  Mizzoo,  knocks  timidly,  and  walks  right 
in. 

Tell  me,  is  there  any  sense  at  all  to  the  business  of  living? 

Ten  thousand  battling  to  get  in, 
The  riot  squad,  the  flashlights'  din, 
Top  hats  and  ermine  shove  and  squeeze — 
A  nd  on  the  screen  a  piece  of  cheese. 

RUMORS  of  a  smash-up  in  the  marital  relations  of  Jack 
Dempsey  and  Estelle  Taylor  brought  quick  denials  from 
both  members  of  the  famous  domestic  team. 

They  started  while  Jack  was  in  Florida  superintending  the 
Stribhng-Sharkey  fight,  called  "The  Miasma  of  Miami,"  and 
Estelle  was  at  work  in  Hollywood. 

However,  as  soon  as  she  finished  up  with  "East  is  East,"  the 
Lon  Chaney  picture,  she  hurried  East,  and  reached  Florida  in 
time  to  be  at  the  ringside. 

Then  the  reports  broke  out  again,  but  Jack  and  Estelle 
squelched  them  by  long  distance  to  New  York. 

Estelle,  as  everyone  knows,  is  tremendously  ambitious  in  her 
picture  work,  and  Jack  likes  fight  promoting,  but  they  are  both 
going  to  make  concessions  in  order  to  be  together,  just  as  they 
always  have  in  the  past. 

No — the  Dempsey-Estelle  Taylor  romance  looks  safe  and 


50 


Anita  Page,  deadliest  of  blondes,  is 
aware  of  the  importance  of  a  delight- 
ful odor  in  filmland.  The  half  gallon 
of  scent  you  see  her  holding  was 
chosen  out  of  a  shipment  of  some 
sixty  varieties  sent  her  by  hopeful 
parfumiers 


sound  for  some  time  to  come.  Which  probably  just  breaks  the 
hearts  of  the  trouble-makers  and  grief-spreaders  who  infest  the 
world! 

THE  prize  story  for  May.     Some  visitors  on  a  set  were  dis- 
cussing a  screen  star,  sollo  voce. 
"She  certainly  has  'It,'  "  said  one. 

"  What's  the  good  of '  It '  if  you're  illiterate?"  said  another. 
The  star  overheard,  and  burned. 

"I'll  have  you  know  that  my  father  and  mother  were  married 
three  and  a  half  years  before  I  was  born!"  she  stormed. 

XJOLLYWOOD  is  going  gaga  thinking  up  titles  for  new 
theme  songs. 

Here's  one  waggishly  suggested  for  Norma  Shearer's 
new  picture — 

"Mary  Dugan,  you're  a  trial  to  me !" 

ROBERT  BENCHLEY  is  one  of  the  prominent  and  popular 
New  York  smart  boys  who  has  clicked  in  Fox  movietones. 
A  distinguished  actor,  one  of  Bob's  fervent  admirers,  was 
interviewed  recently  by  a  San  Francisco  newspaperman,  and 
the  actor  went  into  a  long  rave  about  the  brilliance  of  Benchley. 
Proudly,  the  actor  sent  a  clipping  of  the  interview  to  Bench- 
ley. 

Bob  sent  back  this  note — 

"  Dear  little  girl  .  .  .  I  didn't  know  you  cared!" 

DOROTHY  PARKER,  the  Broadway  poet   and  wit,  can 
always  be  counted  on  for  a  stinger. 
Metro-Goldwyn  imported  her  to  Hollywood  to  write  talkie 
dialogue.  Mrs.  Parker  specializes  in  ultra-smart  sophistication, 


Gene-Kornman 
Hot  from  Hollywood  comes  the  first  scene  froin  Harold 
Lloyd's  new  picture,  so  far  untitled.  He  began  it  with  the 
working  name  "TNT,"  which  is  in  the  best  Lloyd  manner. 
Hal  is  posing  the  cop  nicely,  and  we  suspect  that  somewhere 
behind  him  is  a  pipe  wrench  or  baseball  bat 


with  a  rash  of  cynicism,  so  of  course  the  studio  gave  her  the  old 
tear-squeezing  melodrama,  "Madame  X,"  to  play  with.  It 
would. 

A  day  or  two  after  her  assignment  Dotty  met  James  Gleason. 

"  Got  a  swell  idea,  Jimmy,"  she  said. 

"So  what?"  answered  the  actor-writer. 

"  Going  to  jazz  up  the  story,  stick  in  a  few  hot  numbers,  and 
call  it '  Mammy  X'!  " 

WHEN  Greta  Garbo  first  came  to  these  Metro-Goldwyn 
shores,  several  years  ago,  she  was  given  the  usual  pub- 
licity runaround. 

That  is,  the  press  department  called  on  the  Sinuous  Swede 
for  all  the  publicity  tricks  that  are  customarily  the  lot  of  the 
newcomer. 

She  was  snapped  in  running  trunks,  posed  in  trick  clothes, 
and  photographed  shaking  hands  with  trained  gorillas  and 
United  States  congressmen. 

"When  I  am  beeg  star  like  Leelian  Geesh,"  she  once  told 
a  press  agent,  "I  will  not  shake  hands  with  prize  fighters  for 
publeecity." 

Well,  now  that  she  is  beeg  star,  she  won't.  It  would  take 
a  visit  from  Mussolini  to  turn  out  La  Garbo,  and  only  once  in 
an  exceptionally  blue  moon  will  she  pose  for  studio  pictures. 
And  the  moon  has  to  be  plenty  blue. 


A  L  BOASBERG,  the  title  writer,  can  always  be  relied 
•^^upon  to  do  his  gagging  bit. 

When  Universal  shook  out  the  lot  not  long  ago,  Al  smiled 
wanly  and  said : 

"It's  all  so  futile !  Just  as  soon  as  those  guys  learn  English 
they  fire  'em!" 

HOLLYWOOD  is  all  of  a  twitter! 
Who  is  the  Mysterious  Mrs.  McDonald? 

No,  Junior,  this  isn't  the  start  of  a  new  Van  Dine  puzzler,  ' 
though  it  sounds  like  one. 

The  fact  is  that  Mr.  Ronald  Colman — the  shy,  aloof  and 
secretive  Mr.  Colman — has  been  seen  first  hither  and  then  yon 
with  a  most  attractive  lady  of  the  blonde  persuasion. 

When  asked  who  she  is,  Mr.  Colman  habitually  goes  into  a 
becoming  blush  and  stammers,  "That?  Oh,  that  is  Mrs. 
McDonald." 

Only  that  and  nothing  more.      [  continued  on  page  80  ] 

51 


LADY  CENSOR— "Dear  Dr.   Spavin,   don't  you   think 

there's  something  a  LEETLE  mite  suggestive  in  the  way 

they're  staring  at  each  other?" 


Reeling 
Around 

with 

Leonard  Hall 


Fame 

For  twenty  years,  upon  the  screen, 
He  fought  Jor  many  a  movie  queen. 

Saved  honor,  battled  sin  and  shame — 
Lived  all  the  virtues  one  could  name. 

In  ermine,  every  inch  a  king. 
Looked  noble,  loved,  and  everything. 

One  day  a  tiny  item  read, 

"Los  Angeles — Bill  Jones  is  dead." 


"Yes,  I  do!"  said  Arthur.  "You  can  come  on  and  say. 
Well,  here's  the  ham!'" 

"Fine!"  beamed  the  blonde.  "And  do  I  really  bring  on 
a  ham?" 

"Oh,  no,"  said  Caesar.    "That's  just  a  confession!" 


Just  Good,  Mean  Fun 

The  Paramount  Theater,  Paris,  recently  had  "Three  Sinners" 
on  the  screen  and  Pola  Negri  in  person.  ...  As  Frank  Tinney 
used  to  say,  what  could  be  fairer  than  that?  .  .  .  The  newest 
theme  song,  "Dynamite,  Dynamite,  Blow  Back  My  Sweetie 
to  Me!".  .  .  Clara  Bow  registered  at  a  New  York  hotel  as 
"Selma  Ames".  .  .  .  Mrs.  Director  Clarence  Badger  came 
along  as  chaperon.  .  .  .  Oh,  ho!  The  old  Badger  Game! 
.  .  .  Lupe  \'elez  came  to  Broadway  and  the  local  hot  babies 
got  chilblains  ....  Three  stitches  were  taken  in  Tony 
Moreno's  head  after  a  careless  mechanic  dropped  a  bottle  on 
his  head  from  a  height  of  35  feet  and  Tony  didn't  even  have 
presence  of  mind  to  say,  "I  hope  it's  blood."  .  .  .  Coolidge's 
hum  state  catches  up  with  the  parade.  The  first  theater  in 
Vermont  to  install  sound  equipment  was  fitted  out  a  little 
while  ago,  two  years  after  the  fun  began.  .  .  .  Vermont  may 
be  interested  to  know  that  its  most  distinguished  son  left  the 
White  House  last  March.  .  .  .  New  stage  play,  "Squawk," 
produced  in  Los  Angeles.  .  .  .  What  a  talkie!  .  .  .  Director 
Harry  PoUard  calls  one  of  his  leading  women  "a  morgue  for 
dead  emotions."  .  .  .  The  leading  Argentine  film  star  is 
named  Jose  Bohr  .  .  .  Comment  on  that  would  be  carrying 
ribbon  clerks  to  Hollywood. 


The  Gag  of  the  Month  Club 

Arthur  Caesar,  wit  and  talkie  writer,  gets  this  month's 
second-hand  paper  napkin. 

Movie  actors  are  now  as  crazy  for  lines  as  they  used  to 
be  for  close-ups  in  the  silent  days.  One  dizzy  blonde 
came  to  Caesar  on  the  Fox  lot  and  said,  "Oh,  Mr.  Caesar, 
don't  you  think  I  ought  to  have  some  lines  in  this  big 
picnic  scene?" 

52 


Gejtting  Personal 

Nance  O'Neil,  the  veteran  stage  star,  got  a  thousand  dollars 
for  coaching  Vilma  Banky,  the  Budapestiferous  Beaut,  in 
English.  .  .  .  Mrs.  Norman  Kerry,  formerly  Heiress  Rosine 
Gritien  of  Chicago,  is  going  to  court  about  it.  .  .  .  Late  in  the 
Winter  Richard  Di.x  and  Regina  Cannon,  a  New  York  film 
reviewer,  were  reported  making  goo-goo  eyes.  .  .  .  Dix  is  the 
most  persistent  bachelor  in  films.  Just  stubborn.  ...  It  is 
reported  that  Jack  Gilbert  talked  to  Greta  Garbo  in  Paris  for 
30  minutes,  via  telephone,  while  she  was  abroad,  and  then  sent 
the  chief  operator  in  New  York  a  mass  of  roses  because  he 
liked  the  transmission.  .  .  .  Lars  Hanson,  who  left  Holly- 
wood flat  but  still  alive,  gave  a  special  performance  of  "Strange 
Interlude"  in  Garbo's  honor  during  her  visit  to  Stockholm. 
.  .  .  The  late  Bill  Russell  left  over  $100,000.  .  .  .  Ronald 
Colman  sprained  a  knee  and  cracked  a  rib  during  a  fight  in 
a  scene  for  "Bulldog  Drummond."  ...  In  the  mezzanine 
of  the  Seattle  Theater,  Seattle,  Washington,  women  are  per- 
mitted to  play  cards  at  matinee  performances.  .  .  .  Hatpins 
and  nail  files  checked  at  the  door.  .  .  .  Lupe  Velez  says  she 
won't  marry  Gary  Cooper  because  she  is  afraid  wedlock  will 
kill  their  love.  .  .  .  Just  a  nervous  little  bundle  of  faith  and 
optimism,  that  gal!  .  .  .  Roxy's  Cathedral  of  the  Motion 
Picture,  in  New  York,  celebrated  its  second  anniversary 
recently.  In  two  years  it  was  attended  by  13,000,000  people, 
and  $11,000,000  passed  into  the  boxoffice.  .  .  .  Film  producers 
are  barring  visitors  from  talking  picture  sets,  to  guard  their 
technical  secrets.  .  .  .  The  Hollywood  slang  name  for  such 
pictures  is  "sneakers."  .  .  .  Lily  Damita's  personal  appearance 
tour  lasted  nineteen  days.  .  .  .  She  attended  12  luncheons, 
1 1  dinners,  five  teas  and  made  1 7  radio  speeches.  What  a 
lot  of  peanuckle  she  had  time  for!  .  .  .  Ruth  Taylor,  the  little 
Lorelei  of  "Gentlemen  Prefer  Blondes,"  has  lost  out  at  Para- 
mount, and  is  free-lancing.  .  .  .  Billie  Dove  was  born  May  14, 
1903.  .  .  .  Heigho,  26  years  a  menace  to  masculine  peace  of 
mind,  and  still  menacing.  .  .  .  Pola  Negri  is  to  get  $75,000 
for  making  a  picture  in  Germany.  The  Perilous  Pole  is  still 
a  big  shot  abroad.  .  .  .  Metro-Goldwyn  has  been  letting 
options  lapse.  Among  those  out  are  the  lovely  Aileen  Pringle, 
Gwen  Lee,  Bert  Roach  and  Raquel  Torres.  Aileen  should 
worry.  As  Dave  Warfield  would  say,  "If  Metro  don't  want 
her,  we  want  her." 


If^ 


at  are 


Your 

Correct 

Colors? 


By    h,auren e    Hempstead 

Hints  for  that  inter- 
mediate type,  the  brown 
haired  girl 


This  is  the  last  of  PHOTOPLA  Y'S  series  of  color  articles  for 
the  four  distinct  types — the  brunette,  the  blonde,  the  red  haired 
and  the  brown  haired  girl.  Miss  Hempstead,  who  has  written 
this  series,  is  an  expert  on  color  harmony,  and  we  believe  our 
readers  liave  found  the  articles  and  the  accompanying  color  charts 
a  valuable  aid  in  choosing  clothes  and  cosmetics  suited  to  their 
individual  coloring.  We  hope  to  present  further  articles  by  Miss 
Hempstead  on  the  proper  appreciation  and  application  of  color 
and  line  as  an  aid  to 
feminine  attractiveness. 


IN  America,  where 
there  is  a  fusion  of 
Southern  peoples  with 
their  warm  dark  color- 
ing  and  of  Northern 
peoples  with  their  cool 
light  coloring,  we  find 
many  so-called  inter- 
mediate types,  persons 
whose  coloring  is  neither 
predominately  warm  nor 
cool,  light  nor  dark,  but 
containing  elements  of 
each.  Most  frequently 
their  hair  is  brown,  of 
medium  value  rather  than 
very  dark  or  very  light,  so 
they  are  known  also  as  the 
brown  haired  type. 

As  readers  who  studied 
the  three  previous  articles 
of  this  series  appreciate, 
the  colors  in  the  costume 
should  be  chosen  with  re- 
gard   to    the    warmth    or 


NOT  a  blonde,  not  a  brunette,  sometimes 
classed  as  one  and  sometimes  as  the  other, 
the  girl  of  the  brown  haired  or  intermediate  type 
frequently  feels  that  her  coloring  is  indefinite, 
even  nondescript.  It  is  true  that  her  coloring 
is  not  so  striking  as  that  of  either  the  blonde  or 
the  brunette.  It  is  neither  as  light  and  cool  as 
that  of  the  blonde,  nor  as  dark  and  warm  as  the 
brunette.  But  it  combines  advantages  of 
both,  enabling  the  brown  haired  girl  to  empha- 
size her  best  characteristics.  Beginning  with  the 
February  issue,  PHOTOPLAY'S  cover  was  a 
color  chart  for  brunettes;  March,  for  blondes; 
April  for  red  haired  girls;  and  this  issue  com- 
pletes the  cycle.  Each  has  a  corresponding 
article  by  Miss  Hempstead,  giving  detailed  in- 
formation about  correct  color  combinations. 
You  may  obtain  any  issue  by  sending  25c  for 
each  copy  to  PHOTOPLAY,  750  North  Mich- 
igan Ave.,  Chicago,  111. 


This  is  a  keyed  color  chart  for  brown  haired  girls, 
corresponding  to  our  cover  drawing  of  June  Collyer. 
No.  1  is  warm  gray.  2.  Soft  yellow.  3.  Yellow-orange, 
pleasingly  softened.  4.  Soft  light  red- violet.  5.  Warm 
beige.  6.  A  softened  red-orange.  7.  Light  grayed 
blue.  8.  Light  soft  violet.  9.  Light  red-orange.  10. 
Soft  blue-green.  U.  Soft  light  green.  12.  Grayed 
blue-green,  medium  dark.  13.  Soft  blue-violet,  me- 
dium dark 


coolness  of  the  skin,  the  hair  and  the  e\'es.  As  a  rule,  persons 
with  warm  coloring  appear  at  their  best  when  wearing  apparel 
of  warm  hues.  Those  with  cool  coloring  find  that  cool  hues 
best  emphasize  their  charm.  The  intermediate  type,  having 
the  advantage  of  possessing  both  warm  and  cool  coloring, 
therefore  frequently  has  the  unique  distinction  of  being  able 
to  wear  either  warm  or  cool  colors. 

While  the  intermediate  type  is  permitted  a  wider  range  of 

actual  hues  than  either 
cool  or  warm  types  she 
should  not,  however,  wear 
aggressively  cool  colors  or 
as  flamingly  warm  hues 
as  may  the  more  decided 
types  with  strikingly  cool 
or  warm  coloring.  Ex- 
tremely cold  colors,  those 
of  vivid  intense  hue  with- 
out a  trace  of  neutralizing 
warmth  in  their  com- 
position, are  likely  to  be 
stronger,  more  powerful 
than  the  cool  tones  in  her 
personal  coloring,  thereby 
overpowering  or  killing 
them.  Actively  warm 
vivid  colors  are  likewise 
usually  detrimental  in 
their  effect  upon  less  force- 
ful warm  colors  in  the  skin, 
hair  or  eyes,  dominating 
rather  than  emphasizing 
the  coloring  of  the  in- 
dividual. Intensely  cold 
colors  also  tend  to  clash 

[  CONTINUED  ON  PAGE  147  ] 


53 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


The 


^  THE  MYSTERIOUS  ISLAND— M.-G.-M. 

METRO-GOLDWYN-MAYER  sunk  four  years  and 
nearly  a  million  dollars  in  filming  this  Jules  Verne  tale 
of  the  first  submarine  which  glides  along  the  ocean's  floor. 
Ernie  Williams  invented  a  deep-sea  camera  process  which 
knocked  technicians  cold.  Then  a  company  went  to  the 
Bahamas  but  the  Florida  hurricane  defeated  them  and  the 
film  was  shelved.  Several  other  false  starts  were  made  but 
something  always  checked  production.  SLx  months  ago 
they  tried  again,  with  new  cast,  sets  and  director — and  the 
result  is  an  unusual  and  fantastic  spectacle. 

The  entire  production  is  in  technicolor,  which  gives  un- 
dreamed-of beauty  and  clarity  to  the  undersea  sequences. 
The  photography  is  art  of  the  highest  order,  and  the  sets 
bizarre  and  production  lavish.  The  story  is  intoxicating 
fiction.    It  must  be  seen  to  be  be'-'eved. 


■^       CLOSE  HARMONY— Paramount 

THIS  vaudeville  backstage  hit  is  the  last  word  in  talking 
pictures.  First,  Buddy  Rogers  encounters  the  "mike" 
with  the  most  pleasing  results.  He  has  a  gorgeous  speaking 
voice.  His  poise  and  facility  prove  his  phenomenal  success 
due  to  honest  ability,  not  lucky  breaks.  Also,  it's  Nancy 
Carroll's  first  all-talkie.  Her  voice  is  clear  and  resonant — 
her  songs  the  latest  from  Ziegfeld's.  Likewise  .  Skeets 
GaUagher  and  Jack  Oakie,  a  comedy  team  that'll  panic 
the  world.  Harry  Green  is  a  knockout  as  the  harassed 
producer. 

There's  no  attempt  at  epic.  A  sophisticated  chorine 
helps  a  shy  but  clever  boy  sell  his  act  to  Broadway.  To 
this  modern  story  and  the  cast's  excellent  work  is  brought 
brilliant  handling  and  faultless  synchronization. 

5i 


Shadow 
Stage 

(BEG.  U.  3.  PAT.  OFf.)     M  ^ 

A  Review  of  the  New  Pictures 


■y^     THE  LETTER— Paramount 

HERE  is  the  first  high  pressure  emotional  performance 
of  the  aU-talkies.  We  have  had  stars  who  emoted  in 
the  sound  films  but,  in  "The  Letter,"  Jeanne  Eagels  runs  the 
whole  distraught  gamut.    It  is  great  work. 

"The  Letter"  may  or  may  not  be  a  popular  film.  It's  an 
unusual  one — a  mature  story  for  grown-ups.  Don't  take 
little  Willie  to  see  it.  Somerset  Maugham  wrote  "The 
Letter"  as  a  stage  play  and  it  moves  into  a  sound  film  almost 
intact.  The  one  big  elaboration  is  a  battle  between  a  deadly 
cobra  and  a  mongoose.  This  was  originally  a  short  German 
film.    It  adds  a  thrilling  and  macabre  moment. 

The  wife  of  a  British  plantation  manager  kills  her  lover, 
but  by  blackening  her  victim's  character,  she  succeeds  in 
wriggling  out  of  the  crime  on  the  stand.  Acquittal  is  just 
ahead — when  an  incriminating  letter,  written  by  the 
murderess  to  the  dead  lover,  turns  up. 

See  the  film  for  the  rest  of  the  unsavory  story.  Miss 
Eagels  plays  the  unfaithful  wife  who  shoots  her  lover  down 
in  cold  blood.  The  woman  is  u  terly  unworthy — and  Miss 
Eagels  plays  her  unrelentingly.  She  hasn't  a  redeeming 
quality,  but  the  star's  performance  is  a  corking  one. 

O.  P.  Heggie  is  admirable  as  the  friendly  British  lawyer 
who  saves  the  woman.  The  rest  of  the  cast  is  fairly  good. 
The  atmosphere  of  a  far  Eastern  rubber  plantation  (the 
location  is  near  Singapore)  is  e.xcellently  maintained. 

You  will  like  Miss  Eagels'  dynamic  work  but  you  will 
probably  hate  the  woman  she  portrays.  You  may  not  like 
the  story.  But  "The  Letter"  is  a  real  landmark  in  the 
progress  of  the  microphone  drama. 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 

THE  LETTER  SPEAKEASY 

THE  MYSTERIOUS  ISLAND 

CLOSE  HARMONY  BETRAYAL 

HEARTS  IN  DIXIE 

The  Best  Performances  of  the  Month 

Jeanne  Eagels  in  "The  Letter" 

Emil  Jannings  in  "Betrayal" 

Helen  Ware  in  "Speakeasy" 

O.  P.  Heggie  in  "The  Letter" 

Stepin  Fetchit  in  "Hearts  in  Dixie" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page  152 


^      SPEAKEASY— Fox 

IT  remained  for  Mr.  Fox  to  talkify  the  first  melodrama  of 
the  prize  ring,  and  he  made  a  good  job  of  "Speakeasy." 

Its  movie  bones  are  old  and  obvious,  but  when  Director 
Stoloff  begins  laying  on  the  talkie  meat  the  body  begins  to 
twitch,  move  and  look  about. 

It's  the  old,  old  stor}',  mates — of  the  bright  young  prize- 
fighter surrounded  by  crooked  handlers,  hot  song  singers 
and  bottles  of  rum — of  the  pretty  girl  reporter  who  is  all 
broken  out  with  faith  in  him,  and  who  turns  up  at  the  ring- 
side of  his  comeback  bout  just  in  time  to  so  rouse  his  dander 
as  to  enable  him  to  knock  the  champion  into  a  week  from 
Wednesday  night.    "  Speakeasy  "  bristles  with  action. 

There  are  torrid  sequences  in  the  dive  itself,  exciting  race 
bits,  and  a  fight  in  Madison  Square  Garden  that  is  no  more 
affectionate  than  the  usual  run  of  photoplay  sparring. 
There  is  also  a  fine  example  of  what  Mr.  Stoloff  thinks  is  a 
newspaper  editor.  The  girl  reporter  is  played  by  Lola  Lane, 
and  Martin,  the  intellectual  pug,  by  Paul  Page.  They  are 
nice-looking,  pleasant  spoken  youngsters  and  work  smooth- 
ly, if  not  with  inspiration. 

Two  old-  troupers  steal  the  picture  in  an  acting  way. 
Helen  Ware,  of  the  stage,  is  splendid  as  the  hostess  of  the 
speakeasy,  and  right  behind  comes  Henry  B.  Walthall, 
The  Little  Colonel,  as  a  sweet  old  gent  who  keeps  alive  by 
thumping  jazz  on  the  piano  and  who  dies  for  the  sake  of  Lola. 
Most  of  the  exteriors  were  made  in  New  York,  and  you  can 
see  Madison  Square  Garden  as  big  as  life,  and  at  least  as 
natural.  One  can  say — no,  one  WILL  say,  that  "Speak- 
easy" is  lively  screen  entertainment. 


-yf^       BETRAYAL— Paramount 

NOT  a  pretty  story,  this,  because  it  lifts  the  veil  on 
illicit  love.  Jannings  does  a  fine  emotional  study 
which  would  be  even  more  effective  if  it  were  less  of  a  screen 
solo.  The  picture  is  well  cast  and  Lewis  B.  Milestone  has 
done  an  artistic  job  of  directing.  The  appeal,  however,  is 
to  the  discriminating  minority  rather  than  the  mass  of 
amusement  seekers.  As  the  stolid  Swiss  burgomaster  whose 
wife  bears  a  child  to  another  man  after  her  marriage, 
Jannings  tries  at  times  to  hold  the  screen  too  long.  Gary 
Cooper  as  the  artist  lover  is  very  fine;  there  are  times  when 
his  work  comes  close  to  genius.  Esther  Ralston  wins  sym- 
pathy as  the  erring  wife  and  shows  herself  superbly  fitted 
for  heavy  dramatic  roles.  The  tragic  deaths  of  wife  and 
lover  end  their  roles  all  too  soon.  The  Swiss  locale  offers 
scenic  beauty  and  thrills.    The  story  is  a  dramatic  tonic. 


^       HEARTS  IN  DIXIE— Fox 

AT  the  risk  of  giving  that  colored  boy,  who  glories  in  the 
classic  monicker  of  Stepin  Fetchit,  a  bigger  opinion  of 
himself  than  he  no  w  possesses — if  possible,  we  are  going  to  say 
that  you  ought  to  see  that  boy  throw  his  flat  feet  around 
in  "Hearts  in  Dixie,"  Fox's  all-negro  picture.  This  is  the 
lad  who  has  usurped  the  leadership  of  colored  society  in 
cinema  circles.  He  stands  outside  the  theaters  in  Hollywood 
and  when  one  of  his  race  goes  by  he  points  to  himself  on  the 
postei^s  and  yells:    "Look  ahere,  big  boy,  that's  me!" 

This  is  the  first  really  all-colored  cast  (we  were  going  to 
say  "all-colored  picture")  and  it  gives  you  on  the  screen  a 
grand  exposition  of  plantation  life  with  its  joys  and  sor- 
rows,  its  ignorance,   its  superstition  and  rehgious  frenzy. 

It's  all  very  real  and  understandable. 


Sound  or  Silent,  You  Will  Find   the 


THE  BRIDGE 
OF  SAN  LUIS 
REY— 
M.-G.-M. 


CHINATOWN 

NIGHTS— 

Paramount 


THE  prevailing  question  in  Hollywood  has  been,  "How  are 
they  going  to  get  a  picture  out  of  'The  Bridge  of  San  Luis 
Rev'?  "  Well,  they  got  a  good  picture.  The  suspense  is 
accomplished  by  showing  the  falling  of  the  bridge  at  the  be- 
ginning but  not  divulging  the  identity  of  the  characters  killed 
until  the  last  reel.  Lily  Damita  is  cast  as  the  fiery  Spanish 
dancer  and  she  is  vivid  to  sav  the  least. 


HERE'S  a  vivid  melodrama  that  holds  your  interest  com- 
pletely and  is  made  doubly  e.xciting  by  Wallace  Beery's 
splendid  characterization.  It  deals  with  the  white  boss  of 
Chinatown  and  a  cultured  lady  with  "an  uptown  head  and  a 
Barbary  Coast  body."  Florence  Vidor  as  this  woman  is  badly 
miscast.  When  you  see  the  film  you  won't  need  anybody  to  tell 
vou  that  it's  the  first  time  she  has  ever  done  a  drunk  scene. 


ALIBI— 

United  Artists 


THIS  IS 
HEAVEN— 
United  Artists 


NIGHTSTICK,"  under  the  title  of  "Alibi"  has  come  to 
the  screen  as  an  almost  flawless  talkie.  Chester  Morris 
brings  to  the  tijms  the  same  potent  crook  that  made  him  famous 
on  the  stage.  Here  is  the  story  of  a  young  gun-man,  crooked 
to  the  core,  who  takes  advantage  of  the  misguided  sympathy 
of  a  policeman's  daughter  and  marries  her.  When  the  cops 
corner  him,  he  turns  yellow.     Corking  melodrama. 


WHEN  Sam  Goldwyn  first  looked  at  this  picture  he 
decided  it  was  so  good  silent  that  he  wouldn't  add 
dialogue.  Rumor  had  it  he  was  afraid  of  Vilma  Banky's  accent. 
But  he  did  add  dialogue  and  Vilma's  voice  is  delightful.  The 
accent  is  poignant  and  her  characterization  charming.  The 
story?  Another  trite  Cinderella  yarn.  New  York  scenes  and 
noises  are  fine  and  you  mustn't  miss  hearing  Vilma. 


HOT  STUFF— 

First  National 


SONNY  BOY 
— Warners 


ANOTHER  collegiate  picture  to  incite  the  universities. 
Evidently  the  technical  director  learned  how  college  stu- 
dents act  by  witnessing  twenty-si.x  performances  of  the  musical 
comedy,  "Good  News."  Al'ice  White  takes  off  her  clothes, 
smokes  and  drinks.  But  it's  all  a  mistake.  The  youthful  hero, 
Billy  Bakewell,  carries  cold  tea  and  ginger  ale  in  his  flask.  If 
that  would  kid  a  college  student,  it  would  fool  your  old  man. 

S6 


THEY  have  placed  adorable  Httle  Davey  Lee,  who  stole  a 
lot  of  the  thunder  of  "The  Singing  Fool,"  in  a  bedroom 
farce.  That's  a  shock.  Davey  is  delightful  but  the  comedy  is 
old  stuff.  Betty  Bronson  works  hard  as  the  girl  in  negligee  in 
a  strange  man's  room.  Edward  Everett  Horton  is  the  strange 
man.  Nothing  excuses  "Sonny  Boy"  but  Sonny  Boy  himself. 
This  probably  will  disappoint  you  a  whole  lot. 


First  and  Best  Screen  Reviews  Here 


THE  SIDE- 
SHOW-^ 
Columbia 


p^ 

ra 

ij 

tj 

il 

n 

^^^^^^^^^m| 

LM 

THE  HOUSE 
OF  HORROR 
—First 
National 


WE  know  it's  hard  to  believe,  but  here's  a  really  orig- 
inal circus  story.  It's  an  intimate  portrayal  of  the 
struggle  for  success  of  a  midget  with  a  Napoleonic  soul. 
From  a  side-show  attraction,  he  becomes  a  circus  owner,  and 
thousands  of  six-footers  could  take  lessons  from  him.  Little 
Billy,  vaudeville  headliner  and  Broadway  favorite,  is  the 
star. 


THIS  is  some  better  than  "Haunted  House"  and  "Seven 
Footsteps  to  Satan"  because  of  the  work  of  Chester 
Conklin  and  Louise  Fazenda.  As  far  as  story  is  concerned  it 
is  as  cheap  and  claptrap  as  the  former  efforts.  There  are  dia- 
mond smugglers  and  other  hokum.  One  is  not  supposed  to 
tell  the  denouement  of  a  mystery.  One  can't,  for  the  climax 
is  as  mysterious  as  "the  plot."  Pass  it  up. 


SHANGHAI 

ROSE— 

Rayart 


THE  LONE 
WOLF'S 
DAUGHTER 
— Columbia 


ADR.'\MA  which  by  any  other  name,  is  still  suspiciously 
like  the  stage  classic,  Madame  X. — the  mother  who  is 
forced  to  leave  her  husband  and  boy,  goes  down  the  scale  until 
she  becomes  one  of  those  women.  She  kills  a  man  to  preserve 
his  silence,  and  her  own  son  defends  her  on  trial.  Irene  Rich 
battles  gamely  to  save  the  picture  from  utter  mediocrity  but 
it  takes  more  than  a  line  actress  to  make  a  film. 


IF  you  like  crook  pictures  and  if  you  like  Bert  Lytell,  you'll 
find  much  to  admire  in  "The  Lone  Wolf's  Daughter,"  Colum- 
bia's new  crook  picture  with  Bert  again  as  the  lone  wolf.  You 
will  be  reminded  of  William  Haines  in  "Alias  Jimmy  Valentine" 
when  you  see  the  lone  wolf  slipping  gracefully  and  easily  out 
of  every  trap  that  is  set  for  him.  The  picture  is  good  comedy, 
well  directed. 


THE  WINGED 
HORSEMAN 
— Universal 


BEHIND 
CLOSED 
DOORS— 
Columbia 


CURSES  be  on  Lindbergh's  head  for  making  airplanes  so 
popular.  He's  gone  and  ruined  the  old  fashioned  Western. 
Here's  Hoot  Gibson  giving  up  his  horse  and  chaps  for  these  new 
fangled  air  ships.  If  you  like  your  nice,  honest  shoot  'em  up 
Westerns  you  won't  approve.  The  plot  is  vague.  A  lot  of 
people  float  nonchalantly  in  the  sky  in  parachutes.  Ruth  Elder 
is  the  flying  gal.    She  looks  pretty  in  flying  togs. 


A  SIMPLE  but  tense  tale  of  lost  papers  and  mislaid 
identities,  centering  around  the  activities  of  a  United 
States  secret  service  girl  in  a  mythical  country.  It  takes  a 
great  deal  of  gun-play  and  strangling  to  locate  the  spy,  but  Miss 
America's  brain-work  knocks  twenty  ambassadors  for  a  loop. 
Virginia  Valli,  beautifully  gowned  and  poised,  is  the  special 
agent,  and  De  Segurola  is  excellent.        [  cont'd  on  page  108  ] 

^7 


T/ollywood 


In  color,  line  and  design 
it  offers  its  creative  genius 
to  American  women.  The 
screen  gives  a  day  by  day 
style  service   to  millions 


Norma,  Norma !  Added  to  that  delectable  costume,  the  come- 
hither  smile  is  almost  too  much  for  our  aging  pulse.  The 
dimples  are  copyrighted,  but  it's  no  secret  that  the  dashing 
ensemble  is  created  by  an  Angora  sweater  striped  in  pink, 
rose  and  blue,  a  flannel  skirt.  Angora  coat  and  soft  silk  turban 


Simple  and  summery, 
butexceedingly  smart, 
is  this  cool  print  frock. 
Tiny  figures  in  green, 
yellow,  lavender  and 
pink  make  a  dainty 
pattern  on  a  white 
ground.  A  one-sided 
treatment  is  followed, 
the  blouse  being 
trimmed  with  a  bow 
placed  at  the  right 
side  of  the  neck,  the 
two  gathered  flounces 
taking  an  upward 
trend  on  the  same 
side.  The  narrow  belt 
follows  the  natural 
waistline  and  is  tied 
in  a  bow  to  corre- 
spond with  the  one  at 
the  neck.  White  bang- 
kok  hat,  with  band 
and  edge  of  lavender 


S8 


The  newness  and  distinction  of 
this  printed  chiffon  evening 
frock  is  further  accentuated  by 
the  smart  bolero  jacket,  finished 
at  the  neck  with  a  bow  of  self 
niaterial,  with  long  streamers 
extending  to  the  hem.  A  circu- 
lar piece  is  set  on  at  the  hips, 
rippling  gracefully  to  an  uneven 
hemline,  which  continues  to  be 
the  smart  line  for  evening  wear. 
Colors  are  canary,  turquoise 
blue  and  lavender 


Sets  the  Summer 


It's  difficult  for  us  to 
restrain  ourselves.  What 
we  really  want  to  say  is 
that  Norma's  clothes 
seem  to  be  getting 
sheerer!  But  no,  no, 
we  won't  say  it!  We'll 
just  tell  you  that  this 
lovely  printed  chiffon 
dance  frock  is  figured 
in  cerise  and  apple 
green  on  a  background 
of  delft  blue.  The 
graceful  collar  extends 
down  the  back  to  form 
a  cape,  finished  at  the 
waistline  with  a  narrow 
belt  and  bow 


f/^ashions 


Adrian  designed  this  decorative  but 
practical  golfing  costume  in  champagne 
color.  The  jaunty  suede  jacket  is  made 
with  patch  pockets  and  is  loosely  belted; 
the  raglan  sleeves  are  finished  with 
straps.  A  short  flannel  skirt,  brimmed 
felt  hat,  and  scarf  bordered  and  figured 
in  scarlet  complete  the  picture 


We  just  had  to  add  this  stunning  and  un- 
usual gown,  which  Norma  will  wear  in  her 
forthcoming  picture,  "The  Last  of  Mrs. 
Cheyney."  Adrian  chose  for  it  a  flesh-pink 
moire.  Silver  sequins  outline  the  neck  and 
elaborate  the  petal-like  scallops  on  the 
bouffant  skirt.  The  huge  moire  bow  is 
besprinkled  with  sequins.  A  smaller  bow 
finishes  the  neckline  in  back,  the  ends 
forming  long  streamers  which  hang  to  the 
floor.  The  fan  is  shell  pink,  and  silver 
slippers  add  the  final  fairy-like  touch 


^ 


Bessie  Love,  otherwise  Juanita  Horton, 
at  the  ripe  age  of  five.  Bessie  came  to 
Hollywood  from  Texas.  Her  parents 
were  pioneer  folk — and  Bessie  knows  all 
the  old  songs  of  the  range 


ALL  Hollywood  clapped  hands  the  other 
night.    Bessie  Love  came  back. 
Shakespeare   asked,    "What's   in    a 
"name?"     The  answer  in  the  case  of 
Love  is — love.    When  Hollywood  unanimously 
says,  "I'm  glad"  over  anyone's  success,  with- 
out adding,  "But  of  course — "  you  may  be 
sure  that  that  one  is  closely  related  to  God. 
In  fact,  the  only  names  I  can  think  of  that 
are  above  invidious  cavil  are  the  Lord's 
and  Bessie's. 

IT  was  in  the  Black  Cat  in  Greenwich 
Village  that  I  first  met  Bessie  Love, 
when  I  was  very  young,  many  years  ago. 
Bessie  looked  as  young  as  she  does  today 
and  so,  for  all  I  know,  was  an  old  lady 
then. 

There's  Magic  on  her.    Father  Time 
nicks  all  of  us  as  he  makes  his  rounds, 
but  when  he  tries  to  touch  Bessie  some 
one   gives   him    a   gallant   kick   in   the 
knickers. 

Every  now  and  then  old  souls  are  born 
into  the  world  who  for  recompense  are 
given  eternally  young  faces.    So  I  was 
told  when  a  child  by  a  toothless  aunt 
who  nearly  got  hung  for  witchcraft. 
Are  you  getting  creepy? — just  hold 
onto  my  hand  and  follow  me;  I  feel 
a  bit  sh-shaky  myself.     Let's  get 
back  to  the  Black  Cat.  .  .  . 

AN  angel  face  shining  mistily  in  the  tobacco 
smoke  of  the  cabaret,  Bessie  thrummed  her 
uke  and  sang  "  Willie  the  Weeper,"  in  a  thin  nasal 
voice. 

The  effect  was  evangelical.  At  the  table  ne.xt 
a  cargoed  lady,  so  powdered  and  warm  she  re- 
sembled a  melting  marshmallow,  beamed  over  at 
Bessie  and   tried   to  stop  hiccupping,  even  go- 

60 


^«?  Girl  who 

Walked 
Back 


They  shoved  Bessie  out  of  the 

Old  Star  Buggy — but,  all  the 

same,  D.  W.  was  right  when  he 

named  her  Love 


By  Herbert  Howe 


ing  so  far  as  to  drink  water.  A  whoopee  lad 
lurched  to  his  feet  in- a  sudden  miracle  of 
mind  over  matter  and  made  an  almost 
straight  line  to  Bessie's  table  to  present  a 
bunch  of  violets. 

It  was  Bessie's  first  trip  to  New  York  and  her 
first  moonflowering  into  night  life,  yet  she  sang 
as  sweetly  unconcerned  as  on  the  home  beach 
at  Santa  Monica. 

Beside  her  sat  her  mother,  a  woman  with 
pale  gaunt  face  and  the  burning  eyes  of  the 
mystic,  about  her  that  strange  remoteness 
of  one  who  lives  in  spirit  more  than  flesh. 
Speaking  of  her  daughter  she  uses  the  fuU 
name,  Bessie  Love,  a  curious  detachment, 
yet  between  them  there's  an  afiSnity  be- 
yond the  mother-daughter  bond.  Though 
Mrs.  Love  has  never  been  a  managing 
mother,  I'm  convinced  that  through  her 
there's  a  mj'stic  power  over  Bessie,  giv- 
ing   her    the    quaint,    the    unearthly 
spiriluelle  of  a  Peter  Pan. 


WHEN  I  first  went  to  California  I 
made  an  almost  straight  line  to 
the  bungalow  of  Love  in  Laurel  Can- 
yon.    I  was  received  with  that  Oh- 
Gee-Look- Who 's-Here  glee  thatfriends 
of  Bessie  know  full  well. 

That  night  Bessie  gave  one  of  her 
famous  wiener  roasts  on  the  beach 
of  Santa  Monica.  After  a  swim  in 
the  moon  warm  sea  we  sat  around 
the  fire  listening  to  Bessie  as  with 
her    solemn,    far-seeing    eyes    she 

[  CONTINUED  ON  PAGE  150  ] 

Bessie  in  the  old  Triangle  Fine  Arts 
days  of  twelve  years  ago.  Despite 
the  glamorous  predictions  of 
Griffith,  little  Bessie  slipped  to 
minor  pictures,  because  Hollywood 
said  she  had  no  IT.  She  was  Cute, 
but  Unawakened 


Louise 


(TT// y^'^EN  you  see  "The  Broadway  Melody,"  the  new  film  hit,  you  will  be  amased  at  little 

yy    Bes?ie  Love's  performance.    Bessie  talks,  sings  and  dances  perfectly.    Back  of  this  hit, 

which  has  captured  a  fine  contract  for  Miss  Love,  lay  years  of  inferior  roles.     The  silent 

screen  never  did  right  by  our  Bessie.    It  passed  her  by— but  the  talkies  have  brought  her  back 

with  a  crash 


ST/'IGH  on  the  staircase,  Joan  Crawford  gazes 
'^  ■*-  down  at  the  crowd  assembled  for  her 
wedding.  This  mighty  set  is  used  in  the  Metro- 
Goldwyn-Mayer  production,  "Our  Modern 
Maidens,"  a  sequel  to  the  enormously  successful 
"Our  Dancing  Daughters" — the  picture  which 
made  Joan  a  star  in  her  own  right.  On  the  right, 
behind  the  lamp,  sits  the  patient  script  girl,  and 
in  the  rear  is  part  of  the  mob  of  extra  people 
hired  to  ush,  kiss  the  bride  and  drink  punch  at 
the  wedding  reception.  The  studio  assures  us 
that  Joan  is  not  planning  to  jump,  so  we  can 
await  the  new  Crawford  sparkler  with  hot  antic- 
ipation.    And   Fiance  Doug,  Jr.,  is  in  it! 


/f  STUNNING  view  of  the  enormous  night  club  set 
^-^-*-  used  by  Director  Paul  Fejos  in  making  the  Universal 
film  version  of  the  famous  play,  "Broadway."  Fejos, 
megaphone  in  hand,  is  perched  on  the  summit  of  the 
camera  crane,  built  especially  for  this  picture  at  a  cost 
of  $75,000.  It  is  capable  of  every  possible  motion,  and 
can  travel  600  feet  a  minute  on  a  horizontal  plane.  Three 
hundred  extras  and  a  chorus  of  30  were  on  this  mighty 
set  at  one  time.  It  is  70  feet  high,  and  a  city  block 
wide  and  deep.  The  night  club  sequences  are  being 
filmed  in  natural  color.  Glenn  Tryon  is  starred,  and 
Evelyn  Brent  and  Merna  Kennedy  are  featured.  Uncle 
Carl  Laemmle's  $1,000,000  beauty! 


Richee 


rHE  motion  picture  camera  saw  a  different  Ruth  Chatterton  than  theater  audiences  had 
observed.    Behind  the  footlights  Miss  Chatterton  played  gentle  flappers  with  sweetness 
and  charm.    On  the  screen  she  is  a  sophisticated  woman  of  the  world.    Across  the  page  is 
Katherine  Albert's  interesting  explanation  of  the  metamorphosis.    Also  Miss  Albert  tells  you 
of  Miss  Chatterton's  other  surprising  discoveries  in  Hollywood 


Vhat  Qld 

Devil, 


AM  ERA 


The  All-Seeing  Eye  has 

changed  Ruth  Chatterton 

from  a  Footlight  Pollyanna 

to  a  Siren  of  the  Screen 


By 
Katherine  Albert 


T 


this. 


HE  greatest  vamps  of  history  were  little  and  fair  and 
had  funny  noses. 

It  is  this  fact  that  has  altered  the  career  of  Ruth 
Chatterton.     Nothing  psychic,  nothing  supernatural  in 


The  stage-goers  know  Chatterton  as  a  young  thing  who 
played  a  gentle  girl  in  "Daddy  Longlegs"  and  "Come  Out  of 
the  Kitchen." 

The  screen  has  made  different  demands.  Her  first  role  was  in 
"Sins  of  the  Fathers."  She  became  a  villainous,  scheming,  hard- 
boiled  vampire  with  no  redeeming  qualities. 

What — then — has  brought  about  the  change? 

Was  it,  perhaps,  that  the  camera  is  possessed  of  a  strange 
demon  with  second  sight?  Did  the  screen,  with  its  revealing 
close-ups,  penetrate  a  quality  in  Chatterton  that  even  the  first 
row  of  a  theater  audience  had  missed? 

Or  was  it  a  change  that  had  come  over  Ruth  herself?  Did  her 
separation  from  Ralph  Forbes,  and  their  subsequent  coming  to- 
gether again,  make  a  different  woman  of  the  star  of  "Daddy 
Longlegs"? 

It  was  none  of  these  things.  It  was  merely  a  wrong  idea  of 
the  vampish,  sophisticated  woman. 

Ruth  celebrated  her  eighteenth  birthday  while  she  was 
starring  in  "  Daddy  Longlegs." 

At  that  time  a  professor  of  English  literature  wrote  a  lengthy 
article  about  her  in  which  he  said,  "(jiven  fifteen  years  of 
health  and  happiness  Ruth  Chatterton  will  be  able  to  play  Lady 
Marheth  convincingly." 

This  caused  a  furor  among  the  critics.  The  fault-finding 
judges  of  the  theater  could  not  believe  that  a  mere  slip  of  a  girl 
would  ever  develop  into  a  Lady  Macbeth.  They  remembered 
only  the  buxom,  voluptuous  ladies  who  had  characterized  her. 

The  professor  replied  that  Shakespeare  had  definitely 
described  the  noted  murderess  as  having  small,  dainty  hands. 
He  further  added  that  the  Women  Who  Changed  Maps  were 
invariably  little  and  fair  and  had  funny  noses. 

"  Good  and  bad  acti-esses  may  be  judged  by  how  much  or  how 
little  they  are  inhibited,"  said  Miss  Chatterton.  "I  find  it 
frightfully  embarrassing  to  do  a  melodramatic  or  a  sentimental 


Ruth  Chatterton  as  she  looks  in  her  new  picture, 
"Madame  X,"  a  Metro-Goldwyn- Mayer  talking 
photoplay.  A  far  cry  for  Ruthie  from  her  "Daddy 
Longlegs"  days  on  the  speaking  stage.  The 
films  have  made  her  a  tragedienne! 


scene.  This  is  particularly  hard  when  you're  working  before 
people.  But  you've  got  to  un-inhibit  yourself.  You  must  shake 
off  embarrassment. 

"  What  you  play  on  the  stage  or  screen  has  nothing  to  do  with 
the  sort  of  person  you,  yourself,  are.  Great  changes  come  into 
the  lives  of  actresses  and,  if  they're  good  actresses,  these  per- 
sonal crises  do  not  affect  their  performances. 

"The  camera  sees  the  performance  that  you  give.  It  has  no 
hidden  powers  at  all.  There  is  no  change  in  me  simply  because 
I  have  changed  roles.     Merely  the  idea  of  vamps  has  changed. 

"Maybe  .'\nita  Loos  did  it  when  she  wrote  'Gentlemen  Pre- 
fer Blondes.'  Maybe  Greta  Garbo  did  it  by  introducing  a  fair, 
wan  sort  of  person  as  the  vamp  supreme.  .\t  any  rate  the 
bu.xom,  voluptuous,  dark-haired  creature  with  her  tight  fitting 
black  satin  dress  is  out  of  the  picture. 

""\/'OUTH  and  age,  of  course,  have  nothing  to  do  with  it.  Pic- 

i-  tures  are  changing  in  that  respect,  too.  In  no  other  art  has 
youth  played  such  an  important  role.  A  young  girl  is  nice  to 
look  at  for  half  an  hour  or  so  but,  as  a  rule,  quite  stupid  con- 
versationally. And  certainly  the  loves  and  hates  of  children  are 
dull.  Heretofore  puppy  love  is  the  only  type  that  has  had 
screen  credit. 

"  .\n  actress  should  be  quite  ageless.  I  was  twenty-four  when 
I  played  'La  Tendresse'  and  in  the  story  my  children  were 
twelve  or  thirteen. 

"Ethel  Barrymore  played  '."Mice-Sit-by-the-Fire'  in  a  role 
that  called  for  grown  children,  when  she  was  only  twenty-six. 

"In  'Madame  X'  I  make  the  change  from  a  young  to  an  old 
woman  and  I  feel  that  it  won't  make  any  dift'erence  to  what  you. 
call  the  'fans.'  " 

The  "fans"  are  a  new  consideration  for  Ruth  Chatterton. 
For  a  number  of  years  this  vitally  gifted  w^oman  who  was 
touched  by  the  gods  with  a  rare  quality  of  deep,  poignant 
beauty  has  held  herself  aloof  from        [  continued  on  imge  94  ] 

65 


yiaking  ^edrooms 


By 
LjoIs  Shirley 


dressing    rooms.      It's    a   grand    gag.      I 
learned  about  it  at  the  studio." 

This,  of  course,  bore  investigating,  and  I 
found  that  Richard  Smith,  the  chief  in- 
terior decorator  at  Fox  Studio,  has  made 
the  most  interesting  uses  of  dress  fabrics  in 
decorating  the  two-room  bungalow  dressing 
rooms  of  the  stars. 


A' 


Charlie  Farrell's  partiality  to  blue  seems  to  have  no  effect  on 
his  smile.  The  handsome  blue  brocade  used  for  chair,  drapes 
and  cushions  is  really  an  inexpensive  rayon  and  cotton  fabric. 
Couch  cover  and  door  drapes  are  of  two-toned  blue  and  red 
heavy  cotton  rep 


ND  when  I  heard  that  the  total  cost 
^of  drapes,  curtains,  a  slip  cover  for 
an  armchair,  a  couch  cover,  drapes  for  the 
dressing  table  and  several  pillows  was  S15, 
I  knew  it  was  in  the  cards  that  I  write  a 
story  about  it  for  you. 

Dress  yardage  used  by  Mr.  Smith  for 
these  decorations  includes  old  fashioned 
calico,  challis,  English  prints,  pamico  cloth, 
plain  cotton  voile  and  silk  voile,  organdie, 
dotted  Swiss,  checked  and  plain  gingham, 
denim,  a  silk  finished  cotton,  unbleached 
muslin,  bobbinet  and  sateen.  Certainly 
these  are  enough  to  choose  from  if  you 
want  to  freshen  up  your  boudoir,  or  furnish 
an  attractive  guest  room  or  nursery. 

If  you  want  to  be  more  swanky  and  use 
silk  there  are  rayons,  taffetas,  dress  satins 
and  brocades  (many  of  these  being  obtain- 
able in  short  lengths  at  reduced  prices), 
costume  velvets,  shantung  silks,  pongee 
and  laces. 

Janet  Gaynor  has  one  of  the  SI  5  dressing 
rooms.    It's  just  lovely,  as  you  can  see  by 

THE  other  dav  I  happened  to  be  in  the  yard  goods  depart-  the  picture.  The  glass  curtains  are  of  heavy  dress  voile,  heni- 
ment  of  one  of  the  Hollywood  shops  when  I  heard  Janet  stitched  in  deep  tan.  The  hangings  are  of  a  more  sheer  voile, 
Gaynor  instructing  the  saleswoman  to  give  her  fifteen  in  orchid,  embroidered  in  small  orchid  flowers.  A  yellow  lining 
yards  of  voile.     Of  course  my  curiosity  was  aroused.      of  a  silky  cotton  fabric  produces  a  charming  effect  when  the 

"What  are  you  buying?"  I  asked. 
"  Who  ever  heard  of  fifteen  yards  for  a 
frock  now-a-days?  Or  are  you  going 
to  make  your  own  costumes  for  pic- 
tures? Or  are  you,  perhaps,  going  to 
outfit  all  the  starving  and  unclothed 
Armenians  with  dainty  underwear?" 

Don't  blame  me  for  asking  ques- 
tions. You  never  know  what  these 
picture  gals  are  going  to  start  ne.xt. 

"Nothing  of  the  sort,"  said  Janet. 
"I'm  re-doing  my  bedroom." 

"Your  bedroom?"  I  repeated.  "But 
this  is  the  dress  goods  department." 

"I  know  it.  You  have  no  idea  how 
much  cheaper  and  smarter  dress  goods 
is  for  drapes  for  summer  bedrooms  and 

Janet  Gaynor's  studio  dress- 
ingroom  is  done  in  dainty  light 
colorings.  Instead  of  using  stiff 
window  shades,  she  has  cov- 
ered her  windows  with  closely 
shirred  heavy  voile.  Don't  you 
love  the  way  they  are  finished 
at  the  top  with  that  delightful 
shirred  valance?  The  chaise 
longue  is  very  swanky  in  peach 
taffeta 

m 


More  AtTRA&TI  VE 


It  can  be  done  for  as 
little  as  fifteen  dollars 
a  room,  invested  in  low- 
priced  but  attractive 
fabrics  for  draperies 
and  slip  covers,  sheer, 
soft  curtains  and  gay 
pillows 


light  shines  through  them.  The  chaise  longue 
is  upholstered  in  peach  taffeta  and  the  small  arm- 
chair is  in  satin. 

In  this  case  the  shirred  glass  curtains  are 
meant  to  act  as  a  substitute  for  the  conventional 
window  blind,  which  Mr.  Smith  considers  in- 
artistic. 

Sally  Phipps  has  a  dressing  room  done  in 
pamico  cloth  in  green,  and  English  prints.  The 
cushions  are  made  from  quaintly  printed  old 
calicos  and  challis.     The  chair  cover  is  calico. 

The  dressing  rooms  used  by  Victor  McLaglen 
and  Charlie  Farrell  are  described  here  to  help 
the  housewife  who  wants  to  make  her  husband 's 
den  more  attractive.  Of  course,  flowered  ma- 
terials and  delicate  organdies  and  voiles  are  en- 
tirely out  of  place  in  such  a  room.  Materials  that  are  dark  in  tone 
but  rich  in  color,  and  heavy  in  texture,  are  appropriate  here. 

McLaglen's  room  is  furnished  with  twin  couches  that  are 


Comfort,  beauty  and  economy  go  hand  in  hand  in  the  very 
modern  dressing  room  of  Lois  Moran.  The  couch  and 
cushions  are  of  a  combination  dull  cotton  and  mercerized 
weave,  in  silver  and  blue.  The  drapes  are  of  bright  blue 
rayon  taffeta,  lovely  in  effect  but  low  in  cost 


arranged  in  a  way  that  makes  an  L  shaped  wall  seat  in  a 

corner  of  his  room.    They  are  covered  with  a  dark  blue  denim, 

woven  in  a  small  diamond  shaped  pattern,  with  a  box  pleated 

valance   at    the   bottom   of    the    smoothly    fitted 

top  and  side. 

An  armchair  has  a  slip  cover  to  match  the 
couches.  These  covers  are  durable,  easily  laun- 
dered and  do  not  show  the  rough  daily  usage 
to  which  they   are  subjected. 

Portieres  of  deep  maroon  are  made  of  costume 
velvet,  54  inches  wide,  that  is  split,  and  lined 
with  a  heavy  sateen.  Another  armchair  is  uphol- 
stered in  an  extra  heavy  cotton  satin  in  tan. 
Window  hangings  are  made  of  a  two-tone  cotton 
rep  in  deep  blue  and  red.  Glass  curtains  are  of  a 
heavy,  geometrically  designed  allover  rayon  lace. 

CHARLIE  FARRELL'S  room  shows  a  lavish  use 
of  blue  in  its  furnishings.  The  chair  covers, 
cushions  and  drapes  are  an  inexpensive  cotton- 
rayon  brocade.  The  couch  cover  and  door  drapes 
are  a  heavy  cotton  rep,  two- toned  in  deep  blue 
and  red. 

The  drapes  in  Lois  Moran's  room  are  rayon 
taffeta  in  a  lustrous  [continued  on  page   112] 


English  prints,  calico  and  challis  make  a 
quaint  and  delightful  setting  for  Sally 
Phipps,  who  is  shown  here  dressed  to  match 
thewinsomenessof  herroom.  The  modern- 
istic table  and  plaque  add  a  dash  of  sophisti- 
cation.    Ideas  galore  for  the  clever  girl 

67 


verything, 


The  Star  quit 
the  picture 

and  the 
double  had 
her  moment 

of  glory. 

Read  what 

came  of  it 


KAY  BRADY  drove  her  little 
green  roadster  into  the  auto 
park,  across  the  street  from 
the  Glorious  Motion  Picture 
Studio,  and  jumped  out. 

"Hello,  Billy,"  she  greeted  the  at- 
tendant gaily. 

"Good  morning.  Miss  Kay,  how 
are  you  this  morning?" 

"Fine.    I  feel  lucky  today." 

She  swung  over  to  the  studio  gate, 
where  straggling  groups  of  people 
were  filing  in  ready  for  work,  some 
made  up  and  in  costume. 

The  gateman  smiled  cordially. 
"  Miss  Kay,  they're  wanting  you  in 
the  front  office." 

"At  the  front  office?  Who  wants 
me?" 

"You're  to  ask  at  the  desk." 

"Thanks,  Kelly." 

She  walked  briskly  through  the  gate  toward  the  front 
office;  her  little  sports  coat  flapping  behind  her;  her  heart 
beating  wildly. 

"Somebody  want  me?"  she  asked  the  girl  at  the  desk. 

"Yes,  Miss  Brady,  Mr.  Mortimer.  He's  on  the  second  floor, 
third  door  to  the  right." 

The  production  manager  wanted  to  see  her;  something  was 
up. 

Jack  Mortimer  came  to  the  door  of  his  private  office  as  soon 
as  her  name  was  announced. 

"Please  come  in.  Miss  Brady.  We  phoned  for  you  early 
this  morning,  but  you  had  already  gone."  He  was  unusually 
cordial. 

"T  GOT  up  early  to  drive  to  the  beach;  it  is  such  a  glorious 
JL  morning.    Has  something  serious  happened?" 
He  took  up  the  telephone  before  answering.     "Have  Ben 
Milton  and  Mr.  Blate  come  in  at  once,  please.    And,  Miss  Wall, 

68 


I  shall  be  busy  for  half  an  hour,  see  that  I'm  not  disturbed." 
"Something  serious  for  us  has  happened;  it  might  not  be  so 
serious  for  you,"  he  smiled  engagingly  at  her. 

SHE  immediately  became  suspicious.  The  thought  came  to 
her, however,thatit didn't  take  theproductionmanager, studio 
manager  and  business  manager  to  fire  the  double  for  Delva 
Delova.    She  settled  back  more  comfortably  in  her  chair. 

Ben  Milton,  thin,  dark,  and  nervous,  and  Ernest  Blate,  bald- 
headed  and  keen  of  eye,  came  together. 

"  I  was  just  telling  Aliss  Brady  that  our  bad  luck  might  be  her 
good  luck,"  Mortimer  told  them,  as  soon  as  they  were  seated. 

They  watched  Kay  so  closely  that  she  began  to  feel  uncom- 
fortable. They  seemed  to  be  seeing  her  through  her  clothes. 
She  affected  a  little  smile,  and  watched  them  in  turn  through 
purposely  listless  eyes.  Her  mixture  of  French  and  Irish  blood 
stood  her  in  very  good  stead. 

"Delva  Delova  has  quit  the  picture  cold,  and  we  are  asking 


By 
France  Goldwater 


you  to  step  in  and  finish  it  for  us.  There  will  be  the  details  of 
salary  and  wardrobe,  but  of  course  those  are  easily  settled." 
Ernest  Blate  began  briskly. 

Kay  nodded,  afraid  to  trust  herself  to  speech. 

"\Ve  can't  give  you  screen  credit,  you  understand,"  broke  in 
Ben  Milton. 

"And  it  mustn't  get  out  to  the  papers;  you  can  see  that." 
Blate  had  never  taken  his  eyes  from  her. 

"How  will  five  hundred  a  week  suit  you — until  the  picture  is 
finished?"     Mr.  Mortimer's  voice  was  suave. 

KAY  made  a  rapid  calculation.  Delova  was  getting  three 
thousand  dollars  a  week;  she  was  making  a  hundred  a  week. 
"  I  shall  be  very  glad  to  help  you  out,  and  to  do  everything  in 
my  power  to  make  the  picture  a  success.  The  salary  will  be  all 
right,  provided  that — "  she  hesitated;  they  moved  uneasily  in 
their  chairs,  "that  if  I  make  good,  you  will  give  me  a  chance  on 
my  own  account."    She  drew  her  breath  in  a  little  unevenly. 


Illustrated 
by 

Ray  Van  Buren 


The  action  started.  The 
whistle  blew  jarringly.  The 
lights  clicked  and  blazed. 
Delva  Delova  swept  everything 
with  a  magnificent  gesture. 
Kay  watched  it  all,  sick  to  her 
very  soul.  An  almost  uncon- 
trollable rage  took  hold  of  her. 
She  had  played  this  part  with 
emotion,  subtilely;  this  woman 
couldn't  equal  her  if  she  lived 
to  be  a  million 


They  vied  with  each  other  in 
assuring  her  of  the  brilliancy  of  her 
future,  at  whatever  price  she  asked. 
Despite  the  warmth  of  their  hopes 
for  her  future  success,  she  could 
feel  their  uncertainty  about  her. 

SHE  arose  to  go.  At  the  door  she 
hesitated, andsmiled  bewitching- 
ly  back  at  them.  "  By  the  way,  may 
I  dress  in  Madam  Delova's  bun- 
galow?" 

"Certainly,"  Mr.  Blate  was 
graciousness  itself.  "Jack,  have  a 
dresser  sent  over  for  Miss  Brady. 
And,  Miss  Brady,  will  you  please  go 
right  down  to  the  wardrobe  depart- 
ment? Pierre  is  making  a  duplicate 
of  Madam  Delova's  costume  for  the 
garden  party  scene;  we  are  shooting 
it  this  afternoon." 

She  smiled  broadly,  speechless 
with  happiness. 

He  took  her  cold  little  hand.  "I 
don't  need  to  tell  you  how  impor- 
tant it  is  to  us  that  this  goes  over 
right.  You  know  how  much  we 
have  at  stake." 

"Trust  me,"  she  assured  him, 
"believe  me,  it  means  my  whole 
future  to  me."  They  laughed 
politely. 

Before  they  had  finished  their 
goodbyes,  she  was  out  of  the  office  and  on  her  way  to  the  ward- 
robe department.  Her  feet  keeping  time  to  the  song  in  her 
heart.  Her  chance  had  come;  her  opportunity  to  show  of  what 
stufi"  she  was  made.  Her  throat  ached  with  excitement,  and  her 
knees  felt  wooden.  All  through  this  picture,  which  was  known 
under  the  working  title  of  "  Faint  Hearts,"  while  she  had  stood 
in  for  Delva  Delova,  and  had  doubled  for  her  in  the  wild 
Apache  dance,  in  the  dangerous  horseback  ride  to  the  top  of  the 
mountain,  and  in  the  swim  through  the  cold  mountain  lake,  she 
had  thought  of  the  futility  of  doing  aU  of  the  hard  work,  and  of 
receiving  no  recognition  whatever.  Even  Delva  Delova  had 
entirely  ignored  her.  This  great  foreign  star,  whose  fits  of 
temper  and  of  nerves  had  kept  the  staff,-  the  actors,  and  the 
director  constantly  upset,  swept  past  her  as  though  she  didn't 
exist. 

It  was  all  past,  now  she  was  to  have  the  credit  which  rightly 
belonged  to  her. 

"Mees  Kay,  I'm  so  thrill'  that    [continued  on  page  124] 

69 


Jhe  Big  Boy  fe//s 


The  tale  of  how 
Gary  Cooper,  six 
feet,  four  of  Mon- 
tana Boy,  comes 
to  Hollywood, 
the  city  of  dreams 
— goes  hungry, 
loses,  and  wins! 


This  is  the  House  that  Gary  Built — a  beautiful  Spanish  bungalow  in 

the  Beverly  Hills  district  that  is  studded  with  bright  stars.      And 

there  is  Big  Boy  himself,  standing  on  the  veranda,  and  looking  very 

much  monarch  of  all  he  surveys! 


In  the  first  installment  of  Gary  Cooper's  life  story,  printed  last 
month,  he  told  of  his  birth  twenty-seven  years  ago  in  Helena,  Montana  — 
of  his  father,  a  distinguished  jurist,  and  his  gentle  Anglo-French  mother. 

Of  the  hardships  of  a  ranch  that  turned  out  to  he  a  white  elephant,  of 
schooldays  in  England,  of  the  homesickness  for  Montana's  plains  and 
mountains  that  never  leaves  him,  even  during  the  hours  of  his  film  fame. 

Now,  in  the  second  chapter,  we  find  him  on  the  brink  of  manhood, 
ranch  days  and  his  Hollywood  career  still  beyond  the  horiion. 

PART    II 

MY  latter  teens  were  full  of  happenings.    I  spun  up  from  a 
kid  into  a  spindling,  lean  boy  of  six  feet,  four.     In  less 
than  a  year  I  grew  ten  inches,  and  then  stopped.     By 
the  time  I  was  sixteen  I  was  as  tall  as  I  am  now.     And 
conscious  of  it. 

^ly  brother  left  for  France  at  the  beginning  of  the  struggle,  when 
America  went  into  the  war,  and  left  a  kid  brother.  Arthur  returned 
to  find  me  towering  well  over  him. 

Those  years  were  not  uneventful.    Two  of  them  were  taken  bodily 
from  my  school  life  by  an  automobile  acci- 
dent that  forced  me  to  the  ranch  to  recover. 

I  didn't  mind  that.  I  did  not  crave  to  go 
to  school,  but  something  within  me  wanted 
the  amber  and  red  sunsets,  the  clear  bright 
days  with  a  buzzard  planing  through  the 
sky,  not  moving  a  wing  for  thousands  of 
feet,  and,  as  I  turned  my  head,  a  bald  eagle 
circling,  ominously,  above  a  hidden  prey. 

There  are  things  one  remembers  as  if  yes- 
terday. Wallops  that  life  has  handed  you. 
I  remember,  now,  the  sock  in  the  ego  that 
I  got  when  I  was  told  that  I  had  flopped  in 
my  first  dramatic  part,  and  that  I  was  out 
of  the  cast. 


Gary  Cooper  and  his 
mother  at  the  door 
of  the  Montana  lad's 
home  in  the  hills 
above  Hollywood. 
Mamma  Cooper  and 
her  husband  were 
dead  set  against  a 
film  career  for  their 
big  boy,  but  now 
that  success  has 
come,  they  are 
happy 


70 


His 

Story 


As  told  by 

Gary  Cooper 


to 


Dorothy  Spensley 


I  remember,  as  yesterday,  the  automobile 
accident  that  knocked  me  out  of  active  life 
for  many  months  and  sent  me  to  Sunnyside. 
I  can  recall  the  big  touring  car  I  was  driving 
as  it  whizzed  along.  The  sudden  impact. 
How  it  rolled  over.  How  I  got  up  and 
walked  to  the  curb,  not  dizzy,  nor  weak, 
my  senses  sharpened  to  a  super-human 
degree.  And  then  how  my  left  side  failed 
me.  It  hung  like  a  heavy  dead  thing. 
And  everything  went  blue.  I  guess  that  is 
the  way  you  feel  when  you  faint. 

I  awakened  in  a  hospital.  They  said  I 
had  a  broken  leg,  and  other  complications 
too  numerous  to  mention. 


Richee 
A  vivid  close-up  of  Gary  Cooper,  tousled  hair,  frank  eyes,  and 
all.    Among  all  the  stars  that  shine  in  the  firmament  of  film- 
land, Gary  typifies  what  we  like  to  think  of  as  the  best  of 
young  American  manhood 

I  recall,  distinctly,  that  I  thought  of  mother  and  dad.  I  didn't  have 
any  regrets  about  the  car,  or  myself.  I  thought  of  the  dirty  trick  life  had 
played  on  us,  just  as  things  were  beginning  to  clear  a  bit,  and  the  ranch 
was  showing  signs  of  living  up  to  its  name. 

CONVALESCENCE  on  the  ranch  was  easy.  There  were  always  cow- 
hands around  to  tell  stories,  play  cards  or  to  whang  away  at  a  two- 
stringed  mandolin.  Some  of  the  fellows  that  drifted  in  and  out  again  as 
soon  as  they  had  earned  a  couple  of  months'  pay,  had  harmonicas,  and 
we  listened  to  "Pretty  Baby"  interpolated  with  some  old  buckaroo  bar 
room  ditties  picked  up  along  the  Borders,  North  and  South. 

I  had  great  admiration  for  one  taciturn  old  ranger.      His  name  was 
Ashburton  Carter  and  his  fame  among  the  sweating,  two-fisted  punchers 
was    that    one    winter    he    had    been    snowbound    for  six   months  in 
Colorado  and  had  not  spoken  a  word  to  a  human  being  all  that  time. 
It  was  my  fun,  when  I  was  well  enough  to  permit 
it,  to  tag  after  Ash,  begging  him  to  tell  me  his  ex- 
periences, and  to  tell  me  again  how,  desperate  to 
hear  the  sound  of  a  voice  again,  he  held  long  con- 
versations with  his  horse.     And  how  startled,  at 
first,  he  would  be  at  the  strange  grating  sound  of 
his  voice  in  his  desolate  throat.     He  thought  he  was 
going  mad. 

We  had  about  five  hundred  head  of  cattle  then 
and  when  I  was  stronger,  I  helped  to  ride  the  range. 
It  was  a  good  chance  to  think  and  plan  and 
dream.  Pleasant,  too,  to  slouch  down  in  your 
saddle,  your  firm-legged  pony  taking  the  rough 
spots  like  so  much         [  continued  on  page  84  ] 

71 


A  rare  old  print 
of  Gary,  at  the 
age  of  16,  playing 
Indian.  The  pic- 
ture was  taken 
during  his  ranch 
days.  No  doubt 
he  is  wearing  the 
tribal  feathers  of 
old  Chief  Don't- 
Hog  -  the  -  Camera 


Amateur  Movies 

By  Frederick  James  Smith 

PHOTOPLAY'S  Contest  Closes  with  Many  Interesting 

Entries — Amateur  News 


PHOTOPLAY'S    second 
amateur  movie  contest  has 
closed  and  the  judges  are 
making  their  preliminary  ex- 
amination of  the  many  films 
submitted. 

It  is  possible  that  a  decision 
may  be  reached  in  time  for  a 
full  announcement  of  the 
awards  in  the  July  number  of 
Photoplay.  Everj'  effort  will 
be  made  to  complete  a  study  of 
the  competing  films  in  time  to 
make  an  announcement  in  that 


NOW  that  Photopl.4y's 
second  contest  has  moved 
into  history,  it  is  interesting  to 
look  over  the  records  of  ama- 
teur activities.  The  amateur 
film  for  instance,  has  reached 
a  high  point  of  development  in 
colleges  and  universities. 

The  first  collegiate  produc- 
tion on  record  with  the  -Amateur  Cinema  League  is  "The 
Witches'  Fiddle,"  produced  by  the  Kinema  Club  of  Cambridge 
University,  England,  in  1922.  This  was  made  on  standard 
width  film,  as  was  the  club's  second  production,  "A  Miss  in 
May  Week."  A  club  at  Oxford  University  was  formed  shortly 
after  and  then  Harvard  Workshop  entered  the  field  in  America 
with  a  35  millimeter  production. 

That  was  the  beginning.  Amateur  film  work  began  to  be 
taken  up  by  universities  all  over  the  world.  The  Purity  Play- 
ers of  Yale  produced  Fielding's  "Tom  Jones"  in  an  interesting 
way  and  the  film  attracted  wide  attention. 

The  students  of  Colgate  made  "Roommates,"  an  amateur 
group  of  the  University  of  Southern  California  produced  "The 
Sporting  Chance." 
Groups  have  been  active 
at  the  University  of 
Minnesota,  Stanford, 
Princeton,  the  Univer- 
sity of  Virginia,  Am- 
herst, Dartmouth  and 
the  University  of  Oregon. 


OUT  in  Cleveland  the 
Motion  Picture  Di- 
vision of  the  Cleveland 
Photographic  Society 
has  finished  an  interest- 
ing comedy,  "Picture 
Puzzles."  This  shows 
(in  200  feet  of  16  milli- 
meter film)  the  disas- 
trous effects  of  a  puz- 
zle craze  upon  a  house- 
hold. There  is  a  skill- 
fully worked  out  dream 
sequence,  in  which  the 
puzzle  automatically 
solves  itself.  Harry  S. 
Shagren  directed  the  pro- 
duction. Lloyd  W.  Dun- 
ning photographed  it. 

72 


James  Hack  in  the  leading  role  of  "Dope,  "being 
produced  by  Fred  S.  Nieman  at  Culver  Military 
Academy.    The  amateur  movie  is  now  an  im- 
portant student  activity 


PL.\NS  for  the  extensive  use 
of  amateur  movies  have 
been  completed  at  Dartmouth 
College.  Two  news  releases, 
entitled  "The  Dartmouth  Col- 
lege News,"  have  been  filmed 
in  400  feet  of  16  millimeter 
stock  and  are  being  circulated 
among  the  various  alumni 
groups  in  the  country. 

Alumni  secretaries  in  all 
universities  report  that  the 
amateur  movie  is  of  tremen- 
dous aid  in  keeping  graduate 
bodies  in  touch  with  studio 
activities.  The  amateur  movie 
is  a  solid  bond  between  the 
student  and  the  graduate. 

In  the  case  of  The  Dart- 
mouth News,  the  newsreel  will 
be  made  and  released  periodi- 
cally and  a  regular  film  service 
has  been  built  up  for  subscrib- 
ing graduate  associations. 
Assisted  by  the  Dartmouth 
Players,  the  amateur  group  plans  a  scenario  film,  enacted  by 
students,  which  will  depict  a  year's  activities  in  the  life  of  an 
undergraduate  at  Hanover.  Upon  the  basis  of  this  experience, 
an  undergraduate  unit  will  be  formed  for  the  regular  pro- 
duction of  amateur  photoplays. 

ANEW  amateur  group  at  Peekskill,  N.  Y.,  completed  a 
film  drama  in  400  feet  of  16  millimeter  stock  for  the 
Photopl.w  contest.  It  is  the  story  of  the  secretary  of  a  boy's' 
school.  He  steals  student  funds,  plunges  in  Wall  Street,  ac- 
quires a  fortune — and  awakens  to  find  himself  still  poor  and 
honest.  Some  interesting  camera  angle  shots  of  New  York' 
streets  have  been  worked  into  the  dream  sequence. 

J.  V.  D.  Bucher  was 
the  cameraman  and 
director  and  the  cast  of 
two  number  Dwight 
Carpenter  and  A.  H. 
Hallock. 


O; 


A  scene  from  "Destiny,"  submitted  by  the  Undergradu- 
ate Motion  Pictures  of  Princeton  University  in  PHOTO- 
PLAY MAGAZINE'S  contest.      This  is  one  of  the  inter- 
esting contest  entries 


NE  of  the  unusual 
entries  in  Photo- 
play's contest  is  an  in- 
terpretation of  Oscar 
Wilde's  Salome,  worked 
out  in  35  millimeter  form 
by  the  Cumberland  Cin- 
ema Club  of  Vineland, 
N.  J.  The  production 
runs  1,000  feet. 

No  attempt  was  made 
at  historical  accuracy. 
Conventionalized  set- 
tings and  costumes  were 
utilized  to  interpret  the 
feeling  of  the  Wilde 
story. 

Many  months  were 
spent  on  the  production. 

[  CONTINUED 
ON  PAGE  122  ] 


Tf^tch 

Your 

Diet 


Read,  young  lady, 

and  learn  how  to 

achieve  beauty  of 

figure  and  complexion 

through  health 

Says 

Dr.  H.  B.  K.  Willis 


BEFORE  the  necessity  for  mineral  elements  in  the  diet 
can  be  appreciated,  the  layman  must  sell   himself  the 
cell  idea,  if  I  may  be  pardoned  this  bit  of  Kiwanese. 
The  body  is  made  up  of  cells,  perhaps  as  many  as 
one  hundred  trillion,  and  each  one  is  to  the  body  what  each 
brick  is  to  a  house — the  smallest  unit  of  structure. 

We  can  regard  the  thing  we  call  our  body  as  a  cell  mosaic 
of  many  different  kinds  of  cells — bone,  muscle,  nerve,  etc. — 
all  of  more  or  less  the  same  chemical  components. 
Everything  that  lives  is  a 


collection  of  cells,  whether  it 
be  a  radish  or  a  Richard  Dix. 
As  the  cell  types  vary,  so  vary 
the  functions  of  the  organs 
of  which  the  cells  are  units. 

The  brain  cells  work  dif- 
ferently than  the  muscle 
cells,  but  analytically  each 
has  much  the  same  make-up, 
the  complexity  of  the  cell 
depending  upon  the  work  it 
has  to  do. 

Each  cell  must  have  its 
daily  allowance  of  fuel,  re- 
placement and  regulative  sub- 
stances on  the  basis  of  its 
daily  needs. 

Your  daily  feod  should  con- 
tain a  hundred  units  of  iron. 
Iron  is  chiefly  present  in  the 
body  in  the  form  of  hemoglo- 
bin (the  red  blood  cells'  color 
substance,  which  absorbs 
oxygen  from  the  air  in  the 
lungs  and  carries  it  to  the 
body  cells  to  keep  the  fires  of 
life  aglow). 


"T  TAVE  you  had  your  iron  today?"  is 

JL  Xnot  just  an  advertising  catch-phrase 
but  a  question  that  vitally  concerns  your 
health.  Do  you  know  you  can  get  it  in 
your  foods  much  better  than  in  bottles? 

Next  month  Dr.  Willis  will  conclude  this 
series  on  the  principles  of  nutrition  with 
some  valuable  advice  on  the  body's  need  of 
regulative  substance. 

It  is  the  hope  of  PHOTOPLAY  and  Dr. 
Willis  that  our  readers  will  unite  in  com- 
bating the  senseless  craze  for  weight  re- 
duction without  regard  for  dietary  prin- 
ciples necessary  for  both  health  and  beauty. 

You  will  noticenoquick reducing  internal 
medicines  advertised  in  this  publication. 
You  may  obtain  back  issues  containing 
these  articles  (beginning  with  February) 
by  sending  25c  for  each  copy  to  PHOTO- 
PLAY, 750  No.  Michigan  Ave.,  Chicago. 


HAVE  you  a  problem  of  diet?  Let  Dr.  Willis  of 
PHOTOPLAY  be  your  adviser.  Write  to  him 
in  care  of  PHOTOPLAY,  816  Taft  Building, 
Hollywood,  Calif.  And  be  sure  to  enclose  a  self- 
addressed  stamped  envelope  for  reply.  Dr.  Willis 
will  give   your  question    his   personal   attention. 


Men  need  less  iron  than  growing  children,  and  women 
need  more  than  men. 

The  very  common  iron  deficit  in  the  diet  brings  about  a 
blood  deficiency,  which,  if  allowed  to  continue,  becomes  most 
injurious.  This  is  the  reason  that  women  ambitious  to  retain, 
their  sylph-like  figures  develop  anemia. 

One  of  the  brightest  twinklers  in  the  movie  firmament  came 
to  me  a  month  or  so  ago  complaining  of  nervousness.  With 
tears  in  her  eyes  she  told  me  how  her  producer  was  con- 
tinually harping  at  her  about 
her  curves.  She  had  reduced 
her  diet  till  she  was  taking 
nothing  but  three  glasses  of 
sauerkraut  juice  a  day,  with 
the  result,  as  she  put  it,  that 
she  felt  as  if  she  were  going 
to  fly  into  a  thousand 
pieces. 

She  was  a  striking  example 
of  what  an  iron  deficit  in 
ihe  diet   does   to   the  blood 


stream. 

All  the  iron  compounds 
necessary  can  be  found  in  the 
red  meats,  egg  yolk,  cabbage, 
spinach,  asparagus,  string 
beans,  carrots,  grapes,  raisins 
and  apples,  and  when  there 
is  a  lack  of  iron,  recent  ex- 
periments have  proven  that  a 
sufficient  supply  of  mineral 
iron  can  be  introduced  into 
the  blood  stream.  This,  of 
course,  must  be  done  by  a 
physician. 

Only  a  few  years  ago  the 

[   CONTINUED   ON   PAOE    135   ] 

73 


Tips  vs.  Art 


By 

Mark 
Larkin 


Donnie  Johnson  dishes  up  a  red-hot  rarebit  to 
Buddie  Rogers  and  Dick  Arlen,  two  of  Para- 
mount's  bright  boys.  Donnie  has  been  juggling 
trays  at  Henry's  ever  since  the  famous  beanery 
opened.  She  owns  a  home,  she  drives  a  smart 
car,  and  she  is  a  licensed  solo  pilot  with  over  a 
hundred  hours  in  the  air 


the  air,  and  in  addition  to  her 
solo  license  she'll  pick  up  her 
commercial  license  the  next 
time  she  goes  out  to  the  airport, 
and  that  will  entitle  her  to  take 
up  passengers.  And  Donnie 
Johnson  made  the  money  for 
all  this  at  Henry's. 

While  girls  by  the  hundred- 
score  were  besieging  the  en- 
trances to  Hollywood  studios, 
clamoring  for  a  chance  to  star, 
and  existing  on  crumbs  and 
promises,  Donnie  Johnson  was 
purveying  orders  at  Henry's  and 
pocketing  the  tips. 

Nickels  and  dimes  mounted 
into  quarters,  and  quarters  into 
dollars,  and  dollars  into  the 
tangible  things  of  life.  Its  com- 
forts, its  pleasures  —  these  are 
the  things  that  belong  to  the 
girls  at  Henry's,  and  they  walk 
no  farther  to  get  them  than  those  harassed  extras  who  tramp 
from  studio  to  studio,  chasing  the  figment  called  fame. 

"It  takes  brains  to  be  a  waitress,"  Donnie  told  me;  "it 
doesn't  just  take  a  pair  of  good  feet!" 


T: 


'D  rather  be  a  waitress  in  Henry's  than  a  Baby  Star  at 
De  Mille's,"  said  Donnie. 

"Or  at  RKO,  or  Warners,   or   Paramount,   or   First 
"National,  or  any  other  studio,"  said  Jennie. 

"  Ab-so-lutely!"  said  both  Donnie  and  Jennie. 

And  Donnie  and  Jennie  should  know,  because  both  of  them 
are  waitresses  at  Henry's. 

And  Henry's  is  the  great  institution  of  Hollywood — the 
melting  pot  of  the  movies,  the  place  where  star,  tourist  and 
extra  forgather  to  sup. 

There  is  no  caste  at  Henry's.  Appetite  levels  all  social 
barriers.  The  stars  are  not  the  picture  people  who  eat  there, 
they  are  the  waitresses  who  serve  them. 

Queens  in  their  own  domain,  these  girls,  with  affluence  and 
opulence  that  many  a  picture  person  might  well  envy. 

Take  Donnie,  for  instance. 

Donnie  has  been  at  Henry's 
nearly  ever  since  the  restaurant 
opened  on  July  fifteenth,  1925. 
And  Donnie  is  a  lady  of  means. 
Donnie  owns  her  home,  and 
a  very  fine  touring  car 
which  she  bought  just  a  short 
time  ago  after  trading  in  the 
old  one.  And  Donnie  is  a 
licensed  pilot!  An  aviatrix,  if 
you  please.  So  stand  back, 
Ruth  Elder;  please  don't 
crowd!  Donnie  has  had  one 
hundred  and  twelve  hours  in 

7i 


Lillian  Morris  pauses  in 
her  leap  to  the  links  long 
enough  to  allow  our 
cameraman  to  snap  what 
a  young  sportswoman 
should  wear.  The  nippy 
roadster  she  is  holding  up 
was  purchased  with  some 
of  her  generous  tips 
at  Henry's  remarkable 
restaurant 


Yearn  for  Art 
and  Fame  and 
you  starve.  Be- 
come a  Wait- 
ress at  Henry's 
and  drive  your 
own  golf  ball 
and  Rolls- 
Royce 


And  I  believe  her,  for  Joe  Berliner,  partner  of 
Henry  in  the  business,  told  me  that  the  training 
the  girls  get  is  as  good  as  a  college  course. 

If  you  want  to  know  anything  about  tact, 
just  ask  a  waitress.  Also  if  you  want  a  liberal 
education  in  the  fine  art  of  repartee,  just  drop 
into  Henry's  some  night  and  listen  to  the  fast 
patter  that  passes  between  some  of  the  keenest 
minds  in  pictures  and  these  girls  in  the  crisp 
white  collars  and  smart  black  frocks. 

They  think  fast,  captain — they  have  to! 

There  is  only  one  rigid  requirement  of  the 
girls  who  work  at  Henry's — good  health!  It  is 
no  place  for  invalids.  Long  before  the  state 
law  was  enacted  (which  is  not  yet  in  force)  re- 
quiring a  certificate  of  health  from  a  waitress, 
Henry  and  Joe  made  it  a  fixed  rule  to  require  a 
physical  examination  for  every  girl  they  em- 
ployed. In  fact,  Joe  and  Henry  were  among  the  leaders 
fight  for  that  new  law. 

Donnie  Johnson's  case,  of  course,  is  merely  typical. 


Three  of  Henry's  prize  peaches,  studying  the  daily  menu 
like  good  little  girls.  Left  to  right  they  are  Nora  Knight, 
Betty  Harris  and  Genevieve  Bruce.  Betty  once  won  the 
second  award  for  beauty  in  a  contest  conducted  by  a  Los 
Angeles  paper 


in  the 


Every 


waitress  there  is  on  velvet.  But  it  isn't  merely  the  money  she 
makes,  it's  the  associations  too,  the  privilege  of  being  intimate 
with  the  big  and  little  personalities  of  pictures. 

"And  if  you  don't  think  you're  in- 
timate with  people  when  they're  eat- 
ing," said  Donnie,  "guess  again.  A 
hungry  star  isn't  much  different  from 
a  hungry  extra.    Both  want  food!" 

There  is  probably  no  spot  in  the 
world  like  Henry's.  It  is  unique  in 
that  it  is  the  most  democratic,  the 
most  cosmopolitan  eating  place  in  the 
film  capital.  The  heart  of  the  indus- 
try beats  in  Henry's.  Big  deals  are 
consummated  there,  over  a  bo  wlof  soup, 
perhaps,  or  a  salami  sandwich.  Ro- 
mances begin  there,  hearts  are  often 
broken,  with  bread,  across  the  clean 
white  tables.  Troubles  and  tragedies 
are  aired.  Scenarios  are  written  on 
the  tablecloth,  masterpieces  that  go  to 
the  laundry  and  are  lost  forever  in  a 
froth  of  suds.  Great  ambitions  are 
born  at  Henr\''s,  great  hopes,  great 
thoughts,  great  ideals. 

[  CONTINUED  ON  PAGE  100  ] 


Maeme  Hall  waves  gaily  to  the  nice 
traffic  cop  from  the  window  of  her 
sporty  coupe.  Maeme  bought  the 
job  on  the  proceeds  of  her  pleasant 
toil  at  Henry's — $12  a  week  salary 
and  gosh  knows  how  much  in  tips 
from  her  horde  of  contented  diners 


75 


ft.  - 


PHOTOPLAY  ^v 

<£litrititii.?(ll..    ■■  •''  1? 


lil.?? 


urticnif 


^lUiliinnilalXalional  liiank  iiiu^  Q.vm\  iLn. 
(l:liii;iiiui,Jlliiuii'-=.(2-3i 


S>  500 .  00 

PHOTOPLAY  PUBLISHING  CO. 


sggngF^'arfgans'gWJ 


f^2Eeij^^im-i 


BgP'gEBiPia 


ANTED- 


A  New  Name 
for  the 

Talkies 


This  imposing  scrap  of  paper  is 
the  $500  check  you  will  receive 
if  you  are  smart  and  lucky 
enough  to  coin  the  best  avail- 
able name  for  talking  pictures. 
There  is  something  charming 
about  a  $500  check! 


$500   will   be 
awarded   by 

Photoplay 

for   the    best 
suggestion 


THIS  is  the  last  ringing  call  for  a  new  title  for  the  talkies! 
Photoplay's  contest  to  uncover  a  new  name  for 
audible  pictures  ends  with  a  resounding  crash  at  midnight 
on  May  15. 

At  that  hour  a  bench  of  learned  jurists  will  begin  going 
through  the  mountain  of  answers  that  have  been  pouring  into 
the  office  since  the  first  announcement  of  the  search. 

The  lucky  winner  will  receive  our  check  for  $500,  our  bless- 
ing, and  the  thanks  of  the  country's  millions  of  fans. 

Detailed  rules  for  the  affair  will  be  found  in  the  box  due 
east  of  this  space. 

We  believe  that  "talkie"  is  an  inelegant  name  for  the  newest 
step  taken  by  the  infant  art. 

We  believe  that  in  someone's  mind  is  a  better — one  that 
parallels  "photoplay,"  perhaps,  in  propriety  and  usability. 

"Photoplay"  brought  its  inventor,  a  Mr.  Strakosch  of 
California,  a  §100  prize  way  back  in  the  Biograph  days,  when 
men  were  men  and  women  were  Mary  Pickford. 

This  magazine  will  see  that,  and  raise  the  award  $400. 

The  talkies'  new  name  must  be  explicit  and  explanatory, 
yet  proper  and  popular. 

A  trade  paper,  The  Exhibitors'  Herald-World,  has  been  on 
the  same  hunt. 

Hundreds  of  titles  have  been  suggested,  with  the  word 
"audien"  seeming  to  lead  the  field. 

Other  entrants  are  cinelog,  dramaphone,  pictovox,  audifilm 
and  vocafilm. 

We  are  inclined  to  the  belief  that  these  are  all  a  little  too 
literary  for  public  approval.  We're  not  yet  sold.  It  remains 
for  a  Photoplay  reader  to  sell  us  on  a  better.  And  there's 
half  a  thousand  dollars  in  it  for  the  fortunate  inventor. 

Get  the  family  together  on  this  matter.  That  sum,  in  real 
Americano  money,  will  come  in  plenty  handy  this  Spring, 
what  with  new  bonnets  and  reconditioning  the  plane,  and  all. 

Don't  forget — the  contest  comes  to  a  dead  stop  at  midnight, 
May  15. 

16 


Rules  for  the  New-Name-for- 
the-Talkies  Contest 

1.  $500  is  offered  for  the  best  coined  name 
with  which  to  christen  the  taUdes  and  for  the  best 
explanation  in  100  words  or  less,  giving  your 
reason  for  your  selection. 

2.  In  the  event  that  two  or  more  names  and 
explanations  are  found  of  equal  merit,  duplicate 
prizes  of  $500  will  go  to  the  lucky  contestants. 

3.  Suggested  names,  with  the  accompanying 
explanations,  must  be  typewritten  on  one  side  of 
a  single  sheet  of  white  paper  with  your  name  and 
address  in  the  upper  left  hand  comer.  Names 
and  explanations  must  be  mailed  to  The  Talkie 
Name  Contest,  Photoplay  Magazine,  221 
West  57th  St.,  New  York  City,  N.  Y.  You  can 
send  in  as  many  coined  words  as  you  wish,  pro- 
vided each  is  accompanied  by  an  explanation  in 
100  words  or  less  and  each  is  typewritten  on  one 
side  of  a  single  sheet  of  paper  as  specified. 

4.  Names  and  explanations  must  reach  the 
office  of  Photoplay  before  midnight  of  May 
15th  to  be  considered.  Announcement  of  the 
winner  or  winners  will  be  made  as  soon  after  that 
date  as  possible.  An  editorial  committee  of 
Photoplay  wUl  judge  the  submitted  words 
and  suggestions  and  its  decision  will  be  final. 
No  names  or  explanations  will  be  returned  smd 
Photoplay  reserves  the  right  to  pubUsh  any 
or  all  of  the  suggestions  submitted. 


Photoplay  Magazine — Advertising  Section 


77 


r\pe«*"=  AN       E  N  C  H  / 


E  N  G  L  I 


BEAKS 

10VELY,  lovely  Lady  Violet  Astor! 
_j  Hers  is  the  serene  beauty  of  the 
English  countryside.  Her  hair  is  golden 
as  ripe  wheat,  her  eyes  are  violet  blue, 
her  skin  is  pink  and  white  as  a  hedge  rose. 

Daughter  of  an  Earl,  Lady  Violet  grew 
up  amidst  the  pomp  of  vice-regal  courts. 
Now  she  is  one  of  London's  most  brilliant 
hostesses.  But  she  loves  best  country 
life — gardens  and  flowers,  fishing,  golf 
and  riding  to  hounds.  She  is  a  devoted 
mother  and  her  good  deeds  bring  sun- 
shine into  countless  lives. 

Sweet  as  her  shy  name-flower,  Lady 
Violet  is  yet  a  woman  of  definite  con- 


CKEAT       AMERICAN       NAME 


victions.  It  is  no  shallow  vanity  that 
has  caused  her  to  give  her  skin  meticulous 
daily  care  with  Pond's.  She  has  lived  amid 
Canada's  snows,  and  under  India's  blaz- 
ing sun,  yet  kept  the  bloom  of  that 
marvelous  English  complexion.  She  is 
outspoken  in  her  praiseof  the"  wonderful 
service  Pond's  have  done  for  women." 

"They've  put  in  our  hands  the  means 
of  making  our  skin  look  younger  each 
year,"  she  says. 

"Those  Two  Creams  keep  my  skin  so 
perfectly  cleansed  and  protected!  And 
the  Skin  Freshener,  the  filmy  Tissues  for 
removing  cream — all  four  are  delightful!" 


This  IS  the  Pond's  Method  for  home 
treatment: 

First,  for  thorough  cleansing,  amply 
apply  Pond's  Cold  Cream  over  face  and 
neck,  morning,  evening  and  always  after 
exposure. 

Then,  with  Pond's  Cleansing  Tissues, 
soft,  ample,  absorbent,  wipe  away  the 
cream  and  dirt.  What  an  economy  in 
towels  and  laundry! 

Next,  after  a  daytime  cleansing,  dab 
Pond's  Skin  Freshener  briskly  over  your 
skin.  It  firms,  tones,  closes  the  pores 
and  banishes  oiliness. 

The  finishing  touch — a  little  Pond's 
Vanishing  Cream  for  protection  and  as 
a  powder  base. 

Give  your  skin   this  care  during  the 
day.     Always    at    bedtime    thoroughly 
cleanse  with  Cold  Cream  and  wipe  off 
cream  and  dirt  with  Tissues. 
Send  lOjf  for  Pond'S  4  Preparations 


Lady  Violet  leaving  her  Lon- 
don mansion  for  a  ride  in 
Kotten  Row,  Hyde  Park. 


You  can  buy  them  everywhere,  Pond's  four  delightful  prepara- 
tions—  the  famous  Two  Creams,  new  tonic  Skin  Freshener  and 
soft,  snow-white  Cleansing  Tissues  for  removing  cold  cream. 

When  you  write  to  advertisers  please  mention  PHOTOPLAY  MjVGAZINE. 


Pond's 
1 14  Hudson 

Extract 
Street 

C 

OMPANY,     Dept. 
New  York 

S 

N.Y. 

.Srrppt 

Ciry 

Sta 

te_ 

Copyright,  1929.  Pond's  Extract  Company 


Freulich 


yUST  to  prove  that  it's  a  long  lane,  etc.,  etc.,  there's  Vera  Reynolds  and  Bob  Ellis. 
Vera  was  just  getting  well  under  way  as  a  De  Mille  star  when  C.  B.  shut  up  shop  and 
moved  over  to  M.-G.-M.  Bob  Ellis,  fine  actor  and  good  director,  has  a  collection  of 
tough  picture  breaks  that  would  fill  the  Smithsonian  Institute.  Came  the  talkies  and  Bob 
was  chosen  for  the  biggest  speaking  part  in  "Broadway,"  for  which  Universal  paid  §100,000. 
Vera  is  coining  money  in  independent  pictures.  They've  just  let  the  world  know  they  were 
married  some  time  ago  in  Paris.  "What  do  you  want  for  an  anniversary  present?"  says  Bob. 
"Just  one  thing,"  says  the  little  woman.  "Just  show  those  producers  you  are  the  best  screen 
actor  that  ever  faced  a  microphone."     And  if  that  black  cat  keeps  out  of  "Broadway,"  he 

may  do  it 


78 


Photoplay  Magazine — Advertising  Section 


79 


Her  hair  is  dry 


She  should  use  Packer's  Olive  Oil  Shampoo 

Like  all  Packer  soaps,  this  shampoo  is  a  vegetable  oil  soap  ...  in 
addition,  it  contains  a  rich,  soothing  emollient  (and  nothing  to  dry 
the  scalp).  Dry  scalps  will  never  feel  a  stinging  sensation  when 
they  use  this  special  shampoo.  Leaves  your  hair  soft  and  silky  to 
the  touch — more  manageable — and  delicately  perfumed. 


Her  hair  is  oily 


She  should  use  Packer's  Pine  Tar  Shampoo 

If  you  have  the  kind  of  hair  that  loses  its  fluffiness  shortly  after 
shampooing,  use  Packer's  Pine  Tar  Shampoo.  This  preparation  is 
tonic  and  mildly  astringent  .  .  .  approved  by  dermatologists.  It 
leaves  the  hair  fluffy,  with  a  natural  sparkle.  Use  it  every  four  or 
five  days  at  first;  later  every  week  or  ten  days  may  be  enough. 


He  has  dandruff 

LISTEN  IN!        He  should  use  Packer's  Tar  Soap 


Miss  Jean  Carroll  dis- 
cusses hair  health  and  hair 
beauty  over  the  Columbia 
Broadcasting  System's 
Radio  Home  Bazar  hour: 
every  Friday  at  13  noon 
(Eastern  Daylight  Saving 
Time). 


the  soap  that  made  pine  tar  famous  for  sliampooing.  Pine  tar 
is  antiseptic,  healing,  with  properties  valuable  in  the  treatment  of 
dandruff.  For  almost  60  years  dermatologists  have  endorsed 
Packer's  Tar  Soap  for  skin  and  scalp.  For  noticeable  dandruff 
use  Packer's  Tar  Soap  every  fev/  days  until  improvement  begins. 


Select  the  shampoo  your  hair  needs 


Acute  cases  of  dryness,  oilincss  and  dan- 
druff need  a  doctor's  care.  But  nearly 
all  scalps  tend  to  be  dry  or  oily,  and  many 
are  mildly  affected  with  dandruff.  Now — 
each  type  of  scalp  can  have  the  special 
shampoo  which  meets  its  particular  needs. 
The  coupon  is  for  your  convenience.  The 
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at  your  drug  or  department  store 


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Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  51 


The  Big  Three  are  together  again ! 
Director  Frank  Borzage,  two-time 
Photoplay  Medal  Winner,  is  talk- 
ing over  "The  Lucky  Star,"  his 
tenth  Fox  picture,  with  Janet 
Gaynor  and  Charlie  Farrell.  How 
about  another  medal,  Frankie? 


Further  questioning  ^'ould  only  cause  the 
reticent  Mr.  Colman  to  turn  silent,  and 
then  flee. 

Meanwhile,  'who  is  the  dashing  Mrs. 
McDonald?  Hollywood  Sherlocks  are  be- 
ginning to  put  on  their  fake  beavers,  and 
prowl. 

HTHE  arrival  in  Los  Angeles  for  a  series  of 
•'-  matches  of  the  Midwick  Country  Club 
of  such  well-known  poloists  as  Tommy 
Hitchcock,  Averill  Harriman,  Winston 
Guest,  Laddie  Sanford,  Arden  Roark,  Jack 
Whitney,  and  a  half  dozen  others,  caused 
almost  as  much  of  a  flutter  in  the  feminine 
hearts  of  Hollywood  as  did  the  visit  of 
Prince  George  of  England. 

Although  Tommy  Hitchcock  had  re- 
moved himself  from  the  ranks  of  the  other 
very,  very  eligible  bachelors,  there  remained 
a  sufiicient  number  to  provoke  considerable 
rivalry  among  the  fair  sex. 

Hollywood  was  well  represented  at  the 
matches.  Virginia  Valli  usually  sat  in  a 
box  with  the  men  who  were  not  playing  in 
the  match  of  the  day,  and  chatted  between 
chukkers  to  those  who  were.  Marion 
Davies,  Claire  Windsor,  Lily  Damita  and 
others  cried  encouragement  to  their  favor- 
ite teams  and  favorite  players,  while  Mary 
and  Doug  talked  over  the  various  plays 
with  Major  and  Lady  Metcalfe.  Blanche 
Sweet  found  an  admirer  in  the  blond 
Laddie  Sanford,  while  Adonis  in  the  person 
of  Winston  Guest  was  hard  put  to  it  to  de- 
cide between  the  blonde  vivacity  of  Lily 
Damita  and  the  seductively  brunette  Mona 

80 


Maris.  Lily  had  him  as  a  dinner  companion,  Mona  carried  him  off  to 
a  tete-a-tete  luncheon,  Lily  watched  a  picture  with  him,  Mona  danced 
with  him.  It  was  hard  to  say  which  picture  he  carried  away  with  him, 
and  it  is  difficult  to  say  whether  he  enjoyed  the  rivalry  between  the  two 
more  than  their  many  friends  who  watched  the  maneuvers  of  each 
with  pleasure. 

NO  issue  of  this  uplifting  journal  is  quite  complete  without 
the  latest  story  about  John,  Dick  Arlen's  butler  and  boy 
of  all  work. 

The  other  day  a  messenger  boy  found  John  at  work  in  the 
garden. 

"Can  you  tell  me  where  Mr.  Arlen  Uves?"  he  asked. 
"Well,"  said  John,  "there  are  two  residences  heah.     Ah 
lives  at  the  back.     Mistah  Ahlen  lives  just  in  front  of  this 
house." 


When  Doris  Hill 
would  a'skating 
go  she  just  puts 
on  her  bathing 
suit  and  furank- 
lets  and  steps 
out  on  the  arti- 
ficial ice  of  Cali- 
fornia. "Skating 
is  SUCH  hot 
work,''  says 
Doris.  "Even  in 
the  shade  of  the 
palms" 


Wide  World 


BEN  LYON  and  Bebe  Daniels  are  going 
to  tackle  matrimony  from  a  new  angle. 
They  are  learning  to  make  the  necessary 
compromises  before  instead  of  after  taking 
the  vows. 

Bebe  has  always  been  a  bridge  hound, 
while  Ben  never  cared  a  hoot  about  the 
game. 

But  now  he  has  bought  every  obtainable 
book  on  the  subject,  and  is  boning  hard  so 
he  can  make  a  fourth  in  the  games  around 
the  old  Lyon  fireside. 

Bebe,  not  to  be  licked,  is  taking  up  flying, 
so  that  she  can  indulge  Ben's  hobby,  too. 
As  a  matter  of  fact,  she  is  actually  taking 
up  piloting. 

With  this  give  and  take  spirit,  the 
Daniels-Lyon  marriage  should  not  be  one 
of  these  Hollywood  flowers  that  bloom  in 
spring,  tra-la,  and  fade  away  in  the  fall, 
boo-hoo ! 

[  CONTINUED  ON  PAGE  83  ] 


This  is  Joyce  Murray,  the  adorable 
mite  who  led  the  beautiful  "Wed- 
ding of  the  Painted  Doll"  number 
in  that  great  talkie,  "The  Broad- 
way Melody."  "Always  on  her 
toes,  this  baby!"  say  her  studio 
bosses 


BuU 


\nPansi  Ll  W  A  CaTALI  E  R  I 

celebrated  beauty 
specialist 


f 


i 


\ 

"^^■1 


advises  nashinq  for  beauty 

n^ith  this  palm  and 

olive  oil  soap 

"In  addition  to  my  own  beauty 
products,  I  always  recommend 
the  soap  blended  of  palm  and 
olive  oils.  It  leaves  the  skin  in 
a  smooth,  healthy  condition." 


1INA  CAVALIERI  has  stepped  off  the  op- 
j  eratic  stage  to  share  her  beauty  knowl- 
edge with  the  world's  smartest  women. 

Ensconced  in  her  sumptuous  salon,  on 
the  Avenue  Victor  Emmanuel  III,  Lina 
Cavalieri  tells  her  patrons  of  a  simple  home 
beauty  treatment.  "I  find,"  she  says,  "that 
a  soap  blended  of  palm  and  olive  oils,  by 
cleansing  the  pores  thoroughly,  leaves  the 
skin  in  a  smooth,  healthy  condition." 

Madame  Cavalieri  has  made  an  extensive 
study  of  beauty  methods  both  in  Europe 
and  America.  "I  am  visited  by  some  of  the 
most  famous  beauties  of  two  continents," 
she  says.  "In  addition  to  my  own  beauty 
products,  I  always  recommend  them  to  use 
Palmolive  Soap." 

When  dirt,  dust,  oil,  powder  and  rouge 
get  into  the  pores  they  are  choked  up.  To 
these  poisonous  secretions  Madame  Cav- 
alieri attributes  blackheads,  pimples,  en- 
larged pores,  blemishes. 


Portrait,  by  Argnani, 
of  Lina  Cavalieri,  the 
beautiful  opera  star, 
tiho  now  conducts  a 
smart  beauty  shop  in 
Paris.  Mme.  Cavalieri's 
own  loveliness  is  proof 
of  the  wisdom  of  her 
beauty  advice. 


Palmolive  lather,  Madame  Cavalieri  feels, 
frees  those  hardening  masses  of  dirt  and 
make-up,  leaves  the  complexion  soft  and 
glowing  with  healthful  color. 

This  opinion  has  long  been  held  by 
beauty  specialists  of  prominence  through- 
out the  United  States.  They,  too,  recom- 
mend this  famous  twice-a-day  treatment 
which  Cavalieri  suggests  to  her  discrimi- 
nating clientele: 

With  both  hands  make  a  bland  lather  of 
Palmolive  Soap  and  warm  water.  For  two 
minutes,  massage  this  well  into  the  skin. 
Then  rinse,  gradually  cooling  the  water  to 
icy  temperature.  For  dry  skin,  a  touch  of 
cold  cream.  Oily  skin  is  refreshed  by  an 
astringent  lotion  and  day  cream  before 
make-up  is  applied. 

Not  only  in  America  but  in  Vienna, 
Berlin,  London,  Rome  — everywhere  one 
finds  the  same  approval  and  recommenda- 
tion of  this  2-minute  beauty  treatment. 
France  has  made  Palmolive  one  of  its  two 
largest  selling  soaps  . . .  think  of  it,  France, 
the  beauty  dictator  of  two  hemispheres. 
And  in  forty-eight  other  countries,  of  all 
soaps  it  is  the  choice,  just  as  it  is  here  in 
the  United  States. 


^- 


W\GL 


61  Avenue  Victor  Emmanuel  111.  Paris 


Cavalieri's  SaLn  de  Beatite,  61  Avenue  Victor 
Emmanuel  III,  where  she  advises  famous  beau- 
ties of  two  continents  on  the  care  of  the  skin. 


PALMOLIVE  RADIO  HOUR-Broadcast  every  Wednesday  night-from  9:30  to  10:30  p.m.,  east- 
em  time;  8:30  to  9:30  p.m.,  central  time;  7:30  to  8:30  p.m.,  mountain  time;  6:50  to7:30  p.m..  Pacific 
Coast  time-over  WEAF  and  39  stations  associated  with  The  National  Broadcasting  Company. 


Paris 


Where  Women 
Know  How  to  Charm 

By  Edna  Wallace  Hopper 

y\^HEN  summer  comes  I  leave  the  States  for  my 
/••A^vacation  in  Paris.  This  capital  of  gay  cities  is 
always  fascinating  to  me.  The  Parisienne  is  smart. 
She  knows  the  art  of  attracting.  To  the  French- 
woman any  amount  of  work  is  worth  while  if  it 
makes  her  beautiful. 

American  girls,  with  their  many  advantages,  can 
be  just  as  alluring.  No  extensive  program  is  neces- 
sary, but  in  busy,  hustling  America  you  must  protect 
your  face  against  the  wear  and  tear  of  dust  and 
wind.  Use  care  in  the  selection  of  your  cleanser — it  should  soothe  the  skin 
as  it  gently  removes  the  day's  collection  of  make-up  and  grime. 

During  my  annual  stays  abroad  I  have  examined  many  creams.  None  has 
taken  the  place  of  my  own  on  my  dressing  table.  My  Youth  Cream  is  light 
.  .  .  airy  light.  A  cold  cream  should  not  be  an  added  burden.  The  force  of 
"rubbing  in"  a  heavy  cream  causes  fragile  tissues  to  sag.  My  Youth  Cream  is 
so  dainty  and  easily  absorbed  you  do  not  need  to  rub  it  in.  There  are  two 
types,  the  cold — and  vanishing  for  oily  skins. 

For  a  finished  toilette  apply  my  face  powder  over  the  Youth  Cream  base. 
It's  the  French,  clinging  kind  that  adheres  for  a  long  time.  It  blends  so  subtly 
with  your  skin  as  to  seem  a  part  of  it.     Only  its  fragrance  is  apparent. 


Qive  Your  Skin  New  Life 

Even  naturally  fine  skin  looks  jaded  and  color- 
less at  times,  especially  after  a  busy  day.  Once 
in  a  week  or  ten  days  you  need  a  sub -surface 
cleansing.  Give  yourself  a  White  Youth  Clay  at 
home.  It  cleanses  deep,  leaves  the  pores  per- 
fectly free  and  gives  your  skin  a  revitalized  tone. 
The  renewed  circulation  is  as  good  as  hours  of 
sleep.  A  white  clay  pack  is  a  wonderful  help 
when  you  feel  too  tired  for  an  evening's  pleasure. 
It's  dainty — so  much  nicer  on  the  face  than  the 
old,  muddy  kind. 

Remove  the  clay  when  dry  with  a  dash  of  cold 
water  and  you'll  be  delighted  with  the  warm,  nat- 
ural blush  and  satiny  smoothness  of  your  skin. 


■  ■gg!«aMgBW»»,'mg 


I  will  also  send  you  a  sample  of 

„  my  Youth  Cream  and  Youth 

yV      *\.    Powder,  three  samples  in 

*f^  \      all.  (D-44) 

SEND     ^Si^O  > 

This  Coupon!  ^^,y   ^^ 

to  Edna  Wallace  Hopper^(^*        ^^r  fc 
536  Lake  Shore  Drive,       \t"  Vv^ 

Chicago  XL'  ^5S 

with  10  cents  for  trial  tube  of  ^W  ,  %    ^^\ 

White   Youth   Clay   to   prove   to  ^l  ¥    rp 

yourself  that  a  glowing,  beautiful  skin  >y  ^"^^^ 

is    possible  when   pores  are  cleansed    \^  ■        ^^Tv  y ,. 

beneath  the  surface.  ^k  ^tX  ///' 

Street  - . 

'  __  6-PM 

P.  O State. 


Gossip  of  All  the  Studios 


I  CONTINUED  FROM  PAGE  80  | 


i£^ 


Houston-  W  illiams 


It's  just  a  rough  little  shack,  after  all,  but  Tommy  Meighan  is 
happy  to  call  it  home.  The  Meighan  hovel  is  near  New  Port  Richey, 
kissed  by  Gulf  breezes  and  warmed  by  Florida  sunshine.  It  seems  to 
have  some  eighty  rooms,  ninety  baths,  seventy  electric  iceboxes  and 
a  rowboat,  which  can  be  seen  resting  against  the  sea  wall.  Tommy, 
though  now  a  Vitaphone  star,  can  call  it  "The  House  Paramount 

Built" 


don't  care!     You  don't   'are!     Who  does 
care?    I  wish  I  had  never  been  born!" 
That  was  all  for  THA  T  day! 

T^ARK  work  was  done  by  SlitUuni,  the 
■'-^colored  bootblack  at  M.-G.-M.,  when 
he  made  a  valiant  effort  to  crash  the  dress  , 
circle  at  the  opening  of  the  Fox  negro  opus, 
"Hearts  in  I)i.\ie,"  at  the  United  Artists 
Theater  in  Los  Angeles. 

Slickum  has  just  been  elevated  from 
bootblack  to  assistant  director  on  King 
Vidor's  colored  folk  classic,  "Hallelujah." 
and  he  was  anxious  to  see  just  how  much 
better  "Hallelujah"  is  going  to  be  than 
"Hearts  in  Dixie."  Also  he  wanted  seven 
of  his  dusky  friends  to  bear  witness  to  this 
triumph. 

Knowing  that  he  might  experience  some 
difliculty  in  crashing  into  the  orchestra 
section  for  the  opening  night,  Slickum 
conceived  the  bright  thought  of  asking  for 
the  tickets  in  King  Vidor's  name.  He  put 
through  his  phone  call  from  the  Vidor  office 
and  not  untU  some  time  after  the  reserva- 
tions were  made  was  the  ruse  disco\ered. 
Naturally  consternation  reigned,  for  Slick- 
um and  his  party  of  fellow  darkies  had  been 
seated  next  to  Cecil  De  Mille's  elegant  and 
aristocratic  party. 

The  difficulty  was  met,  however,  by  trans- 
ferring SUckum's  party  to  the  balcony. 
SUckum  was  probably  just  as  happy,  for  he 
appeared  with  a  broad  smile,  his  dusky 
friends,  a  tuxedo  and  a  green  fedora  hat. 

D  UTH  CHATTERTON  can  give  a  lot  of 
■^^-actresses  some  lessons  in  modesty  and 
good  taste.         1  continued  on  pace  106] 


T)  .\MON  NOV.ARRO'S  brother,  Joseph 
■'■ '■Samaniegos,  died  recently  at  the  actor's 
Los  Angeles  home. 

He  was  24  at  the  time  of  his  death. 

The  blow  was  a  crushing  one  to  Ramon, 
for  he  loved  his  brother  de\-otedly.  Deter- 
mined that  the  youngster  should  have  the 
advantages  he  missed,  he  sent  Joseph  to 
the  University  of  Southern  California.  It 
was  there,  on  the  football  field,  that  the 
star's  Ijrother  received  the  injuries  that 
resulted  in  his  death.  It  was  Joseph's  long 
illness  that  kept  Ramon  from  taking  his 
long-planned  trip  to  Europe. 

Novarro's  hfe  is  peculiarly  innocent.  He 
is  wrapped  up  in  his  family.  He  has  kept 
away,  more  or  less,  from  Hollywood  at- 
mosphere, preferring  the  residential  section 
of  Los  Angeles  to  the  gaudier  Beverly  Hills. 

Two  picture  fans  met  on  tlie  street 

And  one  began  to  shout 
"Well,  what  do  yuii  think  of  the  talkies?" — 

And  then  a  shot  rang  out. 

"LJOLLYWOOD  has  been  wondering  how 
•*•  -'■Jeanne  Eagels  gets  along  with  Para- 
mount at  the  Eastern  studios. 

When  she  worked  for  M.-G.-M.  she  was  as 
hard  to  handle  as  any  actress  that  has  ever 
been  on  that  temperament-swept  lot,  and 
she  caused  executives  many  nervous  hours. 

One  morning  the  director  had  worked 
three  solid  hours  to  get  a  scene.  Jeanne 
was  balky.  At  last  she  began  to  under- 
stand, and  the  day's  first  shot  was  about 
to  be  made  when  a  publicity  man  ambled 
on  the  set. 

Not  aware  of  the  preceding  grief,  the 
press  agent  asked, 

"Miss  Eagels,  where  were  you  born?" 

That  was  the  finish,  the  wind-up,  the  last 
straw.    Eagels  threw  her  hands  in  the  air. 

"Where  was  I  born?     Who  cares?     I 


BuU 


The  Imperial  Throne  Room — in  other  words.  King  Cecil  B.  De 
Mille's  new  offices  at  the  Metro-Goldwyn-Mayer  studio.  Fore- 
ground, the  bench  (unpadded)  where  suppliants  await  their  audi- 
ences with  the  Master.  Middle  distance,  the  sanctum  where  his 
secretary  puts  them  through  the  ritual  and  takes  their  finger 
prints.  Rear,  the  holy  of  holies  of  his  boss  hired  man.  De  Mille's 
office  parallels  the  suite 


83 


The  Big  Boy  Tells  His  Story 


I  CONTINUED  FROM  PAGE  71 


lightning.  Gave  you  a  chance  to  think  of  what 
life  meant  to  you.  Whether  it  meant  sliding 
along  from  day  to  day  like  this — happy,  free, 
getting  no  place,  materially,  but  with  a  spirit- 
ual contentment  moistening  your  very  roots — ■ 
or  going  into  Helena  or  some  big  city  and  being 
smothered  by  musty  books  and  stifled  by  rows 
of  adding  machines. 

The  best  thing,  though,  was  to  imagine  you 
were  a  heroic  cowboy,  like  those  in  the  wild 
western  films,  and  to  stick  your  heels  into  your 
pony's  slats  and  go 
Uke  hell-bent-for-sal- 
vation  after  Indians. 
Ride  for  miles  like  the 
devil  incarnate,  wind 
shrieking  past  your 
ears,  head  bent  low 
over  the  pony's.  Speed! 
Speed!  The  Indians 
are  coming  and  the 
girl  must  be  rescued. 
Speed !  The  rabbits 
scurry  out  of  the  way. 
A  wise  hoot  owl  blinks 
amazedly  down  at  you. 
The  grass  bows  before 
you.  You  stop.  The 
horse's  sides  are  heav- 
ing like  bellows. 

WHERE  are  the 
Indians?  That's 
a  bunch  of  mesquite. 
Where  is  the  girl? 
That's  only  a  clump  of 
greasewood.  The  girl 
is  incidental.  She  rep- 
resents no  ideal.  She 
is  there  because  the 
plot  demands  that 
somebody  be  rescued. 
It  couldn't  be  "the 
papers."  They  are  too 
inanimate. 

The  pony  is  panting. 
Its  mane  is  flecked 
with  foam.  You  pat  it 
and  fish  out  a  piece  of 
sugar  stolen  from  the 
breakfast  table.  Or  an 
apple.     It  nibbles  it, 

upper  lip  thrust  derisively  back,  and  quivers. 
You  pat  it  again.    Good  horse ! 

What  would  a  man  do  if  he  were  harnessed  to 
a  desk  from  nine  until  five  every  day  except 
Sundays? 

In  th=  Spring  and  Fall  the  cattle  were  driven 
to  the  raUroad  siding,  noisy,  frightened, 
stamping,  to  be  herded  into  the  cattle  train 
that  took  them  to  St.  Paul,  Chicago  or  another 
stock  marketing  center.  With  the  cattle  went 
the  more  experienced  punchers,  who  had  taken 
cattle  to  market  before.  With  them,  as  I  grew 
older,  I  also  went. 

Travelling  was  no  particular  thrill  to  me. 
The  biggest  thrill  was  in  getting  home.  In 
watching  for  the  first  range  of  mountains — 
I  think  it  is  the  Bear  Paw  range — and  feeling 
that  at  last  I  was  back  where  I  could  take  a 
deep  breath.  It  had  been  that  way  when  I  re- 
turned from  England  as  a  kid.  It  was  always 
that  way. 

T  LIKED  to  go  to  market,  though,  with 
-'-  the  men.  I  Uked  to  see  them  dicker  with 
the  city  men  and  \vatch  them  get  their  money 
and  stick  it  inside  their  flannel  shirts  or  in  the 
little  front  pockets  of  their  tight-fitting  pants. 
At  night  they  went  in  for  hcll-raising,  to 
which  I  was  usually  an  interested  onlooker, 
unless  I  went  to  a  theater,  and  later,  literally 
picked  them  up  and  got  them  onto  the  night 
train  that  would  take  us  back  to  Montana. 

84 


The  liquor  they  got  on  their  cattle-selling 
expeditions  was  a  lot  more  potent  than  the 
white  mule  they  imported,  secretly,  to  Sunny- 
side. 

In  the  summer  months,  when  the  High 
School  at  Bozeman  was  closed,  I  worked  as 
guide  at  Y'eUowstone  National  Park.  I 
wanted  to  do  something  that  brought  in 
money,  and  the  family  agreed  to  it.  I  couldn't 
imagine  myself  in  an  office  job.  I  was  too  rest- 
less.   I  am  still  that  way. 


Vacation  days  in  Montana.  The  dashing  figure  on  the  left  of  the 
quartet  is  Gary  Cooper.  Note  the  rakish  slant  to  the  sombrero, 
the  wicked  holster  and  the  cartridge  belt.  Gary  was  about  14,  and 
so  were  the  other  blades,  here  shown  ready  to  set  out  to  hunt  var- 
mints in  them  thar  hills 


I  can  seldom  finish  a  book.  It  takes  too 
many  sedentary  hours  to  sit,  motionless,  and 
read.  Hours  that  could  be  spent  in  riding  or 
walking  or  doing  something  vital.  I  think  that 
is  one  reason  why  I  did  not  become  a  cartoonist. 

I  liked  drawing,  had  a  flair  for  it,  so  I 
was  told,  but  the  tedium  of  sitting  for  hours, 
sketching,  to  get  one  Uttle  thing  flawless  was 
too  great  a  demand  on  a  restless  spirit. 

So  for  three  or  four  summers  I  took  "dude 
cowboys"  from  the  East  through  Yellowstone 
and  kept  white-coUared  campers  in  creased 
khaki  from  thro%ving  bits  of  soap  into  Old 
Faithful  Geyser  to  see  it  spout;  and  elderly 
ladies  from  fainting  by  assuring  them  that  the 
cinnamon  bears  were  harmless  unless  you 
pulled  their  ears  or  kicked  them. 

That  was  work  to  my  liking.  I  could  sneak 
out  of  my  bunk  before  the  "dudes"  were  stir- 
ring, and  steal  out  into  the  open  to  the  tune  of 
their  snores.  I  could  watch  the  sun  come  up 
from  where  the  North  Fork  of  the  Shoshone 
flowed.  I  could  see  an  osprey  come  swooping 
down  for  his  morning  meal,  grab  up  a  strug- 
gling fish,  only  to  drop  it  when  a  liuge  eagle 
swerved  down  on  him,  and  see  the  eagle  catch 
the  ghstening  morsel  in  mid-air. 

Even  when  I  left  high  school  and  entered 
Grinnell  College  the  summer  vacation  found 
me  back  at  the  Park. 

Women  always  have  much  to  do  with  mold- 
ing a  man's  hfe.    I  don't  mean  the  sentimental 


attachments  that  make  you  tramp  on  clouds. 
And  I  don't  mean  marriage.  Something  beside 
the  biological  urge.  I  mean  the  women  who 
are  our  mothers.  And  the  mothering  souls  who 
have  to  do  with  forming  ideals  and  aspirations. 
School  teachers,  for  instance.  In  their  con- 
structive hands,  kids  are  so  much  human  clay. 
Everyone  can  look  back  in  his  life  and  recall 
a  school  teacher  who  stands  out  as  a  sort  of 
beacon  light  to  kids  who  were  groping  and 
grasping  at  hfe. 

Miss  Davis  was  that 
sort  of  person.  Through 
her  I  decided  to  enter 
Grinnell  College  in 
Iowa.  She  was  my 
English  teacher.  Slight, 
a  grey-haired  woman 
that  a  big  wind  from 
the  prairie  could  easily 
have  blown  away,  she 
was  of  the  type  that  is 
born  to  mother  some- 
body else's  sons.  I 
Uked  her,  and  listened 
to  her,  because  she  had 
the  same  fundamen- 
tally sound  ideas  that 
my  mother  had. 

T  WENT  to  Grinnell 
-••  for  two  and  a  half 
years,  during  which 
time  I  absorbed  aU  the 
adult  ex-periences  I 
could.  I  studied  com- 
mercial art  intensively. 
I  fell  in  love.  I  became 
engaged.  I  was  going 
into  the  advertising 
business  and  make  a 
success,  either  as  an 
artist  or  as  an  execu- 
tive. I  was  going  to 
marry  and  have  a 
home  and  family. 

I  was  twenty.  After 
two  and  a  half  years  I 
left  college.  Our  en- 
gagement was  broken. 
Perhaps  it  was  well. 
At  twenty  life  has  a 
different  hue  than  it  has  at  twenty-seven,  or 
thirty-seven.  Dad  was  assisting  Joseph  Dixon 
in  his  campaign  for  Governor  of  Montana  and  I 
tried  my  hand  at  cartooning  on  one  of  the 
Helena  papers.  I  could  have  stayed  in  Helena 
and  done  cartooning. 

I  felt  that  my  choice  of  occupation  bound 
me  to  a  city. 

"V\  7HY  not  to  a  bigger  city  where  the  possi- 
**  bilities  of  advancement  would  be  greater? 
Why  not  go  to  New  York  or  Los  Angeles?  I 
could  not  get  myself  to  go  to  New  York.  I 
knew  I  could  not  love  its  canyons  of  big  build- 
ings and  the  rugged  crags  of  its  skyscrapers. 
They  could  never  take  the  place  of  the  West. 
Los  .\ngeles,  on  the  other  hand,  was  a  Western 
city,  sprawled  over  desert  and  mountains. 

I  arrived  in  Hollywood  on  Thanksgiving 
Day  four  years  ago.  It  was  the  first  big  shove- 
off  from  home.  The  family  didn't  Uke  to  see 
me  go.  Summers  at  Yellowstone  were  all  right, 
and  so  was  school  at  Bozeman  and  GrinneU, 
and  that  job  as  timekeeper  in  an  Iowa  corn 
canning  factory  that  I  held  a  part  of  one  sum- 
mer. 

They  felt  in  closer  contact  ^vith  me.  Now 
we  were  separated  by  the  Rockies. 

Once  in  Los  Angeles,  it  was  the  usual  story 
of  trying  to  get  work  in  a  new  town.  There 
were  no  horses  to  break  or  cattle  to  herd.    I 

[  CONTINtlED  ON  PAGE  110  ] 


Photoplay  Magazine — Advertising  Section 


85 


MON^I  EUI^^   LUCIEN   ^   LELONG 

(/nter/LatLO/iaUiJ  Tamea.  JJartr  creaior 
/locv  ae/iam  jiK  ca/er  Tor 

TH  E    IElGI  \    IPaR  \J\  E  ^  i\  E.-.-^iS"" 


Now  Lelong  puts  into  watches  that 
same  chic  you  find  in  a  frock  that 
bears  his  noted  label.  The  same  flair 
for  style,  the  same  air  of  worldly 
charm.  And  the  vast  efficient  ELGIN 
factory  makes  a  stylist's  dream  a 
reality  to  gleam  upon  your  wrist. 

And  such  versatile  watches,  these 
Lelong  models.  Harmoniously  in 
the  picture,  whether  the  golf  course, 
or  the  tea  table  is  your  background. 
Then,  too  ,  .  .  it's  so  simple  to  have 
extra  ribbons  to  match  the  colors  of 
your  evening  gowns  and  your  Pari- 
sienne    watch   will   give   a   true 

When 


^  ELGIN,  1929.    ALL  PRICES  SLIGHTLY  HIGHER  IN  CANADA 

ELGIN    WATCHES    ARE   AMERICAN    MADE 
WATCHES     SHOWN     J4     ACTUAL     SIZE 


Piirisian  flair  to  your  formal  hours. 

Three  are  plain;  three  are  inlaid 
with  lustrous  hard  enamel.  And  all 
are  brilliantly  smart.  Ask  any 
jeweler  to  show  you  his  sparkling 
tray  of  ELGIN  Parisiennes.  And  not 
only  Lucien  Lelong,  but  Agnes, 
Jenny,  Premet,  and  a  group  of 
equally  prominent  leaders  of  the 
Paris  Grande  Couture  are  repre- 
sented. 

A  Parisienne  costs  but  $35,  there  is 
no  duty  on  designs.  Style  genius  pays 
no  fees  at  the  customs  house.  Paris 
style  ...  at  a  truly  American  price! 


you  writa  to  advertlsera  please  meDtlon  PHOTOPLAY  MAGA2SINE. 


86 


Photoplay  Magazine — Advertising  Section 


TKe  1929  WAMPAS 
BABY  STARS,  too, 


all  use 


lux  TOILET  SOAP 

(or  smooln  skin 


MoNA  Rico,  United  Artists' 
beautiful  and  talented  star, 
says:  "I  must  keep  my  skin 
exquisitely  smooth  to  face  the 
close-up.  I  always  use  Lux 
Toilet  Soap.  It's  so  wonderful 
for  'studio  skin.'" 


Fascinating  Helen  Fos- 
ter, of  Mrs.  Wallace  Reid 
Productions,  hascharming 
skin.  She  says:  "I  always 
use  Lux  Toilet  Soap.  It 
gives  my  skin  the  lovely 
smoothness  known  as 
'studio  skin.'" 


LoRETTA  YouKG,  charm- 
ing First  National  star, 
says:  "Smooth  as  a  rose- 
petal.  That  is  the  way  my 
skin  feels  after  using  Lux 
Toilet  Soap.  It  is  just  like 
the  finest  French  soaps!" 


39  Leading  Hollywood 
Directors  say:   . 

^'Lovely  Smoofn  Skin  is 
Girl's  Greatest  Asset 


BLONDES,  RED-HEADS,  BRUNETTES— but  all 
the  13  Wampas  baby  stars  have  one  out- 
standing appeal — the  rare  loveliness  of  exqui- 
site smooth  skin. 

These  thirteen  charming  girls  have  given 
their  skin  the  same  care  that  all  of  the  1928 
Wampas  Baby  Stars  have  given  theirs.  They 
use  Lux  Toilet  Soap  both  at  home  and  in  their 
studio  dressing  rooms. 

Even  the  searching  glare  of  the  huge  incan- 
descent close-up  lights  reveals  not  a  single 
defect  in  their  lovely  skin. 

Of  the  451  important  actresses  in  Hollywood, 
including  all  stars,  442  depend  on  Lux  Toilet 
Soap  to  keep  their  skin  exquisitely  smooth. 
And  all  the  great  Hollywood  film  studios  have 
made  it  the  official  soap  in  their  dressing  rooms. 

Remember:  9  out  of  10  screen  stars  use  this 
white,  daintily  fragrant  soap. 

You  will  be  charmed  with  it,  too!  Order 
several  cakes — today. 


Caryl  Lincoln,  beloved 
screen  star  with  Fox  Films, 
is  enthusiastic  about  Lux 
Toilet  Soap.  She  uses  it 
both  in  her  own  lovely 
bathroom  and  in  her  dress- 
ing room  on  location.  She 
says:  "  I  wouldn't  be  with- 
out delightful  Lux  Toilet 
Soap.  It  keeps  my  skin  as 
smooth  as  the  fi  nest  French 
soaps  used  to," 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Ethlyne  Clair  is  a  charm- 
ing screen  star  who  is  fa- 
mous for  her  beauty.  She 
says:  "I  never  have  to  worry 
about  a  smooth,  velvety 
skin  — 'studio  skin'—  now 
that  I  use  Lux  Toilet  Soap." 


Photoplay  Magazine— Ar)\F.KTisi\r.  Skct: 


ION 


Josephine  Dunn,  lovely 
Metro  -  Goldwyn  -  Mayer 
star,  has  the  exquisite  skin 
of  the  perfect  blonde.  She 
says:  "A  soft,  smooth  skin 
IS  a  star's  most  prized  pos- 
session. I  use  Lux  Toilet 
Soap  to  keep  my  skin  per- 
fectly smooth  and  soft." 


When  you  see  Doris  Dawson, 
First  National's  delightful 
star,  in  a  close-up,  notice  how 
fine  and  smooth  Lux  Toilet 
Soap  keeps  her  skin.  She  says: 
"It  leaves  my  skin  so  wonder- 
fully smooth." 


Sally  Blank,  R.   K.  O.'s 

lovely  star,  has  such  appeal- 
ingly  beautiful  skin  and 
gives  it  such  intelligent  care. 
She  says:  "  Lux  Toilet  Soap 
is  wonderful  for  the  beauti- 
fully smooth  skin  that  is  so 
important  to  a  screen  star." 


en 


Nine  out  of  T( 
Screen  Stars  Use 
UX  Toilet  Soap 


Anita  Page,  famous  young 
Metro-Goldwyn-Mayer  star, 
says.  "I  always  use  Lux  Toilet 
Soap.  It  keeps  my  skin  so  won- 
derfully  smooth." 


Jean  Arthur,  Para- 
mount's  charming  star, 
says:  "Lux  Toilet  Soap  is 
mdispensable  to  me.  It 
keeps  my  skin  so  wonder- 
fully fine  and  smooth." 


Bettv  Bovd,  beautiful  young 
star  with  Educational  Films, 
says:  "Lux  Toilet  Soap  is  a 
joy!  My  skin   is  so  smooth 


after 


usmg  It 


Helen  Twelvetrees,  lovely 
Fox  star,  says:  "Lux  Toilet 
Soap  is  exactly  like  those 
lovely  soaps  one  finds  in  Paris. 
I  li^-.-e  it!" 


Doris  Hill,  attractive 
Paramount  star,  guards  her 
skin  carefully.  She  says: 
"Lux  Toilet  Soap  keeps  my 
skin  so  beautifully  smooth 
that  I  cannot  see  any  differ- 
ence between  this  delightful 
soap  and  the  finest  French 
soaps." 


Luxury  Such  as  You  Have 
Found  Only  in  French 
Soaps  at  50^  and  ^1.00 
the  cake  .  .  .  now    If    1 


c 


When  you  write  to  advertisers  pleaso  mention  PHOTOPLAY  MAGAZINE 


QUESTIONS  af  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. 


C-sts  av  "  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.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  all  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
57th  St.,  New  York  City. 


_  E.  H.  L.,  Washington,  D.  C— Your  wor- 
ries are  unfounded.  Jack  Mulhall  and  Dorothy 
Mackaill  play  together  again  in  "Children  of 
the  Ritz."  "Lady  Be  Good"  was  the  title  of 
the  picture  you  refer  to.  Dorothy  is  twenty- 
five  years  old  and  hails  from  Hull,  England. 
Carroll  Nye  was  born  in  New  York  City  just 
twenty-two  years  ago.  Gary's  next  picture 
will  be  "Betrayal." 

V.  L.  G.,  J.VCKSON,  Tenn.— Jack  Stone  was 
the  handsome  youth  who  played  the  part  of  the 
kid  axiator  in  "  Lilac  Time."  Milton  Sills  next 
picture  will  be  "Dark  Streets"  and  Thomas 
Meighan's  ne.xt  will  be  "The  Argyle  Case." 

F.  N.,  Brooklyn,  N.  Y.— Just  a  case  of  mis- 
taken identity.  It  was  Jean  Hersholt  and  not 
George  Seigman  who  played  opposite  ZaSu 
Pitts  in  "Greed." 

RoNNY,  Eau  Claire,  Wise. — Carol  Mason 
and  Lola  Todd  are  one  and  the  same  person. 
Lola  thought  she  would  like  to  be  known  as 
Carol  Mason,  but  after  trying  that  name  out 
for  awhile,  she  decided  to  return  to  her  original 
monicker.  Lucille  Powers  is  the  name  of  the 
young  lady  who  played  in  "Marquis  Pre- 
ferred." Chariot  Bird  did  not  appear  in  the 
cast  of  "Wings." 

D.  E.,  Poughkeepsie,  N.  Y.— "Chickie" 
was  released  in  May  1925,  with  John  Bowers 
and  Dorothy  Mackaill  playing  the  leads. 
"Sinners  in  Heaven"  was  released  in  Septem- 
ber, 1924,  with  Bebe  Daniels  and  Richard  Dix 
heading  the  cast.  No  leading  man  was  chosen 
to  play  opposite  Clara  Bow  in  "The  Saturday 
Night  Kid,"  as  that  picture  is  shelved  while 
Clara  is  making  "The  Wild  Party."  FBO 
stood  for  Film  Booking  Offices  but  now  that 
company  is  known  as  RKO  meaning  Radio- 
Keith-Orpheum.  In  "The  Shopworn  Angel" 
the  young  soldier  never  returned. 

Frances  E.  Reed,  Asheville,  N.  C. — 
Madge  Bellamy  is  divorced  from  Logan  Met- 
calf.  Leila  Hyams  is  twenty-three  years  old 
and  is  married  to  Phil  J.  Berg.  Mary  .Astor  is 
the  same  age  as  Leila.  "Broadway  Babies" 
will  be  Alice  White's  next  picture. 

J.  A.  W.,  PmL.vDELPHiA,  Pa. — AH!  Your 
initials  spell  a  word  and  that's  a  lucky  sign. 
Your  big  moment.  Bill  Haines,  was  born  in 
Staunton,  Va.,  on  January  1st,  1900.  He  has 
brown  eyes  and  is  still  single.  His  next  picture 
wiUbe"TheGob." 

F.  H.  B.,  Newakk,  N.  J. — Evelyn  Brent  is 
thirty  years  old,  five  feet  four  inches  tall  and 
hails  from  Tampa,  Fla.  Lan  Keith  was  born 
in  Boston,  Mass.,  on  Feb.  27th,  1899. 

H.  S.,  Asheville,  N.  C. — Gosh,  I  can  almost 
feel  the  heat  from  that  argument.  Let's  settle 
it  now.  David  Rollins  is  nineteen  years  old  and 
Arthur  Lake  is  just  four  years  older. 

88 


Mrs.  M.  G.  K.,  Denn'ER,  Colo. — Goodness, 
here's  another  argument.  Seems  to  be  the  sea- 
son for  them.  Greta  Nissen  has  blonde  hair. 
Plowever,  she  did  make  one  picture  in  which 
she  covered  her  blonde  tresses  with  a  black  wig. 
The  title  of  the  picture  was  "  BUnd  Alleys"  and 
Thomas  Meighan  was  the  leading  man. 

Jack  Fike,  Tulsa,  Okla. — Sally  Filers  was 
born  in  New  York  City  on  December  11th, 
1908.  She  is  reported  to  be  engaged  to 
William  Hawks.  You  can  reach  her  at  First 
National  Studios,  Burbank,  Calif. 

E.  L.  D.,  Sheridan,  Wyo. — Raquel  Torres 
is  twenty  years  old  and  Dorothy  Penelope 
Jones,  who  uses  the  screen  name  of  Dorothy 
Janis,  is  one  year  younger.  You  can  reach 
both  of  them  at  the  Metro-Goldwyn-Mayer 
Studios,  Cuh-er  City,  Calif. 

J.  L.  T.,  Albany,  Ga. — Sorry  to  disappoint 
you  but  the  Paramount  Picture  School  has 
been  out  of  e.xistence  for  the  past  two  years. 


Hear  Ye  !     Hear  Ye  ! 
"Name  Seekers" 

THIS  month  we  will  reveal 
the  family  names  of  the  stars 
most  frequently  brought  up 
before  the  Answer  Man. 

Mary  Brian  was  formerly 
known  as  Louise  Dantzler. 

Ramion  Novarro,  if  you  please, 
was  Ramon  Samaniegos. 

Joan  Crawford,  before  going 
into  pictures,  danced  to  the 
name  of  Lucille  Le  Sueur. 

Anita  Page  recited  her  A  B 
C's  to  the  tune  of  Anita  Pomares. 

Gary  Cooper  was  tagged  with 
Frank  J.  Cooper. 

Bessie  Love  thought  her  fans 
would  like  that  name  better 
than  her  own — Juanita  Horton. 

At  home,  Lupe  Veles,  that  li'l 
Mexican  gal,  was  called  Marie 
Villabalos. 

In  writing  to  the  stars  for 
photographs,  PHOTOPLAY  ad- 
vises you  to  enclose  twenty-five 
cents  to  cover  the  cost  of  picture 
and  postage.  The  stars,  who 
receive  hundreds  of  such  re- 
quests, cannot  afford  to  comply 
with  them  unless  you  do  your 
share. 


K.  L.  Browning,  Richmond,  Va. — Now  to 
settle  all  doubt  in  your  mind.  Mary  Pickford 
was  born  on  April  8th,  1893.  And  that's 
authentic. 

Lois  N.,  Winnipeg,  Manitoba,  Canada. — 
I  am  so  glad  to  hear  that  my  friends  up  there 
enjoy  Photoplay.  Walter  Byron,  your  "mar- 
velous" chap,  was  born  in  Leicester,  England, 
just  twenty-seven  years  ago.  He  is  six  feet  tall 
and  has  dark  brown  hair  and  dark  blue  eyes. 
You  can  reach  him  in  care  of  Samuel  Goldwyn, 
7210  Santa  Monica  Blvd.,  Hollywood,  Calif. 
Thanks  for  the  good  wishes. 

M.  L.,  Omaha,  Nebr. — No  matter  how 
white  my  hair  gets,  I'll  never  feel  old.  David 
Rollins  was  born  in  Kansas  City.  Mo.  You 
can  reach  him  at  the  Fox  Studios,  1401  N. 
Western  Avenue,  Hollywood,  Calif.  Oh,  yes, 
he's  still  single. 

R.  D.,  Marinette,  Wise. — No  need  for 
further  dispute.  Al  Jolson  is  an  American  and 
his  real  name  is  Asa  Yoelson. 

J.  C.  H.,  Los  Angeles,  Calif. — When 
Dorothy  Dalton  was  married  to  Arthur  Ham- 
merstein,  she  retired  from  the  screen.  You  can 
write  to  her  in  care  of  the  Arthur  Hammerstein 
Productions,  1650  Broadway,  New  York  City. 

Adele  Oliver,  Houston,  Tex. — Have  pity, 
old  dear,  I  don't  deserve  to  be  bawled  out  that 
way.  Here's  the  information  you  wanted — 
Nils  Asther's  latest  picture  is  "Wild  Orchids." 
Gary's  next  will  be  "Betrayal."  Greta  Garbo 
has  returned  from  Sweden. 

Babe,  Exeter  Boro,  Pa. — Nils  Asther 
played  the  part  of  Count  Luigi  RavelU  in 
"Laugh,  Clown,  Laugh."  "Weary  River"  is 
the  title  of  Richard's  latest.  Lupe  Velez  did 
no  play  in  "Kit  Carson."  Yes,  it  is  true.  Fred 
Thomson  died  on  December  25  th,  1928. 

B.  K.,  Wenonah,  N.  J. — What — another 
argument  and  among  the  "mihtia"?  Let's 
settle  it  quickly  before  the  shooting  starts. 
You're  right,  Richard  Dix  was  the  hero  in 
"The  Gay  Defender"  and  Thelma  Todd  was 
the  beautiful  heroine.  Ruth  and  Greta  are 
both  twenty-two  and  Joan  is  one  year  older. 
Don't  ask  me  who  I  think  is  the  most  beautiful 
actress  or  the  shooting  will  take  place  here — 
and  how' 

Mrs.  F.  M.  S.,  Bremerton,  Wash. — The 
bout  is  over.  You're  both  wrong.  It  was 
Percy  Marmont  who  played  the  lead  in  "The 
Street  of  Forgotten  Men." 

Mrs.  F.  Shimek,  Tulsa,  Okla. — Agnes 
Ayres  is  playing  a  part  in  a  picture  titled  "The 
Donovan  Affair."  When  it  is  completed  she  is 
going  to  appear  in  vaudeville.  Alice  Calhoun 
is  not  appearing  in  pictures  at  this  time. 
[  continued  on  page  102  1 


Photoplay  Magazine— Advertising  Section 


Below  is  the  famous   r 
Ingram  Mannequin.  Her   l 
image  shows  the  six  spots   \i 
most  difficult  to  care  for,   '<J 
and  the  text  tells  you  how   ''J 
best  to  do  so!  V 

A 


\J^a  HEALTHY  SKIN 


THE  importance  of  the  health  of  your 
skin  cannot  be  exaggerated !  For  it 
is  perfealy  apparent  that  your  skin  must 
be  healthy  if  it  is  to  be  beautiful.  A  clear 
complexion  and  a  soft  skin,  innocent 
of  roughness  and  wrinkles,  will  be 
your  reward  if  you  faithfully  follow  the 
directions  that  come  with  every  jar  of 
Milkweed  Cream. 

The  key  to  a  soft  and  youthful  skin  lies 
in  the  careful  study  of  the  "six  stars" 
shown  on  the  face  of  the  mannequin 
above.  And  the  column  at  the  right 
clearly  explains  how  to  protect  with 
Ingram's  Milkweed  Cream  each  one  of 
these  six  vital  spots ! 

Ingram's  Milkweed  Cream  protects 
the  skin  and  fosters  its  health.  Slightly 
therapeutic  in  its  effects  and  a  meticu- 
lous cleanser  it  does  things  no  other 
cream,  however  expensive,  possibly  can 
do.  It  tonics  your  skin.  It  is  excellent 
against  roughness,  redness  and  blem- 


The  Forehead  . .  Lines  and  wrinkles  are  all 
too  likely  to  form  here  prematurely  unless 
the  skin  is  kept  soft  and  pliable—  and  this 
Ingram's  does  with  marvelous  effect. 

The  Eyes . .  Puffiness  and  crows'  feet  are  so 
very  ageing  and  unbecoming.  To  keep  the 
skinsmooth.turntothesoothingandsoften- 
ingservices  of  Ingram's  Milkweed  Cream. 

The  Mouth . .  To  prevent  drooping  lines  at 
corners  ofthelips,  tone  theskin  and  keepthe 
muscles  firm  by  using  Ingram's.  It  isamaz- 
ingly  helpful  for  invigorating  circulation. 

TheThroat ..  Guard  against  a  crepey  throat 
ifyouvalueyouryouth.  Ingram's  Milk  weed 
Cream  with  its  trace  of  medication, prevents 
flabbiness  and  restores  theskin  to  firmness. 

The  Neck  . .  Finely  etched,  circular  lines 
are  signs  of  accumulating  birthdays.  Be 
faithful  to  your  use  of  Milkweed  Cream. 
It  wafts  well-established  lines  to  obscurity 
and  guards  against  new  ones. 

-  The  Shoulders  .  .  Every  woman  who 
would  proudly  wear  evening  gowns  or 
sleeveless  dresses  should  cleanse  her  arms 
and  shoulders  and  keep  them  blemish- 
free  with  Ingram's. 


ishes.  It  smooths  away  the  tiny 
wrinkles.  It  is  perfect  against  chap*- 
ping  and  flaking. 

Buy  a  jar  of  Milkweed  Cream  today. 
Mark  the  date  you  start  using  it  and 
notice  how  marvelously  your  skin  im- 
proves in  a  single  month. 

Frances  Ingram,  Consultant  on  Care 
of  the  Skin,  will  gladly  send  you  her 
new  booklet  on  skin  care.  And  if  you 
have  any  special  beaut}'  problems,  write 
to  Miss  Ingram  for  advice. 


Frances  Ingram,  Consultant  on  Care  of  the  Skin, 
Dept.  A-59,  108  Washington  St.,  N.  Y.  C. 
Please  send  me  your  free  booklet,  "Only  a  Healthy 
skin  Can  Stay  Young"  which  tells  in  complete 
derail  how  to  care  for  the  skin  and  to  guard  the 
six  vital  spots  of  youth. 


Name^ 
Streit— 


■iddress  _ 


©1929 


Ingram's  Milkweed  Crea/n 


Whea  you  write  to  advertisers   please  mention  PHOTOPLAY   MAGAZINE. 


She  Fell  in  Love  with  Her  Husband 


theme  of  decoration  prevailed,  except  that  a 
pastry  rooster  crowed  proudly  from  the  center 
of  the  spread.  Corinne  vows  that  she  has  no 
idea  of  what  Walter  said  to  her  that  night,  ex- 
cept that  he  remarked  he  wanted  her  to  meet 
his  mother.  He  danced  with  her  whenever  he 
could,  and  invited  her  to  dinner  the  next  night 
at  his  mother's  house. 

But  Corinne  Griffith  was  quite  fed  up  with 
men  at  this  time.  To  her,  they  were  just  a 
drug  on  the  market.  They  did  not  concern  her 
in  the  least.  As  a  matter  of  fact,  through  the 
avenue  of  the  divorce  court  she  had  just  suc- 
ceeded in  detaching  herself  from  one  male  who 
had  in  no  way  proved  himself  indispensable  in 
her  life.  Also  she  was  suffering  from  an  acute 
attack  of  dejection  brought  on  by  a  complica- 
tion of  the  wrong  type  of  pictures  and  meager 
screen  opportunities.  Her  career  was  at  a  very 
low  ebb,  on  a  par  with  her  spirits,  all  because 
she  wanted  to  do  characterization  and  pro- 
ducers ga\e  her  only  parts  with  clothes  to  wear. 
She  was  at  a  loss  as  to  just  what  treatment  to 
prescribe.  Resuscitation  was  necessary  but 
the  method  of  procedure  was  in  doubt. 

It  did  not  take  Walter  INIorosco  long  to  figure 
this  out,  and  he  forthwith  constituted  himself 
the  remedy. 

There  probably  never  was  a  more  diligent  or 
acti^'e  remedy  in  all  Hollywood  than  Walter 
turned  out  to  be.  The  boon  companions  of  the 
moment  began  to  miss  him  and  whenever  he 
could  not  be  located  in  company  with  Miss 
Griffith,  he  was  always  to  be  discovered  in  some 
obscure  corner  staring  moodily  into  space  or 
trying  aimlessly  to  catch  his  thumb. 


CONTINUED  I-EOM  P.\GE  33  I 


It  did  not  take  the  wise  ones  lon^,  to  diagnose 
his  case.  The  complaint  is  common,  even  in 
Hollywood.  But  all  of  the  first  aid  treatments 
applied  to  Walter  by  his  friends  failed  to  make 
him  rally,  so  he  was  finally  abandoned  as  hope- 
lessly incurable. 

Such  was  not  the  case,  however,  with 
Corinne  Griffith.  She  liked  Walter,  yes;  he 
was  interesting,  good  diversion,  and  a  good 
companion. 

But  of  course  she  could  not  take  him  seri- 
ously. No,  no,  no — why  certainly  not;  how 
perfectly  silly!  And  that,  strange  though  it 
may  seem,  was  the  grave  consciousness  that 
distressed  Walter.  He  just  somehow  couldn't 
make  himself  heard,  and  he  was  trying  hard. 

Perhaps  it  was  Walter's  persistence  that 
finally  won  him  a  break.  Or  maybe  it  was  his 
sincerity.  He  has  an  abundance  of  both.  .\t 
any  rate,  just  when  he  was  about  to  walk  off 
the  end  of  the  pier  of  despair,  he  noticed  a 
silver  lining  peeking  through  the  black  clouds 
of  defeat. 

"In  courtship,"  said  Corinne,  "Walter  was 
wonderful.  He  was  consideration  itself  and  I 
liked  him  tremendously.  He  taught  me  to 
play.  Golf,  tennis,  swimming.  And  his  un- 
failing humor  and  good  nature  were  the  most 
buoyant  and  inspiriting  things  I  had  ever  en- 
countered. There  were  times  when  I  felt  that 
I  could  not  do  without  him." 

Even  then  Walter  was  advising  her  regarding 
her  career.  And  the  advice  was  so  sound  that 
it  immediately  began  to  manifest  itself  in 
terms  of  profit.  More  and  more  she  began  to 
bank  on  his  judgment  in  matters  of  business. 


But  it  was  natural,  of  course,  that  young  Mr. 
Morosco  sh  aid  spend  much  time  hovering 
around  je^'elry  windows  that  displayed  en- 
gagement rings — an  ardent  complex  that  be- 
came an  affliction.  It  alarmed  Corinne 
greatly.  Much  as  she  liked  him,  much  as  she 
needed  him,  much  as  she  appreciated  his  fine- 
ness, she  was  fully  aware  that  she  was  not  in 
love  with  him. 

This  knowledge  caused  her  miserable  and 
unhappy  moments  that  no  one  ever  dreamed 
of.  It  presented  a  problem  so  overwhelming 
that  she  found  herself  lacking  in  either  the 
comprehension  or  ingenuity  to  grapple  with  it. 
Such  utter  misery  as  she  endured  at  times 
would  be  hard  to  concei\'e.  She  wanted  to 
break  with  Walter,  she  felt  that  she  was  unfair 
and  unjust,  that  the  thing  she  was  doing  was 
cowardly  in  the  extreme,  yet  somehow  she 
could  not  muster  the  courage.  She  knew  that 
to  tell  him  the  truth  would  break  his  heart. 

So  the  thing  dragged  on,  Walter  with  his  per- 
sistence, Corinne  with  her  doubts. 

Finally  one  evening  he  arrived  at  her  home, 
moody  and  strangely  subdued.  She  thought 
she  had  never  seen  him  so  quiet.  Then  suddenly 
he  became  restive.  He  said  that  he  couldn't 
stay,  that  he  must  go.  He  rose  and  got  his 
hat.  As  he  stood  on  the  threshold,  he  reached 
for  Corinne's  hand  and  pressed  into  it  a  httle 
square,  plush  box.  Then  he  made  a  wild  dive 
for  his  car  and  was  gone. 

For  two  days  he  did  not  see  her.  Finally, 
however,  they  met  for  lunch.  Of  course  no 
reference  was  made  to  the  Httle  plush  bo.x. 

[  CONTINUED  ON  PAGE  129  ) 


N^^   Cut-Puzzle   Contest 


Another  Big  Compe- 
tition Starts  in  the 
June  Photoplay 


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Photoplay  Magazine — Advertising  Section 


91 


Look  for  3  Benefits 

from  this  tooth  paste 


WHEN    you    try    Listerine    Tooth 
Paste  you  will  make  three  impor- 
tant discoveries: 

1.  That  it  leaves  teeth  amazingly 
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healthy  and  exhilarated  afterwards — a 
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Listerine. 

3.  That  your  tooth  paste  is  not  only 
costing  you  less,  but  lasting  longer. 

We  waited  many  years  before  produc- 
ing Listerine  Tooth  Paste.  Meanwhile 
we  studied  the  requirements  of  teeth  and 


mouth.  We  aimed  to  produce  a  denti- 
frice worthy  of  the  Listerine  name. 
Finally  we  achieved  one — ideal  for  all. 
That  was  less  than  five  years  ago. 
Today  Listerine  Tooth  Paste  is  an  ac- 
knowledged leader.  Never  in  history 
has  the  triumph  of  any  tooth  paste  been 
so  complete.  It  has  succeeded  on  sheer 
merit,  supplanting  older  and  costlier 
favorites. 

We  urge  you  to  try  it.  Give  it  a 
thorough  trial.  A  month  at  least.  And 
note  results.  You  will  be  delighted. 
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Or  hosiery,  handkerchiefs,  necktie,  per- 
fume, a  golf  iron,  an  inner  tube — so 
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Listerine  Tooth  Paste  saves  you  every 
year.  A  tube  of  Listerine  Tooth  Paste 
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Photoplay  Magazine — Advertising  Section 


FOR  THE 

AMERICAN 
MISS 

at 

GRADUATION 
TIME 

MmadeIv 

Vanity,    Handbag  or   Underarm 

SHE  will  thrill  at  receiving  one  of  the 
"Madge  Bellamy"  Vanities  —  a  Meeker 
Made  novelty  of  imported  Seerhide.  The 
"Madge  Bellamy"  is  a  praftical  little  accessory 
having  a  compaft  or  powder-pufF  pocket, 
comb  pocket  and  comb,  coin  pocket,  de- 
tachable beveled  edge  plate  mirror,  two  card 
or  memo  pockets  and  pencil.  Artiftically 
hand  colored.  Hand  laced  edges. 
The  larger  illustration  below  shows  this  vanity. 
The  handbag  illuftrated  is  No.  4522  with  sil- 
ver finished  turnlock  frame.  All  Meeker  Made 
learher  goods  are  the  fineft  on  the  market. 
Dozens  of  different  Styles  and  new  de- 
signs from  which  to  make  seleftion. 
Shown  by  the  better  dealers 
everywhere. 


Made  in 
the  shops  of 

THE  MEEKER  CO., 

Inc. 

Joplin,  Missouri 

The  largest  manufacturers 

of  steerhide   leather  goods 

in  the  U.  S.  A. 


J^ 


The  All-Star  Blonde 


[  CONTINUED  FROM  PAGE  37  ] 


pictures  but  you  haven't  seen  Lov  until  you 
see  her  in  color.  She's  the  justification  of 
gentlemen's  preferences. 

It  matters  little  vi'hether  she  ever  has  a 
starring  r6le,  for  she  herself  is  an  all-star 
blonde.  She's  VUma  Banky,  May  Allison, 
Agnes  A}Tes,  Alice  Terry  and  Anna  Q.  Nilsson 
in  a  production  of  less  than  a  hundred  and  ten 
pounds. 

SO  closely  does  she  resemble  all  the  blonde 
goddesses  that  she  is  ever  being  mistaken  for 
one  or  all  of  them.  Knowing  this,  Lupe  Velez 
at  a  Mayfair  dance  shouted:  "Good  evening, 
Miss  Banky,  and  how  is  Rod?" 

Scandia  does  not  bow  to  Mexico  for  wit: 
"Good  evening.  Miss  del  Rio,  and  how  is 
Eddie?"  (Rod  is  Miss  Banky-La  Rocque's 
husband  according  to  latest  report,  while  Eddie 
Carewe  is  the  director  of  Miss  del  Rio.) 

Something  of  my  feeling  anent  Jeanette's 
divine  resemblance  must  have  seeped  into 
my  eyes  ("The  eyes  are  the  windows  of  the 
soul" — Lashbrow-line) .  Or  maybe  Jeanette 
isn't  seasoned  as  yet  to  the  bold  interviewer. 
Anyhow  she  became  suddenly  flustered:  "Oh 
dear,  I  haven't  offered  you  anything." 

Of  course,  this  did  prove  she  is  not  yet 
versed  in  interviewing.  The  seasoned  star 
always  tries  to  get  the  interviewer  tight  and 
usually  succeeds,  alas! 

"Won't  you  have  some  tea  or  something?" 


I  said  I'd  have  a  little  something. 

Jeanette  vanished  from  the  room,  presum- 
ably into  the  polar  regions  of  Frigidaire.  Not 
until  then  did  I  Ught  a  cigarette  from  the  altar 
candle.  Pacing  the  apartment  and  examining 
things — a  habit  peculiar  to  the  inside  worker, 
though  really  I  rarely  take  anything — I  noted 
two  porcelain  cats,  a  red-haired  doll  in  black 
and  on  the  mantel  a  saintly  likeness  of  Jeanette 
that  reminded  me  of  Lillian  Gish  (Goddess- 
reminder  XL\'Il). 

"Oh  dear!" — I  turned  swiftly,  being  the 
sort  who  takes  everything  personal,  even  an 
innocent  exclamation.  "Oh  dear,  I  haven't 
anything,"  flushed  the  returned  Jeanette. 

"You  mean  you  haven't  something?" 

Jeanette  nodded.  "I'm  afraid  I'm  not  used 
to  receiving  interviewers." 

T  SAID  I  was  afraid  not  and  looked  mel- 
-'■  ancholy.  But  I'm  nothing  if  not  the  Born 
Comforter. 

Advice  is  always  on  tap. 

In  a  sudden  flash  of  inspiration  I  suggested 
that  in  view  of  the  altar  candle  and  her  divine 
resemblance  she  never  offer  something  to  inter- 
viewers. 

I  realize  it's  a  dangerous  precedent  to  set  and 
may  drive  some  of  the  best  interviewers  out  of 
the  business.  But  there's  kick  enough  in  inter- 
viewing Jeanette.  She's  really  a  very  high  per- 
centage blonde. 


SUent/ 

Sound  Stage 


Talkies  have  started  the  gentle  art  of  pussyfooting  in  the  studios. 

The  village  blacksmith  is  here  shown  shoeing  Dorothy  Janis  with 

felt  shoes  for  an  audible  scene  in  "The  Pagan,"  the  Novarro  picture. 

It's  the  Janis  voice  they  want,  not  the  tramp-tramp-tramp 

Bicry  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 

Artist      .      Actress      •      Dancer      •      Author      •      Sculptor 


93 
Aviator 


B, 


Wc 


rilliant    Women  with  brilliant 


H 


ands 


.  .  .  keep  them  always  exquisite  with  this  flattering  Gutex  Liquid  Polish 


BiLLiE  Burke  at  a  Palm  Beach 
fancy  dress  ball  or  at  her  state- 
ly country  house,  is  just  the 
golden-haired  merry  young 
wife  of  Florenz  Ziegfeld.  "I 
love  the  stage,"  says  Billie 
Burke,  "but  I  also  love  gar- 
dens, woods,  tramps  —  dogs! 
What  they  do  to  one's  hands! 

"I  find  the  new  Cutex  Liquid 
Polish  protects  the  nails  from 
stains  and  dirt  and  gives  them 
such  a  flattering  sparkle.  In 
fact,  I  adore  all  the  Cutex 
preparations  —  the  Cuticle 
Cream  and  the  Remover." 


Helen  Dryden,  smart  and 
successful  New  York  illustrator, 
whose  interesting  photograph 
appears  at  the  right,  works  day 
in  and  day  out  with  pencils, 
oils,  and  crayons.  "Before  I 
used  the  new  Cutex  Liquid 
Polish,"  explained  Miss  Dry- 
den, "my  nails  were  always  in 
need  of  a  manicure.  Now  just 
a  thorough  washing  and  they 
come  out  smart  and  shining. 
The  Polish  protects  against 
stains  and  it  stays  on  no  mat- 
ter how  much  I  wash  and 
scrub  my  hands." 


Billie  Burke  does  these  three 
simple  thmgs  to  keep  her  finger 
nails  shapely  and  shining: 

First — Cuticle  Remover  to 
remove  dead  cuticle,  whiten 
tips  and  shape  the  cuticle. 

Second — the  Polish  Re- 
mover, followed  by  the  flat- 
tering Cutex  Liquid  Polish. 

Third  —  Cutex  Cuticle 
Cream  or  Oil  to  soften  cuticle. 


Lady   Heath,   famou- 
flyer  shown  at  the  left, 
asked  if  caring  for  her 
own    plane   wasn't 
hard    on    her   hands, 
said — "I   put  Cutex 
Nail  White  under 
my  nails  to  keep  out 
the    grease.     I    use 
Cutex    Cuticle    Re- 
mover   to    shape    the 
cuticle  and  the  Cuticle 
Oil   to  feed  it,  and   I'm 
quite  devoted  to  the  new 
Liquid  Polish." 


Clare  Sheridan — sculptor, 
diarist,  and  society  woman — 
shown  in  the  photograph  at 
the  right  in  the  native  cos- 
tume of  Algiers. 

"My  nails  become  fearfully 
stained  and  grubby,"  says 
Miss  Sheridan,  "but  the  new 
CutexLiquid  Polish  has  saved 
me.  It  protects  the  nails  from 
stain  and  dirt  and  the  smart 
brilliance  lasts  miraculously. 
It  certainly  is  a  boon  to  busy 
hands." 


Anita  Loos,  delightful  young 
author  of  "Gentlemen  Prefer 
Blondes,"  says:  "The  new 
Cutex  Liquid  Polish  flatters 
the  hands  and  I  love  flattery. 
A  Cutex  Manicure  Set  goes 
with  me  on  all  my  trips." 

Ask  to  see  the  delightful  new  Cutex 
Liquid  Polish  that  smart  women 
everywhere  are  finding  so  indis- 
pensable. 

Cutex  Preparations  35^  each. 
Polish  and  Remover  together 
50^.  Northara  Warren,  New 
York,  London,  Paris. 

When  sou  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Pavluwa  takes  the  most  ex- 
quisite care  of  her  graceful 
hands.  "Cutex  Liquid  Polish 
helps  give  my  hands  sparkle 
and  vivacity,"  Pavlowa  her- 
self says.  "I  always  use  it  to 
'make-up'  my  hands,  to  keep 
each  finger  nail  shining. 

-All  the  Cutex  preparations 
are  needed,  however,  to  make 
the  hand  ready  for  this  brilliant 
finish.  Cuticle  Remover  and 
Cream  to  keep  the  ovals  smooth 
and  rounded  and  the  under  nail 
tips  immaculately  clean." 


Special  Introductory  Offer — 12( 


I  enclose  I2e  for  Cutex  Midget 
Manicure  set  sufficient  for  six 
manicures.  (If  vou  live  in  Can- 
ada, address  Post  Office  Box  2054, 
Montreal.) 

Northam  Warren.  Dept.  905 
114  West  I7th  Street,  New  York 


94 


Photoplay  Magazine — Advertising  Section 


Complexion  Beauty 
Clean  Skin 

The  first  essential  of  com- 
plexion beauty  is  a  clean,  bright 
skin.  Realizing  this,  thousands 
of  beautiful  women  never  think 
of  retiring  without  first  remov- 
ing every  trace  of  make-up,  dust 
and  powder  with  Black  and 
White  Cleansing  Cream. 

This  pure,  light  cream  slips 
quickly  into  the  pores  and  out 
again,  removes  accumulated 
dust  and  impurities  which  cause 
blackheads  and  blemishes  and 
leaves  the  skin  youthfully  fresh, 
smooth  and  clear.  Your  dealer 
has  it  or  will  get  it  for  you. 
Three  popular  sizes— 25c,  50c 
and  75c.  Begin  using  it  tonight. 

WEW  YORK-   MEMPHiy-  MONTEREY- 


That  Old  Devil,  Camera 


BLACKi^°  WHITE 
Cleansing  Cremn 


[continued  from  page  65 


the  cinema.    Nor  was  it  the  talkies  that  won 
her  over. 

She  frankly  admits  that  it  was  money,  plus 
an  appreciable  lack  in  good  play  material. 
There  have  been  few  successful  star  vehicles  on 
Broadway  in  the  last  ii\'e  years.  So  she 
signed  a  contract  with  Paramount,  made  one 
silent  picture  and  has  since  appeared  in  several 
talkies. 

YET  she  is  not  of  Hollywood  and,  with  her 
stage  background,  she  cannot  submit  to  the 
indignities  imposed  upon  the  stars  by  the 
public.  She  has  acquired  the  reputation  of 
being  "ritzy"  merely  because  she  refuses  to 
go  to  the  popular  gathering  places,  won't  pose 
for  unnecessary  publicity  pictures  and  ignores 
the  stilted  star-smile. 

"Ritzy?"  she  questioned.  "That  I'm  not. 
I'm  a  tramp.  I  like  to  bum  around  in  strange 
places.  Put  on  old  clothes  and  a  sweater  and 
go  down  to  Harlem.  And  I  adore  people  of 
every  calling.  As  a  rule,  I  like  men  better  than 
women,  although  I  wouldn't  trade  the  few 
women  friends  I  have  for  ten  men.  I'm  cer- 
tainly not  ritzy,  but  I've  never  had  my  Hfe 
pried  into,  nor  have  I  known  about  people  with 
the  absorbing  curiosity  that  they  seem  to  have 
about  the  film  stars. 

"Some  years  ago  there  was  an  insane  man 
in  England  who  believed  himself  married  to 
Lillian  Gish.  Lillian  had  to  go  abroad  on  busi- 
ness and  Dorothy  thought  she  should  accom- 
pany her.  She  wanted  James  Rennie  to  go 
along,  too,  for  she  felt  that  Lillian  needed  the 
protection  of  a  man  if  the  situation  grew 
difficult. 

"  'Why?'  I  asked  in  my  simplicity,  'why 
does  anyone  need  to  know  she's  there?' 

"  Dorothy,  of  course,  howled  at  my  naivete. 
But  in  the  theater  no  one  cares  about  your 
personal  life." 


If  you  had  seen  her,  as  I  did,  in  the  quiet 
restrained  drawing  room  of  her  Enghsh  home, 
you  would  have  known,  as  I  did,  that  one  just 
doesn't  pry  into  the  personal  life  of  culture, 
dignity  and  real  reserve.  So  we  chatted  over 
tea  and  biscuits. 

"I  love  the  talkies,"  she  said.  "I  love  that 
strange,  temperamental  microphone.  On  the 
stage  I  learned  to  project  my  voice  for  that 
slightly  deaf  old  gentleman  in  the  back  row. 
But  I  had  to  unlearn  all  that. 

"Sometimes  I  talk  into  the  thing  in  an  ordi- 
nary, conversational  tone  and  they  say, 
'  Softly,  Miss  Chatterton,  softly.  You've  just 
blown  out  three  tubes.'  Then  again  I  raise  my 
voice  to  a  high  pitch  and  I'm  not  speaking  near- 
ly loud  enough. 

"But  it's  pioneering.  If  the  whole  thing 
were  perfected  and  each  day  went  smoothly 
I'm  sure  I  wouldn't  have  as  much  interest  in 
the  work  as  I  have.  It's  because  it's  new  that 
it's  exciting." 

CERTAINLY  hers  is  one  of  the  loveliest  voices 
on  the  screen.  It  is  a  cultivated  voice,  of 
course.  Her  words  are  carefully  pronounced — 
with  the  broad  "a" — not  for  effect,  not  to 
be  something  that  she  isn't  (for  she  is  proud  of 
being  the  fourth  New  York  generation)  but 
simply  to  give  her  added  charm  and  to  charm 
others  more. 

Hers  is  a  distinct  charm.  She  plays  vamp 
parts  well  partly  because  she  loves  them  and 
thinks  they  have  real  character  and  partly 
because  she,  herself,  is  the  charmer  type. 

She  is,  indeed,  little  (with  an  almost  boyish 
littleness)  and  fair,  with  pale  yellow  hair,  and 
she  has  a  funny  nose. 

An  adorable,  funny  nose,  that's  quite  tip- 
tilted  and  pert. 

.'Xnd  thus  she  measures  up  to  the  real  re- 
quirements of  a  siren.  ■ 


Brickbats  and  Bouquets 


I  CONTINUED  FROM  PAGE  S  ] 


did,  and  I  think  it  one  of  the  more  interesting 
pictures  of  the  season.  But  if  it  gets  by,  then 
why  did  the  censors  blot  out  the  strength  of 
"The  Green  Hat"  to  artificial  banality?  A 
bank  embezzler.     Whoops,  dearie! 

Everyone  knows  "A  Woman  of  Affairs"— 
certainly  a  more  suggestive  title — is  "The 
Green  Hat,"  so  why  massacre  it? 

kt  the  present,  censoring  seems  so  ridiculous 
as  to  be  worthy  of  only  laughter.  "Rain"  was 
too  naughty,  but  "The  Loves  of  Carmen"  was 
judged  and  found  pure. 

Please  do  not  decide  that  I  dislike  this 
realism.  It  is  only  that  I  cannot  witness  the 
decline  of  a  strong  plot  to  utter  "blahness" 
without  some  criticism.  Don't  you  feel  that 
the  scale  by  which  the  moral  threat  of  pictures 
is  weighed  must  be  out  of  order? 

Dorothy  May  Davis. 

Putting  Pep  Into  a  Small  Town 

Franklinton,  La. 

The  story  of  how  our  little  country  village 
has  been  transformed  from  dullness  with  its 
attendant  evils  of  listlessness  and  lawlessness 
into  a  \'ery  delightful  community,  largely  re- 
veals the  refining,  educating,  harmonizing 
power  of  the  good  motion  picture. 

Realizing  the  wholesome  effect  of  recreation, 
our  Woman's  Club  undertook  a  picture  show. 
The  prospect  was  unpromising,  but  for  eight 
years,  we  have  operated  our  community  show. 

Formerly  we  exhibited  on  Friday  nights  in 


the  school  building.  Two  years  ago  we  pur- 
chased a  centrally  located  lot,  a  veritable 
rubbish  heap.  Here  we  built  an  artistic  little 
theater,  and  surrounded  it  with  flowers.  Here 
twice  a  week  we  show  the  best  pictures  pro- 
duced. 

Our  young  people  have  never  seen  any  but 
the  best  actors  and  the  fine  productions. 
Strikingly,  they  show  the  influence  of  this 
training  in  their  intelligence,  their  poise  and 
self-confidence;  their  good  judgment  in  ques- 
tions of  conduct;  their  appreciation  of  the 
worth  while  things;  their  wholesome  charm. 
Mrs.  John  M.  Love. 

Our  Best  Missionary 

Akron,  O. 

Recently  I  visited  my  native  land  in  the 
Balkans — Croatia,  to  be  exact.  I  had  in- 
tended to  introduce  American  styles  and  ideals 
among  my  friends  and  relatives,  but  to  my  sur- 
prise i  soon  found  out  that  I  \\'as  a  year  and  a 
half  too  late.  \  moving  picture  show  had  been 
installed  in  the  town  dance  hall. 

I  noticed  that  my  brother  never  bought 
ready-made  clothes,  but  always  took  the  latest 
picture  of  his  favorite  actor  to  the  tailor  and 
had  his  clothes  made  accordingly.  My  sister 
always  had  pad  and  pencil  handy  when  attend- 
ing a  mo\'ie,  so  as  not  to  let  any  star's  make- 
up escape  her. 

Victor  Yager. 
[  continued  on  page  112  ] 


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''Correct  and  Altogether  Charmina* 


WHERE  good  taste  rules  daily 
living  as  a  matter  of  course, 
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How  fitting  that  Mrs.  William  P.  Rend 
formerly  Miss  Kathryn  Prest,  debutante 
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of  Glencoe,  111.,  should  choose  the  Paul 
Revere  design.  Kathryn  Rend,  it  will 
be  remembered,  was  chosen  by  a  great 
artist  as  one  of  Chicago '  s  most  beautiful 
society  women. 

"For  every  occasion,  I  find  my  Paul  Revere 
Community  Plate  quite  correct  and  altoq^ether 
charming.  My  friends  admire  its  exquisite 
desnyi.  It  is  really  lovely." 


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C/L  perfect 
Comb  is  necessary 
for  a  heautifulhoh 

says  ROBERT 
Famous  Fifth  Avenue  Beauty  Specialist 

"  'T'HERE  would  be  no  styles  in  hairdressing 
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[  CONTINOTSD  FROM  PAGE  44  ] 


" — And  the  producers,  too?"  one  echoes 
again. 

"I've  seen  more  of  directors  and  artists  than 
of  producers,"  Mr.  Locke  reminds  you.  "I'm 
simply  talking  about  it  from — ah — uh — er — 
it  has  nothing  to  do  mth  policy — ah — I 
c.ihn't  say  a  wud  about  that;  that's  a  matter  of 
the  producer,  isn't  it?  1  do  so  admire  the 
work  of  the  directors  and  the  artists." 

"NTOW,  frankly,  for  one  of  the  foremost 
•'-  ^  English  authors,  that's  rotten  poor  English, 
but  that's  exactly  what  Mr.  Locke  said. 

"Do  you  mean,  or  would  you  say  that  the 
directors  and  artists  are  hampered  by  the 
producers?"  one  wants  to  know. 

"No — not  a  bit — oh,  no!"  he  protests. 
"What  I  have  said  has  nothing  to  do  with — I 
start  from  the  premise  that  the  producers  are 
the  people  who  direct  the  policy  of  the  studio. 
/\nd  that  side  of  the  business  I  have  no — why, 
it'd  be  impertinence — impertinence! — of  me 
to  offer  any  criticism — I  can  only  repeat 
my  admiration  for  the  patience  and  industry 
of  the  directors  and  the  artists.  Their — ah — 
zeal  is  unbounded!" 

"Do  you  hope,"  one  goes  on  to  ask  him, 
"to  do  any  more  originals  for  the  movies, 
Mr.  Locke?" 

Ah,  Mr.  Locke  appears  to  be  so  relieved  that 
one  hasn't  asked  him  something  more  about 
producers. 

"One  always  hopes,  heh,  heh,  heh,  heh,"  he 
laughs.  "While  one  has  Ufe  one  has  hope, 
heh,  heh,  heh,  heh,  heh  .  .  ." 

So  everyone  laughs,  heh,  heh,  heh,  and  there 
is  a  pause  for  a  coolish  sip,  while  Mr.  Locke 
explains  that  while  he  hopes,  he  rahlly  doesn't 
expect — not  for  the  present,  anyway — to  do 
any  more  work  directly  for  the  screen,  and 
it's  at  this  point  that  he  observes  that  ahfter 
all,  his  job  in  the  world  is  novel  writing. 

Then  one  reads  to  Mr.  Locke  the  words  he 
wrote  a  few  months  ago,  when  he  first  came 
to  Hollywood  to  write  that  story  for  Norma 
Talmadge. 

He  wrote  this: 


"...  I  am  fired  by  one  insensate 
ambition.  Listen,  I  pray  you.  In 
her  last  four  pictures.  Miss  Talmadge 
has  been,  in  the  language  of  our 
grandmothers,  'no  better  than  she 
ought  to  be!'  What  I  madly  dream 
of  doing  is  to  reform  the  character  of 
this  delightful  and  fascinating  lady. 
Will  she  be  grateful?" 
"Ah,  yes,"  Mr.  Locke  remembers  writing 
that. 

"And  was  she  grateful,  Mr.  Locke?"  one 
suddenly  demands  to  know. 

"Oh,  I  dunt  know.  I  dunt  know.  I  finished 
my  contract  with  Mr.  Schenck.  That's  all." 
Ah,  heavens!  —  imagine  writing  $50,000 
worth  of  story  for  the  delightful  and  fascinat- 
ing lady,  and  then  not  even  knowing  whether 
one's  one  insensate  ambition  has  been  ful- 
filled. Or  whether  or  not  the  lady  was  even 
grateful.  .  .   ! 

So  one  asks  Mr.  Locke  what  this  glamour  of 
Hollywood  is.  And  he  says  he  thinks  it's 
"merely  a  matter  of  the  ah  uh  glow  of  the 
dollars  that  rather  entertains  the  world." 

So  one  asks  him,  now  that  he's  mentioned 
dollars,  whether  or  not  he's  seen  any  signs 
of  that  so-much-rumored  war  between  dollars 
and  art,  out  here  in  Hollywood.  And  he  is 
shocked. 

"/^H,  for  heaven's  sake,"  he  says,  "don't 
^— ^think  I'm  sneering  or  sarcastic  in  any 
way.  Because  I'm  not.  I'm  merely — ah  uh — 
trjdng  to  get  hold  of  some  elements  of  the 
glamour  that  surrounds  these  people  and  I 
think  one  element  is  the  general  dissemination 
of  information  about  their  tremendous  sal- 
aries, ah." 

"And  now  you're  going  back  home?"  one 
remarks,  a  bit  stupidly,  feeling  that  the  inter- 
view is  ended,  or  ought  to  end,  anyway. 

"Yes,  late  in  March.  I've  very  much  en- 
joyed the  stay.  My  family  and  myself  are, 
of  course,  in  tears  at  the  thought  of  going 
away." 

So  he  smiles. 


The  Movietone  truck  allows  sound  to  follow  the  actors.  It's  just  a 
question  of  backing  up  the  wagon  and  starting  to  grind.  Here  is 
Renee  Adoree  registering  a  tinkling  laugh  for  a  test  of  the  con- 
traption. Cameraman  John  Arnold  is  telling  Frenchy  a  new  gag  so 
she  can  tinkle  her  very  best  for  the  birdie 


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97 


N 


ew  facts 
about 


CLEANING 
TEETH 


DO  YOU  KNOW 

that  there  are  thousands  of  tiny  crevices 
in  healthy,  normal  teeth  and  gums  ? 

that  no  toothbrush  can  get  down  into  these 
microscopic  places? 

that  food  particles  and  mucin  deposits 
lodge  in  these  crevices  and  may  start  decay? 

that  the  real  test  of  a  toothpaste  is  itsability 
to  cleanse  these  crevices? 


AREMARKLABLE  scientific  discovery  has  re- 
cently brought  to  light  some  new  facts 
about  cleaning  the  teeth. 

A  scientist  carefully  measured  the  power 

of  toothpastes  to  penetrate  the  tiny  crevices 

in  teeth  and  gums  where  food  particles  lodge  and  where 

decay  begins. 

He  found  that  some  dentifrices  merely  scrub  the  outer 
surface  of  the  teeth.  Others  go  partly  down  into  the 
larger  crevices.  Then  he  discovered  that  Colgate's  has 
a  higher  penetrating  power  than  any  of  the  leading 
dentifrices  on  the  market  today. 

This  is  the  secret  of  Colgate's  remarkable  ability  to 
clean — it  gets  down  deep  into  the  hard-to-clean  places 
where  the  toothbrush  cannot  reach. 


Bow  Colgate's  Cleans 

Where  The  Toothbrush 

Cannot  Reach 

Greatly  iDagni. 
fied  picture  of 
tiny  tooth  crev- 
ice. IVote  liow 
ordinary,  elug. 
gii^h  toothpaste 
(having  high 
'■surface-ten- 
sion") fails  to 
penetrate  down 
where  causes  of 

„.,     J.  decay  may  lurk. 

1  h»8  diagram 

shows  how  Col- 

?ate'e  active 
oam  (having  low 
*'8urface-tcn. 
si  on")  pene- 
tratesdeepdown 
into  the  crevice, 
c  leansing  it  com- 
pletely where 
thetootfahrush 
cannot  reach. 


Colgate's  superior  penetrating  power  is  due  to  the  fact 
that  it  contains  the  world's  greatest  cleansing  agent.  When 
brushed,  this  cleansing  agent  bursts  into  a  sparkling, 
snow-white  foam  that  sweeps  over  teeth  and  gums.  This 
foam  possesses  a  remarkable  property  (low  "surface-ten- 
sion") which  enables  it  to  go  deep  down  into  the  tiny 
tooth  crevices  where  decay  starts.  There,  it  dislodges 
clinging  food  particles  and  mucin,  washing  away  these 
impurities  in  a  detergent  wave. 

In  this  foam  is  carried  a  fine  chalk-powder — a  polishing 
material  used  by  dentists — which  polishes  the  enamel 
safely,  brilliantly.  Thus  Colgate's  cleans  and  beautifies; 
purifies  and  refreshes  the  entire  mouth  restoring  natural 
loveliness  of  teeth  and  gums. 

and  only  25^ 

The  famous  25c  tube  of  Colgate's  contains  more  toothpaste  than 
any  other  leading  brand  priced  at  a  quarter.  This  is  because 
Colgate's  is  the  largest  selling  dentifrice  in  the  ivorld. 


Try  Colgate's  one  week  FREE 

COLGATE,  Dept.  U-2531,  595  Fifth  Avenue.  New  York,  N.  Y. 

Please  send  a  free  trial   tube  of  Colgate's   Ribbon   Dental  Oeani, 
with  booklet  "  How  to  Keep  Teeth  and  Mouth  Healthy." 

Tiame 


Adilrexa 


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^W' 


tma 


FOR 
SORE 

liviusaES 


GIVES 
PROMPT 
RELIEF 


Rob  »«» 


1-  ^^^'^rnme  acting  «^«^- 

brings  pro«.ptr^^^,,,,ext 

comto'^t-anav 

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liable  antise?trc.^V^^  ,tin 

bas  been  ^.^^J^^^i  any  danger 

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Icqv  anddoeb"  gea. 

S^t--g^ion^' 

c     ,  for  Free  Trial  Bonl- 
,  ''spr(ngfield,Ma-. 


Girls'  Problems 


[  CONTINUED  FROM  PAGE  18  ] 


Unless  you  have  the  penetration  to  recognize 
defeat,  when  and  if  it  finally  comes  to  you,  and 
to  meet  it  bravely — 

Stay  away  from  Hollywood.  Choose  a  career 
in  which  you  have  a  more  even  chance  for  siicccss 
and  happiness. 

You  say,  Hortense,  that  you  have  always 
been  interested  in  amateur  theatricals.  A 
secretarial  position  would  not  necessarily  shut 
you  away  from  this  outlet  for  your  dramatic 
urge.  Why  not  continue  in  the  group  with 
wliich  you  have  been  identified,  or  try  to  find 
some  advanced  group  that  will  spur  you  on  to 
better  work?  Many  girls  have  some  hobby 
they  ride  outside  of  their  business  Hves,  some- 
thing that  fills  up  the  gaps  of  romantic,  crea- 
tive work  which  business  may  deny  them. 

But  don't  get  theidea  that  business  hasn't  its 
own  romance,  itsown  power  to  bringout  creative 
ability  in  those  that  follow  it.  Some  Unes  of 
work  that  seem  so  dull  and  prosaic  to  the  out- 
sider fairly  teem  with  excitement  and  romance 
to  the  initiated. 

And  now  we  come  to  Cecile's  letter. 

It  seems  to  me,  Cecile,  from  the  brief  in- 
formation you  have  given  me,  that  nursing  is 
not  for  you.  Of  all  professions,  that  is  the  one 
where  love  of  the  work  for  its  own  sake  should 
I  be  paramount.  I  believe  your  parents  would 
prefer  you  to  be  a  successful  teacher,  happy 
in  the  work  you  are  doing,  than  a  nurse  who 
must  constantly  minister  to  the  sick  and  sad- 
hearted  with  no  contentment  and  happiness 
within  herself  to  be  reflected  to  those  under 
her  care.  And  you  couldn't  be  contented  and 
joyful  if  you  were  doing  work  that  was  dis- 
tasteful to  you  and  regretting  your  choice  of  a 
career. 

If  you  talk  this  subject  over  with  your  father 
and  tell  him  why  you  feel  you  can't  be  happy 
in  the  work  he  has  chosen  for  you,  I  think  he 
will  see  your  point  of  view.  His  experience  has 
taught  him  what  qualities  are  essential  to 
nursing  and  he  should  readily  understand  why 
you  cannot  enter  a  profession  requiring  such 
consecrated  effort  unless  you  believe  that  is  your 
real  place  in  the  work  of  the  world. 

Consider  weU  what  road  you  will  take  before 
you  start  out  on  the  great  adventure  of  work- 
ing and  winning.  There  is  so  much  to  be 
gained  besides  money. 

Eleanor: 

No  indeed,  you  don't  have  to  go  to  Florida 
to  get  a  good  coat  of  tan  now.  There  is  a  new 
lotion  on  the  market  that  can  be  rubbed  on 
and  will  make  you  as  beautifully  tan  as  if  you 
had  just  returned  from  the  South.  It  will  prob- 
ably be  very  popular  next  summer  for  the  girls 
who  insist  on  going  around  stockingless. 

MissB.  V.  B.: 

Brunettes  with  pale  skins  often  have  slightly 
dark  rings  under  the  eyes.  These  do  not 
always  mean  ill  health  and  sometimes  add 
character  and  charm  to  the  face.  Perhaps  you 
are  not  getting  enough  sleep  or  your  circula- 
tion is  a  little  sluggish.  If  the  rings  are  pro- 
nounced and  proper  diet,  rest  and  e.xercise  do 
not  cure  them  you  should  consult  a  physician. 
A  neck  length  bob  should  be  curled  in  ringlets 
at  the  ends  unless  the  hair  is  quite  curly 
naturally. 

Roberta  J.: 

I  don't  believe  your  slight  physical  defect 
has  anything  to  do  with  your  lack  of  popular- 
ity. Boys  don't  care  so  much  about  details. 
They  like  girls  whose  general  appearance  is 
attractive  and  who  are  jolly  and  stimulating 
companions.  You  are  just  beginning  to  find 
yourself  and  I  know  you  can  attract  the  kind  of 
boys  you  want  for  friends.  Just  be  nice  and 
sweet  to  them  all  and  some  of  them  will  soon 
single  you  out  for  special  attention. 


RoNNY  P. : 

Your  best  color  is  probably  blue,  Ronny,  but 
you  can  wear  a  number  of  others.  Did  you 
study  the  color  chart  for  blondes  on  the  cover 
of  the  March  Photoplay  and  the  correspond- 
ing article  on  page  50  of  that  issue?  By  all 
means  read  it  carefully.  You  will  note  that 
soft  blue-greens  are  flattering;  that  red-violet 
and  wine  red  are  apt  to  be  becoming;  that  you 
can  wear  rose-beige  more  successfully  than  a 
neutral  yellow-beige.  If  your  coloring  is  vivid, 
or  if  you  achieve  vividness  by  the  skillful  use  of 
makeup,  you  can  wear  black,  which  will  accen- 
tuate your  fairness  and  slenderness.  Thick  lips 
that  are  not  too  pale  are  often  more  attractive 
without  lipstick.  If  you  do  use  lipstick  it 
should  not  be  too  bright.  I  suggest  flesh  pow- 
der and  medium  rouge,  but  you  may  have  to 
experiment  a  Uttle  with  the  aid  of  your  mirror 
before  you  decide  on  the  most  flattering  shades. 

Pearl  White  : 

Correct  diet,  outdoor  exercise  and  plenty  of 
sleep  are  bound  to  improve  your  complexion 
and  bring  color  to  your  lips  and  cheeks.  A 
growing  girl  need  not  worry  about  getting 
stout,  unless  she  overeats.  Your  figure  is 
maturing  and  will  find  its  own  charming  lines 
by  the  time  you  are  fully  grown.  Cultivate 
your  mind  and  try  to  achieve  an  interesting 
and  happy  personality.  Be  neat  always,  and 
wear  becoming  clothes,  no  matter  how  simple 
the  materials.  Then  forget  your  looks  and  you 
will  avoid  self -consciousness. 

Teresa  v.: 

At  seventeen  one  should  be  happy  and  full  of 
fun.  But  don't  carry  your  fun  to  such  ex- 
tremes in  the  oflice  that  it  interferes  with  your 
work.  You  say  you  are  ambitious  to  make 
something  of  yourself.  Cultivate  more  chgnity 
for  business  hours  and  remember  there  is  a 
time  and  place  for  everything.  You  can  still  be 
the  life  of  the  party  when  you  are  out  for  a  good 
time. 

Hopeless: 

There  is  just  one  way  to  overcome  self~con- 
sciousness — and  that  is,  to  stop  thinking  con- 
stantly of  self.  If  your  legs  are  bowed,  wear 
your  skirts  a  httle  longer  than  the  present 
styles  require.  When  you  get  up  to  recite  at 
school  remember  that  the  others  are  waiting  to 
hear  what  you  have  to  say  and  it  is  in  your 
power  to  be  so  interesting  that  they  will  not 
concentrate  on  your  appearance  but  on  your 
words.  Cultivate  an  agreeable  voice,  and  a 
sympathetic  nature.  Get  interested  in  other 
people's  problems  and  you  will  forget  your 
own.  After  a  while  you  will  discover  you 
haven't  as  many  as  you  thought  you  had. 

Bubbles: 

I  think  you  are  dramatizing  yourself.  Bub- 
bles. You  hke  to  think  you  are  different  from 
other  girls — and  inchfferent  to  the  normal  fun 
and  interests  of  girlhood.  Don't  do  it.  Youth 
passes  swiftly  and  you  will  regret  the  joy  you 
have  missed.  Be  natural  and  unaffected.  Let 
people  know  you  are  out  to  get  every  bit  of  true 
happiness  that  life  has  to  offer  you.  Listless- 
ness  is  a  habit  which  you  must  break. 

RuthB.: 

Since  the  date  your  letter  was  written, 
Photoplay  has  published  some  splendid  ar- 
ticles on  diet  by  Dr.  H.  B.  K.  Willis.  Another 
article  appears  in  this  issue.  In  March  Dr. 
Willis  furnished  a  table  of  food  values  that  will 
answer  all  your  questions  about  what  foods 
are  fattening.  For  more  specific  advice  on 
gaining  weight  I  suggest  you  write  Dr.  WUlis 
at  the  address  mentioned  in  his  article. 
I  am  sending  you  my  leaflet  on  the  care  of 
the  skin. 


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99 

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An  added  source  of  gratification  for  tliose  who  wear  Traub 
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niiat  Bus  This 

"^   ROUGE 

to  do  Mi'ith 

Your 

Eyes? 


Try  ^ 

this  today 
before  your 
mirror' 


Rub  the  puff  of  your  BLUE  ROSE 

Rouge  compact  on  your  cheeks.       .'  .  j 

Look  in  the  mirror  and  noticethe  effect.  J^ 

Then  wipe  off  all  the  rouge.  What  will 

you  see?  The  paleness  in  your  cheeks  will 

have  taken  the  sparkle  out  of  your  eye.  If  you        ^ 

don't  believe  it,  rouge  your  cheeks  again  and  notice 

how  your  eyes  brighten  up.  It*s  subde,  but  it*s  true. 

How  often  you've  noticed  a  woman  with  pretty 
features  and  how  often  you've  wondered,  "Why 
doesn't  she  add  a  touch  of  rouge  to  brighten  up 
her  face?" 

Blue  Rose  Rouge  h  really  a  wonder  worker. 
Because  of  the  pure  oil  with  which  it  is  compounded 
it  spreads  evenly,  clings  for  hours.  A  LANCHERE 
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cAfk  for  hanchrre  Blue  Rose  Rouge  at  department  and 

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'    Refills,  2}c.  Send  for  free  rouge  chart.  Write  MARIE    ^ 

BONNARD  for  advice  on  make-up  problems. 


an 

BLUE  ROSE 

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Chicago         IVhoUsale      New  York 

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Clip  and  mail  coupon  below  for  Lanchere 

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I  D  Please  send  me  prepaid  (25c  enclosed)  Lanchere  Blue 

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j   Street  . 
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i    Name  of  favorite  dealer  - 

\ 


Tips  vs.  Art 


[  CONTINUED  FROM  PAGE  75  ] 


.\nd  it  all  happened  because  a  stout  man  was 
lonely. 

I  remember  Henry  vfhen  he  used  to  sit  in  the 
forecourt  of  Sid  Grauman's  Egyptian  Theater. 

He  used  to  sit  and  sit  and  sit. 

He  had  nothing  else  to  do,  no  place  to  go,  no 
one  to  talk  to. 

He  was  a  ve-y  lonely  man,  Henry  Berg- 
man, and  sick  besides. 

For  three  months  he  had  the  gout. 

/^NLY  one  man  beside  Henry  knew  it,  and 
^^that  was  Joe,  his  partner. 

.■Vnd  Joe  knew  it  better  than  Henry.  Better 
than  anyone  else,  Joe  Berliner  knew  all  the 
things  that  were  wrong  with  Henry,  things 
much  worse  for  him  than  the  gout.  Joe 
Berliner  knew  why  Henry  sought  the  warm 
and  friendly  sunshine  in  the  front  yard  of  Sid 
Graiunan's  Theater.  He  sought  it,  not  be- 
cause it  was  warm  but  because  it  was  friendly. 
.'\nd  there  were  tourists  there  to  whom  a  lonely 
man  could  talk. 

"I  was  getting  to  be  an  old  man,"  Henry 
confessed.  "  You  see,  I  am  a  bachelor.  .-Vnd  I 
wanted  companionship.  I  knew  companion- 
ship would  make  me  young.  So  I  decided  I 
wanted  to  open  a  little  place  where  my  friends 
could  come  and  sit  and  get  a  bit  to  eat.  I 
didn't  want  to  make  money,  I  just  wanted  to 
make  friends." 

.•\nd  that's  how  the  idea  was  born.  Henry's 
gout  finally  got  so  bad  that  he  was  confined 
to  his  room. 

Joe  Berliner  lived  down  stairs.  He  took  care 
of  Henry  Uke  a  brother. 

He  became  what  Henry  needed,  a  com- 
panion. 

.\nd  one  day  Henry  said  to  him: 

"Joe,  ifyouever  want  to  go  in  business,  come 
and  see  me." 

Soon  after  that,  Joe  did  want  to  go  in  busi- 
ness. 

He  had  been  running  a  little  restaurant  with 
a  man  whose  tactics  he  didn't  crave,  so  he  made 
the  man  a  present  of  the  BerUner  share  of  the 
business  and  stepped  out. 

And  then  he  went  to  see  Henry. 

Henr>'  took  S2,750  out  of  savings  and  Joe 
took  $1,090  and  then  went  into  the  restaurant 
business. 

They  called  it  Henry's,  because  everybody 
in  Hollywood  knew  Henry. 

And  half  the  population  of  the  United 
States  had  shaken  hands  with  him  in  Grau- 
man's forecourt! 

For  thirteen  years  Henry  Bergman  has  been 
on  Charlie  Chaplin's  payroll  as  a  character 
actor. 

Even  then,  in  1925,  he  was  internationally 
known  as  a  Chaplin  comedian. 

Of  course,  there  is  the  Chaplin  influence  at 
Henry's.  No  one  knows  just  what  it  is,  but  it 
is  there.  Perhaps  it  is  financial,  though 
Charhe  says  not,  perhaps  it  is  merely  moral 
support. 

At  any  rate,  Henry's  is  Charlie  Chaplin's 
favorite  Hollywood  rendezvous,  the  place 
where  he  chats  with  his  cronies,  his  friends. 

AND  now  all  the  world  goes  to  Henry's  to 
worship  at  the  Bergman  shrine  of  rye  bread 
and  imported  condiments. 

And  the  business  that  began  in  a  room  sixty 
feet  long  by  seventeen-and-a-half  feet  wide  has 
grown  to  proportions  triple  that  size,  and  nets 
its  proprietors  a  hundred  thousand  dollars  a 
year  apiece. 

And  it  has  madethirty-eight  waitresses  very 
happy  and  prosperous  also.  And,  too,  there 
are  three  cashiers  and  twelve  cooks  and  two 
chefs  and  twelve  bus-boys  who  are  not  com- 
plaining any. 

Jennie  Hinthorne,  who  says'she's  rather  be 
a  waitress  in  Henry's  than  a  Baby  Star  at 


RKO  or  Paramount  or  First  National  or  any 
other  studio,  knows  what  she's  talking  about. 

Jennie  takes  care  of  her  father,  her  three 
children  and  helps  out  her  widowed  sister  and 
brood  of  three.  She  owns  a  five  acre  ranch  at 
Roscoe,  in  Los  Angeles,  where  she  maintains  a 
kennel  of  thoroughbred  police  dogs  and  sells 
puppies  at  one  hundred  and  fifty  dollars  per 
pup. 

And  when  Jennie  first  went  to  work  in 
Henry's  she  was  broke.  Not  only  was  she 
broke,  she  was  a  widow  uith  three  kiddies  de- 
pendent upon  her.  Now  she's  giving  them  all 
musical  careers. 

But  she  has  one  complex,  Jennie  has.  She 
drives  fast. 

She's  worn  out  three  cars  since  she's  been  at 
Henry's. 

A  ND  LiUian  Morris  who  has  been  there  ever 
■**-since  the  restaurant  opened  also  has  a  com- 
plex. 

It's  all  around  sports  for  Lillian. 

Golf,  ice  skating  (in  the  ice  pavilion,  of 
course,)  and  flying. 

LUhan,  too,  is  an  aviatri-K. 

Ray  Black  made  enough  money  to  retire. 
Then  she  got  lonesome  and  went  to  work 
again. 

Ray  took  a  flyer  with  her  earnings  in  the 
stock  market. 

She  bought  Mexican  Seaboard  and  sold  at 
the  peak,  bought  Bank  of  Italy  and  sold  at  the 
peak,  bought  General  Motors  and  sold  at  the 
peak,  and  when  she  finished  her  dealings  she 
had  $40,000!  And  in  addition  to  that  a  home 
and  a  car. 

Maeme  Hall  maintains  a  governess  for  her 
boy  of  four. 

She  has  made  considerable  in  real  estate, 
Maeme  has,  and  she  has  a  passion  for  betting 
on  the  fights. 

She  bet  three  hundred  doUars  on  the  Demp- 
sey-Tunney  fight,  even,  and  won. 

When  Virginia  Murphy  first  went  to  work, 
she  didn't  have  a  dime. 

Now  she  owns  her  home,  her  car,  and  has  a 
safety  deposit  box  full  of  stocks  and  bonds,  all 
good. 

/^NE  of  the  girls  is  positively  land  poor. 
^-^Josephine  Lee  McEssy.  She  invested  in 
acreage  in  the  suburbs,  a  good  investment,  but 
it  takes  everything  she  can  scrape  to  keep  up 
the  payments. 

And  there's  Keekee  KeUett  and  Arlene 
Bachelor  who  went  into  pictures.  The  girls 
say  Keekee  will  be  a  star.  Any  girl  with  per- 
sonality enough  to  be  a  good  waitress  can,  they 
say,  become  a  film  star. 

In  California  there  is  an  eight  hour  law 
which  protects  women  workers.  No  woman 
can  work  more  than  eight  hours.  At  Henry's, 
therefore,  the  girls  work  in  three  eight-hour 
shifts. 

But  there  is  really  heavy  duty  only  three 
hours  at  a  stretch — three  hours  at  breakfast, 
three  hours  at  noon,  three  hours  during  the 
dinner  hour. 

During  that  time  a  girl  may  handle  as  many 
as  thirty-eight  checks,  and  there  is  an  aver- 
age of  tliree  persons  for  each  check. 

So  figure  out  the  tips  for  yourself.  The  girls 
won't  ever  tell  you. 

The  closest  any  of  them  came  to  confessing 
was  Jennie.  She  said,  "Well,  I  served  three 
drunks  the  other  night,  and  one  of  them  tipped 
me  four  and  a  half.  The  others  were  just  plain 
tight." 

And  the  rest  of  the  giris  all  say,  "Well,  I  get 
enough  tips  to  change  a  dollar." 

So  there  is  the  story  of  Henry's,  human, 
intriguing,  affluent. 

It's  the  most  Hollywoodish  story  in  Holly- 
wood. 


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lOI 


Here's  that  New  Vitamin  Food 

that  corrects  your  faulty  diet 


Wrong  diet  causes  90%  of  our 
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Vitamin  B  in  this  new  form 
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FEW  people  ever  enjoy  completely  per- 
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Wrong  diet  is  the  cause.  We  are  starved 
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Famous  doctors  both  here  and  abroad 
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When  Tastyeast  first  went  on 
the  market  people  were  skeptical, 
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the  diet.  They  didn't  beUeve 
that  Tastyeast  could  do  all  that 
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The  man  who  wTOte  this  ad- 
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and  he  knows  how  good  it  is. 
But  don't  take  his  word  for  it. 
Don't  take  anybody's  word  for 


it.  Go  right  out  and  get  a  24- 
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If  you  cannot  get  it,  send 
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after  every  meal  for  eight  days. 
Even  in  this  short  time  you'll 
notice  the  improvement  in  your 
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Save  your  Tastyeast  \sTap- 
pers.  Send  them  in  with  the 
coupon  below.  We'll  send  you 
the  valuable  Eversharp  pencil 
pictured  at  the  left  free  as  a  re- 
ward for  giving  Tastyeast  a 
fair  trial.  Only  one  pencil  will 
be  given  to  each  customer. 


Green  Bros.  Co. ,33  Essex  St  .Springfield,  Mass. 
I  enclose  24  Tastyeast  wrappers*.    Please 
send  me  a  geniiine  Eversharp  pencil  free. 

Name 

City State 

P-3 


»We  will  accept  12  Tastyeast  and  12  Big  Banker 
Candy  Bar  wrappers.  Big  Banker  is  that  delicious 
wholesome  5-cent  candy  bar^the  nutty  nougat 
caramel  treat— made  by  the  makers  of  Tastyeast. 


When  you  write  to  advertisers  please  mention  PII0T0PL.\T  lIAG-iZlNE. 


I02 


Photoplay  Magazine — Advertising  Section 


aftey  hair  is  removed 

FROSTILLA 

smooths,  soothes, 
protects/ 


.HESE  mere  wisps 
of  frocks  worn  for  the 
evening  bridge,   tor 
,    dining  and  dancing, 

x^ ,.'    make  the  removal 

of  hair  an  essential 
rite  of  the  toilette. 
Yet  too  often  such  treatments  leave  their 
mark  —  a  tell-tale  touch  of  red  on  arm 
or  leg  or  face  —  irritating  to  your  skin  — 
irritating  to  your  self  esteem. 

It  is  then  that  you  will  find  Frostilla  a 
most  consoling  confidant. 

Its  instant  touch  cools,  soothes,  and  ban- 
ishes that  offending  redness.  Its  delightful 
fragrance  counteracts  all  unpleasant  odor 
— forFrostilla  contains  a  subtle,lasting  per- 
fume, imported  from  the  shores  of  France. 

Look  smart  —  Shoiv  your 
skin  as  fashion  dictates  — 
but  be  sure  to  use  Frostilla! 

Now  that  Style  has  stolen  sleeves  from 
dresses,  backs  from  bathing  suits,  and 
stockings  from  shoes — now  that  your  skin 
is  exposed  more  than  ever  before — Frostilla 
will  prove  a  friend  indeed. 

It  is  more  than  a  comfort  and  a  comple- 
ment to  daytime  decollete.  It  keeps  your 
skin  supple  and  silken;  it  gives  it  enticing 
softness  and  smoothness.  It  prepares  it  for 
a  gracious  pat  of  powder  and  makes  that 
powder  "stay  put." 

In  beautiful  blue-labelled  boudoir  bottles, Frostilla 
is  50c  and  S 1,  at  drug  and  department  stores  in  the 
U.  S.  and  Canada.  Or  write/or  an  attractive,  useful 
sample  sent  FREE  on  request.  Department  6-41,  The 
Frostilla  Co.,  Elmira,N.Y.,  and  Toronto,  Canada. 
(Sales  Reps.: Harold  F.  Ritchie  &Co..  Inc.,  Madison 
Avenue  at  34th  Street,  New  York  City.) 


Questions  and  Answers 


[  CONTINUED  FROM  PAGE  i 


L.  B.  L.,  New  Orleans,  La. — Theda  Bara 
is  married  to  Charles  Brabin,  the  director. 
She  has  retired  from  the  screen.  John  Gilbert 
is  divorced  from  Leatrice  Joy. 

J.  W.,  Kenmore,  N.  Y. — Kathryn  Carver 
Menjou  was  born  in  New  York.  She  was  a 
model  for  Harrison  Fisher,  the  artist,  and  first 
married  Ira  Hill,  the  photographer.  She  made 
her  film  debut  in  "The  Wanderer"  as  Kathryn 
Hill.  And  now  that  you  mention  it,  I  am  a 
bit  sheikish. 

Naoll;  T.,  Santa  Rita,  N.  M. — Lina 
Basquelte  in  "The  Noose  and  Molly  O'Day 
in  "The  Little  Shepherd  of  Kingdom  Come." 
Molly's  real  name  is  Suzanne  Noonan  and 
sister  Sally  O'Neil  was  christened  Virginia 
Noonan.  Both  girls  have  been  in  pictures 
since  1925.  Molly  is  seventeen  and  Sally  is 
two  years  older.  Molly  has  reddish  brown  hair 
and  hazel  eyes,  while  Sally  has  black  hair  and 
blue  eyes.  I  suppose  they  changed  their  names 
because  they  didn't  think  so  much  of  the 
Noonan  monicker. 

Antonio  R.,  N.  Escanaba,  Mich.- — Don't 
scold  me  and  I'll  never  do  it  again.  Barry 
Norton  was  born  in  Buenos  Aires,  S.  A.,  June 
16,  1905.  Louise  Brooks  is  a  native  of  Wichita, 
Kans.,  and  was  born  in  1909.  Alice  White's 
birthday  was  July  25,  1907.  Norma  Shearer 
comes  from  Montreal  and  was  born  Aug.  18, 
1904.  Dorothy  Mackaill  is  from  England — 
Hull  to  be  exact — and  was  born  March  4, 1904. 

J.  W.  H.,  Wilkes-Barre,  Pa.— BiUie  Dove 
played  opposite  Douglas  Fairbanks  in  "The 
Black  Pirate."  Billie  has  been  in  pictures 
since  1921.  GUbert  Roland  was  the  hero  of 
"The  Love  Mart."  "The  Sheik"  was  filmed 
by  Famous  Players-Lasky  in  November,  1921. 
Diana  was  played  by  Agnes  Ayres.  Adolphe 
Menjou  was  Raoul  St.  Hubert.  R.  R.  Butler 
appeared  as  Aubrey.  And,  of  course,  Rudolph 
Valentino  was  the  Sheik,  Abincd  Bcn-IIassan. 

John  B.,  Gosport,  Ind. — Marion  Davies  is 
twenty-eight  years  old.  She  has  blonde  hair 
and  blue  eyes,  weighs  123  pounds  and  is  five 
feet,  five  and  one-half  inches  tall.  Her  real 
name  is  Marion  Douras.  "Down  to  the  Sea 
in  Ships"  was  released  in  February,  1923. 

R.  R.,  St.  Loms,  Mo. — Jeanette  Loff  was 
born  in  Orofino,  Idaho,  Oct.  9,  1906.  She  is 
five  feet,  two  inches  tall,  weighs  105  pounds 
and  has  blue  eyes  and  golden  hair.  Jeanette 
has  been  playing  in  pictures  for  about  two 
years.  Still  single.  Nancy  Carroll  is  married 
to  Jack  Kirkland,  a  writer.  Nancy  is  twenty- 
two  years  old.  Baclanova  doesn't  give  her  age. 
She  is  divorced  from  her  husband,  who  lives 
in  Russia,  and  is  reported  to  be  engaged  to 
Nicholas  Soussanin. 

B.  K.  T.,  Houston,  Tex.— Get  all  set  to 
listen — Gilbert  Roland  gives  his  birthplace  as 
Chihuahua,  Mexico,  and  the  date  of  the  big 
event  as  Dec.  11,  1905.  He  is  five  feet,  eleven 
inches  tall  and  weighs  160  pounds.  Have  you 
noticed  how  many  men  stars  are  just  under 
six  feet?  Gilbert  has  jet  black  hair  and  hazel 
eyes.  He's  still  single.  His  next  picture  will 
be  "The  Sign  on  the  Door."  Photoplay 
pubhshed  an  article  about  him  in  the  Septem- 
ber, 1927,  issue,  and  there  was  a  rotogravure 
picture  of  Mr.  Roland  in  July  of  the  same  year. 
Write  to  the  Photoplay  Publishing  Company, 
750  N.  Michigan  Avenue,  Chicago,  111.,  for 
back  copies.  Send  a  quarter  for  each  copy 
you  want. 

Christine,  Covington,  Ky. — This  boy 
Novarro  causes  me  a  lot  of  trouble.  First 
he's  going  into  a  monastery,  and  then  he's 
going  into  grand  opera,  and  then  he's  going  to 


retire.  How  is  a  poor  old  Answer  Man  going 
to  keep  up  with  all  these  reports?  Anyway, 
Ramon  is  still  in  Hollywood,  making  pictures. 
His  newest  is  "The  Pagan,"  Ramon  has  a 
clause  in  his  contract  that  gives  him  a  liberal 
vacation  every  year,  so  he  may  run  over  to 
Germany  and  try  his  voice  in  opera.  How- 
ever, he  is  stiU  under  contract  and  if  he  leaves 
pictures  within  the  next  few  years,  I'll  be 
very  much  surprised.  George  Bancroft's  new- 
est is  "The  Wolf  of  Wall  Street."  It's  a  talkie. 
Fred  Kohler  is  married. 

R.  G.  L.,  St.  Paul,  Minn.— Patrick  Cun- 
ningham played  opposite  Madge  Bellamy  in 
"Very  Confidential."  Sorry  I  can't  give  you 
any  information  about  him,  as  I  haven't  heard 
of  him  since.    Hey,  Patrick,  where  are  you? 

M.  M.  F.,  Cambridge,  Mass.  —  Edna 
Murphy  was  born  Nov.  17,  1904.  She  has 
blonde  hair  and  blue  eyes  and  weighs  110 
pounds.  Miss  Murphy  is  married  to  Mervyn 
Le  Roy,  the  director. 

Daniel  C,  Lorain,  O. — May  McAvoy  is 
twenty-seven  years  old  and  is  one  inch  under 
five  feet  tall.  She  weighs  94  pounds.  May's 
first  picture  was  called  "The  Perfect  Lady" 
and  her  latest  is  "No  Defense." 

E.  S.,  Phoenix,  Ariz. — Colleen  Moore,  Ben 
Lyon,  John  Bowers,  Wallace  Beery,  Ford 
Sterling,  Jean  Hersholt,  Phyllis  Haver  and 
Gladys  Brockwell  were  in  the  cast  of  "So  Big." 
Quite  a  line-up  of  stars,  wasn't  it?  Lon  Chaney 
is  forty-six  years  old.  No,  Nils  Astber  isn't 
going  to  retire.  He  has  renewed  bis  contract 
with  Metro-Goldwyn-Mayer. 

S.  M.  B.,  New  Haven,  Conn.- — Montagu 
Love  has  been  playing  in  pictures  for  almost 
as  many  years  as  I  have  been  answering 
questions.  Mr.  Love  was  born  in  Calcutta, 
India,  fifty-one  years  ago.  He  is  six  feet, 
one  inch  tall,  weighs  195  pounds  and  has  red 
hair  and  blue  eyes. 

S.  D.,  Little  Rock,  Ark. — The  picture  you 
enclosed  is  not  Mary  Astor  but  just  some  at- 
tractive advertising  model.  Claire  McDowell 
played  the  mother  in  "  Ben-Hur  "  and  Kathleen 
Key  was  the  sister.  Bebe  Daniels  is  twenty- 
seven  years  old. 

I>ucY,  New  York,  N.  Y. — Razzberries  to  all 
those  stories!  Your  friend  may  have  just  re- 
turned from  Hollywood,  but  she  brought  back 
with  her  a  load  of  misinformation.  Cross  my 
heart,  there  isn't  a  word  of  truth  in  any  of  it. 

E.  S.  G.,  Farmville,  Va. — Ricardo  Cortez 
and  Greta  Garbo  had  the  leaSing  roles  in  "The 
Torrent." 

J.  K.,  New  York,  N.  Y. — Joan  Crawford, 
Constance  Bennett  and  Sally  O'Neil  played  in 
"Sally,  Irene  and  Mary." 

"Pesty,"  Chicago,  III. — Why  should  I  call 
a  nice  girl  like  you  a  pest?  Vilma  Banky  may 
be  addressed  in  care  of  Samuel  Goldwyn 
Productions,  7210  Santa  Monica  Blvd.,  Holly- 
wood, Calif.  You  weigh  less  than  Norma 
Shearer,  who  tips  the  scales  at  112  pounds. 
She  is  five  feet,  three  inches  tall.  Joan  Craw- 
ford's hair — there  it  is  again — was  pink  for 
several  months  but  now  it  is  brown.  She  has 
blue  eyes.  Some  movie  stars  are  born  with 
their  short  snappy  names;  others  marry  them; 
while  others  have  them  thrust  upon  them  by 
their  managers. 

Dot,  AsHI\^LLE,  N.  C. — Ramon  Novarro's 
real  name  is  Ramon  Samoniegos.  He  was  born 
February  6,  1899  and  started  in  pictures  in 
1917,  playing  extra  roles. 


Every  advertisement  In  PHOTOPLAT  MAGAZINE  la  euaranteed. 


Photoplay  Magazine — Advertising  Section 


^03 


Have  you  entered  Ae  Eastman 


One  of  the  1,223 
eash  awards  ean  easily  be  yours 


PROBABLY  you  have  al- 
ready heard  of  this  big 
event  for  amateur  picture- 
takers.  But  have  you  made  any 
pictures  for  it  yet? 

If  you  have  said  to  yourself, 
"What's  the  use  of  entering? 
I  can't  win.  I'm  no  expert  with 
the  camera,"  you're  making  a 
big  mistake.  The  winners  in 
this  contest  are  going  to  be  men 
and  women  just  like  yourself, 
people  who,  if  you  asked  them, 
would  say  they  had  little  or  no 
photographic  ability. 

Technical  skill  is  a  minor  factor  in 
this  contest.  What  the  judges  are 
looking  for  are  interesting  pictures- 
pictures  of  children  and  scenes,  sports 
and  animals,  still  life  and  nature 
studies,  buildings  and  architectural 
details,  interiors  and  unusual  photo- 
graphs. 

If  you  live  under  the  flag  of  the 
United  States  or  that  of  the  Dominion 
of  Canada,  you're  eligible  to  enter  and 
compete— except,  of  course,  if  you  or 
some  member  of  your  family  is  con- 
nected with  the  photographic 


Kodak  Film  in  the  familiar  yellow  box  is  dependably  uniform: 
Reduces  the  danger  of  under-  or  over-exposure.  It  sets  the  picture. 


PRIZES 

Grand  Prize   of 

$2,500.00 

11   prizes  of 

500.00  each 

1 1   prizes  of 

250.00  each 

125   prizes  of 

100.00  each 

275   prizes  of 

10.00  each 

800  prizes  of 

5.00  each 

1,223 

$30,000.00 

In  the  event  of  a  tie,  the  advertised 
award  will  be  paid  to  each  of  the 
tying  contestants.    (5  7  of  the  above 
$100  prizes  were  sent  to  winners 
April  1.   5  7  more  will  be  sent  May  I. 
That   leaves    1,109    prizes   for  you 
to  aim  a:.) 

business.   And  practically  any 
snapshot  or  time  exposure  that 
you  may  take  during  March, 
April    or   May,    this   year,    is 
eligible    also,    provided    it    is 
received   by   us   on   or   before 
May  31.  There  are  enough  clas- 
sifications to  cover  all  kinds. 
When  we  receive  your  entries 
we'll  place  them  in  the  classes 
where    they'll    have    the   best 
chance  of  winning. 
Any  brand  of  camera  or  film  may 
be  used,  but  negatives  must  not  be 
larger  than   yl^  x   5>^  inches   and 
prints  not  larger  than  7  inches  in 
width  or  length. 

Enter  this  contest  without  losing 
another  day!  Increase  your  chance  of 
winning  by  beginning  to  take  pic- 
tures at  once!  There  is  no  limit  to 
the  number  you  are  permitted  to 
submit.  The  more  you  enter,  the 
more  likely  you  are  to  capture  one 
of  the  big  cash  prizes.  Clip  or  copy 
the  entry  blank  below  and  get  your 
camera  out  today.  This  may  prove  to 
be  the  most  profitable  advertisement 
you  ever  read. 


Only   pictures    made    during    March,    April    and    May,    1929,    are    eligible. 


for  a  program  of 
delightful  enter- 
tainment, tune  in 
on  Kodak  Hour 
each  Friday  at  10 
P.  M.,  New  York 
time,  over  the 
Columbia  Broad- 
casting System. 


PRIZE     CONTEST     ENTRY     BLANK 


Name  ■ 


Kl'Uase  Print) 
Street  Address Town  and  State . 


Make  of 
Camera . . 


Make  of 
..Film.... 


Enclose  this  blank  or  a  copy  with  your  entries  and  miil  to  Prize  Contest  Office,  Eastman  Kodak  Company, 
Rochester.  N.  Y.  Do  not  place  your  name  on  either  the  front  or  the  back  of  any  picture. 

When  you  write  to  advertisers  please  mention  PHOTOPIAT  MAGAZINE. 


While  this  page 
tells  you  practi- 
cally everything 
you  need  to  know  to 
enter  the  contest, 
jurther  details,  in- 
cluding the  rules 
for  the  Special  En- 
largement Award, 
may  be  secured 
from  your  dealer 
or  from  the  East- 
man Kodak  Com- 
pany, Rochester, 
N.  Y, 


I04 


Photoplay  Magazine — Advertising  Section 


'ye/tcaSl' 


UTE^iir 


PROTECTION 


BfE^V 


COAIFORT 


XKl^ 


ASSUKANCE 


FOR  irOMEJW 


Gauzets^the  new,  improved 
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There  is  one  near  you.  You 
will  recognize  it  hy  this  sign. 
Liggett'sare  also  Rexall  Stores. 


Ten  Years  Ago  in  Photoplay 


THE  issue  of  Photoplay  for  May,  1919, 
is  a  sturdy  milestone  in  the  history  of 
motion  pictures  and  their  critics. 
This  month  the  clever  and  erudite  Julian 
Johnson  takes  his  place  in  history  as  the  iirst 
man  to  go  to  bat  for  us  of  the  movie  audience! 
He  is  the  first  man  to  deny,  with  shouts  and 
arm-wavings,  that  we  are  dim-wits  fit  only  to 
be  amused  by  cowboy  pictures  and  cartoon 
comedies ! 

In  1919  movie  producers  insisted  on  making 
their  pictures  to  suit  an  average  intelligence 
of  some  twelve  years  (and  so  have  they  from 


Remember  the  vivid  Priscilla 
Dean  of  1919?  She  was  starring 
then   in   "The   Wicked   Darling" 


1919  to  1929!).  In  1925,  or  thereabouts,  some 
of  the  rest  of  us  discovered  that  movie  fans 
were  getting  smarter,  brighter  and  far  more 
choosy. 

But  in  1919,  Photoplay  and  Julian  Johnson 
fought  our  battle  alone. 

Hear  him — 

"While  the  Better  Photoplay  League  draws 
its  Excalibur  for  clean  pictures,  this  depart- 
ment will  brandish  a  bludgeon  for  sensible 
ones. 

"I  wish  the  average  producer  had  my  faith 
in  the  average  audience.  In  four  years  of 
close  obser\'ation  I  have  never  seen  a  high 
class  photoplay  fail  WHEN  IT  HAD  A  GOOD 
STORY!" 

A  monument  for  Julian  Johnson  while  he  is 
still  alive! 

He,  of  all  critics,  stood  up  for  us  when 
producers  and  highbrows  alike  considered  us 
picture  fans  a  lot  of  oafs,  dolts,  duds,  nuts 
and  dummies! 

(At  this  time,  you  may  recall,  the  Better 
Photoplay  League,  organized  by  Photoplay 
and  composed  of  a  lot  of  prominent  club 
ladies,  was  battling  for  better  pictures.  Pretty 
soon  pictures  got  better,  and  the  ladies  didn't 
get  their  names  in  the  papers  quite  often 
enough,  so  the  league  didn't  battle  any  more!) 


■VXTHO'S  this  sparkling,  vivid  gal  that  fairly 
**  leaps  at  us  from  the  page? 

Nobody  but  Priscilla  Dean,  in  1919,  a 
briUiant  new  star  for  Universal.  How  we 
went  for  the  passionate  Priscy! 

"The  Wicked  Darling"  is  the  name  of  her 
latest  picture. 

Who's  this  villain  in  the  piece,  way  down 
in  the  supporting  cast?  A  seamy-faced  gent 
named  Lon  Chaney. 

And  where  is  Priscilla  now?  With  the 
snows  of  yesteryear.  Gosh,  how  tempus  does 
fugit  along! 

T  TNITED  ARTISTS  has  just  been  formed, 
^^  with  Doug,  Mary,  Charlie  and  Griffith. 
Bill  Hart  stepped  out  almost  as  soon  as  in  .  .  . 
Lovely  Ethel  Clayton,  newly  widowed,  carries 
on  alone.  Remember  her  in  "The  Great 
Divide,"  a  Lubin,  with  House  Peters?  .  .  . 
One  of  filmdom's  handsomest  couples — Jack 
Pickford  and  that  little  beauty,  Olive  Thomas. 
Olive  died  in  Paris — and  Jack?  .  .  .  "Young 
man,  stay  away  from  the  movies  in  your  work- 
ing hours!"  says  James  R.  Quirk  in  his  lead 
editorial  .  .  .  Two  pictures  of  Phyllis  Haver 
in  her  Sennett  bathing  suit.  Well,  Phyllis  has 
gotten  peachier  every  year  for  10  years.  In 
1939  she'll  be  sure  and  sudden  death  to 
sophomores!  .  .  .  And  Alia  Nazimova  is  hard 
at  picture  work  for  Metro.  "Out  of  the  Fog" 
is  her  latest. 

"D  EMEMBER  our  "Why  Do  They  Do  1l" 
-*^  department? 

How  many  readers  cracked  down  on  care- 
less directors! 

Here's  a  sample.  It  used  to  be  a  game  with 
fans  in  the  early  days. 

"In  Fox's  'Call  of  the  Soul,'  featuring 
Gladys  Brockwell,  the  action  of  the  story  is 
supposed  to  take  place  in  California.  In  one 
scene  we  see  Miss  Brockwell  come  into  the 
hall  to  phone  her  friend.  Dr.  Clayton,  who 
resides  in  the  same  city  as  she,  and  yet  she 
finds  his  number  in  a  New  York  telephone 
book!" 

Lynx-eyed  Dick  Graham,  of  Butler,  Pa., 
snagged  that  one ! 

"RAMOUS  old  Thanhouser,  maker  of  "The 
■*•  Million  Dollar  Mystery,"  has  shut  up  shop. 
It  introduced  to  fans  Flo  La  Badie,  Marguerite 
Snow,  James  Cruze,  Gladys  Hulette,  Muriel 
Ostriche,  Sidney  Bracy,  Harry  Benham  and 
others  .  .  .  Mary  Moore,  only  sister  of  Tom, 
Owen  and  Matt,  has  died  in  France  on  war 
service  .  .  .  Nat  Goodwyn  has  recently  died 
.  .  .  Theda  Bara  plots  a  stage  tour  .  .  .  Fatty 
Arbuckle  has  signed  a  $3,000,000  contract .  .  . 
Adolph  Zukor  has  secured  two  prizes  for 
pictures,  "Peter  Pan"  and  "Peg  O'  My  Heart" 
.  .  .  Pauline  Frederick  has  just  wowed  us  in 
"Paid  in  Full." 

CAYS  CLARA,  of  Dallas,  Texas,  to  the 
^  Answer-Man — "I  am  a  very  young  thing, 
and  I  would  like  to  know,  oh,  so  much,  why 
Mary  Pickford  doesn't  kiss  her  leading  man. 
She  evades  the  expected  embrace  in  every 
fadeout  until  I  could  scream!" 

And  the  Answer-Man  hasn't  a  very  good 
comeback,  either. 

THE  MYSTIC  ROSE— Feail  White  is 
thirty  years  old,  weighs  135  pounds  and  is 
five  feet,  three.  Miss  White  says,  "I  love  my 
public,  and  would  give  my  life  to  please  them!" 
Fair  enough.    Write  often,  Rosie! 


CASH  FOR  TALKIE  FANS 
$500  is  offered  for  the  best  suggestion  for  a 
new  name  for  talking  pictures.    Read  the  rules 
on  page  76  and  send  in  your  suggestion  now. 


Every  adverllserai-nt  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


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Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  83  ] 


A  few  years  ago,  at  a  charity  bazaar  in  Lon- 
don, she  had  a  booth  to  tend,  and  over  it  she 
found  the  sign  "Ruth  Chesterton's  Booth." 

Her  manager  was  horritied. 

Ruthie  only  smiled. 

"It  doesn't  matter,"  she  said.  "In  the  first 
place,  I'd  be  proud  to  bear  the  name  of 
Chesterton,  and  in  the  second,  who  knows  the 
difference?" 

SORREL-  TOP  CLARA  BOW  has 
a  new  rival  for  the  fan  mail  cham- 
pionship. 

The  contender  is  Gary  Cooper,  the 
Montana  Menjou,  who  already  re- 
ceives almost  as  many  mash  notes 
as  La  Bow. 

We're  all  wondering  what  effect, 
if  any,  his  possible  marriage  to 
Loopy-the-Lupe  Velez  will  have. 

OOLLEEN  MOORE,  of  all  people,  is  having 
^— 'an  elegant  orgy,  but  not  the  kind  you 
think. 

Colleen's  particular  form  of  debauch  is 
house-building  and,  if  she  holds  together  the 


Mary  Brian,  on  the  day  the  good 
plane  Question  Mark  broke  the 
endurance  flight  record,  broke  a 
fad  record  by  wearing  the  symbol 
on  her  brand  new  bonnet 


magnificent  McCormick-Moore  mansion  in 
Bel-Air  will  soon  be  finished  and  livable. 

The  shack  is  really  all  done  with  sound 
effects,"  says  the  Graduate  Perfect  Flapper. 

"You  enter  the  formal  hall  and  say  'Ah!' 

"Then  you  go  into  the  beautiful  hving  room 
and  say  'Oh I' 

"Then  there's  only  one  remark  to  make 
when  you  see  my  bedroom.  That  is  'Ain't 
that  swell?'  " 

REGINALD   DENTSiY   and   his   new   frau 
seem  to  be  completely  happy. 
They  are  everywhere,  these  days,  and  al- 
ways in  tip-top  spirits. 

But  over  at  the  Warner  studio  I  found  Big 
Reggie's  first  \\'ife,  playing  an  obscure  part  in 
"The  Time,  the  Place  and  the  Girl." 

It  is  her  first  screen  appearance,  and  a  very 
pleasant  speaking  voice  landed  her  the  job. 

106 


Not  that  she  needs  the  money.  But  she  does 
need  to  be  busy,  for  the  sake  of  forgetting. 

Perhaps  she  remembers,  all  too  often, 
happier  days  when  she  and  Denny  discussed 
his  work. 

Are  Joan  and  Fairbanks  married 

Or  are  the  rumors  wrong? 
While  chatter  ■writers  scream  and  moan 

The  world  rolls  right  along. 

CIDE-LIGHTS  and  spotUghts  on  the  Ruth 
'-'Roland-Ben  Bard  wedding — 

Billy  Haines  playing  a  bull  fiddle  because  he 
was  not  asked  to  ush  .  .  .  Buddy  Rogers  and 
Jimmy  Hall  betting  on  which  would  seat 
Claire  Windsor  and  both  losing  .  .  .  Lloyd 
Hughes  had  the  privilege  .  .  .  Bebe  Daniels 
and  Ben  Lyon,  the  lovebirds,  accompanied  by 
their  mammas  .  .  .  May  McAvoy  and  Fian:e 
Cleary  saying  we'd  see  the  Lyon-Daniels 
nuptials  before  theirs  .  .  .  Shirley  Mason, 
looking  no  more  than  12  nor  less  than  11  .  .  . 
Ona  Brown  and  Harvey  Barnes  averring  that 
such  a  purty  wedding  tempted  them  to  move 
up  the  date  of  their  own  sphcing  .  .  .  The 
bride  putting  on  fresh  Up  rouge,  the  first  layer 
having  been  quite  kissed  off  .  .  .  Writers 
nudging  each  other  and  wondering  w-hen  the 
champagne  would  be  brought  on  .  .  .  But 
what  they  got  was  unsticked  fruit  punch  and  a 
shce  of  cake,  and  Hked  it  ...  A  nice,  informal 
Hollywood  wedding,  with  the  bride  and  groom 
actually  being  given  a  big  hand  as  they  came 
up  the  aisle. 

V"  ING  VIDOR  is  heaving  a  fine,  rich  sigh  of 
-'-'^-relief,  now  that  his  all-Negro  production, 
"Hallelujah,"  is  finished. 

Not  that  the  colored  boys  and  gurls  were 
hard  to  direct. 

Two  things,  however,  made  Vidor  gray  over 
the  ears. 

One  was  getting  them  to  work.  The  other 
was  getting  them  on  the  set  once  they  were  in 
the  studio. 

In  Memphis  he  signed  two  colored  dancers. 
But  when  the  company  assembled  at  the  depot 
they  had  faded,  and  couldn't  be  found. 

At  last  King  signed  up  "Slickum,"  the 
Mclro-Goldwyn  bootblack,  to  ride  herd  on  the 
cast.    Even  this  blew. 

For  "SHckum"  was  so  cocked  up  with  his 
new  power  that  he  made  the  younger  players 
dance  for  every  visitor  that  came  near  the  set, 
with  the  result  that  they  were  too  worn  down 
to  hoof  for  the  camera! 

HEARD  on  a  Hollywood  dance 
floor. 

"Yes,"  said  the  famous  producer, 
"my  wife  and  I  have  reached  the 
ideal  married  state." 

"What  do  you  mean  'ideal',"  mur- 
mured the  lovely  lady,  no  one  else 
but  Estelle  Taylor. 

"She  no  longer  cares  about  the 
shape  of  my  nose,"  answered  the 
magnate,  "and  I  no  longer  care  that 
she  doesn't." 

SHARON  LYNN  was  official  hostess  at  the 
Los  Angeles  horse  show  recently,  and  was 
asked  to  say  a  few  words  over  the  radio. 

Unaware  that  the  microphone  belonged  to 
KNX,  oflicial  Paramount  station,  she  went 
into  a  song  and  dance  about  the  glories  of  Fo.\ 
pictures! 

The  announcer  died  a  thousand  deaths  as 
Sharon's  hymn  of  praise  went  on.  As  soon  as 
he  could  he  got  her  away  from  the  mike  and 
gasped  over  the  air: 

"If  it's  a  Paramount  picture,  it's  the  best 
picture  in  town!" 


Leila  Hyams  with  the  blue  glass 
mirror  used  in  putting  on  the 
panchromatic  makeup  neces- 
sitated by  the  incandescent  light- 
ing of  the  talkie  stages.  Blue 
reflection  shows  how  her  face  will 
look  through  the  camera's  eye 


"p\OROTHY  MACKAYE,  the  httle  musical 
-•-^comedy  actress,  is  back  in  Hollywood. 

She  has  just  been  freed  from  San  Quentin, 
after  serving  a  term  for  some  sort  of  complicity 
in  the  death  of  her  actor  husband,  Ray  Ray- 
mond. 

She's  going  to  build  a  new  life,  and  picture 
people  have  been  more  than  generous.  Lilyan 
Tashman  went  about  quietly  getting  together 
a  subscription  for  Dot,  and  everyone  helped. 

Incidentally,  the  two  had  never  met  before 
Dorothy's  trouble. 

It  is  reported  she  will  get  a  job  in  a  musical 
comedy  to  be  produced  in  Los  Angeles. 

T  ILY  D.\MITA  wants  to  leave  Hollywood 
-'-'for  a  rest.  It  isn't  that  she's  been  working 
hard.  In  fact  she  hasn't  appeared  at  the  studio 
for  weeks. 

The  reason  is  that  the  polo  team  descended 
upon  Hollywood  and  Lily  acquired  a  sudden 
interest  in  horses.  In  fact,  she  took  it  upon 
herself  to  see  that  the  entire  team  had  a  lively 
time. 

Which  is  a  task  that  Lily  can  handle  most 
effectively. 

r>  ESTAURANT  managers  at  the  studio 
■'^lunch  room  pay  what  they  consider  a  pretty 
compliment  to  the  stars  by  naming  sand- 
wiches for  them.  Monte  Blue  has  just  had  his 
moniker  added  to  the  Warner  menu. 

Proudly  he  told  his  wife  about  it. 

"What's  the  sandwich  made  of?"  she  asked. 

"Ham  and  cheese,"  said  Monte. 

"That,"  said  Mrs.  Blue,  "symbolizes  an 
actor  and  his  performance." 

POLLY  MORAN  stood  on  the  bal- 
cony just  outside  her  dressing 
room.  The  assistant  director  called 
her.  "You're  wanted  on  the  set, 
Polly,"  he  told  her.  "How  soon  will 
you  be  there?" 


Photoplay  Magazine — Advertising  Section 


107 


METRO 

GOLDWYN 

MAVERS 


ihijlftw  Iwmlei  oftmJcieeit/ 
ALL  TALKING 

ALL  SINGING 

ALL  DANCING 

^tamatlc  Smicdwn 


with 

CHARLES  KING 
ANITA  PAGE 
BESSIE  LOVE 

Directed  by 

HARRY  BEAUMONT 

Story  by  Edmund  Coulding 

Continuity  by  Sarah  Y.  MaBoa 

MuBic  by  Nacio  Herb  Br(>wn„ 

Lyrick  by  Arthur  Freed 

Dialogue  by  Norman  Houston 

and  JacesGIeaBon,  author  of  "Is  ZatSo?^* 


T-^ROM  COAST  TO  COAST  has  swept  the  fame  of  the  newest  miracle 
Jj  of  the  films.  All  the  magic  of  Broadway's  stageland,  stars,  song 
hits,  choruses  of  sensuous  beauty,  thrilling  drama  are  woven  into 
the  Greatest  Entertainment  of  our  time.  Metro-Goldwyn-Mayer, 
the  leader  in  production  of  silent  pictures,  now  achieves  suprem- 
acy of  the  Talking  Screen  as  well.  See  "The  Broadway  Melody" 
simultaneous  with  its  sensational  $2  showings  in  New  York, 
Los  Angeles  and  elsewhere. 


MIETIIR([r)°(E<fi>lL]n)WTO^° 


"More  Stars  than  there  are  in  Heaven 

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io8 


Photoplay  Magazine — Advertising  Section 


A, 


.//  over  the 
world  people  are 
CHEWING 


FEEN-A-MINT 

for  quick  relief 
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COOL,  delicious,  mint-fla- 
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For  because  you  chew  Feen- 
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Your  own  doctor  can  tell 
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Feen-a-mint 

The  chewing  laxative 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  57  ] 


THE   ROYAL    RIDER— 
First   National 

SEEMS  like  they  can't  keep  the  cowboj'S  in 
the  West  any  more.  In  their  mad  but  worthy 
quest  for  originaUty,  they've  taken  Buck 
Jones  to  Honolulu,  Tom  Mix  to  Arabia,  and 
now  Ken  Maynard  to  one  of  those^  mythical 
continental  monarchies.  His  strolling  rodeo 
saves  the  boy  king  (Phillipe  de  Lacy),  from 
assassination.  Ken  performs,  with  machine- 
gun  rapidity,  more  than  his  usual  repertoire  of 
horse  nonsense,  and  Olive  Hasbrouch  is  the 
inspiring  heroine.    See  Maynard  for  Westerns. 

THE    VOICE    IN   THE   STORM— 
FBO 

WE  will  now  have  a  little  ditty  entitled: 
"Just  Before  the  Hanging,  Mother." 
With  the  tremolo  stop.  You've  seen  it  fifty 
times.  Murder.  Innocent  boy  convicted. 
Gallows.  Shadow  of  noose.  Real  murderer 
confesses.  Parade  to  death  chamber.  Storm 
raging.  Governor  tries  to  phone  reprieve. 
Wires  down.  Noose  around  boy's  neck.  Re- 
prieve arrives.  Not,  however,  until  your  nerves 
are  on  verge  of  collapse  and  your  backbone 
twisted  into  a  pretzel.  But  if  you  like  that 
kind  of  fun — 

WHEN  DREAMS  COME  TRUE— 
Rayart 

THE  kind  of  picture  at  which  small  boys 
cheer  the  hero  and  hiss  the  villain.  It's  a 
Blue  Grass  horse-racing  romance  of  the  most 
melodramatic  variety — the  sort  of  thing  that's 
been  going  on  for  some  years  now.  Helene 
Costello  and  Re.x  Lease  are  two  lovers  whose 
future  is  bound  up  in  a  handicap.  Does  their 
horse  win  in  spite  of  the  machinations  of  the 
especially  vile  villain?  Well — what  do  you 
think? 

THE  TRAIL  OF  THE  HORSE  THIEVES 
—FBO 

""THIS  Western  lopes  along  at  an  easy  gait, 
■•-  keeping  about  an  even  pace  with  the  rest 
of  the  Tom  Tyler  output.  It  makes  one 
wonder  what  these  stalwart  heroes  of  the  wide 
open  are  made  of.  This  time,  Tom  is  blinded 
by  sand,  nearly  murdered,  nearly  drowned, 
jailed,  thrown  into  quicksand.  Some  day 
they'll  go  too  far!  Better  get  the  kids  in  on  this. 
It's  the  last  chance  to  see  Tom  and  Frankie 
Darro  together. 

THE  LURE  OF  THE  SOUTH  SEAS— 
Cooperative 


HEALTH    PRODUCTS    CORPORATION 

113  N.  13th  St..  Newark,  N.  J. 

Please  send  free  samples  and  free  copy  of  "The 
Mysterious  35  Feet." 


P-5 


Name. . . 
Address  ■ 


A 


PICTURESQUE  and  authentic  tale  of 
South  Sea  life  as  lived  by  the  last  of  the 
Polynesians  and  the  whites  who  hstlessly  go 
native.  Written,  directed,  and  produced  by 
Raymond  Wells,  at  Tutuila,  it  is  probably  the 
first  independent  picture  of  the  sort  to  get 
across.  Its  success  is  obviously  due  to  a  com- 
plete absence  of  trumped-up  movie  gags, 
licautiful  photography,  and  the  discerning  use 
of  tropical  resources.  Grace  Lord,  as  a  stoic 
native  woman,  is  splendid. 

BORN  TO  THE  SADDLE— 
Universal 

TWENTY    years    of    fasting    and    prayer. 
Then  this — a  Western  that  is  really  good. 
It  is  a  logical  story,  seething  with  action  and 


gaily  flecked  with  humor.  It  has  S.  A.,  B.  O., 
and  all  the  rest  of  the  alphabet.  Young  Ted 
Wells,  the  debonair  head  man,  lacks  that 
classic  thug-hke  countenance  which  identifies 
most  of  our  cow  gentlemen,  and  wins  us  com- 
pletely by  wearing  smart  clothes  and  sounding 
his  G's.  Duane  Thompson,  the  feminine 
relief,  is  a  reUef! 


NA  VAJO— Goodwill 

T_TOW  the  modern  Indians  eat,  drink,  sleep, 
-'-  -'-dress,  dance,  and  play  hop-scotch — five 
long  reels  of  it.  Very  educational.  But  who 
wants  to  be  educated?  Anyway,  the  people 
who  made  this  spent  gobs  of  hard  cash  to  get 
this  elongated  newsree!  off  the  Navajo  Indian 
Reservation  in  Arizona.  All  the  actors  are 
Indians,  the  photography  is  remarkably  clear, 
and  it's  great  stuff  for  anyone  who  doesn't 
want  his  melodrama  spread  on  with  a 
shovel. 


BROTHERS— 
Rayart 

HERE'S  another  brotherly  love  picture,  the 
first  of  the  new  school  (forsaking  tradition 
and  omitting  the  heroine)  to  be  done  by  Rayart. 
And  it's  good.  Arthur  Rankin  and  Cornelius 
Keefe  are  brothers  who  are  complete  strangers 
to  each  other,  until  the  college  "grad"  hears 
the  crook's  real  name.  It  never  descends  into 
the  maudUn.  Barbara  Bedford,  the  only 
woman  in  the  picture,  is  one  of  the  few 
leading  women  who  have  dared  to  play  a 
"heavy." 

friendship- 
Fox 

ACTORS  may  come  and  actors  may  go,  but 
the  sincere  charm  and  conviction  of  Robert 
Edeson's  performances  go  on  forever.  "Friend- 
ship," the  very  sophisticated  short  talkie  which 
is  a  little  inchned  to  drag,  is  Ufted  well  out  of 
mediocrity  by  his  distinguished  acting.  Two  . 
things  make  this  a  "different"  sort  of  picture 
— it  has  an  all  male  cast  (the  female  of  the 
species  is  talked  about  but  not  seen)  and  it  has 
a  most  unexpected  ending. 


THE  WOMAN  I  LOVE— 
FBO 

THIS  picture  is  FBO's  last  and  it's  just  as 
well.  Changing  the  brand  to  RKO  won't 
help  unless  they  change  the  stories.  It's  the 
tale  of  an  irate  husband  who  sets  out  to  mur- 
der a  man  for  making  love  to  his  wife.  A 
surprise  ending,  however,  saves  it  from 
mediocrity.  Leota  Lorraine,  touted  by 
George  Melford  as  a  great  discovery,  is  not 
great.  And  a  good  director  is  slipping.  It's 
just  fair  entertainment. 


THE  PEACOCK  FAN— 
Chesterfield 

THEY  may  put  dialogue  in  this.  It  needs  a 
lot  more  than  dialogue.  It's  a  mystery 
story  wherein  the  chief  detective  questions 
suspects  and  then  nonchalantly  burns  the 
evidence  before  the  trial.  Oh,  it  happens  in 
the  movies.  Tom  O'Brien,  immortal  for  his 
part  in  "The  Big  Parade,"  has  been  forced 
into  the  quickies  in  a  comedy  role.  The  action 
of  this  piece  takes  place  ahnost  entirely  in  one 
room.    WeU,  one  room  is  enough. 


Every  advertisement  In  PHOTOPLAY  JUGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


109 


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IIORES 
COSTEIIO 

NOAH^ARK" 


WITH 


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GEORGE  OBRIEN 


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k. 


Here  is  romance  that  transports  you 
into  realms  of  blissful  emotion. 
Drama  with  a  world-sweep,  colossal 
and  sublime.  Thrills  that  grip  every 
fibre  of  your  being! 

""iVoa/i's  Ark"  is  the  outstanding 
achievement  of  the  Screen,  made 
vivid  as  reality  itself  through  the 
marvelous  Voice  of  Vitaphone. 

See  and  hear  ''Noah's  Ark.''  You'll 

agree  that  it  gloriously  surpasses  all 

existing  standards  or  conceptions  of 

modern  screen  entertainment. 


A 


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VlTAniDi" 


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}bu  See  and  Hear  V/TAPHONE  (mly  in  Warm')' Bros:  ami  Hrst  Nntional  Pictures 


When  you  nTito  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


I  TO 


Photoplay  Magazine — Advertising  Section 


The  Big  Boy  Tells  His  Story 

I  CONTINUED  FROM  PAGE  84  | 


THIS 
F/ICE  POWDER 

oJJjDuX)  me,  txy  oe 

rmrvzhjodnni  cJDOiut 

mij  oomple/xuxyru 

"I  RUB  this  smooth,  fragrant  powder  into 
my  puff  when  I  apply  it.  I  have  never 
known  anything  Uke  the  way  it  stays  on. 
Armand  Cold  Cream  Powder  is  the  per- 
fect powder  for  my  complexion."  $1  at 
good  stores. 

Send  10c  Jor  this  beauty  treatment  that  takes 
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1  copy  Armand's  new  "Ten  Minute  a 
Day"  beauty  treatment. 

1  trial  package  Armand  Cold  Cream  Pow- 
der— Zanzibar  shade. 

1  trial  package  Armand  Foundation  Creme 
— a  marvelous  discovery  for  powder  base. 

1  trial  package  Armand  Eau  de  Cologne 
Cleansing  Cream — that  liquefies  the  mo- 
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1  trial  package  Armand  Lip  and  Cheek 
Rouge — a  new  creation] 

t         f         * 

You  must  try  one  of  these  new  Armand 

Powder  shades:  Zanzibar,   light  sun- 

brownforbrunettesorblondes.Sx.&t\igh.t, 

for  day  or  evening. 


ARMAND,  142  Des  Moines  St.,  Dcs  Moines.  la. 
I  enclose  10c.  for  which  please  send  me  "The 
Ten    Minute   a   Day   Beauty   Treatment,"   in- 
cluding the  four  essential  preparations. 

Name 

Address 

City 

State 

In  Canada,  Armand  Ltd..  St.  Thomas,  Ontario 


tried  aU  the  local  papers  to  get  on  as  an  artist. 
No  use.  The  advertising  agencies  were  full, 
too.  And  I  was  told  that  all  the  big  adver- 
tising accounts  were  handled  in  New  York 
City  of  Chicago.     I  did  the  only  thing  I  could. 

I  got  work  by  the  day  or  the  hour.  Any- 
thing to  eat.  I  sold  photograph  coupons  from 
door  to  door.  I  tried  to  sell  real  estate.  The 
papers  «ere  fuU  of  ads  for  suckers  to  come  and 
invest  money. 

TT  wasn't  so  much  fun  living  in  a  dinky, 
-'-smelly  room  and  eating  sinkers  and  coffee. 
But  I  wouldn't  wTite  home  for  money.  It  was 
when  I  was  Hatter  than  a  beaver's  tail  that  I 
discovered  motion  pictures.  Extras  were 
getting  five  a  day  and  I  thought  I'd  try  my 
luck.  That,  at  least,  was  better  than  having 
angry  housewives  slam  the  door  in  my  face 
when  I  asked  them  to  buy  photographic 
coupons. 

I  got  my  first  day's  extra  work  at  Fox.  It 
was  in  a  Tom  Mix  pictvure.  He  was  using  two 
hundred  extras  in  some  sort  of  legendary 
flash-back  taking  place  in  Sherwood  Forest 
in  Robin  Hood's  heyday.  I  crawled  into  a  pair 
of  green  tights,  slipped  on  a  leather  jerkin,  put 
a  funny  little  cap  with  a  feather  in  it  on  my 
head,  and  someone  shoved  a  bow  and  arrow  at 
me.  I  was  an  archer.  My  picture  career  had 
begun.  In  the  distance  I  saw  Mix's  leading 
woman,  Billie  Dove.  I  thought  she  was 
beautiful.  I  decided  Hollywood  wasinteresting. 

I  was  bowled  over  by  studio  life.  I  was  drunk 
on  what,  at  first  glimpse,  appeared  to  be  its 
utter  freedom  and  lack  of  restraint,  and  what  I 
learned  later  is  the  most  delusive  thing  about 
it.     There  is  no  real  freedom  in  Hollywood. 

It's  a  mirage.  Every  movement,  no  matter 
how  slight,  is  commented  on,  and  a  motive, 
often  erroneous,  is  given  to  it.  I  thought  this 
freedom  matched  that  which  I  had  always 
craved.     And  so  I  stayed. 

My  first  part  of  any  importance  was  secured 
by  hiring  an  agent  who  placed  me  in  the  part 
of  Abe  Lcc  in  "The  Winning  of  Barbara 
Worth."  I  got  an  agent  after  playing  Westerns 
and  going  hungry  and  playing  extra  and  going 
hungry.  It  wasn't  hard  to  play  Lee.  He  was  a 
lean,  lanky  cowboy.  I  knew  him  as  I  knew 
myself. 

IT  was  after  the  picture  was  released  that 
Mr.  Schulberg  signed  me  to  a  Paramount 
contract,  and  gave  me  a  bit  in  "Wings."  After 
that  I  played  with  Clara  Bow  in  "  It." 

It  wasn't  hard  to  do  the  stuff  I  did  in  those 
pictures.  The  part  in  "Wings  "  was  minor,  and 
William  Wellman,  the  director,  was  a  regular 
fellow.  In  "It"  Clara  was  helpful.  She  is  that 
kind.of  a  girl,  generous  with  her  friendship  and 
praise. 

I  had  never  before  known  an  actress.  She 
was  a  new  type  of  girl,  glamorous,  full  of  fun, 
devoid  of  jealousy.  I  was  grateful  to  her  and 
admired  her. 

We  went  around  together. 

It  looked  as  if  I  was  going  to  make  a  success 
of  pictures.  But  something  was  incomplete. 
I  knew,  well,  what  it  was.  I  was  homesick  for 
Montana. 

I'd  try  to  compensate  my  desire  by  driving 
up  into  the  desert  for  a  few  days,  between 
pictures. 

But  it  wasn't  like  chucking  a  slab  of  bacon, 
some  flour,  baking  powder,  coffee  and  sugar 
into  a  roll,  tying  it  on  a  horse  and  disappearing 
into  the  mountains  for  a  span  of  days. 

I  sighted  an  eagle's  nest  one  day  when  I 
was  fishing  off  Catalina  Island  and  scrambled 
along  a  narrow  path,  high  over  the  sea,  bedded 
with  crushed  rock  where  wild  mountain  goats 
sleep,  to  look  down  into  it. 

But  it  wasn't  like  Montana.  I  missed  our 
family  life,  too. 


The  inevitable  happened.  I  never  laid  claim 
to  being  an  actor.  'To  this  day  I  do  not  con- 
sider myself  one.  I  don't  think  I  have  any 
divine  talent.  I  am  disappointed,  many  times, 
in  seeing  myself  on  the  screen.  I  fall  so  short  of 
what  I  think  I  should  be  as  an  actor.  Only 
on  rare  occasions  have  I  seen  traces  of  what  I 
am  striving  for. 

JN  "The  Shopworn  Angel"  I  saw  a  faint 
-'-glimmering  of  the  sort  of  characterization  I 
would  like  to  give. 

The  inevitable  was  that  I  failed  in  my  first 
dramatic  part.  It  was  drawing  room  drama 
and  I  was  unqualified.  We  worked  on  one 
scene  for  "  Children  of  Divorce"  for  a  full  day, 
making  shot  after  shot.  By  the  time  we  had 
photographed  it  seven  times,  my  nerves  got  the 
better  of  me.  My  mind  refused  to  govern  my 
body. 

My  limbs  wouldn't  function  properly.  I 
went  hay-wire. 

Frank  Lloyd  was  directing.  The  next  morn- 
ing he  called  me  into  his  office.  I  knew  what 
was  up.  A  sleepless  night  hadn't  been  for 
nothing.  It  was  hard  for  Lloyd  to  teU  me,  but 
I  knew  I  was  out  of  the  picture.  It  looked  Uke 
the  upset  of  everything;  that  my  career  was 
ended. 

I  jumped  into  my  car  and  beat  it  for  the 
Mojave,  driving  like  the  devil.  I  stayed  all 
night  on  the  desert,  in  a  ramshackle  hotel.  It 
was  quiet,  hke  a  bahn. 

The  next  day  I  came  back  down  the  coast 
road,  through  Malibu,  with  the  mountains 
rising  on  one  side,  the  ocean  beating  on  the 
other. 

I  didn't  know  just  what  I  was  going  to  do, 
but  I  knew  I  could  think  straighter. 

It  was  about  noon  and  I  was  hungry.  I  went 
straight  to  Henry's.  As  I  entered  the  door  a 
man  stood  up  and  grabbed  me,  "By  God, 
Gary!  We've  been  looking  all  over  town  for 
you. 

"  Even  had  the  police  on  the  search.  Thought 
you  might  have  jumped  off  a  cliff. 

"You're  back  in  the  picture."  It  was  Lloyd. 
The  rushes  on  the  third  day's  work  had  shown 
improvement  and  I  was  back  in  the  cast. 

Experiences  are  valued  by  their  effect.  Be- 
cause I  went  back  to  the  picture  after  failing,  I 
helped  to  overcome  a  natural  reticence — a  self- 
consciousness. 

It  is  that  reticence  which  prohibits  me  from 
going  into  detail  about  a  few  feminine  friend- 
ships that  I  value. 

Privacy  seems  to  be  a  thing  that  is  denied 
a  motion  picture  person.  It  is  a  thing  that 
constitutionally,  I  crave.  It  happens  that  I 
have  made  friendships  with  women  who  have 
aided  me  in  my  work  and  that  have  been  happy 
contacts. 

It  was  that  way  with  Clara.  In  Evelyn 
Brent  I  found  the  companionship  of  a  woman 
who  was  wise  and  brilliant. 

I  was  first  attracted  to  her  as  a  woman  who 
had  her  feet  on  the  ground  and  was  not  riding 
the  clouds. 

IN  Lupe  Velez  I  find  a  girl  who  takes  the  same 
joy  out  of  primitive,  elemental  things  that  I 
do.  In  each  friendship  I  have  found  that  the 
most  casual  linking  of  our  names  caused 
dynamite. 

I  am  going  to  marry.  I  want,  hke  almost 
every  man,  a  home  and  a  family.  I  want  a 
permanent  union,  not  one  of  these  week-end 
impermanencies. 

I  want,  eventually,  to  convert  Sunnyside 
into  a  "dude  ranch,"  but  on  the  lower  ridge 
that  slopes  up  into  the  higher  mountains  I  want 
to  build  a  chalet,  cUnging  to  its  side,  where  I 
can  go  when  my  Hollywood  days  are  over. 

I  want,  before  my  life  is  over,  to  go  back  to 
Montana. 


E^-ery  nJvertisenu'nt  in  PHOTOrLAY  M.\GAZINB  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


I  I  I 


Guessing  Gaines 


They  were  a  lot  of  fun  when  we  were  youngsters,  those 
guessing  games.  Guess  who  this  is  I  Guess  the  number 
of  beans  in  the  pot  I  Guess  how  long  the  pendulum  will 
swing!  Sometimes  we  came  pretty  close  to  the  right 
answer.  Sometimes  we  were  a  long  way  off.  Whichever 
we  were,  we  all  had  a  good  time,  and  the  worst  guesser 
got  as  much  of  the  evening's  refreshments  as  the  best. 

How  far  away  those  guessing  games  seem  now!  And 
how  they  have  lost  their  appeal.  Perhaps  it's  because  we 
learned,  as  we  grew  older,  that  to  knoiv  is  better  than  to 
guess.  Guess  which  is  the  best  package  on  the  grocer's 
shelf!  Guess  which  bolt  of  cloth  is  pure  wool!  Guess 
which  talking  machine  will  give  us  most  satisfaction! 
No,  guessing  for  those  things  wasn't  so  much  fun.  We 
wanted  to  be  certain.  And  that  was  one  of  the  reasons 
we  turned  to  advertising. 

Advertising  takes  the  guesswork  out  of  buying.  It  lets 
us  know  what  is  best  and  what  is  cheapest  and  what  will 
last  longest.  It  does  away  with  unsatisfactory  uncertain- 
ties. The  advertisements  in  this  magazine  tell  a  concise, 
interesting  and  accurate  story  about  articles  you  need. 
Reading  them  is  the  surest  and  quickest  path  to  wise  buy- 
ing.   It  eliminates  guessing. 


When  you  write  to  adrertiaera  [jlcaso  raention   PHOTOPLAY  MAGAZINE. 


ii2 


Photoplay  Magazine — Advertising  Section 


BATHASWEET 


Make  your  Bath 
a  Beauty 
Treatment 


TRY  IT  FREE 

There  was  a  time  when  a  bath  was  just  a 
bath.  Now  it  is  much  more.  Just  a  sprinkle 
of  Bathasweet  and  your  daily  tubbing  be- 
comes a  veritable  beauty  treatment.  Not 
only  is  the  water  made  fragrant  as  a  flower 
garden,  but  it  gains  a  delightful  softness. 
It  washes  deep  into  the  pores,  dissolves 
the  secretions  of  the  skin  and  leaves  about 
you  an  indefinable,  almost  scentless  fra- 
grance that  lingers  all  day  long.  Your 
skin  is  stimulated  to  more  radiant  health; 
many  blemishes  disappear;  and  an  air  of 
springtime  daintiness  becomes  an  insep- 
arable part  of  your  personality.  No  charm 
is  more  in  keeping  with  modern  ideas  of 
femininity. 

The  best  indication  of  how  Bathasweet  ac- 
complishes its  remarkable  results  is  to  be 
found  in  the  fact  that,  if  properly  used,  the 
Bathasweet  bath  leaves  no  sticky  "ring" 
around  the  tub.  Instead  it  holds  soap  and 
dirt  in  solution,  so  that  they  cannot  wash 
back  into  the  pores. 

BATHASWEET  is  so  inexpensive.  25c,  50c, 
$1.00  and  $1.50  at  all  drug  and  department  stores. 


TOT)  pp    A  can  sent  free  if  you  mail 

■*•  *^'  '  this  coupon  with  name 
and  address  to  C.  S.  Welch  Co.,  Dept. 
P.  E.,        1907  Park  Avenue,  New  York. 


Brickbats  and  Bouquets 


I  CONTINUED  FROM  PAGE  94  ] 


Lookiug  on  the  Dark  Side 

Tucson,  Ariz. 
This  innovation — the  talkies — will  not  be  a 
success.  Better  for  producers  to  strive  for 
perfection  in  plots,  players  and  photography 
than  to  introduce  a  departure  contrary  to  two 
of  the  most  enduring  characteristics  of  the 
cinema;  first,  its  appeal  to  the  imagination, 
and  second,  the  quiet,  refined  and  soothing 
atmosphere  of  the  modern  motion  picture 
theater.  Talkies  are  cut-and-dried.  blatant', 
mechanical.  You  leave  the  theater  mentally 
cheated,  spiritually  unrefreshed,  physically 
tired  and  altogether  disappointed. 

G.  M.acKenzie. 

Only  Actors  in  Whiskers 

New  York,  N.  Y. 

.\s  a  direct  descendant  of  the  Vikings,  I 
take  the  liberty  of  sending  you  a  few  words 
of  criticism  of  the  picture,  "The  Vikings." 
The  costumes  are  atrocious.  The  least  the 
director  could  have  done  would  ha\-e  been  to 
look  up  the  data  pertaining  to  different  cloth- 
ing, headgear  and  ornaments  used  by  vassals, 
chieftains  and  kings.  The  costuming  is  in  a 
miserable  scramble  in  this  picture. 

Allow  me  to  draw  j'our  attention  to  the 
fact  that  the  mighty  race  of  Vikings  never 
could  have  been  the  terror  of  Europe,  if  con- 
sisting of  men  as  cast  in  this  picture. 

Jack  M.agntjsen. 


Chaney  Without  Trimmings 

Brooklyn,  N.  Y. 
Personally  I  hke  my  Chaney  an  nature!. 
Lon  has  an  honest-to-goodness  face,  and  it's 
a  pity  he  so  often  uses  it  simply  for  the  ground- 
work of  facial  carpentry  of  the  most  fantastic 
order.  .'Knother  thing:  Chaney  never  sands  his 
sugar.  His  pictures  are  sure  to  be  darned  good 
entertainment,  and  no  short  measure. 

P.  V.  KjEYES. 

Unspoken  Words  Are  Sweetest 

Dayton,  O. 
I  like  to  use  my  imagination  and,  with 
talking  pictures,  that  is  impossible.  A  beauti- 
ful love  scene  is  completely  spoiled  by  hearing 
one  of  the  characters  speak  in  a  terrible  voice 
and  probably  say  something  commonplace.  I 
want  to  imagine  what  they  are  saving. 

Mrs.  H.  W.  Pexton. 

A  Bouquet  for  Janet 

Billings,  Mont. 
Janet  Gaynor  gives  to  us  the  romance  of 
innocence  and  purity.  She  leaves  us  with 
the  feeling  of  having  seen  something  finer  in 
life.  Her  very  inner  self  radiates  that  sym- 
pathetic, sincere,  heartfelt  touch  of  himian  in- 
terest that  is  becoming  so  rare  in  screen 
characterizations  todaj'. 

Alberta  Ha\-es. 
[  continued  on  page  123  ] 


Making  Bedrooms  More  Attractive 


[  CONTINUED  FROM  PAGE  67  1 


blue  with  heavy  overdrapes  in  cotton  brocade. 
The  couch  upholstery  and  cushions  are  of  a 
combination  dull  cotton  and  mercerized  weave 
of  silver  and  blue. 

Mary  Duncan's  suite  is  a  trifle  more  elabo- 
rate than  the  rest,  but  I  included  it  for  its  many 
clever  ideas.    The  drapes  are  of  hand  embroid- 


ered pongee,  lined  with  cream  colored  sateen. 
The  embroidery  is  a  simple  motif  made  with 
four  red  stitches  and  four  blue  ones.  The 
chair  covering  and  the  drapes  that  conceal 
the  clothes  rack  are  of  bright  blue  satin. 

In  this  way  the  ingenious  studio  folks  have 
pleasant  surroundings  for  very  little  money.' 


Mary  Duncan's  dressing  room  is  chock-full  of  suggestions  you  can 
copy  at  small  cost.    Pongee  drapes,  with  pale  blue  georgette  over- 
drapes.     Lustrous  blue  satin  upholstery  and  hangings 


Every  adTcltisemcnt  in  PHOT0PL.\T  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


The  Studio   Murder 
Mystery 

[  CONTINUED  FROM  PAGE  43  ] 


New-port  Beach,  or  Palm  Springs  ven  comes  a 
foggy  night!  No.  Vemakevone!  Ve  copy  it!" 
He  saw  Smith's  dubious  look.  "Sure.  In  a 
closed  set  ve  do  it.  Nobody  knows  vat  ve  do. 
I  got  some  men  haff  been  vid  me  a  long  time. 
I  talk  to  them.  They  keep  their  mouths  shut!" 
"This  is  going  to  cost  a  pretty  penny!" 
"Money!  Say,  money  means  notliing  ven 
my  whole  business  iss  at  stake!  Vat  is  a  few 
thousands?  I  vant  to  get  that  murderer  off 
my  lot  quick!" 

•"pHERE  was  a  knock  at  the  door,  and  Rosen- 
-*-  thai  got  up  to  let  in  a  slender,  fair,  young 
man.     He  stood  hesitating  in  the  doorway, 
until  the  President  said, 

"Cedric,  I  vant  you  should  meet  Smith, 
captain  of  detectives  ..." 

"  Glad  to  know  you,  sir  .  .  .  "but  there  was 
a  curious  tone  in  the  newcomer's  voice.  Smith 
said, 

"I  know  how  you  feel!  That  sounds  as 
though  we  got  you  out  here  to  put  handcuffs  on 
you  .  .  .  but  ...  to  be  frank,  it's  somebody 
else  we're  planning  the  handcuffs  for,  and  we 
think  you  can  help." 

"Think!"  snorted  Rosenthal.     "Cedric,   I 
vant  you  to  convince  him  you  are  the  smartest 
make-up    artist    in    the    business  .  .  .  Lon 
Chaney,  or  anybody  else  ..." 
HaUand  put  up  a  slender  hand. 
"You're  too  generous,  Mr.  Rosenthal!" 
"  Vill  you  tell  the  truth!    Already  I  spend  an 
hour  tr>ing  to  make  Mr.  Smith  understand  ve 
can  copy  anything,  and  then  you  come   out 
here     and  ..."     the     President     groaned. 
HaUand  said, 

"  What  do  you  want  me  to  do?" 
"Of  course,  you  know  about  the  Hardell 
case?"  asked  Smith  tersely. 

"As  much  as  any  of  us  outsiders  do,  .  .  . 
yes." 

"We  want  to  dupUcate  a  certain  scene  that 
took  place  the  night  he  was  murdered.  To  do 
it,  we  have  to  have  a  man  made  up  as  ...  " 
and  Smith  held  out  the  book  of  biographies, 
opened  the  place  where  he  had  read.  As  Hal- 
land  took  the  book,  the  detective's  eyes  fixed 
hopefully  upon  him.  Rosenthal  lay  back  in  his 
chair  and  blew  contented  smoke  wreaths. 

"TT  is  the  ordinary  man  .  .  .  without  out- 
_J-standing  characteristics,  who  is  the  most 
difficidt  to  portray.  Instead  of  being  doubtful, 
Mr.  Smith,  I  can  say  that  I  am  sure  .  .  .  abso- 
lutely ...  I  can  do  this!  Distinct  types  are 
very  easy  ..." 

"But  you  are  not  in  the  least  alike  .  .  . 
your  figures  .  .  .  the  shape  of  your  heads  ..." 
said  Smith,  his  eye  going  rapidly  over  the  other 
man.    Halland  smiled. 

"I  don't  often  show  the  secrets  of  my  make- 
up case  .  .  .  but  I  think  I  can  soon  convince 
you  ..." 

"All  kinds  of  heads  he  makes  on  himself! 
Vigs  \'id  hiunps  in  them  he  has  got!"  Rosen- 
thal broke  in  decisively,  "noses  like  a  pig's 
snout  he  can  make,  if  he  vants,  too!  I  giff  you 
my  vord!" 

"Halland,  if  you  can  actually  do  this  .  .  . 
do  it  convincingly,  well  ...  I  take  off  my  hat 
to  you!  That's  all  I  can  say,"  said  Smith 
seriously,  looking  into  the  other's  eyes. 

"Mr.  Smith,  if  my  part  of  it  is  all  that  is 
worrying  you  .  .  .  forget  it!  I've  made  my 
living  for  years  doing  things  like  this!  It's 
second-nature  to  me !" 

"Fine!"  Smith  rose  to  shake  hands  with  the 
man.  "Unless  Rosenthal  wants  to  keep  you 
longer,  I  will  say  goodnight."  He  pidled  out  his 
watch,  and  smiled  at  both  men. 

"It's  late.  Perhaps  we'd  all  better  turn  in, 
and  meet  some  time  tomorrow  ..." 


"I  wish  to  compliment  you  upon  your  conduct  of  the  Golden 
State  Limited.  The  excellent  service  rendered  by  everyone  and 
the  conscientious  personal  attention  given  is  very  gratifying,  infi- 
nitely incteasing  the  comfort  and  pleasure  of  transcontinental 
travel." 

Sincerely, 


^ 


Between  Los  Angeles  and  Chicago  in  61%  hours.  None  faster  or  finer. 

**  Golden  State  Limited  *« 

Southern  Pacific  Rock  Island 

Convenient  ticket  offices:— 6768  Hollywood  Blvd.,  Hollywood;  212  "West  7th,  Los  Angeles 
531   Fifth  Ave.,  New  York;  33  'West  J.ickson  Blvd.,  Chicago 


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114 


Photoplay  Magazine — Advertising  Section 


wim, 

One  was  said  to  be  pretty^ 
and  the  other,  .^eautfful 

(i/ET  neither  has  more  natural  beauty  than  the  other.  The 
sole  difference  which  makes  one  the  most  sought  girl  wher- 
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"I  vant  to  talk  some  more  to  you,"  Rosen- 
thal said  to  Smith.  "  But,  Cedric,  you  can  go. 
And  remember,  if  vone  vord  of  this  leaks  out, 
ve  are  ruined!    It  vUl  spoil  effery thing !" 

"I  understand,"  returned  the  other,  and 
started  to  the  door.  Rosenthal  sat  looking 
after  him  with  a  .speculative  look  in  his  eyes. 
When  HaUand's  steps  were  beginning  to  dim 
down  the  corridor,  he  jumped  to  his  feet. 

"PXCUSE  me,  but  I  got  to  tell  him  some- 
•'— 'thing   about  ..."    and   he    was   gone. 
Smith  chewed  the  end  of  his  cigar  thoughtfully 
until  he  came  back.    Then, 

"We've  all  been  up  in  the  air  .  .  .  talking 
in  the  abstract.  I  want  to  get  down  to  brass 
tacks.  How  long  «-ill  it  take  you  to  make  the 
'  props '  as  you  call  them  .  .  .  can  you  keep  it 
from  the  people  in  the  studio  here,  and  just 
how  much  of  this  affair  are  we  going  to  try  to 
do  over?"  he  said  sharply. 

"Right  now  ve  write  a  little  scenario,  make 
a  list  of  all  the  'props,'  and  the  action.  That  is 
the  easiest  vay!"  returned  Rosenthal,  all  busi- 
ness. He  pulled  a  sheet  of  paper  to  him.  "All 
right.  Ve  begin  .  .  .  just  like  a  picture  ve  do 
it!" 

Then  for  over  an  hour  the  two  men  sat  with 
chairs  close  together,  hsting  items,  calling  upon 
their  memories  to  go  over  the  scene  they 
wanted,  action  by  action,  covering  every 
detail.    Smith  said,  drawing  a  long  breath, 

"By  Jove,  this  is  great!  Great!  We  can  do 
it!"  Enthused  out  of  his  customary  indolence 
of  body,  he  began  pacing  the  floor,  and  calling 
off  items  and  ideas  to  Rosenthal,  who  hunched 
over  his  desk,  scribbled  them  furiously.  In  the 
midst  of  this  a  sharp  knock  came  on  the  door. 
Both  men  looked  with  quick  apprehension  at 
each  other.  Then  with  a  shrug,  and  a  muttered, 

"Veil,  no  use  to  keep  still,  you  vas  talking 
pretty  loud"  .  .  .  Smith  went  to  the  door. 

The  unmistakable,  immaculately  dressed 
figure  of  Superior  Films'  most  celebrated 
director,  stood  bowing  in  the  opening.  Even 
at  this  hour  the  white  gardenia  in  his  button- 
hole was  without  wilt  ...  his  white  gloves 
without  stain.  Smith  had  an  instant  of  admi- 
ration for  the  man's  fastidiousness,  before  he 
returned  the  greeting.  Plainly  Rosenthal  was 
annoyed. 

"Veil?"  he  asked  sharply.  The  visitor  ad- 
justed his  monocle,  and  stared  at  them  curi- 
ously .  .  .  insolently. 

"T  THOUGHT  I  was  the  only  one  working 
^  tonight  .  .  .  but  ...  ah  ...  I  find  my- 
self intruding!"  Withanotherof  his  quick,  stiff 
bows,  he  turned  on  his  heel  and  marched  ofT. 
Smith  looked  at  Rosenthal,  and  a  soft  whistle 
came  from  his  astonished  hps. 

"What  the  devil  did  he  mean  by  that,  and 
say,  d'you  suppose  he  heard  us?  I'd  hate  to 
have  anyone  get  an  earful  of  this  right  now!" 

Rosenthal's  brown  eyes  were  bent  on  him 
with  a  peculiar  complacent  stare.  For  a 
moment  Smith  had  a  wild  idea  ...  a  crazy 
nightmarish  thought,  that  the  president  of 
Superior  Films,  and  this  erratic,  mysterious 
director,  were  in  league  together.  A  quick  ap- 
prehension that  he  had  been  made  the  butt  of 
some  trick  .  .  .  the  goat  of  some  carefully 
schemed  plan  of  the  two  .  .  .  swept  over  him, 
arousing  his  instant  fury.  As  a  thousand 
thoughts  can  succeed  themselves  in  the  human 
brain  in  the  space  of  a  breath,  he  remembered 
Clancy's  explanation  of  the  Hardell  mystery. 
Was  this,  then,  another  hoax?  Another  insane, 
muddled  attempt  to  keep  the  hand  of  the  law 
from  the  real  criminal  .  .  .  the  real  cause  of 
the  actor's  death? 

Fire  flashed  in  his  eyes,  and  he  strode,  light 
and  quick  as  a  woods  cat,  to  the  desk  of  the 
man  who  had  not  once  modified  his  almost 
smiling  scrutiny. 

"What  the  devil  are  you  up  to?"  he  de- 
manded, and  his  customarily  indolent  syllables 
slid  off  his  tongue  as  a  razor-edged  knife  slips 
through  flesh. 

Rosenthal  leaned  back  and  imperturbably 
met  the  cold  anger  of  his  face. 

"  Efcrylhing  I  told  you  ve  could  in  pictures 


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.  .  and  .  .  .  you  vould  not  belief!  me!  Veil 
.  .  .-I  show  you!"  he  said  calmly.  "You 
thought  you  vas  looking  at  Seibcrt.  Veil,  you 
vere  not!" 

"Great  .  .  ■  Jumping  .  .  .  Jchosophal!"  ex- 
claimed Smith.  Excitement,  reverence,  admi- 
ration, exultation  ...  all  pulsed  in  the  low 
amaze  of  his  voice. 

On  a  certain  "old  street"  of  the  back  lot, 
strange  things  were  happening.  Empty  and 
soundless  by  day,  night  saw  a  building  open  its 
doors,  and  a  crew  of  men  file  in  .  .  .  but  after 
the  doors  were  shut  upon  them,  no  lighted 
windows  gave  evidence  of  their  occupancy. 
Literally,  they  vanished  into  the  void  of  its 
interior. 

A  new  gateman  was  on  in  place  of  Mac- 
Dougal.  He  did  not  know  the  regular  work- 
men of  the  lot.  That  they  had  not  gone  off  at 
the  dinner  hour  was  also  unknown  to  him,  and 
the  day  gateman  was  told  they  were  working 
overtime.  Rosenthal  himself  took  to  checking 
over  the  time  sheets,  and  holding  them  in  his 
office.  When  Cohen  came  to  him  wanting  to 
know  how  he  was  going  to  make  up  the  salary 
checks  for  the  week,  Rosenthal  smiled  blandly 
at  him. 

" T  VILL  take  care  of  that,  Izzie.  Don't  you 
^  worry  your  head  about  it." 

"Why  shouldn't  I  vorry  my  head  about  it? 
Ain't  it  part  off  my  business?  Ain't  I  produc- 
tion manager  off  this  lot?" 

"  Sure,  Izzie,  but  for  vonce  I  tell  you  not  to 
mind  your  own  business!    You  forget  it!" 

"I  ask  you,  Abie,  is  it  right  ...  is  it  right 
you  should  treat  me  like  this?" 

"More  I  can't  tell  you,  Izzie,  I  giff  you  my 
vord!    Me,  I  vish  it  vas  offer  myself  ..." 

"Vish  vat  vas  offer?" 

"Izzie,  vill  you  get  out  vonce?  You  keep 
asking  me  and  maybe  I  get  foolish  and  tell  you! 
Please  to  go  away  and  let  me  alone!" 

And  if  the  president  of  Superior  Films 
and  Captain  of  Detectives  Smith  had  thought 
to  escape  the  sharp  eyes  of  Lannigan,  they 
were  mistaken.  Night  saw  him  sneaking  out 
to  the  back  lot  between  rounds,  and  prowling 
curiously  about  the  gaunt,  black-curtained 
building. 

".And  will  ye  tell  me  phat  the  divil  and  all's 
goin'  on  out  here  these  nights?"  he  asked  him- 
self, having  no  one  else  to  talk  to  in  the  ab- 
sence of  MacDougal,  and  not  having  decided 
to  become  intimate  with  the  new  man.  Once 
he  spied  Smith,  and  planted  himself  directly  in 
his  path. 

"Will  yez  be  kind  enough  to  inform  me,  Mr. 
Smith,  phat 's  up  on  this  lot  o'  nights?"  he  de- 
manded. 

"Why,  Lannigan,  a  bit  of  extra  production,  I 
suppose,"  said  Smith  with  a  smile. 

"Humph!  Extry  production  is  right!  Any- 
ways 'tis  the  first  time  I've  been  ordered  away 
from  anny  part  o'  this  studio,  and  I'm  domncd 
sure  it's  the  first  time  the  old  boy  himself  has 
left  off  his  winin'  and  dinin'  and  hob-nobbin' 
wid  the  stars,  to  come  out  here  and  see  phat's 
going  on!  The  other  night  he  see  me,  and  acts 
like  I  was  tryin'  to  steal  his  Jewish  good  luck 
piece,  blast  him,  'stead  of  tryin'  to  earn  me 
money  honest,  and  keep  a  watch  to  see  that 
iverything  is  as  it  should  be!" 

"T  ANNIG/\N,  my  man,  you're  all  right,  but 
■*-'.  .  .  youtalk,youknow!  Maybehedoesn't 
want  you  nosing  into  everything  ..."  said 
Smith,  not  unkindly. 

Lannigan  spat  noisily. 

"Talk,  do  I?  Well,  that's  more  than  I  can 
say  for  thim  that's  workin'  so  mysterious  on 
the  back  lot  there!  Sure,  and  if  I  hadn't  seen 
his  honor  himself  a  goin'  out  there,  I'd  have 
reported  them  to  Izzie  Cohen  long  since!" 

"Lannigan,  old  chap,  I  think  if  Mr.  Rosen- 
thal told  you  to  keep  away,  you  ought  to  take 
it  as  a  gentle  hint,  and  let  up  snooping.  .  .  ." 

"And  snoopin'  is  it!"  burst  out  the  little 
Irishman  indignantly.  "Well,  let  me  tell  you 
something,  my  fine  Mr.  Detective!  If  I'd  a 
done  what  I  had  a  mind  to  do,  and  had  done  a 
wee  bit  o'  snoopin'  around  Stage  Six  that  night, 


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Wa  r  n  e  d! 


'ERE  is  the  modern  fountain  of 
vouth!  A  trifle  added  to  the  water,  and 
your  daily  tub  becomes  an  occasion  of 
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you  wouldn't  be  cudgelin'  your  brains  now 
tryin'  to  find  out  who  killed  Duight  HardeU, 
and  Scot  MacDougal  and  that  little  French 
lady  wouldn't  be  waitin'  to  have  their  lives 
tried  for  murther!    Phat  d'ye  think  of  that?" 

"What  makes  you  think  there  is  anything 
strange  in  what's  happening  on  the  back  lot, 
Lannigan?" 

The  other  cocked  a  bright  eye  at  him. 

"Sure  and  it  ain't  only  yerself  as  can  put 
two  and  two  togither,  sir!  Phat  about  that 
Cedric  Halland,  comin'  out  here  night  after 
night,  and  shuttin'  himself  up  in  his  studio,  and 
thin  comin'  out  v:v\  a  look  on  his  phiz  like  the 
cat  what's  just  laiked  up  the  cream?  No,  sir, 
ye  can  dodge  the  issue  all  ye  want  to,  but  I've 
a  notion  what's  goin'  on!" 

"  You  have?"  said  Smith  quickly. 

"  Sure!  Ye  think  I  haven't  heard  about  thira 
foreign  fillums  made  in  this  country?  The 
kind  that  won't  pass  the  censor  .  .  .  bein'  all 
full  of  naked  women,  and  carousals,  and  the 
likes  o'  that?  Sure  and  phat  else  can  they 
be  doin'  so  mysterious,  but  putting  up  wan  o' 
them  wild  party  sets,  and  Halland,  he's  in  on 
it !  I  do  be  sayin'  tho,  that  the  Old  Man  must 
have  gone  clean  off  his  nut  over  this  '  murder 
business'  to  engage  in  such  a  disreputable 
undertakin'." 

Smith  laughed. 


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morals  aren't 
don't     let    it 


"T\7ELL,   so   long  as  your 

*»   corrupted,    Lannigan, 
worry  you!" 

Smith  got  away  from  the  garrulous  little  fel- 
low, and  over  to  Rosenthal's  office,  where  he 
was  met  with  a  beaming  smile. 

"Efferything  is  ready!  Perfect!  I  vant 
you  should  go  to  look ! " 

They  walked  a  time  in  silence  along  the 
gra\'elled  drive.     Then  Smith  said: 

"It  must  be  very  gratifying  to  you  to  know 
that  you  can  accomplish  these  things.  They 
seem  like  magic  to  me!  When  I  think  of  the 
expense,  the  number  of  master  craftsmen  .  .  . 
at  your  com,mand  ..." 

Rosenthal  sighed.  "Haff  you  forgotten  the 
reason  ve  do  it,  Mr.  Smith?  Neffer,  not  fer 
vone  moment  haff  I  forgotten  it!  Neffer  for 
vone  moment  haff  I  got  offer  being  shocked 
.  .  .  shocked  to  my  soul  .  .  .  offer  this  thing! 
I  cannot  think  off  it!  Alvays  I  know  about  it, 
but  I  cannot  let  myself  think  about  it !  I 
laugh,  Ijoke,Ientertainatmyhouse  .  .  .  mine 
Gott,  I  vould  go  crazy  unless!  Neffer  in  my 
life  have  I  heard  of  such  a  cold  blooded  ..." 

Smith  put  his  hand  on  his  arm. 

"Criminals  are  everywhere,  Rosie,  old  man! 
It  isn't  your  fault  that  one  got  into  your  studio ! 
Nobody  is  going  to  blame  you  .  .  .  connect 
you  in  any  «ay!  Wait  until  I  tell  them  what  a 
wonderful  help  you've  been!  That  idea  of 
yours  ...  it  was  the  connecting  link  between 
two  theories  of  my  own  that  seemed  impossible 
,  .  .  but  that  I  couldn't  get  out  of  my  mind." 

CHAPTER  XVIII 

NIGHT!  Outwardly  the  huge  confines  of 
the  Superior  Fihns  lot  seemed  deserted. 
Brooding  shadows  of  dead  sets,  of  huge,  silent 
stages,  lay  athwart  the  mist-drenched  lawns. 
These  only  when  a  late  moon,  rising  over  the 
distant  ramparts  of  San  Jacinto,  cast  its  sul- 
len, pale  light  .  .  .  then  to  be  swept  into 
obscurity  by  rolling  blankets  of  fog.  billowing 
inland  from  the  sea.  The  studio  buildings  be- 
came Gargantuan  monsters,  clothed  in  flowing 
shrouds  of  grey.  The  great  lights  about  them 
dimmed,  illumined,  and  dimmed  again.  The 
shrubbery  about  the  grounds  became  weird, 
dwarf  creatures,  shaking  gaunt  limbs  menac- 
ingly. 

The  president  of  Superior  Films  peered  out 
from   his  curtains,   and   then  looked  at   his 

watch.  T  •     1. 

"It  is  come,"  he  whispered.  His  hands 
trembled.  "But  ten  o'clock  only!  'Ve  must 
vait!"  ,,  .     . 

Smith  looked  up  from  his  chair  and  his  cigar. 

"Right!"  he  nodded.  "Is  everything  all 
set?" 


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"All  set!  For  five  nights  ve  haff  been  ready 
.  ■.  .  vaitingonly  for  this  fog!" 

Rosenthal's  hand  left  the  curtain  and  it 
moved  noiselessly  the  little  distance  back  to  its 
place  ...  as  silently  the  two  men  took  up 
their  watch,  only  the  burning  ends  of  their 
cigars  rc\'ealing  their  presence  through  the 
darkness  of  the  room. 

Nearer  midnight  the  cars  out  on  the  boule- 
vard began  whisking  by,  their  wheels  maldng 
a  wet,  singing  hum  .  .  .  their  reckless  drivers 
missing  death  by  a  skid.  Lannigan,  his  super- 
stitious soul  aquiver,  his  big  coat  collar  pulled 
around  his  ears,  clumped  out  of  the  murk,  and 
to  the  lighted  space  about  the  gate  house. 
He  had  no  hking  for  the  newgateman,  but  any 
other  human  soul  was  a  comfort  on  a  night  like 
this  .  .  .  a  night  when  ghosts  walked! 

"T_TELLO,  Lannigan"  .  .  .  said  the  man  at 
-*■  -'-the  gate.     The  little  Irishman  crossed 
himself  hurriedly.     Surprise,  not  unmi.xed  with 
terror,  froze  his  tongue. 

"Is  that  the  weL~ome  you  give  me,  man?" 
said  MacDougal  a  bit  sharply. 

"God  save  us  .  .  .  'tis  yerself,  then?" 
"  No  other.  Did  you  think  I  was  a  ghost?" 
"Naw,  I  knew  ye  the  minit  I  set  eyes  on  that 
big  ugly  mug  of  yours!"  lied  Lannigan,  with 
instant  resentment.  "Some  day,  Scot  Mac- 
Dougal, ye'U  find  out  old  Lannigan  knows  a 
ghost  whin  it's  a  ghost,  and  a  man  whin  it's  a 
man!  And  the  same  would  have  gone  a  long 
ways  towards  saving  a  life,  had  ye  the  good 
sense  to  know  it  .  .  .  now  phat  do  you  think 
o' that?" 

MacDougal  did  not  answer.  His  grim  face, 
and  the  bleak  blue  eyes,  did  not  wince. 

"Phat  the  divil  are  the  loikes  of  ye  doin'  on 
the  lot  this  night,  anyways,  MacDougal?  I've 
a  mind  to  quit  me  job !  I ' ve  no  agreement  wid 
the  Jew  to  consort  wid  murderers  .  .  .  self 
confessed  at  that!" 

"Ye'll  not  quit  your  job,  Lannigan!" 
"■And  I  won't,  won't  I?  And  who's  to  stop 
me,  I  ask  you?  Maybe  a  few  more  words  from 
me,  and  they'll  wake  up  to  the  need  of  a  man 
at  the  gate  that  can  take  a  warning,  and  go 
after  a  marauder  whin  one's  pointed  out  to 
him!" 

"Are  you  seeing  things  in  the  fog  again,  La: - 
nigan?" 

"Seein'  things?  And  why  shouldn't  I  be 
seein'  things?  I  remember  a  night  the  loikes 
of  this  wan,  whin  if  I  hadn't  listened  to  the 
advice  of  a  cold-blooded  mackerel  like  yerself 
that  was  born  in  a  fog  bank  .  .  .  there'd  be 
a  man  now  lyin'  under  the  sod  that  would  be 
drinking  his  tea  like  the  rist  of  us!  ...  " 

"Aye.  I  ken  what  you're  driving  at,  you 
little  scut!"  said  the  Scotchman  with  a  show  of 
temper,  "but  ye'll  get  nothing  out  of  me  by  it! 
Get  out  of  my  office  ..." 

"CURE,  and  I'll  be  gettin'  out  immedjit!  If 
^the  life  you've  been  leadin'  since  you  con- 
fessed yerself  into  jail  ain't  taught  you  nothin', 
you  are  beyont  learnin'  from  yer  betters!" 

"Begone  the  noo!"  roared  MacDougal, 
dropping  into  his  native  dialect.  His  bleak 
eyes  took  fire,  and  blazed  down  upon  the  other 
and  his  hand  closed  on  a  paper  weight.  .  .  . 

"I'm  goin',  you  big  lummox!  If  I  had  me 
shiUalahlcouldlickyeonathindime!  Ye  .  .  . 
ye  .  .  .  domned  hot-headed  dumbhead!"  yelled 
Lannigan  instantly,  but  nevertheless  clumping 
away  into  the  murk  .  .  .  "Bad  cess  to  ye!  I 
hope  a  gob  of  fog  chokes  ye!  Cagin'  up  some 
kinds  o'  animals  dri\  cs  'en",  plur/.b  fey!" 

.'\nd  now  there  were  two  places  on  the  lot  that 
night  which  Lannigan  could  not  bring  him- 
self to  visit  again  .  .  .  Stage  SLx  .  .  .  from  out 
of  which  he  expected  momentarily  to  see  the 
ghost  of  Dwight  Hardell  stalking  .  .  .  and  the 
front  gate,  where,  without  explanation,  Scot 
MacDougal  had  again  taken  up  his  post.  The 
night  wore  on  and  the  approaching  midnight 
hour  .  .  .  the  time  when  ghosts  walked  .  .  .  be- 
gan to  weigh  heavily  upon  him.  Need  of 
human  companionship  drove  him  back  towards 
the  gate  .  .  .  muttering  strange  Gaelic  words 
to  himself.  .  .  . 


117 


D 


anger 
lurks  behind 


white  teeth 


NOBODY^  IMMUNE 

*the  disease-of-neglect  ignores  teeth,  attacks  gums 
and  claims  4  out  of  5  as  its  victims 


WHITE  teet'i  are  attractive.  Their  sound- 
ness contributes  to  the  preservation  of 
good  health.    But  teeth  are  only  as  healthy  as 
the  gums.    And  however  white  they  may  be, 
danger  lurks  behind  them. 

For  certain  prevalent  diseases  of  neglect 
ignore  teeth  and  attack  the  gums.  And  when 
once  contracted  only  e.vpert  dental  treatment 
can  stem  their  advance.  Too  many  of  us  dis- 
regard this  threat.  And  as  the  penalty  for 
neglect,  4  persons  out  of  5  after  forty  and 
thousands  younger  sacrifice  health.  A  need- 
less sacrifice! 

These  odds  are  unfair,  deceiving.  Just  fol- 
low this  regime:  See  your  dentist  at  least  once 
every  six  mouths.  And  when  you  brush  your 
teeth,  brush  gums  vigorously,  but  use  the 
dentifrice  made  for  the  purpose  ...  Forhan's 
for  the  Gums.  This  dentifrice  helps  to  firm 
gums  and  keep  them  sound.  Thus  it  fortifies 
teeth  and  health.  As  you  know.  Pyorrhea  and 
other  diseases  seldom  attack  healthy  gums. 

In  addition,  the  way  in  which  Forhan's  cleans 
teeth  and  helps  to  protect  them  from  decay 
will  delight  you. 

Start  using  Forhan''s,  regularly,  every  morn- 
ing and  every  night.  Teach  your  children 
this  good  habit.  They'll  thank  you  in  the 
years  to  come.  Get  a  tube  of  Forhan's  from 
your  druggist.  Two  sizes,  35c  and  60c.  Forhan 
Company,  New  York. 


Forhan's  for  the  Gums  is  more  than  an  ordinary  tooth- 
paste. It  is  the  formula  of  R.  J.  Forhan,  D.  D.  S.  It  is  com- 
pounded with  Forhan's  Pyorrhea  Liquid  uned  by  dentists 
everywhere.  You  tcilt  find  th  is  dentifrice  especially  effective  as 
a  gum  massage  if  the  directions  that  come  u-ifh  each  tube  are 
followed  closely.  It's  good  for  the  teeth.  It's  good  for  the  gums. 


Forhan's 


FOR     THE     GUMS 


YOUR  TEETH  ARE  ONLY  AS  HEALTHY  AS  YOUR  GUMS 

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The  Stars 

Are  Bound 

for  Barcelona 


WILL  HAYS  writes! 

"1  have  been  pleased  to  note 

interest  among  motion  picture 

people  and  their  hope  to  visit 

Barcelona  next   summer." 

The  gi-eat  International  Expo- 
sition at  Barcelona  will  be  the 
outstanding  event  of  its  kind 
since  the  War.  It  will  be  of  vast 
interest  from  an  industrial,  ar- 
tistic, and  athletic  view-point. 
The  grounds  and  palaces  have 
been  laid  out  on  a  magnificent 
scale.  Fiestas,  musical  events, 
and  industrial  congresses  —  as 
well  as  the  attractions  of  the 
city  itself,  will  make  a  visit  to 
this  brilliant  metropolis  one 
Ions  to  be  remembered  . . .  Ask 
your  tourist  agency  or  write 
to  Mr.  Marcelo  Ventura,  113 
West  57th    Street,  New  York. 

• 
GENE  TUNNEY 

The  former  champion  expects  to  be 

present  at  the  opening  of  the  great 

Sport  Stadium. 

• 

ADOLPHE  MENJOU 

finds  Barcelona  entirely  to  his  so' 
phistieated  »'ati^faelion  and  is  plan* 
ning  to  visit  it  in  the  early  summer. 

• 

LUCREZIA  BORI 

will  be  in  Barcelona  in  May,  and 

6av»i   "Don^t    miss    brilliant    Bar* 

celona    or    the    equally     brilliant 

Exposition.'" 

International 
Expoi^ltion 
Barcelona 

1020 


"What  vnd  the  curtains  on  thim  dead  sets 
back  there  a'  tloppin*,  and  them  old  scantlin's 
a  creakin'  and  a  groanin'  .  .  .  and  this  domned 
cold  fog  a  slitherin'  down  yer  spine  .  .  .  'tis 
enough  to  make  a  man  afraid  of  his  own 
shadder.  .  .  " 

MacDougal  heard  him  muttering,  and  called 
out  to  him. 

"Your  boy  brought  your  lunch  .  .  .  Slim's 
closed  up.  His  wife's  sick.  Better  come  up 
and  get  it,  man." 

"  'Tis  the  first  night  Slim's  been  closed  since 
I  came  to  the  lot,"  retorted  Lannigan  sus- 
piciously. "I'll  not  come  near  ye,  Scot  Mac- 
Dougal! I've  a  mind  what  happened  the  last 
foggy  night,  and  I'm  not  ready  to  go  to 
riivin!" 

"/""^OME  and  get  your  lunch,  you  old  fool!" 
^—'returned  the  gateman  crisply,  and  the 
commanding  snap  in  his  voice  brought  Lanni- 
gan edging  up  to  him.  MacDougal  held  out 
the  lunch. 

"Maybe  ye'll  act  more  Kke  a  human  being 
with  red  blood  in  your  guts  when  you  get  it 
down  you!"  he  said.  Lannigan  shot  him  a 
baleful  look,  and  taking  the  box  sat  down  by 
the  other  side  of  the  gate  to  eat.  MacDougal 
filled  his  pipe  and  kept  his  distance,  so  that 
presently  the  little  Irishman's  fears  abated. 

"Will  ye  have  a  swallow  of  good  hot  coffee, 
Mac?"  he  asked. 

"I  appreciate  the  peace  offering.  Thanks, 
no,"  returned  MacDougal. 

"'Tis  not  peace  a  offering,  ye  spalpeen,  'tis 
the  thought  of  ye  not  havin'  a  stomach-full  the 
past  weeks  was  all!"  Lannigan  gulped  down 
the  remaining  hot  coffee.  "Mac,  d'ye  rem.im- 
ber  that  ither  night  .  .  ."  he  stopped,  the 
thermos  bottle  gripped  in  a  hand  that  sud- 
denly shook.  "Did  ye  hear  it,  Mac?  And  you 
said  awhilst  back  there  was  nobody  on  the 
lot!" 

"Not  a  soul  has  come  through  the  gate  this 
night!"  said  MacDougal  peering  into  the 
mist.  Plain,  now,  to  both  of  them,  came  the 
purring  of  a  motor  from  down  the  murk  of  the 
drive  .  .  .  coming  their  way. 

Lannigan  dropped  the  thermos  and  crossed 
liimself,  not  once  but  many  times  in  quick 
succession. 

]\IacDougal  gave  a  short  laugh. 

"You've  got  us  both  acting  like  a  couple  of 
old  women!"  he  snapped.  "Somebody's 
worked  overtime,  and  is  going  home  .  .  .  it's 
happened  before!  Stand  aside,  and  don't  let 
them  see  you  crossing  yourself  like  a  doddering 
idiot!"  He  went  briskly  to  the  gates  and 
s\\Tang  them  open  for  the  approaching  car. 

A  purple  car,  of  whose  special  design  and 
build  there  was  but  one  known  to  be  in  exist- 
ence, slipped  up  to  the  entrance  .  .  .  slowed  .  . . 
rolled  slowly  through  ...  _         . 

"Goodnight,  men!"  said  the  driver. 

"■TT'S  a  great  life  if  you  don't  weaken,  eh, 
^  fellows?"  called  a  bantering  voice,  and  a 
hand  was  waved  to  them  as  the  car  turned  to 
the  boulevard. 

Then  the  mist  swallowed  it. 

"Holy  Mither  of  God  Protect  Us!  Holy 
Mary,  Mother  of  God,  Have  Mercy  on  Our 
Souls.  .  .  Holy  Mary,  Mither  of  God.  .  ." 
Lannigan,  quaking  and  jabbering  against  the 
iron  gates,  alternately  crossing  himself  and 
clasping  his  hands,  shaking  against  each  other, 
at  his  breast.  .  .  "Mac,  did  ye  see  it?  Holy 
Mary,  Mither  of  God  .  .  .  Good  Saint  Patrick 
...  he  spoke  to  us,  Mac  .  .  .  did  \e  hear  liim? 
God  Save  Us  All  .  .  .  and  he's  dead,  Mac  .  .  . 
Holy  Saint  Patrick  and  AU  the  Saints  be  wid 
us  this  night  .  .  .  'twas  his  ghost  ...  the  ghost 
of  Dwight  Harden  .  .  .  Holy  Mary  Look  Down 
on  Us  Miserable  Sinners  ..." 

But  MacDougal  was  not  listening.  Striding 
like  one  sleep-walking,  he  pushed  past  Lanni- 
gan and  entered  his  little  oiSce.  Amazement 
had  numbed  and  dumbed  him.  Habit  took 
hold  of  his  motor  centers,  and  caused  him  to 
bend  over  his  time  book,  and  make  an  entry.  . . 

"Franz  Seibert  and  Dwight  Hardell  out  at 
12.17  A.  M."  was  what  he  wrote  there. 


"Holy  Mither  .  .  .  what  are  ye  doin'  now?" 
came  the  whimpering  voice  of  Lannigan.  Like 
a  small  boy  he  had  pushed  after  MacDougal, 
crowding  close  against  him  .  .  .  grateful  for  the 
touch  of  his  big  body.  MacDougal  dropped 
the  stub  of  his  pencil,  and  turned  a  strange  face 
to  the  Irishman. 

"Yon's  dead,"  he  said,  pointing  to  the  last 
entry  .  .  .  "dead  this  long  time  .  .  ." 

Blue  eyes  stared  into  beady  black  ones. 

"But  you  saw  them  drive  out?"  he  finished. 

Lannigan  nodded  violently. 

"You  heard  him  talk?" 

A  ND  again  Lannigan  nodded.  "That  I  did !" 
-**■  He  stood  a  moment  staring,  then  he 
grabbed  at  his  time  clock,  tearing  it  off  him. 

"  'Tis  through  I  am!  'Tis  bad  enough  whin 
a  man's  murthered  and  ye  have  to  go  walking 
past  the  spot  ivery  night  .  .  .  but  whin  his 
ghost  comes  ridin'  after  ye.  . .  ridin'  right  under 
yer  nose,  and  calls  out  to  ye  .  .  .  I'm  through! 
Not  another  minnit  do  I  stay  in  this  haunted 
place  .  .  .  not  another  minnit!  What  wid 
banshees  and  ghosts,  and  thim  talkin',  'tis 
more  than  I  can  put  up  wid  .  .  ." 

The  big  Scotchman  caught  him  as  he  was 
sneaking  past. 

"No  you  don't,  Lannigan!  You're  going  to 
stay  right  here  until  we  get  this  thing  settled!" 
He  shook  the  night  watchman  savagely.  '  'Why 
did  you  come  here  and  tell  me  there  wasn't 
anybody  on  the  lot  the  nicht?" 

"Let  go,  ye  black  murtherin'  divU!  And 
don't  ye  put  words  in  me  mouth,  ayther! 
'Twas  yerself  as  said  there  was  nobody  on  the 
lot  this  night,  bad  cess  to  ye!" 

"Stop  evading  me!  I  said  nobody  came 
through  the  gate  this  night!  What  were  you 
doing  when  you  were  supposed  to  be  making 
the  rounds,  that  you  didn't  know  what  was 
going  on  back  there?" 

"And  evadin'  is  it?  Let  go  me  arrum  and 
ye'll  not  think  I'm  evadin'  ye,  for  I'll  bust  ye 
one  on  the  phyz  that'll  take  ye  the  rist  of  yer 
hfe  in  the  pinnitintiary  to  ferget,  ye  bog 
trotter!" 

MacDougal  shook  the  squirming  Lannigan. 

"Don't  he  to  me!"  he  roared.  "Why  didn't 
you  tell  me  somebody  was  on  the  back  lot?" 

"I'm  not  lyin'  to  ye,  ye  scut!  How  the  Hell 
could  he  be  on  the  back  lot,  or  anywheres  else 
but  his  grave,  wiU  ye  teU  me  that?  .  He's 
dead,  ye  great  dumbhead!" 

"That's  right.  He's  dead  .  .  ."  said  the 
Scotchman  slowly.  "There's  something  back 
of  this!"  He  picked  up  the  Irishman  bodily 
and  set  him  in  the  gatehouse,  and  then  closed 
and  locked  the  door  on  him.  From  there  he 
went  to  the  phone  booth. 

"Get  me  Mr.  Rosenthal's  house  .  .  .  Rosen- 
thal of  Superior  Films." 

But  Rosenthal  was  not  at  home.  At  the 
very  moment  he  was  pouring  a  pair  of  glasses 
full  from  a  choice  bottle,  whose  habitual  resting 
place  was  a  wall  cabinet  back  of  the  smUing 
pictured  face  of  Yvonne  Beaumont. 

"Here's  to  Halland,  the  dummy,  and  the 
ventriloquist!"  he  said,  raising  his  glass. 

"Here's  to  Abraham  Rosenthal,  president 
of  Superior  Fihns,  and  a  second  Sherlock 
Holmes,"  smiled  Smith.  It  was  a  compliment 
the  president  never  forgot. 

CHAPTER  XIX 

ROSENTHAL  and  Smith  were  both  at  the 
studio  early  ne.xt  morning  .  .  .  neither  one 
having  slept,  but  having  feverishly  waited  the 
dawn,  and  the  final  act  of  the  drama  they  had  , 
precipitated.    When  the  detective  walked  into 
the  president's  private  office,  he  had  a  round 
tin   box   under   his   arm.      Rosenthal's   eyes 
watched  his  movements  curiously  as  he  laid 
the  box  down  on  the  desk,  then  they  raised  to 
Smith's  face  .  .  .  but  the  latter  said  only, 
"Tell  you  later,"  and  Rosenthal  had  to  be 
content  with  that.    The  detecrive  added: 
"Have  you  got  all  that  other  stuff  ready?" 
"Ach,     yes!"    exclaimed    Rosenthal    with 
anxious  eagerness.     "It  iss  in  the  vault  .  .  . 
safe  under  lock  and  key!" 


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Smith  nodded. 

"Can't  take  any  chances  ...  a  slip  now  .  . 
and  all  would  be  lost!    Now,  how  soon  can  I 
get  this,"  and  he  lapped  the  tin  box  with  the 
tips  of  his  long  fingers  .  .  .  "developed  and  a 
print  made?" 

"Two  .  .  .  three  hours.    Vat  iss  it?" 

"Rosey,  I  wouldn't  tell  my  own  grand- 
mother what  ...  I  firmly  believe  this  to  be! 
I'm  not  going  to  trust  your  'lab'  people, 
either!  This  is  a  job  for  the  superintendent 
himself  .  .  .  behind  locked  doors!  And  I'm 
going  to  stay  right  with  him  .  .  .  my  pistol 
cocked  for  trouble!  You  phone  him  I'm  com- 
ing over  to  put  this  in  the  soup.  I  don't  want 
to  have  to  get  rough  with  him  if  he  tries  to 
high-hat  me!" 

"  CURE,  sure.     I  phone  him.     But  really  I 

'-'vould  like  very  much  to  know  vat  iss  in 
there!  I  am  all  goose  pimples  vid  curiosity 
already!" 

"You  just  'goose-pimple'  all  you  want  and 
rest  your  curiosity  .  .  .  sorry,  but  I  haven't 
time  to  explain.  Here's  a  hst  of  names.  I 
want  all  these  people  in  your  private  projection 
room  at  four  this  afternoon.  Tell  the  gateman 
and  office  boy  to  let  in  Clancy  and  Ryan  with 
their  party  ...  no  questions  asked.  See  that 
the  operator  who  runs  the  stuff  this  afternoon 
keeps  his  mouth  shut.  Tell  him  if  I  hear  a 
sound  out  of  him,  or  if  he  lets  anyone  in  the 
projection  room  I'll  half  kill  him.  Then  you 
take  Ryan  with  you  when  you  get  that  stuff 
out  of  the  vault,  and  you  get  it  yourself  .  .  . 
sec?     Got  all  that?" 

"Sure,  sure,"  commenced  the  president 
amiably,  then,  realizing  Smith  was  in  the  way 
of  giving  him  orders  in  his  own  oiBce,  he  drew 
himself  up  stiffly  and  amended,  "Certainly" 
in  his  coolest  executive  tone. 

Smith  leaned  down  and  patted  the  fat 
shoulder  affectionately. 

"No  time  for  ceremony.  No  offense  meant. 
I'm  on  my  way  to  the  'lab'  .  .  .  better  phone 
your  man  .  .  ."  and  he  was  gone,  the  tin  box 
clamped  firmly  against  his  side  under  his 
left  arm  .  .  .  his  right  hand  in  his  pocket. 
Rosenthal  glared  after  him,  lips  outthrust,  then 
with  a  shrug  and  a  weary  sigh,  he  pulled  the 
telephone  towards  him .  .  . 

"  Ach  Gott !  Vill  ve  eff er  get  rid  of  this  dirty 
business  and  start  making  pictures  again?" 
he  asked  of  the  galaxy  of  pictured  faces 
about  him.  They  smiled  their  famous  smiles 
at  him  reassuringly,  but  he  was  not  so  easily 
rid  of  his  resentment  against  the  detective. 

"I  vould  not  be  so  close-mouthed,  even  vid 
my  Rachel!"  he  muttered  into  the  receiver. 
The  switchboard  girl  had  to  ask  him  three 
times  for  the  department  he  wanted. 

TN  the  dim,  half-light  of  Rosenthal's  private 
■'■projection  room  was  gathered  the  little  group 
made  up  of  those  personshaving  had  apart  in  the 
Hardell  murder  case.  They  did  not  know  why 
they  were  there.  Minds  were  nervously 
speculating,  while  bodies  attempted  vainly  to 
compose  themselves  at  ease.  Sighs  ...  es- 
caped pent  breaths  .  .  .  jerking  muscles  .  .  .  the 
scraping  of  feet  and  creaking  of  chairs  ...  all 
spoke  their  unrest  .  .  .  together  with  the  mental 
chaos  from  fear-tensed  brains,  that  sent  unseen 
vibrations  clashing  through  the  atmosphere. 

West,  haggard-eyed,  his  dark  hair  swept 
distraughtly  across  his  brow.  Yvonne,  pale  . .  . 
a  trembling  that  was  not  the  old  joyous,  tip- 
toe verve,  in  the  agitated  movements  of  her 
slender  body.  They  avoided  each  other,  save 
when  they  turned  to  lock  their  eyes  in  an 
occasional  long  and  questioning  agony.  Mac- 
Dougal,  grim  and  silent,  and  Lannigan  dart- 
ing his  bright,  beady  little  eyes  furtively  upon 
him. 

Serge,  wrapped  in  that  remoteness  which 
makes  Americans  hunt  for  descriptive  words, 
and  finally  say  briefly,  "foreign."  Beth  IMac- 
Dougal,  a  pitiful  huddled  little  figure  ...  all 
the  impudent  dash  of  her  comedy  days  gone 
...  an  apology  in  her  manner. 

Apart  from  the  rest,  immaculate,  sitting  in 
unshakable  dignity,  was  Seibert.     He  toyed 


i 


119 


C~\A/kij 
should  start  the  day^ 


you 


UNIT  BGauti)  Bath 


EVERY  -woman  -who  ■wants 
to  start  the  day  with  the 
invigorating  and  refreshing 
feeling  of  a  soft,  smooth  skin 
should  start  the  day  with  a 
Linit  Beauty  Bath. 

Which  explains  why  the 
Linit  Beauty  Bath  is  so  popu- 
lar among  thousands  of  fas- 
tidious women. 

After  a  luxurious  Linit 
Beauty  Bath  you  instantly 
''feel"  the  results — your  skin 
is  unusually  soft  and  delight- 
ful to  the  touch. 

Merely  dissolve  in  your 
bath  half  a  package  of  Linit 
(the  scientific  starch  discov- 
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the  soothing  sensation  of  a 
rich,  cream- like  bath  — then 
feel  your  skin.  It  is  like  rare 
velvet. 

After  your  Linit  Bath,pow- 


THE    BATHWAY    TO    A    SOFT,    SMOOTH    SKIN 


dering  is  unnecessary  as  Linit 
leaves  just  the  right  amount 
of  powder  on  the  skin,  evenly 
spread.  You  will  find  that 
Linit  adheres  well,  absorbs 
perspiration  without  caking, 
eliminates  ''shine"  on  body, 
hands  and  face,  prevents 
chafing  and  affords  protec- 
tion against  wind  and  sun. 

Starch  from  corn  is  the 
main  ingredient  of  Linit  and, 
being  a  pure  vegetable  prod- 
uct, is  absolutely  harmless 
to  even  the  most  delicate  skin. 
White  is  the  natural  color  of 
Linit — it  is  not  disguised  by 
color  or  odor. 


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I20 


Photoplay  Magazine — Advertising  Section 


'^''VWVVVWW\AAnAAA/\AAAAAA/\AAA/\A/^^^^^^VWv5 


M 


ew 


Personal 


Beltx  banisnes  forever  the  botnersome 
salety  pin — 'instead,  tne  paa  is  gnppea 
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celluloia  especially  de^ignea  for  aoso- 
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IJainty,  so  It,  silk  elastic  makes  Geltx 
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Check  Colors  Desired  D  Orchid  D  Peach  D  Flesh 

Name 

Address  ._ I255 


with  his  monocle  ...  his  eyes  fi.\ed  upon  some 
mind-picture  of  his  own  .  .  .  apparently  he  was 
oblivious  to  the  situation  and  its  significance. 
He  was  not  enough  aware  of  it  apparently  to 
be  bored! 

Clancy  slipped  into  a  seat  directly  behind 
Beth  MacDougal,  and  Ryan  seated  himself 
beside  Billy  West.  Two  plain  clothes  men 
posted  themselves  by  the  door,  and  stepped 
aside  with  a  brief  gesture  of  respect  when 
Rosenthal   and   Smith   entered. 

■n  OSENTHAL,  not  looking  to  right  or  left, 
l-^went  directly  to  the  front  row,  and  Captain 
Smith  faced  the  others  in  the  room  from  a  posi- 
tion beside  him.  For  a  few  seconds  there  was 
silence  as  he  let  his  gaze  encompass  them. 
Then  he  said: 

"I  have  asked  you  here,  because  each  one 
of  you  has  in  some  manner  been  brought  into 
the  murder  investigation  of  Dwight  Hardell. 
Three  of  you  confessed  to  killing  him.  I  am 
going  to  show  you  now,  in  the  mediimi  familiar 
to  you  all  .  .  .  motion  pictures  .  .  .  just  how  he 
was  killed.  .  .  according  to  the  evidence  now 
in  my  hands.  Mr.  Rosenthal  and  I  have 
endeavored  to  duplicate  in  pictures  what  I 
believe  happened  the  night  of  Hardell's 
death.  I  think  the  titles  will  be  self-explana- 
tory." He  stopped  to  allow  for  smothered 
exclamations  ...  for  them  to  accustom  them- 
selves to  this  surprise  so  that  they  might  get 
sensibly  the  full  import  of  his  words.  Then  he 
said  with  slow  emphasis, 

"Our  little  scenario  begins  on  the  set  on 
Stage  Six  where  Hardell  was  found  .  .  .  dead. 

"As  you  all  know,  Mr.  Seibert  and  Hardell 
made  a  final  rehearsal  there  that  night.  We 
are  starting  with  that  rehearsal.  The  role  of 
Seibert  is  played  by  Mr.  Halland,  whose 
wizardry  at  make-up  you  all  know.  Hardell  is 
played  by  a  'heavy'  made  up  by  Mr.  Halland 
to  impersonate  the  murdered  man.  I  want 
you  all  to  rem.ain  absolutely  quiet  ...  no  mat- 
ter what  happens.  Understand?  You  are 
going  to  see  exactly  what  liappcncd  that  night! 
How  Dwight  Hardell  was  wurdcrcd!" 

"You  mean,  Mr.  Smith,  how  yon  believe  he 
was  murdered  .  .  .  Am  I  not  correct?"  It  was 
Serge,  leaning  indolently  back  in  his  tilted 
chair,  who  spoke. 

Smith  ignored  him.  Raising  his  voice  to 
the  operator,  who  was  peering  curiously  from 
his  cubbyhole  in  the  rear,  he  called: 

"All  set?" 

"Yes,  sir!" 

"Let's  go!" 

A  sizzling  hiss,  and  then  the  white  beam  of 
light  illumining  the  screen;  the  flickering  of  the 
leader  strip,  and  then  the  title: 

"MR.  SEIBERT  REHEARSING  HAR- 
DELL FOR  THE  LAST  CLOSE-UP  THE 
NIGHT  THE  ACTOR  WAS  MURDERED." 

On  the  screen,  following  this,  came  the  now 
famiUar  set.  In  this,  the  actor's  last  drama, 
he  lay  prone  in  the  position  of  the  close-up  in 
which  he  was  to  get  over  his  last  death  agony 
in  the  story.  Above  him,  leaning  close,  one 
hand  gripping  a  dueling  rapier,  stood  Seibert, 
portrayed  by  Halland.  Anger  andexasperation 
were  expressed  in  every  angle  of  his  body. 
The  watchers  did  not  need  the  title 

"AFTER  HOURS  OF  DRILLING  THE 
DIRECTOR  STILL  FAILS  TO  GETWHAT 
HE  WANTS." 

And  now  the  director  casts  down  his  rapier 
furiously,  and  strides  up  and  down,  turning 
now  and  again  to  cast  some  withering  remark 
at  the  actor,  who  stands  in  sullen  immobility. 
Finally  the  former  turns  back,  throws  himself 
on  the  floor  in  the  position  desired,  himself 
goes  through  the  tortured  writhings  of  the 
death  scene.  .  . 

A  DRY  chuckle  made  tensed  nerves  jump. 
It  was  Serge  again.  "Not  so  bad,  Seibert! 
He  has  made  of  himself  what  the  Americans 
would  call  a  'dead  ringer'  foryou!" 

"Quiet!"  snapped  Smith  instantly.  The 
lilm  went  on.  Now  a  medium  shot  holding  in 
the  camera  that  was  supposedly  to  have 
photographed  the  close-up,  as  well  as  the  two 


players.  The  director,  rising  from  the  floor, 
speaks  to  the  actor,  and  once  more  the  latter 
assumes  the  prostrate  position.  The  director 
now  steps  to  the  camera  and  carefully  removes 
the  magazine,  replacing  it  with  another  .  .  . 
with  white-gloved  fingers  he  slowly  threads 
the  film  through  the  sprocket  mechanism  .  .  . 
then  he  turns  and  speaks  to  the  actor,  who 
nods  understandingly.  The  supposedly  dying 
man  assumes  an  agonized  e.xpression  ...  his 
extended  hand  tenses  ...  his  eyes  roU  back.  .  . 
The  director  watches  a  moment,  then  steps 
back  to  the  camera  and  starts  the  motor  that 
automatically  grinds  the  film.  Now,  rapier 
in  hand,  he  returns  to  the  prone  actor  .  .  . 
urging  him_  on  to  intensify  his  expression.  To 
assist  him  in  putting  over  a  convincing  scene, 
he  leans  over,  pressing  the  rapier  against  his 
heart  and  pressing  it  slowly  and  unswervingly 
into  the  flesh  beneath  the  satin  waistcoat  .  .  . 
and  stUl  the  actor  looks  up,  listening  to  each 
word  from  the  director,  making  a  desperate, 
earnest  effort  to  give  him  what  he  wants  .  .  . 

Serge  let  his  chair  to  the  floor  suddenly. 
Someone  smothered  a  scream  .  .  .  Smith 
again  snapped: 

"Quiet!" 

TNEXORABLY  .  .  .  hke  the  wheels  of  time 
-•-itself  .  .  .  came  the  steady  cUcking  from  the 
projection  room.  Hearts  thumped  in  rhythm 
.  .  .  pulses  raced  .  .  .  the  suspense  was  strained 
to  the  bursting  pitch  .  .  .  when  the  scene  shifted 
to  a  close-up  .  .  .  Hardell  with  the  rapier  point 
over  his  heart . . .  and  then  a  sudden  downward 
plunge  of  the  steel  ...  a  flash  into  the  scene  of 
a  white-gloved  hand.  .  . 

Smith's  voice  rose  thunderously  above  the 
released  tiunult  in  the  room. 

"Keep  your  seats!  You  are  now  seeing 
Hardell  in  his  actual  death  throes — Hardell, 
played  by  himself!" 

On  the  screen  the  grim  tragedy  went  on. 
Hardell,  suddenly  betrayed  by  one  he  trusted, 
with  his  soul  shocked  out  of  his  body,  was 
gazing  piteously,wildly,out  at  the  little  hand- 
ful of  watcherswho,incapablenowof givingaid, 
must  sit  helpless  and  stunned  as  they  watched 
the  actual  portrayal  of  his  death.  For  a 
moment  there  seemed  to  be  pleading  in  Har- 
dell's eyes,  a  piteous  appeal  for  help,  and  this 
was  quickly  followed  by  a  look  of  terrible 
questioning,  and  of  awful  fear.  Then  came 
the  ghastly  jerking  upward  of  his  body  as  the 
rapier  was  withdrawn  and  then  the  body  fell 
back  in  convulsive  writhing. 

"Oh,  my  God!  My  God!  Stop  it!  Stop 
it!"  Beth  MacDougal  sobbed.  But  the 
scene  went  on. 

Hardell's  features  were  now  stiffening,  the 
shoulders  sagging,  and  his  head  rolled  from 
side  to  side.  Just  as  the  body  made  its  last 
movement,  mercifully  the  scene  was  cut  by 
the  title: 

AND  SO  HE  DIED 

The  film  stopped.  In  the  darkness  that 
followed  before  the  switching  on  of  the  hghts, 
no  one  saw  Seibert's  swift  movement  as  he 
slipped  a  tiny  white  pellet  from  beneath  an 
immaculate  white  glove  and  lifted  it  quickly 
to  his  lips.  Seibert,  the  master  of  dramatic 
episode,  director  of  action,  of  entrance  and  of 
exit,  needed  no  prompter  to  tell  him  that  his 
moment  of  exit  had  come.  But  he  grimaced, 
ruefully,  as  he  swallowed.  After  all,  the  last 
exit  is  not  always  easy.  .  . 

DON'T  move,  Seibert!"  Smith  barked. 
"You've  been  covered  ever  since  you 
stepped  in  here.    Lights!    Lights,  operator!" 

The  lights  came  on  immediately,  to  show 
Smith  standing,  revolver  in  hand,  and  the 
white  faces  of  the  others  with  their  eyes  fixed 
upon  Seibert.  Fear  of  the  man  was  loose  in  the 
room.  They  shrank  from  him,  the  while  they 
stared  at  him  wild-eyed. 

Yvonne's  voice  rose  in  a  little  sobbing 
scream. 

"BiUee!  BiUee!" 

West  gathered  her  in  his  arms.  They  clung 
together.    The  grim  MacDougal  dropped  his 


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121 


face  upon  his  cupped  hands  and  the  repressed 
quiver  of  his  stern  frame  told  its  own  story. 
Clancy's  arm  comforted  Beth. 

During  the  space  of  these  happenings  Seibert 
and  Smith  had  held  their  positions,  eyes  fixed 
upon  each  other.  Now  Seibert  arose,  a  little 
unsteady  on  his  feet.  The  lights  shone  down 
into  the  cold  depths  of  his  strange  blue  eyes, 
revealing  the  last  fanatical  gleam  he  no  longer 
had  need  to  mask  with  a  stare  of  cool  insolence. 
He  swept  them  all  with  that  scintillant  gaze 
and  started  forward. 

"Don't  move!"  Smith  warned. 

Seibert  laughed,  mirthlessly.  "You  will  re- 
member, Mr.  Smith,  that  I  once  said,  'I  yield 
to  the  inevitable  only!'  I  am  no  fool.  Iknow 
when — when  I  am  cornered."  He  stopped, 
and  plainly  labored  for  breath.  Beads  of 
sweat  were  gathering  on  his  upper  lip  and  brow. 
"No,  I  am  not  the  fool!  It  is  you — "  he  turned 
and  his  eyes  played  like  tongues  of  fire  over 
the  little  group,  "it  is  you  who  are  the  fools — 
the  imbeciles — the  cowards!  Here,  protected 
by  the  law,  you  are  afraid  of  me!  I  feel  your 
fear.  You  think  I  am — insane.  You  think  me 
a  crazy  director — capable  of  doing  any  thing — to 
amuse,  to  entertain  more  fools  like  yourselves." 

■J—TE  stopped,  gasped,  and  made  a  futile,  wild, 
-'•  -'•up-tlung  motion  of  his  gloved  hands. 

"And  yet — fools  that  you  are — you  defeated 
me!  What — what  matter  the  price  of  success? 
It  is  the  price — of — failure  that  is — bitter!" 

He  fumbled  for  his  cane,  attempted  to  bow, 
punctilious  to  the  last,  and  failing,  sagged  back 
into  his  chair  and  shd  to  the  floor. 

Smith  knelt  beside  him  and  felt  of  his  heart, 
making  sure  that  it  had  stopped.  From  that 
position,  he  spoke: 

"Mr.  Seibert  has  just  committed  suicide. 
In  so  doing  he  escaped  hanging.  His  last  act 
was  an  admission  of  his  guilt.  You  have  just 
been  witnesses  of  the  actual  picture  of  his 
crime.  Yet,  if  there  is  doubt  in  any  of  your 
minds  I  will  answer  any  questions.  Are 
there  any?" 

"Gott,  yes!  That  close-up.  Vere  did  you 
get  it?  Ve  did  not  shoot  that!"  Rosenthal 
exclaimed,  speaking  what  was  in  all  of  their 
minds. 

"Seibert  shot  it.  Just  before  committing 
the  murder  he  started  the  motor  driven  camera. 
Doubtless  he  told  the  weary  Hardell  that  they 
would  try  the  scene  once  more  and  that  he 
would  make  a  test  shot  of  it.  I  suppose  he 
intended  to  use  the  actual  death  of  Hardell  in 
the  picture  instead  of  the  usual  substitution." 

"You're  wTong  there.  Smith,"  said  Serge, 
quietly.  "He  never  shot  that  for  the  picture 
that  we  would  release.  I  thought  there  was 
something  behind  his  kick  about  the  stuff  we 
got  that  afternoon,  for  I  never  shot  better  stuff 
in  my  life — and  he  knew  it.  Where  did  you  get 
that  film?" 

"I  started  hunting  for  it  immediately  after 
I  got  his  palm  prints  from  the  camera.  I  was 
convinced  then  of  what  he  had  done.  But  you 
have  not  answered  my  question.  What  did 
he  want  that  picture  for?" 

"He  was  a  member  of  a  half  dozen  occult 
societies.  Crazy,  every  one  of  them,  just  as  he 
was  crazy.  He  wanted  that  film  to  send  to 
some  of  his  fellow  students  in  one  of  those 
secret  societies.  They  study  the  occult,  the 
question  of  hfe  after  death,  and  the  question  of 
what  takes  place  when  a  soul  leaves  the  body. 
They  are  all  nuts,  and  they  even  pledge  their 
lives  to  what  they  call  'the  cause.'  When  they 
fail,  they  do  what  he  did.  Huh!  And  he 
called  us  fools."  Serge  hesitated  and  gave  a 
dry  chuckle.  "Well,  he  was  right  about  me. 
I'U  wager  that  film  x-^as  the  one  I  saw  in  his 
desk  drawer.  I  even  picked  it  up  once  and 
asked  him  if  he  didn't  want  it  developed. 
Can  you  feature  it!" 

"T  IKE  many  criminals,  he  thought  the  obvi- 
■'-'ous  place  the  safest,"  Smith  said.    "Any 

other  questions?" 

"Sure,  and  there  is  that,"  spoke  up  Lanni- 

gan.    "Maybe  you'll  be  after  tellin'  me  how  I 

saw  Hardell  ride  past  me  aflcr  he  was  murdered. 


does  ;y€)nM'^  mirrcr  say 
pemwderer  beauty 

If  only  powder  voere  magic!  If  you  could  use  it  to  achieve  JUST  BEAUTY! 
Marvelous  if  possible.  To  have  again  the  undimmed,  velvety  skin  of 
childhood  loveliness,  to  have  your  mirror  say  "beauty"  and  not  "poujder" 


Well,  then.  Princess  Pat  does  give  just 
soft,  powdery  beauty  without  the 
slightest  hint  of  chalky  appearance,  and 
your  intelligence  will  grasp  the  reason. 
Then  you  wUl  want  to  try. 
As  you  ordinarily  powder — and  peer 
into  your  mirror — you  now  observe  a 
chalky  effect.  Try  as  you  will,  you 
cannot  altogether  banish  it.  Your 
niirror  still  says  "Powder"  and  it  al- 
ways will — until  you  use  powder  with- 
out the  usual  ingredients  that  give  the 
undesirable  chalky  appearance. 
Such  ingredients  are  banished  from 
Princess  Pat.  Precious  almond  replaces 
usual  starch.  Instead  of  harshness 
there  is  softness.  The  very  feel  is  a 
caress  to  the  skin.  \Vatch  as  you  ap- 
ply this  utterly  different  powder. 
Subtly,  magically,  it  transforms  the 
skin.  It  merges,  blends,  and  touches 
the  surface  of  your  skin  with  a  delicate 
powdery  bloom. 

Now  then!  After  you  have  powdered 
what  happens?  Oil  comes  upon  the 
skin,  gradually  yet  surely.  Usual  pow- 
ders become  patchy  and  unlovely.  You 
have  to  use  more  powder — with  not 
the  happiest  results. 

On  the  contrary,  the  almond  in  Prin- 
cess Pat  powder  has  an  affinity  for  oils 
from  the  skin  glands — usually  called 
pores.  As  oils  appear — and  they  do  on 
every  skin — they  are  absorbed  by  al- 
mond. Thus  distressing  shine  is  pre- 
vented— even  on  the  nose.  Powder  is 
no  longer  disturbed  nor  beauty  marred. 
Wonderful  1  Yes,  of  course. 


PRINCESS    PAT 

PRINCESS   PAT  LTD.,   CHICAGO,   U.   S.    A. 

Princess  Pat  Ice  Astringent  is  the  one  vanishing 
cream  that  acts  lilie  ice  to  close  and  refine  the  pores. 
Ideal  as  the  powder  base — effective  longer — cool, 
pleasant,  refreshing  as  ice.  Prevents  and  coirecta 
coarse  pores.  Always  use  before  powder. 


And  think  I  This  almond  in  Princess 
Pat,  giving  untold  powdery  beauty, 
likewise  assures  you  a  fine-textured 
skin,  the  oil  glands  never  sealed,  never 
choked,  never  distended.  If  already 
distended  Princess  Pat  gives  every 
assistance  to  make  them  normally  in- 
visible again. 

But  it  is  beauty  without  an  artifi- 
cial look  that  is  the  first  thought  of 
every  woman.  That  is  why  women 
who  know  choose  Princess  Pat  for 
make-up  of  more  than  natural  beauty. 
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loved  as  time  passes  ...  as  pores  be- 
come superbly  fine,  as  the  skin  becomes 
delightfully  soft  and  pliant,  as  blem- 
ishes vanish. 

And  now,  if  you  have  read  carefully, 
learned  the  unusual  advantages  of 
Princess  Pat  you  will  surely  want  to 
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Name  (Print) 

Street 

City  and  State 

One  sample  free;  additional  samples  10c  each. 


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122 


Photoplay  Magazine — ^Advertising  Section 


CVast 
\j.oWL  bam  ort 

HERE  is  new  luxury  in  deodorants — 
a  caressing  powder  that  dusfe  on 
like  an  imported  talc  and  assures  fresh 
daintiness — even  when  you  have  no 
time  for  a  bath! 

Deodo!  Thorough,  never-failing!  It  in- 
stantly neutralizes  and  absorbs  all  body 
odors!  No  danger  of  the  offensive  odor 
of  perspiration,  all  day  long ! 

Use  it  every  day !  Simply  dust  it  freely 
over  your  body.  Rub  it  under  the  arms. 
It  is  soothing  and  healthful  to  the  skin. 
Never  seals  the  pores.  Never  injures 
clothing-Affordsperfectprotectionwhen 
dusted  on  sanitary  napkins.  Excellentfor 
dusting  into  the  shoes  or  over  feet. 

Atleadingdrug  and  department  stores, 
OnlySOcentsfor  large  size  container- 


3)eodo 


A  MULFORD  PRODUCT 


Gwndloi  Gm/la/er 
HidtthifDmih 

If  your  cheeks  are  sallow,  eyes  dull  ;if  you're 
always  dead  tired,  don't  try  to  hide  the  truth. 
Take  Dr.  Edwards'  Olive  Tablets.  Better 
than  dangerous  calomel.  Safe.  Non-habit- 
forming.  A  pure  vegetable  compound  mixed 
with  olive  oil  that  drives  out  constipation, 
cleanses  the  system,  removes  tlie  cause  of 
pallid  cheeks.  A  matchless  corrective  in  use 
for  20  years.  Take  nightly  and  watch  pleas- 
ing results.  Know  them  by  tlieir  olive  color. 
At  druggists,  15c,  30c  and  60c. 

^eiiii2i^lVE  TABLETS 


'Twas  with  me  own  eyes  I  saw  him,  and  with 
me  own  ears  I  heard  him  spake." 

Smith  smiled.  "To  quote  Mr.  Rosenthal," 
he  answered,  "in  pictures  we  can  do  anything. 
We  can  make  a  dummy  look  like  a  live  man 
and  a  live  man  look  like  a  dummy.  Seibert 
took  the  dummy,  made  up  to  look  e.xactly  like 
Hardell,  propped  it  up  in  the  seat  of  his  car 
and  drove  out.  But  the  dummy  did  not 
speak.  It  was  Seibert,  mimicking  Hardell's 
voice,  who  spoke  to  you." 

"Holy  jVlary,  Mother  of " 

■DOSENTHAL  hfted  himself  ponderously 
■'-^from  his  chair.  "  V'e  vill  shut  the  studio  for 
the  day.  I  must  telephone  my  Rachel.  I 
must   telephone — " 

Smith  slapped  him  affectionately  on  the 
back.  "Don't  get  nervous  now,  Rosie.  It's 
all  over  and — " 

"Offer!    It's  all  offer,  iss  it?    And  me  half 


crazy,  my  Rachel  half  crazy,  and  half  the 
world  blaming  me  for  haffing  a  murder  com- 
mitted on  my  lot!  Gott  of  Abraham!"  he 
moaned.  "Gott  of  Abraham!  Vat  a  viper  that 
Seibert  was!  Vat  a  viper  I  took  to  my  bosom !" 
The   End 


THE  judges  in  "The  Studio 
Murder  Mystery"  contest  are 
examining  the  thousands  of  solu- 
tions submitted  in  the  PHOTO- 
PLAY competition. 

It  is  hoped  that  a  full  announce- 
ment of  the  winners  can  be  made 
in  the  June  issue  of  PHOTOPLAY, 
out  May  15th.  Every  effort  will  be 
made  toward  this  end.  Watch  the 
June  number  for  this  important  an- 
nouncement. 


Amateur  Movies 


[  CONTINUED  FROM  PAGE   72  ] 


fA  moving  camera  was  used  frequently,  run- 
ways, inclines  and  movable  platforms  being 
built  for  the  purpose.  The  group  beheves  that 
all  censorship  difficulties  in  filming  the  Dance 
of  the  Seven  Veils  were  overcome  by  placing 
the  camera  on  a  movable  platform  overhead. 
All  of  the  scenes  were  interiors  and  16,000 
watts  were  used  in  hghting  the  sets.  Pan- 
chromantic  film  and  a  f3.5  lens  were  used 
throughout.  The  sets  were  flats,  constructed 
of  wall  paper  and  then  painted  with  conven- 
tionalized designs.  A  cyclorama  background 
was  used  briefly.  The  designs  on  the  costumes 
were  painted.  The  film  was  developed  and 
printed  in  the  club's  laboratory  and  a  16  milli- 
meter reduction  print  was  made.  The  cast 
numbered  nineteen  and  the  direction  was  in  the 
hands  of  John  D.  d'Ippohto.  Roy  C.  Ehrhardt 
handled  the  camera. 

THE  Undergraduate  Motion  Pictures  of 
Princeton  University  completed  "Destiny" 
for  the  Photopl.w  contest.  In  production  the 
atmospheric  introduction  first  planned  had  to 
be  discarded  to  allow  for  longer  story  footage. 
A  moving  camera  was  used  liberally  in  relating 
this  story,  which  is  a  melodrama  tale  of  a  crime 
passionelle  committed  because  of  mistaken 
evidence. 


TTHE  -Amherst  Movie  Club  has  been  formed 
-'-  at  .Amherst  College  under  the.ieadership  of 
Kenneth  M.  Hickey. 

The  group  is  at  work  on  a  story  as  yet 
untitled. 

Thirty-five  amateurs  attended  the  organiza- 
tion meeting  of  the  Movie  Makers'  Club  of 
Springfield,  111.,  recently. 

Ehzabeth  Harrison  Coke  was  selected  for  the 
feminine  lead  in  "The  Highest  Degree,"  being 
produced  by  the  College  Topics  Productions 
of  the  Uni\'ersity  of  Virginia.  Edward  Lee  has 
the  comedy  role. 

A  T  the  organization  meeting  of  the  New 
-''■York  City  Amateur  Motion  Picture  Club 
Dr.  Raymond  L.  Ditmars,  curator  of  Mammals 
and  Reptiles  of  the  New  York  Zoological 
Park,  was  chosen  president;  Countess  de 
iVIontagny  and  James  V.  Martindale  vice- 
presidents  and  Britten  Runyon  secretary-treas- 
urer. 

Together  with  these  officers,  the  board  of 
chrectors  numbers:  Mrs.  William  Barclay 
Parsons,  Jr.,  George  Lister  Carlisle,  Jr.,  J.  Gerry 
Dobbins,  Professor  Carl  Louis  Gregory,  Herbert 
C.  McKay,  P.  G.  B.  Morriss  and  Colonel  Roy 
W.  \\'inton,  managing  director  of  the  Amateur 
Cinema  League. 


"Picture  Puzzles"  was  made  by  the  IVIotion  Picture  Division  of  the 
Cleveland  Photographic  Society.     It  shows  the  devastating  effect 
on  a  household  of  a  puzzle  craze 


Bver;  adTerllsement  In  PHOTOPLAY  5I.\GAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


123 


Brickbats  &  Bouquets 


I  CONTINUED  FROM  PACE  112  i 


The  Boon  of  the  Talkies 

Okmulgee,  Okla. 
Some  of  the  features  of  the  Talkies  as  I  see 
them  are  as  follows: 

a.  They  will  give  us  real  acting  by  real 
actors  rather  than  a  series  of  close-ups  of 
pretty  faces  and  figures. 

b.  They  will  help  to  Americanize  movies, 
thus  excluding  "Foreign  Finds,"  who  are  not 
even  American  citizens. 

c.  They  will  afford  excellent  musical  ac- 
companiment by  good  orchestras. 

d.  Instead  of  wondering  what  is  actually 
said  we  can  now  hear  the  e.xact  dialogue  of  the 
stars. 

e.  Talkies  will  give  many  fans  a  chance  to 
see  and  hear  the  world's  greatest  stage  favorites 
and  other  notables  that  they  might  never  have 
seen  otherwise. 

f.  They  -will  provide  a  greater  choice  in 
movie  entertainment  as  to  whether  it  shall  be 
silent  or  Talkie. 

g.  .\nd  last  but  not  least,  there  will  be  no 
written  titles  for  the  Ladies  to  read  to  the 
children.  This  will  also  eliminate  much  of 
the  eye-strain  from  hurried  reading. 

Minor  Horton. 

A  Hint  to  Professors 

Phoenix,  Arizona. 

I  am  a  student  in  a  small  college  where 
dormitory  girls  are  forbidden  to  attend  the 
theater  on  school  nights  and  Sunday  nights 
and  are  more  or  less  frowned  upon  for  attend- 
ing on  Friday  and  Saturday  nights.  Hence, 
as  an  alternative,  you  see  them  stationed  in 
shaded  nooks  about  the  campus  with  the  boy 
friends. 

And  yet,  when  the  so-called  Educational 
Picture,  "The  Road  to  Ruin"  was  shown,  the 
girls  were  excused  from  their  afternoon  classes 
to  attend  the  special  matinee  and  all  of  the 
matrons  were  there  and  enjoyed  the  picture. 
This,  to  me,  was  positively  repulsive  while 
nine  out  of  ten  of  the  ordinary  pictures  booked 
are  far  more  upliftingly  educational  and  far 
more  inspirational. 

I  will  admit,  of  course,  that  there  are  many 
pictures  released  that  are  not  worth  seeing  but 
if  college  faculties  would  cooperate  with  col- 
lege-town theater  managers  they  could  offer 
the  students  good  pictures  (I  have  seen  many 
this  last  year)  with  an  added  profit  to  the 
tlieater  manager,  a  profit  to  the  faculty  in 
spirit  and  loyalty  from  the  students,  and 
certainly  a  profit  to  the  students  in  giving  them 
some  place  to  go  and  something  to  do  besides 
parking  in  dark  corners. 

Alice  Ann  Smith. 

Not  So  Uninteresting! 

Arlington,  Texas. 

If  allowed  a  few  words  in  your  columns  I 
will  be  very  pleased.  First  I  wdU  say  that  I 
would  like  to  know  if  the  Gilbert-Garbo 
pictures  are  supposed  to  be  entertainment  or 
are  they  instructions  in  the  fine  art  of  love 
making  and  necking.  I  mention  the  above 
stars  but  there  are  others  that  appear  in  very 
similar  and  uninteresting  pictures.  Give  us 
pictures  with  a  real  story  in  it.  Most  of  the 
stars  are  capable  if  given  a  real  role  to  play. 

I  would  also  like  to  know  if  the  censors  are 
dead.  There  is  too  much  vulgarity  in  lots  of 
the  productions.  I  have  seen  a  good  many  that 
I  wouldn't  want  a  mother  or  sister  of  mine  to 
see.  But  I  suppose  that  can't  be  helped.  The 
producers  have  to  keep  up  with  the  modern 
age  to  the  fullest  extent.  I  just  wonder  what 
a  motion  picture  will  be  like  twenty-five  years 
from  now. 

Charles  Johnston. 


\ 

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31 

1/iis  IS   Lysol   time 


THIS  is  the  time  when  we  let  in 
the  fresh  air  and  sunshine  and 
disinfect  the  house  and  its  furnish- 
ings after  another  winter. 

It  is  "Lysol"  time.  Scrubbing  the 
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ings— no  matter  how  thoroughly 
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These  germs,  the  carriers  of  the 
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It  is  so  easy  to  do  this,  just  as  easy 
as  cleaning  in  your  usual  way.  Sim- 
ply add  a  tablespoonful  of  "Lysol" 
Disinfectant  to  each  quart  of  your 
cleaning  water,  and  proceed  exactly 
as  you  would  with  plain  soap  and 
water.  That's  all. 

Get  the  "Lysol"  habit,  it  is  easy 
to  form.  Send  for  our  free  booklet, 
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erence. And  buy  a  bottle  of  "Lysol" 
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Sole  Distributora:  Lebn&  Fink, Inc., Bloumfield, N.J. 

"L^-hii  &  Fink  Serenade" — WJZ  and   14  other  stations 

associated  with    the    National    Broadcasting  Co every 

Thursday  at  7  p.  m..   Eastern  Standard  time;  6  p.  m.. 
Central  Standard  time. 


LEIIN  &.  FINK,  Inc.,  Sole  Distributors,  Department  21:1 
Bloumfield,  N.  J. 

Please  send  me,  free,  your  booklet, 
"  Preventing  the  Spread  of  Common  Diseases  " 

Name 

Street 

City .* State 


©  Lehn  &  Fink.  Inc.,  1929 


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124 


Photoplay  Magazine — Advertising  Section 


^fi'lioii  e:yes 


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«a»  «^  «a»  ^>  «a»  «si    ^y    *^ 


Everything,  But- 


CONTINUED  FROM  PAGE  69  ] 


you  hav'  such  a  lucky  break.  Come  in,  now 
hurry  an'  get  undress'.  They're  e.xpectin'  that 
this  dress  is  feenish'  by  one,  an'  they  tell  me 
only  wan  hour  ago." 

Pierre  caught  Kay  by  the  hand  and  drew 
her  into  the  fitting  room,  which  was  resplendent 
in  orchid  taffeta  and  gold  lace.  Kay  knew  it 
well;  she  had  modeled  and  had  fitted  all  of  the 
clothes  that  Delva  Delova  had  worn  in  every 
picture  for  the  past  year. 

"Oh,  Pierre!  I  am  just  fainting  with  joy. 
Just  think,  I'm  to  do  the  whole  garden  se- 
quence— with  Martin  Marrow!"  She  rolled 
her  eyes  ecstatically. 

Pierre  took  a  fluffy  pink  creation  from  the 
hanger  and  stood  holding  it  out  in  front  of  him. 
"  Come  on  now,  be  queek." 

IT'AY  slipped  out  of  her  dress,  and  adjusted 
•'-^her  teddie  and  garters. 

"No  slip,"  Pierre  fairly  wailed  in  dismay. 
"Madam  Deverois — Madam  Deverois,"  lie 
called  excitedly  into  the  work-room. 

A  shrill  voice  piped,  "Oui,"  and  Pierre  lost 
himself  in  voluble  French  over  the  missing 
slip. 

Kay  sat  on  the  edge  of  the  table  opposite  the 
mirror,  pressed  her  hair  into  the  shape  Madam 
Delova  affected,  then  noted  the  result  with 
approbation.  She  rouged  her  lips  and  walked 
languorously  before  the  mirror,  until  Delova 
herself  would  have  been  deceived,  so  nearly 
did  she  imitate  her. 

Pierre  returned  with  the  slip.  Madam  Deve- 
rois followed  carrying  a  lacey  pink  hat  and  a 
gay  little  purse,  while  the  irtter  with  a  tape 
measure,  and  bristling  with  pins,  brought  up 
at  the  rear.  Pierre  slipped  the  creation  over 
Kay's  exquisitely  rounded  shoulders,  and  stood 
off  to  get  the  effect. 

"Do  you  ever  see  anything  so  beautiful  in 
your  life?"  he  demanded.  "Mademoiselle  vous 
etes  charmante." 

He  pulled  his  shoulders  on  a  level  with  his 
ears,  "Why  they  should  choos'  that  'oman 
when  they  hav'  a  one  like  her,  I  cannot  see." 
He   turned   to  ISIadam  Deverois  appealingly. 

Madam  Deverois  was  looking  at  the  dress. 
She  rolled  her  eyes  to  the  ceiling,  and  spread 
out  her  hands,  as  though  imploring  heaven 
to  help  her  in  this  important  decision. 

Kay  was  embarrassed  by  their  flattery. 
"You  are  a  wonder,  Pierre.  The  dress  is 
glorious,  simply  exquisite.  I  have  never 
modeled  one  so  lovely.  I  do  feel,  though,  that 
you  have  made  the  neck  very  low  for  an  after- 
noon gown,  and  really  too  short;  don't  you 
think?" 

"Thank  you.  Miss  Kay,  you  are  very  sweet. 
Delova  never  give  me  credit  for  know'  wan 
theeng."  He  stepped  over,  tried  the  suggested 
changes,  agreed  to  them,  then  perched  on  the 
edge  of  the  purple  velvet  couch  to  superintend 
the  alterations. 

"You  know  what  is  the  trouble,"  he  confided 
to  her,  while  Madam  and  the  fitter  worked 
industriously  around  her,  "Delva  Delova  can't 
get  enough  off  now.  When  she  come  firs'  she 
have  long  sleeves  and  long  legs  cotton  under- 
wear. You  know  down  to  here,"  Pierre  pointed 
dramatically  to  his  ankles  and  wrists. 

Kay  laughed  gaily. 

"  CHE  wears  a  corset,  an'  such  a  corset,  an' 
^petticoat,  an'  cotton  stocking' — pfaugh,  a 
peasant.  A  what  you  say?  a  hick?  an'  I  tell 
to  her,  'You  hav'  so  much  that  is  beautiful, 
take  off  this  clothes.'  She  did,  Mon  Dieu.  I 
tell  you  she  did.  She  comes  in  wan  day  to  get 
fitted  and  she  hav'  leave  everything  excep'  the 
dress  off — everything.  A  little  bit  in  the  front 
longer.  Madam  Deverois,  there,  so.  Now  she 
wants  the  dresses  cut  off  to  nothing." 

Kay  sympathized  with  him.  The  alterations 
completed,  she  walked  back  and  forth  before 


the  mirror,  imitating  Delova's  glide,  her  sleepy 
abstraction,  and  quick  original  gestures  of  her 
hands. 

"Parfait,"  approved  Pierre,  "Mees  Kay, 
you  are  the  mos'  lovely  theeng,  I  have  ever 
see." 

■piERRE,  the  aloof  untouchable  Pierre  was 
^  being  really  human.  Kay  beamed  at  him. 
"If  I  get  my  chance,  I  won't  forget  you." 

She  accepted  his  homage  naturally.  She, 
too,  was  thrilled  by  the  exquisite  dark  little 
person  in  the  fluffy  pink,  who  stared  out  at  her 
from  the  great  mirror  in  its  huge  gilt  frame. 
She  allowed  them  to  undress  her,  while  she 
stood  too  overcome  with  excitement  to  fully 
reaUze  what  was  going  on.  It  ga\'e  her  an 
added  feeling  of  elation  when  she  told  him :  "I 
shall  be  in  Madam  Delova's  bungalow;  you'll 
have  the  costume  sent  there,  please." 

"An'  I'm  weeshin'  you  luck,"  Jje  told  her 
as  he  followed  her  to  the  door. 

"And  I'm  thanking  you,"  she  laughed 
happily. 

She  walked  slowly  across  the  lot  to  the 
bungalow,  the  dressing  room  of  the  untouch- 
able Delva  Delova,  which  she  had  never  been 
invited  to  enter.  She  had  watched  the  direc- 
tors and  officials  enter  and  leave,  starting  or 
finishing  more  or  less  important,  but  always 
lengthy  conferences.  INIeanwhile  she,  with  the 
rest  of  the  actors,  musicians,  assistant  direc- 
tors, script  girl,  electricians,  carpenters,  and 
the  host  of  others  who  had  something  to  do 
with  the  growth  of  the  embryo  picture,  waited, 
or  worked,  or  made  up,  or  talked,  under  the 
green  glare.  They  walked,  stood,  sat,  or  paced 
nervously,  according  to  their  temperaments, 
and  the  facilities  at  hand. 

The  garden  set  was  appropriately  spread  out 
on  the  lawn  in  front  of  the  studio.  Great  tin 
reflectors. kept  the  light  in,  and  kept  the  gaze 
of  the  curious  motorists  out.  It  was  eleven- 
thirty.  Since  eight  o'clock  the  place  had  been 
over-run  with  workmen,  and  'atmosphere' 
made  up  ready  to  go  on.  The  stunning  thin 
girls  in  fluffy  multi-colored  garden  party 
dresses,  and  the  good  looking  young  men  in 
correct  afternoon  dress,  witli  silk  hats  and 
canes,  lived  the  parts  of  the  people  they  were 
dressed  to  represent. 

Some  of  the  boys  sauntered  across  the  lawn 
jauntily  smnging  their  canes,  while  groups  of 
men  and  girls  sat  at  the  tables  under  the  huge 
vivid  umbrellas  which  dotted  the  lawn,  play- 
ing cards,  smoking  and  gossiping.  Now  and 
then  a  waiter,  in  a  pink  apron  and  pink  dress 
shirt,  wandered  through  the  crowd.  The  re- 
sult of  their  hours  of  waiting  would  be  a  flash 
across  the  screen,  in  which  many  of  them  would 
be  only  partly  shown. 

KAY  crossed  the  set  and  reached  the  bunga- 
low door.  As  she  stood  waiting  for  the  at- 
tendant to  open  it,  she  was  conscious  of  the 
temporary  hush  of  voices,  and  could  feel  the 
inquisitive  looks  of  those  who  stood  within 
range  of  her. 

It  was  hard  to  carry  off  her  entrance  without 
a  little  swagger.  She  realized  that  everybody 
had  noticed  how  Delova  ignored  her.  Now 
that  she  was  actually  entering  the  portals  of 
her  sanctum,  she  knew  that  they  would  be 
guessing  a  dozen  reasons — all  wrong. 

She  stepped  into  the  ornate  place  a  little 
timidly.  It  was  the  last  word  in  luxury.  There 
was  a  long  living  room,  which  served  also  as  the 
dining  room,  with  a  dressing  room  and  bath 
leading  off,  and  the  kitchen  at  the  rear.  She 
had  never  seen  such  an  array  of  useless  para- 
phernalia as  cluttered  up  the  dressing  room. 
The  mirrors  which  covered  the  walls  were 
festooned  with  garlands  of  roses  and  the  win- 
dows were  covered  by  three  tiers  of  velvet 
drapes.     Ornate  furniture,  gay  satin  pillows 


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125 


and  dolls,  lamps  and  ash  stands,  crowded  each 
other. 

Kay  pushed  aside  the  curtains  to  let  in  the 
air,  and  cleared  a  place  on  the  littered  dressing 
table  for  her  makeup  box.  While  taking  off 
her  hat  the  bell  rang.  The  woman,  who  was 
to  act  as  dresser,  was  admitted.  She  had  not 
time  to  say  a  word  to  her,  the  telephone  rang. 
The  office  told  her  that  the  director,  the  head 
projectionist,  and  the  production  manager,  Mr. 
Mortimer,  would  be  in  for  luncheon  at  tweh'c- 
thirty.  They  were  sending  a  Filipino  cook 
over. 

SHE  had  just  stepped  into  the  sunken  green 
tile  bath,  when  the  dresser  came  in  to  tell  her 
that  there  was  a  photographer  waiting  to  take 
some  pictures.  They  were  to  accompany  an 
interview  titled,  '"Between  Scenes."  It  had 
been  written  for  one  of  the  leading  motion 
picture  magazines.  The  deadhne  for  the  pic- 
tures was  long  past.  Delva  Delova  had  never 
felt  in  the  mood  to  have  them  taken;  now 
would  Miss  Kay  mind? 

It  was  all  a  part  of  the  game  to  Kay;  she 
agreed  graciously.  When  she  had  finished  her 
bath,  she  was  surprised  to  see  the  dresser  hold 
a  flame  colored  satin  negligee  for  her  to  put  on. 

"Sure,  put  it  on,"  she  said  as  Kay  hesitated. 
"I  found  it  in  the  closet.  Why  not  wear  her 
clothes  as  long  as  you  are  supposed  to  be  her?" 

Kay  put  it  on  musingly.  So  Delva  Delova 
hadn't  taken  her  clothes.  The  realization 
went  through  her  like  a  pain.  But  the  officials 
were  so  positive  that  she  had  quit  them  cold; 
they  must  have  been  sure  before  they  called 
her  in  to  take  Delova's  place.  The  thought 
relieved  her  somewhat,  but  the  depression  she 
had  felt  for  a  moment  remained. 

She  made  up  carefully,  then  glided  into  the 
living  room,  selected  the  most  flattering  deep 
couch,  took  a  long  Russian  cigarette  from  the 
silver  bo.x  on  the  table  at  her  side,  struck  a 
typically  Delovian  pose, — and  waited  for  the 
photographer. 

It  was  two-fifteen  and  Kay  was  tired  out. 
She  put  the  skirt  of  her  costume  over  the  back 
of  her  chair  and  closed  her  eyes.  So  much 
excitement  in  one  day  was  much  too  much. 
The  door  bell  rang  and  the  Filipino  boy,  who 
had  come  to  act  as  butler  and  had  stayed  as 
general  factotum,  returned  carrying  a  huge 
basket  of  flowers.  A  card  bearing  goodluck 
greetings  from  the  officials,  director,  and  co- 
star,  dangled  from  the  handle.  Kay  received 
it  without  enthusiasm.  She  had  had  so  much 
adulation  in  the  past  few  hours,  that  she 
couldn't  fully  appreciate  it.  Tomorrow,  per- 
haps. She  closed  her  eyes  again.  Everyone 
wanted  to  do  something  for  her;  she  was  em- 
barrassed by  aU  of  the  attention  and  flattery. 
No  wonder  stars  took  on  airs,  they  couldn't 
help  it;  it  was  e.xpected  of  them. 

SHE  couldn't  relax.  Over  and  above  all,  the 
thought  of  Martin  Marrow  kept  flashing 
through  her  dizzy  mind.  How  charming  he 
had  been  to  her;  so  kind  and  considerate  when 
he  had  shown  her  how  Madam  Delova  did 
certain  exits  with  him.  How  different  from 
what  she  had  imagined  him.  He  had  never 
spoken  to  her  off  the  set  before.  His  eyes  had 
been  only  for  Delova,  some  even  said — but 
never  mind,  now  she  would  have  his  whole 
attention  through  the  whole  garden  fete.  The 
chief  had  praised  her  poise  and  intelligence, 
but  he — he  had  smiled  into  her  eyes.  The  very 
memory  suffocated  her. 

She  was  aroused  by  the  bell.  The  FUipino 
boy  came  back. 

"They  are  ready  on  the  set,  jSIiss  Kay,"  he 
said  in  precise  English. 

She  retouched  her  makeup,  put  on  her  lovely 
hat,  feU  into  a  languorous  pose,  and  swept  out 
of  the  door.  As  soon  as  she  appeared  in  the 
garden,  everyone  turned  to  look  at  her.  She 
knew  the  word  had  spread  that  she  was  to  take 
Delova's  place. 

The  director,  Duke  Webster,  actually  arose 
as  she  approached  and  greeted  her  by  clapping 
his  hands.    It  was  one  man  applause,  and  he 


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meant  it  only  for  effect,  but  she  blushed 
prettily. 

"You  look  glorious,"  he  said  cordially. 
"Now,  Miss  Brady,  you  and  Mr.  Marrow  are 
to  have  this  scene  together.  This  is  the  short, 
but  important  scene,  I  explained  so  fully  to  you 
at  luncheon.  It  follows,  without  break,  the 
scene  Madam  Delova  had  completed  before 
she  left ;  and  leads  up  to  the  sequence  which  we 
will  take  later  today." 

"t_riS  forced  amiability  didn't  deceive  Kay. 
■*■  -*-"Yes,  I  remember,"  she  said  brightly. 

He  stepped  closer  to  her,  "  You  must  realize 
that  I  am  most  an.xious  to  put  thispictureover," 
he  told  her  confidentially.  "I  didn't  have  a 
chance  to  tell  you  at  luncheon  before  the  others, 
but  the  powers  that  be  are  watching  this  one. 
If  it  goes  over,  I  get  what  I've  been  working 
years  for." 

"I  appreciate  your  position,  Mr.  Webster, 
and  you  can  count  upon  me.  When  I  spoke 
to  the  chief  this  morning,  he  assured  me,  that 
'if_  I  go  over  the  way  he  expects  me  to  in  this 
picture,  they  will  give  me  a  chance  on  my  own. 
So  you  see,  I  am  an.xious  too." 

He  seemed  reUeved  somewhat.  "We  shall 
both  get  there,"  he  said  solemnly.  It  was 
serious  business  for  him. 

Martin  Marrow  joined  them. 

"Oh,  I  say,  will  you  please  go  through  this 
scene  with  Miss  Brady,  Martin?" 

Kay  and  Martin  came  between  the  little 
tables,  wound  in  and  out  of  the  gay  crowd, 
until  they  were  close  to  the  camera,  keeping 
in  the  same  tempo  as  the  music  off  stage.  He 
was  meeting  her  for  the  first  time;  he  was  losing 
his  heart  to  her;  he  looked  deep  into  her  eyes 
and  registered  happy  surrender.  She  met  his 
glance  coolly,  almost  disinterestedly.  The 
waiter  passed  with  a  tray  of  tall  glasses,  full 
of  ginger  ale  and  cubes  of  clinking  ice,  that 
reflected  the  powerful  light.  She  looked  archly 
over  the  top  of  her  glass  with  maddening 
provocativeness.  He  raised  his  glass  and  drank 
a  silent,  but  very  eloquent  toast  to  her,  while 
Duke  Webster  coached  and  corrected  each  bit 
of  business.  After  they  had  repeated  the  scene 
five  times,  they  tried  it  with  the  lights. 

"I'm  sorry,  Miss  Brady,  but  you  must  be 
your  own  'stand  in'  girl  this  time." 

Kay  laughed,  "I  shan't  mind  if  you  will  call 
me  'Kay';  the  Miss  Brady  is  so  formal,  besides 
you  call  Mr.  Marrow,  Martin." 

"All  right — Kay — how's  that?" 

"And  may  I  call  you  'Kay'  too?"  Martin 
bent  just  a  delicious  trifle  toward  her. 

Kay  was  lost  in  ecstasy,  "Please  do,"  she 
managed  to  say. 

"XJOW  just  once  more.    When  you  come 

■'■^  between  the  last  two  tables,  pause  a  little 
longer.  Look  up  at  him  with  a  little  more 
interest — Kay — let  him  see  that  you  are  im- 
pressed. Unbend  a  bit  more,  Martin;  you 
are  leaving  your  sweetheart  for  her,  remember. 
Kay,  you  are  doing  this  beautifully,  really. 
Now  ready." 

The  music  started,  the  lights  blazed  and 
everybody   became  suddenly  animated. 

At  last  they  were  ready  to  shoot.  Kay's 
knees  shook  a  little,  but  she  was  elated.  She 
was  doing  something  that  really  counted. 
Heretofore  she  had  stepped  out  of  the  scene 
when  it  was  ready  to  be  shot,  and  all  of  her 
work  was  lost  as  far  as  the  audience  was  con- 
cerned. She  knew  that  she  was  putting  more 
verve,  more  real  sparkle  into  this  scene  than 
Delova  would  have  done;  and  she  could  feel 
that  her  fellow  actors  were  as  happy  over  it 
as  she.  Delva  Delova  was  unpopular;  her 
arrogance  was  insufferable. 

"All  set,"  called  Webster  to  the  head  camera 
man.  The  head  electrician  blew  a  shrill 
whistle,  immediately  the  hghts  blazed  out. 
The  music  off  stage  took  up  the  same  tune  all 
over  again.  The  animated  groups  at  the  tables 
and  those  walking  through  the  garden,  laughed, 
chatted,  and  raised  glasses,  with  a  gusto  that 
would  have  deceived  any  onlooker.  The  four 
cameras  ground  mercilessly. 


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Kay  put  her  whole  soul  into  that  minute. 
She  was  elusive  and  impulsive  by  turns;  after 
a  flashing  smile,  she  suddenly  became  un- 
touchably  distant.  Martin  played  up  to  her, 
so  that  the  finale  over  the  glasses  was  a  little 
masterpiece. 

THE    whistle    blew    sharply.      The    lights 
snapped  off.     The  music  stopped  in  the 
middle  of  the  bar.    The  scene  was  over. 

When  Kay  walked  off  the  set  toward  Duke 
Webster,  everyone  turned  to  her  and  clapped. 
It  was  a  touching  ovation.  She  couldn't 
believe  that  it  was  for  her  until  Webster  told 
her  to  bow  to  them.  She  bowed  stiffly,  as 
though  in  a  trance  and  smiled  in  their  direc- 
tion, but  she  saw  them  as  a  swimming  blurred 
mass  of  color. 

Duke  Webster  squeezed  her  hands  appre- 
ciatively, "That's  the  stuff,  little  girl,  now  keep 
it  up  and  we  will  have  some  picture." 

"I'm  giving  the  best  that  is  in  me,"  she  told 
him. 

The  dresser  had  carried  her  make-up  box 
over  to  the  hotel  lobby  set.  She  walked  over 
with  Martin  Marrow. 

"You  are  a  clever  girl;  Delva  Delova  herself 
couldn't  have  done  that  scene  better." 

"Thank  you,"  she  seemed  to  have  touched 
the  fringe  of  heaven.  "With  the  encourage- 
ment you  have  given  me,  I  should  step  into 
stardom,  no  less." 

They  both  laughed.  The  groups  of  actors 
that  they  passed  watched  them  enviously.  It 
looked  to  them  as  though  Kay  had  stepped 
into  Delva  Delova 's  role  away  from  the  set  as 
well  as  upon  it. 

A  little  distance  from  the  set,  a  corner  of  the 
stage  had  been  screened  off  for  the  star's 
dressing  room.  Kay  went  in  immediately,  to 
change  her  makeup  a  Uttle  and  to  relax.  She 
realized  that  she  had  been  standing  for  over 
two  hours.  She  was  surprised  to  see  the  happy 
animated  face  that  looked  back  at  her  from 
the  mirror.     She  seemed  wholly  transformed. 

"My  dear,  you  sure  look  pretty,"  the  dresser 
told  her  over  her  shoulder.  "  No  wonder  Martin 
Marrow's  falling  for  you.  Ain't  he  the  hand- 
some one  though?" 

Her  question  wasn't  answered.  There  was  a 
commotion  on  the  set.  Kay  put  her  powder 
puff  down  and  listened.  "See  what  has  hap- 
pened, Mrs.  Anderson."  The  dresser  stepped 
outside  of  the  screens.  Kay  heard  her  walk 
across  the  boards.  A  feeling  of  uneasiness 
came  over  her. 

•X/TRS.  ANDERSON  came  in,  a  frightened 
■'■'■'■look  on  her  face.  "It's  Delva  Delova, 
Miss  Brady,  she's  come  back." 

Kay  flew  to  the  corner  of  the  set,  and  saw 
Delva  Delova  talking  angrily  with  Duke 
Webster.  He  seemed  to  be  apologizing.  As 
Kay  watched.  Jack  Mortimer  with  Ben  Milton 
and  Ernest  Blate,  came  on  the  set.  Her  heart 
sank.  In  the  sickly  greenish  light  their  faces 
seemed  to  be  leering  at  her. 

The  httle  group  around  Delova  talked  ear- 
nestly. They  moved  off  the  stage  together.  As 
they  walked  away,  Martin  Marrow  joined 
them,  and  greeted  Delva  Delova  with  a  warmth 
that  made  his  gesture  toward  Kay  seem  like 
toleration.  Kay  walked  to  the  door  of  the 
great  stage  and  watched  them  across  the  lot, 
back  through  the  garden  set,  until  they  reached 
the  door  of  the  bungalow. 

Delva  Delova  had  come  back.  No  matter 
what  she  had  done,  hers  was  the  big  name,  they 
would  stand  for  her,  they  would  even  like  her 
doing  all  of  this. 

After  what  seemed  hours,  the  word  came 
that  they  were  to  retake  the  garden  scene. 
Mechanically  she  changed  her  makeup  a  little; 
the  world  seemed  to  have  stopped  utterly. 

Mrs.  Anderson  watched  her  coldly.  "  I  guess 
you  won't  be  needin'  me  much  longer.  Miss 
Brady.  It's  too  bad;  I  thought  I'd  have  a 
steady  job.     You're  nice  to  work  for." 

Kay  tried  to  force  a  little  smile;  it  was  use- 
less.    "Thanks,"  she  said  miserably. 

They  walked  across  the  now  deserted  hotel 


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128 


Photoplay  Magazine — Advertising  Section 


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set,  picking  their  way  among  the  Hght  cables, 
across  the  lot  to  the  garden  set,  which  she  had 
left  such  a  short  lime  before  feeling  that  the 
world  was  in  the  palm  of  her  hand. 

Duke  was  talking  to  someone  as  she  came 
up.  He  scarcely  noticed  her.  When  she  had 
almost  passed  him,  he  turned  to  her,  "Oh,  Miss 
Brady,  Delva  Delova  has  changed  her  mind; 
she  will  finish  the  picture.  You  will  please 
stay  while  we  make  a  retake  of  the  scene." 

SHE  nodded.  There  was  no  mistaking  the 
relief  in  his  voice  and  manner.  She  had  slid 
back  into  her  former  position.  She  sent  Mrs. 
Anderson  to  the  bungalow  for  her  clothes,  and 
sat  with  her  back  to  the  busily  humming  set, 
where  she  knew  that  the  whole  affair  was  being 
minutely  discussed.  She  could  tell  their  deci- 
sion in  advance;  they  worshipped  success. 
Some  few  might  feel  sorry  for  her. 

Her  brain  seemed  numb.  Before,  every 
familiar  sound  was  welcome,  now,  everything 
jangled  her  nerves  and  made  her  head  ache. 

After  ages  of  waiting,  the  men  came  out  of 
the  bungalow.  They  stood  respectfully  aside 
until  Delova  should  appear.  There  was  a 
little  hushed  silence,  then  she  glided  out 
dramatically;  a  pink  duplicate  vision  of  Kay. 
She  ran  her  arm  through  Martin  Marrow's 
with  a  gesture  of  possession,  and  flashed  a 
smile  up  at  him  for  everyone  to  see,  but  she 
didn't  notice  them. 

Duke  Webster  called  everyone  on  the  set 
with  a  gusto  he  had  entirely  lacked  before. 
"Stand  in  for  hghts,"  he  ordered. 

Kay  obeyed  mechanically.  Through  the 
corner  of  her  eye,  she  saw  Delova  watching 
her;  saw  her  turn  to  Martin  derisively;  saw 
Martin  smile  assuringly  back  at  her.  Kay 
quickly  dropped  her  head. 


"Put  your  chin  up  so  that  the  light  can 
strike  your  face,  Miss  Brady,  now — so," 
Webster  ordered. 

Kay  gritted  her  teeth  and  obeyed.  It  was 
one  of  the  hardest  things  she  had  done  in  her 
life.  As  she  stepped  off  the  set,  Martin  passed 
so  close  to  her  that  he  could  have  touched  her, 
but  he  didn't  see  her.  The  chief  and  his  two 
associates  had  developed  the  same  astigma- 
tism, when  a  few  minutes  later  they  crossed 
the  set  on  the  way  to  their  offices. 

The  action  started.  The  whistle  blew 
jarringly.  The  lights  clicked  and  blazed.. 
Delva  Delova  swept  everything  before  her 
with  a  magnificent  gesture;  she  left  no  room 
for  the  work  of  anyone  else.  Martin  tried 
vainly  to  keep  up  with  her;  it  made  the  tempo 
jumpy.  They  swept  through  the  garden, 
between  the  gay  umbrellas  and  the  animated 
mannikins,  until  they  were  close  to  the  camera, 
then  the  badinage  over  the  glasses.  Delova 
was  bold  and  overconfident;  Martin  tried  to 
match  her,  it  spoiled  the  effect. 

Kay  watched  it  all,  sick  to  her  very  soul. 
An  almost  uncontrollable  rage  took  hold  of  her. 
She  had  played  this  part  with  emotion,  sub- 
tilely;  this  woman  couldn't  equal  her  if  she 
lived  to  be  a  million.  Her  rebellion  against 
everybody  and  everything  made  her  a  Uttle 
hysterical. 

""WR.  WEBSTER,"  she  said  evenly,  when 
-'■'■'■the  scene  was  over,  "may  I  take  the  rest 
of  the  day  off?" 

He  looked  at  her  disinterestedly.  "Now 
don't  take  it  hard.  Miss  Brady.  Everything 
happens  for  the  best,  even  in  this  game." 

She  found  her  shabby  dressing  room,  blocks 
from  the  set,  and  took  off  the  pink  creation 
without    a    glimmer    of    remorse.      She    felt 


The  ever-luscious  Betty  Compson  at  the  19th  hole.    If  reaching  for 

a  So-and-So  Instead  of  a  Sweet  has  kept  Betty  in  this  shape,  we're 

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Photoplay  Magazine — Advertising  Section 


129 


crumpled,  hurt,  and  unwanted.  A  cruel  and  in- 
human thing  had  happened  to  her;  she  had 
been  raised  until  she  felt  that  she  was  every- 
thing, but — ,  and  then  dropped  like  nobody's 
business.  She  wanted  to  cry,  but  flaming 
anger  raced  through  her,  and  kept  her  stub- 
bornly quiet.  She  slammed  the  door  and 
strode  across  the  lot  to  the  gate. 

"Did  you  find  out  what  they  wanted  you 
for.  Miss  Brady?" 

"Indeed  I  did,  Kelly,"  she  said  grimly. 

"Fill  her  up,"  she  told  Billy  at  the  auto 
park,  a  few  minutes  later.  "I  am  going  for  a 
long — long  ride." 


She  Fell  In  Love 
with  Her  Husband 

[  CONTINUED  FROM  PAGE  90  ] 


But  as  they  sat  down  to  lunch,  Walter  noticed 
that  Corinne  wore  a  brilliant  solitaire  on  the 
third  finger  of  her  left  hand.  He  laughed  and 
looked  away  quickly,  to  hide  the  mist  in  his 
eyes.  She  had  approved  the  contents  of  the 
little  plush  box. 

Not  long  after  that,  Corinne's  mother  and 
Walter's  mother  and  his  grandmother  went  to 
Tia  Juana  to  see  what  arrangements  could  be 
made  for  a  secret  wedding.  They  were  deter- 
mined, Corinne  and  Walter,  that  there  would 
be  no  publicity.  No  one  must  know.  There 
would  be  just  a  quiet  Uttle  ceremony — nothing 
spectaciJar,  nothing  unusual. 

CO  the  hardy  little  band  of  matrimonial 
'-'scouts  set  forth.  .And  in  the  garish  town  of 
Tia  Juana,  disaster  all  but  w-recked  their  e-x-pe- 
dition  before  it  was  fairly  launched.  They 
were  dri\-ing  down  the  main  street,  the  raucous 
and  tin-panny  sound  of  automatic  pianos  and 
music  bo.xes  pouring  out  of  the  open  doors  of 
saloons  and  dives,  when  suddenly  the  rear 
wheel  of  their  car  knocked  over  a  stone  in  the 
middle  of  the  street 

Instantly  pandemonium  broke  loose.  Uni- 
formed soldiers  came  on  the  run.  Their  loose- 
fitting  sandals  kicked  up  the  dust.  There  was 
much  gesticulating,  much  loud  talk  in  Spanish, 
which  none  of  the  party  understood.  Quickly  a 
crowd  gathered.  The  soldiers  surrounded 
them,  they  were  placed  under  arrest.  Instantly 
they  had  visions  of  the  bastile  and  a  firing 
squad.  Finally,  however,  an  official  showed 
up  who  could  speak  English.  He  explained 
that  they  had  committed  the  unpardonable  sin 
of  knocking  down  the  only  traffic  marker  in 
town. 

They  apologized  profusely,  set  up  the  stone 
again  and  went  ahead  with  arrangements 
for  the  wedding  .  .  . 

A  ND  now  of  course  you  are  wondering  how 
■'^■it  all  worked  out :  Whether  a  woman  should 
ever  marry  a  man  if  she  doubts  that  she  loves 
him.  Whether  she  can  grow  to  love  him  after 
their  marriage.  Whether  he  will  realize  even- 
tually that  he  has  made  a  bad  bargain  and  be 
sorry.  Whether  unhappiness  will  result  .  .  . 
These  and  a  dozen  other  questions  no  doubt 
are  in  your  mind. 

It  would  be  difficult  to  tell  how  much 
Corinne  Griffith  loves  Walter  Morosco  now. 
And,  too,  it  would  be  difficult  to  tell  how  much 
Walter  Morosco  loves  Corinne  Griffith. 
Corinne  could  not  live  without  Walter,  Walter 
could  not  five  without  Corinne.  They  are 
among  the  most  devoted  couples  in  the  world. 
Their  romance  is  ideal,  IIolly\vood  points  to 
them  as  a  shining  example  of  matrimony  that 
succeeds.  And  possibly  it  is  because  life's 
fundamentals  are  often  cast  in  a  sensational 
mould.  Theirs  was  a  strange  marriage,  sealed 
by  the  stamp  of  sensationalism  in  a  Tia  Juana 
bar.  Perhaps  perfect  love  is  born  in  such  a 
cradle. 


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durinf;  the  day.  Our  cottages  were  on  the 
left  side  of  the  road  and  theirs  on  the  right. 
We  saw  each  other  only  at  meal  times  and 
again  between  the  hours  of  six  (we  dined  very 
early)  and  eight-thirty  when  a  bell  rang  that 
sent  us  hurrying  to  our  cottages. 

In  those  two  precious  hours  we,  huddled 
together  around  the  fire,  learned  to  know  each 
other  well.  Gilbert  was  the  strangest  one  in 
the  group.  Moody,  temperamental,  nervous, 
intense. 

He  used  to  stride  out  of  the  room  at  any 
mention  of  "  the  bugs. "  He  used  to  hide  when 
the  doctor  gave  his  weekly  talk  to  the 
ambulatory  patients. 

A  ND  there  was  a  reason  for  this.  Gilbert 
-''didn't  have  the  infection.  He  had  been  run 
over  by  an  automobile  when  he  was  eleven 
years  old  and  it  had  left  him  with  a  bad  heart 
and  a  deflated  lung.  He  was  at  Barlow's 
Sanatorium  for  rest. 

But  there  was  no  rest  for  Gilbert.  Too 
I-atin,  too  profligate,  too  mad.  We  all  clung 
together  in  our  hours  of  stress.  We  all  kidded 
ourselves  that  we  were  better  than  we  were. 
We  all  tried  to  readjust  our  lives  to  the  months 
that  had  been  slashed  out  of  our  experience 
by  a  doctor's  word. 

All  of  us  but  Gilbert.  He  chafed  at  the 
confinement.  He  fumed  at  the  bells  that  rang, 
one  for  rising,  one  for  each  meal,  one  for  in- 
your-cottages  and  one  for  lights  out.  He 
paced  the  floor,  gloomy,  apart. 

But  his  very  wildness  and  freedom  was  his 
charm.  One  of  the  patients  had  been  in 
vaude\'ille.  He  used  to  play  the  piano  for  us. 
We  were  not,  of  course,  allowed  to  dance.  But 
Gilbert  would  snatch  some  girl  in  his  arms 
and  dance  away  with  her. 

What  if  the  doctors  did  see  him?  What 
could  they  do?  Tell  him  to  leave?  Very  well. 
HcjWanted  to  be  rid  of  the  place  anyhow.  He 
was  sick  of  it. 

Upon  one  subject,  however,  he  always  waxed 
eloquent.  The  pictures!  He  told  us  that  he 
had  played  a  very  small  bit  with  Rudolph 
Valentino  in  "Blood  and  Sand"  and  a  few 
days  later  the  exchange  sent  the  picture  out 
for  us  to  see.  (Various  companies  showed  us 
a  movie  once  a  week.) 

We  waited  breathlessly.  "Where  are  you, 
Louis?"  (His  name  was  Louis  Alonzo,  not 
Gilbert  Roland  then.)     "Where?  " 

A  scene  showed  Valentino  entering  the  bull 
ring.  A  boy  came  up  to  him,  a  dark  boy  with 
black  hair.  It  was  just  a  flash.  "There  I 
am,"  said  Gilbert. 

.And  I  didn't  know  until  five  years  later  that 
he  had  invented  this  out  of  whole  cloth  and 
by  a  strange  coincidence  the  bit  player  looked 
like  him!  His  desire  to  be  an  actor  was  that 
strong! 

Yet  when  I  wrote  a  little  play,  a  travesty 
on  sanatorium  life,  and  had  the  patients  act 
in  it  Gilbert  refused  a  role.  I  think  he  was 
secretly  sorry  later,  for  he  used  to  come  to 
Williams  Hall  and  look  in  longingly  on  all 
the  rehearsals. 

WE  all  had  different  ambitions  for  that 
halcyon  day  "when  I  get  out."  Gilbert's 
hopes  never  wa\-ered. 

"When  I  get  out,"  he  would  say,  "I'm 
going  to  be  a  picture  actor.  I'm  going  to  those 
studios  and  just  stay  there  until  I  get  a  chance. 
I'm  going  to  do  it,  that's  all." 

I  used  to  smile  wisely,  for  I  had  interviewed 
stars  for  one  of  the  fan  magazines.  After  all, 
thought  I,  he  was  just  another  good  looking 
Mexican  lad. 

What  chance  had  he?  I  didn't  know  the  sort 
of  will  he  had. 


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For  all  their  grimnes?,  those  were  happy 
evenings.  Gilbert's  father,  he  told  us,  had 
been  a  bull  fighter  in  Spain.  He  had  come  to 
Mexico  where  Gilbert  was  born  and  then,  when 
the  revolution  came,  had  moved  his  family  to 
Te.xas.  After  Gilbert's  accident  they  had  all 
moved  to  Los  Angeles.  His  father  went  back 
to  Spain  to  fight  bulls  and  the  family  was  left 
desperately  poor.  That  was  his  story,  and  he 
stuck  to  it. 

nLos  Angeles  he  worked  in  a  department 
^.ore,  but  he  was  too  blithe  a  spirit  to  stand 
discipUne. 

He  would  not  be  told  where  to  put  boxes. 
He  was  too  nervous  and  weak  to  work. 

Anyhow,  he  was  discharged  from  the  store. 
So  the  doctor  advised  the  sanatorium. 

I  remember  his  mother  and  little  brothers 
and  sisters  who  used  to  come  out  to  see  him 
during  visiting  hours. 

And  then  our  little  fireside  group  broke  up. 
One  of  the  boys  got  well  and  was  dismissed. 
A  death  in  the  family  of  one  of  the  girls  caused 
her  to  leave.  My  doctor  in  town  said  that  I 
might  go  if  I  would  continue  to  take  the  cure 
at  home. 

The  next  time  I  went  out  to  visit  a  girl  in 
my  cottage  they  told  me  that  Gilbert  had 
left,  too. 

Perhaps  I  wondered  once  or  twice  if  he  ever 
got  in  pictures  and  then,  a  couple  of  years 
later,  I  ran  into  him  at  the  Metro-Goldwyn- 
Mayer  studio. 

He  was  delighted  to  see  me.  He  smiled  a 
lovely  Latin  smile  and  took  both  my  hands. 
Vou  feel  as  if  you  had  been  to  college  with 
your  sanatorium  friends. 

He  had  changed.  He  was  just  as  fiery  and 
intense  but  he  didn't  look  unhappy,  as  he  had 
at  the  "san. " 

Of  course,  we  said,  "  You're  looking  well." 

"  You're  looking  urll,  loo." 

But  he  could  hardly  wait  to  tell  me,  "I  got 
in  pictures,"  he  beamed.  "I  told  you,  Kather- 
ine.  I'd  get  in  pictures. 

"I  had  a  terrible  time  at  first.  You  see.  I 
used  to  go  where  I  knew  they  had  calls  for 
extras  and  sneak  on  the  lot.  Sometimes  they'd 
find  me  and  kick  me  out  and  sometimes  they 
wouldn't. 

"I've  had  a  lot  of  bad  breaks.  Once  I  heard 
they  were  using  a  bunch  of  extras  that  they 
were  going  to  carry  on  salary  for  several  weeks. 
It  was  in  Valentino's  'The  Hooded  Falcon.' 
Alice  Terry's  sister  got  me  registered  at  Central 
Casting  but  they  hadn't  called  me. 

".\nyhow  I  went  out.  They  were  picking 
people  at  the  old  Brunton  Studios.  I  sneaked 
into  FBO  and  jumped  over  the  fence  to  the 
lot.  Mrs.  Valentino  was  choosing  the  ones  she 
wanted  and  was  giving  out  the  costumes.  Each 
change  meant  another  week's  work. 

"I  just  stood  there  and  waited.  But  she 
looked  over  and  around  me  until  everybody 
was  chosen  but  me.  She  started  to  go  but  I 
ran  after  her  and  said,  'Oh,  can't  I  do  some- 
thing in  this  picture?'  She  looked  at  me  for 
the  first  time  and  at  last  she  said,  'Why,  yes, 
you  could  be  one  of  the  king's  pages.' 

"I  was  fitted  in  my  costumes  and  ready  and 
they  never  made  the  picture!" 

He  looked  dejected. 

""DUT  I  used  to  tell  you  at  Barlow's  that  I'd 
•'-'get  there.  I  heard  that  one  of  four  foreign 
policemen  for  Valentino's  picture  'Cobra'  was 
sick  and  I  sneaked  into  the  studio  and  when 
the  assistant  called  for  the  four  men  and  there 
were  only  three  I  begged,  'Can't  I  have  the 
job?' 

"  'Hell,  no,'  he  said.  But  every  time  he'd 
turn  around  there  I  was  until  at  last  he  said, 
'O.  K.  Just  to  get  rid  of  you,  kid.  Here,  take 
this  uniform.    Put  it  on.' 

"And  I  played  a  bit.  But  I  didn't  have  a 
dime  and  so  I  lost  out  on  parts  that  required 
full  dress.  I  played  Indians  instead.  Lord, 
I've  been  a  thousand  Indians! 

"But  everything's  fine  now.  Ivan  Kahn, 
the  manager,  saw  me  playing  extra  in  'The 
Lady  Who  Lied'  and  he  wanted  to  manage  me. 


Especially  in  those 
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DURING  those  trying  days,  when 
one  seeks  especially  to  retain 
one's  poise  and  peace  of  mindi 
Mum     is  a  friend  indeed. 

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A  little  Mum,  spread  on  the 
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Doctors  and  trained  nurses  have 
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over  25  years.  And  thousands  ot 
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And,  of  course,  it  need  hardly  be 
said  that  Mum  is  equally  effec- 
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You  will  find  Mum  at  drug  and 
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Get  a  jar  now — for  every  day  dain- 
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He  has  me  under  contract  now  and  is  trying 
to  get  me  in  at  Paramount." 

And  then  we  talked  over  old  days  at  the 
"san"  and  both  were  glad  that  we  were  well 
and  happy. 

I  heard  about  him  off  and  on. 

I  saw  some  good  notices  on  his  work  in 
"The  Plastic  Age." 

He  did  a  couple  of  other  things  for  Para- 
mount, including  falling  in  love  with  Clara  Bow. 

T^PIERE  was  much  about  Gilbert  in  the 
■*-  papers  during  the  Bow-Savage  scandal. 
.\nd  when  his  and  Clara's  engagement  was 
broken  she  said  that  she  loved  him  more  than 
any  man  she  had  ever  known  but  that  he  was 
too  temperamental. 

I  smiled  at  that,  remembering  how  he  used 
to  stalk  out  of  Williams  Hall. 

I  think  somebody  told  me  that  he  had  been 
let  out  at  Paramount  and  then  I  saw  that  he 
had  been  signed  by  United  Artists  to  play 
opposite  Norma  Talmadge  in  "Camille." 

And  since  that  time,  of  course,  the  spotlight 
of  publicity  has  been  thrown  on  Gilbert  Roland. 
He  played  with  Norma  in  "The  Dove"  and 
"The  Woman  Disputed."  He  went  to  Hono- 
lulu and  then  to  Paris. 

He  became,  so  I  heard,  a  suave  man  of  the 
world. 

I  also  heard  that  he  was  upstage.  I  gathered 
that  he  was  even  more  impossible  after  he 
signed  his  new  long  term  contract  and  was 
given  the  lead  in  Norma's  new  talkie,  after  the 
rumor  that  Eugene  O'Brien  was  to  do  it. 


I  was,  somehow,  afraid  to  meet  him.  I  had 
been  fond  of  the  boy.  I  felt  that  there  was  a 
real  artist  behind  the  moods  and  intensity. 
I  didn't  want  him  to  be  changed,  but  I  felt 
that  it  was  impossible  for  him  to  have  gone 
through  success  and  notoriety  and  gossip 
without  having  it  affect  him. 

His  press  agent  and  I  sat  in  Joe  Schenck's 
office. 

Gilbert  had  been  told  that  I  was  there.  He 
would  be  over  in  a  few  minutes. 

Pie  opened  the  door  and  stood  for  a  minute 
in  a  careless  brown  suit  and  a  dark  blue  shirt 
open  at  the  throat.  At  least  he  had  not  worn 
the  clothes  of  the  man  of  the  world  for  me. 

I  saw  that  he  had  changed,  of  course.  He 
was  five  years  older.  He  had  become  a  celeb- 
rity. He  was  more  poised,  naturally,  but  there 
was  a  certain  sadness  in  his  eyes,  a  certain 
trapped  bafflement. 

T_TE  had  changed,  but  he  had  not  become 
-'■  -•■conceited  and  impossible.  Except  for  the 
dignity  that  his  years  of  success  had  given  him 
he  was  the  Louis  Alonzo  I  had  known  at  the 
"san."  He  was  the  same  lad  who  had  sat 
before  the  fire  and  talked  and  played  bridge 
and  danced  when  he  shouldn't.  He  did  not 
try  to  impress  me  with  his  grandeur.  We 
were  still  friends.    It  was  just  the  same. 

He  walked  toward  me  with  outstretched 
hand. 

"  You're  looking  well, "  he  said. 

And  I,  with  the  key  to  the  password,  an- 
swered, "  You're  looking  well,  too,  Gilberi." 


Married  or  not,  Doug  Fairbanks,  Jr.,  and  Joan  Crawford  are  giving 
a  perfect  exhibition  of  a  bride  and  groom,  right  down  to  the  last 
spat  and  sequin.  It's  all  for  a  scene  in  Joan's  big  starring  picture 
for  M.-G.-M.,  "Our  Modern  Maidens."    P.  S.  Has  Doug  a  haircut, 

f'eaven's  sake? 


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How  They  Manage 
Their  Homes 

[  CONTINUED  FROM  PACE  36  ] 


How  about  its  human  rulers? 

Well,  Mary  picks  the  colors,  orders  the  re- 
decoration,  chooses  the  furniture,  but  every 
penny  of  Pickfair's  sizable  bills  is  paid  for  by 
Douglas  Fairbanks!  Not  a  cent  of  the  opulent 
Pickford  income  goes  toward  the  expenses  of 
the  menage. 

Doug  believes  that  it  is  not  only  the  duty 
but  the  privilege  of  the  master  of  a  household 
to  pay  its  running  expenses. 

Here  is  data  on  the  staff  of  servants  who 
keep  the  manor  going  smoothly  and  hospitably. 

A  T  the  head  of  the  staff  is  Albert,  major- 
■'  ^domo  extraordinary  and  head  of  the  house- 
hold. For  $300  a  month  he  supervises  the 
home,  Nvith  a  first  and  second  man  under  him 
at  S150  a  month  apiece. 

But  it  is  .-Vlbert's  great  joy  to  see  that  Doug 
is  ever  well  turned  out.  Albert  sees  to  the 
pressing  of  the  master's  immense  wardrobe — 
that  his  shoes  have  the  daily  shine  and  that 
no  fragmentary  socks  are  in  danger  of  being 
worn.  And  when  a  fancy  luncheon  is  ser\-ed 
at  the  studio,  Albert  takes  pride  in  seeing  that 
it  is  all  handled  in  the  height  of  good  taste. 

Over  the  kitchen  reigns  a  chef-cook.  Her 
salary  is  S200  a  month,  and  she  rules  the 
culinary  arrangements.  The  Fairbankses  have 
found  that  a  woman  buys  more  economically 
than  a  man,  and  can  be  had  for  about  $50  a 
month  less.  As  her  assistant  she  has  a  kitchen 
maid,  who  does  all  the  scullery  labor  and  cooks 
for  the  help. 

An  upstairs  maid  does  all  the  chamber  work, 
at  $90  a  month,  while  the  first  and  second 
man  look  after  downstairs.  They  also  clean, 
dust  and  tend  the  fires.  There  are  two  chauf- 
feurs, one  who  receives  $150  a  month  for  driv- 
ing and  $50  extra  for  operating  the  motion 
picture  projector.    The  other  receives  $150. 

Over  the  grounds  presides  the  head  gardener, 
at  a  salary  of  $200  a  month.  He  has  four 
helpers  at  $4.00  a  day,  but  only  on  fair  days. 
The  laundress  receives  $80  a  month,  and  does 
all  the  washing,  including  Mary's  personal 
things.  The  mistress'  maid  sees  to  most  of 
the  mending. 

Young  Mary's  governess  is  on  the  roster  at 
$80  a  month,  while  Miss  Pickford's  personal 
maid  receives  $125  a  month.  And  there  is 
one  watchman  at  $35  a  week  who  lives  out. 

Last,  but  far  from  least,  is  CharKe  Daugh- 
erty,  general  roustabout  and  handy  man. 

/^'HARLIE  came  with  the  property,  and 
'^-'seems  to  be  a  bargain  at  $35  a  week.  One 
of  his  chief  duties  is  to  go  to  Film  Row  and 
bring  out  the  pictures  that  arc  privately  shown 
at  Pickfair,  and  he  is  a  familiar  sight  chugging 
through  Hollywood  in  a  dilapidated  and  grunt- 
ing flivver.  Charlie,  in  short,  is  Lord  High 
Errand  Runner. 

Pickfair  can't  be  run  on  a  budget.  There 
are  too  many  unexpected  demands.  Any  min- 
ute a  duke  may  drop  in.  Green  stuffs  alone 
sometimes  cost  the  family  $14  a  day,  as  it  is 
difficult  to  grow  one's  own  things,  even  in 
California. 

One  of  the  first  things  Doug  did,  when 
Pickfair  was  purchased,  was  to  strike  for  water. 
His  brother,  Robert,  an  engineer,  supervised 
the  boring  of  a  fine,  deep  well.  Whatever 
happens  to  the  Beverly  Hills  water  supply, 
Pickfair  will  never  lack  for  a  good  cold  drink 
of  water. 

Pickfair  is  at  once  one  of  the  most  demo- 
cratic estates  in  the  world,  and  yet  one  whose 
charming  privacy  of  life  is  most  jealously 
guarded. 

Doug  believes  that  his  home  is  his  castle, 
in  the  good  old  English  tradition.  Tremen- 
dously friendly  and  hospitable,  he  still  feels  that 


133 


WHEN  THE 
KING   COMMANDS 


PROVOCATIVE  red  heels  in  a  than  in  the  land  of  castanets  and 

swirl  of  silken  skirts  .  .  .  lace  mantillas,  where  standards  of 

mantilla  enhancing  the  charm  of  feminine  beauty  are  so  high," 

coral  lips  and  starlit  eyes  .  .  .  and  _  .  ^ 

.1  .iL     1  •      5  1.  UemandTangeeloday!  One  lipstick  and 

then  ...  the  kmg  S  own  COmpll-  ^ouge  for  all  complexions.  On  sale  every- 

ments !  where.  Tangee  Lipstick  $1.  Tangee  Rouge 

This  was  the  triumph  of  our  own  ^?"P?'='  '^^^-  Tangee  Creme  Rouge  $1. 

A„      •  J  T-»      •      ivT-i  Also  Tangee  Face  Powder,  clinging,  frag- 

American  danseuse.  Dons  Niles,  „nt,  $1.  Tangee  Night  Cream  $1.  Tangee 

commanded  to  dance  before  King  Day  Cream  $1.  Twenty-five  cents  more 

Alfonso  of  Spain!  in  Canada. 

Such  conquests  do  not  depend  Beauty  ...  for  20  Cents! 

upon     skill     or     grace     alone.      Miss  Twenty  cems  bring,  y„u  the  miniature  Ta„g„  Beauty 

N*l  1  .  r    t  ^^*  —  i*l'  *i^  items  and  the  "Art  ofMake-lIn  "    AHHrt^o 

lies  makes  no  secret  of  her  re-  r>ept.  p.  p.  5,  The  ce„rge  w.  i:„ft  coX-y  iLT 

!•  rr,  ^  <•  1  417  Fifth  Avenue.  New  York. 

liance  upon  1  angee  to  perfect  the 

charm  of  her  personal  make-up.  ^°""' 

Says  she:   "Never  was  I  more  Addres, 

grateful  for  Tangee's  perfect  help 

/'  '«\  if  the  name  Tangee  iloea  not  appear 

on    the   package  it   is   not   Tange* 


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All  corrtlpondtnce  strictly  conjidentiat.    No  lahiman  will  tall. 


it  is  nobody's  business  the  color  of  the  sheets 
he  sleeps  between. 

For  this  reason  a  large  stone  wall  cuts 
Pickfair  from  the  bordering  roads. 

For  a  long  time  there  was  no  wall.  Rub- 
berneck busses  began  to  make  a  nuisance  of 
themselves,  and  Mary  and  Doug  didn't  dare 
show  their  heads  from  the  wdndows  of  their 
own  home. 

The  clima-^  came  when  a  hot-dog  vendor 
parked  his  wandering  kitchen  outside  the  es- 
tate and  all  day  long  sang  his  horrid  song. 
This,  at  last,  caused  Doug  to  bellow  for 
masons  and  plenty  of  stone. 

TNCIDENTALLY,  Doug  has  a  fine  collection 
-'-of  weapons,  and  of  all  of  them  his  favorite  is 
the  "burglar  gun." 

This  is  an  ugly  sawed-off  shotgun  with  a 
pistol  grip.  He  keeps  it  loaded  to  the  nozzle 
with  bolts,  nuts  and  other  assorted  ironware. 
With  Doug's  pet  persuader,  plus  several  alert 
dogs  and  an  armed  watchman,  an  intruder 
wouldn't  make  out  so  well  trespassing  on  the 
premises  of  Pickfair. 

One  of  the  prides  of  the  house,  by  the  way, 
is  the  snow-white  kitchen  and  its  richly  stocked 
pantries,  filled  to  the  brim  with  priceless  china- 
ware  and  sih'er  services. 

The  fact  that  Doug  and  Mary  entertain  so 
many  distinguished  foreigners — even  an  Eng- 
lish prince  of  the  Blood  Royal — is  due  to  the 
fact  that  some  almost  ask  to  be  invited. 

Prince  George,  for  instance,  is  at  Santa 
Barbara  with  his  ship.  A  mutual  miUionaire 
friend  of  that  place  rings  up  and  suggests  that 
the  Prince  be  invited.  Was  there  ever  a  better 
chance  to  be  gracious? 

Then,  too,  there  is  the  matter  of  reciprocity. 
Sir  Austen  and  Lady  Chamberlain  entertained 
Mr.  and  Mrs.  Douglas  Fairbanks  in  England. 
Surely  the  Chamberlains  are  to  be  entertained 
at  Pickfair  when  they  visit  CaUfornia! 

But  after  all,  those  who  are  oftenest  enter- 
tained at  Pickfair  are  relatives. 

The  house  is  always  full  of  sisters  and  broth- 
ers, aunts  and  uncles,  cousins  and  nieces.  Doug 
and  Mary  rarely  eat  a  meal  alone.  There  are, 
for  instance,  Doug's  brother  Robert,  with  his 
wife  and  children.  .And  Mary  has  plenty  on 
her  side,  and  never  forgets  one. 

Of  course,  both  Doug  and  Mary  are  always 
bringing  co-workers  home  from  the  studios. 

Of  their  motion  picture  friends,  only  a  few 
are  really  intimate — notably  Lillian  Gish  and 
Charlie  Chaplin.  On  formal  occasions,  the 
guest  list  is  generally  as  inclusive  as  possible. 

For  Prince  George  were  invited  Charlie 
Chaplin,  Jack  Gilbert,  Greta  Garbo,  Claire 
Windsor,  Irvin  Willat,  Lupe  Velez,  Bessie  Love, 
Mary  .^stor,  Kenneth  Hawks,  Dorothy  Gul- 
liver, Norma  Shearer,  Irving  Thalberg,  June 
Collier,  Ralph  Forbes,  Marie  Gray,  Ronald 
Colman,  Tom  Mi.x,  Ramon  Novarro,  Walter 
Byron,  John  Loder,  Jetta  Goudal  and  Lily 
Damita.  Only  a  possible  dozen  of  these  are 
frequent  guests.  On  the  other  hand,  nice  but 
comparati\'ely  obscure  people  are  always  to 
be  found  at  the  hospitable  board. 

Mary  is  a  fine  little  housekeeper  and  an 
incomparable  hostess. 

WHEN  she  is  giving  a  formal  party  she 
stays  home  and  runs  the  show  herself. 
Most  of  the  time,  however,  the  busy  couple  are 
at  the  studio  until  early  evening,  and  then 
Albert  has  full  sway  over  the  arrangements. 

Although  Mary  employed  an  art  decorator 
to  aid  in  doing  over  her  home,  she  weighed 
every  suggestion  herself  before  it  was  adopted. 
She  seems  to  have  an  intense  and  uncanny 
feehng  for  the  e.xact  color — both  for  draperies 
and  for  clothes.  Pickfair  is  really  a  monument 
to  her  taste.  And  you  should  see  the  Pickford 
attic!    It  is  a  fascinating  place. 

Besides  housing  discarded  things,it  contains 
many  furnishings  for  the  new  wing  of  the  house 
that  is  soon  to  be  built.  Discarded  things 
don't  linger  long,  however,  for  Doug  and  Mary 
each  have  three  beach  cottages  to  which  cast- 
offs  go  when  they  have  outlived  their  Pickfair 
usefulness. 


FRECkLES 


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the  lighter  ones  have  vanished  entirely. 
It  is  seldom  that  more  than  an  ounce  is 
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One  wistful  attic  treasure  is  the  suite  of 
furniture  Mary  bouglit  with  which  to  furnish 
a  new  home  for  her  mother.  She  thought  the 
home  Mrs.  Pickford  had  built  was  too  cheer- 
less. She  had  bought  things  to  duplicate  their 
old  home  in  Canada — but  alas,  they  arrived 
too  late! 

Social  hfe  at  Pickfair,  in  the  long  evenings, 
centers  in  the  big  18th  Century  living  room. 

There,  when  shadows  fall,  a  silver  screen  is 
thrown  across  one  end  of  the  room,  and  pic- 
tures are  shown.  The  house  is  now  wired  for 
sound  photoplays. 

Practically  all  the  pictures  turned  out  are 
shown,  sooner  or  later,  fetched  by  Charlie  in 
the  rattling  llivver.  The  servants  gather  quietly 
in  the  hallway  for  the  screenings,  and  Doug 
and  Mary  set  great  store  by  the  photoplay 
opinions  of  some  of  them. 

Other  entertainment  at  Pickfair  takes  many 
forms.  If  the  day  is  fine,  there  is  swimming. 
Doug  and  some  of  his  picture  friends  occasion- 
ally take  a  plunge  at  night. 

Then  there  are  many  games  ivith  odd  names, 
all  derived  from  cricket,  croquet  or  golf,  that 
are  played  on  the  front  lawn. 

Once  brisk  horseback  rides  began  the  Pick- 
fair  day,  but  recently  the  time  demands  of 
the  studio  have  almost  done  away  with  the 
equine  exercise.  Within  doors,  the  entertain- 
ment depends  largely  on  the  guests. 

TF  chums  like  Chaplin  or  Tom  Geraghty  drop 
-•■in,  there  may  just  be  long,  interesting  talks, 
as  between  old  and  valued  friends.  There  are 
store  games  to  play — or  charades  and  extem- 
poraneous debates  on  subjects  grave  or  gay. 
And  it  is  well  known  that  some  of  Chaplin's 
greatest  pantomime  has  been  seen  in  the  Uving 
room  at  Pickfair  before  his  best  friends.  He 
is  said  to  have  surpassed  himself  the  night  of 
the  dinner  for  Prince  George. 

Indoors  the  shaded  lights  play  upon  the 
happy  faces  and  the  beautiful  furnishings  of  a 
handsome  American  home. 

Outdoors,  in  the  darkness,  are  the  Pickfair 
dogs — "Robin  Hood,"  a  huge  St.  Bernard; 
"Zoro,"  "Bagdad,"  and  "Rooney,"  who  is 
just  plain  dog,  but  greatly  beloved. 

Night  falls  on  Pickfair,  and  all  is  well. 

Doug  and  Mary,  a  nice  American  married 
couple,  are  at  home! 


35 


?? 


STEP  ON  IT,  MOTHER  ► 


THIS  ISN  T  THE  POLKA 


99 


Watch  Your  Diet 


MODERNIZING  MOTHER  .  .  .  Epiiocie  Number  Four 


\  CONTINUED  FROM  PAGE  7,S  ] 

billboards  and  newspapers  flared  with  the 
slogan  "Have  you  had  your  iron  today?" 
People  were  assured  that  the  humble  raisin 
would  supply  this  necessary  mineral,  but  in 
order  to  get  enough  iron  from  that  source 
alone  one  would  have  to  eat  four  cups  of 
raisins. 

The  appended  mineral  content  table  will 
show  you  a  more  pleasant  way  to  get  the 
minerals  you  need. 

'X^ILK  contains  a  small,  though  important, 
•'■''•'•amount  of  iron,  but  the  fats,  sugars  and 
starches  possess  a  low  iron  content — another 
reason  why  vegetables  and  fruits  should  always 
have  a  prominent  place  in  the  daUy  diet. 

Though  ninety  per  cent  of  the  mineral  con- 
tent of  bone  is  calcium,  the  American  diet 
is  more  often  deficient  in  calcium  than  any 
other  mineral.  One  hundred  units  of  calcium 
a  day  are  essential  to  provide  a  margin  of 
safety. 

It  takes  fully  six  pounds  of  calcium  to  build 
the  body,  from  birth  until  adult  age. 

There  is  an  old  saying,  "For  every  child  a 
tooth."  This  merely  means  that  if  there  is 
not  enough  calcium  in  an  expectant  mother's 
diet,  she  will  draw  on  her  own  bones  and 
teeth  for  this  mineral  in  order  that  her  child 
may  be  properly  supplied.  This  is  one  of 
nature's  ways  of  fighting  what  often  develops 


THE  HAPPY  RHYTHM  of  her  youth,  the 
buoyancy,  sparkle  and  zest  of  all  her 
ways,  her  self-reliance  and  sanity  —  it 
is  these  charms  of  the  modern  daughter 
which  are  tempting  the  world  away 
from  old-fashioned  ideas  —  preaching 
the  new  thought  of  not  growing  old. 
In  a  gloomier  age,  women  were  re- 
signed to  drudgery.  Today,  young 
womanhood  does  not  permit  drudgery 
to  cloud  her  joy  of  living.  She  is  the 
champion  of  every  new  device  which 
adds  to  the  pleasure  and  ease  of  ex- 
istence. 

It  is  this  eagerness  of  youth  for 
something  better  which  has  won  for 
Modess,  in  so  short  a  time,  a  nation- 
wide popularity.  For  Modess  is  infi- 
nitely finer — more  comfortable,  safer. 

The  softness,  pliancy  and  gracious 
ease  of  Modess  are  due  to  the  remark- 


able new  substance  of  which  the  filler 
is  made.  This  filler  is  as  fluffy  and 
downy  as  cotton,  amazingly  absorbent 
and  instantly  disposable.  There  are  no 
square  edges  to  irritate — the  sides  are 
smoothly  rounded.  For  still  greater 
comfort,  the  gauze  is  cushioned  with  a 
film  of  cotton. 

Modess  is  made  in  one  size  only 
because  its  greater  efficiency  meets  all 
normal  requirements  without  readjust- 
ing size  of  pad.  A  box  lasts  longer. 

Modess  is  deodorizing.  Laboratory 
tests  prove  it  to  be  more  efficient  in 
tills  respea. 

You  are  sure  to  prefer  Modess  — 
every  woman  does.  Since  it  costs  no 
more — why  not  try  it .'' 

(J   NEW  BRUNSWICK.    (J     N   J.  U.  S  A. 
World's  largest  makers  of  surgical  dressings 


Modi 


CSS    ^ 


(Pronounced  Mo-dess') 


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Why  experiment  with  anything — even  on 
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into  a  tragic  battle,  one  of  the  war-scars  of 
which  is  softening  of  the  bones  and  teeth  in 
the  mother  when  the  ordeal  is  over. 

Calcium  is  not  needed  solely  for  bone  build- 
ing.   If  the  heart  is  to  act  and  the  blood  to 


coagulate  normally,  sufficient  calcium  must  be 
present. 

A  certain  young  starring  prospect  at  one 
of  the  big  studios  neglected  her  calcium  needs 
in  a  diet  which  she  designed  for  herself  for 


MINERAL  CONTENTS  TABLI 


Your  daily  diet  should 
Food 
Fruits 


contain  100  units  each  of  these  three  minerals. 
Serving  Calcium    Phosphorus     Iron 

Units         Units  Units 


Apple , 

Apricots , 

Banana 

Blackberries 

Currants  (dried).. 

Dates 

Figs  (dried) 

Grapefruit 

Grapes 

Huckleberries .  .  .  . 

Muskmelon 

Orange 

Peach 

Pear 

Pineapple  (fresh). 

Prunes , 

Raisins 

Raspberries 

Strawberries 

Rhubarb 

Tomato 


.  1  medium 1 . 

.  2  medium 3 . 

.  1  medium 1 . 

•  '/2  to  %cup 3. 

.  V4  cup 4. 

.4 3. 

.2  to  3 7. 

.  1/2  medium 4. 


...  2 

...  3 

...  3 

...  4 

...  6 

...  6 

...  6 

...  3 

.  1  large  bunch  (about  50) . .    3 2 2 

.V2to%cup 3 6 

.Vi  medium 2 1 1 

.1  medium 9 2 2 

.1  medium 3 2 2 

.  1  medium 2 2 2 

.'4  cup 4 4 6 

.4to6 3 3 7 

.>/4Cup 3 2 9 

.'/2to%cup 5 3 3 

■  Vi  to  2/3  cup 6 2 6 

.  Vj  to  %  cup  (cooked) 7 3 7 

.  1  medium 2 2 3 


VEGETABLES 

Asparagus 1  medium  serving 1 . 

Beets About  2  medium 4 . 

Cabbage Vi  to  %  cup 5 . 

Carrots 1  medium  large 9. 

Cauliflower 2/3  cup 4. 

Celery 3  stalks 6. 

Chard '/2  to  %  cup 1 . 

Corn 2  small  ears 1 . 

Cucumbers 6thinslices 1. 

Lettuce Vi  solid  head 5 . 

Onions 4  small 5 . 

Parsnips 1  medium  large 6. 

Peas '/2  to  %  cup 3 . 

Potato 1  medium 2 . 

Spinach Vi  to  %  cup 10. 


Squash  (winter) Vi  to  2/3  cup 3 2. 

String  beans V2  to  %  cup 4 2 . 

Sweet  potato 1  medium 2 3. 


.  5 
.  4 
.  6 
.  4 
.  3 
.  2 
.11 
.  4 
.  1 
.  8 
.  3 
.  3 
.  8 
.10 
.25 
.  4 
.  4 
.   3 


.14 
.    5 

.  2 
.  2 
.  2 
.  2 
.    2 

.   6 

.   8 


SEEDS,  CEREALS  and  BREADS 

Beans  (dried) Vi  cup  (cooked) 7 10.. . 

Bread  (graham) 1  slice 2 5 . . . 

Bread  (white) 1  slice 1 2... 

Cornmeal '4  to  1  cup  (cooked) 1 4 . . . 

Farina V2  to  ^4  cup  (cooked) 1 3. . . 

Macaroni '4  cup  (cooked) 1 3 . . . 

Rice  (white) Vi  to  %  cup  (cooked) 2. . . 

Rolled  oats  or  whole 

wheat  cereals V2  to  ^4  cup  (cooked) 2 7. . . 

Shredded  wheat 1 8 1... 

NUTS 

Almonds 15  nuts 5 6 4 

Peanuts 15  nuts 2 6 2 

Pecans 12  halves 2 4 2 

Walnuts 7  halves 2 4 2 

ANIMAL  FOODS 

Buttermilk 1  cup 40 19 4 

Cheese 1  inch  cube 30 12 2 

Cream  181/2% 1  cup 34 16 3 

Cream  40% 1  cup 30 14 3 

Egg 1 5 7 10 

Egg  white 1 1 

Egg  yolk 1 3 5 9 

Fish  (Halibut) 1  fairly  large  serving 2 20 8 

Meat  (medium  fat) 1  med.  serving 2 20 25 

Milk  (whole) 1  cup 40 17 4 

Milk  (whole) 1  quart 160 68 16 

Milk  (skimmed) 1  cup 40 18 4 

Oysters 5  to  7 5 8 20 

SWEETS 

Maple  syrup 2  tablespoons 5 7 

Molasses 2  tablespoons .10 1 17 


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cutting  down  her  weight.  In  a  month  or  so 
she  was  in  my  oflice  with  a  flare-up  of  an  old, 
chronic  tuberculosis  which  nature  had  arrested 
in  childhood.  She  told  me  that  her  dentist 
had  also  noticed  at  a  recent  examination  that 
her  teeth  were  much  softer  than  they  had  been 
six  months  before. 

She  was  a  young  thing  and  should  have 
been  taking  milk  and  vegetables  every  day. 

Meal  and  milled  cereal  products  are  poor 
in  calcium,  while  fruits  and  vegetables  are 
rich.  Milk  is  the  calcium  supply  parexcellence. 
Therefore,  milk  is  as  valuable  a  food  for 
adults  as  it  is  for  growing  children,  affording 
more  calcium  even  than  the  same  amount  of 
clear  lime  water.  A  quart  a  day  will  keep 
bone  disease  and  the  dentist  at  bay.  For  the 
plump  person  skimmed  milk  may  be  taken, 
since  cream  chietly  carries  the  milk  fat  and 
vitamines. 

The  phosphorous  content  of  the  daily  diet 
should  also  be  at  least  one  hundred  units, 
because  phosphorus  is  not  only  an  important 
constituent  of  the  body  fluids,  but  is  united 
with  the  protein,  fats  and  carbohydrates  of  the 
body.  It  is  an  important  component  of  that 
part  of  the  body  cell  which  permits  cell  multi- 
phcation  and  regeneration.  The  work  of  the 
various  glands  of  the  body  is  aided  by  phos- 
phorus. Eggs  and  milk  are  particularly  rich 
in  this  mineral. 

SODIUM,  potassium,  magnesium  and  chlorine 
are  seldom  dietetic  deficiencies.  The  meat 
and  plant  foods  assure  an  ample  supply  of 
magnesium.  Salt  furnishes  humans  with  an 
ample  supply  of  sodium  and  chlorine.  The  cor- 
rect normal  diet  should  include  about  a  fif- 
teenth of  an  ounce  of  salt  a  day. 

Iodine  is  chiefly  found  in  drinking  water, 
green  \'egetables  and  sea  foods,  but  cod  liver 
oil  contains  a  goodly  share  of  it. 

While  iodine's  complete  role  in  the  life 
drama  is  stiU  befogged,  we  do  know  that 
although  but  a  small  amount  is  necessary,  that 
infinitesimal  trace  is  none  the  less  essential. 
Without  iodine  the  thyroid  gland  (the  governor 
of  our  bodily  engine)  is  unable  to  function. 

The  soil  and  water  in  the  Great  Lakes 
region  and  about  Puget  Sound  is  so  deficient 
in  iodine  that  these  areas  are  termed  "goitre 
zones." 

Even  dogs  have  goitre  in  the  Great  Lakes 
region. 

One  could  not  be  a  movie  queen  with  a 
goitre.  Therefore,  swollen  necks  are  not 
common  sights  in  Hollywood. 

For  an  example  as  to  how  the  locality  in 
which  one  lives  has  to  do  with  the  production 
of  a  goitre,  the  case  of  the  wife  of  a  well- 
known  screen  editor  is  significant.  This  girl 
was  born  in  the  "goitre  zone"  and  when  she 
came  to  Hollywood  as  a  bride  three  years  ago 
her  goitre  was  quite  prominent.  California 
foods  caused  a  decrease  in  the  size  of  this 
sweUing  until  it  was  hardly  noticeable. 

Last  summer  she  paid  her  relatives  a  pro- 
longed visit  at  their  home  in  the  "goitre 
zone"  and  while  she  was  away  she  suffered  a 
recurrence. 

Now  that  she  has  been  back  in  Hollywood 
for  six  months  on  a  diet  rich  in  iodine  the 
goitre  has  grown  so  small  as  to  be  hardly 
noticeable. 

'  I  HIRTY  grains  of  sodium  iodide  taken  twice 
■*■  a  year  will  eliminate  iodine  lack  if  the  water 
and  vegetables  in  the  region  in  which  you  five 
are  deficient  in  iodine. 

Carrots  grown  in  California  have  been  found 
to  contain  170  parts  of  iodine  per  billion  parts 
of  dry  food,  while  carrots  grown  in  the  goitrous 
Oregon  area  contain  but  2.2  parts. 

Iodine  is  a  two-edged  sword,  however,  for 
lack  of  it  wfll  cause  the  slowing  down  of  the 
thyroid  gland  and  resulting  fatness,  whUe  an 
excessive  amount  may  speed  it  up,  resiUting 
in  thinness. 

Therefore,  rely  on  a  competent  physician  to 
determine  your  iodine  needs  rather  than  ex- 
periment. 

He  may  prescribe  iodized  salt! 


137 


Beauties  of  the  stage  and  screen  have 
for  many  years  been  users  of  Boncilla 
clasmic  pack.  Scores  of  them  send  us 
pictures  and  statements  for  use  in 
helpingothers.  They  make  no  charge. 


SALLY  PHIPPS,  youthful  Fox 
star,as  she  appears  in  the  leading 
role  of  "None  But  the  Brave" 


at  the  right  she  is  shown  applying 

Boncilla  clasmic  pack  —  the  first 

step  for  skin  radiance. 

Boncilla  First  T"*""^  "'''>°' ""',' '.°  '"''T 

beauty  is  their  stock  in  trade, 
apply  Boncilla  first.  The  wake-up — always  —  comes  be- 
fore the  make-up.  There  are  no  such  results  without  it. 

Beauty  for  You 


If  you  are  a  young  girl,  you  can  multiply 
your  beaury  in  this  way.  You  can  do  it  be- 
fore your  evening  appearance.  Your  friends 
will  be  amazed,  and  you  will  be  delighted. 
11  you  are  an  older  woman,  with  one  use  of 
Boncilla  you  may  seem  to  drop  ten  years.  You 
will  hardly  beUeve  the  change.  Why  should 
not  all  of  you,  whose  career  depends  largely 
on  beauty,  employ  this  utmost  aid?  Beauty 
experts,  the  world  over,saythat  must  be  done. 

Just  a  Few  Minutes 

Consider  tonight,  or  any  time  when  you 
wish  to  appear  at  your  best.  Apply  Boncilla 
to  the  face  and  neck.  At  once  you  will  feel 
it  draw  from  the  skin  much  that  should  not 
be  there. 

It  draws  out  the  dirt  and  grime,  the  dead 
skin  and  hardened  oil.  The  causes  of  black- 
heads and  blemishes. 

It  cleans  the  skin  to  the  depths,  and  that 
is  the  first  step  to  beauty. 

It  draws  the  blood  to  the  skin — the  only 
factor  which  can  nourish  and  revive  it. 


You  feel  all  this.  Then,  when  you  wash 
off  the  Boncilla,  you  see  a  rosy  glow,  a 
clear,  clean  skin,  a  soft  skin  and  an  animated 
look.  Then  use  what  make-up  you  desire. 
Nothing  can  excel  the  natural. 

Young  girls  will  amaze  themselves  and 
their  friends  by  this  simple  application.  With 
older  women,  little  lines  will  disappear. 
Wrinkles  will  be  combated,  enlarged  pores 
reduced.  Sagging  muscles  will  be  strength- 
ened. The  results  are  almost  unbelievable. 
One  glorious  evening,  after  the  use  of  Bon- 
cilla, will  forever  win  you  to  it. 

All  toilet  counters  supply  Boncilla  in 
tubes  or  jars — 50c  to  $3.50.  The  coupon, 
with  10  cents,  will  bring  you  a  one-week 
test.  That  means  a  Beauty  Box — Boncilla 
clasmic  pack  and  the  two  creams  and  the 
powder  which  go  with  it — lour  supreme 
beauty  helps.  11  you  wish  to  try  before  you 
buy,  clip  coupon  now.  Do  one  or  the  other 
in  justice  to  yourself. 


Professional  treatments 
in  smart  beauty  and 
barber  sloops 
everywh>ere  9 


I 


:.n 


4|iiiek  Beauty  Coupon 

BONCILLA — Indianapolis,  Indiana 

Send  me  your  four  quick  aids  to  beauty.    I  enclose 
a  dime. 


CLASMIC 
PACK 


Name. 


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How  to  have  Lovely, 
Lustrous  Ha.h''^ always/ 

Does  your  hair  ever  seem  dull  to  you— drab,  life  - 
less?  Have  you  not  wished  for  something  that 
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The  secret  lies  in  proper  shampooing!  Not  Just 
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If  you  really  wish  to  make  your  hair  bewitchlngly 
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specialist's  secret  in  its  formula.  At  your  dealers', 
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630  Rainier  Ave.,  Dept.  E   Seattle.  Wash. 


Please  send  a  free  sample. 


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Rid  yourself  definitely  of 
Pimples  ~  Blackheads —  En* 
larged  Pores  —  Oily  Skin  — 
Wrinkles — Tan  —  Freckles 
Unsightly  Blemishes 
^ithoutthe  use  of  clays, 
lotions,  creams,    pow- 
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Feminine  Daintiness 

The  Very   Foundation  of  ETCQuisite 
Daintiness  Can  Now  Be  a  Simple 
Part  of  Woman's  Everyday  Toilet 

Theconfidenceof  complete  cleanliness  comes  with  the 
practice  of  feminine  hygiene  in  a  safe  and  wholesome 
way.  The  users  of  Stirizol  are  enthusiastic  about  its 
soothing  and  healing  results. 

It  gives  a  dainty,  fresh  and  clean  feeling  at  once  and 
also  eliminates  body  odors  quickly. 

For  more  than  twenty  years  Stirizol  has  proved  its 
value.  It  soothes  and  refreshes  immediately,  is  ex- 
tremely effective  and  yet  not  poisonous.  The  Si-oo  jar 
of  Stirizol  Powder  will  make  many  quarts  of  solution. 

At  Your  Druggist's 
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The  Girl  From 
Woolworth's 


[  CONTINXIED  FROM  PAGE  47  ] 

That  night,  lounging  in  his  suite  at  an  ex- 
pensive hotel  on  the  Boulevard,  he  hit  upon 
an  idea.  He  would  waste  no  more  time  wait- 
ing for  someone  to  discover  him.  He  would 
discover  himself. 

He  seized  pencil  and  paper  and  made  a 
rough  outline  of  the  things  he  could  do.  Then 
he  spent  most  of  the  night  doping  out  scenes 
which  would  show  him  in  action.  Occasionally 
he  ceased  writing  and  stood  before  the  full 
length  mirror,  trying  out  certain  gestures  and 
expressions,  then  feverishly  jotting  them  down 
on  paper.  The  next  day  he  consulted  a  make- 
up expert  and  after  many  hours  before  the 
mirror  he  decided  that  the  right  side  of  Ms 
face  was  really  the  Barrymore  profile. 

T\  THEN  his  scenario  was  finally  completed 
^^  he  engaged  Art  Hall,  a  cameraman  who 
was  temporarily  out  of  a  job,  to  make  a 
thousand  foot  test. 

"Now  I  want  to  get  a  girl  to  play  opposite 
me,"  he  explained  to  the  cameraman.  "You 
see  I  shall  want  toshowhowgoodi  am  at  making 
love  as  well  as  my  action  stuff."  He  had 
spent  an  entire  afternoon  at  a  neighborhood 
theater  where  an  old  Barrymore  picture  was 
being  shown,  taking  notes  on  the  screen  lover's 
soul  kiss  technique. 

"Sure,  I  can  get  some  little  extra  girl  who'll 
be  tickled  pink  to  have  a  few  days'  work." 
Art  had  in  mind  a  girl  whom  he  personally 
considered  star  material. 

"No,  I  don't  want  an  extra  girl,"  Harold 
said  emphatically.  "She  would  be  sure  to 
think  that  she  knows  more  about  acting  than 
I  do  and  try  to  steal  my  stuff.  I  want  a  girl 
who  is  cute — but  not  too  cute.  A  dumb  one 
would  be  better  I  think — one  who  has  never 
even  been  before  the  camera.  You  see  she  is 
just  to  be  a  foil  for  me.  The  worse  she  is, 
the  better  I'll  show  up." 

"I  get  you,"  said  Art,  who  had  already 
classified  Harold  as  a  nut  but  he  had  had 
enough  experience  in  ycs-ing  to  agree  with  the 
man  who  is  to  sign  the  checks. 

For  several  days  Harold  and  the  cameraman 
inspected  hat  check  girls,  cigarette  girls,  wait- 
resses, manicurists  and  ushers;  but  they  were 
either  too  pretty  or  not  pretty  enough,  too 
upstage  or  too  eager.  The  most  promising 
prospect  was  a  young  waitress  whom  Harold 
had  noticed  at  the  cafe  where  he  ate  his  break- 
fast. 

He  watched  her  for  several  mornings  and 
finally  decided  that  she  would  be  all  right. 
But  when  he  explained  his  proposition  to  her 
she  shrugged  indifferently: 

"  CORRY,  big  fella,  you'll  have  to  drive  your 
'-^Rolls-Royce  up  another  street.  I  fell  for  one 
of  those  chance-of-a-lifetinie  gags  once  before. 
Now  I'm  playing  safe  and  staying  right  here 
in  this  hash  house  where  I  get  my  pay  regular 
and  don't  have  to  yes  anybody."  She  swished 
a  towel  over  her  shoulder  and  dumped  the 
soiled  dishes  on  a  tray. 

Harold  looked  at  Art  who  was  busy  lighting 
a  cigarette.  "These  Hollywood  girls  are  cer- 
tainly fresh,"  he  remarked  as  he  picked  up 
the  check,  tempted  not  to  leave  a  tip  for  the 
girl. 

"How  about  trying  the  five  and  ten?"  The 
cameraman  suggested  when  they  reached  the 
street.  "That's  practically  virgin  territory. 
Of  course  they  haven't  so  much  class  but 
De  Mille  discovered  a  girl  there  once." 

"That's  an  idea,"  agreed  Harold.  "The 
important  thing  is  to  find  a  girl  who'll  ap- 
preciate the  chance  I'm  giving  her  and  who 
\TOn't  imagine  that  she's  doing  me  a  favor  by 
playing  opposite  me." 

It  was  at  the  notion  counter  that  they  found 


C 


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Jennie,  a  little  wisp  of  a  girl  with  narrow, 
birdlil<e  shoulders  and  enormous  eyes  that 
were  lil^e  dark  pools  set  in  a  pale,  heart-shaped 
face. 

Harold  nudged  the  cameraman.  Art  had 
already  seen  the  girl  but  he  was  diplomatic 
enough  to  let  Harold  think  he  had  seen  her 
first.  They  leaned  against  the  opposite  counter 
and  held  a  whispered  conversation. 

"She'd  be  sort  of  cute  if  she  had  on  some 
decent  clothes."  Harold  watched  Jennie  out 
of  the  corner  of  his  eye.  "What  do  you  think 
of  her?" 

"Oh,  I  guess  she's  all  right  if  you  want  that 
t>T3e,"  said  Art  non-committally.  He  knew 
exactly  how  the  camera  would  pick  up  those 
dark  eyes  but  he  thought  it  was  just  as  well 
not  to  mention  this  to  Harold. 

"Maybe  I  ought  to  get  a  girl  with  more  se.x 
appeal." 

"Oh,  I  don't  know  about  that.  An  anaemic 
looking  girl  like  this  one  would  sort  of  em- 
phasize   your    own    \-irility — know    what    I 


"I_J.\ROLD  agreed  that  this  was  true.  He 
■^  -'-approached  Jennie  and  asked  for  a  paper  of 
pins. 

"What  kind?"  she  asked  in  a  timid,  little 
girl  voice. 

"Er — safety  pins."  He  tugged  at  his  tie 
self-consciously. 

Jennie  put  the  pins  in  a  little  paper  bag 
and  Harold  handed  her  a  dollar  bill.  He 
waited  until  she  brought  the  change  before 
speaking. 

"Ever  done  any  picture  work?"  he  asked 
casually,  trying  to  act  like  a  producer. 

She  looked  up  at  him,  startled. 

"No,  sir.  I  never  have."  A  pink  flush  had 
crept  into  her  pale  cheeks.  "I've  never  even 
been  inside  a  studio — " 

Perfect,  thought  Harold.  He  leaned  across 
the  counter. 

"How  would  you  like  to  play  in  a  picture — 
with  me?" 

The  dark  eyes  widened.  "Me?"  She  gave  a 
nervous  httle  laugh.     "You're  kidding." 

"No,  I'm  not,"  he  said  seriously.  "How 
much  do  you  make  here?" 

"Why — I  make  fourteen  dollars — " 

"How  would  you  like  to  make  ten  dollars 
a  day  for  se\-eral  days'  work?" 

Jennie  looked  at  him  mth  sudden  suspicion, 
as  though  uncertain  whether  she  ought  to  call 
the  floor  manager  or  not. 

"Oh,  it's  a  perfectly  legitimate  proposition," 
Harold  hastened  to  reassure  her.  "You  see 
I'm  making  a  picture — starring  myself."  He 
added  the  last  importantly.  "I  could  use  a 
little  girl  like  you  to  play  opposite  me." 

CHE  stared  at  him  \\  ith  unbeUe\-ing  eyes,  her 
^fingers  nervously  twisting  a  little  skein  of  em- 
broidery thread  in  the  box  beneath  her  hand. 
If  he  had  said  "Here,  little  girl,  is  a  million 
dollars.  W'ould  you  like  to  have  it?"  she 
could  not  have  been  more  startled. 

"But  I  don't  know  anything  about  acting," 
she  conlided  wide-eyed.  "Wouldn't  I  have  to 
learn  that  first?" 

Harold  noticed  that  she  was  almost  pretty 
when  her  eyes  lighted  as  they  did  now. 

"Oh,  the  acting  will  be  easy.  I  can  teach 
you  that  in  no  time—" 

"Can  \-ou?"  she  asked  naively.  A  wistful 
little  smile  cur\ed  the  bowed  mouth  on  which 
there  was  no  sign  of  lipstick.  "I  guess  acting 
would  be  a  lot  nicer  than  working  here,  stand- 
ing on  my  feet  all  day.  Some  days  I  get  so 
tired — " 

"Well,  of  course,  you  don't  want  to  get  the 
idea  that  I'm  going  to  star  you  or  anything 
Ukethat." 

Harold  decided  that  she  ought  to  understand 
the  situation  right  at  the  start.  No  use  getting 
her  hopes  up. 

"  It'll  only  be  a  few  days'  work." 

She  nodded  that  she  understood. 

"Better  not  give  up  your  job,"  he  cautioned. 
"Just  ask  them  to  let  you  off  for  a  week." 

Jennie  was  thoughtful,  apparently  weighing 


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140 


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a  few   days 
drabness. 

"Say,  it'd  be  great  if  we  could  get  a  shot 
of  you  leaning  across  the  counter  that  way, 
propositioning  the  kid,"  suggested  -\rt  who  had 
come  into  the  scene.  "It'd  be  good  human 
interest  stuff." 

Harold  had  not  included  anything  lilce  this 
in  his  scenario,  but  since  the  test  was  to  show 
him  running  the  gamut  of  human  emotions 
perhaps  the  suggestion  was  a  good  one. 

"\  coupla  baby  spots  and  Crecos  and  a 
nigger  is  all  we'd  need,"  continued  Art.  "I 
guess  the  manager'd  let  us  shoot  it  after  hours 
— if  you  e.xplained  to  him  who  you  are." 

"yHIS  decided  Harold.  He  consulted  the 
■'-  manager  at  once  with  the  result  that  that 
evening,  after  the  store  was  closed,  the  open- 
ing scene  in  the  super-test  was  shot. 

While  Art  set  up  the  camera  and  placed 
the  lights  Harold  gave  Jennie  her  first  lesson 
in  acting. 

"Now  all  you  have  to  do  is  just  be  yourself. 
Forget  that  you're  trying  to  act.  Look  up  at 
me  hke  I  was  a  customer  and  when  I  ask  for  a 
paper  of  pins  you  hand  them  to  me,  like  you 
did  this  morning.  Then  I'll  smile  at  you — see 
— and  when  you  give  me  the  change  I'll 
catch  hold  of  your  hand." 

Acting  certainly  sounded  simple  the  way 
Harold  explained  it.  "Now  we'll  just  walk 
through  the  scene  first  to  be  sure  you've  got 
it  right." 


Jennie  caught  on  quickly.  The  wide-eyed, 
adoring  way  in  which  she  looked  up  at  him 
as  he  leaned  over  the  counter,  Harold  declared 
to  be  perfect. 

"."Vli  set,  .Art.  Shoot!"  ordered  Harold,  and 
the  cameraman  ground  out  thirty  feet  of  film. 

The  next  day  the  robin's  egg  blue  roadster 
conveyed  the  trio  to  the  beach  and  Harold,  in 
abbreviated  bathing  trunks,  dived  off  the 
Venice  Pier  to  rescue  a  very  frightened  Jennie 
who  was  supposedly  going  down  for  the  last 
time. 

This  ga\'e  him  a  chance  to  use  the  fancy 
dive  which  the  lifeguard  had  taught  him  and 
the  overhand  stroke  as  he  swam  to  shore. 

The  camera  then  picked  him  up  as  he 
staggered  up  on  the  beach,  very  much  out  of 
breath,  with  Jennie  in  his  arms.  He  placed 
her  on  the  sand  and  knelt  over  her,  carefully 
turning  the  right  side  of  his  face  to  the  camera. 

"Be  sure  to  get  my  prolile  in  this.  Art," 
he  called  over  his  shoulder. 

"The  poor  sap,"  .A.rt  said  under  his  breath 
as  he  looked  into  the  eye  of  the  camera  and 
shot  the  scene  so  that  the  profile  did  not  en- 
tirely obscure  Jennie's  upturned  flower-like 
face. 

T_TAROLD'S  scenario  did  not  call  for  con- 
-'•  ■'-tinuity  of  action  nor  for  consistency  of 
characterization.  It  had  been  fashioned  solely 
for  the  purpose  of  showing  how  versatile  he 
was. 

And  so  the  following  day,  looking  like  one 


Talking  Pictures  have  to  do  the  craziest  things!  Here's  a  sound- 
proof camera  booth  raised  on  stilts  to  get  smart  camera  angles  for 
"The  Cocoanuts,"  the  Marx  Brothers  talkie  being  filmed  at  the 
Paramount  eastern  studio.  If  anyone  says  this  dialogue  will  sound 
stilted  he  will  get  a  hand-grenade,  C.  O.  D.,   by  the  next   mail 


Brery  sdvertlsement  In  PHOTOPLAY  MAGAZINE  Is  guarajiteed- 


Photoplay  Magazine — Advertising  Section 


141 


of  the  Alger  boys,  in  chaps,  spurs,  and  a  Tom 
Mix  hat,  he  did  some  western  riding  in 
Griffith  Parle. 

"Now  in  this  scene,"  he  explained,  "I'm 
the  bold,  bad  man  of  the  mesa.  I  make  love 
to  Jennie  who  is  just  a  poor  httle  ranch  girl. 
I  foil  a  lot  of  evil  cowboys  and  then  I  ride 
away.  We'U  put  in  a  title  something  like 
'Love  'cm  and  leave  'cm.'" 

HAROLD  decided  that  it  was  unnecessary 
to  rehearse  the  scene.  No  acting  was  re- 
quired from  Jennie.  All  she  had  to  do  was  to 
stand  by  a  tree  and  watch  Harold.  Everything 
went  well  until  he  jumped  on  the  horse  to  ride 
away.  Then  he  made  the  mistake  of  digging 
it  with  the  spurs  and  the  horse  gave  a  sudden 
leap  which  almost  sent  Harold  flying  over  its 
head. 

He  saved  himself  in  time,  but  he  lost  his  ten 
gallon  hat  in  the  effort,  which  of  course  was  a 
little  bit  out  of  character. 

"Better  cut  out  the  last  few  feet  of  that," 
he  said  to  Art  later. 

"O.K."  The  cameraman  managed  to  hold  a 
poker  face  until  Harold's  back  was  turned. 

But  the  next  day  when  the  actor  appeared 
in  the  costume  of  a  sheik,  Art  could  restrain 
himself  no  longer. 

"What  do  you  think  you  are — the  ghost  of 
Valentino?" 

Harold  ignored  this  wisecrack  from  Art. 
"I  thought  a  desert  sequence  would  be  sort 
of  sexy,"  he  replied  seriously. 

"Oh,  sure.  Desert  stuff's  always  hot." 
Then  he  added:  "You've  certainly  got  a  flair 
for  production  values.  You  ought  to  go  in  for 
the  writing  end  as  well  as  the  acting." 

Harold  answered  that  he  had  already 
thought  of  that. 

With  great  difficulty  Art  managed  to  keep 
a  straight  face  while  Harold  portrayed  a 
Boston  boy's  conception  of  a  sheik,  kidnaping 
Jennie  and  carrying  her  off  to  his  desert  lair. 

As  the  test  progressed  Harold  strongly  sus- 
pected that  Jennie  had  fallen  hard  for  him. 

"I  think  you're  just  wonderful,  Mr.  Flower," 
she  would  say  when  they  had  completed  a 
scene,  looking  up  at  him  in  that  wide-eyed 
adoring  way  which  of  course  only  added  to 
his  own  conviction  that  he  was  good. 

He  thought  it  kinder,  however,  not  to  en- 
courage Jennie  and  at  all  times  he  made  it 
very  plain  that  his  interest  in  her  was  purely 
impersonal. 

It  was  ail  right  for  Art,  who  was  only  a 
cameraman,  to  kid  Jennie  and  lead  her  on,  but 
Harold  could  not  afford  to  have  any  complica- 
tions. 

He  had  his  career  to  think  of  and  it  did  not 
include  Jennie. 

After  the  desert  scene  came  a  Spanish 
sequence  with  Harold  slimly  elegant  as  a 
toreador,  doing  a  hot  Spanish  tango — or  at 
least  that  was  what  he  called  it;  then  an 
underworld  sequence  in  which  he  rescued 
Jennie,  a  little  gun  moll,  from  a  band  of 
gangsters;  and,  lastly,  the  moonlit  garden 
scene  where  love  and  virtue  triumphed. 

Through  a  friend  of  his  father  who  did  not 
know  how  Mr.  Flower  felt  on  the  subject  of 
his  screen  career,  Harold  secured  permission 
to  use  the  gardens  of  a  beautiful  Beverly  Hills 
estate. 

Art  found  a  rotund  violinist  who  was  willing 
to  furnish  sob  music  for  the  scene  for  three 
dollars. 

CINDERELLA  at  the  ball  must  have 
looked  very  much  Uke  Jennie  in  her  gay 
little  evening  frock  as  she  melted  into  Harold's 
arms,  gazing  up  at  him  starry-eyed.  They 
were  standing  by  a  lily  pond  where  their  sil- 
houettes had  been  caught  in  the  water. 

"It's  been  wonderful,  Mr.  Flower,"  she  had 
said  before  they  started  the  scene.     "I  just 

love  being  an  actress "     A  little   wistful 

smile  curved  her  lips.  "I  guess  I'll  remember 
this — always." 

It  made  Harold  feel  very  philanthropic  that 
he  had  been  able  to  bring  a  little  sunshine  into 
Jennie's  drab  Ufe.     Tomorrow  she  would  go 


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142  Photoplay  Magazine — Advertising  Section 

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defects,  such  as  pimples,  liver  spots,  tan.  freckles  and  largo 
pores  have  disappeared.  Skin  is  beautifully  clear,  soft  and 
vclvely,  and  faro  looks  years  yountccr.  Mercolized  Wax 
brings  out  tlie  hidden  beauty.  To  quickly  remove  wrink- 
les and  other  age  lines^  use  this  face  lotion:  1  oudco  pow- 
dered 6axolite  and  1  half  pint  witch  hazel.     At  Drug  Stores. 


A  SILK  SPANISH  SHAWL] 

Exquisitely  embroidered 
crepe  de   chine  .  .  .  looks  far 

more  expensive  than  H  Is  .  <  .  all  Col- 
ors, Black,  Peach.  Coral,  Whito, Rose, 
etc.  Silk  fringes  all  around,  »ize, 
50x50.  Specially  priced  at  $7.95. 
others  up  to  $22.50.  Rehearsal  Romp 
ers.  Opera  Length  Hoso,  Trunks,  Dane- 
Ing  Belts,  etc. 

Write  lor  Illustrated  booklet. 

Palais  Royal  Shop  "3^v°  eft?" 


-  -  ^^  Hake  moner  takfnir  Dlctam.  Pboto< 

I      ^t*n  .  nllT  Erraoha   in   big   demand.   Commcricol 

Ip3l'  ^rtKIIUI  Photuin'aphy  also  pays  biR  money. 
mjt'  i<Af  Ullr  III  Learn  quickly  at  home  ID  apare  time. 
^■lATMl  llf  HI  I'  No  experience  necespary.  Write  today 
n|ll|IUUI*'r  ^a '"""■"  (reo  book.  Opporlunaia  in 
VnUi^Z.¥  linlllB  "'■"'<■'■"  Pliol„«raplt,i.  American 
ill"  or  IIUI**^  SchoolofPhotoeraphy.Dept.      1255 

■'  e'  I*  3601  Michigan  Ave.,  Chicago. 


back  to  the  five-and-ten  to  sell  notions.  No 
wonder  that  tears  were  trembling  on  her  long 
lashes. 

Sometime,  he  decided,  when  he  was  an  estab- 
lished star  and  able  to  choose  his  own  cast,  he 
would  gi\-e  Jennie  some  extra  work. 

The  rotund  violinist  began  to  sway  to  the 
strains  o£  Harold's  request  number,  "Hearts 
atid  Flowers."    Art  was  to  direct  the  scene. 

""NTOW  remember,  Jennie,"  he  began  grind- 
■'■^ing  the  camera,  "he's  your  sweetheart. 
He's  going  away — out  of  your  life.  Maybe 
you'll  never  see  him  again.  You're  heart- 
broken. You  don't  want  to  go  back  to  the 
notion  counter.  Your  arms  go  about  his  neck. 
You  cUng  on  to  him — beg  him  not  to  leave 
you " 

Jennie's  arms  went  about  Harold's  neck. 
Great  tears  rolled  down  her  cheeks  as  she 
clung  on  to  him,  imploring  him  with  little 
broken  phrases  not  to  leave  her.  She  made 
it  seem  so  real  that  it  was  a  moment  before 
Harold  realized  that  Jennie  was  completely 
obscuring  his  profile.  She  was  behaving  as  if 
she  had  forgotten  all  about  the  camera,  steal- 
ing the  scene  completely,  and  was  too  dumb 
to  know  she  was  doing  it.  What  did  Art  mean 
giving  her  a  break  like  that?  He  had  suspected 
him  once  before,  in  the  desert  stuff,  and  had 
spoken  to  him  about  it.  But  now  he  couldn't 
stop  him  because  they  were  at  the  end  of  the 
film. 

One  thing  he  could  do,  however.  He 
could  get  Jennie's  back  to  the  camera.  His 
full  face  was  not  so  good  but  it  would  be 
better  to  sacrifice  his  profile  than  to  let  Jennie 
hog  the  scene  the  way  she  was  doing.  He 
tried  to  recall  just  what  Barrymore's  action 
had  been  in  a  similar  scene. 

He  got  a  strangle  hold  on  Jennie,  swung  her 
halfway  round,  bent  her  back,  then  leaned  over 
and  gave  her  the  Barrymore  kiss.  It  lasted  for 
several  feet.  He  felt  Jennie  wilt  in  his  arms. 

The  test  was  finished.  Jennie's  flash  of 
glory  had  ended.    Harold's  had  just  begun. 

The  film  went  to  the  laboratory.  Harold 
went  to  Del  Monte  for  a  few  days'  rest  after 
his  strenuous  acti\ities.  He  wanted  to  be  in 
condition  to  give  his  all,  once  the  starring 
contract  was  signed. 

Two  weeks  later  the  agent  whom  he  had 
engaged  to  manage  him  was  conducting  a 
high-powered  sales  campaign  in  behalf  of  his 
new  client. 

"I  tell  you  this  boy's  got  everything,"  the 
agent  enthused  to  Moe  Stern,  of  the  Parado.x 
Pictures,  who  had  finally  consented  to  look  at 
the  test. 

"He  looks  good,  he  dresses  well,  he  can  ride, 
swim,  dive,  dance  and  what's  more — the  boy 
can  act.    I  tell  you,  Moe,  he's  a  find." 

"Well,  let's  have  a  look,"  said  the  skeptical 
Mr.  Stern  who  had  heard  this  line  from  agents 
so  many  times  that  it  failed  to  impress  him. 

THE  test  with  credit  titles  saying  that  it 
had  been  produced  by  Harold  Flower  and 
that  it  starred  Harold  Flower  flickered  across 
the  screen  in  the  studio  projection.  They  saw 
Harold  propositioning  Jennie.  Harold  rescu- 
ing Jennie  from  a  watery  grave.  Harold,  the 
bad  man  of  the  mesa.  Harold  the  sheik,  the 
toreador,  the  hero. 

"Well,  what  did  I  tell  you?"  said  the  en- 
thusiastic agent  when  the  film  had  reached 
its  fadeout.    "Ain't  he  great?" 

For  a  moment  there  was  silence  while  the 
agent  waited  breathlessly  for  the  producer  to 
commit  himself. 

"Who's  the  girl?"  finally  asked  Mr.  Stern. 

"Oh,  she's  nobody.  Just  a  httle  kid  from 
the  ten-cent  store — never  been  before  the 
camera  before.  But  the  boy — I  ask  you,  Moe, 
ain't  he  a  knockout?" 

"The  boy?"  asked  the  producer  a  little 
vaguely  as  though  he  had  not  noticed  the 
boy  at  all,  "Oh,  there  are  dozens  like  him.  But 
that  girl — she's  different.  She's  got  some- 
thing. 

"Actually,  she  wrung  my  heart  in  that  last 
scene. 


"  From  the  ten  cent  store  you  say?  Get  her 
in  here.  I'm  going  to  sign  her  up.  She'll  be 
a  star  overnight." 

The  agent  went  down  for  the  count. 

It  was  with  difficulty  that  he  later  attempted 
to  explain  to  a  dazed  and  unbelieving  Harold 
the  peculiarities  of  the  motion  picture  business. 

"Jennie!"  gasped  Harold.  His  self-con- 
fidence had  taken  its  first  nose  dive.  "But  I 
taught  her  all  she  knows.  She  would  never 
have  had  a  chance  if  it  hadn't  been  for  me. 
Why  I — diseoverrd  her!" 

"You  did,  huh?"  This  gave  the  shrewd 
agent  a  new  slant  on  the  matter.  "Then  I'll 
tell  you  what  we'll  do.  Get  her  in  here  right 
away  and  we'll  put  her  under  a  long  term  con- 
tract. 

"Then,  you  see,  they'll  have  to  deal  through 
you." 

Harold  stared  at  him  a  little  blankly.  His 
one  track  mind  was  still  trying  to  grasp  what 
had  actually  happened. 

"CAY,  you  wouldn't  be  the  first  guy  to  cash 
'^in  on  the  drawing  power  of  some  girl's  soul- 
ful eyes,"  continued  the  agent  who  had  misin- 
terpreted Harold's  silence.  "The  gag  is  to 
catch  'em  young,  keep  'em  cute  and  tell  'em 
nothing." 

He  reached  for  the  telephone.  "What's  her 
number?" 

But  it  was  too  late. 

At  that  moment,  at  a  well  known  chicken 
dinner  palace,  Jennie  and  the  poker-faced 
cameraman  were  celebrating  the  signing  of  her 
contract  with  Paradox  Pictures. 

Harold  would  scarcely  have  recognized  the 
Jennie  who  was  leaning  over  the  table,  talking 
excitedly. 

It  was  a  Jennie  rouged  and  lip-sticked,  with  a 
short  skirt  that  just  missed  covering  a  very  nice 
pair  of  knees,  and  a  pert  little  red  hat  drawn 
over  her  dark  hair. 

"And  I  owe  it  all  to  you.  Art,"  she  gave 
him  that  same  wistful  little  smile  which  had 
wrung  Moe  Stern's  heart. 

"That  certainly  was  a  wonderful  hunch  you 
had,  putting  me  in  as  a  salesgirl  at  the  five-and- 
ten. 

"Honestly,  I  never  thought  I  could  get  away 
with  it." 

"Well,  it  only  goes  to  prove  that  behind 
every  successful  girl  in  Hollywood,  there's  a 
man." 

Art  turned  to  see  if  anyone  was  looking  and 
then  gave  her  a  quick  kiss.  "You  might  have 
gone  on  being  an  extra  girl  all  your  life  if  the 
Boston  Flower  hadn't  engaged  me  as  a  camera- 
man." 

At  the  mention  of  Harold  they  both  burst 
into  convulsive  laughter. 

"It  was  certainly  a  break  for  you  to  have 
Harold  teach  you  how  to  act,"  kidded  Art. 

"But  I  think  it  was  that  anaemic  makeup 
you  figured  out  that  really  got  me  the  job." 
Jennie  made  a  little  wry  face  at  the  memory 
of  it. 

"Why  it  almost  made  me  feel  sick  and  under- 
fed." 

"You  looked  good  to  me,  even  with  the 
makeup."  He  patted  her  hand  and  managed 
to  steal  another  kiss  while  the  waiter's  back 
was  turned. 

"They're  going  to  call  me  'Gcnee,'"  Jennie 
babbled  on  excitedly,  "and  they're  going  to 
star  me  in  the  very  first  picture." 

"Yeah?" 

It  was  obvious  that  Art  was  just  as  thrilled 
about  it  as  she  was. 

"And  guess  what  they're  going  to  call  it — 
'The  GM  from  Wootworth's.'  " 

A  WEEK  later  a  very  inconspicuous  news 
item  appeared  in  the  society  column  of  a 
Boston  paper.    It  read: 

Mr.  Harold  Flower  has  returned 
to  his  home  on  Beacon  Hill  after 
an  extended  sojourn  in  Hollywood, 
California.  Young  Mr.  Flower 
will  soon  enter  upon  his  duties  at 
the  Mayflower  Bank  as  assistant 
to  his  father. 


Everj  advertisement  In  THOTOPLAT  MAGAZINE  la  guaranteed. 


Photoplay  Magazine — Advertising  Section 


U3 


Brief  Reviews  of 
Current  Pictures 

[  CONTINUED  FROM  PAGE  16  ] 

-Excellent. — Too    little    of    the 


INSPIRATION- 

titlerole.  {Dec.) 

A        INTERFERENCE- 

acted  and  well  spoken — yes 


Paramount. — Drama  and 
it's  a  talkie.  (Dec.) 


INTO  NO  MAN*S  LAND— Excellent.— An  un- 
usually dull  war  picture.  (Dec.) 

•      IRON  MASK.  THE— United  Artists.— Dour 
Fairbanks   goes   back  to  D'Arlagnan — hurraj! 
Action  and  more  action.    A  good  evening.    (Feb,) 

JAZZ  AGE.  THE— FBC— Flaming  youth  and 
mostly  a  bad  imitation  of  "Our  Dancing  Daughters." 
{Feb.) 

JAZZLAND — Quality. — If  you  can  guess  what  this 
is  all  about,  you  ought  to  get  a  prize.     (March.) 

•  JEANNE  D'ARC— Societe  Generate  de  Films. 
— A  rarely  fine  artistic  achievement  and  a 
significant  picture.  You  may  not  see  it  at  >'our  local 
theater  but  you  will  feel  its  influence  in  future  films. 
(Feb.) 

JUST  OFF  BROADWAY— Chesterfield— Boot- 
legging, serious  drinking,  gunfire  and  pure  night-club 
girls  in  an  impossible  hodge-podge.    (April.) 

KID'S  CLEVER.  THE— Universal.— But  the  fUm 
isn't.     (November.) 

KING  COWBOY— FBO.— Please,  Mr.  Mix,  don't 
do  anything  like  this  again!     (Jan.) 

KING  OF  THE  RODEO— Universal.— Hoot  Gib- 
son's best  contribution  to  Art  in  a  long  time.     (Jan.) 

LADY  OF  CHANCE.  A— Metro-Goldwyn-Mayer. 
— Norma  Shearer  in  a  drama  of  a  gold-digger  who 
reforms,     if  they  only  would  in  real  Ufe!     (Feb.) 

LADY  OF  THE  PAVEMENTS  —  United  Artists. 
— In  which  the  vivid  Lupc  Velez  runs  away  with  a 
Griffith  picture.     (Feb.) 

LAST  WARNING,  THE— Universal.— Muddled 
mystery  with  no  plot  but  a  lot  of  fancy  sets  and 
fancier  photography.      (Feb.) 

LEATHERNECK.  THE— Pathe.— Good  silent 
film  crippled  with  some  talk.  Bill  Boyd,  Alan  Hale 
and  Co. ..fine  in  Marine  yarn.     (April.) 

LEGEND     OF     GOSTA     BERLING.     THE— 

Swedish  Biograph. — European  film  with  Greta 
Garbn,  proving  that  Holh-wood  changed  an  ugly 
duckling  into  a  swan.      (Jan.) 

LIGHTNING  SPEED— FBC— Adventures  of  a 
newspaper  reporter — as  the  movies  see  'em.       (Nov.) 

LINDA — Mrs.  Wallace  Reid  Production. — Maud- 
lin sentimentality.     (Feb.) 

LION'S  ROAR.  THE— Educational.- A  Sennett 
comedy  with  all  the  incidental  noises.     (Feb.) 

LITTLE  SAVAGE.  THE— FBC— A  Western  that 
is  saved  by  some  good  human  interest  touches. 
(March.) 


-Warners. — Nothing 
(November.) 

-Quality. — Not  worth 


LITTLE  WILDCAT,  THE- 

to  shoot  up  the  blood  pressure. 

LOOKOUT  GIRL,   THE- 

your  valuable  time.    (Feb.) 

LOOPING  THE  LOOP— UFA-Paramount— For- 
eign drama  of  circus  life,  with  an  old  theme  but  with 
some  good  continental  atmosphere — if  that's  wliat 
you're  looking  for.     (March.) 

LOVE    IN    THE    DESERT— FBC— Smart    and 

funny  version  of  the  good  old  hot-sand  stuff,  with 
Olive  Burden,  Hugh  Trevor,  Noah  Beery.    (April.) 

LUCKY  BOY— TifFany-Stahl.- In  which  George 
J'-ssel  does  a  Jolson  and  goes  in  for  tear-jerking, 
bilent,  with  lapses  into  sound  and  singing.     (March.) 

MADELON— Universal.— A  talkie — so  bad  that 
it  should  be  a  museum  piece.     (November.) 

MAKING  THE  GRADE— Fox— An  excellent 
movietone,  based  on  a  George  Ade  story.  (Dec.) 

MAKING  THE  VARSITY— Excellent.— Anyway. 
it  took  ingenuity  to  turn  a  football  game  into  a  ser- 
mon.    (Jan.) 

•     MANHATTAN   COCKTAIL— Paramount — 
A  story  of  life  in  New  York's  theatrical  circles 
— told  with  a  kick.      (Dec.) 

MANHATTAN  KNIGHTS— Excellent.— Crooks, 
a  plot  with  whiskers  but  plenty  of  action.     (March.) 

MAN  HIGHER  UP,  THE— Three  reel  talker,  with 
Robert  Edeson  and  Hobart  Bosworth  in  fine  voice- 
Heavy  drammer.    (.Ipril.) 

MAN  IN  HOBBLES,  THE— TifFany-Stahl — 
What  "in-laws"  can  do  to  an  ambitious  artist.  Good 
comedy.     (Dec.) 


GIRLS 

,.    Do  Well  in 


lO  you  like  to  draw?  Develop  your  talent, 
make  the  most  of  your  natural  ability !  Get 
into  Commercial  Art, — a  field  where  youth  is  an 
asset,  not  a  handicap,  and  where  you  are  paid  as 
muck  as  a  man  of  equal  ability. 

Federal  Students  Are  Successful 

Many  Federal  Students — girls  as  well  as  men — 
are  making  $2,000,  $4,000,  $5,000,  and  $6,000 
yearly — some  much  more.  Art  is  a  vital  part  of 
modern  business  —  millions  of  dollars  are  paid 
yearly  for  illustrations  and  designs. 

Learn  at  Home  in  Spare  Time 

Why  spend  your  time  en  wearisome  routine  work  that  gets 
Many  Federal  Students  have  quickly  doubled 
and  tripled  their  former  incomes.  The  thorough  Federal  Course 
prepares  you  quickly.  It  contains  lessons  by  many  leading 
artists.     You  are  given  personal  criticisms  on  your  lessons. 

Test  Your  Art  Ability  Free 

Test  your  natural  sense  of  design,  proportion,  color,  per- 
spective, etc.     Find  out  how  much  talent  you  have — send 
today  for  Art  Questionnaire.    We  will  also  send 
you  our  book,  "Your  Future,"  explaining  the 
course  in  detail. 


/"Commercial  Deaiimnf 

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MINNEAPOLIS,  MINN. 


When  you  write  to  advertisers  please  mention  pnoTOPLAY  MAGAZINE. 


144 


Photoplay  Magazine — Advertising  Section 


TWIN  POOLS 
o/^  LOVELINESS 


K.ATHER1NE 

Mac  DONALD'S 

Lash  Cosmetic 

will  make  your 

eyes  twin  pools 

of  loveliness — 

and  absolutely 

without  hint 

of  artificiality. 

It  makes  the 

lashes   seem 

long  and  luxuriant  —  gives 

glamorous  depths  to  the  eyes. 

Katherine  MacDonald's  Lash 
Cosmetic  is  waterproof,  yet 
easy  to  remove  when  you 
wish.  New.  Liquid. 

At  most  toilet  goods  counters 
or  $1  direct  to  Katherine 
MacDonald  at  Hollywood. 

KATIHEIIIINE  NAcDOf^ALID'S 
f^        LASH 
T       COSMETIC 


KAIHEO  BEAUTV  PRDBtCTS 
tlOLLYWOOD 


tWATERPAOOF) 


Many  Weddings  in  Sight 

When  some 
girls  are  already 
thinking  of  the 
wedding  ring 
their  health 
fails,  they  be- 
come nervous, 
high-strung,  ir- 
ritable, and 
through  this 
loss  of  control 
many  a  young 
woman  loses 
her  future  hap- 
piness. As  a 
tonic  ac  this 
time,  and  in 
motherhood  or  in  middle  life,  there  is  nothing  to 
equal  Dr.  Pierce's  Favorite  Prescription. 

If  you  are  troubled,  by  writing  you  can  receive 
good  confidential  medical  advice  by  return  mail, 
free  of  all  expense.      Address: 

DR.  PIERCE'S  CLINIC,  Buffalo,  N.  Y. 


DEVELOP  YOUR  FORM! 


LA  BEAUTE  CREME 

for  Improvamant  of  nock,  faco,  arm*,  log*. 
undevolopod  parts 

Used  with  £rciit  ^iic.t'^s  hy  thounandi.  In- 
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rcHuits  or  money  rctiindrd.  Full  nttrticiil»iri 
arid  proof  (scaled)  (rco.  WriUs  for  opcciul 
offer  TODAY. 


DO   YOU   REALLY   KNOW   WHAT   HAPPENS 


Amazing,  slartllnc  FACTS  that  Science  has  actually 
disrnvered  and  PROVEN  about  AFTER-DEATH  and 
LOVED    ONES    Eone    BEYOND    sent    for    10c    in    stamps. 

Pioneer  Press,  Dept.  140,  Hollywood,  Calif. 


MAN  OF  PEACE,  A—Warners.— The  Vitaphone 
picks  up  the  Ozark  drawl.  Too  bad  that  Hobart 
Bosworlh's  first  talkie  had  to  be  something  like  this. 
{Jan.) 

MAN'S  MAN,  A— Metro-Goldwyn-Mayer.  — 
Lively  satire  of  Hollywood  life  as  it  isn't.  But  funny. 
{Feb.) 

MARCHING  ON— Fox.— Chic  Sale  in  a  char- 
acter study  of  a  Civil  War  veteran.  Tears  and 
laughter.    It's  a  Movietone.  (Dec.) 

MARKED  MONEY— Pathe.— Pleasant  comedy 
with  human  interest.     {Dec.) 

MARQUIS  PREFERRED  —  Paramount.— Light, 
sophisticated  and  amusing  Menjou  comedy.     {Feb.) 

MASKS  OF  THE  DEVIL— Metro-Goldwyn- 
Mayer. — John  Gilbert  is  great  in  a  weird  and  sinister 
story.     {Dec.) 

MATA  HARI:  THE  RED  DANCER— National 
Big  Three  Production. — German  importation  that 
relates,  in  a  confused  fashion,  some  of  the  exploits  of 
the  notorious  spy.     {Feb.) 

•  ME,  GANGSTER— Fox.— Sentimental,  melo- 
dramatic and  yet  completely  absorbing. 
Introducing  an  unusual  newcomer,  one  Don  Terr>', 
whose  performance  is  worth  seeing.     (November.) 

MORGAN'S  LAST  RAID  —  Metro-Goldwyn- 
Mayer. — An  old-time  melodrama  made  passable  by 
modern  embellishments.     (November.) 

•  MOTHER  KNOWS  BEST— Fox.— Edna  Fer- 
ber's  story  of  a  stage  mother  whose  dominating, 
relentless  ambition  for  her  daughter  sends  the  girl  to 
fame.  A  remarkable  performance  by  Madge  Bellamy 
and  great  acting  by  Louise  Dresser  and  Barry 
Norton.      { November.) 

MOULIN  ROUGE— World  Wide  Pictures.— Paris 
boulevard  piece  made  in  Paris  and  London  by  A.  E. 
Dupont,  with  a  Russian  star.  Mile.  Chekova.  (April.) 

MUST  WE  MARRY?— Trinity.— Must  we  make 
pictures  like  this?  ( Dec.) 

•     MY  MAN — Warners. — A  chance  to  hear  Fan- 
nie Brice  sing  all  her  best  songs.    Not  much  on 
story  but  a  good  Vitaphone  novelty.     (March.) 

NAPOLEON'S  BARBER  —  Fox  Movietone.  — 
Historical  drama  with  chin  chatter.  Cheer  up,  there's 
only  two  reels  of  it.     (Jan.) 

NAUGHTY  BABY— First  National.— Bad  Alice 
White  I  Naughty  Jack  Mulhall!  Mean  producers! 
Why  make  us  suffer  through  a  stupid  evening?   (Jan.) 

NAUGHTY  DUCHESS,  THE— Tiflfany-Stahl  — 
Lame  effort  at  sophisticated  farce.     (Feb.)  ' 

NED  McCOBB'S  DAUGHTER— Pathe.— Plenty 

of  action  plus  sound  drama  plus  fine  acting.    (Dec.) 

NIGHT  BIRD,  THE  —  Universal.  —  Reginald 
Denny  goes  back  to  the  prize-ring,  where  he  is  at  his 
best.     {November.) 

NOISY  NEIGHBORS  - 

trite  melodrama.     {Feb.) 

NOTHING  TO  WEAR— Columbia.— Light  but 
entertaining  farce  that  isn't  hard  to  watch.    (March.) 

OBJECT,  ALIMONY— Columbia.— He  done  right 
by  our  Nell,  the  little  shop-girl,  but  it  all  made  a  trite 
and  feeble  picture.    (April.) 

OFFICE  SCANDAL,  THE— Pathe.— Very  funny 
comedy  of  newspaper  hfe.     (Feb.) 

ONE  MAN  DOG.  THE— F  BO.— Exhibiting  the 
more  than  Hollywood  intelligence  of  Ranger.     (Feb.) 

•  ON  TRIAL — Warners. — Vitaphone  version  of 
a  drama  that  will  hold  you  spell-bound.  Also 
the  return  of  Pauline  Frederick  as  a  talkie  star. 
Recommended.     {Jan.) 

•     OUTCAST- First  National.— Corinne  Griffith 
is  excellent  in  a  daring,  well  directed  and  inter- 
esting drama.    Send  the  children  to  a  Western.  (Jan.) 

OUTLAWED— FBO.— Not  so  hot,  Mr.  Mix,  not 
so  hot!     (March.) 

OUT  WITH  THE  TIDE— Fearless.— Great  hand- 
fuls  of  melodrama.     (November.) 

PACE  THAT  KILLS.  THE— True  Life.— One  of 
those  propaganda  films — aimed  at  the  dope  evil.  And 
dull.     {Feb.) 

•     PAGAN,  THE— Beautifully  made  South  Sea 
romance,  with  fine  work  by  Ramon  Novarro, 
Renee  Adoree  and  others.    See  it.    (April.) 

PHIPPS — Metro-Goldwyn-Mayer. — A  short  talkie 
sketch  that  you'll  forget  before  you  leave  the  theater. 
iFeb.y 

PLASTERED  IN  PARIS— Fox.— Pretty  tire- 
some.    (Dec.) 

PORT  OF  DREAMS— Universal.— Proving  that 
you  can't  make  a  "7th  Heaven"  just  by  slowing  down 
the  scenes.    This  one  is  full  of  yawns.     (November.) 


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Photoplay  Magazine — Advertising  Section 


POWER  OF  THE  PRESS,  THE— Columbia.— 

Good    slant    on    newspaper    atmosphere.      With,    of 
course,  the  usual  heroic  "cub"  reporter.     (Jan.) 

PREP  AND  PEP— Fox.— Good  boys"  story  of  life 
in  a  military  academy.     {March.) 

PRICE  OF  FEAR.  THE— Universal.— Something 
to  avoid.     (Dec.) 

QUEEN  OF  BURLESOUE—Tiffany-Stahl.— Belle 
Bennett  breaks  her  lieart  again  in  a  story  of  show 
folks.     (Jan.) 

RAINBOW,  THE— Tiff^y-Stahl.— Good  melo- 
drama of  a  fake  gold  rush.     (Feb.) 

REDEEMING  SIN,  THE  —  Warners.  —  Latin 
Quarter  atmosphere  mingled  with  religious  hysteria. 
The  story  is  improbable  but  the  picture  has  a  certain 
pull.     (March.) 

RED  MARK.  THE— Pathe.— Depressing  business 
in  a  tror>ical  penal  institution.  Some  people  have  an 
odd  idea  of  fun.     (Jan.) 

REDSKIN  —  Paramount.  —  Richard  Dix  scores 
again  in  a  magnificent  color  picture  of  an  Indian  love 
story  that  will  delight  >t)ur  eye.     (Feb.) 

RED  SWORD.  THE— FBC— Rough  old  Russia 
befi)re  the  Revolution,  with  a  big  chance  for  our  old 
pal  Carmel  Myers.    (April.) 

•     RED    WINE— Fox.— Delightful     and     subtle 
comedy  of  a  Perfect  Husband  on  the  loose.    A 
treat.      (Jan.) 

•  RESCUE,  THE  — Goldwyn-United  Artists- 
Ronald  Col  man  at  his  best.  But  an  unsatisfac- 
tory .debut  for  the  charming  Lily  Damita.  Too  much 
Conrad  plot  but  good  atmosphere  and  detail.  (March.) 


'45 


Just  a  very 


RESTLESS  YOUTH— Columbia, 
old — and  ver\'  cheap — story.      {Feb.) 

RETRIBUTION— Warners.— Vitaphone  with  a 
bad  script  but  our  old  friend,  Henry  B.  Walthall, 
registers  neatly.    (Dec.) 

RILEY  OF  RAINBOW  DIVISION— Anchor — 

Trivial  comedy  of  the  training  camps.  {Dec.) 

RILEY  THE  COP— Fox.— J.  Farrell  MacDonald's 
work  is  the  best  thing  in  a  not  too  interesting  picture. 
(Jan.) 

•  RIVER,  THE— Fox.— An  unusual  and  daring 
story,  well  played  by  Charles  Farrell  and  Mary 
Duncan.  A  drama  that  is  not  for  the  children. 
(.March.) 

ROMANCE  OF  A  ROGUE,  THE— Carlos- 
Soggy.     (November.) 

•  ROMANCE  OF  THE  UNDERWORLD— 
Fox. — Thanks  to  a  sure-fire  story,  neat  di- 
rection and  good  acting,  this  film  is  one  of  the  best  of 
its  kind.      {Jan.) 

ROUGH  RIDIN'  RED— FBC— Buzz  Bartons 
red  hair  triumphs  over  cinematic  slush.    (November.) 

RUNAWAY  GIRLS— Columbia.— Stuffy  melo- 
drama with  a  moral.    (Dec.) 

SAL  OF  SINGAPORE— P.ithe.— Phyllis  Haver 
as  a  bad  girl  who  is  reformed  by  a  little  che-ild. 
Salty  and  picturesque  background.  (Dec.) 

SATANESOUE— Sparta.— An  American  film,  but 
European  in  treatment,  with  its  story  of  class  con- 
flict in  romance.     (March.) 

•  SCARLET  SEAS— First  National.— Hard- 
boiled  stor\-  of  a  tougli  skipper  and  his  gal.  who 
manage  to  get  religion  witliout  spoiling  the  picture. 
Good  work  by  Richard  Barthelmess  and  Betty  Comp- 
son.      (Jan.) 

SEVEN  FOOTPRINTS  TO  SATAN  —  First 
National. — I  love  the  title,  d(^n't  you?  But  un- 
fortunately it's  just  a  hodgepodge  mystery  story. 
(Feb.) 

SEX  LIFE  OF  THE  POLYP- Fox-Movietone.— 
Gorgeous  satire  on  a  scientific  lecture,  by  old  Profes- 
sor Robert  Benchley.     (November.) 

SHADY  LADY,  THE— Pathe.- Good  acting, 
some  mystery  and  sharp  comedy.     (Feb.) 

SHAKEDOWN,  THE— Universal.— Another  yarn 
about  a  good  bad-man.    Fairenougli.     (Jan.) 

SHIPS  OF  THE  NIGHT— Rayart.— South  Sea 

life  seen  by  someone  never  off  Main  Street.    Just  too 
kiddish  for  anything,    {.{pril.) 

SHOPWORN  ANGEL,  THE— Paramount —War- 
time love  story  of  a  naughty  chorus  girl  and  an  inno- 
cent boy.     Witli  real  drama  and  heart  interest.  (Feb.) 

SHOULD    A    GIRL    MARRY?— Rayart.-Pre- 

senting  the  sad  problems  of  a  gal  with  a  past.  (Dec.) 

SHOW  FOLKS— Pathe.— Just  an  obvious  story  of 
theatrical  people  and  tlieir  struggles.     (November.) 

SHOW  GIRL — First  National. — It  misses  the 
piquant  charm  of  the  book  but  still  it  is  an  above-the- 
average  comedy.     (November.) 

SILENT  SENTINEL,  THE— Chesterfield.  —  A 

crook  drama,  of  all  oddities!     (Feb.) 

SILENT  SHELDON— Rayart.— Pleasant  sort  of 
Western.     (Jan.) 


Simple  Now  to  Rid  Arms 
and  Legs  of  Hair 

Without  Bristly  Re-Growth 


An  Utterly  New  Discovery  That 
Not   Only  Removes  Hair  In- 
stantly But  Delays  Its  Reap- 
pearance Remarkably 

A  new  way  of  removing  arm  and  leg 
hair  has  been  found  that  not  only  re- 
moves every  vestige  of  hair  instantly, 
but  that  banishes  the  stimulated  hair 
grovvtli  thousands  of  women  are  charg- 
ing to  less  modern  ways.  A  way  that 
not  only  removes  hair,  but  delays  its 
reappearance  amazingly. 

It  is  changing  previous  conceptions  of 
cosmeticians  about  hair  removing. 
Women  are  flocking  to  its  use.  The 
discovery  of  R.  C.  Lawry,  noted  beauty 
scientist,  it  is  different  from  any  other 
hair  remover  known. 

WHAT  IT  IS 

It  is  an  exquisite  toilet  creme,  resem- 
bling a  superior  beauty  clay  in  texture. 
You  simply  spread  it  on  where  hair  is 
to  be  removed.  Then  rinse  off  with 
water. 

That  is  all.   Every  vestige  of  hair  is 


Eiicu  by  ricnning  onc'.\  hand  across  the   skin, 
absolutely  no  stubble  can  be  fell  this  new  way. 


Neet 


Cream 

Hair     Remover 


There  is  true  feminine  allure  in  satin-smooth 
arms — hair-free  as  a  child's. 


gone ;  so  completely  that  even  by  run- 
ning your  hand  across  the  skin  not  the 
slightest  trace  of  stubble  can  be  felt. 

And — the  reappearance  of  that  hair  is 
delayed  surprisingly! 

When  re-growth  finally  does  come,  it 
is  utterly  unlike  the  re-growth  follow- 
ing old  wa^^s.  You  can  feel  the  differ- 
ence. No  sharp  stubble.  No  coarsened 
growth. 

The  skin,  too,  is  left  soft  as  a  child's. 
No  skin  roughness,  no  enlarged  pores. 
You  feel  freer  than  probably  ever  be- 
fore in  your  life  of  annoying  hair  growth. 

WHERE  TO  OBTAIN 

It  is  called  Neet — a  preparation  long 
on  the  market,  but  recently  changed 
in  compounding  to  embody  the  new 
Lawry  discovery. 

It  is  on  sale  at  practically  all  drug  and 
department  stores  and  in  beauty  parlors. 
In  both  $1  and  60c  sizes.  The  $1  size 
contains  3  times  the  quantity  of  the 
60c  size. 


WANTED  — Men  and  Women 

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Current  Opportunlty  Magazine  SewslVw" 

Sample  copy  sent  on  request. 
Address:  Dept.  PM5,   750  No.  Michigan  Ave.,  Chicago 


When  you  write  to  advertisers   please  mention  PHOTOPLAY   M.^GAZINE. 


Photoplay  Magazine — Adveutising  Section 


Universal  Picture  Star  O.  K.  's 

^'Hair  Groom'' 

"Whether  in  chaps  or  full  dress,"  says  the 
dashing  Hoot  Gibson,  "a  neat  head  of  hair 
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"Hair  Groom"  comes  in  two  forms — 
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SINGAPORE   MUTINY.   THE— FBO.— Life  in 

coal  hole  of  a  ship — if  Ihal's  what  interests  you.    (.Dec.) 

SINNERS  IN  LOVE— FBO.— Little  gal  alone  in 
a  big  city.  Where  have  you  heard  that  before? 
{November.) 

SINNERS'  PARADE — Columbia. — The  ritzy  side 
of  the  underworld  with  a  snappy  plot.      (Jan.) 

•  SINS  OF  THE  FATHERS  — Paramount  — 
Emil  Jannings  in  a  tragedy  of  Prohibition.  ^Not 
on,-  of  his  great  pictures — but  nevertheless  eminently 
worth  your  while.     (Jan.) 

SIOUX  BLOOD — Motro-Goldwyn-Mayer.  —  In- 
dian whoopee  that  might  have  been  filmed  in  1910. 
(Jax.) 

SISTERS  OF  EVE — Rayart. — Mystery  story  of 
a  missing  millionaire  who  is  not  missed  by  his  hard- 
hearted bride.     Fair  enough.     {November.) 

SKY  SKIDDER,  THE— Universal.— They  are 
aviators  now.  instead  of  cowboys.  .\nd  the  thrills  are 
new.     {March.) 

SMALL  TOWN  SINNERS— Hugo  Brahn.  — 
German  fiUum,  with  most  of  the  action  in  a  barroom. 
{feb.) 

SMOKE  BELLEW— Big  Four.— Conway  Tearle 
returns  in  an  Alaskan  yarn.  Some  splendid  blizzards. 
{November.) 

SOMEONE  TO  LOVE— Paramount.— "Buddy " 

Rogers  and  Mary   Brian  in  a  thoroughly  agreeable 
picture.     {Jan.) 

SOMME,  THE — New  Era. — Made  in  Britain.  A 
grim  presentation  of  the  Somme  campaign  of  1915. 
{Feb.) 

SON  OF  THE  GOLDEN  WEST— FBO.— Tom 
Mix  has  changed  his  studio  but  not  the  plot  of  his 
pictures.     {November.) 

SOUTH  OF  PANAMA— Chesterfield. — You've 
guessed  it.  It's  all  about  love  and  revolution  in  a 
Latin  republic.     (Jan.) 

SPEED  CLASSIC,  THE— Excellent.— An  auto- 
moljile  racing  picture — and  just  like  all  the  others. 
{Feb.) 

SPIELER,  THE— Pathe.— Carnival  life,  as  it 
really  is.  .^nd  Renee  Adoree  knows  her  atmosphere. 
A  good  show.    {Dec.) 

SPITE  MARRIAGE— Metro-Goldwyn-Mayer.  — 
One  of  the  best  that  Buster  Keaton  has  made, 
with  Dorothy  Sebastian  excellent.  Don't  miss. 
(.\pr,t.) 

SPIES  —  UFA. — Metro-Goldwyn-Mayer. —  Dull 
storv  made  only  slightly  less  dull  by  fantastic, 
Germanic  treatment.      (Dec.) 

SQUARE  SHOULDERS— Pathe— A  story  of 
father  love,  with  Louis  Wulhcim  as  the  hard-boiled 
dad.     {March.) 

STICK     TO     YOUR     STORY— Rayart.— Fun 

among  the  reporters.  My,  what  a  life — and  what  a 
picture  I     (Dec.) 


STOLEN    LOVE— FBO.— A    quickie 
show  down  the  street.  (Dec.) 


Try    the 
■Gang  melodrama. 


The  Form— 

Developed  Quickly 

This  Beautiful  Woman  Says: 

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STOOL  PIGEON — Columbia. 
(Feb.) 

STRANGE  CARGO— Pathe.— Another  all-talking 
mystery,  this  time  on  board  a  yacht, with  an  all-stage 
cast.    (.April.) 

STREET  OF  ILLUSION— Columbia.— Back- 
stage story  and  an  interesting  defense  of  the  Thespian 
ego.     (Dec.) 

STRIVING  FOR  FORTUNE  —  Excellent. — 
Doitj-  woik  in  the  ship-yards.     (November.) 

W  STRONG  BOY — Fox. — Victor  McLaglen  in  a 
"T"  rattling  good  comedy  drama,  with  the  star  as 
head  man  of  the  baggage  smashers.    (.April.) 

SUBMARINE— Columbia.— A  great  thriller,  with 
a  fine  situation  and  some  spectacular  scenes,  almost 
spoiled  by  unimaginative  handling.  Worth  seeing, 
nevertheless.     (November.) 

SUNSET  PASS— Paramount.— Jack  Holt  in  one 
of  the  best  Westerns  in  months,  .'^nd  Jack  s  a  sheriff. 
Dearie  me  I     (.April.) 

SWEET  SIXTEEN— Rayart.— Mild  but  fairly 
pleasing  story  of  a  modern  girl.  (Dec.) 

SYNTHETIC  SIN  —  First  National.  —  Colleen 
Moore  goes  through  her  usual  antics — but  the  story  is 
missing.     (Feb.) 

TAKE  ME  HOME— Paramount.— Bebe  Daniels 
in  a  natural  comedy  of  back-stage  life.     (November.) 

THAT  PARTY  IN  PERSON— Paramount. — A 
talkie  with  Eddie  Cantor,  the  only  logical  contender 
for  Al  jolson's  crown.    Come  again,  Eddie.     (Feb.) 

THREE  PASSIONS,  THE— United  Artists.— 
Rex  Ingram  produces  an  old-fashioned  story  of 
English  high  Hfc.  with  Alice  Terry  still  an  ice  cake. 
(April.) 

THREE  WEEK-ENDS— Paramount.— It  has 
Clara  Bow,  but  that's  about  all  you  can  say  for  it. 
I  (Feb.) 


THROUGH      THE      BREAKERS— Gotham.— 

South  Sea  Island  story — and  a  really  good  one.  (Dec.) 

TIDE  OF  EMPIRE — Metro-Goldwyn-Mayer. — 
Standard  pattern  story  of  Gold  Rush  but  acted  and 
directed  with  a  verve  that  puts  it  over.     (Dec.) 

TIMES  SQUARE- Gotham. — Arthur  Lubin  im- 
itates Al  Jolson  and  so  invites  the  inevitable  odious 
comparisons.     (November.) 

TRACKED— FBO. — Ranger,  the  dog,  in  a  picture 
that  is  better  than  most  human  efforts.     (Feb.) 

TRUE  HEAVEN — Fox. — A  poky  story  of  love  in 
the  secret  service,  with  Lois  Moran  and  big  George 
O'Brien.     {.\pnl.) 

TROPICAL  NIGHTS  —  Tiffany-Stahl.  —  South 
Sea  Island  story  with  an  original  twist  to  the  plot. 
(March.) 

TROPIC  MADNESS— FBO.— Turbulent  melo- 
drama of  England  and  the  South  Seas.     (March.) 

TYRANT  OF  RED  GULCH— FBO.— Not  a 

Western,  in  spite  of  the  title.    Just  a  badly  bent  story. 
(Feb.) 

UNDER  THE  SOUTHERN  CROSS— Universal. 
— The  natives  of  New  Zealand  are  the  actors  in  tins 
picture.  It's  different  and  it  has  primitive  charm. 
(March.) 

UNEASY  MONEY— Fox-Europa.— German  pic- 
ture, well  directed,  well  acted  and  original  in  theme. 
(Feb.) 

VEILED  WOMAN,  THE— Fox.— Hollywood's 
foreign  legion  in  a  not  bad.  not  good,  story.     (Feb.) 

VIKING,  THE  —  Technicolor-M.-G.-M.  —  How 
Lief  the  Lucky  discovered  .\mcrica,  told  in  color  and 
with  plenty  of  whiskers.      (Jan.) 

VIRGIN  LIPS — Columbia. — Respectable,  in  spite 
of  the  title  and  some  dangerous  costumes  worn  by 
Olive  Borden.     (November.) 

WAGES  OF  CONSCIENCE— Superlative.— But 
where  was  the  conscience  of  the  producer  of  such  a 
picture?     (Feb.) 

•  WATERFRONT— First  National.— Jack  Mul- 
hall  proves  that  he  can  be  attractive  even  with 
a  dirty  face.  And  he  is  again  aided  by  Dorothy 
Mackaill.     A  comedy  with  originality.   (November.) 

WATER  HOLE,  THE— Paramount. — De  Luxe 
Zane  Gra>'  Western  that  marks  the  return  of  Jack 
Holt.     (November.) 

•    WEARY   RIVER— First   National. —  Barthel- 
mess'  first  talkie,  with  the  star  as  a  reformed 
convict.    A  popular  sensation.    (.April.) 

WEDDING  MARCH,  THE— Paramount.— Von 
Stroheim's  romance  of  old  Vienna,  messed  up  with 
some  repellant  scenes  and  characters.  Some  good 
moments,  but,  as  a  whole,  a  waste  of  time,  money  and 
talent.     (November.) 

WEST  OF  ZANZIBAR — Metro-Goldwyn-Mayer. 
— Lon  Chancy  goes  cripple  again.  So  does  the  plot. 
(November.) 

WHAT  A  NIGHT! — Paramount. — Bebe  Daniels 
in  a  gaggy — and  gaga — newspaper  story.     (Feb.) 

W  WHY  BE  GOOD? — First  National. — Colleen 
"T"  Moore  at  her  naughtiest  and  nicest.  Peppy  and 
entertaining.    (.Apnl.) 

WILD  BLOOD— Universal. — Rex,  the  wonder 
horse,  gets  a  rough  deal  in  a  particularly  childish 
Western.    (April.) 

•  WILD  ORCHIDS— Metro-Goldwyn-Mayer. 
— Greta  Garbo  and  Nils  Asther  in  a  story  that 
proves  that  tropical  heat  melts  all  conventions.  The 
scene  is  Java — the  details  are  superb — and  the  picture 
is  a  riot  for  audiences.     (March.) 

WIN  THAT  GIRL — Fox.— With  Sue  Carol  and 
Dave  Rollins.  Otherwise  nothing  to  recommend  it. 
(November.) 

WOLF  OF  WALL  STREET,  THE— Paramount. 

Whether  vou  liave  won  or  lost  money  in  Wall  Stn  et, 

or  haven't  plaved  the  stock  market  at  all,  George 
Bancroft  and  Baclanova  will  give  you  one  of  the  most 
entertaining  talkies  so  far  made.    A  delightful  eve-  ■ 
ning.     (Feb.) 

WOLF  SONG — Paramount.— Mountains,  trees 
and  some  good  singing  by  Lupe  Velez.  But  not  such 
a  good  break  for  Gary  Cooper.     (March.) 

WOLVES  OF  THE  CITY— Universal.— Action 
thriller,  with  Bill  Cody  saving  Sally  Blanc  from  tlie 
rascally  ransom-crooks.     (.A  pril.) 

•  WOMAN  OF  AFFAIRS,  A— Metrc-GoldwT';- 
Maver.— Greta  Garbo  and  John  Gilbert  in 
what  is  none  other  than  Michael  Arlen's  The  Gre.  n 
Hat."  Why  waste  space  urging  you  to  drop  everytlung 
everything'and  see  this  one?    (Jan.) 

YELLOWBACK,  THE  —  FBO  —  More  Royal 
Mounted  Police,  with  the  usual  help  from  the  scenery. 
(March.) 


YELLOW   CONTRABAND  —   Pathe.—  Dope 
smuggling  and  other  cute  modern  occupations.  (Dec.) 

YOUNG  WHIRLWIND,  THE— FBO.— Kid  en- 
tertainment, with  Buzz  Barton.  (Dec.) 


Bvsry  advertisement  to  pnOTOPLAT  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


H7 


What  Are  Your 
Correct  Colors? 

I  CONTIN'irED  FROM  PAGE  5.1  ] 


with  warm  hues  of  the  personal  coloring,  while 
vi\id  warm  hues  may  be  at  variance  with  the 
cool  tones  present  in  the  intermediate  type. 
Thus  intense  colors,  always  difficult  to  wear, 
are  especially  trjnng  to  the  intermediate  t>'pe, 
killing  the  hues  most  similar  to  themselves 
and  revealing  unpleasant  tinges  in  those  in- 
dividual hues  which  are  opposite  to  the  colors 
worn. 

AVniD  warm  red  is  an  excellent  example 
of  the  disastrous  effect  of  the  too  vivid 
warm  color  on  the  girl  of  intermediate  type. 
The  inten.se  red  malces  the  cheeks  seem  paler  as 
the  flesh  tints  are  too  subdued  to  successfully 
vie  with  the  much  stronger  red  used  in  the 
costume. 

While  a  small  area  might  be  worn,  an  entire 
dress  of  intense  red  makes  the  skin  seem  pale 
and  lifeless,  much  less  attractive  than  when 
soft  grayed  reds,  lighter  rose  tones,  or  darker, 
softer  wine  shades  are  worn.  Not  even  an 
increased  amount  of  rouge  will  gi\e  the  skin 
sufficient  force  to  wear  vivid  red  as  effectively 
as  the  darker  brunette,  with  more  detinitely 
warm  coloring,  can  wear  it — and  we  will  re- 
member that  even  the  brunette  with  forceful 
coloring  finds  the  extremely  \ivid  tones  less 
pleasing  than  those  of  softer  aspect. 

The  \-ivid  red  which  ox'erpowers  the  flesh 
tones  of  the  intermediate  t>'pe,  at  the  same 
time  makes  the  brown  hair  seem  less  colorful, 
more  hfeless.  The  warm  highlights  which 
frequently  are  found  in  brown  hair  fade  into 
insignificance  beside  the  more  flaunting  red  of 
the  costume. 

The  eyes  of  the  girl  with  intermediate  color- 
ing, usually  cool  in  effect,  gray,  blue,  green  or 
perhaps  hazel,  seem  too  cool  in  contrast  to 
the  bright  red  dress. 

This  may  make  the  eyes  seem  both  faded 
and  coldly  ex-pressionless.  It  never  gives  them 
depth  or  life. 

Vivid  blue  may  be  taken  as  an  example  of 
the  too  vivid  cool  color,  unpleasing  in  its 
effect  upon  the  intermediate  t.vpe.  The  skin, 
which  is  warmer  than  that  of  the  blonde,  less 
warm  than  that  of  the  brunette,  may  contain 
considerable  yellow,  which  hue  may  be  in- 
tensified by  the  intense  blue  of  the  costume, 
as  \-i\-id  blue  causes  its  opposite  color,  yellow, 
to  appear  in  surrounding  surfaces.  The  eyes, 
which  are  usually  of  a  grayed  cool  color,  will 
appear  lighter,  less  colorful  in  comparison  with 
the  intense  cool  color  which  overpowers  them. 
The  brown  hair  will  suffer  least;  sometimes  it 
may  gain  in  contrast  to  the  blue,  at  other  limes 
it  may  appear  too  much  in  contrast  with  the 
very  cool  color. 

Seldom  does  it  prove  as  harmonious  as  it 
would  with  a  softer,  more  grayed  color,  cither 
warm  or  cool. 

T^HERE  are.  naturally,  many  variations  of 
■^  the  intermediate  lype.  The  brown  hair  may 
be  fairly  light  or  dark,  although  it  is  most  fre- 
quently of  middle  value.  It  may  be  colorful, 
with  definite  highlights  of  reddish  or  red- 
orange  cast,  or  it  may  be  dull  and  drab  or  fairly 
neutral  in  tone  without  the  colorful  ghnts. 
The  apparent  color  of  the  hair  may  be  greatly 
influenced  by  the  colors  worn  near  it.  Beige 
and  browns  similar  to  the  color  of  the  hair 
should  in  most  instances  be  avoided.  If  they 
are  worn  they  should  be  definitely  lighter  or 
decidedly  darker  than  the  hair.  They  should 
always  be  less  colorful.  A  reddish  brown  \iill 
make  the  hair  appear  dull  and  lifeless.  .\ 
shiny  silky  reddish  brown  fur  will  make  dull 
brown  hair  appear  even  more  uninteresting. 
Neutral  beiges  are  too  similar  to  both  the  hair 
and  the  skin. 

Rosy  beiges  will  usually  be  more  becoming 


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to  both,  but  arc  seldom  as  becoming  as  other 
hues  of  less  neutral  colorings. 

'I  he  majority  of  persons  with  intermediate 
coloring  have  a  slight  tinge  of  cool  or  red- 
violet  color  in  the  flesh  tones.  Their  coloring 
is  not  as  delinitcly  cool  in  effect  as  that  of  the 
blonde,  being  somewhat  less  red-violet  in  cast 
as  well  as  darker  and  less  delicate,  although 
many  girls  with  intermediate  coloring  have 
very  fair,  delicate  and  cool  skin.  Soft,  partially 
neutralized,  cool  colorings  therefore  tend  to 
do  the  most  to  emphasize  the  cool,  dehcate 
flesh  tones  of  the  intermediate's  skin.  Middle 
and  low  values  are  usually  preferable  to  ex- 
tremely light  pastel  colors  which  are  more 
delicate  than  the  skin  tones. 

COMETIIMES  the  brown  haired  girl  has  flesh 
'-'tones  which  are  slightly  orange,  warmer  in 
feeling,  although  not  as  definitely  red-orange 
or  as  decidedly  warm  in  feeling  as  that  of 
the  brunette.  As  the  intermediate  type  be- 
comes sunburned,  the  warmth  of  her  coloring 
increases  and  warm  colors  become  increasingly 
becoming. 

If  her  coloring  is  faint,  or  if  her  skin  has  be- 
come warmed  by  the  sun,  the  intermediate 
type  may  wear  rouge  with  a  slightly  red- 
orange  cast,  thus  making  herself  more  warm 
in  coloring. 

As  a  usual  rule  the  intermediate  type  finds 
rouge  with  a  faintly  red-\'iolet  cast  most 
natural  in  effect  and  most  becoming.  Some 
intermediate  types,  whose  natural  coloring  is 
faint,  may  wear  either  red- violet  or  red-orange 


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rouge,  changing  the  coloring  of  their  skin  so 
that  it  becomes  more  harmonious  with  the 
costume  of  cool  or  of  w  arm  coloring.  The  rouge 
should  never  be  too  bright,  but  soft  or  slightly 
grayed  in  tone.  It  should  be  neither  too  dark 
nor  too  light,  but  of  a  medium  value  which 
most  closely  approximates  the  natural  coloring 
of  the  intermediate  skin. 

The  eyes  of  the  intermediate  type  frequently 
assume  the  hue  of  cool  colors  worn  near  them. 
While  they  are  not  definitely  green  they  may 
appear  so,  at  other  times  blue,  at  others  blue- 
green  or  gray.  The  so-called  hazel  eyes,  also 
found  in  the  intermediate  type,  may  become 
cool  or  yellow  brown  in  tone  according  to 
colors  reflected  in  them,  or  those  contrasting 
with  them.  The  more  characteristically  cool 
hues  are  intensified  when  medium  and  dark 
\-alues  of  somewhat  softened  cool  colors  are 
worn. 

"pACH  girl  of  intermediate  coloring  should 
■^discover  whether  her  eyes  most  readily  and 
most  attractively  appear  green,  blue-green, 
blue  or  gray,  noting  just  what  tone  is  most  be- 
coming used  in  large  areas,  which  may  be  used 
as  an  accent. 

She  may  thus  always  wear  a  color  which 
emphasizes  her  eyes,  either  in  the  foundation 
color  of  the  costume  as  a  whole  or  as  an  accent 
or  accessory. 

If  the  eyelashes  and  brows  are  light  in  color 
the  eyes  may  be  given  greater  emphasis  by  the 
use  of  a  dark  brown,  not  a  black,  mascara. 
I'.yeshadow  of  blue-green  may  bring  out  the 


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color  of  eyes  which  partake  of  both  of  these 
colors. 

Green  may  be  becoming  to  the  girl  whose 
eyes  are  definitely  green,  blue  for  the  girl  with 
blue  eyes.  It  must,  however,  be  used  with  dis- 
cretion or  it  will  make  the  face  look  old  and 
hard,  the  eyes  sunken  and  haggard.  A  dull 
violet  shadow,  such  as  used  by  artists  to  give 
depth  to  the  eyes  in  a  portrait,  is  sometimes 
recommended. 

All  are  more  suitable  for  evening  than  for 
daytime  use. 

COMBINING  warm  and  cool  coloring,  the 
intermediate  or  brown  haired  type  is  in  a 
happy  position  as  regards  emphasizing  her  best 
features. 

She  may  choose  which  points  she  wishes 
to  emphasize,  which  she  wishes  to  minimize, 
wearing  cool  colors  if  she  wishes  to  accent  the 
cool  coloring  of  her  skin  and  eyes,  warm  colors 
if  she  wishes  to  emphasize  her  hair  or  the  warm 
tone  of  a  sunburned  skin. 

She  may  wear  a  harmonious  combination  of 
warm  and  cool  colors,  accenting  both  warm  and 
cool  features. 

Soft  blue-green  shades,  those  not  too  light  or 
too  bright,  a  soft  grayed  blue,  not  too  light  or 
delicate  in  tint,  and  greens  that  are  likewise 
grayed  or  softened  are  flattering  to  skin,  eyes 
and  hair  of  the  intermediate  type.  These  colors 
make  the  skin  and  eyes  cooler,  the  hair  warmer 
and  more  colorful  by  contrast.  Colors  that  are 
too  cool  or  those  that  are  too  pale  and  delicafe 
are  far  less  pleasing  than  those  of  medium  and 
dark  values. 

Violet,  red-violet  and  also  violet  in  softened 
grayed  intensities,  are  becoming  to  interme- 
diate brown  haired  types.  Red-violet,  particu- 
larly, is  becoming  provided  it  is  not  too  in- 
tense, fading  the  red-violet  flesh  tints.  Light 
deUcate  red-violet,  middle  values  and  the  very 
dark  mne  tones  of  this  color,  are  all  flattering 
to  the  brown  haired  type. 

Intense  red  is  difficult,  softened  subdued  reds 
may  be  worn,  although  they  are  seldom  as  be- 
coming as  other  colors  which  the  brown  haired 
type  may  wear. 

Very  dark  reds  are  more  becoming  than  light 
or  medium  values. 

Red-orange  may  be  actively  becoming,  en- 
hancing the  color  of  the  hair  and  making  the 
skin  appear  cool  and  delicate  by  contrast  with 
its  warmer  coloring.  Sometimes  red-orange 
is  more  becoming  when  rouge  of  that  hue  is 
worn. 

Red-orange,  like  other  colors,  to  be  becoming 
must  be  grayed  or  subdued.  If  not  too  vivid, 
either  pale  tints  of  the  type  frequently  known 
as  apricot  or  peach,  the  deeper  rose  and  coral 
tones,  and  the  very  dark  values  may  all  be  be- 
coming. 

In  choosing  the  darker  values,  the  browns, 
care  must  be  taken  that  they  are  not  more 
colorful  than  the  hair.  Neither  must  they  be 
too  similar  to  the  hair,  which  would  be  monot- 
onous and  uninteresting. 

COFT  orange  and  creamy  yellows  are  some- 
^times  becoming,  frequently  enhancing  the 
color  of  the  hair.  The  intermediate  types  with 
hazel  or  brownish  eyes  find  them  especially 
pleasing. 

Too  vivid  hues  are  e,xtremely  trying  to  the 
skin  and  usually  to  the  hair. 

Black,  especially  in  lustrous  texture,  or  used 
with  white,  off-white  or  color  accent  near  the 
face,  is  frequently  becoming,  especially  if  the 
skin  is  clear.  Contrast  of  light  and  dark  value, 
as  black  and  white  or  a  dark  color  with  a  light 
color,  may  be  pleasing.  Gray  is  usually  be- 
coming. Cool  bluish  grays  in  medium  and 
dark  values,  warm  gray  in  light  shades,  may  be 
becoming,  especially  when  worn  with  an  accent 
of  color.  Blue,  blue-green,  green,  blue-violet, 
violet  and  rose  or  coral  shades  are  effective  with 
gray. 

A  variation  of  the  intermediate  type,  one 
that  also  combines  cool  and  warm  coloring, 
but,  because  her  hair  is  dark,  is  frequently 
classed  as  a  brunette,  is  the  giri  with  blue- 
black  hau-  of  definite  cool  feeling  so  different 


It  keeps 
TEETH 
WHITE 

A  world  of  friends  —  for 
the  world  can't  resist  a 
winning  smile!  And  it's 
your  teeth  that  make  or 
mar  your  smile.  Never 
let  them  grow  dull  or  dis- 
colored. Chew  Dentyne, 
the  gum  that  keeps  teeth 
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brighter.  Everybody 
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149 


Chew 


f  )ENTYNE 

J J . .  and  smile/ 


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GR4YH4IR 

THROW  away  messy,  old-time,  "crude 
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15° 


Photoplay  Magazine — Advertising  Section 

CLASSIFIED 
ADVERTISING 


from  that  of  the  brunette,  with  cool  skin  «-ith 
red-violet  flesh  tints,  usually  fair,  appearing 
more  so  by  contrast  with  the  dark  hair,  some- 
times with  brown  eyes,  frequently  wdth  very 
dark  cool  eyes. 


"My  Skin  Nearly 
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SHE  is  predominantly  cool  in  coloring,  yet 
frequently  makes  the  mistake  of  wearing 
the  warm  colors  becoming  to  the  brunette 
rather  than  the  cool  colors  which  emphasize  the 
fairness  of  her  skin,  the  coolness  of  her  hair,  and 
if  her  eyes  are  cool,  makes  them  look  deeper 
and  darker. 

She  may  wear  somewhat  more  vivid  colors 
than  the  blonde  or  the  usual  intermediate  type, 
but  they  are  most  becoming  if  not  too  vivid. 

Pale  delicate  colors,  especially  if  bright, 
coarsen  her  skin,  ^yhile  dark  colors  emphasize 
its  fairness,  making  the  distinctive  contrast 
between  dark  hair  and  light  skin  even  more 
striking. 


"DLUE-GREEN,    green, 
JJvi 


blue,    violet,    red 
■iolet  are  all  flattering 

Warm  colors  are  wearable,  especially  if 
softened  or  neutralized  to  a  touch  of  coolness. 
Warm  colors  are,  however,  seldom  as  pleasing 
as  those  of  cooler  feeling. 

Contrasts  of  light  and  dark  color,  particu- 
larly black  and  an  off-w^hite  similar  to  the  tone 
of  the  skin,  are  especially  eftectixe,  emphasizing 
the  contrast  between  skin  and  hair.  Fairly 
neutral  colors,  beiges  and  grays,  are  becoming 
to  this  striking  type,  especially  when  used  with 
an  accent  of  vivid  color. 


The  Girl  Who 
Walked  Back 

[  CONTINUED  FROM  PAGE  60  ] 

chanted  her  songs  in  a  small  haunting  voice. 

Bessie  then  was  a  Vitagraph  star.  D.  W. 
Griffith  had  discovered  her,  as  ginghamed  and 
pigtailed  she  played  e.xtra  during  school  vaca- 
tion. 

They  tell  how  the  Master  summoned  her, 
saying,  "What's  your  name,  little  girl?" 

"  Juanita  Horton,"  piped  Little  Girl. 

"From  henceforth  you  are  Bessie  Love,"  in- 
toned the  Master— and  a  few  months  later, 
"  Bessie  Love  you  are  going  farther  than  any  of 
my  stars." 

Maybe  that  prediction  held  back  the  tear 
when  many  times  it  tried  to  shove  ahead  of  the 
smile. 

BESSIE'S  eyes  were  so  big  there  wasn't  much 
room  for  her  face,  and  it  looked  cheated.  She 
played  starved  orphans  in  a  way  to  attract 
Near  East  Relief.  But  before  the  Armenians 
could  sue  for  infringement  of  patent,  Bessie 
would  turn  around  and  play  the  betrayed 
mother. 

The  land  was  washed  with  tears  for  her 
and  strong  men  wept  like  babes;  indeed,  it 
looked  for  a  time  as  though  she'd  make  Willie 
the  Weeper  the  national  anthem.  Then  siid- 
denly  she  turned  to  comedy,  there  were  rain- 
bows o'er  our  shoulders,  and  Bessie  Love  was 
discovered  all  over  again. 


B 


UT  she  had  no  sex  appeal— io  producers  said 

ominously,  and  to  say  that  was  to  breathe 
damnation,  for  Madame  Glyn  had  made  it 
as  sacred  in  Holly\vood  as  the  dollar  sign. 

Bessie  was  thin  and  big-eyed  and  without 
taste  for  clothes.  A  fine  actress,  they  agreed, 
but  no  IT. 

Cute,  but  Unawakened. 

In  all  the  world  there  never  was  such 
wisdom  as  lodges  in  the  turrets  of  Hollywood 
lilm  producers. 

Thus  little  Bessie  who  had  started  early  and 
tra\cllcd  far  was  shoved  out  of  her  starry 
vehicle  and  told  to  walk  back. 

"Oh  Gee,"  I  can  hear  her  say  as  she  stood 


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HOW  TO   ENTERTAIN 


PLAY'S  MUSICAL  COMEDIES  ANT)  REVI'ES.  MIN- 
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juvenile  plays  and  songs,  musical  readings,  make-uit 
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information  to  writers  of  magazine  and  photoiilay  .to- 
rics.  Siil)scription  $2.50  i>er  annum.  Free  samiile  cop.v. 
The  Plotwcaver.    Drawer   WP.    Hollywood.    California. 

OLD    COINS.    GOLD    AND    SILVER 

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Dealers    invited. 


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Btery  advertisement  In  PHOTOPLAY  MAGAZINE  Is  Euatanteed. 


Photoplay  Magazine — Advertising  Section 


151 


forlorn  in  the  road.  She  didn't  weep.  Willie 
could  do  that.  She  picked  up  her  uke  and 
started  back  through  the  road  that  is  called 
Poverty  Row. 

As  she  walked  she  sann  and  her  toes 
took  to  wriggling.  Somewhere  rn  route  she 
saw  the  Charleston,  and  when  at  length  she 
emerged  into  the  brighter  kleigs  of  Hollywood, 
where  she  was  half-forgotten,  it  was  no  longer 
the  starved  orphan  but  the  flexuous  cup-taking 
Charleston  dancer. 

The  big  eyes  sparkled  as  before  but  the  tiny 
feet  twinkled  and  Bessie's  legs  were  discovered 
to  be  the  sightliest  and  sprightliest  in  all  our 
great  leg  land. 

Her  glorious  past  was  forgotten,  the  actress 
was  no  more;  directors  only  gave  her  dancing 
parts,  sometimes  bits.  Socially  she  was  in  a 
leading  role. 

She  was  the  life  of  the  party.  At  Mable 
Normand's  I  heard  Pola  Negri  beseeching  her 
for  Charleston  lessons. 

At  another  party  I  heard  a  sobering  gent 
ask  her  what  she  drank  to  gi\'e  her  such  a 
lasting  kick. 

"1  take  mine  straight,"  laughed  Bessie, 
pointing  at  a  White  Rock  bottle. 

If  licker  is  nourishment  she's  still  the  starved 
child. 

She  has  never  taken  a  drink,  never  smoked 
a  cigarette  nor  even  endorsed  one,  but  if  you 
go  to  her  home  you  are  given  your  favorite 
brand. 

TN  New  York  last  summer  I  heard  that  Bessie 
-'■had  slipped  away  into  vaudeville.  The  old 
eyes  dimmed;  I  felt  like  Willie  as  I  recalled  the 
child  whom  I  thought  the  greatest  of  all  our 
young  actresses:  her  death  scene  in  "Human 
Wreckage,"  devoid  of  theatric  agony  and  like 
a  foretaste  of  eternal  beauty,  a  passing  into  the 
ultimate  dream;  her  genius  in  scenes  of  "The 
Eternal  Three"  and  in  tawdry  pictures  which 
held  nothing  else. 

Returning  to  Hollywood  I  stopped  at  the 
Roosevelt  Hotel.  As  I  passed  down  the  corri- 
dor to  my  room  I  heard  a  woman's  oath.  I 
stopped  dead  still. 

Only  one  woman  in  Hollywood  uses  that 
oath:  "Oh  Gee!"  I  rapped  on  the  door  and 
Bessie  opened. 

After  the  gaiety  of  greeting,  and  only  under 
question,  she  told  me  reluctantly  of  her  vaude- 
ville tour. 

It  hadn't  delighted  her,  though  of  course 
everyone  was  marvelous — they  always  are, 
according  to  Bessie. 

Now  she  was  going  to  New  York,  she  said,  to 
try  musical  comedy. 

Asa  farewell  to  Hollywood  she  was  doing  one 
picture,  a  talkie. 

It  would  be  sort  of  nice,  she  thought,  to  have 
a  picture  released  while  she  was  in  New  York, 
so  that  people  wouldn't  think  she  wasn't 
wanted  any  more. 

T^WO  months  later  "The  Broadway  Melody" 
-'■  came  to  Graumann's  Chinese  theater,  and 
Hank  was  made  immortal  because  Hank  is 
Bessie.  Heaven  itself  was  apprized  by  search- 
lights that  dusted  Mars.  AH  the  stars  of  the 
local  firmament  arrived  in  diamonds  that 
dimmed  the  searchlights  and  ermine  that 
queens  once  could  afford.  They  were  filmed 
and  radioed  throughout  the  world.  Carmel 
Myers,  school  girl  chum  of  Bessie,  stepped  to 
the  microphone  and  said,  "I'm  grateful  for  this 
night  because  Bessie  Love  is  triumphing,  and, 
if  ever  anyone  deserved  success,  Bessie  Love 
does." 

Carmel  said  what  all  Hollywood  felt  as  that 
night  the  Love  of  our  town  was  given  our 
greatest  hand.  And  every  night  since  there  has 
been  a  hush — then  a  storm  of  applause  for  that 
great  scene  in  which  Ilaiik  sobs  alone  in  her 
dressing  room. 

T  REPEAT  what  I  wrote  two  years  ago  in 
-*■  Photoplay:  "There's  no  finer  actress  or 
sweeter  character  on  the  screen  than  Bessie 
Love." 

D.  W.  was  inspired  when  he  named  her  Love. 


Uppers  that  you  take  such  joy  in  wearing 
will  look  as  attractive  as  new  after  you  use 
Cinderella  Tube  Creme.  It  cleans,  polishes  and 
revives  their  color !  There's  a  Cinderella  Dressing 
to  preserve  the  beauty  of  every  slipper 
in  your  wardrobe,  ^ 

Made   by 
EVERETT  CSb  BARRON  CO. 


Providence,  R.  I. 


Shoe  Dressings 


'Igyeliness  Restored  to  Footwear 


TH  E 

ENCYCLOPEDIA 
OF  MOVIE-LAND 


Crooked  Heels 

look  slovcnlif — ruin 
shoes — thicken  ankles 

Millions  have  this  trouble.  Their  shoes 
spread,  lose  their  shape.  Heels  wear 
down  on  one  side.  It  is  the  way  you 
walk — with  the  weight  of  your  body  off 
balance — that  does  this.  Result  is 
thickened  ankles. 

Wear  Dr.  Soholl's  Walk-Strate  Heel 
Pads  in  your  shoes  and  you  will  correct 
these  faults.  They  equalize  the  body's 
weight;  remove  strain  on  the  ankles; 
preserve  shape  of  your  shoes;  make  you 
walk  gracefully,  comfortably;  save  re- 
pairs. Sizes  for  men  and  women.  At  all 
shoe,  dept.  and  drug  stores  —  33c  pair. 

DrScholl's 

Walk-Strafe  Heel  Pads 


MOTION 


Li.sting  the  names 
of  more  than  500 
Actors,  Actresses, 
Wampus  Stars,  Di- 
rectors, etc.  Stating 
whether  they  are  mar- 
ried or  single,  where 
and  when  tliey  were 
born,  their  height, 
weight,  color  of  hair 
and  eyes,  the  plays 
they  have  been  in, 
I  heir  addresses  and 
dozens  of  intimate 
THINGS  about  them 
that  the  public  does 
not  know. 

This  bonk  is  not 
only  BKAUTIFUL 
hut  durable  as  well 
and  is  of  a  most 
convenient  size. 

ALL  are  interested 
in  the  Movies  and  the 
people  who  make 
them.  Every  man,  woman  and  child  in  America 
should  have  a  copy  of  this  first  AUTPrENTIC.  copy- 
righted book  covering  this  subject  and  the  price  has 
been  placed  within  tlie  reach  of  ALL. 
Single  copies  $1.00 
Six  copies  5.00 

Delivered  postpaid  ANYWHERE  ON  EARTH 
Inclose  a  dollar  bill,  together  with  your  name  and 
address,  today  for  YOUR  copy  of  this  entertaining 
and  instructive  book. 


THE  STARS' 

P.  O.  Box  425 


COMPANY 

Hollywood^  California 


When  you  write  to  advertisers   please  mention  PHOTOPLAY   MAGAZINE. 


152 


Photoplay  Magazine — Advertising  Section 


Smooth^Tvliite 
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One  wonderful  beauty-aid,  Nadinola  Bleaching 
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cately fragrant  cream.  Instantly  you  feel  its  tonic 
effect.  You  see  your  skin  growing  wliiter,  smoother, 
more  lovely. 

Nadinola  BleachingCream  works  mildly  and  gently 
yet  quickly  and  surely.  Positive  money-back  guaran- 
tee with  simple  directions  in  every  package.  Begin 
with  Nadinola  tonight.  See  how  quickly  it  restores 
your  skin  to  exquisite  whiteness — clear  smooth  beauty. 
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Na 


Address 

City  and  State 


BUNIONS 


CONE 
IN  IS 
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fectly marvelous,  and  you  can  prove  it  by  actual  test. 

TRY  IT  AT  MY  RISK 

Jnat  send  your  name  and  address  so  that  we  can  arrange 
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"Don't  Shout" 


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•How?    Wilh  Ihe  MORLEY 
PHONE.  I've  a  pair  in  mv  eeis 
now,   but  they  ate  invisible.  I 
would  not  Icnow  I  had  them  in 

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The  MORLEY  PHONE  for  the 


A 


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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


"ALIBI" — United  Artists. — From  the  stage  play 
by  John  Wray.  J.  C.  Nugent  and  Elaine  Sterne 
Carrington.  Adapted  by  Roland  West  and  C. 
Gardner  Sullivan.  Directed  by  Roland  West.  The 
cast:  No.  1065  (Chick  Williams).  Chester  Morris; 
Buck  Bachman.  Harry  Stubbs;  Daisy  Thomas.  Mae 
Busch;  Joan  Manning.  Eleanor  Griffith;  Toots,  Irma 
Harrison;  Danny  McGann.  Regis  Toomey;  Broivn, 
Al  Hill;  Blakf,  James  Bradbury,  Jr.;  Soft  Malone, 
Elmer  Ballard;  Trask,  Kernan  Cripps;  Pete  Manning, 
Purnell  B.  Pratt;  Tommy  Glennon,  Pat  O'Malley; 
O'Brien.  DeWitt  Jennings;  Geo.  .Stanislaus  David, 
Edward  Brady;  Singers  in  theatre,  Virginia  Flohri, 
Edward  Jardon. 

"BEHIND  CLOSED  DOORS"— Columbia.— 
From  the  story  by  Lilian  Ducey  and  H.  Milner 
Kitchen.  Scenario  by  Howard  J.  Green.  Directed 
by  R.  William  Neill.  The  cast:  Nina  Laska.  Virginia 
Valli;  Fred  Baher.  Gaston  Glass;  Max  Randolph, 
Otto  Matiesen;  Henrick  Schield,  Andreas  De  Segurola; 
Captain  von  GUden,  Torben  Meyer;  John  Barton, 
Broderick  O'Farrell. 


"BETRAYAL"— Paramount.— From  the  story 
by  Victor  Schertzinger  and  Nicholas  Soussanin. 
Adapted  by  Hans  Kraly.  Directed  by  Lewis  Miles- 
ton.  The  cast:  Poldi  Moser,  Emil  Jannings;  Vroni, 
His  Wife,  Esther  Ralston;  Andre  Frey,  Gary  Cooper; 
Hans.  Jada  Weller;  Peter,  Douglas  Haig;  Andre's 
Mother,  Bodil  Rosing. 

"BORN  TO  THE  SADDLE"— Univers.\l.— 
From  the  story  by  Bruce  Mitchel  and  George 
Plynipton.  Directed  by  Joseph  Levigard.  The  cast: 
Ted  Dorgan,  Ted  Wells;  Helen  Pearson.  Duane 
Thompson;  Clyde  Montmorency  Winpenny.  Leo 
White;  Amos  Judd,  Merrill  McCormick;  John  Pear- 
son, Byron  Douglas;  "Pop"  Healy.  Nelson  McDowell. 

"BRIDGE  OF  SAN  LUIS  REY,  THE"— 
M.-G.-M. — From  the  story  by  Thornton  Wilder. 
Adapted  by  Alice  D.  G.  Miller.  Directed  by  Charles 
Brabin.  Photograpliy  by  Merritt  B.  Gerstad.  The 
cast:  Camila.  Lily  Damita;  Uncle  Pio,  Ernest 
Torrence;  Pepita.  Raquel  Torres;  Manuel,  Don 
Alvarado;  Esteban,  Duncan  Renaldo;  Father  Juniper, 
Henry  Walthall;  I'iceroy,  Michael  Vavitch;  Marquesa, 
Emily  Fitzroy;  Dona  Clara,  Jane  Winton;  Jaime. 
Gordon  Thorpe;  Captain  Alvarado,  Mitchell  Lewis; 
Don  Vincente,  Paul  Ellis;  Nun,  Eugenie  Besserer. 

"BROTHERS" — Rayart. — From  the  story  by 
Ford  I.  Beebe  and  Arthur  Hoerl.  Directed  by  Scott 
Pembroke.  Photography  by  Hap  Depew.  The  cast: 
To7n  Conroy,  as  a  child,  Jimmy  Cain;  Bobby  Conroy, 
as  a  child.  Edward  .\nderson;  Doris  La  Rue,  Barbara 
Bedford;  Tom  Conroy,  Cornelius  Keefe;  Bobby  Con- 
roy. Arthur  Rankin;  Thomas  Blackwood,  Richard 
C arle ;  Randy,  George  C hesebro ;  Norman,  Paddy 
O'Flynn. 

"CHINATOWNNIGHTS"— Paramount.— From 
the  story  bv  Samuel  Ornitz.  Adapted  by  Oliver 
H.  P.  Garrett.  Directed  by  William  Wellman.  The 
cast:  Chuck  Riley,  Wallace  Beery;  Joa7i  Fry,  Florence 
Vidor;  Boston  Charley,  Warner  Oland;  "The  Shadow," 
Jack  McHugli;  The  Reporter.  Jack  Oakie;  Woo  Chung, 
Tetsu  Komai;  The  Gambler.  Frank  Chew;  The  Maid, 
Mrs.  Wing;  The  Bartender,  Peter  Morrison;  Gerald, 
Freeman  Wood. 

"CLOSE  HARMONY"— Paramount.— From  the 
story  by  Elsie  Janis  and  Gene  Markey.  Screen  Play 
by  Percy  Heath.  Directed  by  John  Cromwell  and 
Eddie  Sutherland.  The  cast:  Al  West.  Charles 
Rogers;  Marjorie  Merwin,  Nancy  Carroll;  Ben 
Barney,  Jack  Oakie;  Johnny  Bay,  Richard  "Skeets" 
Gallagher;  Max  Mindil,  Harry  Green. 

"HEARTS  IN  DIXIE"— Fox.— From  the  story 
by  Walter  Weems.  Directed  by  Paul  Sloane. 
Photography  by  Glen  McWilliamj.  The  cast; 
Nappus,  Clarence  Muse;  Chinquapin,  Eugene 
Jackson;  Gummy,  Stepin  Fetchit;  Chloe,  Bernice 
Pilot;  Rammey,  Clifford  Ingram;  Trailia,  Mildred 
Wasliington;  Deacon.  Zach  Williams;  Emmy,  Gert- 
rude Howard;  Melia,  Dorothy  Morrison;  Violet, 
Vivian  Smith;  Hoodoo  Woman,  A.  C.  H.  Billbrew; 
White  Doctor,  Richard  Carlysle. 


"HOT  STUFF"— First  National.— From  the 
story  "Bluffers"  by  Robert  S.  Carr.  Directed  by 
Mervyn  LeRoy.  The  cast:  Barbara  (Babs)  Allen. 
Alice  White;  Aunt  Kate.  Louise  Fazenda;  Mack 
Moran.  William  Bakewell;  Thelma,  Doris  Dawson; 
Sandy  McNah,  Ben  Hall;  Wiggam,  Cliarles  Sellon; 
Tuffy,  Buddy  Messinger;  Bob,  Andy  Devine;  Cop, 
Larry  Banthim. 

"HOUSE  OF  HORROR.  THE"— First  National. 
— From  the  stor>'  by  Richard  Bee.  Continuity  by 
Richard  Bee.  Directed  by  Benjamin  Christensen. 
The  cast:  Louise,  Louise  Fazenda;  Chester,  Chester 
Conklin;  Joe,  James  Ford;  Thelma,  Thclma  Todd; 
Mystery  Man,  William  V.  Mong;  Old  Miser.  Emile 


Chautard;  Miller.  William  Orlamond;  Gladys.  Dale 
Fuller;  Brown,  Tenen  Holtz. 

"LETTER.  THE" — Paramount. — From  the  stage 
play  by  W.  Somerset  Maugham.  Adapted  by  Gar- 
rett Fort.  Directed  by  Jean  de  Limur.  The  cast: 
Leslie  Crosbie.  Jeanne  Eagels;  Joyce,  O.  P.  Heggie; 
Robert  Crosbie,  Reginald  Owen;  Geoffrey  Hammond, 
Herbert  Marshall;  Mrs.  Joyce.  Irene  Brown;  Li-Ti, 
Lady  Tsen  Mei;  Ong  Chi  Seng,  Tamaki  Yoshiwara. 

"LONE  WOLF'S  DAUGHTER.  THE"— Colum- 
bia.— From  the  story  by  Louis  Joseph  Vance.  Adapt- 
ed by  Sig  Hcrzig.  Directed  by  Albert  S.  Rogell. 
Photography  by  James  Van  Trees.  The  cast: 
Michael  Lanyard  (The  Lone  Wolf),  Bert  Lytell;  Helen 
Fairchild.  Gertrude  Olmsted;  Count  Polinac.  Charles 
Girard;  Velma,  Lilyan  Tashman;  Bobby  Crenshaw, 
Donald  Keith;  Adrienne.  Florence  Allen;  Elhier. 
Robert  Elliott;  Mrs.  Crenshaw.  Rutli  Cherrington. 

"LURE  OF  THE  SOUTH  SEAS,  THE"— Co- 
oper.\tive. — From  the  story  by  Raymond  Wells. 
Directed  by  Raymond  Wells.  Photography  by  M.  A. 
Andersen.  The  cast:  Don  Alvarez.  Raymond  Wells; 
Jose  Alvarez.  Leo  Kelley;  Papela.  Gail  Kenton; 
Tautinei,  Grace  Lord;  Alo,  Ole  Tofia;  Bo/,  Tatooting 
Chief;  Sala,  Ole  Toafa. 


"MYSTERIOUS  ISLAND,  THE"— M.-G.-M.— 

From  the  novel  by  Jules  Verne.  Adapted  by  Lucien 
Hubbard.  Directed  by  Lucien  Hubbard.  Photog- 
raphy by  Percy  Hilburn.  The  cast:  Dakkar,  Lionel 
Barrymore;  Sonia.  Jane  Daly;  Nikolai,  Lloyd 
Hughes;  Falon,  Montague  Love;  Mikhail.  Harry 
Gribbon;  Anton.  Snitz  Edwards;  Dmitry,  Gibson 
Gowland;  Teresa.  Dolores  Brinkman. 


"NAVAJO" — Goodwill. — From  the  story  by 
Tom  Griffith.  Directed  by  Tom  Griffith.  All 
Navajo  Indian  cast. 


"PEACOCK  FAN.  THE"— Chesterfield.  — 
From  the  story  by  Arthur  Hoerl.  Continuity  by 
Arthur  Hoerl.  Directed  by  Phil  Rosen.  The  cast: 
Dr.  Chang  Dorfman,  Lucien  Prival;  Peggy  Kendall, 
Dorothy  Dwan;  Sgt.  O'Brien,  Tom  O'Brien;  Mrs. 
Rossmore.  Rosemary  Theby;  Mr.  Rossmore,  Carlton 
King;  Bertram  Leslie.  Gladden  James;  Jerry  Carlyle. 
David  Findlay;  Bob  Kendal.  James  Wilcox;  Thomas 
Ellon.  Fred  Malatesta;  Lily,  Alice  True;  Arthur, 
Spencer  Bell;  Dr.  Whaleti,  John  Fowler.  In  the 
Prologue:  Felitt,  Lotus  Long;  Okuri,  Fujii  Kishii; 
Men  Ching,  Wong  Foo. 


"ROYAL  RIDER.  THE"— First  National.— 
From  the  story  by  Nate  Gatzert.  Adapted  by  Sylvia 
Seid  and  Nicholas  Jacques  Jaccard.  Directed  by 
Harry  J.  Brown.  The  cast:  Dick  Scott,  Ken  May- 
nard;  Miss  Elliot,  Olive  Hasbrouck;  King  Michael, 
Philippe  De  Lacy;  Count  Nicholas.  Theodore  Lorch; 
The  Tutor,  Joseph  Burke;  Parneve,  Harry  Semels; 
Tarzan,  Tarzan. 

"SHANGHAI  ROSE"— Rayart.— From  the  story 
by  Arthur  Hoerl.  Directed  by  Scott  Pembroke. 
Photography  by  Hap  Depew.  The  cast:  Shanghai 
Rose,  Irene  Ricli;  Henry  West.  William  Conklin;  Grrgor 
West,  I^chard  Walling;  Ezra  Farthing,  Robert  Dud- 
ley; Diana  Avery,  Rutli  Hiatt;  Xavier  Doolittle.  Sid 
Saylor;  Mrs.  Doolittle,  DeSacia  Mooers;  Ivar  Khan, 
Anthony  Merlo. 

"SIDESHOW,  THE"— Columbia.— From  tlie 
story  by  Howard  J.  Green.  Scenario  by  Howard  J. 
Green.  Directed  by  Erie  C.  Kenton.  Photography 
by  Joseph  Walker.  A.  S.  C.  The  cast:  Queenie  Par^ 
ker,  Marie  Prevost;  Gentleman  Ted  Rogers,  Ralph 
Graves;  P.  W.  Melrose.  "Little  Billy";  Ghandi.  Alan 
Roscoe;  Bowen,  the  canvas  boss.  Pat  Harmon;  Tall 
Man.  Texas  Madesen;  Fat  Lady,  Martha  McGruger; 
Knife  Thrower,  Estaban  Clemento;  His  Aide.  Janet 
Ford;  Armless  Man.  Paul  Dismute;  Tattooed  Man, 
Bert  Price;  Thin  Man,  Chester  Morton;  Fire  Eater, 
Jacques  Ray. 

"SONNY  BOY" — Warners. — From  the  story  by 
Leon  Zuardo.  Scenario  by  C.  Graham  Baker, 
Directed  by  Archie  L.  Mayo.  The  cast:  Sonny  Boy, 
Davey  Lee;  Winifred  Canfield,  Betty  Bronson;  Cran^ 
dall  Thorpe.  Edward  Everett  Horton;  Mary,  Gertrude 
Olmsted;  Hamilton,  John  T.  Murray;  Mulcaliy, 
Tommy  Dugan;  Mother  Thorpe,  Lucy  Beaumont; 
Thorpe,  Sr.,  Edmund  Breese;  Phil.  Jed  Prouty. 

"SPEAKEASY"— Fox.— From  the  play  by  Ed- 
ward Knoblock  and  George  Rosner.  Adapted  by 
Frederick  H.  Brennan.  Directed  by  BenJE<niin 
Stoloff.  The  cast:  Martin,  Paul  Page;  Alice  Woods, 
Lola  Lane;  Fuzzv,  Henry  B.  Walthall;  Min,  Helen 
Ware;  Cannon  Delmont.  Warren  Hymer;  Cy  Williams, 
Stuart  Erwin;  Maizie,  Sharon  Lynn;  City  Editor, 
Erville  Alderson;  Davey.  James  Guilfoyle;  Speakeasy 
Hangers-on,  Marjorie  Beebe,  Ivan  Linow,  Helen 
Lynch,  Sailor  Vincent. 


Kveiy  iulrrrfisemeDt  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


"THIS  IS  HEAVEN"  —  Goldw\'n-United 
Artists. — From  the  story  by  Hope  Loring.  Contin- 
uity by  Hope  LorinR.  Directed  by  AI  Santell.  The 
cast:  Eva  Pclrie,  Vilma  Banky;  James  Slackpoolf. 
James  Hall;  Mamie  Chase,  Fritzie  Ridgeway;  Mr. 
Frank  Chase,  Lucien  Littlefield;  Mr.  E.  D.  Wallace, 
Richard  Tucker. 

"TRAIL  OF  THE  HORSE  THIEVES"— FBO.— 
From  the  novel  "Desert  Madness"  by  Wm.  E.  Wing. 
Adapted  by  Frank  Howard  Clark.  Directed  by 
Rubert  DeLacy.  Tlie  cast:  I'lV  Stanley.  Tom  Tyler; 
Amy  Taggart,  Bee  Amann;  Clint  Taggarl,  Harry 
O'Connor;  Buddy,  Frankie  Darro;  "  The  Eagle,"  Bar- 
ney Furey;  Babcock.  Bill  Nestell. 

"VOICE  OF  THE  STORM.  ITHE"— FBO.— 
From  the  story  b\  Walter  Woods.  Adapted  by 
Walter  Woods.  Directed  by  L>'nn  Shores.  The  cast: 
Spike,  Karl  Dane;  Franklin  Wells.  Theodore  Von 
Eltz;  Tom  Pmvers.  Hugh  Allan;  Dr.  Isaacs,  Brandon 
Hurst;  Ruth,  Martha  Sleeper;  Dohbs.  Warner  Rich- 
mond; Mrs.  Parkin.  Lydia  Yeamans  Titus. 

"WHEN  DREAMS  COME  TRUE"— Rayart.— 
From  the  storj'  by  Victor  Rousseau.  Adapted  by 
Arthur  Hoerl.  Directed  by  Duke  Worne.  Photog- 
raphy by  Hap  Depew.  The  cast:  Caroline  Swayne. 
Helene  Costello;  Ben  Shelby,  Rex  Lease;  Martha 
Shelby.  Claire  McDowell;  James  Leeson,  Ernest  Hil- 
liard;  Judge  Clayburn,  Emmett  King;  Robert  Swayne, 
George  Periolat;  "Jockey"  Boyle.  Danny  Hoy;  Billy 
Shelliy,  Buddy  Brown;  Dream  Lad,  "Ranger";  Rags, 
By  Himself. 

"WINGED  HORSEMAN.  THE"  —  Univers.\l. 
— From  the  story  by  Raymond  Schrock,  Directed  by 
Arthur  Rosson.  The  cast:  Sky-Ball  Smith,  Hoot  Gib- 
son; Johy  Hohson,  Ruth  Elder;  Col.  Hobson,  Charles 
N.  Schaeffer;  Czirly  Davis,  Allan  Forrest;  Eben 
Matthews,  Herbert  Prior. 

"WOMAN  I  LOVE.  THE"— FBO.— From  the 
story  by  Erma  Strongquist.  Adapted  by  L.  G.  Rigby. 
Directed  by  George  Melford.  Tlic  cast;  Edna  Reed, 
Margaret  Morris;  John  Reed,  Robert  Frazer;  Lois 
Parker,  Leota  Lcrraine;  Hamilton,  Norman  Kerrj'; 
Lois'  boy  friend,  Bert  Moorhouse. 


The  Vitaphone 

Shatters  Another 

Illusion 

I  heard  the  Vitaphone  last  night,  that  cor- 
relates both  sound  and  sight.  The  picture 
dealt,  throughout  the  plot,  with  "Love's 
Young  Dream,"  and  it  was  hot!  The  stars,  of 
whom  I've  been  quite  fond,  have  lately  come 
across  the  pond,  exotic  Thespian  arts  to  show 
(it  seems  our  stars  want  too  much  dough).  The 
heroine,  a  girl  whose  charm  was  lost  on  a 
Norwegian  farm,  starred  with  a  youth  of  some 
renown  who  hails  from  Mussolini's  town.  I 
watched  the  love  scene — felt  its  sway — and 
this  is  what  they  seemed  to  say: 

SHE: 
"My  love.  Dear  Heart,  I  give  to  thee, 
As  broad,  as  boundless  as  the  sea. 
And  yet  as  deep.    The  more  I  give, 
The  greater  joy  it  were  to  live." 


HE: 

Sweetheart, 


'Three   words.    Sweetheart,    and   then   good 

night 
Till  dawn,  when  Phoebus'  golden  light 
Shall  drench  a  darkened  world  anew. 
Till  dawn,  then,  Darling.  ...  I  love  you." 

I  sat  enraptured — true  enough,  these  foreign 
actors  knew  their  stuff — when  suddenly  from 
somewhere  'round  arose  a  strident,  raucous 
sound.  The  needle  screeched — the  record 
whirred — and  sonnets  somewhat  weird  were 
heard.  Now  I'm  convinced  that  Drama's 
dead,  for  this  is  what  they  really  said: 

SHE: 
"Ay  tank  it  over  and  Ay  bat 
Yu  ban  bast  faller  Ay  meet  yat. 
Soch  hair  uff  black — soch  eyes  uff  brown 
Yust  mak  das  heart  yump  opp  and  down." 

HE: 

"I  gotta  no  idea  in-a  da  min' 

Soch  nice-a  bebbee  lik-a  you  I  fin'. 

I  tell-a  you,  keed,  you've  mak-a  da  heet  .  .  . 

Da  Boss-a  say  'Fade  Out!'    Let's-a  go  eat!" 

CV  BURLINGAliE. 


She^s  Beautiful 

'—No  Wonder 


^53 


It's  Smart  to 
Be  Healthy  — 
You  Can  Be 
Beautiful  Too. 


R, 


ADIANT  beauty — stronfi,  slender, 
supple  limbs — eyes  that  sparkle  with 
life,  pep  and  desire!  She's 
vital — alive — radiating  happi- 
ness —  BEAUTIFUL.  Today 
everybody  is  attraeted  to  sueh 
people!  It''s  smart  to  be 
healthy.  Radiant  personal 
inagnetism  —  the  kind  that 
coinpels  even  in  your  photographs 
and  pietures^conies  from  it. 


Fe/ds  up  in  Suitcase 


Whole  Family  Can  Use  It 

Instantly  adjustable  for  all  ages  and 
sizes.  Creating  a  sensation 
among  theatrleal  and  movie 
stars.  Old-time  physieal 
culturists      call     it     the     most 

elTeclive  ever  produced.  .\nd  price, 
with  liheral  time  J>ayment  terms 
and  al>solute  money  hack  guarantee, 
is  easily  within  reach  of  every  home, 
every    family. 


A  Few  Minutes  a  Day — a  Miracle! 

The  Seal  of  Health  exerciser — abdoin- 
inal  ehair,  real  rowing  machine  and 
complete  body  builder,  all  in  one — 
makes  stinken  bodies  plump  out  with 

soun^l,  sniifi  ilesli    where  it  belongs.      It's    fun  I 
Thrilling  I      .4nd  I\oiseless! 

It  massages  by  natural  body  movement  the 
stomach,  diaphragm  and  entire  intestinal  tract. 
Constipation,  sluggish  liver,  indigestion  and 
gastric  troubles  vanish. 


Send  Coupon  for  Booklet — Today 

■  Health  Sales  <Jorp.. 

:  2061  Broadway,  New  York,  N.  Y. 

I  (I*intlemen:    Please     send      me     jllustraled      book 

:  ilpscribing   the    "Seat   of   Health,  "    postpaid,    and 

I  free  of  charge. 


Name. 


i  Address 

!  City Stale. 


fhyHanomi 


-IN  90  DAYS! 

Play  anylhing-^azz  to  clasBical!  Even  if 

(\.   \']?J^°^'^   nothing  about  piano  music- 

'.'^  1  II  have  your  finBera  dancing  over  the 

1  keyboard  with  confidence    in  90  days 

-If  you  fan  hum  or  whistle  a  tune  you  can 

pliay  it!  My  studenia  are  broa<ic-;iatini — 

.king  money.    MAKE   ME  PROVE  IT! 

"'■""'"t  puzzling  notes!    '"    " 


acti( 


I  tcdi< 


cale 


'  V\ 


found  the  way  to  brinR  out  your 
musical  instinct.  New  and  original 
eyslcm  does  away  wilb  years  of 
work.  YOU  WANT  THE  PROOF! 
I'll  send  it.  Write  me  nnw. 

D.  M.  SUTTLE.  Director 

ILLINOIS  SCHOOL  OF   MUSIC 

11801  Byron.  Dept. 1113,  Chicago.  III. 


SendNm^PROOF! 


<;KIN  ABRASIONS 

^^    are  painful  and  dangerous.     Heal 
them  quickly  and  prevent  infections  witli 

Resinol 


PHOTOS 
ENLARGED 


i98 


Size  16x20  inches 

Same  price  for  fall 
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pet  animala.  etc.,  or' 
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jMirt    of    groop  pic-  __ 

ture.  Safe  return  of  your  own 
original    photo    eoaraDteed. 

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Jnetmall  photo  or  snapshot  (anv 
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Given  ^^'''''  '■^■■■'"^'  '■"'^'re-m-.Tit 

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UNITED  PORTRAIT  COMPANY 

16S2  Ogden  Ave.,         Dept.  E-139       Chicago. 


III. 


Famous  Stage  Slar  Will  Teach  You  in  Six   Lessons 

Pat  DixoD,  IntcTiiatlfUJuI  STAR  of  Musical 

Comedy  and  Vaudevillefame,  will  make  j'our  i 

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•--   Writ^.  today!      No  obligation!  1 

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154 


Photoplay  Magazine — Advertising  Section 


« 


I 


^^^:^^ 


'We  are  advertised  by  our  loving  friends' 


Mellin's  Food— A  Milk  Modifier 

O    Why  does  Mellin's  Food  hold  such  O 
•     a  prominent  place  in  infant  feeding    • 

Because  it  is  used  with  fresh  milk — a  scientifically  correct  basis 
for  bottle  feeding. 

Because  it  acts  upon  the  casein  of  milk,  making  the  curd  flaky, 
soft  and  easily  digested. 

Because  it  favorably  influences  the  digestibility  of  the  cream  of  milk. 

Because  it  adds  carbohydrates  in  the  highly  assimilable  form  of 
maltose  and  dextrins. 

Because  it  adds  mineral  matter  in  a  form  readily  utilized  for  the 
development  of  bones  and  teeth. 

Because  by  its  use  infants  thrive  and  mothers  find  contentment 
as  they  record  the  satisfactory  progress  of  their  babies. 


Mellin's 

Food 

Biscuits 


Especially  suitable  Mcllin's 

when  it  becomes  time  to  wean  Food 

the  baby  from  the  bottle  BisCuitS 


A  sample  box  sent  free,  postage  paid,  upon  request. 


Mellin's  Food  Co.,       177  State  St.,       Boston,  Mass. 


m 


i 


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i<1 


^rARIS  §AYS.... 

compacts  to  match 
each  coAtumt 


Extravaqant  7...MO  ! 

DOUBLE  ONLY  ^  I  SINGLE   OMLY  5 O  "^ 

They're  the  smartest  of  smart  accessories — these 
brilliantly  colorful  new  compacts  of  Tre-Jur.  And 
inside  the  chic  little  oblong  case,  such  delightful 
powder! — soft,  clinging,  exquisitely  fragrant,  blend- 
ing perfectly  with  the  skin.  Flesh,  rachel,  or  the  fash- 
ionable new  Southern  Tan.  Refills  always  obtainable. 
An  adorable  compact — and  so  inexpensive!  Just  50c 
single — $1.00  double  with  powder  and  rouge. 


'M 


Speaking  of  silver  linings 


When   the   hair-dresser   lets   you 


I 


Ml 


down  on  the  eve  of  a  party 


and  your  new  shoes  don't  come 


and  the  youth  is  Unavoidably 


Detained  .  .  .  and  it's  raining  .  .  . 


then,  oh  then,  what  sweet  conso- 
lation there  is  in  a  Camel  ...  a 
cigarette  just  so  downright  good 
that  no  grief  can  prevail  against  it ! 


©   1929,  R.  J.  Reynolds  Tobacco  Company,  VPinston-Salem,   N.    C. 


Oka 
Baclanova 


In  This  Issue 


Photoplay's  Summe 
Style  Forecast 


5,000Q0  Prize  Contest 


lis  'Always  good  iasie 
to  use 

UFE  SAVERS 


R        E       A      T       H 


AWAY 


Photoplay  Magazine — Advertising  Section 


-4? 


W^oiil  aum  troubles  — 

defeat  PinkTootk  Brush 


JLHERE  is  no  greater  dental  folly 
than  to  care  for  your  teeth  and  pay 
no  attention  to  your  gums. 

No  matter  how  gleaming  your 
teeth,  how  pure  their  color,  how  free 
they  are  from  fillings  and  cavities,  it 
is  equally  important  that  your  gums 
be  strong  and  healthy. 

Yet ...  all  the  time  .  .  .  you  hear 
of  people  who  have  been  forced  to 
have  seemingly  sound  teeth  ex- 
tracted. Your  dentist's  x-ray  file  con- 
tains hundreds  of  photographs  that 
prove  the  dire  results  of  gum  neglea. 


If  ever  your  tooth  brush  "shows 
pink,"  it's  an  infallible  sign  that  your 
gums  need  attention.  Gingivitis,  or 
even  pyorrhea,  may  result  unless 
you  take  prompt  measures  to  bring 
your  gums  to  health ! 

Fortunately,  it  is  easy  to  care  for 
your  gums  as  dentists  say  you  should. 
Simply  brush  your  teeth  and  massage 
the  gums  twice  a  day  with  Ipana 
Tooth  Paste. 

Massage  and  Ipana  rouse  the  cir- 
culation. They  help  to  restore  a  nor- 
mal tonicity  to  the  gum  walls.  They 
give  back  the  stimulation  your  gums 
should  get  but  do  not  from  the  mas- 
tication of  hard,  fibrous  foods. 

For  modern  food  is  too  soft,  too 
yielding;  circulation  flags,  tissues 
break  down,  gums  grow  soft  and 
logy.  But  massage  with  Ipana,  gently 


^sY\^)^  ^ 


-A, 


^^■:^.% 


IPANA  Tooth   Paste 


\ou  can  do  it 
with  Ipana  and 


massage 


el 


at  first,  harder  later  on,  restores  the 
stimulation  that  your  gums  need  so 
much  to  keep  in  health. 

How  Ipana  tones 
and  hardens  the  gums 

Ask  your  dentist  about  this.  Ask  him 
about  Ipana.  He  will  probably  tell 
you  how  good  it  is  and  why.  Con- 
taining ziratol,  a  recognized  hemo- 
static and  antiseptic  widely  used  by 
the  profession,  Ipana  exerts  a  ton- 
ing and  stimulating  effea  that  makes 
the  massage  doubly  effeaive. 

Don't  think,  however,  that  Ipana 
is  only  a  specific  for  gum  troubles. 
It's  the  cleanest  feeling  tooth  paste 
you  ever  used!  It's  about  the  best 
tasting.  Your  teeth  will  shine  with 
its  continued  use! 

There  is  a  sample  offered  by 
the  coupon  on  this  page.  Frankly, 
we'd  rather  not  have  you  send  for  it. 
For  it's  small — and  sometimes  the 
mails  are  slow.  Rather  go  to  your 
druggist  today,  get  a  full-sized  tube 
(100  brushings)  and  give  Ipana  a  real 
chance  to  show  you  what  it  can  do. 
It  will  clean  your  teeth  beautifully. 
It  will  keep  your  gums  healthy. 


BRISTOL-MYERS  CO.,  Depc.I-60 
73  West  Street,  New  York,  N.  Y. 

Kindly  send  me  a  trial  tube  oHPANA  TOOTH 
PASTE.  Enclosed  is  a  rwo-cent  stamp  to  covet 
panly  the  cost  of  packing  and  mailing. 


Name. 


Addrtss- 


City. 


Stall. 


©1929 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


THE 

NATIOX 

NAMES 

THE 

LEADER 

IN 

TALKING 

PICTURES 


I^Ml.   .IIIWUJW^Wl     -: 


APPLAUSE! 

Says   the   Duluth   "Herald": 
"There  is  something  about  the 
Paramount  all-talking  quality 
pictures  that  registers  as  an  ar- 
tistic and  box  oflSce  attraction, 
and    the   "Sun,"   Baltimore, 
echoes  with  "It  seems  that  of  all 
the  firms  offering  talking  pic- 
ture entertainment  Paramount 
is  accomplishing  the  trick  best." 
About  "The  Letter,"  Robert  E. 
Sherwood,    one    of    America's 
foremost  critics,  said :  "It  is  more 
than  a  milestone  in  motion  pic- 
ture history.  It  is  the  herald  of  a 
new  order." ....  And  this  is  only 
a  smattering  of  the  applause  for 
Paramount  Pictures  which  you 
can  hear  from  coast  to  coast. 
Paramount  encores  now  with 
even  greater  productions  that 
you  should  not  miss.  Make  it  a 
point  to  see  them  all — to  see  any 
pictures  labeled  Paramount, 
whether  with  sound  or  silent. 


Don't  miss  these  great 
PARAMOUNT  PICTURESI 


RICHARD  DIX  in 
''NOTHING   BUT   THE 

TRUTH"  wilh  Helen  Kane  and  Louis 
John  BarteU.  Directed  by  Victor  Schertzinger 
from  the  play  by  James  Montgomery.  Novel  bj 
Frederic  S.  Isham. 


"GENTLEMEN  OF  THE 

PRESS"  with  WALTER  HUSTON, 
famous  star  of  the  legitimate  stage.  Directed  by 
M  illard  Webb,  from  the  play'by  Ward  Morehouse. 


"THE  ^SVOMAN  WHO 
NEEDED    KILLING" 

Wllh  Baclanova,  Clive  Brook  and  Neil  Hamilton. 
A  Rowland  V.  Lee  Production  from  the  play  by 
Margery  II.  Lawrence. 


«'THE   MAN   I    LOVE" 

With  Mary  Brian  and  Richard  Arlen,  Baclanova, 
Harry  Green  and  Jack  Oakie.  A  William  A. 
Wellman  Production  from  the  story  by  Herman 
J.  Mankiewicz. 


"If  it's  a  Paramount  Picture  it's  the  best  show  in  town!" 


PARAMOUNT  FAMOUS  LASKY  CORP.,  ADOLPH  ZUKOR, 


PRES.,    PARAMOUNT    BLDG.,     N.     Y.     C. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


The  World's   Leading   Motion   Picture   Publication 


FREDERICK  JAMES  SMITH 


Contents 


MARK  LARKIN 
WESTERN  EorroB 


For 

June 

1929 


Vol.  XXXVI 


<)?>.= 


James  R.  Quirk 

=  EDI  I  CiR-  AND    PUBLISHER    ■ 


No.  1 


=«4? 


Tke  HigK-LigKts  of  This  Issue 


Cover  Design  Charles  Sheldon 

Olga  Baclanova — Painted  from  Life 

Brief  Reviews  of  Current  Pictures  6 

A  Guide  to  Your  Evening's  Entertainment 

Brickbats  and  Bouquets  8 

The  Voice  of  the  Fan 

As  We  Go  to  Press 

Last  Minute  News  from  East  and  West 

Suggestions  for  Summer  Cooking 

You'll  Find  a  Number  of  Them  in  Photoplay's 
Cook  Book 

Friendly  Advice  on  Girls'  Problems 

Carolyn  Van  Wyck 
Photoplay's  Personal  Service  Department 

Close-Ups  and  Long  Shots       James  R.  Quirk 

The  Editor  Tells  You  What's  What  and  Who  With- 
out Fear  or  Favor 

Stepin's  High  Colored  Past        Herbert  Howe 

Fetchit  Reveals  All 

Home  Rules  for  Hollywood  Flappers 

Katherine  Albert 

The    Mother    System    That    Prevails  Among  the 
Younger  Film  Folk 

What  Is  IT?  Mark  Larkin 

Joseph   SchUdkraut  and  Lewis  Stone  Give  Their 
Definitions 

The  Favorites  Pick  Their  Own  Favorites 

Grace  Thornley 
Or  What  They  Think  of  the  Other  Fellow 

$5,000  in  Fifty  Cash  Prizes 

Rules  in  Photoplay's  Cut  Picture  Puzzle  Contest 

How   They   Manage    Their    Homes 

Alma  Whitaker 
A  Trip  to  the  Domicile  of  Charles  Chaplin 


10 


13 


18 


29 


31 


32 


34 


36 


39 


40 


The  Whip  (Fiction  Story)      Katherine  Albert 
She  Was  a  Threat  to  the  Temperamental  Star 

Gossip  of  All  the  Studios  Cal  York 

What  the  Film  Folk  Are  Doing  and  Saying 

What  Was  the  Best  Picture  of  1928? 

Cast  Your  Ballot  for  Photoplay's  Gold  Medal  of 
Honor 

The  Shadow  Stage 

Reviews  of  Latest  Silent  and  Sound  Pictures 

Hey!    Hey!    Harry's  Coming  Back 

Leonard  Hall 

Little  Dough-Face  Marches  on  Hollywood 

A  Little  Deal  for  Dora  (Fiction  Story) 

Stewart  Robertson 
Even  a  Confidence  Man  Falls  for  a  Pretty  Face 

How  to  Hold  a  Wife  (Husband)  in  Hollywood 

Mark  Larkin 
Two  Tasty  Recipes 

Amateur  Movies  Frederick  James  Smith 

What's    Being   Done   Among  the  Younger   Cine- 
matographers 

Vitamins  for  Beauty  and  Health 

Dr.  H.  B.  K.  WiUis 

Photoplay's    Diet    Authority    Tells    You    Their 
Values 

Reeling  Around  Leonard  Hall 

Tid  Bits  Served  with  a  Dash  of  Spice 

Photoplay's  Summer  Style  Forecast 

What  Film  Favorites  Are  Wearing 

Questions  and  Answers  The  Answer  Man 

What  You  Want  to  Know  About  Films  and  Film 
Folk 

Casts  of  Current  Photoplays 

Complete  for  Every  Picture  Reviewed  in  This  Issue 


46 
48 
52 

54 

59 

62 

64 
66 

67 

70 
77 
90 

144 


..5^, 


A  complete  list  of  all  photoplays   reviewed   in  the    Shadow   Stage  this  issue  w^ill  be  found  on   page   14 


Published  monthly  by  the  Photoplay  Publishing  Co. 

Editorial  Offices,  221  W.  57th  St.,  New  York  City  Publishing  Office,  750  N.  Michigan  Ave.,  Chicago,  111. 

The  International  News  Company.  Ltd..  Distributing  Agents.  5  Breara'a  Building,  London.  England 

James  R.  Quirk,  President  Robert  M.  Eastman,  Vice-President  Kathryn  Dougherty,  Secretary  and  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  aa  second-class  matter  April  24.  1912.  at  the  Postofflce  at  Chicago.  III.,  under  the  Act  ol  March  3,  1879. 

Copyright,  1929.  by  the  Photoplat  PUBLlsmNO  Comp.\nt,  Chicago, 


Brief  Reviews  of 

Current  Pictures 


■^Indicates  that  photoplay  was  named  as  one 
of  the  six  best  upon  its  month  of  review 


ADORATION— First  National. — Concerning  the 
post-revolution  romance  of  a  Romanoff  prince  and 
princess-  *  Ornamented  by  BiUie  Dove.     (Jan.) 

AIR  LEGION,  THE— FBC— Story  about  the 
air  mail  service  that  has  nothing  but  a  good  idea  to 
recommend  it.  {Dec.) 

AIRMAILPILOT.THE— Superlative.— Another 

air  mail  story  which  breaks  all  the  rules  of  aviation. 
{Dec.) 

ALIBI — United  Artists. — An  almost  flawless 
talkie  about  a  young  gunman  who  marries  a  cop's 
daughter.    Elegant  melodrama.  (May.) 

ALL-AMERICAN.  THE— Supreme.— How  a  col- 
legiate sprinter  mops  up  the  Olympic  Games,  demon- 
strated by  Charlie  Paddock.     {March.) 

ALL  AT  SEA— Metro-Goldwyn-Mayer.— A  Dane- 
Arthur  comedy.     The  title  explains  it.     {March.) 

ALL  FACES  WEST— Pioneer.— Western  thriller 
filmed  with  Mormon  money.  Marie  Prevost  and  Ben 
Lyon  are  in  it.     (April.) 

AMAZING  VAGABOND,  THE— FBO.— Not  so 
amazing.  Just  the  usual  stunts,  on  land  and  in  the 
air,     {Jan.) 

APACHE,  THE— Columbia.— Just  the  romance  of 
two  sweet  kids  in  the  Latin  Quarter — if  you  believe  in 
euch  tilings.     {Feb.) 

AVALANCHE — Paramount.— High-class  Western 
with  Jack  Holt  and  Baclanova — the  picture  thiefl 
(Jan.) 

AVENGING  RIDER.  THE— FBO.  —  Simple- 
minded  Western  mystery  story.     {Jan.) 

BEGGARS  OF  LIFE— Paramount.- The  low- 
down  on  hoboes.  Good  entertainment.  And  hear 
Wallace  Beery  sing  a  song  I  {Dec.) 

BEHIND  CLOSED  DOORS— Columbia.— PsstI 
Secret  service  stuff  in  another  mythical  country. 
Virginia  Valli.  {May.) 

BEHIND  THE  GERMAN  LINES— UFA-Para- 
mount. — The  German  side  of  the  war,  with  excellent 
and  authentic  battle  scenes  spoiled  by  some.obviously 
studio  shots.     {Feb.) 

•     BETRAYAL — Paramount. — Not      a      pretty 
tale,  but  ftne  dramatic  fare,  with  Emil  Jannings, 
Esther  Ralston,  Gary  Cooper.     {May.) 

BEWARE  OF  BLONDES— Columbia.— Emerald, 
emerald,  who's  got  the  emerald?     {November.) 

BITTER  SWEETS— Peerless.-Fun  in  the  life  of 
a  girl  detective.    {Dec.) 

BLACK  ACE,  THE— Pat  he.— So-so  Western  that 
will  fill  in  a  blank  evening.     {Jan.) 

BLACK  BIRDS  OF  FIJI  —  Australasian.  — 
Another  South  Sea  Island  picture — only  so-so.   {Feb.) 

BLACK  HILLS,  THE— Dakota.— In  which  the 
dam  bursts  again.     (March.) 

BLACK  PEARL,  THE— Rayart.— Loose-limbed 
mystery  that  rambles  aimlessly  tlirough  the  Orient. 
(April.) 

BLOCKADE  — FBO.— Bootlegging  made  attrac- 
tive by  Anna  Q.  Nilsson.  A  good  melodrama. 
(March,) 

BLOW  FOR  BLOW— Universal— More  adven- 
tures of  Hoot  Gibson,  if  you're  interested  in  Westerns. 
(Feb.) 

BORN  TO  THE  SADDLE— Universal— Three 
rousing  cheers!  A  real  good  Western,  with  action 
and  humor.    Ted  Vv^ells  is  head  man.  (May.) 

BRIDE'S  RELATIONS,  THE— Sennett-Educa- 
tional. — One  reel  talking  comedy  sad  and  funny  by 
turns.    Eddie  Gribbon  is  best.     (April.) 

BRIDGE  OF  SAN  LUIS  REY,  THE— M.-G -M.- 

To  the  astonishment  of  all,  a  good  picture  from  the 
Wilder  novel.    And  oh,  zat  Lily  Damita!  (May.) 


BROADWAY  FEVER  —  Tiffany-StahL  —  Sally 
O'Ncil  being  literally  too  cute  for  words  in  a  trivial 
story.     (March.) 

•     BROADWAY  MELODY,  THE— Metro-Gold- 
wyn-Mayer.— Brilliant  all-talkie  of  backstage 
life,  with  Bessie  Love  astonishing.    (April.) 

BROTHERS— Rayart.— A  good  brotherly  love 
yarn,  one  a  crook  and  one  a  nice  boy.  Barbara 
Bedford  dares  do  a  heavy.     (May.) 

BURNING  BRIDGES  —  Pathe.—  Better-  than  - 
usual  Western,  with  that  good  hombre,  Harry  Carey, 
in  a  dual  r61e.  (Dec.) 

•  CANARY  MURDER  CASE,  THE— Para- 
mount.— Logical  and  well  constructed  mystery 
story.  William  Powell  is  perfectly  swell  as  the  de- 
tective.    (Feb.) 

CAPTAIN  LASH— Fox.— A  coal  stoker's  romance 
or  love  on  the  waterfront.    Rather  strong  stuff.  (Feb.) 

•  CASE  OF  LENA  SMITH,  THE— Paramount. 
— Sincere  drama  of  the  love  affair  of  a  servant 
girl,  her  hardships  and  her  martyrdom.  A  real 
picture  for  intelligent  adult  audiences.      (Feb.) 


PIctu  res   You 
Should  Not  Miss 

"In  Old  Arizona" 

"The  River" 

"The  Canary  Murder  Case" 

"Wild  Orchids" 

"7th  Heaven" 

"The  Singing  Fool" 

"Interference" 

"Mother  Knows  Best" 

"Street  Angel" 

"The  Patriot" 

"Four  Devils" 

"Wings" 

As  a  service  to  its  readers,  Photo- 
play Magazine  presents  brief  critical 
comments  on  all  photoplays  of  the 
preceding  six  months.  By  consulting 
this  valuable  guide,  you  can  deter- 
mine at  a  glance  whether  or  not  your 
promised  evening's  entertainment  is 
worth  while.  Photoplay's  reviews 
have  always  been  the  most  author- 
itative published.  And  its  tabloid 
reviews  show  you  accurately  and  con- 
cisely how  to  save  your  motion  picture 
time  and  money.  The  month  at  the 
end  of  each  review  indicates  the  issue 
of  Photoplay  in  which  the  original 
review  appeared. 


CAVALIER,  THE— Tiffany-Stahl.— Richard  Tal- 
madgi?  in  some  imitations  of  Douglas  Fairbanks. 
(Jan.) 

CHARGE  OF  THE  GAUCHOS  —  FBO.— How 
the  Argentine  Republic  got  that  way.  With  Francis 
X.  Bushman.  (Dec.) 


CHARLATAN,  THE— Universal.— Murder  mys- 
tery done  with  nice  light  touch,  especially  by  Holmes 
Herbert.     (April.) 

CHEYENNE— First  National.— Ken  Maynard  in 
one  particularly  swell  Western.  (Dec.) 

CHINA  SLAVERS,  THE— Trinity.— Ragged 
story  of  the  Oriental  slave  trade,  but  smartly  acted  by 
Sojin.     (April.) 

CHINATOWN  NIGHTS— Paramount— Piping 
hot  melodrama  of  tong  wars  and  such,  with  Wallace 
Beery  and  Florence  Vidor  good.     (May.) 

CIRCUMSTANTIAL  EVIDENCE— Chesterfield. 
— Nothing  that  vou  could  care  about  in  a  big  way. 
(March.) 

CIRCUS    KID,    THE— FBO.— You    can    sleep 

through  it.     (Dec.) 

CITY  OF  PURPLE  DREAMS,  THE  —  Rayart.— 
Story  of  wheat  pits  of  Chicago.  Top  heavy  with 
drama.     (Jan.) 

CLEAR  THE  DECKS  —  Universal.  —  Reginald 
Denny  in  one  of  the  oldest  farce  plots  in  the  world. 
(March.) 

•     CLOSE  HARMONY— Paramount.— Brilliant 
tallcie  of  backstage  vaudeville  life.     Fine  fun, 
witli  Buddy  Rogers  and  Nancy  Carroll  aces.  (May.) 

COHENS  AND  KELLYS  IN  ATLANTIC  CITY, 

THE — Universal. — For  those  who  like  this  sort  01 
thing.     (March.) 

COME  AND  GET  IT— FBO.— Contains,  among 
other  things,  a  good  boxing  match.  (Dec.) 

COURT-MARTIAL— Columbia.— Melodrama 
about  the  less  civil  aspects  of  the  Civil  War.  (Dec.) 

DEMON  RIDER,  THE— Davis.— Just  a  West- 
ern.    (Dec.) 

DESERT  NIGHTS  —  Metro-Goldwyn-Mayer.  — 
One  of  Jack  Gilbert's  less  fortunate  vehicles.  (March.) 

DIPLOMATS,  THE  —  Fox-Movietone.  —  Clark 
and  McCuUough  in  a  two  reel  talkie  that  will  give  you 
some  laughs.     (March.) 

•  DIVINE  LADY,  THE— First  National.— The 
old  dirt  about  Lady  Hamilton  and  Lxird 
Nelson,  told  in  romantic  fashion.  Pictorially  beauti- 
ful, thanks  to  the  lovely  face  of  Corinne  Griffith. 
(Dec.) 

•  DOCTOR'S  SECRET,  THE — Paramount. — 
Barrie's  playlet.  "Half  an  Hour,"  emerges  as  a 
superior  and  well-constructed  talkie.  It  is  brilliantly 
acted  and  well  worth  >'our  time  and  money.  (March.) 

DOMESTIC  MEDDLERS— Tiffany-Stahl.— The 
eternal  and  well-worn  triangle.     (Feb.) 

DO  YOUR  DUTY— First  National.— Charlie 
Murray  plays  his  piece  about  the  honest  trafiic  cop 
and  the  crooks.    Not  so  hot.  (Dec.) 

DREAM  OF  LOVE— Metro-Goldwyn-Mayer.— 
The  prince  and  the  pretty  peasant — again.  Phony 
stuff  in  spite  of  Joan  Crawford  and  Nils  Asther. 
(Feb.) 

DRIFTER,  THE— FBO.— Just  another  Western. 
But  send  the  kids,  anyway,  because  Tom  Mix  is  in  it. 
(.March.) 

DRIFTWOOD — Columbia. — Looks  like  a  tenth 
carbon  copy  of  "Sadie  Thompson."    (Jan.) 

•  DUMMY,  THE— Paramount.— In  this  excel- 
lent all-talking  crook  melodrama,  two  Holly- 
wooders — ZaSu  Pitts  and  Mickey  Bennett — steal 
honors  from  a  lot  of  stage  stars.     (April.) 

DUTY'S  REWARD — Elbee. — More  cops,  crooked 
politics,  etc.    (Dec.) 

ELIGIBLE  MR.  BANGS,  THE— Coronet-Educa- 
tional.— .^  clever  little  dress-suit  comedy  in  one  reel, 
with  Edward  Everett  Horton  fine.     (April.) 

ETERNAL  LOVE— United  Artists. — John  Profile 
Barrymore  and  Camilla  Horn  get  romantic  in  the 
Swiss  Alps.     (.April.) 

I  PLEASE  TURN  10  PAGE  14  ] 


Photoplay  Magazine — Advertising  Section 


/  I  r 


Off 


DIFfERENT 


The  drama— suspense — tragedy  and  pathos — 
that  make  a  murder  case  first  page  news  the 
world  over  are  re-created  so  perfectlv  by  F^OX 
MOVIETONE  in  Thru  Different  Eyes  that 
you  couldn^t  get  a  greater  thrill  out  of 
watching  the  trial  progress  if  you  were  the 
accused  man  himself! 

Hear  every  word  of  the  evidence  —  the  sympathetic 
plea  of  the  defense  attorney— the  prosecutor's  relent- 
less demand  for  a  "life  for  a  life" — the  startling 
confession  that  solves  the  mystery!  See  three  possi- 
ble versions  of  the  crime  re-enacted  before  your  eyes 
—  be  judge  and  jury,  weighing  the  circumstantial 
evidence! 

Who  is  the  real  murderer?  Test  vour  wits  and  judg- 
ment— HEAR  and  SICE  Thru  Different  Eyes  when  it 
comes  to  your  favorite  local  theater.  It  will  thrill 
you  as  no  drama  of  life  ever  has  before. 


/■  Presented  6v       ■/ 

WILLIAM  FOX 

from  the  />(rty  by 
LTON   H.  GROPrER 
nd  EDNA  SHRJiKY 

MARY  DUNCAN 
WARNER  BAXTER' 
EDMUND  LOWE    ' 
EAULE  FOXE 

STEPIN  FETCHl^T 
d  by  JOHN   BLVSTONfe, 


FOX    MOVIETONE 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


j^rickb 


Three  prizes 

are  given  every  month 

for  the  best  letter s^^ 

$25,  $10  and  $5 


Bouquets 

The  REAL  CRITICS, 

the  FANS, 
GIVE  THEIR  VIEWS 


The  Monthly  Barometer 

WORDY  battles  galore  this  month!  Some 
of  the  fans  think  it's  a  shame  for  the  talk- 
ies to  crowd  out  many  of  the  idols  of  the  silent 
pictures.  Others  send  us  welcoming  messages 
for  stage  stars  who  have  made  their  talkie 
debut  and  been  voted  a  success. 

But  one  and  all,  they  are  proud  cf  the  old 
favorites  of  the  screen  who  have  come  back  via 
the  talkies.  Betty  Compson  is  a  notable 
e.xample.    The  fans  are  for  you,  Betty. 

"In  Old  Arizona,"  the  outdoor  talkie,  has 
made  a  great  impression.  And  they  are  still 
raving  about  "The  Singing  Fool"  and  "Our 
Dancing  Daughters."  And  still  a  httle  sus- 
picious of  voice  doubling. 

Diet  continues  to  be  a  fiercely  debated  sub- 
ject, with  the  "pro-curve"  faction  in  the 
ascendency.  Keen  interest  has  been  displayed 
in  Dr.  WilUs'  department  on  diet.  It  seems  to 
have  filled  a  long-felt  want,  especially  for  our 
feminine  readers. 

Have  you  some  suggestions  or  comments? 
This  is  your  department.  We  invite  con- 
structive criticism  and  we're  not  averse  to 
praise. 

$25.00  Letter 

Wyandotte,  Mich. 

I  believe  I  speak  for  all  grandmothers.  The 
movies  and  talkies  were  made  especially  for 
us.  Past  the  dancing  age,  tiring  of  cards  and 
books,  we  are  still  young  in  heart. 

In  the  pictures  we  vision  our  past.  In  the 
actors  and  actresses  we  see  our  children,  our 
lost  loves,  our  husbands,  ourselves. 

Not  able  to  go  the  pace  of  youth,  we  turn 
to  the  pictures.  They  keep  us  up-to-date;  give 
us  understanding  of  the  world  of  the  young; 
make  us  worth  living  with.  We  laugh  with 
CoUeen  Moore.  Davey  Lee  belongs  to  us. 
Clara  Bow  might  be  our  own  granddaughter! 

We  see  new  stars  replace  the  old,  and  learn 
to  love  them.  Grandmothers  need  to  go  on 
being  educated — we  need  pleasure,  need  to 
realize  that  the  world  today  is  different  from 
that  of  our  youth.  Most  of  all,  we  must  be 
kept  pliable,  soft  and  understanding.  No 
longer  do  we  as  a  class  sit  in  the  corner  and 
spin,  set  aside  as  inactive. 

More  than  any  other  agency  have  the  movies 
and  the  talkies  done  this  for  us — filled  our 
lives,  otherwise  done;  kept  us  useful,  awake, 
healthful,  companionable  beings. 

Mrs.  N.  E.  Coan. 


8 


The  readers  of  Photoplay  are  in- 
vited to  write  to  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. 


.00  Letter 

Long  Beach,  Calif. 

The  destinies  of  men  are  often  the  residt  of 
apparently  inconsequential  things. 

The  picture  "Mother  Knows  Best"  was  re- 
sponsible for  giving  me  conclusive  proof  that  I 
had  made  love  into  a  house  of  bondage.  When 
I  left  the  theater  after  seeing  that  wonderful 
picture  I  was  able  to  see  myself  as  I  really  was. 
A  selfish,  dominating  mother  who  had  shackled 
her  daughter  to  her,  causing  her  to  be  shy  and 
awkward. 

My  daughter  is  a  university  student.  We 
live  in  a  town  that  is  a  four  hours  and  thirty 
minutes  round  trip  to  her  school.  I,  in  my 
selfishness,  had  demanded  that  she  take  that 
long  ride  every  day  for  two  years.  She  was 
young  and  I  thought  she  should  be  at  home 
every  night. 

I  want  to  say  that  my  daughter  moved  up 
to  her  school  the  very  next  day.  Today  she  is 
an  individual.  Gone  is  her  awkwardness,  for- 
gotten her  shyness.  Keenly  alive,  and  with 
her  life  in  her  own  hands.  She  has  more  time 
for  her  studies,  and  is  deeply  interested  in  the 
social  affairs  of  her  school.  She  is  happy  to  be 
home  for  the  week-ends,  and  I  am  a  happy 
mother.  M.  B. 

$5.00  Letter 

Jacksonville,  Fla. 
When  you  live  in  the  far  South  and  think 
of  the  "Follies"  you  think  of  Will  Rogers, 
glorified  girls,  and  Fannie  Bricc!    But  you  can 


only  think  of  them,  there  is  no  possible  chance 
to  sec  them.    But  times  have  changed. 

Didn't  I  recently  see  Fannie  Brice  and  hear 
her,  right  down  south?    Answer  is  /  did. 

And  how?  Why,  talkies,  of  course.  How 
else  could  Broadway  arrive  on  Forsythe  Street 
in  Jacksonville?  "My  Man"  brought  her 
right  to  my  very  door.  There  she  was,  singing 
all  the  way  through  it.    Realized  dreams. 

And  talkie  fans  will  never  be  contented 
until  Will  Rogers  is  fetched  on  with  his  rope, 
his  chewing  gum,  his  famous  jokes.  We  can 
read  his  articles  now,  but  some  of  us  can't  see 
him  personally  otherwise. 

Sights  and  sounds  of  the  entire  world,  from 
the  far  corners  of  the  earth,  are  now  possible— 
an  amazing  record  of  achievement  in  the  film 
industry. 

Clifton  Ray. 

Sadie,  We  Call  That  Sweet! 

Puertecito,  N.  M. 

Can  you  imagine:  A  girl  who  for  the  past 
two  years  has  been  going  to  a  large  university, 
ha\'ing  a  glorious  time?  This  same  girl,  now 
teaching  in  a  tiny  Mexican  village  twenty-two 
miles  from  the  nearest  town  and  no  way  to  get 
there  except  on  horseback,  and  foiurteen  miles 
from  the  postoffice? 

That's  me! 

Can  you  imagine:  A  magazine  full  of  pic- 
tures of  handsome  men  and  beautiful  girls,  and 
advice  how  to  get  that  way?  Full  of  reviews 
and  comments  on  the  latest  pictures,  silent  and 
talking;  and  with  interesting  stories  besides? 

This  same  magazine  being  a  great  solace  to 
the  aforementioned  lonely  girl  on  lonely  nights 
in  a  lonely  place? 

That's  Photoplay! 

Sadie  Abernathy. 


Zowie ! 

Racine,  Wis. 

This  is  a  complaint  and  a  protest  against 
these  disgusting  half-starved  femmes  who  are 
staggering  around  on  the  silver  screen  at  the 
present  time.  How  much  farther  along  the 
road  to  ugliness  and  oblivion  is  this  vicious 
fashion  going  to  take  them,  I  wonder? 

Take  Dorothy  Mackaill,  for  example.  She 
looks  as  if  she  were  all  teeth.  And  Joan  Craw- 
ford, with  the  same  affliction,  and  her  eyes 
popping  out  of  her  head  besides.  I'm  here  to 
tell  you  that  the  tired  business  man  gets  a 
[  please  turn  to  page  96  ] 


Photoplay  Magazine — Advertising  Section 


Spring!  .  .  for  everyone  but  her 


In  her  lovely  Newport  garden  she  stood — 
a  bitter,  disappointed,  lonely  woman  at  33. 

It  was  Spring — but  in  her  life  there' was 
no  romance. 

Why  was  she  still  single?  Once  she 
could  have  picked  and  chosen  from  many 
suitors.  Now  she  had  none.  Even  time- 
tried  women  friends  seemed  to  avoid  her. 
She  couldn't  understand  it  .  .  . 

Halitosis  (unpleasant  breath)  is  the 
damning,  unforgivable,  social  fault.  It 
doesn't  announce  its  presence  to  its  vic- 
tims. Consequently  it  is  the  last  thing 
people  suspect  themselves  of  having — hut 
it  ought  to  hi  the  first. 


For  halitosis  is  a  definite  daily  threat 
to  all.  And  for  very  obvious  reasons, 
physicians  explain.  So  slight  a  matter  as 
a  decaying  tooth  may  cause  it.  Or  an 
abnormal  condition  of  the  gums.  Or  fer- 
menting food  particles  skipped  by  the 
tooth  brush.  Or  minor  nose  and  throat 
infection.  Or  excess  of  eating,  drinking 
and  smoking. 

Intelligent  people  recognize  the  risk 
and  minimize  it  by  the  regular  use  of  full 
strength  Listerine  as  a  mouth  wash  and 
gargle.  Night  and  morning.  And  be- 
tween times  before  meeting  others. 

Listerine  quickly   checks  halitosis   be- 


i 


cause  Listerine  is  an  effective  antiseptic 
and  germicide*  which  immediately  strikes 
at  the  cause  of  odors.  Furthermore,  it  is  a 
powerful  deodorant,  capable  of  overcom- 
ing even  the  scent  of  onion  and  fish. 

Lambert  Pharmacal  Co.,  St.  Louis,  Mo.,  U.  S.  A. 


Full  strength  Listerine  is  so  safe  it  may  be 
used  in  any  body  cavity,  yet  so  powerful 
it  kills  even  the  stubborn  B.  "Typhosus 
(typlioid)  and  M.  Aureus  (pus)  germs  in 
15  seconds.  We  could  not  make  this 
statement  unless  we  were  prepared  to 
prove  it  to  the  entire  satisfaction  of  the  med- 
ical profession  and  the  U.  S.  Government. 


Winning  new  users  by  thousands.  Listerine 
Tooth  Paste.  The  large  tube  2.S^ 


••Mlion   rllOTOJ'LAY    MACJ.iZlNK. 


As  We  Go  to  Press 

Last  Minute  NEWS  from  East  ^/^^West 


WINIFRED  WESTOVER, 
divorced  wife  of  Bill  Hart, 
has  landed  one  of  the 
most  coveted  roles  of  the  year — the 
lead  in  the  tallde  version  of  Fannie 
Hurst's  novel,  "Lummox,"  after 
nine  years'  retirement.  Herbert 
Brenon  will  direct  it  for  United 
Artists.  Louise  Fazenda,  Belle 
Bennett  and  others  were  hot  after 
the  part.  Bill  Hart  himself  is 
planning  to  reenter  pictures  via 
talkies.  So  far  he  and  two  com- 
panies which  have  been  interested 
have  been  imable  to  agree  on 
terms. 

DOLORES  DEL  RIO  gets  no 
part  of  the  million  dollars  left 
by  her  late  husband,  Jaime,  who 
died  in  Berlin  last  December.  The 
entire  estate  goes  to  his  mother, 
who  lives  in  Mexico  City.  Del  Rio, 
who  has  been  on  location  with  the 
"Evangeline"  company,  was  threat- 
ened with  pneumonia  due  to  ex- 
posure, and  was  forced  to  take  to 
her  bed  for  ten  days. 

ERNST  LUBITSCH  is  going  to 
direct  the  first  operetta  ever 
written  expressly  for  the  sound 
screen.  Paramount  will  make  it 
and  Guy  Bolton,  stage  hbrettist,  is 
doing  the  book.  The  first  talkie 
has  gone  on  the  air.  "Alibi,"  Roland 
West's  melodrama,  was  laroadcast 
in  New  York  recently.  Chester 
Morris  and  Eleanor  Griffith  read 
their  original  roles,  while  Director 
West  and  his  wife,  Jewel  Carmen, 
former  screen  actress,  took  part. 
The  picture  opened  sensationally 
on  Broadway. 

"•D  AINBOW  MAN,"  with  Eddie 
■t^DowUng  and  Marion  Nixon, 
opened  in  New  York  at  a  top  price 
of  $11,  as  did  Carl  Laemmle's 
"Show  Boat." 

THE  current  dance  band  sensa- 
tion on  Broadway  is  Rudy 
Vallee,  with  radio  and  vaudeville 
responsible  for  his  making.  Radio 
Pictures  will  feature  Rudy  and  his 
band  in  a  new  talkie. 

CONRAD    NAGEL    and    Raquel 
Torres   have    signed   new   con- 
tracts with  Metro-Goldwyn-Mayer. 

CHARLES  ROGERS  will  be 
supported  in  "Magnolia"  by 
Mary  Brian  and  June  Collyer. 
Miss  Collyer  was  borrowed  from 
the  Fox  Studios. 

THE  grandfather  of  Lita  Grey 
Chaplin  died  and  left  $75,000. 
None  of  it  to  Lita,  who  is  in  vaude- 
ville. 

CHARLOTTE  MERRIAM,  act- 
ress, suing  Rex  Lease,  film 
actor,  for  divorce,  charged  that  "he 
would  not  take  her  to  parties,  pre- 
ferring to  be  lionized  by  the  femi- 
nine guests  and  be  free  to  accept 
their  flattery." 

10 


Here's  the  first  aerial  quiet  zone.  Over 
the  Metro-Goldwyn-Mayer  studios  in 
Culver  City,  Calif.,  floats  a  captive  balloon 
flying  red  silence  signals.  This  is  to 
vifarn  passing  planes  that  talkies  are 
being  made  below.  Under  an  agreement 
between  the  Department  of  Commerce, 
the  California  Aircraft  Operators  Asso- 
ciation and  movie  producers,  aviators 
will  avoid  these  marked  locations  by 
2500  feet.  For  months  passing  planes 
have  wrecked  open  air  sequences  of  many 
Hollywood  films 


WANT  to  know  the  four  great- 
est films  of  aU  time?  The 
National  Board  of  Review  selects 
the  quartet  as  "The  Birth  of  a 
Nation,"  "The  Cabinet  of  Dr. 
Caligari,"  "The  Cruiser  Potemkin" 
and  "The  Passion  of  Joan  of  Arc." 
Photoplay  does  not  agree  with 
the  third  and  fourth. 

AT  the  Hollywood  premiere  of 
"Coquette,"  Mary  Pickford  an- 
nounced, "I  shall  never  make  a 
silent  picture  again." 

WALTER  HUSTON,  star  of 
"Gentlemen  of  the  Press,"  is 
making  another  talkie  for  Para- 
mount. It  is  "The  Lady  Lies"  and 
Huston  has  the  aid  of  Claudette 
Colbert  and  Charles  Ruggles.  Ho- 
bart  Henley  is  directing. 

CARL  LAEMMLE  has  just  pur- 
chased a  new  fifteen  acre 
poultry  farm  in  the  San  Fernando 
valley.     Capacity:  300,000  eggs. 

IAN  KEITH  is  opposite  Dorothy 
Mackaill  in  "The  Great  Divide." 

FOR  his  work  in  "Show  Boat," 
Joseph  Schildkraut  is  going  to 
get  Universal  stardom  after  one 
more  picture  with  Laura  LaPlante. 
His  first  will  be  "The  Devil's 
Hymn  Book."  And  in  June  Regi- 
nald Denny  bows  out  as  a  big  U 
star. 

ALMA  RUBENS  is  getting  well! 
She  is  getting  so  well  that  she 
expects  to  go  to  work  in  June. 
Several  producers  want  her. 

BEVERLY  HILLS  homes  are  on 
the  market.  Following  the  sale 
of  the  Frances  Marion  estate,  Tom 
Mix  offered  his  home  for  $350,000 
and  Fred  Niblo  his  for  a  paltry 
$325,000. 

VACATION  time!  John  Gilbert 
leaves  for  three  months  abroad, 
and  will  make  "The  Life  of  A 
Sailor"  on  his  return.  His  last 
before  sailing  will  be  "Olympia," 
directed  by  King  Vidor.  Billy 
Haines  hopes  to  sail  for  Europe  in 
mid-June,  and  Fred  Niblo  and 
Enid  Bennett  are  planning  a  four- 
month  tour  of  the  Orient.  It  will 
be  Fred's  first  holiday  in  three 
years. 

PEGGY  WOOD,  the  stage  star, 
is  considered  a  hit  in  her  first 
Metro-Goldwyn-Mayer  talkie,  and 
has  been  signed  for  three  years, 
the  contract  to  go  into  effect  after 
she  plays  a  stage  engagement  in 
London. 

FOR  the  first  time  in  twenty-five 
years  Lon  Chaney  is  growing  a 
moustache!  The  lip -fringe  will  be 
seen  in  his  new  picture. 

LEATRICE  JOY  comes  back  to 
the   screen   after  vaudeville. 


*"%s «'«« '°'t„.  be«r  *.n  pa._«  «e«™„ ,^,^    ry  ^""^ 


life- 
pop' 


,AI^ 


DY      COMPAJVy      ^         ^^'^w 


)  1929,  C.C.Co. 


^  generous  individual  packet 
of  dollar -O' pound  quality 
candy  which  just  fits  ^  A 
yotir  pocket    .     .  .    O  / 


REAL  MINT 

undlhecourse,  heepyaur 

mouth  cool  and  fresh  with 
this  new  and  better  gum 


\jmJ^e.  li  €1  vol . , M)ted Parifian BeautySpeciaUst 

lei  Is  ntt  easy  way  to  keep  skin  lovely 


"Recently  I  discovered  a  way  in  which 
the  success  of  my  work  as  beauty 
specialist  could  be  increased.  I  recom- 
mend to  my  clients  Palmolive—the 
soap  of  palm  and  olive  oils  which, 
separately,  have  great  cosmetic  value 
—and  which,  in  the  blending  of 
Palmolive  Soap,  are  doubly  effective.  It 
supplements  excellently  the  effects  of 
my  Creme  No.  1  and  Lotion  No.  1." 

12  RUE  RiCHEPAUSE 

Paris 


Madame  Payot,  in  her  artfully  decorated 
Paris  salon. 


FOR  many  years  the  elite  of  Paris 
have  hstened  to  the  beauty  ad- 
vice of  Mme.  Payot,  teacher  of  many 
famous  beauty  specialists  who  now 
carry  the  great  Payot  methods  to 
cosmopolitan  centers  throughout 
the  world. 

Today,  Mme,  Payot  advises  the 
daily  use  of  palm  and  olive  oils  in 
soap,  in  a  simple  2-minute  treat- 
ment, and  warns  against  the  harsh 
eifects  of  the  wrong  kind  of  soap. 
Here  is  beauty  news,  indeed! 

Madame  Payot's  discovery 

"I  found,"  she  says,  "that  some 
•women  habitually  use  soaps  that 
harm  the  skin  .  .  .  that  I  am  con- 
stantly working  to  overcome  the 
bad  results  of  improper  home 
cleansing. 

"So,  I  commenced  to  recommend 
to  my  patients  the  soap  made  of  palm 
and  olive  oils-which,  separately, 
have  great  cosmetic  value,and  which, 
in  the  Palmoliveblending.are  doubly 
efficacious  in  the  case  of  blackheads, 
open  pores,  greasy  skin,  etc. 

"The  difference  was  immediately 
apparent,"  says  this  distinguished 
exponent  of  beauty  culture.  "This 
home  cleansing  rule  gives  the  cor- 
rect foundation  for  the  use  of  my 
Creme  No.  1  and  Lotion  No.  1." 


The  Payot  Salon  in  Paris,  heauty  shrine  of  Europeans  and 

Americans  alike,  -with  its  chaste  elegance  of  mirrored  walls 

and  angidar  paneling,  is  an  interesting  example  of  the  in- 

creasing  use  of  modernist  decoration. 


Lovely  Americans  travel  all  over 
the  world  to  hear  over  and  over  again 
the  merits  of  this  most  popular  of 
home  facial  treatments.  They  go  to 
Jacobson,  of  London;  to  Pessl,  of 
Vienna;  to  Elise  Bock,  oi  Berlin  —and 
everywhere  they  are  given  this  same 
advice  on  complexion  care:  wash 
for  beauty  with  Palmolive  Soap. 

Her  2-minute  treatment 

Here  is  the  famous  Palmolive 
treatment,  recommended  all  over 
the  world,  as  Madame  Payot  would 
advise  it:  make  a  creamy  lather  of 
Palmolive  Soap  and  warm  water. 
With  both  hands  massage  this  well 
into  the  skin  two  minutes,  allow- 
ing it  to  penetrate  the  pores.  Then 
rinse,  first  with  warm  water,  grad- 
ually with  colder.  A  final  rinse  with 
ice  water  is  a  refreshing  astringent. 

For  a  dry  skin,  a  touch  of  cold 
cream  before  adding  powder  and 
rouge;  for  oily  skin,  an  astringent 
lotion. 

A  simple  treatment,  yet  it  un- 
doubtedly explains  why  Palmolive  is 
one  of  the  two  largest  selling  toilet 
soaps  in  France  — known  the  world 
over  as  home  of  exquisite  cosmetics. 
Here  in  America,  and  in  forty-eight 
other  countries,  it  is  more  generally 
used  than  any  other  soap. 


PALMOLIVE  RADIO  HOUR-Broadcast 

every  Wednesday  night— from  9::30  to  10:30 
p.m.,  eastern  time;  8:30  to  9:30  p.  m.,  central 
time;  7:30  to  8:30  p.  m.,  mountain  time:  6:30 
to  7;  30  p.  m..  Pacific  Coast  time— overWEAF 
and  37  stations  associated  with  The  National 
Broadcasting  Company. 


Suggestions 

C/        for 

Summer 
Cooking 


Two  Appe- 
tizing Recipes 
for  Kitchen 
Stove  or 
Campfire 


Griddle  cakes  aren't  to 
be  scoffed  at  any  time, 
but  cooked  in  an  old 
frying  pan  over  a  woods- 
man's fire  they  have  a 
flavor  that  satisfies  even 
an  outdoor  appetite 


Gwen  Lee,  so  often  cast  as 
a  gold-digging  little  vamp, 
proves  herself  a  capable  house- 
keeper who  cuts  the  peelings, 
oh,  so  thin,  and  doesn't  waste 
a  bit  of  the  potatoes'  precious 
nutriment.  You'll  like  her 
Potato  Omelet  for  hot-weather 
lunches  or  suppers 


WHO  wants  to  stand  over  a  hot  stove  for  long  hours  in 
summer?    I  know  there  aren't  any  affirmative  replies, 
so  I'm  going  to  tell  you  how  to  prepare  two  nourishing 
and  delicious  dishes  which  can  be  turned  out  in  a  minimum  of 
time.     And  what's  more,  they  can  be  cooked  as  easily  over  a 
campfire  as  on  your  own  kitchen  stove. 

Gwen  Lee  has  contributed  to  Photoplay's  Cook  Book  her 
recipe  for  Potato  Omelet,  an  ideal  hot-weather  dish.  These  are 
the  ingredients: 


.^^ 


Photoplay  Magazine 
750  N.  Michigan  Ave.,  Chicago,  III. 
Please  send  me  a  copy  of  Photoplay's  Cook 
Book,  containing  150  favorite  recipes  of  the  stars. 
I  am  enclosing  twenty-five  cents. 


Be  sure  to  write  name  and  address  plainly. 
You  may  send  either  stamps  or  coin.  _ 


3  large  potatoes 

,S  eggs 
Cooking  oil 


1  onion 

12  asparagus  tips 

Salt  and  pepper 


Pare  and  slice  the  potatoes.  Fry  in  a  skillet  in  the  cooking 
oil.  When  almost  done,  add  the  onion  chopped  fine,  and  let 
this  fry  with  the  potatoes.  Have  the  eggs  beaten.  Season 
with  salt  and  pepper  and  spread  over  the  whole.  When  done 
on  one  side  put  a  plate  over  the  frying  pan  and  turn  the  omelet. 
Then  slip  it  in  the  pan  again  and  let  the  other  side  brown  also. 
Garnish  with  asparagus  tips.     Serve  hot. 

The  other  recipe  is  for  Tim  McCoy's  Rye  Griddle  Cakes. 
You  will  need: 


2  cups  rye  flour 

1  cup  entire  wheat  flour 

3  teaspoons  baking  powder 


2  eggs 

1  teaspoon  salt 

1  pint  milk 


Sift  the  dry  ingredients  together;  then  add  the  milk.  Next 
add  well  beaten  eggs.  Beat  the  whole  mixture  thoroughly  and 
cook  immediately  on  a  hot  greased  griddle. 

POSSIBLY  Tim's  success  in  his  new  talking  and  singing 
short,  "A  Night  on  the  Range,"  was  due  to  the  fact  that  he 
had  just  cooked  himself  a  batch  of  these  griddle  cakes  before 
going  on  in  his  act. 

The  new  edition  of  Photoplay's  Cook  Book  contains  150 
tested  recipes,  all  contributed  by  the  stars  themselves.  They 
range  from  the  simple  recipes  given  here  to  the  most  elaborate 
desserts.  If  you  haven't  a  copy,  just  fill  out  the  coupon  to  the 
left,  enclose  twenty-five  cents,  and  a  Cook  Book  will  be  sent 
you  by  return  mail.  Carolyn  Van  Wyck 

13 


Photoplay  Magazine — Advertising  Section 


Here  is  Edwin  McTeer  (address  on  request)  and 
some  of  his  work.  The  crude  pen  drawing  was 
made  before  he  had  any  traininj;  and  the  striking 
story  illustration  (worth  SI  00)  was  made  after  he 
took  the  Federal  Home  Study  Course. 

HecUdit- 

Wtydoiityou? 

EDWIN  McTEER  is  only  one  of  the 
hundreds  of  young  men  (and  young 
women,  too)  who  are  succeeding  in  commer- 
cial art  with  the  help  of  the  practical  train- 
ing offered  by  the  Federal  Home  Study 
Course.  Well  trained  artists  earn  $50,  $75, 
SlOO,  S150  a  week  and  more. 

Success  in  Commercial  Art 

begins  with  a  liking  for  drawing  and  the 
ambition  to  follow  through  with  the  right 
training.  Mr.  McTeer  was  thirty  years  old 
when  he  clipped  a  coupon  like  the  one  at  the 
bottom  of  this  ad,  and  took  up  the  Federal 
Course.  He  progressed  rapidly,  increasing 
his  earnings  each  year  until,  at  the  end  of 
five  years,  he  was  making  around  $10,000 
a  year.    Read  what  he  wrote  us: 

"I  was  not  very  talented  when  I  entered 
this  training  with  you  people  as  you  cer- 
tainly know,  and  I  had  not  even  had  high 
scliool  training  and  I  know  any  one  with 
a  love  for  tlie  work  can  accomplish  even 
more  than  I  if  they  will  just  let  you  people, 
the  Federal  Schools,  help  them. 

"I  suppose  you  remember  I  opened  my 
own  independent  commercial  art  studio 
and  to  make  a  long  story  short,  my  earn- 
ings are  now  at  the  rate  of  over  SIO. 000.00 
a  year." 

Send  for  Book  "YOUR  FUTURE'' 

If  you  like  to  draw — send  for  book  "Your  Future"  and 
find  out  what  amazing  progress  you  can  make  with 
the  right  art  training.  Use  the  coupon  now,  giving 
age  and  occupation. 


I'fdtral  Schools 

of  Commercial  DesijSninji 

307  Federal  Schools  Bldg. 
Minneapolis.  Minn. 

Please  send  me  FREE  vour  Art  Ques- 
tionnaire and  book,  "YOUR  FUTURE." 


Name 

Present 

Age Occupation. 

A  ddress 


Brief  Reviews  of  Current  Pictures 

I  CONTINUED  FROM  PAGE  6  J 


EVA  AND  THE  GRASSHOPPER— UFA— Some 

remarkable  insect  pliotograpliy  and  a    not-so-good 
modern  story.     Anyway,  a  novelty.     (,Feb.) 

FAKER,  THE— Columbia.— Well  done  expose  of 
spiritualistic  cliarlatans,  with  Warner  Oland  fine  as 
tiie  phoney  spook-chaser.     (April.) 

FLOATING  COLLEGE,  THE— Tiflany-Stahl.— 
Based  on  one  of  those  university  cruises,  this  picture 
had  possibilities  that  aren't  realized.  (March.) 

FLYIN'  BUCKAROO,  THE— Pathe.— How  to 
capture  bandits.     (Feb.) 

•  FLYING  FLEE.T.  THE— Metro-Goldwyn- 
Mayer. — The  training  of  a  flyer,  told  with 
thrills,  accuracy  and  an  absence  of  bunk.  It's  a  real 
picture;  you'll  like  it.     (.Feb.) 

FORBIDDEN  LOVE— Pathe.— English  film 
brought  to  this  country  merely  because  it  stars  Lily 
Damita.     (Dec.) 

•  FOUR  DEVILS— Fox.— Dramatic  and  beauti- 
fully presented  story  of  Continental  Circus 
life,  with  great  performances  by  Janet  Gaynor, 
Charles  Morton  and  Barry  Norton.  "Vou'll  want  to 
see  it.     (Dec.) 

FUGITIVES  —  Fox.  —  Conventional  story  of  a 
wronged  girl  and  a  Horatio  Alger  district  attorney. 
(.March.) 

GERALDINE — Pathe. — Light  and  amusing  com- 
ed\'  with  Marion  Nixon  and  Eddie  Quillan,    (Jan.) 


•  HIS  CAPTIVE  WOMAN— First  National.— 
Getting  away  with  murder  in  the  South  Seas. 
However,  good  performances  by  Milton  Sills  and 
Dorothy  Mackaill  make  this  melodrama  worth  your 
attention.     With  sound  and  talk.     (March.) 


HAUL— FED.— Just  a  tear    jerker. 


-Fox. — A   talkie   farce. 


GHOST    TALKS,    THE- 

Plenty  of  laughs.     (Feb.) 

GIRL  ON  THE  BARGE,  THE— Universal.— A 
little  slow  but  pleasant  enough.  Sally  O'Neil  wears 
her  one  expression.     (Dec.) 

GIRLS  WHO  DARE— Trinity.  —  Sleuths  fail  to 
find  a  reason  for  this  picture.  Who  cares  if  girls  do, 
after  this  one?     (April.) 

GLORIOUS  TRAIL,  THE— First  National.— 
Ken  Maynard  and  Tarzan  work  on  that  first  overland 
telegraph  line.    You  know  the  rest.     (March.) 

GUN  RUNNER,  THE— Tiffany-Stahl.— Bullets 
and  romance  in  a  South  American  republic.  Frothy 
entertainment.     (Feb.) 

HARDBOILED—FBC— Hackneyed  story  about 
a  gold-digging  show  girl,  but  well  played  by  Sally 
O'Neil  and  Donald  Reed.     (April.) 

HARVEST  OF  HATE,  THE— Universal.— In 
which  the  great  talents  of  Rex,  the  wild  horse,  are 
ignored  to  make  footage  for  a  trite  romance.    (Jan.) 

HAUNTED  LADY,  THE— Universal.— Laura 
LaPlante  knows  who  did  the  murder,  but  is  afraid  to 
tell.    She  and  the  story  are  good.     (A  pril.) 

HEAD  OF  THE  FAMILY,  THE— Gotham.— 
Rather  cuckoo  farce.     (Jan.) 

•     HEARTS   IN   DIXIE— Fox.— Plantation   life 
according  to  a  Fox  talkie,  with  the  stupendous 
debut  of  Stepin  Fetchit,  colored  comic.  (May.) 

HEY,  RUBE — FED. — Carnival  life  film  that  has 
the  real  stuff.  (Dec.) 


HIS  LAST 

(Dec.) 

HIS  LUCKY  DAY— Universal.— Another  flimsy 
story  for  Reggy  Denny,  with  the  star  a  dizzy  realtor. 
(April.) 

HIS  PRIVATE  LIFE— Paramount.— One  of 
those  French  farces  that  is  full  of  doors  and  bores. 
However,  it  has  Adolphe  Menjou.  (Dec.) 

HOMESICK— Fox.— Sammy  Cohen  as  a  New 
York  tourist  in  California,     Fairly  funny.  (Dec.) 

•  HOME  TOWNERS,  THE  —  Warners.— 
Smootliest  talkie  so  far.  Good  lines,  by  George 
M.  Colian  and  a  fine  performance  by  Doris  Kenyon. 
(Dec.) 

HONEYMOON  ABROAD  —  World  Wide.— 
Monty  Banks  in  a  spotty  comedy  made  in  London 
and  Paris.    (April.) 

HOT  STUFF— First  National.— Collegiate  stuff  in 
musical  comedy  style.  Alice  White  disrobes,  smokes 
and  tipples,  as  usual.  (May.) 

HOUSE  OF  HORROR,  THE— First  National.— 
Cheap  claptriip  mystery  movie  which  is  saved  by  the 
comedy  of  Chester  Conklin  and  Louise  Fazenda. 
(May.) 

HOUSE  OF  SHAME,  THE— Chesterfield.— Do- 
mestic drama — if  that's  what  you  want.     (Feb.) 

HUNTINGTOWER  —  Paramount.  —  Imported 
Scotch — celluloid.  With  Sir  Harry  Lauder  and  a  lot 
of  atmosphere.     (Feb.) 

IN  HOLLAND— Fox  Movietone — Another  by 
those  fine  stage  comedians,  Clark  and  McCuUough. 
(April.) 

•  IN  OLD  ARIZONA— Fox.— Pointing  the  way 
to  bigger  and  better  talkies.  A  fine  Western 
that  [ileases  the  eye,  the  ear  and  the  dramatic 
instinct.     (Feb.) 


-Excellent. — Too    little    of    the 


INSPIRATION- 

titlerole.  (Dec.) 

•     INTERFERENCE—Paramount.— Drama  and 
suspense  in  a  Grade  A   murder  stor>-.     Well 
acted  and  well  spoken — yes,  it's  a  talkie.  (Dec.) 

INTO  NO  MAN'S  LAND— Excellent.— An  un- 
usually dull  war  picture.  (Dec.) 

•      IRON  MASK,  THE— United  Artists.— Doug 
Fairbanks  goes  back  to  D'Arlagnan — hurrayl 
Action  and  more  action.    A  good  evening.    (Feb.) 

JAZZ  AGE,  THE— FBC— Flaming  youth  and 
mostly  a  bad  imitation  of  "Our  Dancing  Daughters." 
(Feb.) 

JAZZLAND — Quality. — If  you  can  guess  what  this 
is  all  about,  you  ought  to  get  a  prize.     (March.) 

•  JEANNE  D'ARC— Societe  Generale  de  Films. 
— A  rarely  fine  artistic  achievement  and  a 
significant  picture.  You  may  not  sec  it  at  your  local 
theater  but  you  will  feel  its  influence  in  future  films. 
(Feb.) 

[  PLEASE  TURN  TO  PAGE  16  ] 


Photoplays  Review^ed  in  the   Shadow   Stage   This  Issue 

Save  this  magazine— Refer  to  the  criticisms  before  you  pic\  out 
your  evenings  entertainment.     Ma\e  this  your  reference  list. 


Page 

Anne  Against  the  'World — Rayart 146 

A  Woman  in  the  Night— World  Wide. .  146 

Below  the  Deadline — Chesterfield 146 

Black  Waters— World  Wide 146 

Blue  Skies — Fox 57 

Bondman,  The— World  Wide 146 

Bye-Bye  Buddy — Supreme 146 

China  Bound— M.-G.-M 57 

Christina — Fox 55 

Coquette — United  Artists 54 

Desert  Song,  The — Warners 56 

Donovan  Affair,  The — Columbia 57 

Eternal  Woman,  The — Columbia 146 

Gentlemen  of  the  Press — Paramount.  -  55 
Girl  Who  Wouldn't  Wait,  The— Libertyl46 
Greyhound  Limited,  The — Warners .  .  .  147 
Lawless  Legion,  The — First  National.  .  146 
New  Year's  Eve — Fox 57 


Page 
No  More  Children — Clifi  Broughton 

Productions 146 

Plunging  Hoofs — Universal 147 

Points  West — Universal 147 

Queen  of  the  Night  Clubs — Warners. . .  .  146 

Salvage — Supreme 147 

She  Goes  to  War — Inspiration-United 

Artists 56 

Show  Boat — Univer'-al 55 

Sin  Sisters,  The — Fox 56 

Some  Mother's  Boy — Rayart 146 

Syncopation — ^RKO 56 

Trent's  Last  Case — Fox 57 

Trial  of  Mary  Dugan,  The— M.-G.-M  .   54 

Voice  of  the  City,  The— M.-G.-M 57 

Where  East  Is  East— M.-G.-M 56 

Wild  Party,  The — Paramount 54 

Woman  Who  Needed  Killing,  The — 

Paramount 56 


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Brief  Reviews  of  Current  Pictures 

[  CONTINUED  FROM  PACK    14  1 


JUST  OFF  BROADWAY— Chesterfield.— Boot- 
legging, serious  drinking,  gunfire  aud  pure  night-club 
girls  in  an  impossible  hodge-podge.    {April.) 

KING  COWBOY— FBO.— Please.  Mr.  Mix,  don't 
do  anything  like  this  againl    {Jan.) 

KING  OF  THE  RODEO— Universal.— Hoot  Gib- 
son's best  contribution  to  Art  in  a  long  time,     (jan.) 

LADY  OF  CHANCE,  A— Metro-Goldwyn-Mayer. 
— Norma  Shearer  in  a  drama  of  a  gold-digo;er  who 
reforms.     If  they  only  would  in  real  hfei     {Feb.) 

LADY  OF  THE  PAVEMENTS  —  United  Artists. 
— In  which  the  vivid  Lupe  Velez  runs  away  with  a 
Griffith  picture.     {Feb.) 

LAST  WARNING,  THE— Universal.— Muddled 
mystery  with  no  plot  but  a  lot  of  fancy  sets  and 
fancier  photography.     (Feb.) 

LEATHERNECK,  THE— Pathe.— Good  silent 
film  crippled  with  some  talk.  Bill  Boyd,  Alan  Hale 
and  Co.,  fine  in  Marine  yarn.    (April.) 

LEGEND     OF     GOSTA     BERLING,     THE— 

Swedish  Biograph. — European  film  with  Greta 
Garbo.  proving  that  Hollywood  changed  an  ugly 
duckling  into  a  swan.     (Jan.) 

•     LETTER,    THE— Paramount.— The     talkies' 
first    big   emotional    performance,    by   Jeanne 
Eagels.    Good  strong  drama,  not  for  kids.  (May.) 

LINDA — Mrs.  Wallace  Reid  Production. — Maud- 
lin sentimentaUty.     {Feb.) 

LION'S  ROAR,  THE— Educational.— A  Sennett 
comedy  with  all  the  incidental  noises.     {Feb.) 

LITTLE  SAVAGE,  THE— FBO.— A  Western  that 
is  saved  by  some  good  human  interest  touches. 
(March.) 

LONE  WOLF*S  DAUGHTER,  THE— Columbia. 
—  Bert  Lytell's  perennial  crook,  the  Lone  Wolf,  in  a 
good  melodramatic  comedy.  (May.) 

LOOKOUT  GIRL,  THE— Quality.— Not  worth 
your  valuable  time.    (Feb.) 

LOOPING  THE  LOOP— UFA-Paramount.— For- 
eign drama  of  circus  life,  with  an  old  theme  but  with 
some  good  continental  atmosphere — if  that's  what 
you're  looking  for.     (March.) 

LOVE  IN  THE  DESERT— FBO —Smart  and 
funny  version  of  the  good  old  hot-sand  stuff,  with 
Olive  Borden,  Hugh  Trevor.  Noah  Beery.     (April.) 

LUCKY  BOY— Tiffany-Stahl.— In  which  George 
Jessel  does  a  Jolson  and  goes  in  for  tear-jerking. 
Silent,  with  lapses  into  sound  and  singing.     (March.) 

LURE  OF  THE  SOUTH  SEAS,  THE— Coopera- 
tive.— Picturesque,  authentic  south  sea  story,  filmed 
among  those  dream  isles.  (May.) 

MAKING  THE  GRADE— Fox— An  excellent 
movietone,  based  on  a  George  Ade  story.  (Dec.) 

MAKING  THE  VARSITY— Excellent.— Anyway, 
it  took  ingenuity  to  turn  a  football  game  into  a  ser- 
mon.    (Ja?t.) 

•     MANHATTAN  COCKTAIL— Paramount. — 
A  story  of  life  in  New  York's  theatrical  circles 
— told  with  a  kick.     (Dec.) 

MANHATTAN  KNIGHTS— Excellent.— Crooks, 
a  plot  with  whiskers  but  plenty  of  action.     (March.) 

MAN  HIGHER  UP,  THE— Three  reel  talker,  with 
Robert  Edeson  and  Hobart  Bosworth  in  fine  voice. 
Heavy  drammer.    (April.) 

MAN  IN  HOBBLES,  THE— TifTany-Stahl.— 
What  "in-laws"  can  do  to  an  ambitious  artist.  Good 
comedy.     (Dec.) 

MAN  OF  PEACE,  A— Warners.- The  Vitaphone 
picks  up  the  Ozark  drawl.  Too  bad  that  Hobart 
Bosworth's  first  talkie  had  to  be  something  like  this. 
(Jan.) 

MAN*S  MAN,  A— Metro-Goldwyn-Mayer.  — 
Livt  ly  satire  of  Hollywood  hfe  as  it  isn't.  But  funny. 
(Feb.) 

MARCHING  ON— Fox.— Chic  Sale  in  a  char- 
acter study  of  a  Civil  War  veteran.  Tears  and 
laughter.    It's  a  Movietone.  (Dec) 

MARKED  MONEY— Pathe.— Pleasant  comedy 
with  liuman  interest.     (Dec.) 

MARQUIS  PREFERRED  —  Paramount.— Light, 
sophisticated  and  amusing  Menjou  comedy.     (Feb.) 

MASKS  OF  THE  DEVIL— Metro-Goldwyn- 
Mayer. — John  Gilbert  is  great  in  a  weird  and  sinister 
story.     (Dec.) 

MATA  HARI:  THE  RED  DANCER— National 
Big  Three  Production. — German  importation  that 
relates,  in  a  confused  fashion,  some  of  the  exploits  of 
the  notorious  spy.     (Feb.) 


MOULIN  ROUGE— WorldWide.-Parisboulevard 
piece  made  in  Paris  and  London  by  A.  E.  Dupont, 
with  a  Russian  star,  Mile.  Chekova.  (April.) 

MUST  WE  MARRY?— Trinity.— Must  we  make 
pictures  like  this?  (Dec.) 

*MY  MAN — Warners. — A  chance  to  hear  Fan- 
nie Brice  sing  all  her  best  songs.    Not  much  on 
story  but  a  good  Vitaphone  novelty.     (March.) 

•  MYSTERIOUS  ISLAND,  THE— M.-G -M.— 
Beautiful  and  thrilling  all-color  production 
based  on  Jules  Verne's  story.  Entertaining  fantasy. 
(May.) 

NAPOLEON'S  BARBER  —  Fox  Movietone.  — 
Historical  drama  with  chin  chatter.  Cheer  up,  there's 
only  two  reels  of  it.     (Jan.) 

NAUGHTY  BABY— First  National.— Bad  Alice 
White!  Naughty  Jack  Mulhalll  Mean  producers  I 
Why  make  us  suffer  through  a  stupid  evening?   (Jan.) 

NAUGHTY  DUCHESS,  THE— Tiffany-Stahl .— 
Lame  effort  at  soplusticated  farce.     (Feb.) 

NAVAJO — Goodwill. — Lives  and  habits  of  the. 
Navajo  Indians,  shot  among  them.  Very  educational. 
Just  a  little  longer  news  reel.  (May.) 

NED  McCOBB'S  DAUGHTER— Pathe.— Plenty 

of  action  plus  sound  drama  plus  fine  acting.    (Dec.) 

NOISY  NEIGHBORS  —  Pathe.  —  Slapstick  and 
trite  melodrama.     (Feb.) 

NOTHING  TO  WEAR— Columbia.— Light  but 
entertaining  farce  that  isn't  hard  to  watch.    (March.) 

OBJECT,  ALIMONY— Columbia.— He  done  right 
by  our  Nell,  the  little  shop-girl,  but  it  all  made  a  trite 
and  feeble  picture.    (April.) 

OFFICE  SCANDAL,  THE— Pathe.— Very  funny 
comedy  of  newspaper  life.     (Feb.) 

ONE  MAN  DOG,  THE— FBO.— Exhibiting  the 
more  than  Hollywood  intelligence  of  Ranger.     (Feb.) 

•  ON  TRIAL— Warners.— Vitaphone  version  of 
a  drama  that  will  hold  you  spell-bound.  Also 
the  return  of  Pauline  Frederick  as  a  talkie  star. 
Recommended.     (Jan.) 

•     OUTCAST- First  National.— Corinne  Griffith 
is  excellent  in  a  daring,  well  directed  and  inter- 
esting drama.    Send  the  children  to  a  Western.  (Jan.) 

OUTLAWED— FBO.— Not  so  hot.  Mr.  Mix,  not 
so  hoti     (March.) 

PACE  THAT  KILLS,  THE— True  Life.— One  of 
those  propaganda  films — aimed  at  the  dope  evil.  And 
dull.     (Feb.) 

•     PAGAN,  THE— Beautifully  made  South  Sea 
romance,  with  fine  work  by  Ramon  Novarro, 
Renee  Adoree  and  others.    See  it.    (April.) 

PEACOCK  FAN,  THE— Chesterfield.— A  quickie 
mystery  melodrama  which  could  only  happen  in  the 
films.     Tom  ("Big  Parade")  O'Brien  in  it,  (May.) 

PHIPPS— Metro-Goldwyn-Mayer.— A  short  talkie 
sketch  that  you'll  forget  before  you  leave  the  theater. 
{Feb.) 

PLASTERED  IN  PARIS— Fox.— Pretty  Ure- 
some.     (Dec.) 

POWER  OF  THE  PRESS,  THE— Columbia.— 
Good  slant  on  newspaper  atmosphere.  With,  of 
course,  the  usual  heroic  "cub"  reporter.     (Jan.) 

PREP  AND  PEP— Fox.— Good  boys*  story  of  life 
in  a  military  academy.     (March.) 

PRICE  OF  FEAR,  THE— Universal.— Something 
to  avoid.     (Dec.) 

OUEEN  OF  BURLESOUE—Tiffany-Stahl.— Belle 
Bennett  breaks  her  heart  again  in  a  story  of  show 
folks.      (Ja7i.) 

RAINBOW,  THE— Tiffany-Stahl.- Good  melo- 
drama of  a  fake  gold  rush.     (Feb.) 

REDEEMING  SIN,  THE  —  Warners.  —  Latin 
Quarter  atmosphere  mingled  with  religious  hysteria. 
The  story  is  improbable  but  the  picture  has  a  certain 
pull.     (March.) 

RED  MARK.  THE— Pathe.— Depressing  business 
in  a  tropical  penal  institution.  Some  people  have  an 
odd  idea  of  fun.     (Jan.) 

REDSKIN  —  Paramount.  —  Richard  Dix  scores 
again  in  a  magnificent  color  picture  of  an  Indian  love 
story  that  will  delight  your  eye.     (Feb.) 

RED  SWORD,  THE— FBO.— Rough  old  Russia 
before  the  Revolution,  with  a  big  chance  for  our  old 
pal  Carmel  Myers.    (April.) 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  MAfivzixE — Advertising  Section 


17 


•     RED    WINE— Fox.— Dcliglitfu!    and     subtle 
coiiu'dy  of  a  Perfect  Husband  on  tlie  loose.    A 
tri-at.      (Jan.) 

•  RESCUE.  THE  — Goldwyn-United  Artists.— 
Ronald  Col  man  at  his  best.  But  an  unsatisfac- 
tory debut  for  the  cliarniing  Lily  Damita.  Too  much 
Conrad  plot  but  good  atmosphere  and  detail.  {Marih.) 


RESTLESS  YOUTH— Columbia, 
old — and  very  cheap — story.      (Feb.) 


Just  a  very 


— Vitaphone    with    a 
Henry   B.  Walthall. 


RETRIBUTION— Warners. 

bad   script   but   our  old   friend, 
registers  neatly.    ( Dec.) 

RILEY  OF  RAINBOW  DIVISION— Anchor.— 

Trivial  comedy  of  the  training  camps.  (Dec.) 

RILEYTHECOP— Fox.— J.  Farrell  MacDonald's 
work  io  the  best  tiling  in  a  not  too  interesting  picture. 
(Jan.) 

•  RIVER,  THE— Fox.— An  unusual  and  daring 
story,  well  played  by  Charles  Farrell  and  Mary 
Duncan.  A  drama  that  is  not  for  the  children. 
(March.) 

•  ROMANCE  OF  THE  UNDERWORLD— 
I'^ox. — Thanks  to  a  sure-fire  story,  neat  di- 
rection and  good  acting,  this  film  is  one  of  the  best  of 
its  kind.     (Jan.) 

ROYAL  RIDER.  THE— First  National.— Ken 
Maynard  in  still  another  mytliical  kingdom.  Can't 
keep  cowboys  on  the  range.     Oh,  dearl  (May.) 

RUNAWAY  GIRLS— Columbia.— Stufify  melo- 
drama with  a  moral.    (Dec.) 

SAL  OF  SINGAPORE— Pathe.— Phyllis  Haver 
as  a  bad  girl  who  is  reformed  by  a  little  che-ild. 
Salty  and  picturesque  background.  (Dec.) 

SATANESQUE- Sparta.— An  American  film,  but 
European  in  treatment,  with  its  story  of  class  con- 
flict in  romance.     (March.) 

•  SCARLET  SEAS— First  National.— Hard- 
boiled  story  of  a  tough  skipper  and  his  gal,  who 
manage  to  get  reUgion  without  spoiling  the  picture. 
Good  work  by  Richard  Barthelmess  and  Betty  Conip- 
son.     iJati.) 

SEVEN  FOOTPRINTS  TO  SATAN  —  First 
National. — I  love  the  title,  don't  you?  But  un- 
fortunately it's  just  a  hodgepodge 'mystery  story. 
(Feb.) 

SHADY  LADY,  THE— Pathe.— Good  acting, 
some  mystery  and  sharp  comedy.     (Feb.) 

SHAKEDOWN.  THE— Universal.— Another  yarn 
about  a  good  bad-man.    Fair  enough.     (Jan.) 

SHANGHAI  ROSE— Rayart.— A  rewriting  of  the 
old  Madame  X  angle,  with  Irene  Rich,  as  the  mothah, 
fighting  vainly  to  save  it  all  from  the  bow-wows  of 
boredom.  (May.) 

SHIPS  OF  THE  NIGHT— Rayart.— South  Sea 
life  seen  by  someone  never  off  Main  Street.  Just  too 
kiddish  for  anything.    (April.) 

SHOPWORN  ANGEL,  THE— Paramount.— War- 
time love  story  of  a  naughty  chorus  girl  and  an  inno- 
cent boy.     With  real  drama  and  heart  interest.  (Feb.) 

SHOULD  A  GIRL  MARRY?— Rayart.— Pre- 
senting the  sad  problems  of  a  gai  with  a  past.  (Dec.) 

SIDESHOW,  THE— Columbia.— Hold  on  to 
somctiiing!  An  original  circus  yarn!  Little  Billie 
plays  the  lead  in  this  story  of  a  midget's  battle  for 
success.   (May.) 

SILENT  SENTINEL.  THE— Chesterfield.  —  A 
crook  drama,  of  all  oddities!     (Feb.) 

SILENT  SHELDON— Rayart.-Pleasant  sort  of 
Western.      (Jan.^ 

SINGAPORE   MUTINY.   THE— FBC— Life  in 

coal  hole  of  a  ship — '\l  that's  what  interests  you.    (Dec.) 

SINNERS'  PARADE— Columbia.— The  ritzy  side 
of  the  underworld  with  a  snappy  plot.     (Jaji.) 

•  SINS  OF  THE  FATHERS  — Paramount — 
Emil  Jannings  in  a  tragedy  of  Prohibition.  Not 
oni-  of  his  great  pictures — but  nevertheless  eminently 
wortli  jour  while.     (Jan.) 

SIOUX  BLOOD— Metro-Goldwyn-Mayer.  —  In- 
dian whoopee  tliat  might  have  been  filmed  in  1910 
(Jan.) 

SKY  SKIDDER.  THE— Universal.— They  are 
aviators  now,  instead  of  cowboys.  And  the  thrills  are 
new.     (March.) 

SMALL  TOWN  SINNERS— Hugo  Brahn.  — 
German  fiUum,  with  most  of  the  action  in  a  barroom. 
(Feb.) 

SOMEONE  TO  LOVE— Paramount.— "Buddy  " 
Rogers  and  Marj-  Brian  in  a  thoroughly  agreeable 
picture.      (Jan.) 

SOMME,  THE— New  Era.— Made  in  Britain.    A 

grim  presentation  of  the  Somme  campaign  of  1916. 
(Feb.) 

SONNY     BOY— Warners.— They've     put      poor 
little   Davey   Lee  in  a  bedroom  farce!     The  kid  is 
dwell,  the  film  a  disappointment.  (May.) 
[  PLEASE  TURN  TO  PAGE   148  ] 


MBDiyiiiiii 


Ned  Wayburn — Your  Wonderful  Training,  Showmanship 
and  Interest  Have  Lifted  Us  from  Obscurity  to  a  Recog- 
nized Place  on  the  Stage.  Whatever  Success  We  May 
Achieve    We   Owe   to    You. 

BLANCHE  and  ELLIOTT. 
(Telegram    from    Blanche    and    Elliott    to    Mr.    Wayburn) 


'"PHE  touch  of  iht  master — how  often  it  shortens 
■*■  the  gap  letwecn  obscurity  and  fame!  Espe- 
cially in  stage  dancing. 

Never  was  this  great  truth  better  illustrated 
than  in  the  case  of  Blanche  and  Elliott  (Mr.  and 
Mrs.  Elliott). 

When  Mr.  Wayburn  took  them  in  hand,  their 
iiaiural  dancing  ability  was  their  only  asset.  They 
wire   utterly   lacking  in  finish   and  showmanship. 

llnder  his  inspired  direction,  which  has  ad- 
vanced so  many  Stage  and  Screen  Favorites  to 
Stardom,  they  made  such  remarkable  progress 
that  he  was  able  to  place  them  in  his  new  vaude- 
ville production  which  opened  in  America's  pre- 
mier vaudeville  house,  the  Palace  Theatre,  in 
New  York,  the  mecca  of  all  theatrical  artists.  At 
this,  their  first  appearance  before  metropolitan 
audiences,  they  scored  a  sensational  hit. 

Here  Avas  talent  in  the  "rough"  which  Ned 
V\'ayburn  developed  into  the  gem  of  SUCCESS. 
Yet  what  he  did  for  these  two  ambitious  young 
people,    he  is   more   than   anxious   to  do   for   you. 

At  the  Ned  Wayburn  Studios  a  course  in  every 
type  of  dancing  for  stage  and  social  affairs  may 
be  taken.  There  are  Daytime  and  Evening  Classes 
in  Limbering  and  Stretching  (body  conditioning), 
"Tap"     Dancing     (clogging).     Musical     Comedy 


Dancing,  Acrobatic  Danc- 
ing, and  Exhibition  Danc- 
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Call  or  write  today  for 
nur  lieautifui  new  56-page 
illustrated  Booklet  UG, 
which  describes  the  Ned 
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courses  in  detail.  This  book- 
let is  FREE. 

IMPORTANT— Many  <who  find  it  impossible 
to  come  to  the  Ned  If'ayburn  Studios  in  Nfiu 
York  at  once  are  taking  advantage  of  Mr.  ff-'ay- 
hurn's  Home  Study  Course  in  Star/r  Dancing.  If 
yiiu  are  interested,  lurite  for  Buuklet  VUG,  de- 
siribing  this  course  in  detail. 

NBD  WAVBURN 

Studios  oF  Stage  Dancing  Inc. 

1841  Broadway  (Ent.  on  60th  St.)  at  Columbus 
Circle,  New  York.  Open  all  year  'round,  9  A.  M. 
to  10  P.  M.  except  Sundays.  (Closed  Saturdays  at 
6  P.  M.)     Phone  COL  umbus   3500. 


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Friendly  Advice  from  Carolyn  Van  Wyck 


on 


Girls' 
Problems 


DEAR  CAROLYN  VAN  WYCK: 
For  the  first  time  in  my  life  I  am  going 
to  have  a  real  vacation,  three  whole 
weeks  at  the  seashore,  and  I'm  so  thrilled!  I 
{eel  it  is  extravagant  because  I  will  have  to 
spend  most  of  the  savings  I  have  been  hoarding 
during  a  year  of  hard  work.  I  could  probably 
get  just  as  complete  a  rest  at  home,  because  I 
haven't  any  household  duties  and  could  sleep 
late  every  morning.  And  I  would  be  sure  of 
a  good  time,  as  we  are  not  far  from  a  beach  and 
golf  course. 

I  don't  feel,  however,  that  physical  rest  is  the 
only  thing  I  need.  I'm  so  tired  of  the  same 
surroundings,  and  of  seeing  the  same  people 
every  day.  How  I  long  to  get  away  from  every- 
thing famiUar! 

Do  you  think  I  am  making  a  mistake  in 
spending  so  much  for  a  vacation  that  won't  be 
very  different  from  what  I  \\ould  do  at  home? 
And  can  you  give  me  some  advice  about  what 
clothes  I  will  need  at  a  semi-fashionable  resort, 
at  one  of  the  more  moderate- 
priced  hotels?  I  won't  have  a 
great  deal  of  money  left  for  = 

new  things. 

Also,  if  you  could  tell  me  a 
little  about  protecting  my  skin 
in  the  sudden  transition  from 
an  indoor  job  to  an  outdoor 
life,  what  cold  creams  and 
powders  to  use,  I  would  be  very 
grateful  to  you. 

Roberta  A. 


ravages  of  a  new  season  of  many  demands  upon 
mental  and  physical  energy. 

When  it  is  necessary,  a  vacation  in  one's 
home  surroundings  can  be  made  to  bring  good 
returns  in  rest  and  fun.  But  a  large  part  of  the 
value  of  a  vacation  lies  not  only  in  the  freedom 
from  accustomed  duties  but  in  the  change  from 
accustomed  scenes  and  famihar  contacts.  One 
needs  a  menial  change,  as  well  as  a  physical  one. 

And  now  we  will  consider  the  question  of 
clothes.  For  a  vacation  such  as  you  plan  that 
needn't  be  a  great  problem.  Chielly  sports 
clothes,  few  or  many,  according  to  your  purse. 
The  fewer  you  have  the  more  careful  you  will 
need  to  be  to  preserve  a  color  harmony  be- 
tween them  and  with  the  various  accessories, 
such  as  scarfs,  bags,  etc. 

Here  are  some  suggestions  for  a  limited  but 
adequate  wardrobe  for  this  type  of  vacation: 

Two  separate  skirts;  one  a  light-weight  cloth, 
either  in  the  popular  checks  or  plaid;  one  of 
light  colored  sUk.   Two  sweaters,  or  for  variety, 


How  to  Make  the  Most 
of  Your  Vacation 

Is  This  Month's  Discussion 


"D  OBERTA,  you  have  made 
■'■^-a  ttise  decision.  I  take  it 
that  for  forty-nine  weeks  out 
of  the  year  you  have  been  doing 
routine  things,  whirling  around 
in  the  same  limited  circle,  as 
most  of  us  do.  And  of  course 
you  «ant  to  break  loose  for 
a  brief  period  during  those 
lethargic  summer  months  when 
energy  and  enthusiasm  are  at 
an  ebb. 

That's  not  extravagance. 
That's  what  I  might  paradox- 
ically term  commendable  miser- 
liness— the  hoarding  of  health 
and  peace  of  mind  against  the 

18 


ARE  you  planning  a  few  precious  weeks  of  freedom  from 
routine  duties,  from  the  confining  walls  of  office,  schoolroom 
or  shop?  Do  you  want  to  know  what  sort  of  wardrobe  you  will 
require;  how  to  achieve  a  healthy  summer  tan  without  devastat- 
ing results? 

Is  there  some  general  problem  of  appearance  or  health  or 
happiness  on  which  you  need  friendly  advice? 

Then  write  me  a  letter,  explaining  the  situation  as  fully  as 
possible,  and  enclosing  a  stamped,  self-addressed  envelope  for  a 
personal  reply.  Letters  will  be  answered  in  the  order  in  which 
they  are  received.  If  you  want  my  leaflet  on  the  care  of  the  skin 
and  the  treatment  of  blackheads  and  acne,  just  request  it  in  your 
letter.  Enclose  10c  for  my  booklet  on  safe  and  sane  reducing  diet 
and  exercises. 

Write  to  me  in  care  of  PHOTOPLAY  MAGAZINE,  221  West 
57th  Street,  New  York  City. 

CAROLYN  VAN  WYCK. 


It's  vacation  time! 
Let's  pack  all  the  fun 
and  the  joy  of  living, 
all  the  carefree  relax- 
ation, along  with  the 
more  tangible  vaca- 
tion needs 


one  sweater  and  one  of  the  new  laced  flannel 
blouses  (which  will  be  particularly  attractive 
if  worn  with  a  matching  beret).  One  silk 
blouse,  tailored  or  frilly,  tuck-in  or  tunic, 
according  to  your  individual  taste.  Sweaters 
and  blouse  may  be  sleeveless,  short-sleeved  or 
long-sleeved,  as  you  prefer.  All  are  correct 
this  season. 

One  chiffon  dance  dress.  Black  chiffon  is 
always  lovely;  printed  chiffons  are  especially 
alluring  this  summer. 

If  one  wrap  has  to  serve  for  morning,  after- 
noon and  evening,  I  suggest  it  be  not  too  Ught 
in  color  nor  too  tailored  in  line.  A  soft  angora 
or  kasha  cloth  would  be  a  good  choice. 

If  you  like  to  go  without  a  hat  as  much  as 
possible,  your  travelling  hat  will  be  sufficient. 
It  should  have  a  small  brim,  especially  if  it 
must  double  for  golfing.     A  broad-brimmed 
shade  hat  wiU  be  both  useful  and  flattering, 
but  a  pretty  sun-rain  umbrella  will  protect  you 
from  too  much  sunlight  and  give  your  hair  a 
chance  to  catch  the  breezes. 
A  pair  of  low-heeled  sport 
=         oxfords   or   strap   slippers   for 
daytime    wear;    higher-heeled 
Deauville     sandals    or     other 
light-weight  slippers  for  danc- 
ing.    If  you  play  tennis,  pro- 
vide a  pair  of  regulation  tennis 
shoes. 

Add  to  this  your  bathing 
suit  with  its  accessories.  If 
you  can  afford  beach  pajamas, 
by  all  means  include  a  pair. 
They  are  the  very  smartest 
garb  to  be  seen  on  the  beach 
this  year.  Or  you  can  substi- 
tute a  beach  coat.  Those  of 
Turkish  toweling  are  particu- 
larly practical. 

You  might  add  a  one-piece 
sleeveless  dress  of  silk  or  cotton. 
This  is  the  most  comfortable 
costume  for  tennis  or  other 
strenuous  sports.  And  if  you 
can  eke  out  enough  money,  buy 
one  of  the  adorable  quilted 
calico  coats  so  popular  this  sea- 
son, ^'ou  will  find  it  useful  for 
both  daytime  and  evening  wear. 

[   PLEASE  TURN  TO  PAGE  92    ] 


Photoplay  Magazine — Advertising  Section 


19 


ELGIN    IrARISl  EN  NE  WATCHES 


DIAMOND-SET    DESIGNED 


CALLOT 

SOEUR.S,  .  ,  $75. 


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20 


Photoplay  Magazine — Advertising  Section 


John  Bamjmore  ComeliusVanderbilt,  Jr.     F.  Scott  Fitzgerald 


?^hese  three  dis- 
tinguished Americans  are  choos- 
ing, from  photographs  gathered 
throughout  tlie  United  States, 
the  twelve  loveliest  women 
using  Woodbury's  Facial  Soap 


VCTtD   THE    PRtTTIE§T    CF 


by  John  Barry  mo  re 

F.  Sco(t  Fitzgerald 

Cornelius  Tanderbilt,  Jr. 


Ihey  are  19  years  old — sophomores  in 
the  University  of  Chicago — twins! 

Laughter  seems  to  bubble  up  in  them 
as  if  from  some  perfectly  inextinguish- 
able fountain  of  mirth.  They  look  at 
each  other — and  break  into  dimples,  into 
smiles,  into  silvery  peals  of  laughter. 
They  laugh  for  no  visible  reason;  or  as 
if  being  alive,  and  being  twins,  were 
enough  reason;  as  if  they  found  the 
world  too  absurd,  delicious,  and  excit- 
ing to  be  true. 

When  they  walk  down  the  aisle  of  a 
theatre,  or  along  the  street,  the  dullest 
face  turns  to  look  at  them.  Perhaps  it 
is  their  wonderful  Northern  fairness; 
their  cheeks  the  color  of  roses  and  carna- 
tions, their  starry  grey  eyes;  or  perhaps 
it  is  just  that  they  seem  to  have  a 
warmer,  more  effervescent  sparkle  of 
life  in  them  than  most  people. 

They  were  born  in  Chicago,  and  have 
lived  all  their  life  a  few  blocks  from  the 
shore  of  Lake  Michigan.  There  they 
have  swum,  dived,  canoed,  sailed,  sunned 
themselves  in  the  sand,  from  the  time 
they  were  babies. 

Since  going  to  the  University  of  Chi- 
cago, they  have  begun  to  have  moments 
of  intense  seriousness  about  such  sub- 
jects as  psychology,  mathematics,  biol- 
ogy and  above  all,  examinations.  Noth- 
ing in  life,  as  yet,  seems  to  them  worse 
than  examinations;  "unless,"  as  one 
twin  remarked,  "getting  a  C  when  you 
expect  an  A." 

They  both  have  dazzling  pink  and 
white  skins,  and  they  have  been  brought 
up  on  Woodbury's  Facial  Soap. 

"It's  terribly  hard  to  keep  your  face 
clean  in  Chicago,"  they  say.  "Wood- 
bury's is  wonderful  for  cleansing,  it 
leaves  your  skin  so  deliciously  soft  and 
smooth.  We  love  it!" 

Out  of  hundreds  of  beautiful  Woodbury 
users,  on  whom  we  called  in  big  cities, 
in  little  towns  throughout  the  country — 
three  distinguished  judges  are  choosing  the 


JlTiss  Helen  and  <J)Ciss  Lois  'Dodd  of  Chicago,  Illinois,  chosen  from 
Woodbury  beauties  of  forty-eight  States  as  the  prettiest  of  co-eds 


loveliest  of  each  type  .  .  .Each  month  their 
photographs  will  appear.  They  represent 
thousands  upon  thousands  of  women  through- 
out America  who  today  owe  the  charm  of  a 
fresh,  clear,  beautiful  complexion  to  daily 
care  with  Woodbury's  Facial  Soap  .  .  .  Com- 
mence, now,  to  take  care  of  your  skin  with 
this  wonderful  soap!  Begin,  tonight,  to  gain 
the  charm  of  "A  Skin  You  Love  to  Touch!" 

Every  advertisement  in  FHOTOrLAT  M.^GAZINE  Is  guaranteed. 


A  DELIGHTFUL  Woodbury  set,  containing 
a  large-size  trial  cake  of  Woodbury's  Facial 
Soap,  Facial  Cream  and  Powder,  Cold  Cream, 
treatment  booklet,  and  directions  for  the  new 
complete  Woodbury  Facial  for  10  cents !  Send 
name  and  address.  The  Andrew  Jergens 
Co.,  2211  Alfred  St.,  Cincinnati,  Ohio.  For 
Canada, The  Andrew  Jergens  Co.,Ltd.,2211 
Sherbrooke  St.,  Perth,  Ont.    s>  i>es,  t/ui  a.  j.  ca. 


Maupin 


EW  DiCTURES 


^TnvOROTHY  REVIER  takes  a  good  long  look  at  her- 
I    tsiAi  and  says,  "Well,  old  girl,  you've  finally  rung 
the  bell!"    For  four  years  Dorothy  has  been  skir- 
mishing around  the  seats  of  the  movie  mighty  without  quite 
getting  a  chance  at  the  throne.  Baby  stardom  in  1925  just 
meant  baby  stardom,  and  nothing  more.    But  in  "The  Iron 
Mask,"  with  Doug  Fairbanks,  she  did  a  stunning  piece  of 
work,  and  followed  it  up  with  another  in  "The  Donovan 
Affair,"  an  all'talker.    Now  she's  riding  high! 


Ruth  Harriet  Louise 


/ULIA  FA  YE  got  her  break  in  pictures  by  reason  of  her  perfect  understandings.    For  years  she 
was  known  as  "The  Legs  of  Lasky's,"  and  always  doubled  her  nether  limbs  for  those  of  ladies 
less  blessed  by  nature.    She  has  always  been  a  mainstay,  or  main  stem,  of  De  Mille  pictures,  at 
Lasky's,  P.  D.  C,  Pathe  and  now  Metro-Gold wyn.    Julia's  a  Virginia  gyurl,  suh ! 


/UST  a  few  years  ago  Jeanette  Loff  was  playing  the  pictures,  not  playing  in  them.     Seated  at 
the  piano  of  a  small-town  movie  theater,  she  did  Fire  Music,  Indian  Music  and  "Hearts  and 
Flowers"  when  the  little  baby  died.    This  devastating  blonde  made  her  first  hit  opposite  Rod 
LaRocque  in  "Hold  'Em,  Yale."    One  look  at  her  and  Old  EU  held  like  a  brick  wall.     Why  not? 


Photoplay  Magazine's  New  $5,000  Cut  Puzzle  Contest 


The  hair  is  so  red  that  it  typifies  U. 

The  eyes  to  a  true  blonde  belong; 

The  mouth  made  her  hit  in  a  story  that  told 

Of  a  heaven  where  plenty  went  wrong! 


The  hair,  from  old  Philly,  once  played  on  the  stage. 
The  eyes  have  been,  always,  with  Fox; 
The  mouth  has  a  lure  that  has  brought  her  world  fame. 
(Though  her  ears  some  folk  just  long  to  box!) 


The  hair  in  the  city  of  Quakers  was  born. 

The  eves  now  direct  a  director; 

The  mouth  shone  so  bright  in  the  film.  "Peter  Pan 

That  they  had  to  deflect  the  reflector! 


The  hair  is  New  England  (but  only  by  birth), 
The  eyes  won  a  contest  for  fame; 
The  mouth  studied  dancing  and  art  for  two  years. 
Will  this  help  you  to  locate  her  name? 
RESUME 

Two  blondes  and  tuo  red  heads,  two  pairs  of  brown  eyes, 

Two  married,  and  two  unengaged! 

And  all  of  them  talented  to  a  degree 

That  has  made  them  headlined,  and  front  paged. 

Five-six  is  the  tallest — five-three  is  the  least — 

And  all  four  young  ladies  came  oul  of  the  East. 


Complete  Rules  for   Competition   Appear  on   Page  39 


The  hair  is  adept  at  all  Indian  roles. 

The  eyes  have  made  war  less  than  hell; 

The  mouth  has  a  wife  who  once  played  on  the  screen, 

(But  her  new  part,  as  wife,  she  does  well!) 


The  hair  was  a  cowboy — he  rode  for  his  health- 
The  eyes  to  a  dancer  was  married; 
The  mouth  is  a  popular  bachelor  and 
They  do  say,  by  the  girls  he  is  harriedf 


The  hair  is  a  father,  he's  handsome  and  dark.  The  hair  has  a  name  which  once  stood  for  green  hats 

The  eyes  took  a  college  degree;  The  eyes  played  on  good  old  Broadway. 

The  mouth  owns  Montana  as  his  natal  state.  The  mouth,  though  divorced,  is  now  married  again 

But  his  boyhocd  was  spent  o'er  the  sea!  To  a  most  charming  widow,  they  say. 

RESUME 

They  all  have  dark  hair,  but  just  luo  have  dark  eyes. 

And  three  are  quite  tall — and  one's  not. 

And  all  /our  were  college  boys  once  on  a  lime — ■ 

You  can't  guess  the  learning  they've  got! 

Tuo  of  them  are  married — and  tiio  have  /ought  shy. 

And  most  o/  the  girls  in  this  land  wonder  why! 


Ruth  Harriet  Louise 


/F  we  don't  run  the  gay  and  debonair  smile  of  the  dashing  John  Gilbert  every  month  or  so, 
screams  of  anguish  issue  from  millions  of  ladies  all  over  the  world,  so  here  is  Handsome  Jack  as 
of  the  June  issue,  1929.     Gilbert,  separated  professionally  from  La  Belle  Garbo,  has  been  busy 
making  "Redemption,"  his  new  Metro-Goldwyn  production.   And  it  won't  be  long  now,  fans . 


g^yCt  Jlne  ^Beauty 


X'/V 


T^hrill  to  the  new 
^'' Gossards  Moderne''^ 

Gossards  Moderne" — the  newest, 
smartest,  most   distinctive  figure 
arments !  In  charming  color  com- 
binations and  flattering,  slenderiz- 
ing designs,  they  bring  the  theme 
of  modern  art  to  foundation   gar- 
ments.     Fashion  finds  a  new  joy 
in    their    accomplishment    on   the 
figure  —  each   individual  wearer  a 
new  delight  in  adding  these  smart 
fashions  to  her  under-wardrobe. 

Originated  by  Gossard,  you  can  buy 
these  new  "Moderne"  foundations  in 
your  favorite  type  of  garment  —  com- 
binations,   step-ins,   hookarounds    and 
irdles.     Ask  your  corsetiere  to  let  you 
see  them  all. 

This  modernistic  girdle  is  made  of  bro- 
cade, in  tones  of  pink  and  green,  with 
matching    elastic.       Model    233,    .$2.00. 

THE  H.  W.  GOSSARD  CO.,  Chicago,  New  York,  San  Francisco,  Dallas,  Atlanta,  London,  Toronto,  Sydney,  Buenos  Aires 

Hivinon  of  Associated  Apparel  Industries,  Inc. 


o. 


16  5  7 

BRI DE§ 
I  6  o  5 


REALTY    CARE 


tkeMT  fiun^J 


ru^kyt  Ln.   tlvcy   dtjfipa/yv 


How  pretty  and  gay  and  smart  looking  are  the  brides  of 
today  .  .  .  will  they  keep  their  good  looks  in  spite  of 
housekeeping  cares?  "Yes,"  says  the  modem  girl — "we 
plan  to  cook  and  wash  dishes  and  yet  not  sacrifice  a  bit 
of  charm  or  good  looks!". . .  Brides  in  11  cities  recently 
told  us  of  one  way  they   do  this:   96  out  of  every 
100  questioned  keep  their  pretty  young  hands  smooth 
and  white  and  lovely  by  washing  dishes  with  Lux 
.  .  .  And  not  only  brides,  but  millions  of  home-makers 
now  keep  their  hands  lovely  with  Lux  in  the  dish- 
pan  .  .  .  it's  the  wisest,  most   inexpensive   beauty 
care  known!  Lux  for  all  your  dishes  costs  less  than 
\(f  a  day.  Try  it  yourself — today! 


The     National     Guide     to     Motion     Pictures 


[trade  uarkI 


June,  1929 


Close-Ups  and  Long-Shots 


By  James  R.  Quirk 


To  the  miracle  of  sound  from  the 
screen    has    come    the    further 
miracle  of  light  and  shadow  in 
the  human  voice. 

To  the  layman,  it  might  seem  that 
the  hundreds  of  scientists  and  tech- 
nicians who  are  laboring  quietly  to 
perfect  our  talking  pictures  are  usurp- 
ing almost  supernatural  powers  and 
privileges. 

Now,  sitting  godlike  at  his  control  board,  the 
talkie  expert  can,  by  a  twist  of  a  simple  gadget, 
control  the  sound  of  the  recorded  human  voice 
at  will — giving  it  light  and  shade,  color  and 
sonorousness. 

'  I  'HIS  new  and  most  astounding  development 
-*-  since   the   birth   of   the    talking    picture   is 
called  the  "sound  filter." 

By  cutting  out  certain  frequencies,  aston- 
ishing results  are  achieved.  Flat  voices  are 
made  full  and  rich,  colorless  voices  can  be 
given  highlights  and  shadows.  The  technical 
men  can  play  the  human  voice  upon  a  screen 
as  electricians  can  spray  it  with  infinite  va- 
rieties of  beautiful  color. 

TT  has  long  been  a  public  secret  of  the  photo- 
-*-play  world  that  a  good  cameraman  can  make 
or  break  an  actor.  By  lighting  and  shooting 
only  the  player's  best  facial  angles,  perfect 
beauty  can  be  achieved — by  accentuating  the 
faults  of  physiognomy,  the  actor's  face  can  be 
made  into  the  semblance  of  a  suet  pudding  in 
the  eye  of  the  camera. 


n; 


OW    the    man    at    the    "sound 
filter"  takes  his  place  among  the 
demigods  to  be  tenderly  handled  by 
actors. 

One  twist  of  the  thumb  and  fore- 
finger and  he  might  be  able  to  turn 
the  sweetest  of  voices  into  a  Lake 
Erie  foghorn.  Be  nice  to  the  man 
with  the  filter — he  may  change  you 
from  a  Galli  Curci  to  the  five  o'clock  whistle  on 
the  plow  works. 

Little  do  we  realize,  as  we  sit  before  these 
early  talking  pictures  and  complain  of  their 
experimental  errors,  that  hundreds  of  men  of 
science,  sitting  in  far  off  laboratories,  are 
performing  miracles  every  day. 

npHROUGHOUT  this  nation  there  are 
-*-  many  thousands  of  afilicted  souls  to  whom 
the  passing  of  the  silent  picture  is  genuine 
tragedy. 

It  has  been  their  principal  diversion  and 
happiness,  and  it  seems  almost  cruel  to  have 
given  them  this  boon,  this  solace,  and  then 
taken  it  away. 

For  the  past  few  months  I  have  been  hearing 
from  them;  scores  of  silent  pleas,  pitiful  in  the 
extreme. 

One  of  them  encloses  a  copy  of  a  poem, 
printed  in  Photoplay  ten  years  ago,  which 
was  as  sincere  an  expression  of  gratitude  as  I 
have  ever  read.  I  must  quote  it,  so  that  we 
more  fortunate  mortals  may  realize  what  a 
living  sorrow  deafness  is,  sympathize  with 
those  who  are  not  blessed  with  hearing,  and 

29 


be  grateful  for  the  senses  given  us  to  appreciate  God's 
world. 

When  I  was  little,  I  used  to  say 

To  my  lonely  self  day  after  day, 

"There's  a  door  been  closed  by  God  somewhere 

Up  in  the  mansions  above  the  air, 

And  it's  shut  out  the  music  of  life  for  me." 

The  chirping  of  birds,  the  drip  of  the  sea, 

The  song  of  the  wind  and  all  lullabies 

That  soothe  the  sorrows  of  heavy  eyes — 

These  were  the  things  they  described  to  me, 

Who  never  had  heard  a  tune  or  a  key. 

But  now  there's  a  place  I  can  always  go, 
And  there  I  can  almost  hear  and  know 
The  melodies  that  they  teU  about", 
For  all  of  a  sudden  my  soul  drifts  out 
Beyond  the  realm  of  tangible  things; 
I  hear  the  sighing  of  countless  wings — 
Those  ever-fanning  pinions  of  white. 
That  gloss  with  silver  the  darkest  night. 
Lo!  that  is  not  all,  for  as  I  wait 
Before  that  snowy  curtain  of  fate 
I  hear  the  secrets  that  lovers  tell — 
And  I  keep  that  music  and  con  it  well. 
And  somehow  I  fancy  that  mighty  door 
That  God  closed  on  me  forevermore. 
Has  at  last  swung  open  and  let  me  in. 
For  an  instant,  to  be  as  I  might  have  been ! 
And  all  the  day  I  imagine  song — 
I  dream  of  a  phantom  cadence  strong; 
And  I  catch  the  matchless,  eternal  strain 
Of  angels  harping  heaven's  refrain. 

O  wonder  curtain !  O  master  brain 

That  pierced  the  depths  where  my  soid  has  lain! 

O  Christly  pity  that  let  me  pass 

To  the  other  side  of  the  looking-glass! 

Ah,  blessings  on  the  genius  that  woke 
Melody  from  a  word  unspoke ! 
Thrice  blessings  on  you  who  for  me  found 
That  magic  picture-curtain  of  sound! 

PERHAPS  the  sound  and  dialogue  pictures  are  bring- 
ing to  the  thousands  deprived  of  sight  a  new  pleas- 
ure.    We  are  just  beginning  to  hear  from  them. 

But  if  anyone  could  read  the  letters  from  the  deaf 
that  come  to  my  desk  and  remain  unmoved  he  would 
be   heartless  indeed. 

I  know  of  no  remedy  for  this  sad  denouement  of  the 
sound  development  of  motion  pictures.  I  do  hope, 
however,  that  we  shall  always  have  silent  pictures  as 
well  as  audible  ones,  so  that  we  may  preserve  for 
afflicted  ones  a  measure  of  their  solace. 

Strangely  enough,  none  of  these  letters  refers  to  the 
faculty  of  most  deaf  people  for  lip-reading.  It  doesn't 
seem  to  be  a  consolation  in  their  loss. 


w 

own! 


HAT  these  talkies  do  to  the  time-tried  stars  of 
the   photoplay   is  nobody's   business   but   their 


Take  Connie  Talmadge,  and  why  not? 

After  her  years  in  the  business,  you'd  think  she 
wouldn't  be  frightened  of  a  mob  of  bloodthirsty 
hottentots  mounted  on  a  fleet  of  dromedaries. 

Yet  only  the  other  day,  when  she  stepped  before  a 
camera  and  microphone  to  take  a  test  for  the  lead  in 
"The  Gold  Diggers,"  she  was  scared  ossified,  and  it  was 
some  few  minutes  before  she  could  croak  a  note.  She 
finally  came  through  beautifully,  and  the  teacher 
marked  her  A  Plus,  but  a  little  iron  mike  had  fright- 
ened this  young  veteran  completely  out  of  her  con- 
sonants. 

They're  all  fighting  over  this  part — made  famous  on 
the  stage  by  Ina  Claire.  Marie  Prevost  and  Connie 
are  the  leading  candidates. 

Incidentally,  it  is  all  to  be  done  in  natural  colors. 


THE  prohibitionists,  the  anti-cigarette  outfits,  and 
all  those  babies  who  want  to  legislate  tempta- 
tions out  of  the  reach  of  us  poor  benighted  humans, 
want  Congress  to  save  us  from  ourselves.  Now,  I've 
got  one. 

I  want  Congress  to  pass  a  law  to  make  all  motion 
picture  critics  take  a  motion  picture  talkie  test. 

They  picked  on  me  last  week  to  make  a  two-minute 
talk  to  precede  "The  Letter." 

Was  I  scared  when  those  lights  blinded  me;  when 
those  three  demoniac,  grinning  cameramen  ground  on 
me  from  the  smug  security  of  their  glass  cages;  when 
that  microphone  leered  at  me  and  seemed  to  say, 
"Even  if  you're  good,  I  won't  like  you"? 

I  was. 

And  did  I  forget  all  about  what  I  intended  to  say? 

I  did. 

But  I  have  more  tolerance  for  actors  and  actresses. 
And  a  lot  of  people  whose  work  I  have  criticized  are 
even. 

FOR  many  years  we  _have  heard  churchmen  com- 
plaining about  the  eye-and-ear-tickling  methods  of 
picture  producers  in  thinking  up  attractive  film  titles. 
Evidently  the  parsons  have  decided  to  profit  by  the 
methods  used  by  these  disciples  of  Satan.  The  Kansas 
City  Star  compiled  a  list  of  sermons  announced  on  a 
recent  Sunday.    Here  are  a  few : 

Mockers  of  Sin 

This  Hard-Boiled  Age 

Blossom  Time  in  the  Desert 

The  Modem  Babel 

Heart  Searching 

Ice  and  Sand 

And  from  a  Portland,  Oregon,  .paper  we  get: 

Dancing  with  the  Devil 

The  Lure  of  the  Movies 

Who  Gets  the  Graft? 

Portland,  Paradise  of  Prostitutes 

Give  Aimee  a  Chance 

Sitting  on  the  Lid 

Satan  in  Chinatown 

Pickled  in  Gin  and  Sin 

Hot  diggity!     Let's  go! 

SPLIT  Mike  and  Ike,  Mutt  and  Jeff  and  the  Smith 
Brothers  and  what  have  you  left  but  a  few  frag- 
ments blowing  down  the  wind? 

This  sad  and  sentimental  thought  came  to  me  as  I 
read  that  Metro-Goldwyn-Mayer  has  definitely  de- 
cided not  again  to  co-star  John  Gilbert  and  Greta 
Garbo. 

Bang  goes  another  photoplay  team  of  the  royal  line — j 
a  duo  truly  of  the  great  tradition.  Since  the  films' 
earliest  days  they  have  seen  dozens  of  popular  teams 
come,  grow  famous  and  part — by  death,  fate  or  mana- 
gerial decree. 

Young  lovers  and  those  older  and  too  wise,  all  have 
had  their  moments  in  the  Kleiglight.     We  like  to  see  M 
one  woman  and  one  man  smitten  by  the  madness  of  J 
cinematic  amour.     Their  peculiar  joys  and   sorrows,    ' 
manners  and  methods  become  a  family  affair  with  us. 

Pelleas   and    Melisande,    Romeo   and   Juliet,    Vilma  | 
Banky    and    Ronald    Colman,    and    now    Garbo    and 
Gilbert!     But  where  the  old  time  lovers  gave  in  to 
poison  and  broken  hearts,  our  film  friends  break  it  all 
off  when  the  boss  in  the  front  office  gives  the  word. 

Well,  good  luck  singing  solo.  Jack  and  Greta.  j 

The  clinch  is  ended,  but  the  memory  lingers  on! 


30 


7e   recommend    this    as   one   of   Herb    Howe's    Best — and   That's   Good 


tepin  s 


High-Colored 

Past 

Fetchit  Reveals  All  and 

Converts  Herb  to  the 

Old  Time  Religion 

By  Herbert  Howe 


Since  Fetchit  made  his  hit  in  "Hearts  in  Dixie" 
he  has  acquired  three  automobiles,  a  secretary, 
some  temperament  and  a  dislil^e  for  appoint- 
ments. The  Hollywood  Boulevardier,  however, 
cornered  him.  Herb  finds  that  Stepin  spends 
his  spare  moments  moralizing  over  religion  and 
the  problem  of  a  future  life 


Mi 


■  AH  real  name  is  Lincoln  Theodore  Peary,  yes-suh.  .  .  .  Aw, 
mah  father  give  me  all  them  highflyin'  names:  Lincoln  foh 
Abraham,  Theodore  foh  Roosevelt  an'  Peary  foh  the  North 
'Pole  fella.  Ah  personally  give  mahself  the  name  Slop  Jar. 
"Stepin  Fetchit.  .  .  .  Oh,  Ah  took  that  name  off  a  race  horse  Ah 
admired  at  a  county  fair.  Ah  wrote  a  song  'bout  him  called  'Stepin 
Fetchit.'  It  was  a  riot,  understand  what  Ah  mean?  So  when  Ah  teams 
up  with  another  fella  foh  carnival  they  bills  us  Step  An'  Fetchit  The 
Dancin'  Fools  From  Dixie  .  .  .  understand  what  Ah'm  talkin'  'bout?" 
"  Ah  does,"  said  Ah. 

STEPIN  FETCHIT  is  the  first  man  to  put  color  into  films  successfully. 
As  Gummy  of  "Hearts  in  Dixie"  he  promises  to  do  for  his  people  what 
Valentino  did  for  the  Latins.    He's  a  riot,  understand  what  Ah  mean? 

Mistah  Fetchit  has  three  cars  and  keeps  no  appointments.  So  I  was 
told  at  the  Fox  studio.  He  rides  to  work  in  all  three  cars,  most  extraor- 
dinary fella,  Mistah  Fetchit.  The  first  carries  the  help,  the  second — a 
limousine — contains  Slop  Jar  hisself,  and  the  third  sort  of  finishes  up  the 
parade  like  the  calliope  to  which  Stepin  was  accustomed  in  carnival 
parades. 

I  made  my  appointment  through  his  secretary,  Mistah  ISIurphy,  at  the 
colored  Y.  M.  C.  A.  Fancy  mah  surprise  to  find  Mistah  Fetchit  there, 
though  he  was  billed  at  the  same  hour  for  a  personal  appearance. 

"  Who  all  said  Ah  was  makin'  personal  appearance?"  he  demanded, 
transfixed  by  the  news.  "Did  it  sav  so  in  the  paper?  'Spose  Ah  better 
go?" 

I  said  'spose,  whereupon  Step  collapsed  into  a  deep  divan. 

"Mah  feet  hurt." 

"  Then  them  were  your  feet  in  '  Hearts  in  Dixie'?  " 

"Ye-ah.  Ah'm  same  as  Gummy.  No,  .Ah  ain't  exactly  lazy  but  Ah 
don't  worry.  Ah  don't  worry  'bout  nuthin'.  Nuthin'  in  this  world. 
Just  one  thing.  ..."  He  became  agitated.  .  .  .  "An' — that's — 
Death.    Ah'm  sure  goin'  to  die.    That's     [  please  turn  to  p.\ge  123  ] 

31 


Home  Rules  for 


In  spite  of  the  fact  that  Sue 
Carol  has  been  married  and, 
since  meeting  Nick  Stuart,  is 
thinking  of  a  second  venture, 
Mrs.  Sam  Lederer  practically 
commutes  from  her  hotne  in 
Chicago  to  Hollywood  to  see 
that  daughter  Sue  goes  with 
the  right  people  to  the  right 
places  and  doesn't  stay  out 
too  late 


JJT'         * 


K'- 


"Gaynor,"  as  Janet  lovingly  calls  her  mother,  has 
been  a  vital  part  of  Janet's  career.  "Jonesy"  (her 
step-father,  Harry  Jones)  also  shared  largely  in  her 
success.  His  death  made  fame  and  honors  seem 
less  sweet  to  the  saddened  heart  of  his  daughter 


By 

Katherine 
Albert 


June  Collyer  and  her  mother, 
Mrs.  Clayton  J.  Heermance. 
June  came  to  Hollywood  as  a 
grown-up  young  lady  who  knew 
her  way  about  socially  in  New 
York,  so  she  didn't  need 
chaperonage.  Mrs.  Heermance 
says  that  June's  judgment  in 
choosing  friends  is  always  to  be 
relied  upon 


JiV  hcd  at  nine  P.  M.  when  working. 
In  bed  at  midnight  when  not  working. 
Mothers  must  approve  of  boy  friends. 
Daughters  must  'phone  home  if  out  after  twelve. 

These  are  but  some  of  the  rules  and  regulations  that 
the  film  flappers  follow.  With  a  few  exceptions  the 
girl  who  earns  hundreds,  sometimes  thousands  of 
dollars  a  week  is  as  restricted  as  the  high  school  kid 
on  a  five-dollar  allowance. 

And  the  embryonic  stars  hear  the  same  old  bromides 
from  mother. 

"  Be  sure  to  be  home  by  twelve." 

"Do  you  think  he's  the  right  kind  of  boy  for  you?" 

"The  trouble  is,  I've  been  too  good  a  mother  to 
you." 

"  We  didn't  do  those  things  when  I  was  a  girl." 

Sue  Carol,  Anita  Page,  Josephine  Dunn  and  Sally 
Eilers  are  strictly  guarded.  Mary  Philbin,  June 
Collyer,  Mary  Brian,  Lois  Moran,  Alice  and  Marceline 
Day,  Marv  McAllister,  Barbara  Kent,  Carol  Lom- 
bard and  j'eanette  Loff  adhere  to  certain  rules  of  their 
own,  approved  by  their  parents. 


Hollywood 
^UPPERS 


A  modified  version  of 
"The  Mother  Knows 
Best"  system  prevails 
among  the  younger  set 
of  the  fihns 


Three  Days  —  Alice, 
Marcelineand  Mother 
Irene.  (No,  Elinor 
Glyn  absolutely  did 
not  suggest  this  cap- 
tion!) Irene's  ideas 
are  as  young  as  her 
daughters.  But  when 
Alice  and  Marceline 
decided  to  smoke  and 
drink,  Irene  changed 
their  minds  swiftly 
and  surely,  without 
one  ''don't''  or 
"can't" 


And  there's  Anita  Page,  whose  parents,  Mr. 
and  Mrs.  M.  L.  Pomares,  are  determined  she 
shall  retain  her  health  and  make  a  success 
of  her  profession.  Anita  gets  nine  and  a  half 
hours  of  sleep  every  night 


Often  the  parents  are  too  strict.  Again  not  strict  enough. 
History  is  repeating  itself  in  the  case  of  Virginia  Lee  Corbin, 
who  is  living  through  a  second  Mary  Miles  M inter  mother- 
episode.  Troublous  times  are  in  store  for  both  Virginia  and  her 
mother.  The  mother  is  anxious  to  keep  her  daughter  a  well- 
chaperoned,  well-mannered  young  woman.  But  Virginia  is 
rebellious  and  determined  to  live  away  from  what  she  considers 
too  restricting  a  roof. 

But,  for  the  most  part,  their  problems  are  average.  Josephine 
Dunn  left  home.  She  left  it  four  blocks  away  and  then  went 
back.  After  all,  said  she  to  herself,  she  had  been  in  the  Follies. 
She  had  played  bad  women  on  the  screen.  She  refused  to  be 
treated  like  a  child  at  home.  So  she  left,  but  she  turned  around 
and  went  back  after  she  had  gone  only  a  few  blocks. 

S.\LLY  EILERS  wanted  to  leave  the  symbolic  fireside  the  night 
her  father  looked  first  at  Matty  Kemp  and  then  at  his  watch 
(it  was  one-thirty)  and  said,  "Is  this  a  nice  time  for  a  young  man 
to  be  bringing  a  young  girl  home?"  But  Sally  waited  until  the 
next  morning  and  then  she  wasn't  interested  in  running  away. 

Doesn't  it  all  sound  familiar?  It's  the  same  old  mother 
problem  whether  it's  Hollywood  or  Medicine  Hat.  And,  both 
in  Hollywood  and  Medicine  Plat,  there  are  wise  parents,  like 
Gladys  Moran  who  believes  that  "mother  love  is  the  bunk, 
only  fit  for  sentimentalists,"  and  foolish  ones.  There  are  good 
daughters  and  bad. 

There  aie  rebellious  girls  and  docile  ones.  There  are  those, 
like  Mary  Philbin,  who  live  in  a  world  apart,  whose  mothers  do 
not  realize  that  all  girls  in  the  film  colony  don't  sit  around  play- 
ing "consequences"  and  refusing  liquor  and  cigarettes. 

And  there  are  those,  like  Sue  Carol,  who  plaintively  make 
that  age-old  cry,  "  Mother  still  thinks  I'm  fifteen  years  old!" 

It's  the  same  old  mother  problem  the  world  over. 

Marceline  Day  decided  to  learn  to  smoke  and  drink.  How 
she  was  cured  isn't  the  text  for  a  W.  C.  T.  U.  sermon,  but  it's  a 
great  theme  song  for  the  Mothers'  Union  of  America. 

Irene  Day  has  two  kids  in     [  please  turn  to  page  134] 

33 


Joseph  Schildkraut,  one  of  the  films'  most  orchi- 
daceous leading  men.  According  to  Joe,  IT  is  an 
Anglo-Saxon  hypocrisy  used  to  cover  the  honest 
phrase,  sex  magnetism.  Which,  of  course,  sounds 
very  Schildkrautian 


THE  most  potent  word  in  the  English  language  today  is 
IT. 
Clara  Bow  is  responsible  for  its  current  popularity, 
Elinor  Glyn  is  credited  with  coining  it,  but  Rudyard 
Kipling  really  invented  it  years  ago. 

Opinions  as  to  its  importance  vary.  Some  say  it  stands  as  a 
symbol  of  sex,  others  maintain  it  is  merely  a  vulgar  colloquial- 
ism usurping  exaggerated  importance. 

Its  arch-enemy  in  Hollywood  at  present  is  Joseph  Schild- 
kraut. He  thinks  we  should  strip  the  ugly  meaning  from  the 
word  and  restore  it  to  its  original  place  in  our  vocabulary,  that 
of  neuter  pronoun,  denoting  the  gender  wilhoiil  sex. 

"Why  don't  you  ask  me  the  meaning  of  'IT'?"  he  demanded 
when  I  broached  the  subject.  He  was  sitting  in  his  library,  fine 
etchings  on  the  walls,  interesting  books  about  him.  He  got  up, 
began  to  pace  the  floor.    Then  he  answered  his  own  question: 


What 


IS 


"IT  is  Anglo-Saxon  hypocrisy," 
says  Joseph  Schildkraut 

By  Mark  Larki?i 

'IT',"  said  he,  "is  an  Anglo-Saxon  hypocrisy  to 
cover  up  the  honest  phrase,  sex  magnetism." 

There,  ladies  and  gentlemen,  is  the  Schildkraut  defini- 
tion of  "IT."  Elinor  Glvn  herself  could  have  done  no 
better! 

"If  people  in  America  would  only  treat  sex  a  little 
more  casuaUy,"  he  went  on.  "If  they  did  not  accent  it, 
if  they  did  not  attach  unnatural  significance  to  a  natural 
thing.  Sex  is  as  fragile  as  a  flower.  It  should  be  regarded 
as  a  flower  in  a  garden,  not  a  thing  to  be  pulled  apart, 
wantonly  dissected,  ruthlessly  destroyed. 


M 


OT  only  am  I  tired  of  hearing  'IT,'  I  feel  that  the 
word  never  should  have  been  created."     He  shook 
his  head,  grimaced.     "  It  suggests  nothing,  has  no  mean- 
ing, is  cooked-up,  enigmatic.    It  has  a  tiger  skin  twang." 
He  paused,  looked  about,  then  subsided  into  his  chair. 
"Perhaps  I  am  too  violent,"  he  hazarded.     "I  am  a 
one-sided  person — what  you  call,  perhaps,  a  wet  blanket. 
I  don't  smoke,  I  don't  drink,  I  don't  gamble,  I  don't 
dance.    I  like  my  home.    I  do  not  like  boldness,  lack  of 
restraint. 

"But  one  should  not  be  too  critical  here  in  America, 
America  is  very  young,  Europe  is  very  old.  In  America 
you  are  having  a  sex  awakening.  It  is  all  a  matter  of 
youth.  This  country  is  in  a  state  of  puberty  so  far  as  sex 
is  concerned,  .\merica  now  makes  its  romances  in  taxi- 
cabs.  Later  that  will  change.  .\s  contrasted  against 
the  age-old  background  of  Europe,  .\merica  is  like  a 
magnificently  gifted  young  person  just  learning  the  ways 
of  the  world. 

"The  madness  for  romance  now  upon  .America  shows 
in  all  her  films.  No  picture  can  succeed  unless  sex  is 
intimated.  A  glorious  picture  like  'The  Patriot'  is 
mildly  acclaimed — rated  primarily  an  artistic  success — 
because  it  has  no  love  story.  A  tawdry  romance  from 
Poverty  Row  mops  up  because  of  its  hugs  and  kisses  and 
its  inevitable  clinch  at  the  end. 

".American  women  are  more  sensually  inclined  than  Amer- 
ican men.  They  are  romance-starved  because  the  men  here 
do  not  know  the  art  of  love-making.  They  laugh  foolishly  to 
see  a  man  kiss  a  woman's  hand.  They  do  not  understand  this 
gesture  of  gallantry.  They  misinterpret  it.  They  condemn  the 
man  who  does  it.  Nevertheless,  in  spite  of  the  reputation  it  has 
given  me,  I  shall  continue  to  kiss  the  ladies'  hands. 

".\merican  men  do  not  like  foreigners  because  the)'  are  too 
adept  at  romance. 

"  A  MERICAN  men  lack  imagination.  They  are  practical, 
jCVmatter-of-f  act,  they  possess  no  fantasy.  They  cannot  smile. 
The  /Vmerican  man  can  laugh  loudly,  he  can  cry  salt  water 
tears,  but  he  is  not  subtle.  The  smile  is  a  thing  that  comes  only 
with  age,  generations  of  age.  The  .\merican  man  dies  sixteen 
deaths  inside  him  before  he  says,  'I  love  you.'  Yet  he  resents 
and  fears  the  delicacy,  the  innate  subtlety  of  the  foreigner." 
A  shrug  from  the  great  Schildkraut  suggested  contempt. 

"We  need  a  little  more  of  the  old-fashioned  romance,"  he 
pursued.  "Fewer  saxophones,  more  violins.  We  need  to  get 
away  from  the  bold,  the  blatant,  back  to  the  delicate.    Less 


IT 


use 


to 


a 


neuter     pronoun  —  now     it 


31 


IT? 


"IT  is  a  jazz  name  for 
personality,"  says  Lewis  Stone 


tuxedos,  more  costumes.  I  am  eager  to  know  how  people 
take  my  performance  in  'Showboat'.  There  is  nothing 
'IT-ty'  about  it,  nothing  se.xy.  It  is  lavender  and  old 
lace — old-fashioned  romance. 

"In  Europe  sex  is  accepted  as  a  matter  of  course.  We 
don't  point  at  it,  don't  discuss  it.  No  one  is  consciously 
aware  of  the  presence  of  'IT'.  America,  however,  seems 
ashamed  of  its  sex,  even  though  it  is  the  most  beautiful 
thing  nature  has  given  us.  Perhaps  the  reason  too  much 
attention  is  paid  to  the  matter  of '  IT '  here  is  because  the 
subject  is  so  new.  That  possibly  accounts  for  the  trick 
names,  the  subterfuges,  the  disguises.  The  word  '  IT '  is 
all  of  these. 

"W  TOMEN  in  this  country  go  by  types.    I  would  say 

W  there  are  three  types:  The  flapper,  exemplified  by 
Clara  Bow;  the  purely  spiritual  type,  like  Alice  Joyce,  and 
the  strictly  domestic  type  which  in  America  is  becoming 
more  extinct  every  day,  while  the  American  domestic 
man  becomes  more  distinct. 

"The  ideal  woman,  whom  I  have  not  met  yet — yes  I 
have — has  a  dash  of  all  three  types.  But  an  all-around, 
finished  woman  is  rare  in  America." 

At  that  moment  Elise  Bartlett  walked  into  the  room. 
She  had  just  come  from  rehearsal  at  the  President.  In 
private  life,  Elise  Bartlett  is,  of  course,  Mrs.  Schildkraut. 
I  do  not  know  this  to  be  a  fact,  but  as  I  watched  her,  as 
I  observed  her  natural,  unstudied  ease,  I  suspected  that 
she  represented  the  "yes  I  have"  part  of  her  husband's 
remark  about  the  ideal  woman. 

"  I  do  not  see  Garbo  as  the  symbol  of  '  IT '  at  all,"  said 
Schildkraut.  "I  know  her  well,  and  to  me  she  is  the  very 
antithesis  of  sex.  Highly  spiritual,  highly  intellectual, 
yet  unfortunately  always  in  strained  parts. 

"When  we  start  commercializing  sex  in  America,  when 
we  take  our  '  IT '  as  easily  as  our  baseball  or  our  golf,  then 
will  there  be  no  more  obnoxious  petting  parties  in  the 
high  schools,  and  the  nasty  viewpoint  of  a  beautiful  subject  will 
be  corrected.    Just  now  '  IT'  is  America's  new  toy.    In  time  she 
will  tire  of  playing  with  it." 

OF  course  the  Schildkraut  viewpoint  represents  the  outside 
perspective.  Let  us  turn  now  to  a  domestic  reaction.  Let  us 
listen  to  Lewis  Stone,  to  his  opinions,  his  conclusions,  his  phi- 
losophy concerning  the  all-absorbing  American  topic. 

"  'IT',"  says  Mr.  Stone,  "is  merely  a  jazz-age  name  for 
personality." 

Perhaps  it  will  surprise  you  to  note  that  this  definition  sug- 
'  ;ests  nothing  of  sex.  Yet  it  is  like  the  man.  Quiet,  reserved, 
j  >elf-contained,  he  is  exactly  in  real  life  the  sort  of  man  that 
1  mthors  picture  in  fiction.  You  feel,  somehow,  that  Lew  Stone 
I  s  always  master  of  any  situation.  And  he  is  inscrutable  enough 
I  ;o  be  intriguing.  They  call  him  "The  only  man  on  the  screen 
j  last  fifty  with  '  IT'." 

I     His  reserve,  his  discrimination,  his  resentment  at  the  mere 
j  suggestion  of  affairs  of  the  heart,  give  you  the  impression  that 
le  hails  from  the  gallant  South.    And  you  are  surprised  when 
j  'ou  discover  that  he  was  born  near  Boston. 
;     But  if  you  think  you  will  get  any  advice  from  Lew  Stone 


Lewis  Stone,  the  good  grey  actor  who  has  never 
given  a  bad  performance  in  his  long  screen  career. 
Lew  says  that  IT  is  just  another  word  for  person- 
ality, popularized  by  the  jazz  age.  And  a  dignified 
thought  it  is,  too! 


regarding  the  efficient  way  in  which  to  conduct  an  amour,  you 
are  doomed  to  disappointment.  The  man's  facility  for  chang- 
ing the  subject  is  little  short  of  genius.  He  even  shies  at 
generalities. 

When  I  told  him  that  "IT"  was  the  text  of  his  inter\'iew,  an 
expression  of  horror  crossed  his  face. 

"I'm  afraid  you've  come  to  the  wrong  person."  He  shook 
his  head  emphatically,  to  convince  me,  no  doubt,  that  he  was 
not  well  informed  on  the  subject  and  that  any  other  topic  would 
be  infinitely  more  welcome. 

But  we  persisted.  We  got  out  the  reportorial  gimlet  and 
began  to  bore  in.  We  knew  the  information  was  there,  it  was 
merely  a  matter  of  getting  it.  The  process  was  difficult,  for  we 
were  discussing  the  matter  behind  a  Russian  railroad  station  on 
one  of  the  M.-G.-M.  stages  during  the  making  of  "Wonder  of 
Women."  Every  time  we  got  going,  [  please  turn  to  page  98] 


the     most     abused     word     in     our     language 


35 


l/ie  Favorites  Pick 


.      By 

Grace 

Thornley 


Interesting  and  unsuspected  characteristics 
of  both  choosers  and  chosen  are  revealed  by 

these  selections 


IF  you  were  under  oath  be- 
fore a  court  of  justice  could 
you  pick  out  the  live  most 
interesting  people  in  your 
town? 

Could  you  say  which  men 
and  women  represent  most 
faithfully  the  color  and  vitality 
of  your  community?  I  don't 
mean  people  you  like.  I,  for 
example,  have  a  surprising 
fondness  for  an  old  aunt  of  a 
friend  of  mine  who  is  about  as 
interesting  as  a  carrot.    I  have 

even  been  known   to  like  after  dinner  speakers  and  radio 
announcers. 

I  tried  to  explain  this  to  nine  representative  individuals  of 
the  motion,  picture  industry  when  I  asked  them  to  select  the 
five  most  interesting  personalities  in  tbeirJLown,  Hollywood. 

OF  course,  they  came  to  no  agreement.  The  difficulty  lay  in 
the  definition  of  interest. 

What  is  interest,  after  all,  besides  six  per  cent? 

It  certainly  isn't  what  you've  done.  One  of  the  dullest 
men  I  know  has  led  what  would  be  called  a  colorful  life.  It's 
rather  a  mental  attitude — this  thing  known  as  interest. 

According  to  Wilson  Mizner,  Hollywood's  mosi  exploited 
wit,  suffering  is  a  synonym  for  it.  He  doesn't  believe  in  the 
still-water-runs-deep  theory.  "If  that  were  true,"  says  he, 
"an  oyster  would  be  an  exalted  O.  Henry.  No,  give  me  com- 
plaining citizens  who  hate  institutions,  law  and  order,  peace 
and  quiet,  who  thrive  on  controversy  and  litigation,  gossip 
and  merry  quip.  Who  have  lied  and  stolen  and  lived  strangely, 
whose  experiences  may  be  grouped  together  and  shaken  hke 
a  cocktail.     The  foam  will  turn  out  to  be  interest." 


What  players  and  studio  folk  do  the 
motion  picture  actors  themselves  like  best? 
Hollywood's  own  selections  provide  some 
striking  high  lights  on  film  success.  This 
interesting  article  tells  the  inside  story — 
and  it  suggests  a  novel  home  game.  Gather 
around  on  an  off  movie  night  and  pick  the 
most  popular  person  in  your  circle  of 
acquaintances. 


f 

m 

• 

1^^^^^  - 

Gloria  Swanson 

selects: 

Mary  Pickford 

Douglas  Fairbanks 

Charles  Chaplin 

Greta  Garbo 

Tom  Mix 

"Buddy"  Rogers 

selects: 

Mary  Pickford 

Richard  Arlen 

Jean  Leonard 

Oscar  Smith 

Ramon  Novarro 

This  suggests  an  interesting 
and  novel  home  game — pick- 
ing the  most  popular  person  in 
your  circle  of  acquaintances. 

Gather  round  a  table  on  an 
off  movie  night  and  have  your 
friends  make  lists  of  the  five 
most   popular   persons    they 
know.     Keep  the  lists  secret 
until  after  the  balloting,  then 
check  up  the  lists.    This  simple 
manner  of  tabulation  will  bring 
to  light  the  popularity  leader 
in  your  circle. 
Try  this  some  night.    You  may  be  surprised  in  the  result. 
But   to  return  to  Hollywood's  selection  of  its  five  most 
popular  people. 

Gloria  Swanson  chose  as  her  definition  of  interest  "fan 
interest"  and  she  selected  as  representative  of  the  industry 
five  people,  the  five  people  who,  if  she  were  a  fan  she  would 
be  most  anxious  to  see.  They  are:  Mary  Pickford,  Douglas 
Fairbanks,  Charles  Chaplin,  Greta  Garbo,  Tom  Mix. 

BUT  Paul  Bern,  a  well  known  executive,  took  a  more  in- 
clusive look  into  the  subject.  He  found  a  glory  in  failure, 
a  beauty  in  color,  a  pathos  in  futility.  Nor  could  he  hmit 
himself  to  five.    I  let  him  go  on.    His  choice  was: 

Ona  Brown — because  as  Mrs.  Clarence  Brown  she  was  the 
social  leader  of  Hollywood.  Because  she  helped  her  husband 
to  success  through  her  personality  and  vitality.  A  woman 
who,  now  that  she  is  divorced,  still  imagines  herself  the  social 
leader,  still  gives  elaborate  parties  but  is  now  just  Ona,  not 
Mrs.  Clarence. 

Jack  Gilbert — because  he  is  always  an  artist,  always  vivid. 
Never  happy.  A  man  with  whom  all  women  are  in  love. 
Who  went  through  a  prolonged  contract  fight  with 
M.-G.-M.  and  thought  when  it  was  over  he  would  be 
happy,  only  to  find  himself  as  he  was  at  the  beginning. 
He  is  kind,  cruel  and  ruthless  at  the  same  moment. 
Artistic,  tempestuous  and  vital.  Because  his  hard  knocks 
have  not  left  him  bitter.  And  because  of  an  amazing 
sense  of  humor. 

Marshall  Neilan — because  he  is  always  exuberant, 
always  humorous.  If  he  were  given  an  advance  of 
$1,000  on  a  picture  he  would  spend  $999  of  it  on  a  huge 
party  at  the  Ambassador.  Because  he  has  a  great  wit 
and  complete  ruthlessness.    Is  a  beloved  vagabond. 

SONIA  KARLOV  (Jean  Williams) — because  she  was  a 
New  York  chorus  girl.  Came  to  Hollywood  as  Jean 
Williams  and  failed  in  pictures.  Overnight  became 
Sonia  Karlov  from  Sweden  and  impressed  De  Mille  to 
such  an  extent  that  he  considered  her  for  the  lead  in 
"The  Godless  Girl."  But,  when  she  was  given  the  test, 
Lois  Weber  said  that  the  New  York  chorus  girl,  with  an 
acquired  Swedish  accent,  didn't  have  the  American  view- 
point! When  her  perfidy  was  discovered  De  Mille, 
furious,  gave  her  her  conge.  Now  she  is  nobody  for 
all  her  beautiful  gesture. 

Clara  Bow — because  her  hard  exterior  is  only  a  pose. 
Because  she  was  the  victim  of  vicious  circumstance. 
Because  she  is  the  greatest  emotional  actress  on  the 
screen,  could  play  DuBany  or  Zaza  if  given  the  chance. 
.'\t  heart  sheis  sentimental,  simple,  childish  and  sweet  and 
the  hard-boiled  attitude  is  a  defense  mechanism. 

Mary  Nolan — because  she  was  wrecked  by  the  bad 


36 


Their  Own  Favorites 


Lily  Damita 

selects: 

Sam  Goldwyn 

Irving  Thalberg 

Jesse  Lasky 

Marion  Davies 

Mack 


J' 


tllitgii     ■ 


John  Gilbert 

selects: 

Carey  Wilson 

and 

nine 

for 

Greta  Garbo 


Lilyan  Tashman 

selects: 
Lionel  Barrymore 

Eric  Pedley 

Adela  Rogers  St. 

Johns 

Bebe  Daniels 

Winfield  Sheehan 

and 

Edmund  Lowe 


Ronald  Colman 

selects: 
Mary    and    Doug 

(as  one) 
Gloria  Swanson 

Sid  Grauman 
Prof.    Robert    A. 

Millikan 
Joseph  Schenck 


CorinneGrifEth 

selects: 

James  Ford 

Howard  Kicken- 

looper  (Bob 

O'Hara) 

General   Wati- 

shevlav  Savitsky 

Baron  Wilhelm 

von  Hesse 
Norma  Shearer 


publicity  she  had  when  she  was  Imogene  Wilson.  Was  whipped 
by  circumstance.  Went  abroad  to  make  a  picture.  Was 
signed  as  a  great  German  actress,  Mary  Nolan,  by  Universal. 
Has  made  her  comeback.     Vivid,  colorful  and  beautiful. 

Blanche  Sweet — because  all  through  the  humiliation  of  her 
life  she  has  loved  but  one  man,  Marshall  Neilan.  She,  too, 
whipped  by  circumstance. 

CONRAD  NAGEL — because  he  is  completely  different 
from  every  other  man  in  Hollywood. 

Erich  Von  Stroheim — because  he  is  mad  and  cannot  limit 
himself  to  the  confines  of  his  art.  He  is  like  an  artist  who  is 
given  a  canvas.  He  paints  the  figures  and  then  says,  "But 
I  can't  get  the  heads  in  because  the  canvas  is  too  small." 
He  made  his  first  great  picture,  lied  and  cheated  to  do  it  as 
he  pleased.  After  that  promised  he  would  be  good.  But 
when  he  hears  the  click  of  the  camera  he  cannot  confine 
himself.    Is  a  great  genius  who  will  not  conform. 

Edmund  Goulding — because  he  can  do  more  things  well 
than  any  other  man.  Can  sing,  act,  direct,  write  plays, 
scenarios  and  novels.  Women  either  hate  or  adore  him. 
He  canlookcalmly  at  a  play  of  Shakespeare  and  say,  "Terrible! 
I'll  write  a  better  one."  And  can.  And  does.  Most  erratic 
and  eccentric  man  in  Hollywood. 

Thus  Paul  Bern,  the  lover  of  glorious  failures. 

It  is  a  quick  jump  from  the  opinion  of  an  analyst  of  Bern's 
type  to  the  selection  of  a  typical  American  lad  like  Buddy 
Rogers.     His  choice  follows: 

Mary  Pickford — because  of  her  sweetness. 

Dick  Arlen — because  of  a  colorful  career  as  a  newspaper 
man,  as  an  extra  boy,  as  a  great  actor.  And  because  of  his 
success  as  a  husband. 

Jean  Leonard — because  he  teaches  you  to  play  the  piano 
by  a  system  of  his  own  in  a  few  weeks.  You  need  only  memorize 
14  chords.    You  do  not  need  to  know  a  note  of  music  to  play. 

Oscai  Smith — because  he  was  once  Wallace  Reid's  valet 
and  then  set  up  a  boot  blacking  parlor  on  the  Paramount  lot, 
and  made  good.  Because  of  his  real  negro  wit  and  because, 
now  that  he  has  a  five-year  contract  with  Paramount  as  an 
actor,  he  still  runs  the  boot  black  stand. 

Ramon  Novarro — because  of  his  beautiful  aloofness  to  the 
picture  colony.    Because  he  is  genuinely  sweet  and  charming 


and  loves  everyone  worthy  of  love,  yet  prefers  to  produce  his 
own  plays  in  his  own  little  theater,  study  music  and  go  abroad, 
rather  than  attend  dances  and  bridge  parties. 

I  told  you  that  this  was  not  only  a  consensus  of  opinion 
but  a  good  insight  into  the  characteristics  of  the  people  whose 
opinion  was  consulted.  I  let  you  judge  for  yourself  about 
Lily  Damita.  The  bright  little  foreigner  within  our  shores  is 
as  shrewd  a  French  gal  as  ever  signed  a  smart  contract.  Be 
it  said  in  Lily's  defense  that  she  could  not  distinguish  between 
interesting  people  and  those  she  liked.  And  those  she  liked 
were  those  whom  it  was  profitable  for  her  to  like.  Look,  then, 
at  her  highly  profitable  list. 

Sam  Goldwyn — because  he  always  makes  her  laugh. 

Irving  Thalberg — because  she  has  to  think  before  she  answers 
him  and  because  he  alwaS's  has  the  last  word. 

Jesse  Lasky — because  he  is  so  courteous  and  considerate. 

Marion  Davies — because  she  is  so  sweet  and  charming. 

Mack  (a  musician) — because  he  was  so  nice  on  the  set  and 
always  asked  what  she  wanted  played  in  her  scenes. 

You  will  note  that  Lily  has  chosen  three  of  the  most  im- 
portant producers,  those  best  able  to  keep  her  in  big  fat  roles. 
And  also  she  has  selected  the  woman  who  gives  the  best  parties 
and  has  the  most  important  people  at  her  home.  Lily  threw 
in  Mack  for  good  measure,  as  a  nice  democratic  gesture.  It's 
a  perfect  list.  I  couldn't  improve  upon  it.  It  took  Lily  quite 
a  long  time  to  think  up  why  these  people  were  interesting. 

NOW  perhaps  it  is  well  to  give  Mizner's  nominations.  He 
finds  the  picture  people  (he  chooses  only  one  connected 
with  the  industry)  too  prosperous  to  be  amusing.  For  him  a 
perfect  profile  or  a  cross  eye  isn't  interest.  These  lords  of 
creation  concentrate  too  much  on  success  to  please  him.  They 
speak  more  of  what  they  do  than  what  they  have  seen.  So 
here  they  are: 

Jack  Kearns — because  in  his  moral  and  spiritual  charm  there 
is  a  full  quota  of  larceny,  the  larceny  of  excitement  rather  than 
money,  not  that  he  has  ever  scorned  the  latter. 

Hap  O'Connor — because  he  was  born  with  eight  dollars 
and  still  has  it. 

Ted  Cook — because  he  originated  Congressman  Frisby  and 
compliments  Mizner  by  listening  to  him. 

Dorothy  Parker  (now  no  longer  [ple.ase  turn  to  page  119] 


Who    are    Hollywood's    five    most    colorful   figures? 

27 


S  in  "Our  Dancino  Daughters,"  Anita  Page  and  Joan  Crawford 
prove  again  in  "Our  Modern  Maidens"  that  even  in  this  off-wtth- 
the-old-on-unth-the-new  age  one  cannot  dance  to  the  tune  ot  tne 
piper  without  having  to  pay  him.  But  we  are  happy  to  state  that  they 
do  not  pay  and  pay  and  pay!    Instead  they  are  paid  and  paid  and  paid. 


^ 


38 


See  Rotogravure  Section  for  Cut  Puzzle  Pictures 

$5,000 ///Fifty  Cash  Prizes 

RULES  OF  CONTEST 

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

First  Prize $1,500.00  Fourth  Prize $    250.00 

Second  Prize 1,000.00  Fifth  Prize 125.00 

Third  Prize 500.00  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  play  Magazine  and  assemble  the  pictures  from  the 

September  numbers)  Photoplay  Magazine  is  publish-  copies.      Copies    of    Photoplay    Magazine    may    be 

ing   cut    puzzle    pictures   of    the    well-known    motion  examined  at  the  New  York  and  Chicago  offices  of  the 

picture    actors    and    actresses.      Eight    complete    cut  publication,  or  at  public  libraries,  free  of  charge. 

puzzle  pictures  appear  in  each  issue.     Each  cut  puzzle  c     a  -^    f    „                   •               ur           j  -j     ..t  • 

^.               ...           .        r     ,      ,                          ,     ,      ,,  ^-  Aside  from  accuracy  m  assembhng  and  identifymg 

picture  will  consist  of  the   lower   face  and  shoulders  ^,,,.  .^,,„i„  ^-  (.,,,„     „     ^         ■           ^    ^     ^  <       .^u    i      <■ 

.             ,             ,  cut  puzzle  pictures,  neatness  in  contestants  methods  of 

of  one  player,  the  nose  and  eyes  of  another,  and  the     „,,u™:^^: „i,,t-  -ii    u  -j       j    •  j- 

/     -^     '                               ^                          '  submitting  solutions  will   be  considered   in  awarding 

upper  face  of  a  third.     When  cut  apart  and  properly  „,,•            tu     <-u-  *     <-             ^           ^        ■  ^                 ..u  • 

,  ,    ,      .  ,                                  .                       t'     f     J  prizes.      1  he  thirty-two  cut   puzzle  pictures  or   their 

assembled,  eight  complete  portraits  may  be  produced.  j,^,„„  j,,„r„  4.„..u         ^          ..              uijj 

'      ="  .           ^          -r    1  •         ,     XT              -1,  ,  drawn  duplicates,  must  be  cut  apart,  assembled  and 

$3,000.00  in  prizes,  as  specified  in  rule  No.  1,  will  be  p^^^^j  ^^  ^-^^^^  together,  with  the  name  of  the  player 

paid  to  the  persons  sending  in  the  nearest  correctly  ^^j^^^„  ^^  typewritten  below, 
named  and  most  neatly  arranged   set   of   thirty-two 

portraits.  ^-  ^^^  judges  will  be  a  committee  of  members  of 

,    ^              ,     .              ,     .                               .,    .  Photoplay  Magazine's  staff.    Their  decision  will  be 

3.  Do  not  submit  any  solutions  or  answers  until  after  (■„  ,       xt^  „  i   ,.•               „  „u          c  ^u     u         u   u      r 

■'          .                                   ,  .      ,  nnal.     No  relatives  or  members  of  the  household  of 

the  fourth  set  of  cut  puzzle  pictures  has  appeared  in  the     „„  , ^,    .      •..     .  i  ■  ,,-     .•  , 

„           ,       .              A          1  ,    ,           ,       •                        ,  ^"y  o"6  connected  with  this  publication  can  submit 

September  issue.     Assembled  puzzle  pictures  must  be  i    .-           r»*i        •       ^u           ..    ..  • 

,     .       ,    .                 r     ,  .                     ,         ,,       .^  .  solutions.    Otherwise,  the  contest  is  open  to  everyone 

submitted    in    sets   of    thirty-two   only.      Identifying  pvervwhere 

names  should  be  written  or  typewritten  below  each 

assembled  portrait.     At  the  conclusion  of  the  contest  ^-   I"  ^^e  case  of  ties  for  any  of  the  first  five  prizes,  the 

all  pictures  should  be  sent  to  CUT  PICTURE  PUZZLE  ^^^^  award  will  be  given  to  each  tying  contestant. 

EDITORS,  PHOTOPL.A.Y  Magazine,  750  North  Michi-  8.  The  contest  will  close  at  midnight  on  September 

gan  Avenue,  Chicago,  111.     Be  sure  that  your  full  name  20th.     All  solutions  received  from  the  time  the  fourth 

and  complete  address  is  attached.  set  of  pictures  appears  to  the  moment  of  midnight  on 

4.  Contestants  can  obtain  help  in  solving  the  cut  September  20th  will  be  considered  by  the  judges.  No 
puzzle  pictures  by  carefully  studying  the  poems  appear-  responsibility  in  the  matter  of  mail  delays  or  losses  will 
ing  below  the  pictures  in  each  issue.  Each  eight-line  rest  with  Photoplay  Magazine.  Send  your  answers  as 
verse  refers  to  the  two  sets  of  cut  puzzle  pictures  appear-  soon  as  possible  after  the  last  set  of  cut  puzzle  pictures 
ing  directly  above  it.  The  six-line  verse  applies  generally  appears  in  the  September  issue,  which  will  appear  on 
to  the  four  sets  on  that  page.  Bear  in  mind  that  it  costs  the  newsstands  on  or  about  August  15th.  The  prize 
absolutely  nothing  to  enter  this  contest.  Indeed,  the  winners  will  be  announced  in  the  January,  1930,  issue  of 
contest  is  purely  an  amusement.    You  do  not  need  to  be  Photoplay. 

a  subscriber  or  reader  of  Photoplay  Magazine  to  com-  9.  No    solution   will    be    returned    unless    sufficient 

pete.   You  do  not  have  to  buy  a  single  issue.   You  may  postage  accompanies  the  solution  and  such  request  is 

copy  or  trace  the  pictures  from  the  originals  in  Photo-  made  at  time  of  submission. 

Cut  Puzzle  Pictures  Are  on  Fourth  and  Fifth  Pages  of  Front  Rotogravure  Section 

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  numhers  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. 


.'Vs  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  contest 
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. 

39 


j-Jow  They  Manage 


AN    Eve-less   Eden,   is   Charlie 
Chaplin's   bachelor    menage 
these  days.  Charlie,  the  world's 
famous  King  of  Comedy,  who 
can  love  the  ladies  so  compellingly,  is  once 
more  master  in  his  own  strictly  mas- 
culine household. 

None  of  your  elegant  and  foreign  an- 
tiques for  Charlie — his  house  is  the 
quintessence  of  modern  comfort — mas- 
culine comfort.  He  planned  and  built  it 
himself  in  1923,  between  weddings,  and 
it  has  just  had  time  to  gain  that  mel- 
lowed look,  as  though  it  were  really  lived 
in,  and  not  a  furniture  dealer's  show- 
room. (It  certainly  has  been  lived  in.) 
E.xcept  on  those  hectic  occasions  when 
rude  reporters  are  dogging  Charlie,  his 
house  is  easy  of  access.  No  gate  bars 
automobiles  from  the  hillside  driveway. 
To  friends,  the  front  door  is  thrown  wide 
open  with  regal  hospitality.  True,  there 
is  a  deceitful  little  hall  inside  the  front 
door,  tiled,  and  cool  with  huge  ferns, 
wherein  another  and  very  thick  door 
confronts  one.  But  this  second  door 
leads  directly  into  the  living  room,  which 
immediately  enchants  the  eye.  For  this 
room  is  study,  organ  room,  library  and 
picture  show.  It  is  Charlie's  favorite 
room,  for  it  is  here  that  he  solaces  his 
which  he  plays  exquisitely. 

Two  sumptuous  rugs  grace  the  floor,  of 


The  Chaplin  dining  room.     Just  such  a  richly  elegant  but 

simple  room  as  may  be  found  in  many  well  appointed  American 

homes.    Charlie's  favorite  lamb  stew  and  plain  puddings  do 

not  seem  out  of  place  in  these  surroundings 

soul  with  that  organ,  texture,  with  a  rich,  warm  crushed-strawberry  color  dominat- 
ing.   This  color  is  carried  out  in  the  weighty  velvet  curtains 

priceless  silky  oriental       that  drape  the  windows  majestically  from  ceiling  to  floor,  and  is 

picked  up  again  in  the 
border  round  a  painted 
screen  near  the  fireplace, 
and  in  the  upholstery  of 
the  cozy  window  seats — 
broad  enough  to  curl  up 
on.  The  walls  are  unem- 
bellished  white  concrete, 
giving  a  slight  churchly 
effect  in  the  organ  cor- 
ner. There  is  a  gigantic 
fireplace,  with  one  of 
^g^^^^,~~—^^^^^^^^^—       .<  those  fender  stools  one 

1     >s)d2^  SP  v8iil^^^^^^^^^^^^B>^^  4^^S  can  sit   upon,   and   two 

painted  coal  boxes,  to 
match  the  nearby  screen 
that  can  be  drawn  round 
on  chilly  nights. 

CHARLIE  is  fussy 
about  his  coal,  likes 
it  placed  in  well-balanced 
symmetry  on  the  fire,  and 
often  performs  this  duty 
himself.  An  over-stuffed 
chair  invites  one  to  relax 
in  its  depths,  a  big 
lounge  is  equally  se- 
ductive— but  next  to  the 
organ  stands  one  regal 
chair  of  almost  forbid- 
ding throne-like  propen- 
sities. 'Tis  said  that 
Charlie  has  his  kingly 
moods  .  .  . 

Across  one  bayed  win- 
dow,   which    frames    a 


A  long-shot  of  the  rear  of  the  house  showing  the  faultlessly  kept  lawn, 

dotted  with  stately  trees  and  edged  with  luxuriant  shrubbery,  which  slopes 

down  to  the  swimming-pool 


40 


Th 


etr 


H 


om 


The  King  of  Comedy 
rules  imperiously 
over  a  strictly  mas- 
culine and  Queen- 
less  household 

By  Alma  Whitaker 


comfortable  window  seat,  a  screen  can  be  let  down  upon 
which  pictures  are  thrown  from  the  jirojection  room  on 
the  staircase  landing.  Books  galore  at  one  end  .  .  . 
every  kind  of  encyclopedia  and  reference  book;  "The 
History    of    Human    Marriage"    in    three    volumes;  ■   ' 

Rabelais;  the  Arabian  Nights;  de  Maupassant;  Dick- 
ens; Shakespeare,  el  al.     In  the  center  of  the  room  a 
(able  to  delight  the  artistic  eye,  solid,  impressive,  yet 
exquisitely  carved  and  hand-painted.     Upon  this  a  gold  tray, 
with  cigar  and  cigarette  bo.xes,  match-holder,  ash  trays — all 
full,  the  pink  of  neatness.    One  cigarette  box  plays  a  tune  when 
it  is  opened.     A  cute  dicky  bird  picks  up  crumbs  when  it  is 
wound  up  .   .  . 

In  the  corner  beneath  the  staircase  stands  a  huge  gong  in 
black  iron,  which  reverberates  for  several  minutes  after  being 
sounded.    In  this  corner  a  door  leads  into  a  central  hall,  richly 


Charlie's  sanctum  sanctorum.    The  placing  of  his  slippers  on  a  certain 

spot  to  catch  the  famous  feet  as  he  swings  out  of  bed  is  an  interesting 

sidelight  on  the  little  comedian 


The  squares  in  the  wall  at  the  staircase  landing 
are  openings  from  the  projection  room.  A  screen 
can  be  let  down  across  one  of  the  bay  windows  in 
the  living  room.  The  huge  iron  gong  announces 
that  dinner  is  served 


carpeted  in  big  black  and  white  checks.  Here  stand  priceless 
cabinets  of  inlaid  satinwood,  with  tall  gold  vases  upon  them, 
giving  a  very  regal  effect.  Wrought  iron  gates  at  one  end  of 
this  hall  guard  a  dainty,  piquant,  utterly 
cozy  tea-room,  which  looks  out  onto  the 
huge  lawn.  It  bespeaks  intimate  con- 
versation, even  when  empty. 

To  the  right  is  the  recep- 
tion room,  spacious,  with 
huge  windows  on  two  sides 
commanding  Beverly's  most 
superior  views.  Charlie  put  a 
lot  of  time  in  on  this  room  in 
1924,  yet  didn't  feel  quite 
satisfied.  He  tried  rugs,  cur- 
tains and  chairs  galore  before 
the  present  scheme  was  de- 
cided upon.  Picture,  then,  a 
floor  carpeted  in  soft  dove 
grey,  with  a  few  rich  rugs 
strewn  upon  it.  The  color 
note  here  is  an  infinitely  soft 
shade  of  pale  terra-cotta — 
touches  of  it  recurring  in  the 
rich  brocaded  window  drapes, 
the  rugs,  the  upholstery. 


AT  one  end  of  the  room  a 
huge  bay  window,  with  a 
deep  window  seat — the  sort 
pretty  girls  curl  their  legs  up 
on.  Two  huge  over-stutTed 
chairs  and  a  divan  in  old  gold, 
now  showing  the  rub  of  el- 
bows, and  so  looking  thor- 
oughly acclimatized.    In  one 

[  PLEASE  TURN  TO  P.AGE  87  ] 

u 


Cjfw  Great  ^ar-Vlug 

Problem 

Famous  Scientist  Discovers  How  to  Cut  the  Aus- 
tralian Whip-Crackers,  Arabian  Tumblers  and 
Lisping  Actors  from  Your  Talkie  Programs 


By 

Prof.  Dr.  Leonard  Hall 

(Joliet) 


HOW  can  we  cut  the  poisonous  items  from  our  talking 
picture  programs? 
Science  is  now  at  grips  with  this  Problem  of  the 
Hour.    Sometimes  Science  is  on  top,  biting  and  goug- 
ing— sometimes  the  Snickering  Saxophone.    Science,  however, 
is  winning! 

I  and  my  laboratory  staff  have  been  battling  this  major 
problem  since  the  first  car-barn  soprano  split  our  ear-drums 
from    the  screaming 
screen.     Now  we  feel 
that  it  is  solved! 

You  are  safe  from 
the  tenor  with  adenoids ! 

Our  task  was  this. 

You  may  like  the 
Yellaphone  Reel  about 
the  policeman  dragging 
the  dead  dog  over  to 
Popocatapetl  Street 
because  he  couldn't 
spell  Elm,  while  the 
snorting  of  Duke 
Bazoo's  Tallahassee 
Toe-Tappers  may  be 
so  much  insect  powder, 
or  vice  versa. 

I  and  my  young  men 
have  tried  to  perfect  a 
simple  means  by  which 
you  may  listen  to  one 
and  just  charge  the 
other  off  to  wear  and 
tear.  We  have  succeed- 
ed. I  will  list  our  experi- 
ments. 

TEST  .\.  I  chose 
for  this  test  my  best 
girl,  the  famous  Case 
D  of  the  Talkie  Sleep 
Test.  I  and  two  ice- 
men led  Case  D  into  a 
picture  house  where 
Mme.  Anville  was  ren- 
dering the  famous 
"Rivetting  Song''  on 
the  Squawkaphone. 

"Do  you  enjoy  this?" 
I  asked  Case  D.  She 
gave  a  low  moan. 

Quick  as  thought  we 
hurled  her  to  the  floor 
and  poured  molten  wax 
into  her  left  ear. 

A2 


Dr.  Rube  Goldberg,  of  the  Royal  Academy,  here  shows  us, 
with  his  customary  grace  and  whimsy,  a  phase  of  the  great 
Ear-Plug  Test  for  Squawking  Pictures.  Old  Dr.  Herb 
Howe,  on  the  perch,  is  inserting  the  plug  in  the  left  ear  of 
Case  D,  while  old  Dr.  Len  Hall  is  clinching  the  matter 
with  a  sledge-hammer 


"Better?"  I  asked. 

"No,"  answered  Case  D.  "It  is  just  running  in  one  ear  and 
right  out  the  other !" 

We  at  once  plugged  up  the  ear  of  exit  with  chewing  gum. 
This  seemed  to  work  for  a  time.  We  were  annoyed  to  find, 
however,  that  la<-er  on  we  were  unable  to  pry  the  hardened 
wax  from  Case  1  3  ears  with  a  cold  chisel,  and  were  forced  to 
clear  her  head  wIlJi  a  small  charge  of  gun  cotton.    Sadly,  in  the 

process  we  broke  one 
of  her  jade  earrings. 

"Test  A  is  not  fea- 
sible," I  said  to  my 
young  men.  "AUons! 
To  work!" 

TEST  B.  For  this 
test,  to  obtain  a  re- 
placeable plug,  we  bor- 
rowed  one  of  the 
neighbor's  children — 
Master  Ernest  Tor- 
rence,  a  sturdy,  bright 
boy  of  six. 

He  was  placed  before 
a  short  reel  of  an 
orchestral  rendition  of 
Vilma  Banky's  "Third 
Hungarian  Frenzy." 

"You  likey  this?"  I 
asked  the  lad.  His  re- 
ply was  unprintable. 

My  assistants,  Drs. 
Stepin  Fetchit  and 
Davey  Lee,  quickly  in- 
serted two  common 
navy  beans,  of  the 
FABACEAE  family, 
in  his  ears. 

Sadly  enough,  they 
slipped  inside  his  skull. 
Two  more  were  in- 
serted! Again  failure! 
.^fter  nine  trials,  two 
beans  were  satisfac- 
torily plugging  the 
child's  ears,  and  he 
could  not  even  hear  a 
pistol  let  off  at  the  base 
of  his  skull. 

Unfortunately,  the 
eighteen  beans  lost  in 
Master  Torrence's 

[ PLEASE  TURN 
TO  PAGE  98  ] 


Crow  Charles 
Mack 


Two  Black  Crows 
in  Hollywood 


While  the  world  rushes  hurriedly  pro  and 
con,  George  Moran  and  Charles  Mack 
murmur  about  Big  Moments  in  Screendom 

Overheard  by  Teet  Carle 


Crow   George 
Moran 


M 


GRAN— At  last  us  is  in  Hollywood. 

Mack — Two  babes  in  the  HoUywoods. 
Moran — Oh,  that  is  so  old. 
Mack — They  says  the  old  gags  is  the  best,  after  all. 
Moran — Who  says  that? 
Mack — The  title  writers. 

Moran — The  first  thing  we  gotta  do  is  take  a  test. 
Mack — A  test?    This  ain't  no  college,  is  it?    For  that  test  I 
reckon  we  gotta  write  a  theme-song. 

Moran — What  you  think  of  Hollywood  make-up? 
Mack — So  nice  and  informal. 

Moran — Everyone  do  seem  glad  to  see  us. 
Mack — Yeah,  we  found  that  out.     I  finally  bought  a  house 
from  one  of  'em,  though. 

Moran — Wish  I  knew  what  to  wear 
'fore  the  camera. 

Mack — Well,  I  was  in  a  show  once  and 
I  found  out  that  light  black  is  blacker 
than  dark  black. 

Moran — That's  silly.  How  can  you 
have  dark  black  in  black? 

Mack — I  wouldn't  be  bothered  about 
that. 

Moran — Why  should  light  black  be 
blacker  than  dark  black? 

Mack — I  couldn't  figure  out 
no  other  reason  unless  it  was  be- 
cause I  put  the  light  black  on 
thicker. 

Moran — Well,  all  I  can  sav  is 
I  wish  I  had     IT. 

Mack — Who  cares  about  it? 

Moran — Well,  Clara  Bow  has 
IT. 

Mack— What   of  it? 
about  it  anyway? 

Moran  —  She  has 
IT,  that's  all. 

Mack  —  Let  her 
have  it.  Who  wants 
it  anyway? 

Moran — She  does. 
She  likes  IT. 

Mack— What's  her 
idea  in  having  it? 

Moran — How  do  I 
know?  She  just  has 
IT. 

M  a  c  K  —  A  h  '  d 
rather  not  hear  any 
more  about  it.  Just 
what  is  it,  that's 
what  I'd  like  to  know? 

Moran  —  It's  IT, 
that's  what  it  is. 


What 


Mack — What  happens  if  a  person  has  "that"? 

Moran — You're  so  dumb.  I  hope  the  story  they  got  for  us 
is  as  good  as  "Wings." 

Mack — Some  little  old  show  I  never  even  heard  of. 

Moran — You  heard  of  "The  Rough  Riders,"  didn't  you? 

Mack — You  wasn't  the  head  man — say,  what's  your  idea  in 
bringing  that  up? 

Moran — Hope  we  got  a  good  writer  on  our  pictures.  They 
say  there's  some  pretty  level  heads  in  Hollywood's  writing 
business.     What  you  think? 

Mack — They  is  so  soft. 

Moran — The  heads? 

Mack — Maybe  I  shouldn't  have  mentioned  that. 

Moran — One  of  our  stories  is  by  Octavus  Roy  Cohen. 
Mack — Yeah?     Where  was  he  going? 

Moran — I  bet  you  heard  that  from 
Elinor  Glyn. 

Mack — No,  it  couldn't  have  Ben  Hur. 

Moran — You're     so     funny     I  can't 
hardly  keep  from  laughing. 

Mack — I  got  a  good  gag  for  the  story. 
I  jab  you  in  the  third  scene. 

Moran — You  do,  and  I'll  grab  you  by 
the  fireplace. 

Mack — You  can't  make  money 
that  way. 

Moran — I'll  be  the  leading  man 
in  this  play. 

Mack — You  do  and  you'll  be 
misleading. 

Moran — Me  and  the  heroine 
will  be  closer  than  the  air  in  the 
subway. 

Mack  —  Close    affection? 
Like  one  sardine  for  another? 

[  PLEASE  turn  to  PAGE  108  ] 


Moran  and  Mack, 
all  fever  to  begin 
their  first  talkie, 
are  waiting  for  the 
studio  to  open. 
Brother  Mack 
barks  that  they 
may  see  the  early 
bird  catch  the 
worm.  Brother 
Moran  murmurs 
something  about 
what  worm,  any- 
how? 


4S 


The  Bit  Players  of  Studioland 


^^^^  "  '    ^^^^^^^^^^^H 

^^^^^^^^^* 

-..;* 

_.*  f 

^B 

What  ho!  Here  is  His  Honor 
the  Mayor,  of  "What  Price 
Glory"  fame.  August  Tol- 
laire  and  his  pet  chinchillas 
are  always  in  demand  among 
the  studios.  IM.  Tollaire  was 
born  in  Paris,  and  played 
stage  roles  for  years  in  this 
country  and  on  the  continent 
before  besieging  Hollywood. 
A  few  years  ago  he  crashed 
the  headlines  by  actually 
bathing  his  beloved  hedge  in 
milk! 


Once  a  general  in  the  army  of 
the  Tsar — now  a  professional 
sword-swinger  in  the  army 
of  Hollywood  bit  players. 
Alexander  Ikonnikoff,  born 
to  the  purple  and  the  profes- 
sion of  arms,  was  lost  when 
Russia  went  Red.  Knowing 
nothing  of  business,  he  came 
to  Hollywood  and  became  an 
extra.  This  is  the  way  the 
general  looked  in  Billie  Dove's 
First  National  film,  "Adora- 
tion" 


Another  exiled  Russian  sol- 
dier, who  divides  his  time  in 
Hollywood  between  doing 
small  parts  in  pictures  and 
running  a  restaurant.  The 
Double  Eagle,  where  the 
samovar  is  always  hot.  This 
is  General  Theodore  Lodi- 
jensky,  who  lost  his  fortune 
in  the  Revolution.  He  is  al- 
ways on  call  for  Russian  parts 
in  films.  Recently  he  has 
played  in  "The  Cossacks" 
and  "Adoration" 


Blime,  'ere's  Shorty  English, 
typical  cockney,  who  is  a 
picture  protege  of  Richard 
Barthelmess.  Instead  of 
becoming  a  Limehouse  roust- 
about or  fishmonger,  Shorty 
took  to  the  Seven  Seas,  and 
became  a  rover  all  over  the 
world.  In  Hollywood,  his  last 
port  of  call,  he  met  Dick, 
who  gave  him  a  small  part  in 
a  sea-farin'  film.  Since  that 
time  Shorty  has  been  a  bit 
player 

u 


And  here  is  a  young  bit  player 
who  made  good  in  a  very  big 
way.  A  few  months  ago 
James  Ford  was  just  a  good- 
looking  collar  ad  who  rattled 
around  the  studios  taking  his 
work  where  he  found  it,  if 
any.  One  day  Corinne  Grif- 
fith saw  him,  liked  his  looks 
and  recommended  him  to 
the  powers  that  be.  It 
wasn't  long  until  First  Na- 
tional hired  him  as  a  regular 
leading  man 


Barrett  Whitelaw  became  a 
famous  bit  player  Because  He 
Liked  Nice  Things.  He  got 
his  first  film  job  because  he 
had  brought  a  polo  suit  with 
him  from  his  Virginia  home, 
and  he  has  played  many  roles 
because  he  is  an  authority  on 
male  duds  and  always  keeps 
his  wardrobe  keyed  way  up 
in  G.  When  a  call  rings 
out  for  "well-dressed  young 
men,"  there's  Barrett  White- 
law! 


the 


Folks  You  Never  Read  About 


Unusual  dancing  ability 
couldn't  get  Helen  Fair- 
weather  a  break  in  pictures, 
but  she  filled  a  bathing  suit 
so  well  that  she  was  warmly 
welcomed  in  two-reel  come- 
dies. Then  she  had  two 
highly  ornamental  chances 
in  "The  Private  Life  of  Helen 
of  Troy"  and  "Vamping 
Venus."  Now  Helen  has 
taken  a  voice  test  and  passed 
summa  cum  lauder  and 
funnier 


Ada  Chidley  didn't  take  a 
whirl  at  pictures  until  she 
was  thirty-five.  Born  in  that 
legendary  Canadian  town 
called  Medicine  Hat,  she 
went  on  the  stage  in  girlhood, 
and  trouped  the  country  in 
stock  and  repertory.  Even 
now,  between  her  numerous 
little  picture  jobs,  she  hears 
the  call  of  the  road  and  tours 
California  with  a"tent  show" 
famous  up  and  down  the 
coast 


Frances  Hamilton  is  a  perfect 
example  of  a  wealthy  society 
girl  turned  movie  bit  player 
just  in  the  spirit  of  good, 
clean  fun.  Born  in  Pasadena, 
the  daughter  of  smart  and 
well-to-do  folks,  Frances  de- 
cided on  pictures,  and  regis- 
tered with  the  Central  Cast- 
ing Agency.  Colleen  Moore 
gave  her  a  bit  in  "Her  Wild 
Oat,"  and  as  a  bit  player  she 
has  been  in  other  First 
National  films 


Eighteen  years  ago  Ethel 
Gordon  Crain  came  to  Amed- 
dica  with  a  little  troupe  of 
English  actors  that  had 
toured  all  the  British  posses- 
sions. A  stage  trip  brought 
her  to  Los  Angeles,  where  she 
fell  in  love  with  the  films,  as 
so  many  do,  have  and  will. 
Since  then  she  has  played 
many  small  roles,  notably  in 
"Lilac  Time"  and  "The 
Hawk's  Nest,"  First  National 
movies 


Here's  real  love  for  a  career! 
Eugenie  Coughlin  was  edu- 
cated for  a  musical  life,  but 
she  married  Lieut.  Coughlin, 
of  the  Army,  and  settled 
down  to  housewifery.  But  the 
appeal  of  the  films  was  strong, 
and  when  the  Coughlins 
moved  to  Hollywood  the 
missus  went  into  pictures. 
For  the  past  six  years  she  has 
happily  combined  home  du- 
ties and  many  good  bits  in 
photoplays 


This  pretty  tidbit  is  Alice 
Adair.who,  like  many  another 
fetching  gal,  found  her  way 
into  films  by  the  dance  route. 
She  was  one  of  the  famous 
Marion  Morgan  girls,  and 
after  winning  a  beauty  con- 
test was  given  the  role  of 
Aphrodite  in  "The  Private 
Life  of  Helen  of  Troy." 
Alice's  beauty  and  dancing 
powers  keep  her  busy  on  the 
lots.  Tell  me,  would  you  take 
Adair? 

45 


^^■^rA  ^'^ 


^'  1  m^^^^^^'" 


Whi 


1 


By 

Katherine 
Albert 


1  tlu sir aled   by 

Everett  Shinn 


->^^ 


IT  began  in  a  cafe  in  Paris,  when  a  tired  young  producer 
raised  his  head  from  his  hands  and  thought  his  coming 
abroad  was  in  vain.  His  nemesis  sat  across  the  room  from 
him.  Perhaps  he  could  escape  before  she  saw  him,  but  there 
was  only  one  way  to  leave  the  place.  He  must  pass  her  table. 
She  was  bound  to  see  him.  Perhaps  he  could  outstay  her,  and 
she  would  not  know  that  he  had  been  there.  And  then,  sudden- 
ly, she  looked  his  way. 

He  half  arose,  like  a  crouching  animal,  and  sank  back  in  his 
chair,  with  a  sigh  of  relief,  for  it  was  not  Sibyl,  after  all. 

Two  things  had  driven  Maurice  Flint  to  Paris — his  wife  and 
his  star.  Of  his  wife  he  would  soon  be  rid.  The  divorce  was 
almost  ended,  and  then  he  would  have  to  return,  back  to  Holly- 
wood, back  to  the  star.  That  girl  over  there,  the  one  at  the 
table,  had  certainly  given  him  a  fright.  Sibyl  had  become  his 
complex.  He  knew  that  she  was  not  in  Paris.  Had  she  been, 
he  would  have  seen  it  in  the  papers.  Yet,  he  was  so  afraid  of 
her  and  the  likeness  was  so  startling,  that  for  a  moment  he  had 
thought.  .  .  . 

And  then  the  idea  was  born.  Paris  was  a  marvelous  place. 
His  two  major  difficulties,  the  only  two  things  that  really 
worried  him,  were  to  be  solved.  He  thought  of  Sibyl. 
Three  years  ago  he  had  discovered  her,  a  silly  little  extra  girl, 
just  over  from  France  to  go  into  pictures.  He  had  made  her  a 
great  star,  and  now  she  was  making  a  madman  out  of  him. 
He  recalled  that  day  in  the  wardrobe,  when  she  had  torn  a  pink 
satin  dress  from  her  ravishing  young  body.  The  material  had 
cost  twelve-fifty  a  yard.  He  recalled  a  day  on  the  set,  when 
she  had  snatched  the  script  from  a  secretary's  hands,  and  had 

46 


thrown  it  at  the  director's  head.  He  had  heard  stories  of  how 
she  had  gone  to  the  stiU  department  and  taken  negatives  from 
the  exclusive  file  which  were  stamped  to  bits  by  her  French 
heels.  Yet  there  was  nothing  he  could  do  about  it.  She  knew 
and  he  knew  that  the  public  wanted  her.  His  only  joy  in  Sibyl 
la  Mond  lay  in  the  fact  that  she  piled  up  money  in  the  box 
office  and  thence  into  his  pocket. 

Sibyl's  temperament  might  have  been  what  started  his 
trouble  with  Belle,  his  wife.  The  star  made  him  so  nervous 
that  he  could  not  cope  with  Belle.  Belle  wanted  to  go  into 
pictures. 

""D  UT  lots  of  producers  let  their  wives  act.  Am  I  to  be  kept 
Din  the  house  as  if  I  were  a  nun?" 

She  was  right.  There  were  lots  of  producers  who  let  their 
wives  act.  He  himself  had  watched  Sam  Benjamin  stand 
around  the  set  looking  at  Lucille  Lake,  his  wife,  and  he  had 
wondered  how  Sam  could  see  the  leading  men  take  her  in  their 
arms  and  brush  her  hair  with  their  lips.  Well,  he  wasn't  Sam 
Benjamin,  and  he'd  be  damned  if  a  wife  of  his  could  be  made 
love  to  by  an  actor  with  pink  grease  paint  on  his  face.  He 
might  have  argued  with  her  more  sweetly,  if  it  had  not  been  for 
Sibyl.  But  Sibyl  upset  him  so  at  the  studio  that  when  he  got 
home  he  could  only  say, "No,  Belle,  no!  For  the  last  time,  no! 
You  can't  go  on  the  screen,  and  that's  straight!" 

He  had  said  it  for  the  last  time.  She  got  a  part  with  a  rival 
studio.  He  stood  it  for  two  weeks,  and  fifty  times  during  each 
day  he  had  a  vision  of  the  last  fade-out  with  Belle,  his  Belle,  in 
the  arms  of  a  pasty-faced  actor. 


^f^l'ifejlfi 


■^-'^« 


She  was  a 
hired  lash, 
engaged  by 
a  famous 
producer  to 
threaten  his 
temperamen- 
tal star 


With  a  little  cry,  Dona 
floated  into  Bertram's 
arms.  "Cut,"  said  Haw- 
ley.  And  tlien  Flint  made 
the  discovery  that  he  had 
never  liked  Bertram 
Drew.  What  right  had  a 
sleepy-ej'ed  actor  to  kiss 
Dona  Fleurs  like  that?  He 
didn't  have  to  do  it  like 
he  meant  it 


He  welcomed  Paris.  He  was  free  of  Belle  and  her  constant 
nagging,  forever.  From  Sibyl  he  was  free  for  a  few  weeks  any- 
how. He  realized  now  how  much  her  temperament  obsessed 
him.  Fool  that  he  was,  he  could  so  successfully  mistake  a 
Strange  woman  in  a  cafe  for  his  star,  that  he  was  about  to  do  a 
nose  dive  out  of  the  place. 

HE  watched  the  Unknown.  The  profile  was  exactly  like 
Sibyl's.  That  little,  piquant  nose  which,  if  it  were  straight, 
would  have  robbed  her  of  the  individuality  that  pulled  them  in- 
to the  theater.  Those  long,  sweeping  lashes,  so  heavy  that  they 
tangled  when  she  closed  her  eyes.  That  restless  slash  of  scarlet, 
technically  known  as  a  mouth.  But  when  she  turned  his  way 
he  saw  that  she  was  more  beautiful  than  the  star  who  had  made 
him  millions.  Her  eyes  were  softer,  warmer.  Sibyl  had  grown 
hard  these  last  two  years.  Besides,  the  Unknown  was  younger 
and  smaller  than  Sibyl.  Sibyl  had  been  that  size  when  he  dis- 
covered her,  but  she  indulged  herself  now,  and  he  remembered 
one  night  when  he  had  remonstrated  about  the  second  choco- 
late eclair  .  .  .  but  he  wouldn't  think  of  those  things  now. 
An  idea  had  been  born.  He  got  up  from  his  table  and  walked 
to  her  side  of  the  room.  She  was  sitting  with  an  elderly 
man. 

"I  beg  your  pardon;  I'm  Maurice  Flint."  He  waited  for  the 
name  to  register.  It  didn't.  The  Unknown  looked  at  her  com- 
panion questioningly. 

"I  beg  your  pardon,"  said  the  man,  in  scholarly  English. 

Maurice  spoke  again.  "I'm  a  producer,"  he  said,  "from 
Hollvwood." 


The  eyes  of  the  girl  brightened,  and  she  motioned  for  him  to 
be  seated.  Hesitantly  she  said, "  I  speak  so  little  English,  but  I 
like  you,  when  you  say  'Hollywood.'  " 

Maurice  turned  to  her  companion.  "Explain  to  her,  then," 
he  said,  "  that  I  want  to  make  a  test  of  her  tomorrow,  and  if  it's 
O.  K.,  I'll  give  her  a  five-year  contract  with  Flint  Productions, 
Incorporated." 

They  tell  a  fable  in  Hollywood.  Once  upon  a  time  there 
was  a  producer  who  went  abroad  who  did  not  come  back 
with  a  foreign  discovery.  Maurice  Flint  let  them  take  pictures 
and  news  reels  of  Dona  Fleurs  at  the  boat  in  New  York,  at  her 
suite  at  the  Ambassador,  at  the  train  in  Chicago,  and  at  the 
Santa  Fe  Station  in  Los  .'Angeles.  He  let  reporters  interview 
her  in  Kansas  City  and  Albuquerque,  and  each  time  he  smiled 
to  himself  when  the  reporters  asked  what  picture  he  was 
planning  for  her.  He  was  always  vague,  but  he  avowed  her  a 
real  discovery  who  would  go  far. 

HE  expected  Sibyl  to  be  in  his  office  when  he  got  back  to  the 
studio.  She  was.  And  without  waiting  for  him  to  say, 
"How  do  you  do"  to  his  secretary,  she  opened  up  a  barrage 
of  vituperative  remarks. 

"It's  to  kick  me  out,  I  suppose,  that  you  bring  over  this 
little  French  trollop.  I  suppose  you  think  you  have  used 
me  for  three  years  and  have  made  the  clothes  on  your  back 
from  me,  and  now  you  will  kick  me  out!  Well,  you  may  kick 
me  out!  I  will  go!  I  will  be  glad  to  leave  the  mud  of  your 
dirty  studio  with  your  fine  Dona  Cabbages!  I  will  break 
my  contract!    I  will  not  have  it!    [  please  turn  to  page  110  ] 


Here's  an  odd  sort  of  family 
relationship  for  you  to  figure 
out.  You,  of  course,  recog- 
nize Neil  Hamilton  and  Ches- 
ter Conklin.  Well,  the  other 
lady  and  gentleman  are  the 
Edingtons,  authors  of  our 
"Studio  Murder  Mystery," 
Photoplay  Magazines  prize 
story  now  being  filmed  by 
Paramount.  Neil  and  Chet 
are  playing  two  of  the  leading 
roles,  which  makes  them 
sons  by  adaptation,  or  some- 
thing. You  dope  it  out. 
Chester  looks  a  mite  startled 
at  something  here 


ossiP^/All 


"WILD  ORCHIDS" 

Garbo  went  to  Java  with 

A  husband  meek  and  mild — 
Garbo  drove  Nils  Asihcr 

And  a  million  orchids  wild! 

SAY,  people,  what  are  we  going  to  do  about  this  little  Janet  Gaynor? 
Here  we  thought  we  had  her  all  bundled  up  in  a  sure-fire  romance  with 
Mr.  Lydell  Peck  of  San  Francisco.     Then,  darned  if  Mr.  William  Fox 
doesn't  put  her  smack  dab  into  another  picture  with  Mr.  Charlie  Farrell, 
the  Boy  with  the  Contralto  Eyes. 

When  the  favorite  team  went  to  work  together  in  "The  Lucky  Star," 
poor  Mr.  Peck  was  forced  to  sit  on  the  sidelines  and  chew  his  nails  in  im- 
potent despair.  Somehow,  the  re-matching  seemed  to  kindle  the  old  flame 
in  the  breast  of  little  Janet. 

Well,  there  are  two  possibilities,  reading  from  north  to  south. 

1.  Perhaps  the  Gaynor  was  just  making  Mr.  Peck  jealous. 

2.  You  remember  that  the  original  Farrell-Gaynor  romance  was  set 
down  to  publicity  by  the  town  skeptics.  Perhaps  this  is  just  a  little  more 
of  the  same,  with  horseradish. 

TV/TARY  DORAN,  one  of  the  pretty  new  girls  in  the  Metro-Gold wyn 
stock  company,  was  talking  about  a  well  known  lizard  of  Hollywood 
Boulevard. 

"He's  just  one  of  these  'Sonny  Boy'  fellows,"  she  said. 

"Meaning?" 

"Oh,  he's  got  that  climb-upon-my-knee  complex!"  said  Mary  fetch- 
ingly. 


THIS  is  Eddie  Nugent's  contribution  to  the 
June  gayety.  Eddie  says  he  is  through  crack- 
ing wise,  but  I  don't  think  anything  can  tie  him 
down. 

However,  one  afternoon  a  workman  started  a 
big  bonfire  on  the  Metro-Goldwyn  lot. 

"What's  that?"  somebody  asked  Eddie. 

"Oh,"  replied  the  wag,  "that's  down  on  Dc 
Mille's  set.  Somebody  just  asked  him  for  a 
match." 

P.  S. — De  Mille,  it  is  said,  is  barely  nodding  to 
Nugent  when  they  pass  by. 

I  TAKE  pen  in  hand  to  report  that  Hollywood's 
First  Bachelor  for  June  is  Buddy  Rogers,  or 
Charlie  to  his  pals. 

45 


This  dear  little 
schoolgirl,  with  the 
big  bow  and  the  pink 
sash,  is  our  Bessie 
Love,  made  up  for  her 
role  in  one  of  the 
skits  in  the  forth- 
coming M.-G.-M. 
"Revue  of  Revues." 
What  can  be  wrong 
with  the  gay  blades  of 
Hollywood?  Not  a 
single  one  has  turned 
up  to  carry  her  books 
home  from  class! 


The  dashing,  uniformed  fig- 
ure at  the  right,  partly 
hidden  by  that  high  privet 
hedge,  is  Marion  Davies, 
made  up  for  her  role  in 
"Marianne,"  her  next  pic- 
ture for  Metro-Goldwyn- 
Mayer.  She  is  shown  here  at 
moustache  drill  with  her 
director,  Mr.  Bob  Leonard. 
"Twirl-WHISKERS!"  orders 
Bob,  and  Marion  twirls 
smartly.  Miss  Davies,  as  a 
French  chasseur,  should  prove 
an  apt  pupil,  while  Bob  has 
won  several  prizes  as  a 
moustache- 1  wirier 


Ta 


e 


TUDIOS 


By 

Cal 
York 


Ever  since  Claire  Windsor  succumbed  to  his  boyish  charm  lots  of  girls 
have  been  plenty  conscious  of  his  winsomeness. 

Though  reports  have  it  that  June  Collyer  is  oftenest  his  chosen  partner, 
his  dressing  room  is  next  to  Mary  Brian's,  and  Mary  is  often  noted  leaning 
out  the  window  and  cheering  him  forward  as  Buddy  plows  through  his 
piano  lesson. 

Well,  you  can't  blame  the  kid  for  preferring  La  Brian  to  an  old  family 
metronome. 

INA  CLAIRE,  the  beautiful  blonde  stage  star,  has  had  a  good  snicker  or 
two  up  her  sleeve  since  coming  to  Hollywood  to  make  a  talkie  for  Pathe. 

There  was  the  usual  press  tea  in  her  honor  after  her  arrival,  and  Ina  made 
her  usual  hit  with  the  newspaper  tribe  because  of  her  charm  and  her  natural- 
ness and  lack  of  swank. 

But  she  muffed  a  few  cues.  Pathe  hadn't  meant  to  mention  her  former 
picture  essays  at  all,  but  Ina  wouldn't  stand  for  this  for  a  minute.  And 
why  should  she? 

".\fter  all,"  as  she  said,  "a  few  people,  at  least,  thought  my  old  Metro 
pictures  were  good!" 

They  were,  Ina,  they  were,  and  Pathe  is  foolish  not  to  talk  about  them! 
Old  Cal  remembers  you  with  delight  in  one  called  ".\  Wild  Goose  Chase." 
And  didn't  you  make  the  first  version  of  "The  Prisoner  of  Zenda"? 

Cal  will  give  odds  you  did.  And  as  young  Fritz  von  Tarhnheim — one  of 
the  fattest  small  parts  in  the  history  of  stage  or  screen! — a  handsome  boy 
named  Tom  Forman  was  unforgettable. 

That  bit  makes  actors!  It  made  Malcolm  McGregor,  when  he  was 
fortunate  enough  to  be  cast  for  it  in  the  Rex  Ingram  version,  starring 
Alice  Terry. 


Acme 


When  Greta  came 
home!  Theglamorous 
Garbo  posed  for  cam- 
eramen on  the  boat 
deck  of  the  good  ship 
Drottingholm  as  she 
docked  after  a  Swedish 
holiday.  Tailored,  ret- 
icent, mysterious  as 
ever,  Greta  had  very 
little  to  say.  A  half 
hour  later  her  tele- 
phone rang,  and  who 
should  it  be  but  Mr. 
John  Gilbert ! 


Madame,  60,  Ihought  she'd  crown 
A  singing  life  quite  checkered 

By  warbling  on  the  Vitaphone — 
So  Madame  broke  a  record! 

LEW  CODY,  lying  ill  and  pretty  much  alone 
at  a  sanitarium   near  Hollywood,  takes  the 
usual  busman's  holiday. 

He  spends  much  of  his  time  looking  at  movies. 

The  studio  has  sent  over  a  projection  machine, 

and  Lew's  nurses  keep  it  grinding  away  and  the 

lively  shadows  passing  and  repassing  before  the 

eves  of  the  sick  man. 


W 


ELL,  the  scene  of  action  shifted  to  Pitts- 
burgh late  in  the  spring. 

49 


International 


Bulloch 


This  really  calls  for  a  special  edition.  It  chron- 
icles an  event  unprecedented  in  film  history.  A 
star,  in  a  bathing  suit,  poses  for  her  picture  with 
her  husband!  The  lady,  of  course,  is  Camilla 
Horn — the  gentleman  is  her  proud  spouse,  Claus 
Geerz 


Smoketown  fell  out  of  bed  one  morning  with  a  crash.  News- 
paper extras  later  announced  that  Lupe  Velez,  Mexico's  ball  of 
fire,  had  arrived.  Reporters  and  managers  jumped  for  the 
dugout  doors. 

A  few  hours  later  the  city  was  again  rocked  by  an  explosion, 
and  word  rushed  round  that  Vivian  and  Rosetta  Duncan  had 
pulled  in  to  furnish  Lupe  opposition  at  another  theater. 

The  Duncan  girls  were  never  noted  for  prim  reticence,  either. 

So  the  Red  Cross  was  wired,  extra  cots  hastily  ordered  for 
inevitable  casualties  and  from  behind  hastily  erected  barricades 
Pittsburgh  awaited  the  onslaught  of  red-hot  entertainment.  As 
we  go  to  press  nothing  can  be  learned  from  the  stricken  city. 
All  is  smoke  and  confusion.  But  it  is  safe  to  say  that  when 
Lupe  and  the  Duncans  are  finally  subdued,  crated  and  sent  on, 
Mellonville  will  know  it  has  been  through  some  week! 

A  SOURED  Hollywood  scenario  writer  was  watching 
■^^  the  latest  crop  of  imported  New  York  writers  being  un- 
loaded at  the  depot,  loaded  on  trucks  and  carted  to  th3 
studios. 

He  shifted  the  straw  he  was  chewing  and  remarked — 

"Not  a  gag  in  a  carload !" 

WALTER  WINCHELL  tells  this  one. 
Wilton  Lackaye,  one  of  the  noblest  Romans  and  First 
Wits  of  the  stage,  was  sitting  in  his  club  one  afternoon  when 
one  of  the  screen's  popular  pretty  boys  came  prancing  up,  quite 
agog. 

50 


TheOldMaster  is  about  to  dust  off  his  sea-goin'  camera 
and  set  sail.  D.  W.  Griffith  is  here  signing  a  contract  to 
film  Joan  Lowell's  best  seller,  "Cradle  of  the  Deep," 
her  story  of  a  girlhood  spent  on  the  briny.  The  lady,  of 
course,  is  the  fair  Joan,  who  spent  several  years  in 
pictures,  but  never  got  past  first  base  in  spite  of  her 
obvious  beauty  and,  it  has  been  proved,  brains.  Watch 
for  her  stories  in  future  issues  of  Photoplay 


"Oh,  Mr.  Lackaye,"  the  sweet  youth  twittered,  "I  saw  your 
performance  tonight,  and  it  was  simply  swell.  Tell  me,  how 
does  it  feel  to  be  a  really  great  actor?" 

Lackaye  looked  up  from  his  copy  of  The  Pink  'Un. 

"You'll  never  know!"  he  replied. 

JOSEPH  SCHILDKRAUT  and  Elise  Bartlett  have  had  their 
J  matrimonial  storms  and  calms,  but  they  have  been  married 
for  seven  years,  and  you  can't  giggle  that  off. 

The  other  day  they  celebrated  the  happy  event,  with 
cameras  clicking  and  reporters  getting  joyous  statements  on 
how  it  feels  to  amble  seven  years  in  double  harness. 

THE  monthly  Mayfair  dance  is  over,  as  usual,  and  the  cus- 
tomary amount  of  aspirin  has  been  sold  to  trippers  of  the 
more  or  less  light  fantastic. 

Lois  Moran  surprised  the  folks  by  turning  up  in  the  party 
of  Mickey  Neilan.  Jobyna  Ralston  left  off  planting  shrubs  and 
hanging  chintz  long  enough  to  attend  with  husband  Dick  Arlen. 
Polly  Ann  Young,  eldest  of  the  famous  Young  sisters,  fox- 
trotted here  and  there  with  Ricardo  Cortez.  Norma  Shearer 
and  Gertrude  Olmsted  set  a  precedent  by  dancing  the  first  polka 
with  their  own  husbands. 

And  Gary  Cooper!    Ah,  zose  love-seek  Gary. 

He  seet  about,  counting  hees  fingers,  and  mumble  zat  eet  is 
only  three  weeks,  one  day,  fourteen  hours  until  hees  Lupe 
comes  home! 

Gary,  during  Lupe's  absence  in  the  East,  has  been  giving  the 
best  performance  of  a  lovelorn  boy  that  Hollywood  has  ever 
seen.  He's  been  eating  alone,  most  of  the  time,  and  probably 
crying  into  his  consomme,  and  he  brought  another  man  to  the 
premiere  of  "The  Iron  Mask." 

True  blue,  thinks  the  Big  Boy  from  Montana. 

STEPIN  FETCHIT,  the  colored  comic  sensation  dug  up  by 
Fox  for  "Hearts  in  Dixie,"  just  can't  be  bothered. 
Step  now  draws  down  $750  a  week,  and  owns  three  expensive 


At  last  the  cameraman  has  been  turned  loose  from  the 
airless  booth  he  has  been  locked  in  since  the  advent  of 
the  talkies!  Every  studio  has  been  experimenting  with 
a  camera  that  wouldn't  whirr  into  the  microphone  and 
make  the  picture  sound  like  a  swarm  of  bees.  This  is 
Paramount's  answer.  It  is  called  the  "Blimp,"  because 
it  looks  something  like  one.  Actor  Lane  Chandler, 
after  a  listen,  says  he  can't  hear  a  single  rattle 


automobiles.  Not  long  ago  the  boss  called  him  into  the  office 
and  told  him  he  couldn't  drive  any  more. 

He  rides  with  a  chauffeur  most  of  the  time  anyway,  but  it 
burned  the  dark  boy  to  be  told  he  couldn't  steer  if  he  craved  to. 

"  Stepin,  you're  too  careless.  This  business  of  getting  pinched 
every  other  day  has  got  to  stop." 

"Boss,"  said  the  sepia  comedian,  "you're  wrong.  I'm  not 
careless.  Don't  I  always  manage  to  keep  ahead  of  them  traffic 
cops? " 

Mix  Janet  Gaynor,  Charlie  Farrell 
And  Frank  Borzagc  in  a  barrel. 
Take  out  the  bung  and  look  within  'cr, 
And  there's  another  Medal  winner! 

AT  last  the  newspapers  carry  the  report  of  the  separation 
of  Norma  Talmadge  and  her  multi-millionaire  husband, 
Joseph  Schenck.  Norma  insists  "we  are  not  separated." 
They  are  just  living  apart,  she  says.  It  is  too  bad.  Of  course, 
it  is  a  separation  when  people  are  living  apart  as  they  have  been 
doing  for  over  a  year. 

AND  now  comes  Betty  Compson  and  announces  that  she 
and  Jimmie  Cruze,  her  director  husband,  have  busted. 
She  said  he  wanted  to  read  books  and  she  wanted  to  go  places 
and  see  things. 

You  must  grant  that  that  withers  any  love.  Betty  insists 
that  they  are  still  good  friends.    Heigh  ho! 

JOHN  BARRYMORE,  an  actor,  dropped  into  a  Hollywood 
haberdashery  a  few  days  ago  for  a  couple  of  clean  shirts. 
He  selected  a  couple  of  nobby  patterns,  and  the  clerk  asked 
his  name. 

"  Barrvmore,"  said  the  star. 

"Eh?'"'  said  the  clerk,  "Will  you  spell  it?" 

John  would,  and  did. 

"What's  the  first  name?" 


p.  and  A 


Just  to  show  that  there's  plenty  of  life  in  the  old 
boy  yet,  Charlie  Chaplin  goes  in  for  a  little  game 
of  leap-frog  with  Harry  D'Arrast,  the  director. 
This  picture  was  taken  while  Charlie  was  con- 
valescing from  his  recent  illness  at  Coronado 
Beach 


Barrymore  gave  the  minion  a  look  that  would  freeze  Clara 
Bow. 

"Ethel!"  he  said,  and  walked  out. 

THE  great  days  of  free  caviar  and  drink  for  the  movie 
critics  are  about  over,  and  a  good  thing  it  is,  too. 

But  it  wiU  be  a  good  thing  for  the  actors  when  they  are  com- 
pletely done  away  with.  Not  that  we  want  the  players  to  take 
the  veil  e.xcept  when  working.  It  is  only  that  during  their  re- 
ceptions for  the  press  there  is  always  a  chance  of  something 
turning  sour. 

The  newspaper  boys  and  girls  don't  get  any  kick  out  of 
movie  parties  for  the  press — they  just  go  for  the  ride.  The 
rackets  that  every  big  opening  and  actor  visit  call  forth  don't 
produce  any  good  publicity.  The  players  are  self-conscious 
and  the  critics  get  a  little  dazed,  and  nothing  comes  out  of  it 
but  a  few  headaches. 

.\s  Hamlet  says  when  his  uncle,  the  king,  hurls  a  party 
for  a  film  troupe  on  location  at  Elsinore,  'tis  a  custom  more 
honored  in  the  breach  than  in  the  observance. 

Poor  Lupe  Velez  came  a  cropper  at  a  trade  luncheon  in  New 
York  because  of  too  much  hooray,  and  at  a  later  tea  she  was 
so  chastened  and  tamed  that  she  meant  nothing.  Dozens  of 
actors  have  had  the  same  thing  happen.  There  are  always  a 
few  twenty-minute-eggs  in  the  crowd  who  will  take  advantage  of 
every  bobble.  The  days  when  newspapermen  lived  for  months 
on  free  food  and  drink  are  over.  And  as  Steve  Brodie  said, 
there  goes  nothing!  [  please  turn  to  page  72  ] 

61 


What  was  the  Best  Picture 


Vote  for  the 

Picture  You  Think 

Should  Win! 


IT'S   voting    time   in    Photoplay 
land! 

The  time  has  come  for  you  to 
cast  your  ballot  for  the  ninth  gold 
medal  award  of  Photoplay. 

Probably  you  have  participated  in 
the  eight  annual  awards  of  past 
years.  Whether  or  not  you  have 
been  a  Photoplay  voter  in  the  past, 
you  must  do  your  duty  by  the  best 
motion  picture  of  1928. 

Back  in  1921  Photoplay  an- 
nounced its  annual  award  and  our 
readers  were  invited  to  select  the 
best  picture  of  the  previous  year. 
"Humoresque"  was  named.  Each 
year  since,  our  millions  of  readers 
have  named  what  they  consider  to  be 
the  best  film  of  each  year. 

The  prize  has  grown  in  significance 
until  today  it  is  the  greatest  award  in 
the  whole  world  of  the  screen.  First, 
it  is  the  only  prize  coming  from  the 
film  fans  themselves.  It  is  not  the 
selection  of  critics  or  of  screen  work- 
ers themselves.  It  comes  from  the 
vast  army  of  film  lovers  and  goes  to 
the  producer  who  ventured  his  money, 
his  hopes  and  his  dreams  upon  the 
production. 


0^1928? 


Winners  of 
Photoplay  Medal 

1920 
"HUMORESQUE" 

1921 
"TOL'ABLE  DAVID" 

1922 
"ROBIN  HOOD" 

1923 
"THE  COVERED  WAGON" 

1924 
"ABRAHAM  LINCOLN" 

1925 
"THE  BIG  PARADE" 

1926 
"BEAU  GESTE" 

1927 
"7th  HEAVEN" 


Ninth  Annual 

Gold  Medal 
Award 


At  the  inauguration  of  the  gold 
medal  award,  Photoplay  asked  its 
readers  to  consider  everything  about 
a  motion  picture  and  not  to  be 
swayed  by  personalities.  The  pic- 
ture honored  should  be  preeminent 
in  story,  in  direction,  in  acting,  in 
photography,  and,  greater  still,  it 
should  be  distinguished  by  the  spirit 
and  intent  behind  it. 

HOW  well  Photoplay  readers 
have  followed  this  plan  is  proved 
by  the  list  of  gold  medal  awards. 
Look  them  over.  "Humoresque," 
"Tol'able  David,"  "Robin  Hood," 
"The  Covered  Wagon,"  "Abraham 
Lincoln,"  "The  Big  Parade,"  "Beau 
Geste"  and  "7th  Heaven."  Mile- 
stones of  motion  picture  progress, 
every  one  of  them. 

When  you  vote  this  year,  remem- 
ber this  array  of  epic  films.  Select  a 
film  worthy  to  join  them  in  the 
Photoplay  Hall  of  Fame. 

K  list  of  fifty  important  releases  of 
1928  is  appended  to  this  page.  It  is 
not  necessary  for  you  to  select  one  of 
these  productions.  You  may  vote 
for  any   [  please  turn  to  page  102  ] 


Photopid)'  Medal  oj  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  1928. 


NAME  OF  PICTURE 


Address - 


Fifty  Pictures  Released   in   1928 


Abie's  Irish  Rose 

Alias  Jimmy  Valentine 

Barker,  The 

Beau  Sabreur 

Bellamy  Trial,  The 

Chicago 

Circus,  The 

Cossacks,  The 

Czar  Ivan  the  Terrible 

Dciil  Dancer,  The 

Divine  Woman,  The 

Docks  of  Nciii  York,  The 

Dove,  The 

Drag  Net,  The 

Drums  of  Love 

Encmv,  The 

Fazil ' 

Fleet's  In,  The 


Flying  Fleet,  The 

Four  Devils 

Four  Sotis 

Four  Walls 

Gaucho,  The 

Gentlemen  Prefer  Blondes 

Interference 

Last  Command,  The 

Laugh,  Clown,  Laugh 

Legion  of  the  Condcnmed , 
The 

Lilac  Time 

Little   Shepherd   of  King- 
dom Come,  The 

Man  Who  Laughs,  The 

Masks  of  the  Devil,  The 

Me,  Gangster 

Mother  Knows  Best 


Mother  Machrce 

Noose,  The 

Our  Dancing  Daughters 

Outcast 

Racket,  The 

Ramona 

Sadie  Thompson 

Singing  Fool,  The 

Sorrell  and  Son 

Speedy 

Street  Angel 

Trail  of  '98,  The 

Wedding  March,  The 

West  Point 

White  Shadows  in  the 

South  Seas 
Woman  of  Affairs,  A 


52 


Who's  Talking  for  Who 


The  Hollywood 
Boulevardier  Sees 
Old  Friends  with 

New  Voices 


in  Hollywood: 


? 


By  Herbert  Howe 


Hollywood,  Calif. 

DEAR  JIM: 
You  recall  I  got  quile  a  glow  over 
Betty  Compson's  Open  House  with  the 
help-yourself  money  bowl.  Well,  it's 
a  Closed  House  now.  Betty  closed  it  the  day 
after  I  was  honor  guest.  (Honor  guest  is  same 
as  trusty  in  a  penitentiary,  Jim.)  Money  gone, 
bowl  gone,  refrigerator  empty.  So  she  alleges. 
How  was  anyone  to  know  she  checked  on  every- 
thing? 

On  the  heels  of  this  social  dig  I  and  Stepin 
Fetchit  were  the  only  trusties  West  of  the 
Rockies  who  weren't  invited  to  Ruth  Roland's 
wedding.  Ruth  got  married  to  Ben  Bard  in  the 
presence  of  the  entire  population  out  of  jail  at 
the  time.  No  sneaky  Mexican  marriage  for 
Ruth.  She's  had  enough  real  estate  transac- 
tions to  know  you  can't  have  too  many  wit- 
nesses. 

I  MAY  be  socially  blighted  but  I'm  not  as  bad 
off  as  the  guy  who  came  out  to  make  love  to 
Bebe  Daniels.  They  threw  him  in  the  psycho- 
pathic ward.  Looks  like  a  dirty  dig  at  Bebe. 
At  that  it  was  the  humane  thing.  The  Exami- 
ner sent  a  fellow  out  to  interview  Clara  Bow 
and  he  never  did  come  back.  Wandering 
around  raving  some  place,  I  suppose. 

Just  as  I  was  sinking  into  the  inferiority  com- 
plex I  got  a  letter  from  a  fan.  (Oh,  I  have  my 
following — autographed  photographs  at  a  quar- 
ter as  long  as  they  last.)  Myra — that's  my  fan 
friend's  name — said  I  was  the  rve  in  her  cock- 


tail. She  asked  if  my  initials  really  were  H.  R. 
H.,  but  anyhow  I  meant  more  to  her  than  the 
Prince  of  Wales.  She  suggested  an  article  on 
male  face-lifters.  Said  one  of  my  friends  who 
had  been  going  on  forty  for  fifty  years  now  looked 
twenty-five  and  another  looked  just  blah. 
"What  about 'Bool'?"  she  asked.  "Has  he  had 
a  tuck  taken  or  does  he  feel  he  couldn't  im- 
prove?" 

BOOL,"  my  dear,  is  about  to  appear  in  vaude- 
ville in  "The  Four  Roses."  That  is,  he  was 
until  he  got  prima  donna.  He  started  with  the 
act  as  above  named,  then  switched  to  "The 
Three  Pansies."  When  I  was  over  to  his  house 
the  other  night  he  decided  to  eliminate  the  other 
two  blossoms  and  bloom  alone — as  "The  Lily,"  I 
suppose.  "Bool"  seems  out  to  run  the  whole 
horticultural  gamut  but  I  predict  he'll  stop 
short  of  the  blushing  violet.  I  suggested  he 
bloom  alone  as  "The  Two  Cauliflowers." 

Anita  Loos  says  she's  going  to  write  a  story 
for  Bull  to  play  Mussolini.  Bull  may  have  to 
have  his  ears  lifted  in  order  to  get  a  silk  hat 
on,  otherwise  he's  the  Big  Bellow  to  the  life. 
The  new  sound  devices  haven't  been  really 
tested  until  Bull  lets  go  at  them. 

Incidentally,  I'd  like  to  know  who's  talking 
for  who  in  Hollywood.  Rye  tenors  are  twit- 
tering like  mocking  birds.  Some  years  ago  I 
used  to  hear  a  great  star  sing  while  he  shaved. 
He  was  my  pal  then;  he's  a  great  star  now,  I 
mean.  The  only  tribute  he  got  was  raps  on  the 
wall  from  the  ad-  [  please  turn  to  page  121  ] 


Herb  Howe  wants  to 
know  who's  talking 
for  who  in  Holly- 
wood. Feats  of  dar- 
ing have  been  per- 
formed  for  the 
$5,000-a-week  star 
by  extras  getting  ten 
bucks.  Acting  has 
been  supplied  by 
directors,  wit  by 
sub-title  writers  and 
beauty  by  make-up 
experts.  Now  the 
robust  baritones 
and  glowing  tenors 
belong  to  others 


Illustration    by 
Ken  Chamberlain 


53 


THE  NATIONAL  GUIDE  TO  MOTION  PICTURES 


THE  TRIAL  OF  MARY  DUGAN—M.-G.-M. 


NORMA  SHEARER'S  highly  successful  talkie  debut— 
the  best  court  room  scene  in  a  plague  year  of  such 
sure-fire  picture  affairs — excellent  acting  and  fine  recording. 

All  these  are  to  be  found  in  "The  Trial  of  Mary  Dugan," 
Metro-Goldwyn-Mayer's  all-talking  picture  about  the  little 
girl  who  was  unjustly  accused  of  knifing  her  good  daddy. 

An  odd  angle  to  this  is  that  the  author,  Bayard  Veiller, 
vet  melodramatist,  directed  the  movie  version  of  his  own 
play.  You  can  bet  that  Director  Veiller  didn't  muff  a  single 
one  of  Author  Veiller's  pet  lines  and  situations. 

Other  fine  performances  by  Raymond  Hackett,  as  her 
brother;  Lewis  Stone  and  H.  B.  Warner  as  a  couple  of 
other  lawyers,  and  bright  comedy  reliefs  by  Lilyan  Tash- 
man  and  Adrienne  D'Ambricourt — the  last  a  gem. 

In  spite  of  some  draggy  stretches,  a  distinct  achievement. 


^      THE  WILD  PARTY— Paramount 

JT'S  here!  Clara  Bow's  first  talkie.  Speculation  of 
months  is  settled  and  the  Hollywood  Whoopee  Girl  rides 
on  the  crest  of  the  sound  wave.  Clara's  voice  matches 
herself,  adding  power  and  enthusiasm  to  her  personality. 
It's  a  smooth  contralto,  vigorous  and  natural. 

This  sophisticated  collegiate  picture  is  a  custom-built 
vehicle  for  her,  incorporating  the  playgirl  role  she  does  best. 
Every  ounce  of  energy  and  talent  she  has  is  back  of  her 
vivid  characterization  of  a  college  she-daredevil — pro- 
fessional life-of-the-party.  But  her  brilliance  in  necking 
doesn't  mean  a  thing  when  she  falls  for  a  serious  professor. 
He  steps  all  over  her,  and  later  calls  it  love.  Frederic  March 
was  recruited  from  the  legitimate  stage  for  this  picture. 
Dorothy    Arzner's   direction   is   natural  and  sophisticated. 

54 


The 


Shadow 
Stage 

(BEG.  U.  S.  PAT,  OFF.)      tf  ■ 

A  Review  of  the  New  Pictures 


•^      COQUETTE—Vnited  Artists 

MARY  PICKFORD'S  all  talkie  version  of  this  Broad- 
way play  has  two  surprises.  One  is  for  Pickford  fans, 
who  will  find  the  old  time  romping  hoyden  with  the  golden 
curls  displaced  by  a  grown-up  young  woman  with  bobbed 
hair  and  adult  ideas.  The  other  surprise  will  be  encountered 
by  those  who  saw  "Coquette"  as  a  stage  play.  Miss 
Pickford  has  made  a  raft  of  changes  in  the  original  story. 

"Coquette"  is  still  the  story  of  a  little  Southern  butterfly 
and  a  young  boy  of  poor  family.  The  boy  is  shot  by  the 
girl's  father,  who  believes  his  daughter  has  been  wronged. 
On  trial  for  his  life,  the  old  man  comes  to  realize  he  has 
killed  an  innocent  youth  and  he  shoots  himself.  That 
leaves  the  lonely  Mary  walking  off  alone  in  the  last  shot 
down  a  dimly  lighted  village  street  at  sunset. 

In  the  original  the  girl  was  about  to  become  a  mother 
as  her  father  was  brought  to  trial.  So  she  killed  herself, 
hoping  to  save  her  daddy. 

Although  much  of  the  emotional  force  of  the  story  is 
removed  by  changes,  Miss  Pickford  turns  in  a  remarkable 
performance.  Her  voice  records  nicely — and  she  reveals 
surprising  emotional  force  and  many  poignant  moments. 

Take  along  a  handkerchief  or  two  for  your  tears.  You 
will  need  them.  And  your  screen  season  won't  be  complete 
until  you  see  the  new  Mary.  Remember,  too,  that  on 
this  film  she  staked  a  career  that  took  twenty  years  to 
build. 

You  will  like  Johnny  Mack  Brown  as  the  boy  lover 
who  meets  death.  A  good  performance  is  turned  in  by 
John  St.  Polls  as  the  father.' 


SAVES    YOUR    PICTURE    TIME    AND    MONEY 


The  Best  Pictures  of  the  Month 

COQUETTE  GENTLEMEN  OF  THE  PRESS 

THE  CASE  OF  MARY  DUGAN 

THE  WILD  PARTY  CHRISTINA 

SHOW  BOAT 

The  Best  Performances  of  the  Month 

Mary  Pickford  in  "Coquette" 

Walter  Huston  in  "Gentlemen  of  the  Press" 

Norma  Shearer  in  "The  Case  of  Mary  Dugan" 

Raymond  Hackett  in  "The  Case  of  Mary  Dugan" 

Clara  Bow  in  "The  Wild  Party" 

Janet  Gaynor  in  "Christina" 

Eleanor  Boardman  in  "She  Goes  to  War" 

Estelle  Taylor  in  "Where  East  Is  East" 

Casts  of  all  photoplays  reviewed  will  be  found  on  page  1 44. 


^  GENTLEMEN  OF  THE  PRESS— Paramount 

MR.  MILLARD  WEBB,  free-swinging  director,  strode 
to  the  plate  at  the  Paramount  Eastern  film  foundry, 
grasped  his  wagon  tongue  firmly  and  smote  out  the  first 
entirely  successful  newspaper  picture  in  the  history  of 
the  photoplay.  In  fact,  successful  isn't  just  THE  word 
to  describe  "Gentlemen  of  the  Press."     It's  a  knockout. 

Newspaper  pictures,  in  the  past,  have  been  soggy  with 
sentimentality  and  crammed  with  technical  errors  that 
have  drawn  only  guffaws  from  the  lads  with  the  pad  and 
pencil.     But  not  this  baby. 

This  all-talkie  is  the  film  version  of  a  stage  play 
of  the  same  name  wri'  ten  by  five  New  York  newspapermen. 

The  story  is  that  of  a  flea-bitten  old  newspaperman  who 
has  chased  kings  and  ambulances  all  over  the  world — of  his 
struggles  to  break  out  of  newspaper  business  into  the  big 
money,  of  his  young  daughter's  love  trouble,  and  his  own 
affair  with  a  sirenish  sweetie. 

A  fast,  smart  and  cynical  story  about  the  press  boys, 
all  lighted  up  with  plenty  of  horse  laughs  and  awash  with 
enough  tears  to  use  up  the  most  lachrymose  customer. 

"Gentlemen  of  the  Press"  knocks  in  the  head  the  theory 
that  only  picture  actors  know  anything  about  film  technique. 

An  all-stage  cast,  with  hardly  an  ounce  of  movie  train- 
ing in  the  bundle,  walks  out  and  gives  a  set  of  rip-roaring 
performances.  Walter  Huston  is  superb  as  the  old  star 
reporter,  and  a  long-legged,  dark  girl  named  Katharine 
Francis  is  going  to  be  a  great  film  sensation  in  vamp  roles 
of  the  new,  slinky  type.  Good  work  by  Charles  Ruggles, 
the  comedian.     Handshakes  and  nosegays  all  round. 


-^       CHRISTINA— Fox 

HUMOR  and  pathos  are  delicately  blended  in  "Chris- 
tina." The  story  is  weak  and  improbable  but  raised 
by  superb  direction  and  acting  to  near  greatness  at  times. 

Had  Mine.  Bosmon  been  more  of  a  human  being  and  less 
of  a  female  Jack  Dalton,  and  had  the  end  of  the  story 
involved  less  of  a  strain  on  the  imagination,  "Christina" 
would  have  been  one  of  the  great  pictures  of  the  year. 
As  the  little  daughter  of  a  toymaker  on  the  Isle  of  Marken, 
Janet  Gaynor  finds  her  white  knight  in  a  circus  lad  astride 
a  farm  horse. 

The  romance  is  charmingly  and  subtly  developed  and  the 
simplicity  of  the  little  Dutch  girl  is  made  convincing  and 
appealing  by  Miss  Gaynor's  fine  portrayal.  Rudolph 
Schildkraut  as  the  father  and  Charles  Morton  as  the  boy 
are  memorable — but  Janet  Gaynor  is  unforgettable. 


■^      SHOW  BOAT— Universal 

WHEN  you  say  that  Universal's  version  of  Edna 
Ferber's  episodic  and  sentimental  novel  is  a  lavish 
production,  you  say  nearly  everj'thing  possible  about  it.  The 
weakness  of  the  film  "Show  Boat"  lies  in  the  obvious 
direction  of  Harry  Pollard. 

Miss  Ferber  wrote  a  colorful  novel  that  swept  from  a 
Mississippi  river  show  boat  to  Chicago  in  the  days  of  the 
World's  Fair  and  on  to  New  York.  It  had  verve,  spirit  and 
fine  atmospheric  detail.  Some  of  this  comes  through  to 
the  screen. 

Laura  La  Plante  is  the  best  of  the  cast  as  Magnolia  but 
Joseph  Schildkraut  overacts  the  role  of  Gaylord  Ravcnal. 
So  does  Emily  Fitzroy  in  the  role  of  Parthenia  Ann  Hawks, 
who  rules  her  show  boat  with  an  iron  hand. 


65 


Sound   or   Silent,  You  Will   Find   the 


SHE  GOES 
TO  WAR^ 
Inspiration- 
United  Artists 


THE  DESERT 

SONG— 

Warners 


"T^HE  BIG  PARADE"  spoiled  us  for  merely  spectacular 
-L  war  pictures.  This  production  falls  short  of  greatness 
because  it  lacks  heart  interest.  It  fails  to  grip  you  strongly, 
though  Eleanor  Boardman  gives  an  almost  perfect  performance, 
going  from  the  shallow  society  girl  to  the  serious,  determined 
fighter.  The  direction  of  Henry  King  is  superb  and  the 
battlefield  scenes  are  breathtaking. 


THE  DESERT  SONG"  is  the  first  all-singing  and  talking 
operetta  to  reach  the  screen  and  our  only  criticism  is  that 
the  screen  has  not  been  fully  utilized.  Most  of  this  picture 
was  made  six  months  ago  and  much  talkie  progress  has  been 
made  since  then.  The  real  joy  of  the  picture  is  John  Boles, 
with  his  new  screen  personality  and  delightful  baritone  voice. 
Pictorially  beautiful  and  interesting  to  music  lovers. 


WHERE  EAST 
IS  EAST— 
M.-G.-M. 


THE  WOMAN 

WHO 

NEEDED 

KILLING— 

Paramount 


GATHER  round,  folks,  for  another  Chaney  bedtime  story — 
something  with  a  touch  of  Kipling  and  Poe.  A  very  bad 
woman,  the  half-caste  wife  of  a  wild  animal  trapper,  deserts 
her  husband  only  to  return  later  to  steal  the  affections  of  the" 
boy  who  loves  her  own  daughter.  Not  nice  at  all,  this  woman, 
but  Estelle  Taylor  plays  her  to  perfection.  Chaney  is  excellent 
and  Lupe  Velez  lends  fiery  aid. 


THE  first  tropical  talkie,  with  the  beat  of  tom-toms  and 
the  wailing  chant  of  natives  as  a  background  to  the  sensuous 
Slavic  intonations  of  the  blonde  Baclanova.  As  the  Russian 
wife  of  a  British  commissioner  in  a  far  African  post,  she  cannot 
resist  seducing  her  husband's  young  assistants,  while  he  looks 
on  in  futile  anguish.  His  manhood  asserts  itself  when  his 
young  brother  hears  the  siren  song.    Penetrating  drama. 


THE  SIN 

sister- 
Fox 


sj^B 

I^^^^^^K     ^ 

z^^^^^^^tt"    '*""  ^^^^M^^*lii^^^l 

HUHI^^^^^^k    'i  ..^^^^^^^B 

t^""  4. 

'-^  JS^^ 

SYNCOPA- 
TION—RKO 


A  MILLION .MRE,  his  pampered  daughter,  his  young  yes- 
man,  a  female  evangelist,  and  a  pair  of  hoofers  are 
marooned  in  an  Alaskan  trader's  shack  in  midwinter.  It's 
sordid  melodrama,  but  it  possesses  several  excellent  performances 
and  much  suspense.  Nancy  Carroll  proves  her  abihty  to  handle 
any  role  she's  given,  and  Myrtle  Stedman  pulls  a  penetrating 
burlesque  on  the  evangelistic  racket. 

56 


THE  Talkie-Singie-Dancie  pictures  are  still  in  the  night 
clubs  of  New  York  and  "Syncopation"  follows  along  the 
golden  trail  blazed  by  "The  Broadway  Melody."  But  this  is 
a  good,  entertaining  picture  on  its  own.  That  brilliant  band, 
Waring's  Pennsylvanians,  plays;  Morton  Downey  sings,  and 
there  are  fine  performances  by  Bobby  Watson,  Barbara  Ben- 
nett and  Verree  Teasdale. 


First  and  Best  Screen  Reviews  Here 


BLUE  SKIES 
^Fox 


NEW    YEAR'S 
EVE— Fox 


AN  ORPHANAGE  romance,  made  unusually  entertaining 
by  the  clever  handling  of  Director  Werker.  Helen  Twelve- 
trees  and  Frank  Albertson,  perfectly  cast,  do  beautiful  work. 
The  author  ought  to  be  pleased  with  the  picturization  of  his 
little  human  interest  story.  With  a  strong  resemblance  to 
Lillian  Gish  and  many  Gish  mannerisms,  Helen  Twelvetrees  is 
far  more  interesting  than  in  her  first  picture. 


THIS  drips  with  sentimentality  and  is  sticky  with  melo- 
drama. You'll  see  a  sick  little  brother  and  a  suave  villain 
who  wears  a  silk  dressing  gown  and  lures  innocent  girls  into 
his  apartment.  But  you  will  be  entranced  by  the  perfectly 
slick  way  in  which  a  thief  extracts  a  hundred  dollar  bill  from 
the  pocket  of  the  starving  gal.  Mary  Astor  gives  a  nice  per- 
formance. 


TRENT'S 

LAST  case- 
Fox 


THE 

DONOVAN 
AFFAIR— 
Columbia 


IF  we  must  have  mystery  stories  six  nights  in  the  week, 
it's  a  relief  to  have  an  occasional  one  treated  humorously. 
"Trent's  Last  Case"  doesn't  tax  the  mind  with  the  fine  points 
of  criminal  psychology.  An  amateur  detective  supplies  laugh- 
able farce  while  the  story  of  a  man's  suicide  is  unravelled. 
It's  not  startling  enough  to  detract  from  the  slight  romance, 
supplied  by  MarceUne  Day  and  Larry  Gray. 


FRANK  CAPRA,  who  directed  "Submarine,"  hardly  handles 
Owen  Davis'  mystery  play  with  as  skillful  hand.  The 
mystery  element  is  forced  out  of  consideration  by  the  continued 
injection  of  comedy  by  Fred  Kelsey.  Furthermore,  Jack 
Holt  is  too  fine  an  actor  to  play  with  such  little  mental  acumen. 
The  voices  all  register  well  and  many  favorite  players  are 
seen  to  advantage  so  the  picture  is  not  without  interest. 


THE  VOICE 
OF  THE  CITY 
—M.-G.-M.  f^ 


CHINA 

BOUND— 

M.-G.-M. 


WILLARD  MACK  wrote  this,  Willard  Mack  directed  it, 
Willard  Mack  played  the  principal  character  part  and 
Mrs.  Willard  Mack  played  the  leading  feminine  role.  It's  crook 
stuff.  The  story  is  about  the  wrong  boy  who  goes  to  jail, 
escapes,  corners  the  gang  leader  who  sent  him  un  just  as  he's 
making  a  play  for  the  gal.  Old  stuff,  this,  saved  from  complete 
mediocrity  by  audibility. 


FUNNY,  yes — but  not  the  funniest  that  Dane  and  Arthur 
have  ever  done.  It's  not  so  much  a  comedy  as  a  comedy- 
drama.  Different  from  other  Dane  and  Arthur  offerings 
because,  instead  of  kicking  each  other,  they're  affectionate. 
They  start  in  San  Francisco  and  end  in  China  where  they  mix 
into  a  revolution.  Polly  Moran  helps  out,  but  Josephine  Dunn 
is  only  fair  as  a  love  interest.  [  please  turn  to  page  146  ] 

57 


(7\/^¥^¥JT  Harold  Lloyd's  new  leading  lady.  Barbara 
Q^/J  ^  Kent  is  the  lucky  girl  who  has  been  chosen  to  play 
opposite  the  goggled  funny  man  in  his  new  picture. 
Barbara  has  already  enjoyed  a  successful  career  in  pictures. 
She  has  served  with  Uncle  Carl  Laemmle's  forces  at  Universal, 
and  did  many  a  nice  picture  job  on  that  big  lot.  We'll  cer- 
tainly all  be  glad  to  welcome  Babs  in  the  forthcoming  Lloyd 

laugh-maker 


58 


[Kef  1 1 

H 

Coming 


arry  s 


Back 


The  Great  Little  Dough-Face, 

Sane  and  Peppy,  Marches 

on  Hollywood 


Yes,  it's  the  same 
old  Harry  Lang- 
don,  with  wide, 
helpless  eyes. 
After  a  vaudeville 
tour,  he's  movie- 
bound! 


By  Leonard  Hall 


FANS,  shore  up  your  spare  ribs  and  get  your  tonsils  set  for 
raucous  laughter! 
Filmland,  shine  up  the  Hollywood  Athletic  Club  and 
dust  off  the  streets  for  dancing! 

Harry  Langdon,  if  God  is  good,  is  coming  back  to  pictures! 

As  far  as  I  am  concerned,  that's  the  big  news  of  this  or  any 
other  month.  It  has  been  far  too  long  between  howls  for  the 
great  little  doughface  who  went  up  like  a  balloon  and  came 
down  like  a  parachute  that  failed  to  open. 

It's  a  new  Langdon  we'll  see,  too — 

A  Harry  with  a  well-deflated  skull,  a  head  full  of 
smart  ideas  and  a  soul  that  bulges  with  pepper,  hope  and 
theoldconfy! 

Disguised  as  a  Big  Reel  and  Sprocket  Man  from  Culver  City, 
I  talked  to  the  beloved  Dead-Pan  in  a  suite  in  the  Warwick 
Hotel,  New  York.  Central  Park  lay  far  below  us — a  relief  map 
high-lighted  with  spring  sunshine. 

And  Harry's  heart  was  as  high  as  his  fancy  sitting  room! 

Though  he  was  nursing  a  set  of  clogged  pipes,  he  had  just 
wound  up  a  red-hot  week  at  the  Palace  Theater — which  is  to 
the  vaudeville  actor  what  Heaven  is  to  the  hell-bent. 

A  roaring,  triumphant  week,  with  the  house  jammed  with 
Langdon  maniacs,  a  vicious  sort  of  devotee,  and  yards  of  blaz- 
ing praise  from  press  and  public  in  the  pews. 

Three  weeks  more  of  the  two  a  day,  and  then  hey!  and  a 
couple  of  ho's!  for  the  sunburned  West  and,  we  hope,  the  whirr 
of  the  old  home  cameras ! 
_  Langdon's  vaudeville  act,  as  far  as  words  went,  was  a  weak 
sister.  No,  why  quibble?  It  was  terrible.  But  the  star,  using 
all  the  quaint,  helpless  mannerisms  that  made  him  famous  in 
the  ffickers,  was  tremendous.     In  short,  it  was  his  superb  film 


pantomime  that  put  him  over  for  ten  touchdowns — he  didn't 
have  to  squeak  a  note  to  win  his  crowd. 

Yes,  Langdon's  simple-sap  character  is  as  great  as  ever — 
greater,  probably,  for  Harry  is  an  older  and  wiser  boy  now. 

And  Harry,  wearing  a  dressing  gown  and  a  set  of  studious 
looking  cheaters,  sat  and  looked  down  at  sunny  Central  Park 
and  told  me  all  about  it. 

I  marveled  as  I  listened.  Was  this  the  Harry  Langdon  who 
everybody  said  had  swell-headed  himself  out  of  pictures? 

THE  story  flashed  across  my  mind. 
1922 — Harry  and  Rose  Langdon,  just  a  good  standard 
vaudeville  act  kicking  around  the  two  a  day. 

1923 — Modestly  hooked  for  the  movies  by  Sol  Lesser — a  chap 
who  once  had  a  kid  named  Coogan.  "Langdon  for  Films," 
said  obscure  items  in  the  trade  press.     Who  cared? 

1924 — Success  in  Sennett  two-reelers — one  of  the  greatest 
series  of  short  films  ever  produced,  and  still  revived  all  over  the 
country  by  managers  who  know  a  laugh  from  a  snort. 

1925 — Bought  for  long  films  by  First  National.  One  or  two 
ace  pictures,  then  a  tre\',  then  a  deuce — then  a  long,  steep 
toboggan  for  Harry,  and  the  end! 

We  all  remember  the  yarns  that  were  whispered  at  the  time 
of  his  boxoffice  collapse — of  how  he  had  tried  to  write,  super- 
vise, direct  and  act — of  how  he  suffered  from  night  sweats, 
galloping  ego,  growing  pains  above  the  ears,  and  delusions  of 
grandeur — of  how  he  tried  to  lead  the  band,  toot  the  cornet  and 
play  the  drums  and  cymbals. 

Maybe  they  were  true  and  maybe  they  weren't,  but  they 
were  common,  and  they  hurt  plenty. 

Even  today  a  tale  is  told  along  [  please  turn  to  page  102  ] 

59 


Land 


The  kiddies  of  the  Universal 

lot  have  cathedrals  and  chariots 

as  everyday  playthings 


The  playhouse  at  the 
upper  left?  It  was  the 
Shelby  Mansion,  used 
in  "Uncle  Tom's  Cab- 
in." Now  the  little  girls 
of  Universal  City  have 
it  for  a  make-believe 
home.  Here  they  are  at 
tea,  from  Neola  Spald- 
ing, 16,  to  tiny  Dolores 
Jordon,  half-past  two. 
The  eighteen  Universal 
you  ngsters  ha ve  a  whole 
zoo  to  play  in.  Just 
above  are  some  aboard 
Minnie 


Jimmy  Van  Horn  runs 
his  own  pony  chariot 
race  for  some  of  the 
children  at  Universal 
City.  Now,  kiddies, 
don't  you  run  away  to 
Hollywood,  becauseall 
these  boys  and  girls  at 
play  have  fun  because 
their  papas  or  mam- 
mas work  for  the  film 
firm! 


60 


of  Make-Believe 


Probably  the  Universal  children  have  more 
fun  than  any  kids  in  the  world  except  Our 
Gang,  who  get  paid  for  romping.  Imagine  the 
different  contraptions  they  can  find  to  play  on 
in  such  a  big  studio.  Here  they  are  all  set  to 
put  out  a  conflagration.  "Hey!"  yells  Chief 
Bud  Murphy.  "If  you  can't  find  us  a  fire, 
start  one!" 


"Well,"  says  Jimmy  Van  Horn,  11, 
to  Violet  Unzicker,  12,  "it's  too 
hot  for  polo.  Let's  go  sledding!" 
So  they  load  up  the  old  family 
toboggan  with  the  other  Universal 
kidlets,  ramble  over  to  the  Swiss 
Village  on  the  lot,  and  slide  on 
fake  snow  until  overcome  by  the 
heat 


School  days  at  Universal  City, 
where  the  studio's  youngsters  are 
taught  the  Three  R's  and  how  to 
iris  in  and  fade  out.  Jimmy  Van 
Horn  is  stealing  a  lick  at  his  all- 
day  lollipop,  and  Winnifred  Spald- 
ing is  frantically  flagging  down 
teacher  so  she  can  tell.  Tattle- 
tale,  Winnie! 

Gl 


cyi  Little  Deal 


Eyes  **like  lakes  of 
chrysoprase"  give  a 
severe  case  of  pain 
in  the  neck  to  sev- 
eral men  and  a  stitch 
in  the  heart  to  one 


THE  blue  pongee  curtains  stirred  gently  under 
the  urging  of  California's  well  advertised 
breeze  and  a  battalion  of  jonquils  in  the  win- 
dow boxes  swayed  in  harmony.  Slanting 
bands  of  sunshine,  filtering  through  a  lacy  pepper 
tree  that  stood  sentinel  on  the  lawn,  cast  a  shimmer- 
ing filigree  over  the  Chinese  rug  and  burnished  the 
tasteful  pieces  of  Sheraton  walnut  to  a  duU  and  ex- 
pensive gleam.  Several  etchings,  with  a  French  print 
or  two,  were  scattered  austerely  around  the  walls, 
while  on  the  center  table  a  brace  of  bronze  ladies 
reposed  in  nude  nonchalance  at  either  end  of  a  row 
of  handsomely  bound  volumes.  Briefly,  the  room 
was  one  calculated  to  arouse  an  interior  decorator 
to  his  most  falsetto  ecstasies,  for  distinction  seemed 
everywhere. 

Everywhere,  that  is,  but  in  the  corner  where  two 
sketchily  dressed  gentlemen  sprawled  at  their  ease. 
By  degrees  they  were  emerging  from  that  state  of 
savagery  in  which  the  average  male  finds  himself 
upon  awakening,  and  now,  grazing  comfortably  amid 
the  remains  of  a  combination  lunch  and  breakfast, 
they  were  disposed  to  face  the  world  with  the  yeasti- 
ness  of  people  who  are  through  with  common  toil. 
But  even  the  idle  rich  must  have  their  fixations. 
Suddenly  there  came  a  violent  rustling,  coupled 
with  an  assortment  of  gulping  noises. 

"This  is  the  sort  of  thing,"  bawled  Mr.  "Spook"  Torrance, 
regarding  his  newspaper  with  extreme  disfavor,  "  that  gives  me 
a  severe  pain  in  the  neck!  I  tell  you,  Mac,  there's  a  limit  to 
everything." 

"Yeah?"  drawled  the  languid  Mr.  "Shadow"  McLeod,  a 
taut  and  dapper  gentleman,  who  was  contemplating  the  spring 
light  as  reflected  through  a  glass  of  sherry.  "  What  is  it  now — 
picture  of  a  Colonial  Dame  in  knickers  or  the  way  cartoonists 
spell?  Anyhow,  don't  go  off  the  deep  end  about  it;  remember 
your  blood  pressure  and  that  you're  crowding  fifty." 

"I  didn't  ask  you  for  a  speech,"  said  his  friend,  with  the 
rudeness  of  long  acquaintance.  "I'm  telling  you  that  here's 
something  to  make  any  movie  fan's  pulse  take  the  hurdles." 
He  held  out  the  crumpled  paper,  and  the  Shadow  read  aloud 
from  the  headlines: 

PEABODY  FEW  DENIES  MOVIE  EXTRAS  A  PENNY 

Millionaire  refuses  subscription  to  club- 
house fund.  Flays  stars  who  make 
personal  appeal;   would  destroy  studios. 

THE  veins  around  Mr.  Torrance's  nose  grew  a  trifle  pinker  as 
he  listened.  He  was  a  large  and  customarily  jovial  gentleman 
who  flaunted  the  indoor  tan  that  comes  from  indulgence  in  the 
pleasant  sport  of  crooking  the  elbow,  but  now  he  scowled 

62 


ominously  and  gave  forth  mutterings  concerning  Mr.  Few. 
"Well,  what  about  it?"  inquired  the  unperturbed  Mr. 
McLeod.  "This  bird's  got  a  right  to  do  what  he  wants  with 
his  own  money.  He  owns  the  largest  jewelry  store  in  Los 
Angeles,  so  he  must  know  his  racket.  Just  because  we're  hiding 
out  here  in  Beverly  Hills  is  no  reason  for  you  to  get  all  broken 
out  with  local  pride." 

HIDING  hell ! "  snorted  theother.  "  We  worked  the  country 
from  Boston  to  Denverfortwentyyears, didn't  we?  Swamps 
and  prairies  and  small  town  chumps  begging  to  be  taken — my 
gosh,  what  a  routine!  And  I  always  said  that  when  we  got 
upholstered  I'd  open  a  shack  in  the  picture  colony,  didn't  I?" 

Mr.  McLeod  nodded. 

"Well,  this  is  it,"  pursued  Mr.  Torrance  thankfully.  "You 
know  blamed  well  we  never  gypped  anyone  who  didn't  think 
he  was  gypping  us,  so  there's  no  old  charges  that  could  be  made 
to  stick.  Forget  that  stuff  about  hiding,  Mac;  we're  retired, 
see?  A  couple  of  financiers  loitering  in  the  enchanted  suburb. 
Think  of  it — Miramonte  artichokes,  abalone  and  Corinne 
Griffith  all  in  the  same  place!  It's  the  only  life,  Mac.  What  do 
you  do,  for  instance?" 

"Lie  around  and  read  detective  stories,  with  maybe  a  trip 
or  two  to  Catalina  or  Arrowhead." 

"Me,  too,"  said  the  ex-confidence  man,  "but  I've  got  wider 


for  Dora 


By 

Stewart  Robertson 


Illustration    by 

R.  Van    Buren 


"Miss  Delura,  will  you 
permit  me  to  be  your 
knight?"  The  siren  giggled 
delightedly.  "Then,"  said 
the  noble  Spook,  "Mr. 
Few  shall  be  made  to  bend 
the  knee,  or  as  they  say  in 
ruder  circles,  he'll  take  it 
on  the  chin" 


volving  all  of  Hollywood  would 
not  have  prevented  him  from 
sinking  the  eight  ball  in  the 
corner  pocket  with  his  cus- 
tomary finesse. 

The  gallant  Spook  colored  to 
a  rich  garnet.  "Ease  up  on  the 
kidding,"  he  said  pleadingly, 
"but  do  you  remember  Aggie?" 


a; 


interests,  besides.  I  circulate  around  and  meet  the  folks  to 
build  up  a  rep  for  myself.  I  play  with  the  babies,  when  I  can 
find  'em,  and  give  the  old  maids  the  glad  eye  to  keep  up  their 
spirits.  I  can  even  pronounce  La  Jolla.  As  for  the  movie 
people,  well,  I  get  a  kick  out  of  just  looking  at  them.  That's 
what  made  me  sore  at  this  old  blue  stocking,  Few.  He  seems 
to  forget  today's  extras  are  the  stars  of  tomorrow." 

The  saturnine  Mac  poured  himself  another  drink  and  studied 
his  friend's  face  with  rising  interest.  That  rosy  countenance 
wore  the  look  of  ardent  vacuity  so  often  observed  on  men 
much  younger,  and  much  older,  than  its  owner,  and  Mac 
whistled  softly  as  he  recognized  the  symptoms. 

SO  one  of  these  Lipstick  Lauras  has  got  you  groggy,  eh?" 
he  demanded.  "That's  a  big  laugh  to  me.  Get  wise  to  your- 
self, Spook,  do  you  really  think  any  of  these  eyelash  flutterers 
would  give  you  a  tumble?    An  old  buzzard  like  you!" 

Mr.  Torrance  protested  feebly.  "Perhaps  not,  but  there's 
no  law  against  admiring  'em.  A\'hy,  I  can  remember  when  the 
average  actress  had  a  shape  like  the  back  of  a  San  Pedro  bus. 
But  today  we've  got  young  goddesses,  Mac,  young — ." 

"Yeah?"  interrupted  Mac.  "What's  her  name?"  He 
listened  dubiously  for  the  reply  as  he  was  one  of  those  peculiar 
persons  to  whom  the  movies  meant  less  than  nothing.  All 
names  sounded  alike  to  Mr.  McLeod,  and  a  catastrophe  in- 


GGIE,"  repeated  Mac,  cor- 
rugating his  brow  for  the 
space  of  a  minute.   "What — you 
mean  that  soubrette  in  the  old 
Burning  Brands?" 
"E.xactly." 

"The  one  who  gave  you  the 
runaround  for  that  crummy  ven- 
triloquist?" 

Mr.  Torrance  wagged  his  head 
sadly.  "I  always  thought  she 
was  the  loveliest  dame  I'd  ever 
seen,  but  there's  one  here  who 
fades  her — Dora  Delura.  She 
looks  like  Aggie  used  to,  but  you 
know,  with  more  gloss." 

''Dora     Delura,"     murmured 
Mr.  McLeod  slowly.    "Seems  to  me  I  was  reading — " 

"I  know  all  about  that,"  said  Spook  defiantly.  "What  if 
she  did  divorce  her  husband  so  as  to  marry  another  fellow? 
.\nd  what  if  the  fellow's  old  man  yanked  him  out  of  Holly- 
wood at  the  last  minute?  Suppose  she  was  pursued  by  a  goofy 
musician — doesn't  all  that  stamp  her  as  a  woman  of  allure- 
ment? She  intrigues  me,  Mac,  because  I  view  her  with  the 
eye  of  an  artist.  That  swirl  of  honey-colored  hair,  those  eyes 
like  almond  lakes  of  chrysoprase,  that  figure  as  lissome  as  a 
willow!" 

"Reading  some  of  that  press  agent  stuff,  eh?"  sneered  Mac. 
"More  than  that,"  said  Mr.  Torrance  dreamily.  "I  was 
talking  to  him  in  person.  Just  imagine,  Mac,  he  used  to  be 
her  husband,  and  even  though  he's  lost  her,  he  still  praises 
her.  Wonderful,  I  call  it.  In  fact,  the  whole  industry's 
wonderful,  and  I'm  thinking  of  becoming  a  silent  partner  in 
one  of  these  production  units.  I  expect  a  little  chap  named 
Abie  Zoop  over  to  see  me  this  evening." 

Mr.  McLeod  laid  down  his  glass  and  registered  alarm.  "The 
trouble  with  you,"  he  accused,  "is  that  you're  commencing 
to  think  you're  a  business  man.  We  may  have  chiseled  a  few 
hundred  thousand  out  of  the  saps  and  then  run  it  up  to  a 
million  in  a  bull  market,  but  there's  other  rackets  we  don't 
know  anything  about.  Why,  we  even  had  to  pay  some  college 
girl  to  tell  us  how  to  furnish  this  [  please  turn  to  p.\ge  126  ] 

65 


/T  was  at  the  "Follies"  that  Eddie  Lowe  first  cast  an  eye  on  the 
glaniorous  girl  labelled  Lilyan  Tashman.    When  he  had  been  brought 
to,  Lddie  didn  t  rest  until  his  pal,  Walter  Catlett,  had  said,  "Miss 
Tashman,  meet  Mr.  Lowe."    Now  they've  been  wed  four  happy  success- 
lul  years.  ^-^ 


64 


How  to  Hold 


a 


r  wifi 


\  Husband 

ill  Hollywood 


Friend  Wife 
Lilyan 


Edmund  Lowe  and  Lilyan  Tashman 
give  their  tasty  recipes 

By   Mark   Larkin 


Friend  Husband 
Eddie 


ON  a  certain  sultry  July  night  in  1918,  Edmund  Lowe, 
being  hot  and  bothered,  went  lo  the  Follies  for  relief. 
He  was  not  seeking  romance,  he  was  merely  in  quest  of 
diversion.  Romance  took  a  running  jump  over  the 
footlights  and  landed  in  Eddie's  lap. 

He  had  never  seen  Lilyan  Tashman  before — in  fact,  had  never 
heard  of  her.  Naturally,  she  was  a  great  surprise  to  him.  She 
was  a  Ziegfeld  "special  special,"  so  gorgeous  that  out-of-town 
buyers  who  saw  her  instantly  forgot  what  they  were  sent  to 
New  York  to  buy  and  had  to  wire  home  for  memoranda. 

But  Eddie  Lowe  forgot  even  more  than  that.  He  forgot  the 
entire  universe!  He  ran  gibbering  incoherently  to  his  friend, 
Walter  Catlett,  comedian  in  the  Ziegfeld  revue.  Lowe  talked 
about  blonde  radiance  .  .  .  only  girl  in  the  world  .  .  .  can't 
live    without    her  .  .  .  etc.  .  .  .  etc.   .  .    ! 

And  Walter,  being  a  comedian,  shook  his  head  gravely  and 
felt  very  sad. 

A  short  time  later  Lilyan 
Tashman  dropped  in  on 
"The  Walk-Offs"  at  the 
Morosco  Theater,  where 
Edmund  Lowe  was  doing 
his  stuff.  Well,  oddly 
enough,  the  same  thing 
that  had  happened  to  Eddie 
when  he  saw  Lilyan  now  oc- 
curred to  Lilyan  when  she 
saw  Eddie.  Instantly  she 
became  afflicted  with  an  in- 
satiable desire  to  meet  Mr. 
Lowe. 

AND  a  few  days  later  she 
confided  this  secret  am- 
bition to  Walter  Catlett,  de- 
liberately and  with  malice 
aforethought  no  doubt,  for 
she  had  learned  that  Walter 
had  known  Eddie  ever  since 
they  went  on  the  stage  to- 
gether in  San  Francisco. 

Walter  smiled  wisely,  ele- 
vated his  brows  a  trifle  and 
remarked,  "How  very  odd. 
Miss  Lilyan,  for  the  young 
man  you  speak  of  feels  that 
unless  he  meets  you  within 
the  ne.xt  few  days  he  will  die 
of  this  terrible  heat  or  some- 
thing." 

And  so  it  was  arranged. 

Although  they  met  in 
July,  1918,  Edmund  Lowe 
and  Lilyan  Tashman  were 
not  married  until  Septem- 
ber 1st,  1925. 


A    studio    picture   of    Hollywood's    matrimonial 

paragons,   Edmund  Lowe  and  Lilyan  Tashman. 

Acquainted   seven  years,  wed  four,  and  getting 

cu-razier  about  each  other  every  day! 


The  event  occurred  in  San  Francisco,  Eddie's  own  home 
town,  as  he  wished  it,  and  the  ceremony  was  performed  by  a 
judge  who  had  been  a  life-long  friend  of  Eddie's  father,  who  had 
been  a  fellow  judge. 

AND  now  in  this  year  of  our  Lord,  1929,  Eddie  and  Lil 
are  still  married  and  properly  proud  of  it,  particularly  in 
view  of  the  fact  that  they  live  in  Hollywood  where  folks  do  say 
it  is  difficult  indeed  to  maintain  connubial  bliss. 

Out  of  the  experience  of  matrimony,  Ed  and  Lil  have  gained 
a  philosophy,  one  which  they  think  applies  particularly  to  the 
conjugal  state  in  Hollywood  They  recommend  it  highly  to 
those  who  would  sail  the  good  ship  marriage  safely  past  the 
shoals  of  disaster.  To  their  mutual  satisfaction,  they  think 
they  have  solved  the  problem  of  how  to  hold  a  husband  in 
Holh'wood  and.  vii:c  versa,  how  to  hold  a  wife  in  Hollywood. 

"But  holding  a  husband," 
says  Miss  Tashman,  "is  not 
a  matter  of  geography.  The 
rules  are  much  the  same 
whether  in  Podunk  or  in 
Hollywood.  It  is  true,  of 
course,  that  there  is  more 
competition  for  a  wife  in 
Hollywood  than  elsewhere, 
because  there  are  at  least 
two  women  for  every  man 
in  the  film  capital.  But 
common  sense  and  consider- 
ation are  the  prime  factors. 

"  "K^OST  women  lose  their 
IVi-husbands  because 
they  are  too  lazy  to  be  in- 
terested in  themselves.  And 
if  a  woman  is  not  interested 
in  herself ,  how  can  she  expect 
anyone  else  to  be  interested 
in  her?  If  she  is  not  well 
dressed,  usually  that  is  be- 
cause she  is  too  lazy  to  give 
it  the  thought  and  attention 
required.  If  she  is  careless 
about  her  house,  it  is  usual- 
ly because  she  is  too  lazy 
to  have  pride.  Most  women 
lose  their  men  through 
neglect.  Not  neglect  of 
their  men,  however,  neglect 
of  themselves.  The  wife 
who  is  not  neglectful  has 
little  to  fear.  She  should 
make  every  effort  to  look  a 
little  better  than  other 
women,  to  be  more  attrac- 

[  PLEASE  TURN  TO  PAGE  106] 
G5 


Amateur  Movies 

Judges  Are  Reviewing  Contest  Films — Many  Colleges 
and  Clubs  Represented  in  Competition 


By  Frederick  James  Smith 


As  this  issue  of  Photoplay  goes  to 
press  the  many  fihiis  submitted 
ill  this  magazine's$2 ,000  Amateur 
Movie  Contest  are  being  examined  by 
the  committee  of  judges.  No  announce- 
ment as  to  the  awards  is  yet  possible. 
The  films  submitted  in  this — the 
second — contest  are  of  uniform  ex- 
cellence. Contest  films  were  entered 
from  aU  over  the  United  States  and 
from  foreign  countries.  An  entr\- 
from  Tokio,  Japan,  holds  the  record 
of  travelling  the  greatest  distance  to 
enter  the  contest.  This  film,  a  9 
millimeter  entry  picturing  the  Inland 
Sea  of  Japan,  was  entered  by  Koji 
Tsukamoto  of  Tokio. 

Students  of  three  colleges,  Yale, 
Princeton  and  Stanford,  are  repre- 
sented in  the  contest.  The  Under- 
graduate Motion  Pictures  of  Princeton 
entered  "Incident,"  which  was  filmed 
under  the  title  of  "Destiny"  and  was 
previously  commented  upon  in  this 
department.  The  Stanford  Studios  of 
Stanford  University  entered  a  scenic 
study  of  campus  life,  "Idle  Hours." 


millimeter  film,  "Mushrooms."  The 
Hayden  Lake  Photoplayers  of  Spo- 
kane, Wash.,  have  a  16  millimeter 
entry.  The  Cumberland  Cinema 
Club,  of  Vineland,  N.  J.,  is  a  strong 
contender  with  its  adaptation  of 
"Salome."  The  Foto-Cine  Produc- 
tions of  Stockton,  Calif.,  are  in  the 
running,  as  are  the  Palisade  Picture 
Players  of  Grantwood,  N.  J.,  and  the 
Flower  City  Amateur  Movie  Club  of 
Rochester,  N.  Y.  The  Flower  City 
Club  entry  is  "At  Your  Service." 

THE  competition  is  keen  this  year 
and  the  judges  will  besomelittle  time 
arriving  at  a  decision.  The  fact  that 
the  committee  is  scattered  necessitates 
showings  in  New  York,  New  Haven, 
Chicago  and  Hollywood,  but  it  is 
hoped  that  a  decision  may  be  reached 
in  time  for  an  announcement  next 
month. 

Following  a  definite  award  of 
prizes,  there  will  be  a  showing  of  the 
winning  films  in  New  York  City,  as 
last  year.  The  winners  will  also  be 
shown   to   the  important   makers  of 

A  NUMBER    of    winners    of    last  shooting  PHOTOPLAY  film  professional  pictures  in  New  York  and 

year's    Photoplay    contest    are  Hollywood   and  it  is  almost  certain 

represented  again  this  year.  B.  V.  Covert,  of  Lockport,  N.  Y.,  that  one  or  more  contestants  will  land  a  contract  in  a  pro- 
who  captured  the  first  prize  of  $500  in  the  16  millimeter  division,  fessional  studio.  Last  year  Russell  T.  Ervin,  Jr.,  of  East 
is  represented  by  two  films,  one  entitled  "Just  Fishing"  and  the  Orange,  N.  J.,  maker  of  the  winning  film  in  the  35  millimeter 
other  a  scenic  of  Niagara  Falls.  di\'ision,  received  a  five-year  contract  from  Winfield  Sheehan, 

The  fishing  film  was  made  oft"  the  Florida  coast.  general  manager  of  Fox  Films. 

Kennin    Hamilton,    of 


J.  V.  D.  Bucher,  cameraman  of 
the  Undergraduate  Motion  Pic- 
tures  of    Princeton    University, 
shooting  PHOTOPLAY  film 


Toronto,  Canada,  winner  of 
last  year's  special  prize  of 
$500,  is  entered  this  year,  as 
is  Clyde  Hammond,  of 
Youngstown,  Ohio,  winner 
of  one  of  the  five  honorable 
mentions  of  1928. 

Hiram  Percy  Maxim, 
president  of  the  Amateur 
Cinema  League  and  a  judge 
in  last  year's  contest,  is  rep- 
resented by  four  non-dra- 
matic entries. 

MANY  clubs  and  ama- 
teur organizations 
entered  the  contest  this  year. 
The  Little  Screen  Players  of 
Boston  submitted  "Bonza- 
bar  the  Beggar,"  a  drama 
of  old  London,  directed  by 
Herbert  F.  Lang. 

La  Jolla  Cinema  League 
of  La  Jolla,  Calif.,  has  a  16 
millimeterentry,  "Avarice." 
The  Pasadena,  Calif.,  Cin- 
ema Plavers  are  represented 
by  "Going  Wild."  The  Cine 
Court  Players  of  Brook- 
lyn,  N.   Y.,   present   a   16 

6G 


Opening  scene  of  "Nemesis,"  submitted  in  PHOTO- 
PLAY  contest    by    Leonard    Clairmont,    of    Holly- 
wood, Calif.  The  film  was  written,  directed  and 
photographed  by  Mr.  Clairmont 


THE  premiere  of  "The 
Lugger,"  first  produc- 
tion of  the  Rochester  Cin- 
ema Club,  was  held  recently 
in  Rochester.  The  Roches- 
ter newspapers  report  that 
the  film  is  excellently  sce- 
narized,  directed  and  photo- 
graphed. The  club  endeav- 
ored to  demonstrate  the 
recreational  value  of  ama- 
teur film  making  rather 
than  to  attempt  any  motion 
picture  experiments.  John 
G.  Capstaft  directed  and  A. 
Wittmer,  F.  T.  Percy,  C.  H. 
Green  and  R.  A.  Purdy 
handled  the  photography. 
The  leading  roles  were 
played  by  Mae  Perrine, 
Bernard  Heatherly,  Dor- 
othy Drakeley,  Bob  Caine 
and  David  Bellamy. 

The  High  School  Movie 
Club  of  Montclair,  N.  J.,  is 
at  work  on  an  eight- 
hundred-foot  16  millimeter 
production,  entitled  "She 
Stoops  to  Crank'er."    The 

[  PLEASE  TURN  TO  PAGE  1181 


Vi 


itamins 

for  Beauty 

and 

Health 

The  forces  necessary 

to  nutrition  and 

growth  are  the  new 

medical  frontier 


By 
Dr.  H.  B.K.WILLIS 


Write  Dr.  H.  B.  K.  Willis,  in  care  of  Photoplay,  816 
Taft  Building,  Hollywood,  Calif.,  if  you  have  any  prob- 
lems of  diet.     Be  sure  to  enclose  a  stamped  and  self- 
addressed  envelope  for  reply 


THE  other  day  a  blonde  little  baby  star  invaded  my 
office,  all  in  a  bustle  of  eagerness. 
In  response  to  my  query — why  I  should  be  honored  by 
her  presence — she  giggled  and  informed  me  that  she  had 
:ome  for  some  vitamins. 

"  I  have  just  been  to  the  doctor  and  he  says  I  am  in  need  of 
vitamins. 

"I  asked  him  how  I  should  get  them  and  he  told  me  by  going 
m  a  better  diet. 

"  I  am  reducing,  you  know, 
md  the  diet  I  am  using  to 
ceep  thin,  he  told  me,  did  not 
lupply  the  vitamins  I  should 
lave. 

"  I  am  coming  to  you  to  get 
;hem.  Can  you  not  give 
;hem  to  me  in  a  pill  or  hypo- 
lermic  injection  like  the  doc- 
;ors  did  iron  the  time  they 
said  I  had  anemia?" 

I  forgave  the  bubbling 
ittle  baloy  star  for  not  being 
'vitaminded"  because  she 
nterpreted  everything  in  the 
;erms  of  close-ups;  so  I  gave 
ler  a  close-up  on  the  vitamin 
question. 

The  vitamin  comprises  one 
)f  the  last  new  medical 
Tontiers,  inviting  conquest 
ind  discovery  by  eager  scien- 
:ists,  intriguing  researchers 
md  buoying  up  the  hope  of 
medical  experimenters  seek- 
ng  the  cause  of  disease,  and 
new  cures.  The  discussion  of 
iiet  would  not  be  complete 


REALIZING  that  diet  is  the  great  prob- 
lem of  feminine  America  today, 
Photoplay  commissioned  Dr.  H.  B.  K. 
Willis  to  write  a  monthly  department  of 
advice.  Dr.  WilUs  is  one  of  the  leading 
physicians  of  Hollywood,  where  diet  is  of 
tremendous  significance.  The  problem  of 
weight  is  the  chief  item  in  the  thoughts  of 
every  screen  star.  Dr.  Willis  ^viIl  tell  you 
the  correct  methods  of  diet  as  advised  by 
him  to  the  leading  players  of  Hollywood. 
This  month  Dr.  Willis,  realizing  the 
interest  in  and  the  rapidly  growing  mass  of 
misinformation  relative  to  vitamins,  has 
given  the  subject  a  thorough  explanation — 
one  that  can  be  clearly  understood  by  the 
layman.  Next  month  Dr.  Willis  will  dis- 
cuss the  water  needs  of  the  body — the  role 
played  by  water,  not  only  in  the  life  of  every 
individual  as  a  life-giver,  but  as  a  dietetic 
necessity. 


without  considering  the  vitamins  about  which  we  are  learning 
more  every  day. 

What  the  vitamins  are  is  still  obscure  except  that  they  exist  in 
minute  quantity  in  natural  foods.  They  are  absolutely  neces- 
sary to  normal  nutrition  and  natural  growth  and  their  absence 
or  lack  produces  deficiency  and  other  diseases. 

At  the  present  time  we  know  there  are  five  vitamins,  desig- 
nated by  the  letters  A,  B.  C,  D,  and  E.     Some  dissolve  in  fat 

and  others  in  water.  Five  are 
known  to  exist  but  there  may 
be  fifty.  The  doctor  knows 
little  more  of  them  than  the 
layman. 

So  much  has  been  said  and 
so  much  is  being  made  of  ir- 
radiation or  light  therapy, 
bottled  sunshine,  cod  liver 
oil,  fruit  juice  diets  and  even 
the  poor,  unsuspecting  vita- 
mins themselves  that  some 
order  and  reason  should  be 
brought  to  bear  upon  the  sub- 
ject of  the  vitamins. 

The  bottled  sunshine  fad 
is  particularly  obnoxious  just 
now.  In  the  main  it  was  built 
around  the  fact  that  vitamin 
D  is  formed  by  the  action  of 
the  ultra-violet  ray  on  a  cer- 
tain substance  found  in  all 
animal  fat  and  oil,  bile,  blood, 
brain  tissue,  milk,  egg  yolk, 
nerve  fiber,  the  liver,  kidney 
and  the  adrenal  gland. 

The  ultra-violet  rays  are 
constituents  of  light.      They 

[  PLEASE  TURN  TO  PAGE   137  ] 


&r 


f^ow  to  Make  Your 


Doesn't  it  seem 
perfectly  natural 
that  Betty  Comp- 
son,  portrayer  of 
modern  and 
sophisticated 
ladies,  should  be- 
gin her  day  at  this 
typically  mod- 
ernistic dressing 
table?  Sliding 
panels  are  substi- 
tuted for  the  usual 
arrangement  of 
drawers.  Decora- 
tive tables  provide 
additional  space 


Claire  Windsor   likes   the  old   things   best.     This 

old-fashioned,  marble  topped  bureau  was  repainted 

in  cream  and  silver.    The  oval  mirror  adds  a  note 

of  newness 


IF  you're  a  normal  woman  a  dressing  table  means 
more  to  you  than  any  other  piece  of  furniture  in 
your  room.  There  is  a  good  reason  for  this.  In 
the  first  place  you  use  a  dressing  table  during  that 
morning  grouch  period.  There  you  see  reflected  in 
the  mirror  the  kind  of  face  that  makes  you  wonder 
how  in  the  world  even  your  mother  could  love  it. 
The  remains  of  last  night's  cold  cream  are  still  upon 
it.  And  the  early  morning  light  is  about  as  flatter- 
ing as  your  younger  brother.  Hence,  it  is  important 
that  your  dressing  table  be  bright  and  cheerful  and 
have  the  ability  to  give  you  a  lift,  to!  make  you  feel 
well,  even  if  the  reflection  in  the  mirror  doesn't. 

The  film  stars,  who  must  always  look  pretty  and 
who  know  enough  about  psychology  to  surround 
themselves  with  beauty  in  order  to  achieve  beauty, 
are  noted  for  the  charming  dressing  tables  they  use. 
And,  strangely  enough,  some  of  these  tables  are 
inexpensive  and  may  give  you  ideas  about  your  own 
boudoir  and  its  improvement.  Some  of  them  can 
be  easily  copied.  I've  tried  to  pick  out  as  wide  a 
variety  as  possible,  from  ultra  modernistic  to  Louis 
something  or  other. 

YOU  just  know  that  Betty  Compson,  herself  as 
modern  as  a  transatlantic  flight,  would  select  the 
ultra  in  her  boudoir.  Her  cream  colored  dressing 
table  has  sliding  panels  instead  of  drawers,  where 
the  necessary  cosmetics  are  concealed.  Although 
the  table  itself  is  small  there  are,  on  either  side  of  it, 
decorative  little  what-nots  with  various  sized  shelves 
in  geometrical  shapes  that  serve  as  catch-alls. 

As  a  direct  contrast  to  this  is  the  very  quaint 
vanity  table  in  the  home  of  Mary  Philbin.  This, 
too,  expresses  Mary's  personality.  She  is,  after  all, 
an  old-fashioned  girl  and  the  dressing  table  is  made 
ornate  with  cupids  and  flowers  all  done  in  green 
and  gold.     Those  bunches  of  grapes  that  you  see 


&8 


D 


ressing 


Tabl 


e 


\ttractive 


By  Lois  Shirley 

Nine   lovely  examples 

and  dozens  of  ideas  you 

can  copy 


Surely  this  handsome  and  ornate  vanity 
table  is  a  reminder  of  other  times  and 
other  days.  It  belongs  to  Mary  Philbin, 
and  the  clusters  of  grapes  at  the  top  con- 
ceal lights  that  shine  softly  down  on  her 
brown  curls 


The  Hungarian  Vilma  paints  the  lily  at  this  blue 
and  silver  table,  so  Parisian  in  the  daintiness  of  its 
appointments.  The  bottles  and  powder  boxes  are 
Lalique.    The  comb  and  brushes  are  of  solid  silver 


at  the  top  conceal  lights  that  sheJ  their  rays  correctly  on  the 
mirror.  Mary  again  proves  herself  old-fashioned  by  liking  to 
stand  up  when  she  does  things  to  her  face. 

You'll  all  be  copying  Lois  Moran's  dressing  table,  for  it's 
so  easy  to  do.  Just  a  few  yards  of  stiff  taffeta,  a  kidney  shaped 
board  and  a  can  of  paint  and — presto! — there  you  are.  For 
a  simple  home  there  is  no  more  satisfying  dressing  table  than 
this  type.  Lois'  make-up  shelf  has  a  green  flounce  bordered 
with  a  ruffle  of  black  lace.  The  plain  round  mirror  is  hung 
from  the  ceiling  and  is  lit  with  little  boudoir  lamps  on  either 
side  and  one  directly  above.    In  [  please  turn  to  page  122  ] 


A  faithful  servant  is  this  clever  portable  dressing 
table,  which  follows  Norma  Shearer  around  the 
set.  When  folded  up,  it  looks  like  a  tiny  blue 
trunk.  Itholdsalt  the  necessary  cosmetics  and 
implements,  ready  for  use  in  a  jiffy 

Q9 


THE  5r^R— "Now,  Junior,  let  Daddy 
hear  you  say  'No,  Mr.  Blatz,  ten  thousand 
times  NO!  My  salary  is  $4,000  and  I  won't 
take  one  penny  less!'  " 


EELING 


Ar 


OUND 


with 


Leonard  Hall 


Hollywood  Proposal 

Dear  Marigold,  it  now  is  June 

And  Romance  fills  the  air. 
If  it  won't  bore  you  half  to  death, 

Suppose  we  make  a  pair? 

That  is,  if  marriage  will  not  wreck 
Your  drawing  power,  or  mine — 

//  you  can  guara)itee  the  clause 
That  guards  your  form  divine. 

If  both  our  studios  consent 

That  we  should  weld  our  ways, 

Press  agents,  surely,  must  approve, 
And  so  must  Mister  Hays. 

If  you  are  sure  we  can  afford 

A  proper  ceremony — 
A  church,  a  mob,  a  feast,  and  all 

The  usual  boloney. 

To  kid  the  fans,  we'll  have  to  watch 
The  way  our  marriage  may  go. 

You,  dear,  can  live  on  Puget  Sound 
And  I  in  San  Diego. 

So,  Marigold,  if  you  would  sip 

Of  Cupid's  dizzy  nectar. 
Let's  just  say,  "Here  goes  nothing!"  and 

Gel  married  sometime.    Hector. 


Anything  for  a  Laugh 

Viola  Dana's  mother  charges  that  her  husband  didn't  speak 
to  her  for  45  days,  and  instead  of  buying  him  a  new  pipe  she  sues 
him  for  divorce.  .  .  .  The  Singer  Midgets  appear  on  the  Para- 
mount lot  and  Dorothy  Herzog  says  to  watch  for  some  new  short 
subjects.  .  .  .  Lou  Lusty,  Lupe  Velez's  personal  press  agent, 
lost  nine  pounds  riding  herd  on  the  Me.xican  Jumping  Be^n  dur- 
ing the  three  weeks  she  hopped  around  New  York.,  Only 
nine?.  .  .  .  ThreepicturesI  want  tosee.  Thethree  that  the  Mar.v- 
land  State  Censors  rejected  in  1928  out  of  9,377  looked  at.  .  .  . 
Accepted  application  form  for  getting  a  job  as  state  censor. 
"Dear  Governor  Blatz,  I  hate  everything."  .  .  .  Gloria  Swan- 
son  is  going  to  sing  out  loud  in  her  next  picture.  Let's  hope  it 
isn't  a  Swansong.  .  .  .  Mark  Hellinger  has  a  new  name  for  the 
picture  colony:    Howlywood.  .  .  .  Since  William  Fox  bought 

70 


control  of  Metro-Goldwyn,  Fox  employees  call  M.-G.  hirelings 
"cousins."  .  .  .  Current  favorite  line  of  movie  executives 
lunching  at  the  Hotel  Astor,  New  York — "Look  out  for  that 
soup!  There  may  be  a  merger  in  it!"  .  .  .  How  about  the 
Wampas  picking  some  Baby  Stares  of  1929? 


Their  Big  Chance 

Jetta  Goudal  was  recently  given  $31,000  in  American  money, 
and  the  right  to  be  temperamental,  by  a  Los  Angeles  judge. 

The  next  morning  fourteen  feminine  stars  each  went  up  to  her 
director,  kicked  him  on  the  shin  and  said,  "You  big  bum!" 


Getting  Personal 


Mary  Miles  Minter  is  married  to  a  naval  lieutenant  and  is 
keeping  house  in  a  New  York  apartment.  Now,  boys  and  girls, 
tell  teacher — who  remembers  Marv'?  .  .  .  Margaret  Living- 
ston's voice  doubled  for  that  of  Louise  Brooks  in  "The  Canary 
Murder  Case."  .  .  .  Joe  Cobb  and  Farina  have  worked  in 
"  Our  Gang''  comedies  nearly  seven  years.  Farina  sings  bass  in 
a  Baptist  choir  in  Los  Angeles.  .  .  .  The  Kansas  censors  have 
ordered  the  following  cut — "Eliminate  view  showing  bruised 
spot  on  girl's  knee."  I  can't  figure  whether  it's  the  knee  or  the 
bruise  that  is  breaking  Kansas'  heart,  but  anyhow.  Bleeding 
Kansas!  .  .  .  Universal  got  $11  a  seat  for  the  opening  of  "Show 
Boat."  The  shell  trick  is  also  good.  .  .  .  Joan  Crawford  is  the 
favorite  philm  phrail  of  Yale.  Greta  Garbo,  second,  Nancv 
Carroll,  third.  .  .  .  Owen  Davis,  playwright,  collected  $122,000 
on  his  Paramount  contract  last  year  without  a  story  ready  for 
production.  .  .  .  Sue  Carol  just  paid  $3.S,000  for  a  house.  ...  A 
picture  theater  in  London,  Canada,  has  built  a  glass  sound-proof 
room  for  bawling  babies.  .  .  .  John  Gilbert  phoned  Gr-r-r-reta 
Garbo  in  New  York  as  soon  as  she  landed  from  Europe,  but 
she  wouldn't  talk  till  she  had  had  a  three-hour  rest.  .  .  . 
"Broadway  Melody,"  the  M.-G.-M.  ace  talkie,  cost  $280,000  to 
make  and  may  net  a  profit  of  as  much  as  $4,000,000.  Gold  in 
them  thar  tonsils!  .  .  .  Frank  Mayo,  the  former  movie  lead 
beloved  of  the  flaps,  is  master  of  ceremonies  in  a  Cleveland 
night  club.  .  .  .  Tim  McCoy  and  Harry  Carey,  two  gun  men, 
filled  their  pokes  with  gold  dust  and  hit  it  up  in  the  Malamute 
Saloons  of  Broadway  not  long  ago.  .  .  .  Percy  Marmont,  our 
old  pal,  is  coming  back  to  .American  films,  with  an  eye  and  ear 
on  the  talkies.  .  .  .  The  Prince  of  Wales,  leading  star  of  the 
news  reels,  has  taken  to  wearing  a  double-breasted  dinner  coat 
and  a  soft  shirt.    Now  take  a  bromide  and  try  to  get  some  sleep. 


Photoplay  Magazine — Advertising  Section 


71 


Jjieaulu.  of 
and  cwvoer  ^/eJ 


Lovely  Miss  Janet  New- 
bold  oj Washington ^D.  C, 
was  recently  married  to  the 
grandson  oj the  late  Thomas 
Fortune  Ryan, 


MRS.    y%LLAlV    A.     RYAIM     JR. 


IOVELIEST  DEBUTANTE  in 
^  Washington  last  season,  this 
spring  she  is  its  loveliest  bride — Miss 
Janet  Newbold,  whose  wedding  to 
the  grandson  of  the  late  Thomas 
Fortune  Ryan  was  a  society  event. 

Young  Mrs.  Ryan  is  enchantingly 
beautiful,  with  wide  set  amber  eyes, 
soft  knotted  amber  hair  and  ivory 
skin  kept  satin  smooth  by  simple 
care  given  faithfully  each  day. 

"  Ever  since  I  was  a  girl  at  school  m 
Paris,"  says  Mrs.  Ryan,  "I've  been 
devoted  to  Pond's  Two  Creams. 

"Now  Pond's  two  new  products 
delight  me — the  snow-white  Tissues 


Six  evening  gowns  were  in  the  young  bride  s 
trousseau.    This  is  soft  anther  satin. 


Her  trousseau  sports  suit  was  brown  with  a 
chartreuse  blouse^  most  charming  with  her  amber 
eyes,  fair  hair  and  clear  smooth  ivory  skin. 

Send  io(5  for  Pond's  4  Preparations 

Pond's  Extract  Company,  Dept.  T 
114  Hudson  Street New  York,  N.  Y. 


Namc- 
Street- 
City— 


-State- 


and  the  Freshener.  All  four  are  won- 
derful to  keep  your  skin  its  loveliest!" 

This  is  Pond's  famous  Method: 

First  —  for  thorough  cleansing, 
amply  apply  Pond's  Cold  Cream  over 
face  and  neck,  morning,  evening  and 
always  after  exposure. 

Then — with  Pon.d's  Cleansing  Tis- 
sues, soft,  ample,  absorbent,  remove 
cream  and  dirt. 

Next — dab  Pond's  Skin  Freshener 
briskly  over  your  skin,  to  close  pores, 
banish  oiliness. 

Last — smooth  on  a  little  Pond's 
Vanishing  Cream  for  protection  and 
as  a  powder  base. 


Copyright  1929,  Pond's  Extract  Company 
When  you  write  to  advertisers  please  mention  PIIOTOrLAY  MAGAZINK, 


Pond's  four  famous  products—  Two  Creams, 
Cleansing  Tissues,  Skin  Freshener. 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  51  ] 


Reading  from  up 
to  down,  we  see 
Kay  Johnson  and 
Julia  Faye  dem- 
onstrating the 
new  ''aero 
wheels, ' '  the 
very  latest  thing 
in  our  best  sport- 
ing circles.  They 
are  used  in 
human  hoop 
races,  if  you  can 
stand  it.  The 
girls  are  in  Cecil 
De  Mille's  "Dyna- 
mite" 


"RRANCIS  X.  BUSHMAN  is  soon  to  be 
■'-  a  blushing  bridegroom.  He  announced 
on  his  return  from  a  trip  to  Cuba  that  the 
lady  of  his  choice  is  a  native  of  that 
island,  and  her  name — a  breath  of  ro- 
mance in  itself — is  Consuelita. 

"Y"OU  never  know  just  when  gallantry  is 
■••  going  to  jump  right  up  and  smack  your 
sentiments. 

One  of  our  lovely  Hollywood  writers — 
oh,  Katherine  Albert,  it  you  must  be  so 
curious! — was  on  her  way  to  the  premiere 
showing  of  "Hearts  in  Dixie"  when  a  tire 
on  her  car  blew  out  and  the  party  pulled 
up  to  the  curb. 

Katherine  called  a  cab,  and  a  broken 
down,  spavined,  asthmatic  relic  it  turned 
out  to  be.  One  of  the  women  in  the  party, 
dressed  to  kill  at  ten  paces,  began  to  crab 
a  little. 

"This  isn't  a  very  nice  cab,"  she  said 
to  the  driver.  "And  we're  going  to  an 
opening!" 

The  jehu  drew  himself  up  to  his  full  five 
feet  one. 


An  old  leading  man  shows  them  how.  Rowland 
V.  Lee,  directing  "The  Woman  Who  Needed  Kill- 
ing" for  Paramount,  demonstrates  some  new 
angles  of  the  technique  of  amour  to  Neil  Hamilton 
and  the  tigress,  Baclanova 


"Madame,"  he  replied,  with  hauteur  and  things, 
once  rode  in  this  cab!" 


'  Rudolph  Valentino 


International 
I 

Yes,  and  good  luck  to  you,  Anita!  Here  are 
Miss  Stewart  and  her  fiance,  George  Pea- 
body  Converse,  whose  engagement  was  an- 
nounced not  long  ago.  They  are  on  the 
cow-catcher  of  the  Fast  Express  to  Happi- 
ness Land 


"D  LAND  JOH.'VNESON,  the  clever  girl  who  writes  on  pictures  for  Tlie 
■'-'A'cKi  York  mirror,  has  this  to  say — 

"Even  the  midgets  are  going  movie.  I  hear  you  had  to  wade  around 
in  'em  in  Brooklyn  last  week.  Warners  had  a  troupe  at  the  studio 
making  an  act. 

"  Before  long  liubert's  Trained  Fleas  will  be  the  only  legitimate  actors 
on  Broadway." 

J.ANNINGS  is  going  to  pack  his  gutturals  and  his  pet  cook  and  go  back 
to  Germany,  according  to  present  reports. 
One  more  P'aramount  picture  remains  to  be  released. 
Thus  the  greatest  character  actor  yet  developed  by  the  silent  drama 
goes  away  from  the  capital  of  filmland,  probably  licked  by  an  accent. 

In  Unser  Emil  the  art  of  screen  pantomime  has  reached  its  highest 
development.  His  astonishing  art  is  almost  reason  enough  for  the 
struggling  and  finally  triumphant  growth      [  please  turn  to  page  74  ] 


7^ 


Photoplay  Magazine — Advertising  Section 


\ 


Her 


hair 
is  oily 


She  should  use  Pocker^s 
Pine  Tar  Shampoo 

If  you  have  the  kind  of  hair  that  loses  its 
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Gossip  of  All  the  Studios 

1  CONTINUED  FROM  PAGE  72  ] 


of  the  photoplay  during  the  last  twenty-five 
years.  It  alone  practically  justifies  the  silent 
screen  in  the  face  of  the  current  caterwauling. 
If  it  is  really  curtains  for  him  in  America, 
Emil  Jannings  can  always  look  back  at  his 
Hollywood  career  -with  pride.  He  made  one  of 
the  best  of  pictures,  "The  Patriot."  His  genius 
triumphed  over  some  pretty  sldmpy  stories — 
more  than  can  be  said  for  most  foreign  stars. 


But  whether  he  works  here  or  in  the  Father- 
land, let  us  hope  that  there  will  always  be  a 
silent  screen  tucked  away  somewhere  where  we 
can  go  and  watch  the  enormous  talent  of  this 
fine  actor  unfold  in  silence.  He  touches 
nothing  that  he  does  not  adorn. 

/-^HARLIE  CHRISTIE,  one  of  filmland's 
'—'most  famous  and  steadfast  bachelors,  has 
gone  overboard  with  a 
splash  that  echoes  through- 
out Hollywood  and  way  up 
into  the  hill  country. 

The  Christie  boys  have 
stood  out  for  single  cuss- 
edness  against  the  assaults 
of  some  of  the  world's 
greatest  beauties,  but  Fran- 
ces Lee  seems  to  have 
knocked  over  Charlie  in  a 
big  way. 

And  now  everyone  ex- 
pects a  formal  announce- 
ment of  betrothal  any  day. 
One  ne\'er  knows  about  the 
old  bachelors! 

npHERE'S  a  big  laugh  in 
-^  one  of  the  Jeanne  Eagels 
stories  that  have  slithered 
out  of  the  Paramount  Long 
Island  plant. 

One  day  she  caught  a 
stage-hand   petting   her 


This  is  Edwina  Booth's 
private  beauty  parlor 
and  portable  boudoir. 
The  blonde  beauty  car- 
ried it  along  when  she 
went  to  Africa  with  the 
company  that  is  to  film 
that  famous  best-seller 
fantasy,  ''Trader 
Horn" 


All  handshakers,  but  not  quite 
able  to  make  it.  The  Marx 
Brothers,  four  of  Broadway's 
favorite  clowns,  make  their 
talkie  debut  soon  in  Para- 
mount's  "The  Cocoanuts." 
Their  names?  Oh,  Zeppo, 
Groucho,  Chico  and  Harpo,  if 
you  really  care 


International 


Pola  Negri  and  her  young  hus- 
band. Serge  (he  likes  to  be  called 
Prince  Mdivani),  in  happier  times. 
Now  the  two  have  parted  in  Paris 
after  disagreement  over  a  new 
contract.  Serge  served  as  La 
Negri's  manager 


handsome  pohce  dog,  and  burned  up.  Who 
had  the  audacity  to  even  touch  the  dog  of  the 
great  Eagels?  How  dare  he?  And  so  on  and 
so  on  and  so  on,  ad  nauseum.  The  next  day 
this  notice  appeared  on  the  bulletin  board. 

"NOTICE  TO  ALL  EMPLOYEES  — 
Nobody  working  in  this  studio  is  permitted  to 
speak  to  Miss  Eagels'  dog." 

ISJILS  ASTHER,  who  went  wild  with  the 
■'-^  orchids  when  Garbo  fired  a  barrage,  had  to 
make  a  personal  appearance. 

His  feminine  fans  found  the  stage  door,  and 
ganged  the  lad,  demanding  autographs,  coat 
buttons  and  pats  on  the  cheek. 

Finally  he  broke  away,  and  just  as  he  leaped 
for  safety,  one  of  the  ladies  called  "Oh,  Nils!" 

(  PLEASE  TURN  TO  PAGE  1 14  | 


Photoplay  Magazine — Advertising  Section 


€, 


aref ree  l^uth. . 


•  • 


portrayed  so  charmingly  on  the  screen  by  little  Sue 
Carol  and  her  sister  "baby  stars"  . . .  today  builds 
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wearing  the  smart,  comfortable 


THE 


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server Shoe.   Its  principles 
"j"^  of    construction    are    fully 

^^^*'  ■  protected  by  patents.  Iden- 
tify the  genuine  by  this 
trade-mark  on  sole  and  lin- 
ing. Madefor women,  misses 
and  children  by  only  The 
ix-lby  Shoe  Company,  Ports- 
mouth, Ohio.  For  men  and  boys  by  only  E.  T. 
Wright  &  Co.,  Inc.,  Rockland,  Mass. 


^ 


Sue  Carol  .  .  .  "The 
Exalted  Flapper"  (Fox 
Film)  both  in  reel  and 
real  life  .  .  .  shows  her 
preference  for  the  Berk- 
shire model  of  Arch 
Preserver  Shoes. 


^  J\i  /Tf  y  /  this  coupon  or  write  to  The  Selby 
K^O  \,14'I'I'  Shoe  Company,  182  Seventh  St.. 
Portsmouth,  Ohio,  for  New  Free  Booklet  P-82,  Style 
and  Comfort  in  Every  Step,  dealer's  name,  and  pictures 
of  the  latest  New  York  and  Paris  shoe  styles. 

Name 

Address 

City State 


When  you  write  to  advertisers   please  mention  PHOTOPLAY  MA0.1ZINB. 


76 


Photoplay  Magazine — Advertising  Section 


(jahance  Ucvrjjeaatu 
MTHTHE  COSMETIC  MASTERPIECES 


Cubist  Lipstick — Indelible! 
You  will  marvel  at  its  amazing 
combination  of  lasting  color 
and  satin-sofitness.  In  Red 
Raspberry  for  daytime  and 
RedGeraniiunfoteveningl.OO 


Valaze  Pasteurized  Face  Cream 
— theconcentraled  beauty  treat- 
■ment.  This  rare  unguent  not 
only  cleanses,  but  soothes, 
molds,  revitalizes  and  protects. 
It  lifts  away  the  tired  drawn 
look — it  sculptures  face  and 
throat  into  clean-cut  lines  of 
youth.  Particularly  excellent 
for  oily  and  disturbed  skins. 
And  a  most  effective  make-up 
foundation!  1-00 


V7ater  Lily  Lipstick — a  lipstick 
inspiration!  Indelible  too.  And 
as  enchanting  in  texture  as  in 
coloring.  Red  Ruby,  the  smart 
day  shade — Red  Cardinal,  the 
striking  evening  shade      1.25 


Valaze  GypsyTan  Foundation 
-tints  the  skin  a  ravishing  beach 
tan,  is  both  sunproof  and 
waterproof,  and  as  lasting  as 
you  wish  it  to  be !  2  oz.  Bottle, 
2.50,  loz.tube,  1.50.  Irresis- 
tible with  the  modish  Gypsy 
Tan  Powder  1.00,  1.50 


Water  Lily  Vanities — Master- 
pieces of  the  jeweler's  craft. 
Despite  their  convenient  size 
they  contain  a  most  generous 
amount  of  powder  and  rouge ! 
Double  Compacts  2.50,  3.00. 
Single  Compacts      2.00,  2.50 

Water  Lily  Combination  Set 

■ — double  compact  with  lipstick 

to  match.   Specially  priced  at 

3.50 

Water  Lily  Fashion  Set — three 
double  compacts  in  Chinese 
Red,  Jade  Green  and  Jet  Black. 
One  for  each  costume.  Spe- 
cially priced  at  7.00 


ffmna  /\UMri0in 


Direct  from  her  Paris  Salons  come  these  cosmetic  inspira- 
tions. Direct  from  the  ateliers  of  HELENA  RUBINSTEIN, 
the  world's  foremost  Beauty  Specialist.  Make-up  creations 
with  an  instant  appeal  for  every  woman — because  they  make 
beauty  twice  beautiful. 

Here  are  powders,  rouges,  lipsticks — the  purest,  the  finest 
in  all  the  world — and  the  most  flattering.  They  are  the  last 
word  in  the  art  of  make-up.  Here  are  the  most  distinctive, 
the  most  practical,  the  most  elegant  of  all  vanity  cases.  Here 
is  a  cream  that  is  more  than  a  cream — it  is  a  concentrated 
beauty  treatment.  The  same  exquisite  cosmetics  that  are  used 
in  Helena  Rubinstein's  Salons.  Here  are  containers  as 
exquisite  as  their  contents ! 

For  more  than  thirty  years  the  creations  of  Helena  Rubin- 
stein have  been  bringing  beauty  to  women  in  every  walk 
of  life — famous  actresses,  society  leaders,  members  of  roy- 
alty, even  queens.  These  beauty -building  and  beauty- 
enhancing  masterpieces  have  withstood  the  greatest  test 
of  all,  the  merciless  test  of  time. 

When  you  use  a  Helena  Rubinstein  creation  you  are  mak- 
ing the  wisest  possible  investment  in  beauty.  Accent  your 
loveliness  with  the  cosmetic  masterpieces  of  Helena 
Rubinstein!    Your  beauty  deserves  these  things  of  beauty! 


Loose  Powder  Vanity  witli 
Rouge — Chinese  Red,  Jade 
Green,  or  Jet  Black  Vanities 
containing  a  generous  amount 
of  Valaze  powder  in  Natural 
or  Rachel — with  a  convenient 
section  in  the  top  for  Red 
Raspberry  or  Red  Geranium 
Compact  Rouge  1.50 


PARIS 


LONDON 


8  East  57th  Street,  New  York 

PHILADELPHIA  BOSTON  CHICAGO 

Helena  Rubinstein  Creations  are  obtainable  at  the  better  shops, 
or  direct  from  Dept.  P6 

Tune  itt  on  Helena  Rubinstein's  "VOICE  OF  BEAUTY"— over  the 
National  Broadcasting  Chain  and  Associated  Stations  May  16,  30; 
June  ]  3,  27;  July  11,  25;  and  every  second  Thursday  thereafter  at 
1 1:30  A.  M.,  Eastern  Standard  Time.  Intimate  talks  on  the  scien- 
tific care  of  your  beauty.  Consult  local  radio  columns  for  future 
programs. 


Every  advertisement  in  PUOTOrLAT  5IAGAZINB  is  guaranteed. 


Norma  Shearer^s 
N©w 

Sports  Outfit 


77 


^aij  cLiij^  and  btlLLLcuzt 
niqiits  AT  , 

■'      i\ew  modes 
arid  Skinners  Crepes 


pjERE  comes  summer  with  its  call  for  color  . 

and  more  color.  And  here  are  the  new 
Skinner's  Crepes,  in  all  the  lovely  shades  that 
Fashion  favors. 

For  your  sports  frocks  and  evening  gowns,  these 
fabrics  are  the  very  last  word.  So  admirably 
adapted  to  the  latest,  smartest  styles  that  it  seems 
as  if  those  Paris  designers  had  Skinner's  Crepes  in 
mind!  Soft,  rich,  draping  perfectly  in  slender  lines, 
yet  with  that  famed  Skinner  wearing  quality. 

Did  you  know  you  could  now  get  charming 
ready-to-wear  dresses  in  Skinner's  Crepes?  Always 
identify  them  by  the  Skinner  ticket.  Buy  crepes  by 
name — S\<}rmer\ — and  be  sure  to  "Look  for  the 
Name  in  the  Selvage." 

WILLIAM  SKINNER   6?  SONS,   EaahXhWd.  184S 
New    York    Chicago    Boston    Phila.     San  Francisco 
Mills;   Holyoke,  Mass. 


A  smart  color  combination 
is  shoivn  in  this  froc\  of 
Sknmer's  U)\i\t£  crspe  luith 
red  hat  and  short  red 
jacket.  Bias  hands  trim 
front  of  froc\. 


Ski 


innen 


In  buying  garments 
reaiyto-wear 


emCrepes 

""°?.7."„*"'"  |*«k    loo\  for  the 
/i^J\        ^  Skinner  ticl^et 


<  c 


LOOK     FOR 

78 


I 
SKINNER 


SfeiTincr'i  Sunstar,  a  heaw 
tiful  yeUoiv  crepe,  makes 
this  one-piece  froci{,  which 
uses  applied  bands  at  nec^. 
and  sleeves  for  trimming. 


THE      NAME      IN      THE      SELVAGE 


Photoplay's  Style  Forecast 


p  ORETTA 
=>(^YOUNG'S 

delicate  coloring  is 
set  off  by  pajamas 
of  lustrous,  sup' 
pie  pink  satin.  The 
lace  panels  and 
yoke  of  the  jacket 
are  in  one  piece. 
The  long,  wide 
sash  is  a  new 
feature 


CT)UTH    TAYLOR    shows    us    that 

-*  \__^  satin  is  the  favored  material  for 

wedding  gowns  in  the  movies,  as  well  as 

for  really-truly  brides 


cy  HE  ever-popular  and  useful  white  flat 
-^  crepe  fashions  this  new  princess  dress 
which  was  designed  for  Thelma  Todd.  The 
wide  scarf  can  be  thrown  loosely  about  the 
neck  or  transformed  into  a  decorative  httle 
shoulder  cape 


79 


Photoplay's 


<^7~)0  you  want  a  well'browned  back 
-'-^and  shoulders?  Then  wear  this  blue 
and  white  cotton  bathing  suit  as  Leila 
Hyams  does  here.  But  you  don't  want  a 
sun  bath?  All  right,  just  draw  up  the 
extra  skirt  panel,  fasten  it  at  the  shoulders, 
and  outwit  Old  Sol.  There's  a  beach  coat 
to  match 


(iT)RINTED  crepe 
-^  de  chine  in  red, 
pink  and  rose,  with 
a  tracery  of  green 
leaves,  lends  itself 
to  the  graceful  lines 
of  this  frock  which 
June  Collyer 
chooses  for  after- 
noon wear.  The 
coat  is  of  rose  kasha 
with  a  scarf  of  the 
print.  A  rose  col- 
ored hat  and  shoes 
complete  the  color 
harmony.  Designed 
by  Sophie  Wachner 
of  Fox  Films 


'VUNE  COLLYER'S  pink  angora 
y  sports  coat,  also  designed  for  her 
by  Sophie  Wachner  of  Fox  Films  ward- 
robe department,  is  distinguished  by 
careful  styling  and  seaming.  The 
raglan  sleeves  have  flared  cuffs.  The 
hat  is  of  pink  felt 


80 


Style  Forecast 


cyHAT  now-classic  phrase,  "That's  all 
-*■  there  is — there  isn't  any  more," 
applies  perfectly  to  this  Bergdorf-Good- 
man  bathing  ensemble  of  white  flannel 
and  jersey,  with  printed  linen  jacket  in 
flame  and  white.  Not  for  those  who 
haven't    Bessie    Love's    slender,    girlish 


nr)AQUEL  TORRES  fills  in  the 
"^  V^j  last  word  in  swimming  suits, 
one  of  those  designed  for  both  sand  and 
water.  The  colors  are  white  and  navy 
blue,  with  a  matching  tam  to  cover 
the  bathing  cap.  The  Chinese  beach 
sandals  are  very  smart  this  season 


C^ESSIE  LOVE 
^'-^enhances  the 
scenery  along  the 
Boulevard  on 
summer  afternoons 
in  this  Sally  Mil- 
grim  model.  The 
long  blouse  is 
modernistically  pat' 
terned  in  several 
shades  of  blue.  The 
skirt  is  of  black 
satin.  A  sophisti' 
cated,  off-the-forc' 
head  black  hat,  cob- 
webby gunmetal 
hosiery  and  stun- 
ning black  satin 
pumps  add  the  fin- 
ishing touches 


81 


(;  -f  "I  began  designing  Gostume'Bags 

said  Paul  Poiret 


9 

(( — because    well  dressed   women    made   them    im- 
portant —  vital    accessories    for    every    ensemble.   •  ^^ 
Everywhere,  they  go  hand  in  hand  with  fashion  • 


3^^ 

■P 

*   nM!»                -   '                                                     1— i^C^^l 

--^adF  ^ 

Monsieur 
Paul  Poiret 

from  a   recent  photo- 
graph   made    in    the 
studio  which  he  uses 
at  the  Plainville plant 
of  the  Whiting&Daih 
Company. 

m 

ttfi 

w 

\ 

1 

^H^^^ 

H 

— —  _.^' 

r^^^^^Hl 

H 

1 

jHH^^^ 

^H 

For  Gifts  that  Last 

Consult  Your 

Jeweler 


Look  for  this  trade- 
mark in  miniature 
stamped  on  the  frame 
of  each  genuine  Whit- 
ing &  Davis  Costume 
Bag.  It  is  the  hall- 
mark of  excellence  and 
stands  for  more  than 
50  years  of  creative 
craftsmanship. 


To  all  followers  of  films  and  fashion  we  pre- 
sent Monsieur  Paul  Poiret  in  a  new  role  ...  as 
the  designer  of  a  new  and  exclusive  series  of 
Whiting  &  Davis  Costume  Bags  for  every 
carefully  planned  costume  ensemble  from 
sport-tailleur  tweeds  to  gay  evening  gowns. 

Rare  gifts!  You  will  want  one  of  these. 
Sombre-smart  or  sparkling  with  fantasy  and 
color,   each    has   that   indefinable   quality   of 


Parisian  allure  which  this  famous  savant  of 
fashion  has  always  imparted  to  his  creations. 

Made  with  jeweler-craftsmanship,  each  accred- 
ited Paul  Poiret  model  is  a  most  flattering  and 
enviable  possession. 

Ask  for  them  at  costume  jewelry  departments 
or  write  to  Monsieur  PAUL  POIRET,  care  of  our 
offices,  for  a   FREE  PORTFOLIO  IN  COLOR. 


WHITING  &  DAVIS  COMPANY 

World's  Largest  Manufacturers  of  Costume  Bags — Makers  of  Costume  Jewelry  for  Everyone 

PLAINVILLE  (NORFOLK  COUNTY),  MASSACHUSETTS 

In  Canada:    SHERBROOKE,  QUEBEC 


Whiting  &  Davis  Costume  Bags 


83 


Photoplay's  Style  Forecast 


cyHE  vogue  for  costume  jewelry  has 
-*■  found  no  lovelier  expression  than  in 
this  simple  but  striking  combination  of 
pearl  and  gold  beads,  particularly  when 
worn  by  a  brunette  of  Miss  Velez' 
vibrant  type.  The  set  consists  of  match' 
ing  necklace,  bracelet  and  earrings 


(SipOR  evening  wear.  Miss  Velez 
^  carries  a  bag  of  Dresden  enameled 
mesh,  in  colors  to  match  her  gown. 
Snake  chain,  gem  set  clasp  and  geo- 
metrical frame  strike  a  modernistic 
note.  Satin  lined,  with  plain  gold 
accessories 


CJ~^HE  costume  bag  of  mesh,  in  gold  or  silver,  or 
-*-  enameled  in  colors  to  harmonize  with  the 
ensemble,  is  a  lovely  addition  to  the  summer  mode 


8S 


Photoplay's 
Style  Forecast 


'HA?  ITH  such  simple,  dark 
^^  lounging  pajamas  as 
Ruth  Taylor  is  wearing,  orna' 
mented  only  by  contrasting 
bands  of  material  and  a  smart 
monogram,  one  can  affect  very 
swanky  and  colorful  boudoir 
slippers.  Ruth  adores  this 
pair,  which  are  cut  high  in 
front,  are  richly  brocaded,  and 
edged  with  soft  marabou 


70SEPHINE  DUNN  relaxes  in  a  black  and 
white  pajama  set,  made  with  sleeveless 
jumper  and  wide-bottomed  trousers.  Her  tai' 
lored  slippers  have  black  patent  leather  backs 
and  soft  green  leather  vamps.  They  are  made 
with  quilted  lining,  to  insure  the  maximum  of 
comfort.  Incidentally,  this  is  a  stunning  color 
scheme  for  both  blondes  and  brunettes 


(TTy^HEN  Gwen  Lee  comes  home  after  a  hard 
^^  day  at  the  studio,  she  hops  right  out  of  her 
high-heeled  pumps  into  a  pair  of  softest  quilted 
satin  boudoir  slippers,  just  made  for  the  purpose 
of  soothing  tired  feet  and  strained  nerves.  Odd 
little  silk  rosettes  add  charm  to  this  particular 
pair,  which  match  the  color  of  her  brocaded 
negligee,  banded  with  shimmering  satin 


S4 


You  call  be  Slipper  Smart 


NOT  only  "youth  now  flits  on  feath- 
ered feet";  women  of  all  ages  have 
learned  that  comfortable  feet  make  light  feet. 
Gay  slippers  have  taken  the  place  of  shoes 
for  house  wear — slippers  that  are  smart, 
restful,  soothing  to  nerves  as  well  as  feet. 

Here  are  beautiful  slippers  for  every  hour 
of  your  home  day:  glossy  leathers,  gleam- 
ing satins,  velvets,  brocades!  Trim  as  a 
patrician  foot;  sophisticated  as  the  Rue  de 
la  Paix. 

To  assure  yourself  of  all  that  is  correa  in 
a  slipper — the  not-to-be-copied,       „ 
in-built  excellence  of  finest      ^ 2t2}L 


materials  and  modern  styling— ask  for 
Daniel  Green  Shppers.  For  47  years  Daniel 
Green  has  been  slipper  maker  to  the  world! 
Now  wherever  you  live  or  travel  you  may 
enjoy  Daniel  Green  Slippers.  You'll  find 
they  retain  their  shape,  look  better,  wear 
longer.  Footwear  may  be  fashioned  to 
resemble  Daniel  Green  Slippers,  but  unless 
it  bears  the  name  "Daniel  Green"  you  have 
no  guarantee  of  equal  quality  —  the  combi- 
nation of  fine  material  and  expertworkman- 
ship  which  has  made  Daniel  Green  the 
jk^  standard oi sVi^^tt  \AuG. 

^^     O —     Daniel  Green  Slippers 

Dolgeville,  N.  Y. 
and  upwards 


Guaranteed 


Of  Lavender  satin — 
diamond-quilted  in- 
side and  out  —  cov- 
ered wood  heeL 


"sl^ 


A  dainty  D'Orsay  in 
Apricot  saiin  ihat 
mightgrace  the  foot 
ota  queen* 


f 


;-  'w^.  / 


To  enhance  the  most 

charming    ensemble 

— a  rich  Blue  leather. 

Champagne  lining. 


Among  all  the  famous 
Comf>'S   "father's  favor- 
ire."  Pa  ten [  leather 
trimmed  —  leather 
lined. 


i 


A  Comfy  popular 
with  men  of  all  ages 
—  calf  with  padded 
Chrome  sole. 


SOLD     IN     EVERY     COUNTRY     IN    THE     WORLD 


A  comfy  to 
delight  the  heart 
of  any  child  —  Green 
with  a  padded 
Chrome  sole. 


I 


J  oan  V^raAvlord;,  toO;,  Jia5  a   icrsonality   xSedroom 

,  ,  ,  its  color  scheme  centers  on  her  new 


TEPIPIEIREILIL 

COLORED 

SHEETS  and  PILLOW  CASES 

RED  HAIR — with  glints  of  gold;  eyes  as  velvet- 
.  blueaspansies — of  course  Joan  Crawford  finds 
orchid  her  most  becoming,  most  personal  color .  So 
the  keynote  of  her  most  personal  room  is  Lady 
Pepperell's  delicious  orchid  sheets  and  pillow  cases. 

What  is  the  best  color  for  you?  What  are  you 
happiest  wearing?  Make  your  bedroom  as  individ- 
ual as  yourself  by  dressing  your  bed  in  that  be- 
coming color.  There  are  fine,  light,  Lady  Pepperell 
sheets  firmly  woven  and  scientifically  dyed  in  lovely 


lasting  tones  of  peach,  rose,  shell  pink,  maize, 
orchid,  Nile  green,  and  blue  . . .  and  white  too,  of 
course.  You  can  find  them  at  all  the  best  stores. 

A  mere  ten  cents  brings  you  the  fascinating  new 
booklet:  "Personality  Bedrooms."  It  suggests  doz- 
ens of  practical  schemes  for  bedroom  decorations 
and  shows  what  bedroom  colors  are  most  becom- 
ing to  your  own  type. 

©  p.  M.  Co.  1929 


Pepperell  Manufacturing  Company 
155  State  St.,  Boston,  Massachusetts 

please  send  me  the  new  booklet, '*PersonaUty  Bedrooms." 
lam  enclosing  one  dime — ten  cents' wortli  of  stamps  (Canada: 
twenty  cents). 


Name . 
Street... 


Tolvn  and  State... 


V   T   T    T   *    T  T   ■ 


TTTTTTVV' 


How  They  Manage  Their  Homes 

[  CONTINUED  FROM  PAGE  41  ] 


corner  a  gold  hand-painteil  oriental  desk,  in  another  a  huge  red 
lacquer  cabinet  surmounted  by  two  rare  Japanese  figures, 
covered  in  gUiss.  Dainty  Japanese  prints  adorn  the  walls  here 
and  there — and  then  one  whole  wall  of  books,  for  every  room  is 
a  library  in  Charlie's 
house.  Upon  the 
top  of  this  bookcase 
stand  various  vases 
and  bits  of  precious 
brie  -  a  -  brae.  The 
walls  are  white  ev- 
erywhere —  except- 
ing only  the  dining 
room.  A  Japanese 
teakwood  table  in 
the  center  of  the  re- 
ception room,  with 
black,  gold  and  soft 
green  shadings.  A 
big  fireplace,  with  a 
huge  brass  coal 
bucket  .   .   . 

THERE  are  three 
chairs  which 
have  an  antique 
effect,  but  in  spite  of 
the  apparent  mix- 
ture of  modern 
America,  Japan, 
and  theseold  French 
chairs,  the  room 
gives  an  impression 
of  perfect  taste  and 
harmony.  A  radio 
stands  on  a  dainty 
table  in  one  corner. 
Lights  are  cleverly 

arranged  for  both  beauty  and  seeing.  And  always  those  gor- 
geous French  windows  leading  out  to  the  garden,  and  from  the 
hill  top  to  the  sea  beyond. 

The  dining  room  is  more  sombre — mahogany  walls,  straight 
backed  mahogany  upholstered  chairs,  three  long  narrow  side- 
boards, a  lovely  inlaid  table — all 
the  wood  matching  exquisitely. 
Here  again  a  fireplace — but  no 
grate  in  it.  A  clock  stands  on  the 
mantel,  which  chimes  the  hours. 
Upon  one  sideboard  a  lovely  silver 
tray  and  tea  set  brought  from  Eng- 
land, with  a  mirror  behind  it  to  re- 
flect back  its  charms.  Two  tall 
silver  candlesticks,  with  yellow 
candles,  stand  on  either  side.  On 
another  sideboard,  a  huge  silver 
platter  of  choice  fruits.  French 
windows  leading  out  onto  the  lawn, 
draped  in  the  same  soft  brocade 
used  in  the  reception  room,  chastelv 
tied  back  into  fluted  folds. 


A  corner  of  Charlie's  bedroom.  Here  is  his  huge  telescope; 
here  his  big  dictionary  lies  open  in  readiness  on  its  stand.  The 
picture  on  the  table  is  inscribed:  "To  Charlie  from  Dickie 
and  Edwina  Mountbatten."  The  general  color  scheme  is  a 
soft  green 


HERE  dinneris  served  at  8  p.  m., 
the  fashionable  hour.  When 
Charlie  is  entertaining,  the  usual 
fancy  six-course  dinner  is  served,  but 
Charlie's  preference  is  for  lamb  stew. 
That's  his  favorite  dish  .  .  .  but 
you  may  guess  it  is  no  ordinary 

stew.  Charlie  likes  puddings  too — custard  puddings,  cabinet 
puddings,  boiled  puddings,  belter  than  all  the  fancy  desserts 
you  can  offer  him. 

This  masculine  household  is  run  by  Kono,  a  Japanese  servant 
of  fifteen  years'  standing,  who  was  formerly  Charlie's  chauffeur. 
Now  he  is  major-domo  with  full  powers  over  five  other  Japanese 
male    servants — James,    the    chauffeur;     Frank,    the    butler; 


THIS  is  the  second  of  a 
series  of  visits  to  the 
homes  of  Holl'ywood's  nobil- 
ity, the  famous  stars  to  whom 
we  all  bend  the  knee.  Last 
month  we  toured  the  Pick- 
fair  estate.  Next  month  we 
will  make  a  third  journey  to 
one  of  the  fascinating  homes 
in  the  film  colony.  And 
there  are  more  to  come. 


Harry,  the  inimitable  cook;  a  cook's  helper,  who  is  also  up- 
stairs man;  and  the  cook,  Tom,  who  takes  care  of  the  lunches 
at  the  studio.  In  addition  to  these  there  is  a  white  gardener, 
whose  father  was  a  famous  nursery  man. 

Kono  has  seen 
Charlie  through  all 
his  triumphs  and 
tribulations,  he  is 
more  a  familiar 
spirit  than  a  serv- 
ant. 

Life  would  be 
insupportable  for 
Charlie  without 
Kono,  who  under- 
stands and  respects 
his  every  mood  and 
stands  prepared  to 
defend  him  against 
the  world,  and  even 
bear  up  staunchly 
in  the  face  of  suc- 
cessive wives,  moth- 
ers-in-law, relations 
— and  inquisitive 
reporters.  In  any 
crisis  the  latter  have 
always  found  Kono 
the  immovable,  un- 
bribable  guardian. 
Rob  Wagner  says 
most  picture  stars 
are  robbed  and 
cheated  by  their 
servants — but  Kono 
sees  that  Charlie 
does  not  come  in 
that  category. 
Charlie  probably  pays  his  servants  extra  well,  because  they 
all  stay  with  him — excepting  only  chauffeurs.  Charlie  has  had 
five  chauffeurs  in  as  many  months.  But  then,  unlike  Kono, 
they  can't  wait  1.5  hours  with  patient  fortitude  without  getting 
nervous  and  grouch\ — and  saying  so.    Kono  once  waited  from 

1:00  in  the  afternoon  to  3:30  the 
following  morning  for  Charlie,  with- 
out a  murmur  of  reproach.  Like- 
wise Charlie  gets  irritable,  as  gen- 
iuses will,  and  bids  them  hasten, 
and  then  they  get  tagged  and 
hauled  into  court  .  .  .  and  they 
cannot  stand  the  strain.  Kono 
never,  never  got  tagged.  He  evi- 
dently knows  how  to  hasten  vrith 
discretion. 


AS  it  is,  Charlie  is  a  difficult  mas- 
ter.   For  instance,  he  will  have 


someone  ring  up  the  house  from  the 
stutlio  to  say  he  is  bringing  30 
guests  home  to  dinner.  This  at 
4  p.  m.  No  wonder  there  are  three 
huge  ice-boxes  in  that  house!  That 
would  be  bad  enough,  but  he  has 
been  known  to  call  the  party  off  at 
7  p.  m. — just  about  the  time  every- 

thing  has  been  prepared  .  .  .    Yes, 

it  is  just  as  well  it  is  Kono  and 
Harry  .  .  .  wives  take  too  long  to 
train    to    that    sort   of    thing. 

In  Charlie's  pantry,  the  glassware  is  modern,  good,  adequate 
.  .  .  nothing  magnificently  imported  from  abroad,  none  of  the 
sort  of  thing  that  creates  hysterics  when  one  gets  broken.  His 
dishes  are  the  best  Ilaviland,  white,  with  plain  gold  rims.  His 
table  silver  was  brought  back  from  Berlin  when  he  made  his 
trip  to  Europe— a  huge  case  [  please  turn  to  page  140  ] 

87 


88 


Photoplay  Magazine — Advertising  Section 


U 


A  screen  star's  skin  must  show  flaw- 
lessly smooth  under  the  huge  new 
incandescent  "sun-spot"  lights  used 
for  the  close-up. 


Lux  Toilet  Soap 
has  been  made  the  ojicial 
soap    in    all  the  great 
Jilm  studios  •  •  • 

Hollywood  discovered  long  ago  that 
unless  a  girl's  skin  showed  velvety 
smooth  on  the  screen,  her  charm 
didn't  "get  across"  to  the  great 
movie  audiences. 

Consequently,  of  the  451  impor- 
tant actresses  in  Hollywood,  includ- 
ing all  stars,  442  use  Lux  Toilet  Soap 
to  keep  their  skin  exquisitely  smooth. 
And  all  the  great  film  studios  have 
made  it  the  official  soap  in  their 
dressing  rooms.  Nine  out  of  Un  screen 
stars  use  this  white  fragrant  soap. 


Jeanette  Loff,  beautiful  Pathe  star, 
in  the  lovely  bathroom  which  shows 
strikingly  the  modernistic  trend  in 
design  so  the  vogue  in  Hollywood. 

Like  nine  out  of  ten  screen  stars, 
she  uses  Lux  Toilet  Soap. 

She  says:  "My  skin  is  my  greatest 
consideration — I  must  keep  it  per- 
fect. I  never  travel  without  carrying 
Lux  Toilet  Soap.  No  matter  what 
climate  my  pictures  take  me  to,  I 
find  that  Lux  Toilet  Soap  keeps  my 
skin  enviably  smooth." 


A  girl  must  have 
to  be  attractive  •  •  •" 

Say  39  foremost  movie  directors 

It  is  so  very  noticeable — how  effortlessly  the  girl  or  woman  with  clear, 
satiny  skin  attracts  people! 

As  James  Cruze,  prominent  movie  director  puts  it,  voicing  the  experi- 
ence of  39  leading  Hollywood  directors:  "Few  people  can  resist  the 
spell  of  smooth  lovely  skin.  The  close-up  is  the  final  test  of  a  screen 
star's  popularity.  Only  the  skin  that  is  exquisitely  smooth  and  fine 
will  appear  beautiful  under  the  blazing  close-up  lights." 
It  is  for  this  reason  that  98%  of  the  lovely  complexions  you  see  on 
the  screen  are  cared  for  with  Lux  Toilet  Soap. 


Photo  by  W.  E.  Thomas,  Hollywood 


Every  adreltlsement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


89 


exquisite  smooth  skin 


9  out  of  10  screen  stars  say  things  like 
this  about  Lux  Toilet  Soap 


Betty  Compson  says:  "Only  the  most  satin- 
smooth  skin  is  considered  'studio  skin'.  I'm  de- 
hghted  with  the 
way 

Soap  cares  t 
skin." 


ghted  with  the  y^  /y 

;:rpc'::sSm:  ^^  m^9^ 


Marie  Prevost  says:  "A  soap  as  delightful  as 
the  fine  soaps  of  Paris!  And  Lux  Toilet  Soap 
gives  my  skin 
such  sa  ti  ny 
smoothness!" 


z> 


rv\^<y.y.^i^^..S^^^ 


Doris  Kenyon  says  enthusiastically:  "Lux  Toilet 

Soap     certainly     gives    my    skin     that    lovely 

smoothness 

we    mean    by 

'studio  skin'."     /jj,ir?t</ /Le-<-< — y^^-^. 


y 


Vera  Reynolds  says:  "A  star  must  have  the 
smoothest  skin  in  the  world.  Lux  Toilet  Soap 
keeps  my  skin  ^^y^ 
like  satin."  %rtL  /fj;iY.^J4y 


Patsy  Ruth  Miller  says:  "I  am  delighted  with 
Lux  Toilet  Soap.  It  gives  my  skin  the  same 
lovely  texture  fine 
French   soaps  do." 


C^CUWv 


Dorothy  Sebastian,  Metro-Goldwyn-Mayer  star, 
says:  "Lux  Toilet  Soap  gives  my  skin  such  a  love- 
ly bloom  — exquisite  enough  to  be 'studio  skin'." 


Alice  White,  First  National  star,  says:  "Only  a 
beautiful  skin  can  survive  the  close-up!  Lux 
Toilet  Soap  p^       ^„^ 

Lmylki':."^     (jl3L3^UaU 


Ruth  Taylor,  Paramount  player,  says:  "I  guard 
my  skin  as  my  most  priceless   possession   and 

know    that   Lux    ^ ^  . 

Toilet     Soap    '0    -rf    pi_.^i.cjX-n 

treats  it  gently."        X-i^i^  \J        (J 


Luxury  such  as  you  have  found  only  in  French  soaps  at  SOf'  and  $1.00  the  cake  .  .  now     I  r)C 

Lux  Toilet  Soap 


When  you  write  to  aarertisers  please  mention  PHOTOPLAY  MAGAZINE. 


QUESTIONS  e  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 
tliat  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  tSke  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.  It  is 
imperative  that  these  rules  be 
complied  with  in  order  to  insure 
your  receiving  the  information 
you  want.  Address  all  inquiries 
to  Questions  and  Answers, 
Photoplay  Magazine,  221  W. 
S7th  St.,  New  York  City. 


Dorothy  jNIillee,  Detroit, 
Mich. — Charles  Katon  was  the 
handsome  lad  who  played  opposite 
Helen  Twelvetrees  in  "The  Ghost 
Talks."  He  was  born  in  Washing- 
ton, D.  C,  nineteen  years  ago  and 
has  blond  hair  and  blue  eyes.  He 
has  three  sisters,  Mary,  Pearl  and 
Doris  Eaton  who  are  stage  stars. 

M.  L.  K.,  Naebeeth,  Pa. — You 
u-in.  Dorothy  Mackaill  and  Jack 
Mulhall  are  not  married  to  each 
other.  Jack  is  married  to  Evelyn 
Winans  and  Dorothy  is  divorced 
from  Lothar  Mendes.  I  hope  your 
father  won't  come  looking  for  me 
because  I  decided  the  argument  in 
your  favor. 


BEGINNING  with  this  issue,  Photoplay 
is  printing  a  list  of  studio  addresses  with 
the  names  of  the  stars  located  at  each  one. 

If  any  of  your  favorites  are  among  the  miss- 
ing, it  is  because  they  are  free-lancing. 

Don't  forget  to  read  over  the  list  on  page 
104  before  writing  in  to  this  department. 

In  writing  to  the  stars  for  photographs 
Photoplay  advises  you  to  enclose  twenty- 
five  cents,  to  cover  the  cost  of  the  picture  and 
postage.  The  stars,  who  receive  hundreds 
of  such  requests,  cannot  afford  to  comply  with 
them  unless  you  do  your  share. 


F.  S.  C,  Haerisburg,  Pa. — "Lights  of  New 
York"  was  the  first  one  hundred  per  cent 
talkie  picture.  Since  coming  to  America, 
Greta  Garbo  has  appeared  in  "The  Torrent," 
"The  Temptress,"  "Flesh  and  the  Devil," 
"Love,"  "The  Divine  Woman,"  "The  Mys- 
terious Lady,"  "A  Woman  of  ."Xffairs,"  and 
"Wild  Orchids." 

M.  P.,  Milan,  Italy — Charlie  Chaplin  was 
born  in  London,  England,  on  April  16th, 
1889.  That  will  settle  the  question  of  his 
nationality. 

Oea  Worman,  Ogden,  Utah — Welcome  to 
our  midst.  There  is  always  room  for  a  new- 
comer. That  "certain  young  man,"  William 
Bakewell,  was  born  in  Los  Angeles,  Calif.,  on 
May  2nd,  1908.  He  is  five  feet,  eleven  and  one 
quarter  inches  tall,  weighs  145  pounds  and  has 
brown  hair  and  grey  eyes.  Have  you  seen  him 
with  Ahce  White  in  "Hot  Stuff"? 

"Careotts,"  Petersburg,  Alaska — Yoo- 
hoo !  Away  up  there.  Bet  I  know  how  you  got 
your  name.  William  Haines  is  twenty-nine 
years  old,  si.x  feet  tall,  and  has  black  hair  and 
brown  eyes.    He  is  still  fancy  free. 

G.  W.  D.,  Rochester,  N.  Y. — Greta  Nissen 
is  twenty-four  years  old,  five  feet,  four  inches 
tall  and  weighs  118  pounds.  At  this  writing 
she  is  appearing  in  vaude\ille. 

K.  F.,  YoUNGSTOVVN,  O. — Yes,  Victor 
McLaglen  is  married.  Nancy  Carroll  is  mar- 
ried to  Jack  Kirkland.  Richard  Arlen  has  a 
brand  new  mustache.  What  ever  made  you 
think  it  was  the  shadow  of  his  nose?  Richard, 
please  make  a  note  of  this. 

Mrs.  a.  W.,  Detroit,  Mich. — Alice  Cal- 
houn's first  husband  was  Mendel  B.  Silberburg. 
William  Russell's  first  wife  was  Charlotte  Bur- 
ton. Helen  Ferguson  was  his  second  wife. 
That  was  Helen's  first  marriage.  Mildred 
Davis  is  twenty-eight  years  old  and  Richard 
Arlen  is  about  thirty. 

90 


A.  Nelsen,  Jamaica,  N.  Y. — You  are  right, 
Agnes  Ayres  and  Rudolph  Valentino  played  in 
"The  Son  of  the  Sheik."  Vilma  Banky  played 
the  part  of  the  dancing  girl. 


Are  They  Engaged  or 
Are  They  Not? 

THAT  is  the  most  talked  of 
subject  this  month. 

Bebe  Daniels  and  Ben  Lyon 
have  announced  their  engage- 
ment. 

Some  time  ago  Lupe  Velez  and 
Gary  Cooper  announced  their 
engagement.  Now  Lupe  denies 
that  she  will  ever  marry. 

When  Mary  Brian  was  caught 
wearing  Buddy  Rogers'  fraternity 
ring,  she  was  reported  engaged  to 
him.  Neither  Mary  nor  Buddy 
will  own  up  to  it. 

Then  we  have  the  case  of  Joan 
Crawford  and  Douglas  Fairbanks, 
Jr.  Friends  claim  they  are  mar- 
ried, but  Joan  and  Doug  say  that 
they  are  only  engaged. 

Now  that  Sue  Carol  has  re- 
ceived her  divorce  from  Allan 
Keefer,  we  may  look  forward  to 
her  engagement  to  Nick  Stuart. 

When  Greta  Garbo  came  back 
from  Sweden  reports  were  she 
returned  to  marry  John  Gilbert. 

Because  Marceline  Day  acted 
as  nurse  for  Richard  Dix  when 
he  was  ill,  their  engagement  was 
reported.     Neither  confiritis  it. 


Genevieve  King,  N.  Y.  C. — 
Joan  Crawford's  life  story  ran  in  the 
September,  October  and  November, 
1928,  issues  of  Photoplay.  You  can 
obtain  them  by  sending  twenty-five 
cents  for  each  one,  to  our  office  at 
750  N.  Michigan  Avenue,  Chicago, 
111. 

Max  Meiere,  Buffalo,  N.  Y. — 
H.  B.  Warner's  initials  mean  Henry 
Byron.  He  is  fifty-one  years  old. 
The  "Q"  in  Anna  Nilsson's  name 
stands  for  Querentia.  William  de 
Mille  is  older  than  Cecil  B.  De 
Mille.  Norma  Shearer  came  forth 
from  Montreal,  Canada,  and  gives 
her  birthdate  as  August  10th,  1904. 
Address  your  letter  to  the  Brick- 
bats and  Bouquets  Department,  221 
West  57th  St.,  New  York  City. 

"Abie,"  East  Stroudsbueg,  Pa. — Doug- 
las Fairbanks,  Jr's.,  mother  was  known  as  Beth 
Sully  before  she  married  Douglas  Fairbanks, 
Sr.  After  she  was  divorced  from  him  she 
married  James  Evans,  a  Pittsburgh  broker. 
Later  she  was  divorced  from  him  and  the 
courts  granted  her  permission  to  resume  the 
name  of  Fairbanks. 

C.  E.  H.,  North  Beanford,  Conn. — Your 
boy  friend  isn't  much  of  a  judge  of  ages.  Can 
anyone  imagine  cute  little  Nancy  Carroll  as 
being  thirty-seven  years  old  when  she  really  is 
only  twenty- two?  There  are  twelve  children 
in  Nancy's  family.  The  sister  you  refer  to  is 
married  and  has  given  up  the  stage. 

"  Gunny  " — John  Loder  was  born  in  London, 
England,  on  March  1st,  1898.  He  is  six  feet, 
three  inches  tall,  weighs  168  pounds  and  has 
brown  hair  and  hazel  eyes.  He  entered  the 
movies  in  1926. 

C.  V.  Martino,  Stamford,  Conn. — Lon 
Chaney  was  born  in  Colorado  Springs,  Colo., 
about  forty-si.x  years  ago  and  was  christened 
Alonzo  Chaney.  His  latest  picture  is  "Thun- 
der" and  Phyllis  Haver  has  the  feminine  lead. 

Cecelia  Johnstone,  Chicago,  III. — 
\\'illiam  Powell  was  born  in  Pittsburgh,  Pa.,  on 
luly  29th,  1892.  He  is  si.x  feet  tall,  weighs  160 
pounds  and  has  dark  brown  hair  and  gray  eyes. 
He  is  divorced  from  Eileen  Wilson  and  has  one 
son.  His  latest  picture  is  "The  Greene  Murder 
Case."  Bill's  fan  following  certainly  has  in- 
creased since  the  beginning  of  the  "talkies." 

J.  W.,  Germantown,  Pa. — Baclanova  is  a 
real  Russian,  having  come  forth  from  Moscow. 
Tell  your  friend  that  her  accent  is  genuine  and 
not  "put  on,"  as  he  claims.  I  have  no  record 
of  her  making  a  picture  in  which  she  wore  a 
black  wig.  Your  friend  must  have  someone 
else  in  mind. 

[  please  turn  to  page  100  ] 


Photoplay  Magazine — Advertising  Section 


ijj  Below   IS   the    famous 

),%  Ingram  Mannequin. 

tj  Her  image  shows  the  six 

^  spots  most  difficult  to 

Vi  care  for,  and  the  text  tells 

4,  you  how  best  to  do  so! 


\J/2/Y 


a  HEALTHY  SKIN 


can  4tau  ujoima 


Use  This  Mannequin  as  a  Chart  to  Examine  Your  Oun  Skin 


KEEP  your  skin  healthy  and  it's 
certain  to  be  lovely. 

Guard  especially  the  six  spots  starred 
on  the  Ingram  Mannequin.  They  are 
the  places  where  tiny  lines  form  most 
easily,  where  imperfections  are  most 
quickly  seen  by  every  one  you  meet. 

These  six  starred  places  can  be  such 
traitors.  Regardless  of  birthdays,  they 
speak  of  age.  And  how  much  they  tell 
of  the  condition  of  your  skin! 

Ingram's  Milkweed  Cream,  slightly 
therapeutic  in  its  effect,  takes  care  of 
your  skin  as  no  other  cream,  however 
expensive,  can  possibly  do.  It  is  a 
splendid  cleanser,  but  its  special  virtue 
is  that  it  brings  to  all  women  who  use 
it,  a  smoothness  of  skin  hitherto  un- 
known. It  is  perfect  against  roughness, 
redness  and  blemishes.  It  smooths  away 
the  tiny  wrinkles.  It  is  the  indispensable 


it 


The  Forehead  . .  Lines  and  wrinkles  are  all 
too  likely  to  form  here  prematurely  unless 
the  skin  is  kept  soft  and  pliable — and  this 
Ingram's  does  with  marvelous  effect. 

The  Eyes  .  .  Puffiness  and  crows'  feet  are 
so  very  aging  and  unbecoming.  To  keep 
the  skin  smooth,  turn  to  the  soothing  and 
softening  services  of  Ingram's. 

The  Mouth  . .  To  prevent  drooping  lines  at 
corners  of  the  lips,  tone  the  skin  and  keep 
the  muscles  firm  by  using  Ingram's.  It  is 
amazingly  helpful  for  invigorating  cir- 
culation. 

The  Throat .  .  Guard  against  a  crepey  throat 
if  you  value  your  youth.  Ingram's,  with 
its  trace  of  medication  prevents  flabbiness 
and  restores  the  skin  to  firmness. 

The  Neck. .  Finely  etched,  circular  lines  are 
signs  of  accumulating  birthdays.  Be  faith- 
ful to  your  use  of  Milkweed  Cream.  It 
wafts  well-established  lines  to  obscurity 
and  guards  against  new  ones. 

The  Shoulders  . .  Every  woman  who  would 
proudly  wear  evening  gowns  or  sleeveless 
dresses  should  cleanse  her  arras  and 
shoulders  and  keep  them  blemish  -  free 
with  Ingram's. 


cream  to  those  women  who  value  highly 
the  smooth,  clear  texture  of  their  skin. 

Buy  a  jar  of  Milkweed  Cream  today. 
Follow  the  simple  directions  which 
come  with  it.  Use  this  cream  faithfully 
for  one  month  and  notice  how  your 
skin  improves  in  tone  and  texture. 

Frances  Ingram,  Consultant  on  Care 
of  the  Skin,  will  gladly  send  you  her 
new  booklet  on  skin  care.  And  if  you 
have  any  special  beauty  problems,  write 
to  Miss  Ingram  for  advice. 
f  1  i  f 

Frances  Ingram,  Consultant  on  Care  of  the  Skin, 
Dept.  \  69.  108  Washington  St.,  N.  Y.  C. 
Please  send  me  your  free  booklet,  "Only  a  Healthy 
Skin  Can  Stay  Young'"  which  tells  in  complete 
detail  how  to  care  for  the  skin  and  to  guard  the 
six  vital  spots  of  youth. 

Name . . 


Sinel- 


A  d dress - 


I'P'^ 


-V 


Ingram's  ^Ailkioeed  Qrecun 


61929 


•^ 


When  jou  write  to  advertisers  please  mention  PnOTOPL.\Y  MAGAZINE. 


Photoplay  Magazine — Advertising  Section 


^^  M  MADE  IX 


^^y  MARK 

^^^  b^  which,  to 
TTvuLSure 

HANDBAG  QUALITY 

^O  find  the  Meeker  Made  im- 
print in  the  leather  of  the  bag, 
billfold  or  other  item  being  selefted  is 
all  one  needs  to  know  about  the  value 
of  the  article. 

Meeker  Made  leather  goods  are  the 
smartest  in  genuine  imported  Steerhide. 
Frames  and  accessories  are  the  latent 
creations.  Designs  by  Meeker  artiSls 
are  in  harmony  with  the  prevailing 
mode.  Meeker  craftsmen  who  tool, 
hand-color  and  hand-lace  this  carefully 
selefted  leather  are  ever  conscious  of 
the  high  Standard  set  for  this  mark. 
Look  for  it!  Insist  upon  its  being  in  the 
handbag  you  purchase.  It  will  mean, 
besides  its  enduring  and  increasing 
beauty,  long  service  and  satisfaftion. 
At  the  better  dealers  everywhere. 

MmadeJx 

handbags — underarm  bags — 
vanities,  for  women;  billfolds 
— key  and  cigarette  cases,  for 
men;  also  other  gift  novelties 
in  leather. 

THE  MEEKER  CO. 

Inc. 
JOPLIN,  MO. 

Largest  manufacturer, 
rf  Seerhide  Leaihcr 
(ioodsinthe  U.  S.  A 


Girls'  Problems 


['continued  from  pace  18  1 


Of  course  your  own  judgment  and  prefer- 
ences will  suggest  changes  and  additions  to  this 
list.  And  don't  think  that  everything  you 
take  with  you  has  to  be  new  and  bought  espe- 
cially for  the  occasion.  Perhaps  you  have  a 
dress  from  last  year  that  has  faded  and  of 
which  you  ha\'e  tired.  There  are  many  excel- 
lent tints  and  dyes  on  the  market  that  are  easy 
to  use  and  will  bring  new  life  to  your  clothes. 
Sometimes  a  different  color  makes  an  old  dress 
seem  like  a  new  one.  The  advertising  columns 
of  this  magazine  will  give  you  helpful  sugges- 
tions along  these  lines. 

A  ND  last,  but  surely  not  least,  provide  your- 
-'••self  \\ith  a  small  electric  iron,  designed  for 
the  traveller.  This  is  your  insurance  against 
mussed  and  drooping  frocks. 

You  do  not  tell  me  whether  you  are  dark  or 
fair,  whether  your  skin  is  dry  or  oily.  But  I 
can  give  you  a  few  general  suggestions  for  pro- 
tecting your  complexion  without  sacrificing  any 
of  the  fun  and  freedom  of  being  outdoors. 
Here,  again,  Photoplay's  advertising  columns 
will  proN'ide  valuable  hints. 

You  mil  have  to  be  careful  the  first  week. 
Don't  make  the  mistake  of  going  out  on  the 
beach  with  skin  and  hair  unprotected.  Absorb 
the  sun  and  wind  gradually,  so  that  your  tan 
comes  naturally  and  painlessly,  a  little  at  a 
time.  A  bad  sunburn  can  spoil  your  whole 
vacation  and  make  no  end  of  beauty  treat- 
ments necessary  to  repair  its  damages. 

Take  along  with  you  plenty  of  your  favorite 
cold  cream.  If  your  skin  is  dry,  you  will  want 
a  heavy  cream;  if  oily,  use  a  light  cream  that 
is  easily  removed.  Rub  it  well  into  the  skin 
before  going  out  in  the  morning,  and  whenever 
you  feel  the  need  of  freshening.  Remove  the 
surplus  cream  and  pat  powder  carefully  over 
every  bit  of  your  face  and  neck.  You  might 
use  a  heavier  powder  than  you  are  accustomed 
to  during  the  winter,  as  it  will  ding  better. 
One  of  the  attractive  new  sun-tan  shades  is  a 
uise  selection  for  the  girl  who  wants  to  look 
healthy  and  tanned  and  yet  keep  her  skin  pro- 
tected for  the  months  to  come,  when  a  deep  tan 
may  not  seem  so  desirable.  Choose  a  shade 
that  is  not  too  much  darker  than  your  com- 
plexion, at  least  until  the  skin  itself  has  become 
shghtly  darkened,  as  it  inevitably  will  at  the 
shore.  But  you  won't  resent  that.  Everyone 
likes  the  light  tan  that  betokens  a  healthy, 
out-of-doors  life  and  brings  sparkle  to  the  eyes 
and  a  glow  to  the  skin.  And  it  disappears 
quickly  in  the  fall,  with  no  bad  after-effects. 

TF  you  like  a  skin  tonic  or  an  astringent  you 
-'•will  find  it  delightfully  refreshing  after  a  day 
in  the  open.  After  you  have  creamed  your 
face,  preparatory  to  dressing  for  the  evening, 
wipe  the  cream  away  with  pads  of  cotton 
dipped  into  hot  water. 

This  will  thoroughly  cleanse  the  skin.  Cream 
the  skin  lightly  again,  and  this  time  remox-e 
with  clean  pads  of  cotton  dipped  into  the 
astringent  or  tonic. 

But  remember  that  external  care  is  not 
enough  to  insure  a  good  complexion.  Watch 
your  diet;  drink  plenty  of  water.  Don't  over- 
e.xercise,  especially  at  first.  Don't  make  the 
mistake  of  so  many  girls,  who  feel  that  unless 
they  are  doing  something  every  single  minute 
they  are  wasting  part  of  their  vacation.  Sit 
back  in  a  rocking  chair  now  and  then  and  let 
the  world  go  by.  Sandwich  in  a  little  nap  dur- 
ing the  afternoon,  either  after  lunch  or  before 
dressing  for  dinner.  If  you  swim,  play  tennis 
or  golf  or  ride,  begin  gradually  and  never  go 
past  the  point  where  you  can  carry  on  without 
a  sense  of  strain. 

Relaxation  and  stimulation  are  the  principal 
ingredients  in  the  recipe  for  a  happy,  healthy 
and  successful  vacation.  Measure  out  the 
right  proportions,  mix  well,  and  flavor  to  taste! 


Billy: 

If  the  oculist  has  prescribed  glasses  for  you, 
by  all  means  continue  to  wear  them.  Properly 
fitted  glasses  will  not  detract  from  your  looks. 
Going  without  them  when  they  are  needed 
results  in  eye  strain,  which  brings  Hnes  and 
often  causes  one  to  squint,  even  when  it  does 
not  do  greater  harm.  The  wearing  of  glasses 
is  a  mere  detail  of  one's  appearance  and  the 
well  groomed  girl  who  dresses  correctly  and 
becomingly  need  nexer  gi\e  them  a  moment's 
thought. 

Bobby  L.: 

You  say  you  find  long  hair  uncomfortable 
and  unbecoming,  and  yet  you  hesitate  to  have 
it  cut  again  because  you  think  bobbed  hair  is 
going  out  of  style!  AVhile  there  is  no  doubt 
that  the  shoulder  length  bob  is  popular  now, 
and  many  girls  have  let  their  hair  grow  long 
enough  to  pin  up  in  a  soft  knot,  there  is  also 
no  doubt  that  bobbed  hair  has  not  gone  out. 
Nor  is  it  likely  to,  for  those  people  who  ha\e 
found  it  easy  to  care  for  and  becoming. 

Sweet  Marie: 

If  you  are  tall  and  inclined  to  be  self- 
conscious  about  it,  you  might  wear  heels  cf 
medium  height  for  informal  wear,  reserving 
high  heels  for  strictly  formal  occasions. 

X.  Y.  Z.: 

You  do  not  mention  your  age,  but  for  your 
height  your  weight  is  about  right.  Y'ou  may 
be  just  a  few  pounds  o\erweight,  but  I 
wouldn't  worry  about  that  if  I  were  you. 
The  prettiest,  most  refined  looking  hands  are 
those  on  which  the  nails  are  kept  fairly  short 
and  rounded.  Long,  pointed  nails  are  both 
passe  and  unattractive. 

Elizabeth  E.: 

While  you  are  building  up  a  circle  of  young 
friends,  why  not  let  books,  magazines  and 
motion  pictures  be  your  instructors?  They 
will  keep  you  abreast  of  the  times  and  help 
you  to  drop  some  of  your  old-fashioned  ways, 
which  you  say  are  the  result  of  being  cut  off 
from  the  society  of  young  people  for  so  long. 
Then,  as  you  make  new  friends,  you  will  not 
feel  awkward  with  them.  \A'atch  the  younger 
actresses  when  you  go  to  the  mo\ies;  study 
how  they  wear  their  hair,  how  they  dress, 
how  they  act.  Choose  the  one  you  like  best 
and  then  do  as  she  does. 

Dorothy: 

I  hope  you  have  been  reading  Dr.  Willis' 
articles  in  Photoplay  on  the  subject  of  Diet 
for  Health  and  Bcanly.  They  will  help  you 
greatly  in  j'our  campaign  to  gain  weight.  If 
you  want  special  advice,  write  to  Dr.  Willis 
at  the  address  mentioned  in  his  articles.  Ee 
sure  to  enclose  a  stamped,  self-addressed  en- 
velope. You  do  not  need  to  wear  fluffy 
rufiies  but  you  should  avoid  clothes  that  are 
too  straight  and  severely  cut.  Jaunty  sports 
ensembles,  pleated  skirts  and  soft,  frilly 
blouses  ought  to  be  becoming  to  you.  Y^ou 
can  also  w  ear  the  new  plaids  and  checks  which 
are  so  chic. 

Nancy  K.  : 

If  you  are  thrown  into  frequent  contact 
with  the  boy  with  whom  you  quarreled,  you 
can  show  him  you  are  sorry  by  being  friendly 
to  him.  1  don't  think  you  have  much  chance 
of  making  up  with  him  unless  you  are  willing 
to  apologize  for  your  part  in  the  disagreement. 

ViNEY  H.: 

If  you  will  send  me  a  stamped,  self-addressed 
envelope  I  shall  be  glad  to  send  you  my  leaflet 
on  the  prevention  and  cure  of  blackheads,  and 
the  general  care  of  the  comple.xion. 


v>erT  advertisement  ta  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


93 


Will  you  pay  half  the  usual  price 
for  white, 
lovely  teeth 


WOULDN'T  you  like  to  have  snowy, 
gleaming  teeth  that  are  the  admira- 
tion of  others? 

Wouldn't  you  like  to  attain  them  with- 
out a  lot  of  tiresome  scrubbing  and 
rubbing? 

Wouldn't  you  like  to  experience  that 
delightful  feeling  of  mouth  exhilaration 
that  you  associate  with  the  use  of  Lister- 
ine  itself? 

And  wouldn't  it  please  you  to  know 
that  in  getting  these  results  you  cut  your 
tooth  paste  bill  approximately  in  half? 

If  you've  been  using  50p  dentifrices — 
and  they  are  all  good  —  switch  to  Listerine 
Tooth  Paste  at  25^  the  large  tube.  Look 
for  the  results  we  have  outlined  above. 
Like  thousands  of  others,  you  will  be 
convinced  you  have  made  a  wise  change. 

Only  ultra-modern  methods  of  produc- 
tion and  vast  buying  power  make  possible 
such  a  dentifrice  at  such  a  price.  Lambert 
Pharmacal  Co.,  St.  Louis,  Mo.,  U.  S.  A. 

Your  tooth  paste 
will  buy  you 
a  ^'wave" 

Women  who  know  values  choose  Listerine 
Tooth  Paste  at  25^  in  preference  to  other 
dentifrices  in  the  50^  class,  and  spend  the 
saving  to  buy  things  they  want.  A  wave, 
for  example.  The  saving  is  ?3  per  year, 
figuring  you  use  a  tube  a  month. 


LISTERINE  TOOTH 


25^ 

PASTE 


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Photoplay  Magazine — Advertising  Section 


Mild  enough  for  anybody 


Every  adrertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — AnvErrnsiNG  Section 


What  a  cigarette 
meant  there 

Forty  hours  in  the  wireless  room, 
sending,  sending,  sending .  .  .  till  help  for  a 
helpless  ship  is  drawn  across  hundreds  of 
miles  of  storm-wracked  ocean.  And  after- 
ward, only  one  comment:  "Good  thing  we 
had  plenty  of  cigarettes!" 

What  a  cigarette 
means  here 


Forty  hours  at  the  curing-barn — 

the  most  anxious  hours  in  all  the  tohacco  season. 

The  last  wagon  in  from  the  fields,  the  harn  full, 
the  fires  lighted — now  the  delicate  work  of  cur- 
ing commences.  Day  and  night,  day  and  night, 
watching  thermometers,  tending  fires,  adjusting 
ventilators — with  loss  of  a  year's  work  the  penalty 
of  carelessness,  with  loss  of  flavor  the  result  of  haste. 

Vastly  important,  of  course,  are  the  later  age- 
ing and  blending — but  to  this  tireless  vigil  at  the 
curing-barns  you  owe  no  small  part  of  Chester- 
field's flavorful  and  satisfying  mildness. 


•■^s 


-^^^/ZiyJlA^ 


(/^i^a-COo  C<>J 


From  800  to  1,000  pounds  of  la- 
bacco  can  be  cured  in  this  barn 
at  each  "firing." 


•     •    • 


.  and  yet  THEY  SATISFY 


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Photoplay  Magazine — Advertising  Section 


You  can  add 

distinction 
to  your  home 

You  can  pervade  your  home  with  that 
desirable  quality  of  distinction,  hospi- 
tality and  charm,  just  by  burning  incense. 

The  room  where  incense  burns  is  per- 
meated with  an  atmosphere,  exquisite  and 
irresistible.  Pleasure  is  delicately  ac- 
cented. Romance  subtly  works  its  colorful 
spell.  The  air  is  cleansed  and  refreshed. 
Your  guests  are  delightfully  at  ease. 

Put  incense  to  the  test.  We  want  to  give 
you,  FREE,  nine  exquisite  odors  of  Van- 
tine's  Temple  Incense.  One  of  them  is 
our  new.  delightful^  Oriental  Night.  We 
want  you  to  let  each  one  work  its  own 
spell  for  vou.  Then  you  will  know. 

Send  the  FREE  INCENSE  coupon  to- 
day, giving  your  name,  and  your  drug- 
gist's. Enclose  four  cents  in  stamps  to 
cover  packing  and  mailing.  And  we  will 
send  your  Vantine's  Incense  at  once. 


Name 

Street  &  TVo. 

City  &  State 

Dealer'a  Name 

Dealer's  Addren* 

P-6 

.^.^ 

^^^^ 

Brickbats  and  Bouquets 


'  CONTINUED  FROM  PAGE  8  1 


A.  A.  Vaoline  &  Co.,  Inc.,  71  Fifth  Ave.,  New  York,  N.  Y. 
Pleaee  send  me,  absolutely  free,  nine  fragrances  of 
Vantine^s  Temple  Incense.  I  enclose  four  cents  io 
stamps  to  cover  pocking  and  mailing. 


bigger  kick  out  of  seeing  a  luscious,  vilal- 
looking  girl  than  he  does  out  of  the  "sucked 
lemon"  type. 

Tell  the  producers  they  had  better  give  us 
plumper  and  healthier-looking  stars  if  they 
want  to  keep  us  at  the  box  office. 

M.  E.  Naylor. 

Talkies  Aren't  So  New 

Goderich,  Ont.,  Can. 

I  am  a  projectionist  and  have  held  nightly 
communion  with  the  same  brace  of  projectors 
for  the  past  ten  years. 

.\propos  of  the  newborn  talkies  I  may  say 
that  the  stars  have  spoken  from  my  screen  for 
years. 

I  quote  some  of  their  oft-repeated  lines 
to  support  my  statement. 

Jack  Gilbert:  "Me,  good-looking?  Why,  I 
never  dreamed  it.  Goodness  sakes,  it  would 
break  my  heart  to  think  that!" 

SoDic  of  the  Foreign  Stars:  "Do  you  really 
think  I  dawdle  through  my  pictures?  My,  no, 
dears,  that  is  Art!" 

Clara  Bow:  "Who  the  heck  is  this  guy  Art? 
And  say,  folks,  isn't  this  a  great  old  world?" 

Charlie  Chaplin:  "Wonder  when  they're 
going  to  stop  laughing  at  my  getup?  Beats  me 
how  it's  held  out  so  long." 

The  Cowboy  Stars:  "I  guess  I  ain't  no  sheik, 
but  boy  am  I  a  he-man!     Say,  son,  watch  me. 


near  the  end  of  this  here  pitcher,  I  lick  three 
guys  in  ten  minutes,  and  when  my  fmal  clinch 
comes,  try  and  notice  any  nicks  on  my 
knuckles!" 

Tlieir  Hosses:  "There  y'are!  Just  galloped 
twenty  miles  without  stopping  an'  do  you  see 
me  puffin'?    Neigh,  neigh!" 

I  hope  I  don't  sound  too  cynical,  for  with  all 
their  faults  they're  a  great  gang. 

George  Jenner. 

We  Stand  Corrected 

Brooklyn,  N.  Y. 

I  get  a  lot  of  pleasure  from  reading  your 
magazine,  but  never  have  had  such  a  real  kick 
out  of  it  as  I  got  today  when  I  opened  the 
March  number. 

On  page  65,  under  the  picture  of  Fay 
Wray's  fireplace,  mention  is  made  of  the 
antique  cornpopper ! 

Please  tell  Miss  Shirley,  who  wrote  the 
article,  that  her  "old  English  ccrnpopper"  is 
an  early  American  warming  pan — if  it  is  copper 
it  might  be  an  English  warming  pan;  if  brass,  it 
is  probably  an  American  one;  but  it  could 
never  be  anything  but  a  warming  pan! 

Sorry  to  haul  off  and  heave  a  brickbat — it 
is  the  first  time.  Anj'way,  Photoplay  is  the 
best  magazine  of  its  kind  on  the  market.  Good 
luck  to  you! 

Joel  S.  Carpenter. 


Esther  Ralston  wears  a  bridge  sweater  to  informal  card  parties. 

The  sweater  is  fawn  gray  appliqued  with  signs  of  the  bridge  suits. 

It  is  worn  with  a  skirt  of  gray  flannel 


Ereiy  adTcrtisement  In  PnOTOPLAY  MAGAZINE  Is  EUUantetd. 


Photoplay  Magazine — Advertising  Section 


^^^_^^  M'jRrAOKAivcjE  cd  uaui  utmei  Iwa. 


97 


THE     rVE^VEJ^T   VOOUE 


peiui/ned  iiautd  nail  paUd/i 

'They"  ARE  using  it;  in  Paris  — London— Vienna  — New  York  — 
everywhere,  the  brilliant  society  that  sets  the  mode  has  eagerly  taken  up 
this  charming  new  fashion  in  manicuring! 

Northam  Warren,  the  expert  who  has  made  the  care  of  the  hands  his  life 
study,  introduces  this  enchanting  new  perfumed  Cutex  Liquid  Polish. 

He  searched  until  he  found  the  exact  fragrance — delicious,  evanescent, 
ae  faint  as  the  scent  of  drifting  plum  blossoms.  This  captivating  per- 
fumed   Liquid  Polish  gives  to  your  nails  a  lovely  luminous  lustre. 

The  Paris  perfume  gallantly  pays  duty  at  the  customs — yet  the  magic  flagon 
of  this  new  perfumed  Cutex  Liquid  Polish  plus  a  twin  flagon  of  Cutex 
Polish  Remover  only  costs  you  60^.  Already  it  is  waiting  for  you  at  all 
drug  and  department  stores.    For  an  especially  brilliant  polish,  and  one 
that  will  last  for  days  and  days,  apply  two  coats  to  your  nails.    Northam 
Warren,  New  York,  London,  Paris. 


Special  Introductory   Offer  —  6^ 

I  enclose  6('  for  generous  samples  of  the  new  Culex 

Perfumed  Polish  and  Polish  Remover.    (If  you  live  in 

Canada  adilress  P.  O.  Box  2054,  Montreal.  ) 

NORTHAM  WARREN 

Dept.  90-6,  191  Hudson  St.,  New  York,  N.  Y. 


IJTEAL 


^neoJ  p^kinmed  luiuid  pcrLi^ri 


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Photoplay  Magazine — Advertising  Section 


What  Is  IT? 


^  f  he  jeweler's  art 
t^/  reaches  its  consura- 
nv,ite  perfecrion  in  Deltah 
Pearls,  which  flawlessly 
simulate  Nature's  love- 
liest gems . . .  The  choice 
!  ot"  Deltah  Fashion  Neck- 
1  at  the  current  open- 
oi  leading  Parisian 
couturiers  speaks  elo- 
quently of  the  rare  beauty 
of  these  new  Heller  cre- 
)ns.  Every  where 
linen  of  good  taste 
select  them  as  the  final 
touch  of  smartness. 

Heller-Deltah  Co.,  ik. 

Divi^ioa  of  L  HfU<r  it  Son,  Inc- 
NEff  YORK  .  ■       PARIS 


[  CONTINUED  FROM  PACE  35  ] 


good,  Clarence  Brown  called  Mr.  Stone  away 
to  make  another  "take."  I  began  to  suspect 
it  was  a  frame-up. 

In  time,  however,  we  did  garner  a  few  crumbs 
of  information,  a  few  opinions,  a  conclusion  or 
two. 

"TT,"  according  to  Mr.  Stone,  includes  all  of 
-'•the  characteristics  that  make  up  personality. 
These  qualities  are  sufficiently  diversified  to 
satisfy  all  indi\-idual  requirements. 

"Charm,  genuineness,  the  faculty  of  being 
engaging  or  interesting  or  cheery,  of  being 
quiet,  reposeful,  languid — all  have  value,  all 
embrace  the  ingredients  of  personality.  What 
appeals  to  one  does  not,  you  know,  necessarily 
appeal  to  another.  It  is  altogether  a  matter  of 
satisfying  individual  needs.  \\'hat  a  mess  we 
would  be  in  if  we  were  all  cast  to  a  standard." 

But  Mr.  Stone  indicated  quite  plainly  that 
he  much  preferred  to  talk  about  what  the 
Bostonian  said  when  he  told  him  that  he,  too, 
was  a  Bostonian. 

The  man  refused  to  believe  it,  absolutely, 
because  Lew  had  none  of  that  characteristic 
New  England  accent  which  clings  from  the 
cradle  to  the  grave. 

With  difficulty  we  again  detoured  back  to 
the  subject  in  hand. 

"Is  there  any  particular  age,  Mr.  Stone, 
at  which  man  appeals  to  woman?" 

He  hesitated  a  moment,  weighing  the  matter, 
or  else  reluctant  to  commit  himself.   ■ 

"  No-o-o,  I  think  not.  People  appeal  to  each 
other  at  all  ages.  Youth  responds  to  youth, 
and  so  on.  It  depends  upon  what  spectacles 
we  are  wearing  at  the  time.  Then,  too,  you 
may  be  very  charming  in  the  eyes  of  one  and 
not  in  the  eyes  of  another.  Personality  has  no 
universal  law.  In  fact,  the  idea  of  'IT'  is  like 
looking  at  a  log  fire.     Five  persons  give  you 


five  different  impressions.  It  depends  entirely 
upon  what  you  read  into  it." 

"Is  an  older  man  more  interesting  to  women 
— say  a  man  in  his  fifties?  Is  maturity  an 
advantage,  does  the  fruition  of  experience 
stand  him  in  good  stead?" 

"How  can  we  tell  that?  We  cannot  think 
with  the  feminine  mind.  Personally,  I  would 
say  age  does  not  enter  into  it.  But  after  all 
that  is  a  lot  of  peas  in  a  barrel  again — for  it  is 
an  individual  thing,  depending  upon  the  point 
of  view.  We  can't  all  have  the  same  outlook, 
you  know,  the  same  tastes." 

npHEN  for  no  good  reason  at  all,  and  yet  for 
■'•  the  best  reason  in  the  world,  Lew  Stone 
changed  the  subject. 

"Why  do  people  insist  that  a  man  in  real  life 
is  the  character  he  portrays  on  the  screen?  In 
his  home  he  may  be  an  unbearable  grouch  and 
on  the  screen  a  light  comedian.  If,  however,  he 
is  a  light  comedian  on  the  screen,  then  in  the 
public  mind  he  is  a  humorist  in  hisprivate  life." 

Which  reminds  one  of  the  fact  that  the  parts 
Mr.  Stone  portrays  on  the  screen  are  notable 
for  their  generous  proportions  of  "IT."  And 
his  comment,  therefore,  may  have  been  an 
adroit  means  of  proclaiming  his  modesty. 

At  any  rate,  Mr.  Schildkraut  said  of  the 
typical  American  man:  "He  can  laugh,  but 
cannot  smile;  he  is  practical,  matter  of  fact, 
has  no  imagination;  he  is  not  subtle;  he  dies 
sixteen  deaths  inside  him  before  he  can  say, 
'I  love  you'." 

And  after  trying  vainly  to  pierce  the  in- 
scrutable reserve  of  Lew  Stone,  after  glimpsing 
the  smoiddering  fires  that  he  quickly  hides  in 
the  depths  of  his  eyes,  after  watching  him 
shield  the  faintest  and  most  enigmatic  of 
smiles,  we  concluded  that  he  at  least  is  not  a 
t>'pital  American  man. 


The  Great  Ear-Plug  Problem 

I  CONTINUED  FROM  PAGE  42  ] 


skull  rattled  so  loudly  thai  the  clatter  kept  the 
younger  children  awake  and  we  were  later 
forced  to  knock  his  head  apart  with  a  tack- 
hammer  and  remove  the  offending  flora. 

SIXCE  that  time,  I  am  sorry  to  say,  the  lad 
has  complained  of  a  feeling  of  fullness  after 
meals  and  a  distinct  sense  of  drowsiness  at  bed- 
time. 

Test  B,  we  feel,  is  somewhat  unsafe — dis- 
tinctly chancey,  in  fact. 

TEST  C.  This  is  the  most  drastic  of  the 
methods  at  first  attempted. 

JNIr.  Bull  Montana,  the  well  known  dramatic 
reader,  was  shown  a  short  talking  comedy  reel 
of  the  traveling  salesman  who  knocked  at  the 
door  of  a  small  farmhouse  upstate. 

"How  do  you  feel?"  I  asked  the  subject. 
Mr.  Montana  gave  a  delicate  Italian  shudder, 
as  of  a  ten-ton  truck  on  a  wooden  culvert. 

Dr.  Irving  Thalberg,  my  expert  socktitian, 
at  once  struck  the  patient  smartly  at  the  base 
of  the  skull  with  an  ordinary  coupling-pin 
I  bum-persuader). 

"  Better?"  I  asked. 

"I  can  still  hear  a  drum  beating  some- 
wheres." 

Dr.  Thalberg  let  him  have  it  again,  this  time 
just  to  the  left  of,  and  slightly  below,  the  left 
ear. 

"Now?   Any  pain?" 

"Mother!  Mutter!  Maman!  Madre! 
Pour  la  France!"  murmured  the  subject. 

"You'd  better  touch  him  up  again,  Irving," 
I  said  to  my  assistant.    He  did. 


"  And  now?"  I  asked.    No  answer. 

A  brief  examination  disclosed  the  annoying 
fact  that  Mr.  Montana  was  dead. 

We  were  all  greatly  put  out  at  this  unfor-' 
tunate  end  to  our  experiment.  A  brief  note  to 
the  family,  however,  and  the  incident  was 
closed. 

Test  C,  we  fear,  is  too  touchy  for  wide  use. 

It  remained  for  Dr.  Herbert  Howe,  a  young 
Bulgarian  phrenologist  on  my  personal  staff, 
to  finally  solve  our  "knotty"  problem. 

"I  find,"  reports  Dr.  Howe,  "that  a  subject, 
faced  with  a  short  talking  film  which  gives  him 
violent  symptoms  of  sea  sickness  or  galloping 
palsy,  can,  with  some  effort,  rise  and  go  into 
the  lobby  of  the  theater. 

THERi;  he  can  smoke,  talk  to  the  doorman 
if  he  understands  English,  or  ogle  the  hat- 
check  girl. 

"Notified  by  a  courteous  usher  that  the 
offending  short  is  over,  he  can  return  to  his  seat 
and  enjoy,  question  mark,  the  balance  of  the 
program. 

"I  have  employed  this  method  successfully 
upon  15  out  of  16  subjects.  We  discovered 
much  to  our  amusement,  that  the  16th  patient 
was  a  paralytic.  h 

"You  can  well  imagine  that  we  all  enjoyed 
a  hearty  laugh." 

Is  this,  then,  the  Answer? 

Has  Dr.  Howe,  the  young  Serbian  savant, 
really  solved  the  great  Problem? 

We,  and  you  too,  await  Time's  answer. 

And  while  we  wait,  we  palpitate. 


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Photoplay  Magazine — Advertising  Section 


99 


The  one  function 
of  a  dentifrice  is 
to  clean  the  teeth. 
No  dentifrice  can 
cure  pyorrhea;  no 
dentifrice  can  cor- 
rect an  acid  condi- 
tion of  tlie  saliva. 
Any  claim  that 
any  dentifrice  can 
do  them  is  mis- 
leadin". 


I 


his  penetrating  foam 


Cleans  Teeth 


Better 


Scientist  discovers  that  Colgate's  has  lower 
"surface-tension".  .  .  hence  greater  potver 
to  cleanse  tiny  crevices  where  decay  starts. 


TOOTH  decay  begins,  says  modern  dental  science,  in 
the  tiny  crevices  where  no  toothbrush  can  reach 
and  where  food  particles  and  mucin  deposits  collect. 

Ordinary  toothpastes  fail  to  get  down  into  these  hard- 
to-clean  places.  Hence,  the  real  test  of  a  toothpaste's 
power  to  clean  is  its  ability  to  penetrate  deep  into  these 
tiny  crevices. 

A  scientist  recently  made  a  remarkable  discovery.  He 
found  that  Colgate's  has  a  greater  penetrating  power* 
than  any  of  the  leading  dentifrices  on  the  market  today. 

When  brushed,  Colgate's  breaks  into  an  active,  spark- 
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(low  "surface-tension")  which  enables  it  to  get  deep 
down  into  every  minute  pit  and  fissure.  There  it  softens 
and  dislodges  the  impurities,  sweeping  them  away  in  a 
detergent  wave. 

In  this  foam  is  carried  a  fine  chalk  powder ...  a  polish- 
ing material  prescribed  by  dentists  . . .  which  polishes 
the  enamel  safely,  brilliantly. 

Think  what  this  means  to  you  ...  by  using  Colgate's  you 
can  clean  your  teeth  thoroughly,  scientifically,  exactly 
as  your  dentist  would  have  you  clean  them  . . .  restoring 
the  natural  loveliness  of  teeth  and  gums. 

If  you  have  never  used  Colgate's  you  will  be  surprised 
and  delighted  with  its  wonderful  cleansing  action.  Mail 
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*How  Colgate's  Cleans  Where  The  Toothbrush  Cannot  Reach 


Greatly  magnified 
picture  of  tir.y  tooth 
crevice.  Note  how 
ordinary,  sluggish 
toothpaste  (having 
high  "surface-tcn- 
Bion")  fails  to  pene- 
trate deep  down 
where  decay  may 
etart. 


This  diagram  shows 
how  Colgate's  active 
foam  (having  low 
"surface-tension") 
penetrates  deep 
down  into  the  crev- 
ice, cleansing  where 
the  toothbrush  can- 
not reach. 


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Here  is  a. 
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See  for  yourself  the  beauty- 
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The  instant  you  apply  this  soft, 
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Questions  and  Answers 


[  CONTINITED  FROM  PAGE  90  ] 


H.  D.,  Andover,  Mass. — It  was  Lloyd 
Hughes  and  not  William  Haines  who  played 
opposite  Billie  Dove  in  "American  Beauty." 
Hugh  'I're\or  played  the  part  of  Kilter  Gordon 
in  "  Beau  Broadway." 

K.  M.,  W'ASHrxGTON,  D.  C. — Evelyn  Brent 
is  thirty  years  old,  has  brown  hair  and  brown 
eyes  and  hails  from  Tampa,  Fla.  She  entered 
pictures  in  1915  and  is  now  under  contract  to 
Paramount-Famous-Lasky. 

I'annie  Cutter,  Adrian,  RIich. — Are  you 
serious,  or  are  you  just  trying  to  test  my  mem- 
ory? The  name  of  the  picture  you  described 
was  "For  Heaven's  Sake."  with  Harold  Lloyd 
and  Jobyna  Ralston  playing  the  leading  roles. 

IM.  Millar,  Brattleboeo,  Vt. — So  you 
\\ould  like  a  photo  of  Herb  Howe.  I  hate  to 
tell  you  this  (sob!)  but  it  must  be  done.  You 
cannot  get  his  photo,  not  even  the  required 
quarter  would  bring  forth  one.  Oh  no!  Herb's 
not  conceited,  just  a  bit  bashful.  He  won't 
have  his  picture  taken  because  he  objects  to 
the  photographer  saying,  "Now,  watch  the 
birdie."  Greta  Garljo  is  23  years  old,  5  feet, 
6  inches  tall,  weighs  125  pounds  and  has  light 
golden  brown  hair  and  blue  eyes.  She  was  born 
in  Stockholm,  Sweden. 

Mildred  Melton,  Arlington,  Tex. — You 
nin  the  cut-glass  bathtub.  Esther  Ralston  and 
Clara  Bow  played  in  "Children  of  Divorce'' 
and  Josephine  Dunn  and  Clara  played  to- 
gether in  "  Get  Your  Man." 

A  Damita  Admirer,  Brockville,  Canada. 
— Lily  Damita  was  born  in  Paris,  France,  on 
July  10th,  1906.  She  is  fi\e  feet,  one  and  a  half 
inches  tall  and  has  blonde  hair  and  blue  eyes. 
Her  ne.xt  picture  will  be  "The  Cock-eyed 
World."  Articles  and  photos  of  her  appeared 
in  Photoplay  in  July,  1928,  and  in  the  Jlarch 
and  April  issues  of  this  year. 

L.  M.  Armstrong,  Fort  Worth,  Tex. — 
It  takes  more  than  a  few  questions  to  worry 
this  old  man  to  death.     Gladys  Belmont  was 


the  young  lady  who  played  opposite  Richard 
Di.x  in  "Redskin."  She  was  born  in  Pueblo, 
Colo.,  on  February  28th,  1911,  and  was  chris- 
tened Gladyes  Freeman.  She  is  five  feet,  two 
inches  tall,  weighs  111  pounds  and  has  auburn 
hair  and  brown  eyes.  She  is  a  first  cousin  of 
Alice  and  Marceline  Day.  W'arner  Baxter  is 
married  to  Winifred  Bryson. 

M.  K.  McC,  Laurens,  S.  C. — And  you  are 
interested  in  numerology.  Betcha  haven't  got 
my  number  yet.  Tom  Tyler  was  born  on 
August  8th,  1903,  in  Port  Henry,  N.  Y.  John 
]\lack  Brown  claimed  Gothan,  Ala.,  as  his 
birthplace  on  September  4th,  1904.  Hugh 
Allan  first  saw  the  light  of  day  on  November 
5th,  1903,  in  Oakland,  Calif.,  and  Charles  F'ar- 
rell  at  Onset  Bay,  Mass.,  in  1902.  He  doesn't 
give  the  exact  date.  Photoplay  printed  a 
picture  of  Tom  Tyler  and  his  horse  in  the 
September,  1927,  issue.  Thanx  for  your 
visit.    Drop  in  again  sometime. 

D.  K.,  Detroit,  Micii. — Goodness,  what 
ha\e  we  here?  \'ou  say  that  Douglas  Fair- 
banks is  of  Arabian  descent.  Well,  if  he  is, 
then  I'm  a  little  Laplander.  I  guess  his  horse- 
back riding  has  deceived  you,  as  he  is  thor- 
oughly American. 

M.  B.,  Plymouth,  Pa. — In  the  "King  of 
Kings"  Joseph  Schildkraut  played  the  part  of 
Judas  and  Jacqueline  Logan  played  the  part 
of  Mary  Magdahiic. 

Jane  Staral,  Cleveland,  O.— -You  have 
been  misinformed.  Sue  Carol  and  Nick  Stuart 
are  not  married  yet.  Sue  only  just  got  her 
divorce  from  Allan  Keefer.  Roland  Drew 
was  the  handsome  Felipe  in  "Ramona."  Wil- 
liam Haines  is  29  years  old  and  has  black  hair 
and  brown  eyes. 

F.  S..  Danville,  Ky. — Another  Gary 
Cooper  fan.  Have  you  read  his  life  story  in 
Photoplay?  In  "Beau  Sabreur"  he  played 
the  part  of  Henri  dc  Bcaujolais;  in  "The  First 
Kiss"  he  \\as  known  as  Mulligan  Talbot  and  in 
"Doomsday''  he  was  Arnold  furze. 


w  <iowca  


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house?  Then  have  a  road  map  printed  on  top  of  your  letter-paper, 
so  that  vifhen  you  extend  an  invitation  people  will  know  you  really 
mean  it.  The  Gleasons — Russel,  Lucile  and  Jimmy — use  this  road 
map  to  guide  their  friends  to  their  bungalow 


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"BobbedHairStyles 
Alost  Becoming. . ." 


dumas 


—  and  this  famous  coiffeur  and 
beauty  specialist  -whose  salon 
in  the  Savoy  Plaza,  IVew  York, 
serves  the  socially  elite,  continues: 

"There  are  so  many  very  beautiful  effects 
which  we  can  accomplish  ^^-ith  an  expert 
dressing  of  bobbed  hair  that  I  do  not  be- 
lieve any  pronounced  movement  toward 
long  hair  will  be  sustained." 

^Slli!e  hair  stylists  are  not 
in  full  agreement  as  to  the 
current  trend  of  hair  fash- 
ions, it  is  signi^cant  that 
all  lay  much  stress  on  the 
necessity  for  frequent 
combing  in  dressing  the 
haif  and  placing  the  wave. 
Good  combs  are  a  prime 
essential  in  the  care  of  the 
hair  and  scalp. 

Ace  Cob-cbs  are  made  in 
many  sizes  and  st^'les  — 


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besides  small  purse  and 
pocket  combs  for  occa- 
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the  hair  and  restoring  its 
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Hey!  Hey!  Harry's  Coming  Back 

[  CONTDOIED  FROM  PAGE  59  ] 


Broadway — of  how  Hairj-  came  East  with  the 
first  print  of  "Tramp,  Tramp.  Tramp,"'  his 
pockets  crammed  with  press  clippings  from  the 
coast. 

"Lookl"  he  said,  showing  them  to  a  pal, 
"they  say  I'm  just  like  Chaplin!" 

pERHAPS  that  was  the  trouble  —  that  ac- 
-'•  cursed  phrase.  "Just  like  Chaphn." 

What  Harrj'  didn't  seem  to  remember  was 
that  Charlie  is  his  own  man,  and  not  the  slave 
of  a  shooting  schedule  that  demands  so  many 
pictures  a  year  at  so  much  a  picture. 

If  Chaplin  wants  to  stew  two  years  on  a 
picture,  that's  his  own  woe,  but  Langdon  was 
under  the  siege  guns  of  his  bosses,  with  eyes 
on  the  time-dock  and  tight  fingers  on  the  old 
family  checkbook. 

Don't  ask  me  whether  or  not  little  doughface 
suffered  from  an  inflated  cranium.  Hany  him- 
self saj^  it  was  his  tou,gh  luck. 

His  producers,  he  declares,  began  clamping 
down  on  him  as  the  doubloons  started  to  slip 
away,  until  he  was  under  orders  to  shoot  a  full 
length  comedy  in  six  weeks — a  sheer  impossi- 
bility where  quality  product  is  concerned. 

.\  long  comed)'  sweated  out  in  a  month  and  a 
half  is  just  7.000  feet  of  celluloid  that  might 
just  as  well  be  made  into  collars. 

All  these  things  raced  through  my  head  as 
Harrj'  talked. 

Talked  to  a  purpose,  too.  For  Hany  is  all 
broken  out  with  a  rash  of  ideas,  and  most  of 
them  are  sound.  And  he  is  deadly  serious. 
Xo  fooling  now! 

' '  I  believe  that  the  day  of  the  longgag  comedy, 
with  the  whole  picture  depending  on  the  efforts 
of  a  starred  comedian,  is  over,"  he  told  me. 

"A  kick  in  the  pants  isn't  as  funny  in  pic- 
tures as  it  was  in  1910.  The  gag  field  has  been 
worked  bare. 

"The  storj'  is  the  thing  of  today  and  tomor- 
row— the  laugh  picture  with  a  tale  to  tell. 
Look  at  Lloyd!  Has  he  ever  equalled  "Grand- 
ma's Boy'? 

"  Furthermore,  no  liNTng  comic  can  carry  the 
whole  burden  of  a  seven  reel  comedy  and  make 
it  one  long  howl.  Xo  man  can  be  that  funny 
and  live. 

'"He  must  have  the  help  of  a  good  storj' 
and  two  or  three  all-wool  featured  actors  to 
help  him  play  it." 

TF  anyone  believes  that  Harry  Langdon's 
-'-dome  is  bulged,  mark  and  digest  that ! 

Xot  onlj-  does  he  want  a  good  storj'  in  his 
pictures — he  demands  brilliant  support  from 
able  and  well-known  actors,  and  b  anxious  to 
share  the  billing  with  them  I 

What  price  a  high  hat,  now? 

Well.  I  string  with  Langdon. 

I  don't  believe  that  even  the  cleverest  comic 
can  make  a  long  gag  comedy  that  has  much  of 
anj-thing  new  to  offer. 

I  agree  that  the  burden  of  such  a  film  on  a 
star  is  backbreaking  and  nonsensical,  for  we 
all  know  that  up  to  the  present  the  support  of 
our  leading  comedians  has  consisted  of  little 


but  animated  dununies  with  nothing  to  do  but 
hit  him  on  the  head. 

.A.  great  comic  can  go  a  couple  of  fast  reels 
at  top  speed.  Then,  like  a  boxer,  he  must  let 
down  and  get  his  wind.  But  with  the  help 
of  good  actors,  Langdon  can  let  them  have 
their  scenes  and  then  come  on.  building  his 
comedy  around  the  situations  instead  of  fram- 
ing situations  to  fit  a  gag,  and  simply  knock  us 
kicking  and  screaming  into  the  aisles. 

If  that  isn't  sound  sense  and  good  business, 
I  wouldn't  know  them  if  they  came  riding  up 
Fifth  .\venue  on  big  red  motorc>'cles  at  high 


■LJ".\RRY  L.AXGDOX  has  his  feet  on  the 
-*-  -'-ground,  and  his  head  is  hitting  on  all 
twelve.    He  is  sane,  sensible  and  determined. 

If  he  makes  the  business  connections  he 
craves,  he  is  as  safe  for  us  and  for  pictures  as 
Congress  is  for  Hoover ! 

And  do  we  need  him? 

There's  never  been  a  doubt  as  to  Harrj- s 
pantomimic  genius.  He  needs  pictures  and 
pictures  need  him. 

I  believe  that  he  is  the  greatest  living  incar- 
nation of  harassed,  frustrated  humanity,  and 
I  don't  except  Chaphn.  For  verj-  often  there 
is  something  cocky  about  Charlie.  Occasion- 
ally he  pulls  himself  together  and  takes  com- 
mand of  his  soul.    Xot  putty-faced  Harr\-. 

He  is  licked  before  he  starts.  Forever  life's 
football,  kicked  around  by  fate.  He  is  the 
incarnation  of  himian  futiUty — a  grownup 
Farina  with  a  white  skin,  chased  by  bogie  men 
— smacked  over  by  mighty  forces  he  doesn't 
understand  and  can't  control.  His  Sennett 
series  of  two-reel  tragi-comedies  stand  today 
as  unapproached  masterpieces  of  human 
frailty. 

Who  can  ever  forget  the  one  wherein  Harry 
was  left  alone  in  a  storm-battered  house? 

Windows  blew  in,  doors  crashed  shut  on  his 
nose,  hghts  went  out,  furniture  fell — Langdon- 
alone  and  forlorn,  bruised  and  terrified  by  all 
the  implacable  and  irresistible  forces  of  nature 
gone  cuckoo. 

At  last,  scared  witless.  Hany-  seeks  refuge  in 
the  attic.  There,  seemingly  safe,  he  kneels  at 
the  side  of  a  trunk  and  thanks  his  Heavenly 
Protector.  At  that  precise  moment,  lightning 
strikes  a  chimney  overhead,  and  in  the  midst 
of  his  supplicadons  a  large,  hard  brick  falls 
and  smacks  him  fair  upon  his  wide  and  inno- 
cent brow! 

"TX  that  one  superb  moment  can  be  found 
-■-practically  aU  we  can  ever  know  of  the  dark 
and  de\ious  ways  of  life  and  destiny. 

And  now  Harry  Langdon  is  coming  back  to 
us — we  hope — sane,  sound,  and  fuU  of  fight. 

Let  there  be  fireworks  on  the  courthouse 
steps,  music  by  the  silver  comet  band,  and  an 
address  by  the  mayor. 

And  let  j-ours  sincerely  be  on  hand  to  lead 
the  cheering  for  the  Happy  Return  of  Dead- 
Pan  Harrj',  whom  we  have  loved  long  since, 
and  just  lost  awhile! 


What  Was  the  Best  Picture  of  1928? 

[  CONTIXUED  FROM  P.-VGE  52  ] 


motion  picture  film  released  during  the  twelve 
months  of  1928. 

As  usual,  this  year  the  voting  for  the  best 
picture  of  1928  begins  six  months  after  the 
close  of  the  year. 

This  is  done  so  that  voters  in  all  parts  of  the 
countrj'  will  have  an  opportunity  to  see  all 


of  the  films  released  during  the  twelve  months 
of  1928. 

The  Photopl.\y  Medal  of  Honor  is  of  solid 
gold,  weighing  123}/^  pennj-weights  and  is  two 
and  one-half  inches  in  diameter.  Each  medal 
is  designed  and  made  by  Tiffany  and  Company 
of  Xew  York. 


Bteu  idTertlseiDeDt  in  PHOTOPLAY  MAGAZINE  1b  gMranteed. 


Photoplay  Magazine — Advertising  Section 


103 


WHEN  they  slip  into  their  Bradleys,  the  stars 
of  the  screen  become  the  sirens  of  the  sea 
.  .  .  Hollywood,  whether  represented  by  man 
or  maid,  shows  its  preference  for  Bradley  Bath- 
ing Suits.  Shows  it  in  terms  of  gay  colors, 
smart  patterns  and  snappy  models.  For  there 
is  that  about  a  Bradley  which  knows  how  to 
give  the  impression  of  something  that's  made 
to  look  at  —  while  fulfilling  the  purpose  of 
something  that's  made  to  wear  .  .  .  and  wear! 
Your  favorite  store  has  a  Bradley  for  you.  And 
you  may  have  a  copy  of  the  Bradley  St}'le  Book 
by  writing  Bradley  Knitting  Co.,  Delavan,  Wis. 


Jiiit  a  dot  on  the  horizon. 
But  look  closely  for  this 
is  110  ordinary  dot.  None 
other,  in  fact,  than 
Dorothy  Gulliver  of  Uni- 
versal Pictures — enjoy- 
ing herself  in  her  Bradley. 


Close  to  the  top  of 
the  first  page  in 
the  new  Who's 
Who  of  Alorie- 
dom  you'll  find 
Nora  Lane,  now 
appearing  in  a 
FOX  Produc- 
tion. And,  as 
befits  a  member 
of  Who's  Who, 
Miss  Lane  knows 
what's  uhat-and 
wears  a  Bradley  I 


A  perfect  match  —  Mr. 
and  Mrs.  George  Lewis! 
(Universal  Pictures). 
Even  their  suits  suit  each 
other  to  a  sea— for  they're 
matched  Bradleys. 


and  out-of-doors 


\\nica  jou  write  to  advertisers  please  mention  PIIOTOrLAY  MAGA2IXE. 


I04 


Photoplay  Magazine — Advertising  Section 

Addresses  of  the  Stars 


Adds  Glossy  Lustre^ 

Leaves  Your  Hair 

Easy  to  Manage 

IF  you  want  to  make  your  hair  .  .  .  easy 
to  manage  .  .  .  and  add  to  its  natural 
gloss  and  lustre — this  is  very  EASY  to  do. 
Just  put  a  few  drops  of  Glostora  on  the 
bristles  of  your  hair  brush,  and  .  .  . 
brush  it  through  your  hair  .  .  .  when 
you  dress  it. 

You  will  be  surprised  at  the  result.  It 
will  give  your  hair  an  unusually  rich, 
silky  gloss  and  lustre — instantly. 

Glostora  simply  makes  your  hair  more 
beautiful  by  enhancing  its  natural  wave 
and  color.  It  keeps  the  wave  and  ciirl  in, 
and  leaves  >our  hair  so  soft  and  pliable, 
and  so  easy  to  manage,  that  it  will  . . .  stay 
any  style  you  arrange  it  .  .  .  even  after 
shampooing— whether  long  or  bobbed. 

A  few  drops  of  Glostora  impart  that 
bright,  brilliant,  silky  sheen,  so  much 
admired,  and  >oiir  hair  will  fairly  sparkle 
and  glow  with  natural  gloss  and  hitrUs. 
A  large  bottle  of 
Glostora  costs  but  a 
trifle  at  any  drug  store 
or  toilet  goods  coun- 
ter. 

Try  it! — You  will 
be  delighted  to  see  how 
much  more  beautiful 
your  hair  will  look, 
and  how  easy  it  will 
be  to  manage. 

Try  It  FREE 


At     P  a  r  a  m  o  u  n  t  -  F  amous-Lasky 
Studios,  Hollywood,  Calif. 


At    RKO    Studios,    780    Gower    Street, 
Hollywood,  Calif. 


THE  R.  L.  WATKINS  CO.  29-G-19 

127G  West  3rd  .Street,  Cleveland.  Ohio 
Please  send  me  FREE  a  sample  of  GLOSTOR.\ 
all  charges  paid. 

Name 


I  Address ..,>..-.  ■ 


Richard  Arlen 
Jean  Arthur 
\\'illiani  Austin 
Olga  Baclanova 
t'leorKE  Bancroft 
Wallace  Beery 
Clara  Bow 
I'A-elyn  Brent 
Mary  Brian 
Clive  Brook 
Nancy  Carroll 
Kathryn  Carver 
Robert  Castle 
Lane  Chandler 
Ruth  Chatterton 
Maurice  Chevalier 
Chester  Conklin 
Gary  Cooper 
Richard  Dix 
Paul  Guertzman 

At  Metro-Goldwyn 
ver  City,  Calif. 
Renee  Adoree 
George  K.  Arthur 
Nils  .\sther 
Lionel  Barrymore 
John  Mack  Brown 
Lon  Chaney 
Joan  Crawford 
Karl  Dane 
Marion  Davies 
Josephine  Dunn 
Greta  Garbo 
John  Gilbert 
Raymond  Hackett 
William  Haines 
Phyllis  Haver 
Leila  Hyams 

At    Fox    Studios, 
Avenue,  Hollywood, 

Frank  Albcrtson 
Mary  Astor 
Ben  Bard 
Warner  Baxter 
Marjorie  Beebe 
Pex  Bell 
Dorothy  Burgess 
Warren  Burke 
Sue  Carol 
Sammy  Cohen 
June  CoUyer 
]  ouise  Dresser 
Nancy  Drexel 
Mary  Duncan 
Charles  Eaton 
Charles  Farrell 
liarle  Foxe 


James  Hall 
Neil  Hamilton 
O.  P.  Heggie 
Doris  Hill 
Phillips  Holmes 
Emil  Jannings 
Jack  l.uden 
Frederic  March 
Adolphe  Menjou 
David  Newell 
Jack  Oakie 
Warner  Oland 
Guy  Oliver 
William  Powell 
Esther  Ralston 
Charles  Rogers 
Ruth  Taylor 
Florence  Vidor 
Fay  Wray 

-Mayer  Studios,  Cul- 

Dorothy  Janis 
Buster  Keaton 
Charles  King 
Gwen  Lee 
Bessie  Love 
Tim  McCoy 
Conrad  Nagel 
Ramon  Novarro 
Edward  Nugent 
Anita  Page 
Aileen  Pringle 
Dorothy  Sebastian 
Norma  Shearer 
I  ewis  Stone 
Ernest  Torrence 
Kaquel  Torres 

1401     No.    Western 
Calif. 
Janet  Gaynor 
George  Jessel 
Ivan  Linow 
Edmund  Lowe 
Sharon  Lynn 
FarreU  MacDonald 
Victor  Mcl.aglen 
Lois  Moran 
Charles  Morton 
Barry  Norton 
George  O'Brien 
Sally  Phipps 
David  Rollins 
Arthur  Stone 
Nick  Stuart 
Don  Terry 
Helen  Twelvetrees 


Buzz  Barton 
Sally  Blane 
Olive  Borden 
Betty  Compson 


iFt..  West,  Toronto.  ".I-dn 


John  Barrymore 
Monte  Blue 
Betty  Bronson 
William  Collier,  Jr. 
Dolores  Costello 
Louise  Fazenda 


."Xudrey  Ferris 
Al  Jolson 
Da\ey  Lee 
May  McAvoy 
Grant  Withers 


Bebe  Daniels 
Frankie  Darro 
Bob  Steele 
Tom  Tyler 


At  Pathe  Studios,  Culver  City,  Calif. 

Robert  Armstrong  Alan  Hale 

\\  illiam  Boyd  Jeanette  Loff 

Junior  Coghlan  Carol  Lombard 

At    First    National    Studios,    Burbank, 
Calif. 


Richard  Earthchres? 
Billie  Do\e 
Corinne  Griffith 
Doris  Kenyon 
Dorothy  Mackaill 


At  Warner  Brothers  Studios,  5842  Sunset 
Blvd.,  Hollywood,  Calif. 


Calif. 

I.ina  Basquette 
John  Boles 
Klhlyn  Claire 
Kathryn  Crawford 
Reginald  Denny 
Jack  Dougherty 
I.orayne  Du\'al 
Ruth  Elder 
Hoot  Gibson 
Dorothy  Gulliver 
Otis  Harlan 
Raymond  Keane 
Merna  Kennedy 


Barbara  Kent 
Beth  Laemmle 
.Arthur  Lake 
Laura  La  Plante 
George  Lewis 
Fred  Mackaye 
Ken  Maynard 
Mary  Nolan 
Mary  Philbin 
Eddie  Phillips 
Joseph  Schildkraut 
Clerui  Tryon 
Earbara  'W'orth 


Colleen  Moore 
Jack  Mulhall 
Donald  Reed 
Milton  Sills 
Alice  White 


At    United    Artists    Studios,    1041    No. 
Formosa  Avenue,  Hollywood,  Calif. 


Don  Alvarado 
Fannie  Brice 
Douglas  Fairbanks 
Mary  Pickford 


Gilbert  Roland 
Norma  Talmadgc 
Constance  Talmadge 
Lupe  Velez 


At  Columbia  Studios,  1438  Gower  Street, 
Hollywood,  Calif. 


Olive  Borden 
W  illiam  Collier,  Jr. 
Palph  Graves 
Jack  Holt 
Margaret  Livingston 


Jacqueline  Logan 
Ben  Lyon 
Shirley  Mason 
Dorothy  Revier 
Lois  Wilson 


In  care  of  Samuel  Goldwyn,  7210  Santa 
Monica  Blvd.,  Hollywood,  Calif. 


\'ilma  Banky 
Walter  Byron 


Ponald  Colman 
Lily  Damita 


In  care  of  the  Edwin  Carewe  Productions, 
Tec-Art  Studios,  Hollywood,  Calif. 


Dolores  Del  Rio 
Roland  Drew 


Pita  Carewe 
LeRoy  Mason 


At    Universal    Studios,    Universal    City, 


Robert   Agnew,  6357   La  Mirada  Avenue, 
Hollywood,  Calif. 

Jackie  Coogan,  673  South  Oxford  Avenue, 
Los  Angeles,  Cahf. 

Virginia  Brown  Faire,   1212  Gower  Street, 
Hollywood,  Calif. 

Gilda  Gray,  22  East  60th  Street,  New  York 
City. 

William  S.  Hart,  6404  Sunset  Blvd.,  Holly- 
wood, CaUf. 

Lloyd  Hughes,  616  Taft  Building,  Hclly- 
wood,  Cahf. 

Harold  Lloyd,   6640  Santa  IMonica  Blvd., 
Holly\vood,  Calif. 

Bert  Lytell,  P.  O.  Box  235,  Hollywood,  Calif. 

Patsy   Ruth   Miller,   808    Crescent   Drive, 
Beverly  Hills,  Calif. 

Pat    O'Malley,    1832    Taft    Avenue,    Los 
Angeles,  Calif. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angeles,  Calif. 

Ruth    Roland,    3828    W'ilshire    Blvd.,    Los 
Angeles,  Calif. 

listelle  Taylor,  5254  Los  Feliz   Blvd.,  Los 
Angeles,  Calif. 


Every  adrertlsement  In  PHOTOPLAY  MAQAZIXE  Is  Euarantecd. 


Photoplay  Magazine — Advertising  Section 


Make-Up 


105 


Is  This  the  Beauty  Secret  of  the 
Screen  Stars? 

Can  Every  Woman  Double 
Her  Beauty  With  Make-Up? 


Read  the  Answer  by  Hollywood's 
Make-Up  King — Max  Factor 

WHAT  we  have  discovered  in 
pictures  about  beauty,  about 
make-up,  about  cosmetics  .  .  . 
every  woman  should  know.  True! 
Make-Up  is  magic  .  .  .  but  the  wand  of 
make-up  is  not  so  magical,  so  mysterious 
that  every  woman  cannot  wave  it  over 
herself  and  produce  in  her  own  likeness 
the  vision  of  beauty  she  has  always 
dreamed  of."  And  then  Max  Factor, 
Hollywood's  genius  of  make-up,  creator 
of  make-up  for  the  leading  motion  picture 
stars,  told  me  the  secrets  of  make-up 
which  every  woman  will  want  to  know. 

If  you  would  double  your  beauty  .  .  . 
listen  .  .  !  In  Hollywood,  leading  screen 
stars  are  using  a  new  kind  of  make-up  for  social  and  evening  wear. 
It  is  based  on  cosmetic  color  harmony — conceded  to  be  the  greatest 
beauty  discovery  of  the  age.  Max  Factor's  genius  developed  it,  as 
he  only  could  ...  for  no  other  one  person  has  had  the  unique  and 
valuable  experience  of  being  beauty  advisor  to  the  stars  since  the 
days  of  one-reel  features.  From  this  experience  has  come  faultless 
beauty  in  make-up.  Color  harmonies  in  powder,  rouge,  lipstick 
and  other  make-up  essentials  that  produce  the  most  exquisite,  life- 
like beauty  effect  imaginable,  blending  in  perfect  harmony  with 
complexion  colorings  and  personalities. 

And  each  star  has  her  own  individual  color  harmony,  too — 
just  the  exact  shades  in  each  essential  to  blend  into  a  make-up 
ensemble  exactly  suited  to  her  own  individual  self —  suggested  by 
Max  Factor  to  accentuate  the  allure  of  natural  beauty.  No  wonder 
millions  silently  applaud  the  fascinating  beauty  of  the  stars. 

And  now,  good  news  for  Photoplay  readers.  Max  Factor 
offers  to  send  to  you  your  own  individual  complexion  analysis  and 
make-up  chart;  also  a  copy  of  his  book,  "The  New  Art  of  Make- 
Up".  A  priceless  gift ...  for  it  will  give  to  you  the  way  to  a  new 
beauty,  a  new  fascination  which  heretofore  has  been  held  within 
the  glamorous  world  called  Hollywood. 

MAX  FACTOR'S  SOCIETY  MAKE-UP 

HOLLYWOOD 

''Gosmctics  of  the  Stars" 


Joan  Crawford,  M-G-M  Star  of  "Our 

Dancing  Daughters, "  discusses  with  Max 

Factor  her  color  harmony  in  make-up  for 

evening  wear. 

Josephine    Dunn,    M-G-M  Star,   finds 

glorious  beauty  in  her  own  color 

harmony  make-up  suggested 

by  Max  Factor. 


Discover  the 
Secret  Yourself 
Trial  Coupon 

Learn  how  you  yourself  can 
create  a  natural,  alluring 
beauty  of  almost  indescrib- 
able charm  by  working  won- 
ders with  everyday  make-up. 

Mail  the  coupon  now  to  Max 
Factor,  Hollywood's  King  of 

tay  and  fasanMwn  Mix  Factor  gircs  la      Make-Up,  today  .  .  .  nOw! 
the  eyes  ntth  makeup. 


Litpe  yelez,   United  Artists  Star  featured 
in  "The  Oaucho"  enthuses  about  the  mys- 


MAIL  FOR  YOUR  COMPLEXION  ANALYSIS 

Mr.  Max  Factor, — Max  Factor  Studios,  Hollywood,  Calif. 

Dear  Sir:  Send  me  a  complimentary,  copy  of  your  4o-pagc  book,  "The 
N'ew  Art  of  Make-Up"  and  personal  complexion  analysis.  I  enclose  10  cents  to 
cover  cost  of  postage  and  handling. 


Name  . 


Addreu  _ 


I  C//y . 


ComplcMio 


l-.tht 


Ruddy 


Color  of  Ev« 


Color  of  Lash« 


LIPS 


Dry 


Ully 


Dry 


J     An«. 
Isnaccs 


lAgf 


.ilh  rheck  mar 


i 


When  >nu  write  to  advertisers  please  mention  PnOTOPL-\Y  M.\nAZIXE. 


lOO 


Photoplay  Magazine — Advertising  Section 


What  Is  Smarter 
Than  PIQUE? 


nUBRITE 
Ensemble 


This  ecaeon'a  vocuo  for 
contrast  in  nowlicre  more 
emartly  eiiiiitiuaized  than 
in  this  little  piqiio  cn- 
eemblo  with  its  jnckct, 
V,  belt  and  inverted 
pleats  o(  maitc.  Nile 
srecn,  pink  or  powder 
blue  on  a  frock  of  white 
pique.  Nolo       novel 

corner  pockets  on  finECr- 
tip  leii:th  jacket. 


$395 


AJNITA  PAGE 


Anita  Page,  starring  in  the  big 
M.-G.-M.  "all-talkie,"  Broadivay 
Melody,  challenges  the  world  of 
fashion  with  this  question  in  her 
favorite  Hubrite  Informal  Ensemble. 

Sports  frocks,  informal  ensembles, 
novelty  fabric  morning  and  after- 
noon frocks  are  created  and  finished 
by  Hubrite  Informal  Frocks,  Inc., 
for  the  most  critical  wearers.  You 
will  find  them  at  such  leading  stores 
as  Jordan  Marsh  Company,  Boston; 
Lord  &  Taylor,  New  York;  Sibley, 
Lindsay  &  Curr  Co.,  Rochester; 
Elder  &  Johnston  Co.,  Dayton; 
Jacoby  Brothers,  Los  Angeles; 
or  they  may  be  ordered  direct  from 
Boston. 

Write  for  new  Style  Folder  P-6 


HUBMTE 


J^ifoviuul  ^r^cAs 


I     N     «     O     H     P     O     11     A     T     1^ 


New  York  and  Boston 
100   Shawmut   Avenue,   Boston,   Mass. 


How  to  Hold  a  Wife  (Husband) 
in  Hollywood 


[  CONTINUED  PROM  PAGE  65  ] 


live,  more  interesting.  The  lazy  mfe  neglects 
her  personal  appearance,  neglects  her  house, 
her  education.  No  man  will  tolerate  a  lazy 
woman  long. 

"We  are  not  born  with  a  taste  for  caviar  and 
olives,  we  cultivate  it.  A  woman  can  easily 
learn  how  to  make  herself  attractive,  how  to 
make  her  home  attractive,  how  to  educate  her- 
self to  a  standard  that  will  call  forth  admira- 
tion. 

".^11  she  needs  to  do  is  apply  herself.  Life 
is  a  game  of  competition.  Sex,  oddly  enough, 
does  not  always  dominate. 

"T  AM  a  great  believer  in  short  vacations.  I 
-L  think  it  is  the  best  thing  in  the  world  for  mar- 
ried people  to  be  separated  from  each  other  for 
short  periods,  say  two  weeks.  But  I  don't 
believe  in  long  separations.  They  are  too  easy 
to  get  used  to.  Absence  makes  the  heart  grow 
fonder — for  the  other  fellow.  Always  remem- 
ber that! 

"A  wife,  I  think,  should  make  herself  in- 
dispensable to  her  husband.  !Make  him  be- 
lieve that  he  cannot  do  without  you.  I  don't 
know  how  many  tunes  Eddie  has  said  to  me, 
'Good  land,  Lil,  how  would  I  ever  get  along 
without  you!' 

"And  it's  all  because  I  think  of  the  little 
things  for  him.  Details.  Men,  you  know, 
can't  be  bothered  by  detail!" 

Eddie  himself  contributes  a  slant  on  this 
angle.  He  did  not  know  that  Mrs.  Lowe  had 
discussed  the  case,  for  Lilyan  told  her  story  in 
her  dressing  room  at  the  studio  whUe  working 
on  "Bulldog  Drummond,"  and  Eddie  ex- 
pounded his  over  the  luncheon  table  at  the 
Hollywood  Athletic  Club. 

"I  haven't  any  idea  whether  I'm  neat  or 
not,"  he  confessed.  "I've  never  had  a  chance 
to  find  out.  You  see,  I've  never  been  left  to 
my  own  resources.  When  I  was  a  kid,  my 
mother  always  kept  my  shirts  arranged,  my 
kerchiefs  in  order,  my  ties  right,  all  that  sort  of 
thing. 

"It  was  just  an  automatic  arrangement 
that  ne%-er  concerned  me.    I  took  it  for  granted. 

"I  like  order,  I  Uke  elegance.  There's  always 
a  delicate  odor  of  sachet  about  my  shirts  and 
handkerchiefs.  I  don't  put  it  there,  but  it's 
there  and  I  like  it.  It's  the  same  delicate  per- 
fume that  was  there  when  I  was  a  kid.  My 
mother  put  it  there  then,  Lil  puts  it  there 
now. 

"Lil  knows  I'm  very  fond  of  lamb  curry. 
Every  so  often  we  ha\e  lamb  curry.  I  never 
know  it's  coming,  yet  it  gets  there  just  at  the 
psychological  moment,  when  I  probably 
couldn't  Uve  another  day  without  it.  It's  all 
Lil's  doings,  along  with  ten  million  other  little 
things  which  she  arranges  in  spite  of  the  fact 
that  she's  just  as  busy  as  I.  She's  a  mystery 
to  me.    I  don't  know  how  she  does  it." 

AND  that,  according  to  Miss  Tashman,  is 
but  one  of  the  rules  of  the  game. 

"  Ed  and  I  don't  fight  over  littlethings,"  she 
explained.  "It's unnecessary.  The  cure  for  it 
is  consideration  of  tlie  other  fellow.  The 
only  rows  we  have  are  over  Ed's  being  late.  He 
has  no  conception  of  time.  I,  on  the  other 
hand,  am  meticulously  punctual.  If  I  say 
I'll  be  there  at  a  certain  time,  I'm  there;  Ed 
usually  shows  up  a  half  hour  later — contrite, 
of  course,  always  with  a  hatful  of  marvelous 
excuses. 

"You  can't  begin  to  tie  his  alibis.  Well, 
whenever  we  go  to  a  party  and  are  late,  it's 
always  Ed's  fault,  but  of  course  I  get  the 
blame.  I  always  imagine  they  are  looking  me 
over  and  saying,  '  Well,  it  took  the  gal  a  couple 
hours  to  get  into  tho.e  rags.' 


"Of  course,  the  only  way  a  woman  can  hold 
any  man  is  to  be  more  interesting  to  him  than 
any  other  woman  can  be.  Where  there  is  love, 
there  is  jealousy — to  a  degree.  I  have  never 
had  occasion,  however,  to  he.  jealous  of  Eddie. 
I  pride  myself  that  I  interest  him  more  than 
any  other  woman.  I  could  be  jealous,  no  doubt, 
but  as  yet  I  haven't  had  to  be — unless  he's 
smarter  than  I  think. 

"However,"  she  smiled,  "I  don't  believe  he 
is.  Of  course  any  man's  eyes  wander  to  a 
beautiful  woman;  if  that  beautiful  woman  is  his 
\\ife,  he's  satisfied.  He  takes  great  pride  in 
knowing  that  his  wife  is  the  attractive 
woman." 

HTHE  predatory  woman,  according  to  Miss 
■*-  Tashman,  is  the  one  who  cannot  hold  her 
man;  therefore  she  stalks  the  men  of  other 
women,  stalks  'em  because  she  thinks  they  are 
more  clever  than  her  own  man,  or  because 
her  own  man's  interests  lie  elsewhere. 

"I  like  my  wife  to  be  liked,"  said  Eddie.  "I 
think  every  man  does.  I  could  be  jealous,  yes, 
but  I'm  not  because  I  have  confidence  in  Lil. 
Jealousy  itself  is  not  good;  it's  just  the  knowl- 
edge that  you  could  be  jealous  that  is  good." 

There  are  no  "have-tos"  in  the  Lowe  family. 

They  do  things  because  they  want  to,  not 
because  they  have  to. 

"And  there  is  no  pretense,  no  pose,"  says 
Eddie.  "Each  knows  the  other's  faults  and 
makes  allowances.  Take  our  work,  for  instance: 
I  like  to  work  with  Lil,  Lil  likes  to  work  with 
me.  We're  honest  with  each  other — you 
know,  best-friend-severest-critic  stuff.  I'm 
boosting  for  Lil's  success,  she's  boosting  for 
mine." 

Mrs.  Lowe  says  she  prefers  working  with  her 
husband  because  he  coaches  her  and  she  gives 
a  better  performance.  His  criticisms  are  in- 
valuable. One  of  her  greatest  faults  is  a  long 
upper  lip.  "And  Eddie  helps  me  to  correct  it. 
He  will  say,  '  Don't  say  it  that  way,  say  it  the 
way  you  did  the  other  night  when  you  were 
talking  to  so-and-so'  and  thus  I  correct  a  bad 
error." 

EDMUND  LOWE  believes  that  the  perfect 
marriage  clicks  and  locks.  In  other  words, 
it  is  an  interlocking  of  personalities.  And 
people  should  get  acquainted  before  they  get 
married.  They  should  know  each  other's  per- 
sonaUty. 

"Lilyan  and  I  knew  each  other  seven  years 
before  we  married,"  he  explained.  "Of 
course  we  were  not  constantly  in  each  other's 
company,  because,  from  1922  on,  I  was  on  the 
coast  almost  continuously  while  Lilyan  was  on 
the  stage  in  New  York.  In  fact,  shortly  after 
we  got  acquainted  I  went  to  Honolulu  to  do 
'The  White  Flower'  with  Betty  Compson. 
Then  after  that  I  went  to  Panama.  But  in 
1925  Lilyan  came  to  the  coast  especially  so  we 
could  get  married." 

Perhaps  the  outstanding  contrast  in  the 
views  of  these  two  is  that  Mrs.  Lowe  thinks 
that  short  vacations  apart  are  a  fine  matri- 
monial tonic,  and  Mr.  Lowe  thinks  that  short 
vacations  together  whet  the  appetite  for 
marriage. 

"My  idea  of  ideal  married  life,"  says  Eddie, 
"is  to  throw  a  few  things  into  the  car  and 
maybe  take  the  dog  and  go  bumming  for  a 
couple  of  weeks.  Shave  when  you  think  about 
it,  dress  only  when  you  have  to,  stay  awayfrom 
people  and  be  by  yourselves." 

"And  my  idea  of  ideal  married  life,"  said 
Mrs.  Lowe  "is  to  be  at  home,  surrounded  by 
things  that  are  nice,  things  that  you  have  a 
genuine  affection  for,  and  to  be  doing  anything 
except  playing  bridge." 


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How  attractive  are  the 
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of  PHYLUM  HAVER, 
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MGMfihn  star,  is  one  of 
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enthusiastic  sponsors  of 
the  bare-leg  vogue. 


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Several  seasons  ago,  only  the  continental  elite  dared 
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v.inter  saw  the  bare-leg  vogue  spreading  like  wild-fire, 
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By  now  it  is  a  generally  accepted  fashion. 

Sponsored  and  established  by  America's  smartest 
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Dozens  of  the  5'oung  fashionables  who  introduced 
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Photoplay  Magazine — Advertising  Section 


Two  Black  Crows  in  Hollywood 


MissMnr!::aret  Hatfield,  daughter  of  Judne  Charles  S. 
Hatfield  of  the  U.  S.  Court  of  Customs  Appeals,  arid 
Mrs.  Hatfield,  is  known  as  one  of  the  real  beauties  in 
Washington  society. 


Miss  Ruth  Dickinson,  lovely  young  daughter  of  Rep- 
resentative and  Mrs  Lester  J.  Dickinson  of  Iowa,  is 
noted  for  her  beautiful  complexion. 

Photos  by 

Harris  &  Ewing. 


1  CONTINUED  FROM  PAGE  43  ] 


MoRAN — The  more  I  see  of  you  the  more  I 
reaUze  that  the  bone  of  contention  is  the 
jawbone. 

Mack — Yeah,  but  the  trombone  is  next. 
Buddy  Rogers  found  that  out. 

MoRAN — You've  been  concealing  something 
from  me. 

Mack — Sure,  I  ain't  no  Salome. 

MoRAN — If  you'd  be  serious  we  could  be 
stars.  They  even  make  a  star  out  of  animals. 
Look  at  Rin-Tin-Tin. 

Mack — Is  that  the  dog  in  Fidophone? 

MoRAN — Even  if  that  was  sood  I  wouldn't 
like  it. 

Mack — I'm  looking  for  that  dog.  I  want  to 
get  him  to  paw^ograph  a  picture. 

MoEA.N — What's  your  opinion  of  the  star 
system? 

Mack — A  certain  amount.  But  the  system 
shouldn't  interfere  with  auto  driving. 

MoRAN — Why  shouldn't  it? 

Mack— The  part  of  the  system  .that  rides 
motorcycles. 

Moran — Well,  just  remember  that  the  star 
gets  his  name  in  lights. 

Mack— What  lights? 

Moran — Any  lights. 

Mack — Who  wants  a  light?  I  ain't  even 
got  a  cigarette. 

Moran — Here  comes  an  actress.    Don't  you 
think  her  mascara  is  too  heavy? 
Mack — Let's  help  her  carry  it  then. 

Moran — She's  certainly  one  girl  in  a  thou- 
sand. 

Mack — Yeah,  the  other  999  is  in  the  cast- 
ing office  over  there. 


Moran — You  think  you  is  a  rising  youth 
now',  don't  you? 
Mack — I  ought  to  be.    I  eat  yeast. 

Moran — Well,  you  certainly  rose  up  and  left 
the  dinner  check  with  Evelyn  Brent  when  we 
ct  with  her  last  night.    Why'd  you  do  that? 

Mack — Well,  didn't  I  hear  that  in  Holly- 
wood the  woman  always  pays? 

Moran — And  while  you  talked  with  Dick 
Barthelmess,  you  kept  me  standing  around 
like  a  fool. 

Mack — Could  we  help  the  way  you  stand? 

Moran — And  you  mortified  me  by  telling 
Lon  Chaney  we  had  to  dress  for  a  political 
party. 

Mack — I'd  rather  not  hear  any  more  about 
that. 

Moran — You  even  refused  to  pay  that 
fellow  for  the  patent  make-up  bo.x  he  sold  you. 

Mack — Course.  He  said  it  would  pay  for 
itself  in  a  little  while. 

Moran — That  girl  there  makes  the  little 
things  count.    She's  the  studio  school  teacher. 

Mack — She  trusts  me.  Lets  me  carry  her 
pocketbook.     Nothing  in  it,  though. 

Moran — If  you'd  just  get  serious  we'd  be 
a  success.  Just  think,  our  pictures  will  be 
seen  by  people  all  over  the  world. 

Mack — Even  in  the  uninhabited  sections? 

Moran — I  can't  be  bothered  with  you. 
I'm  going  down  to  the  set  and  listen  to  our 
orchestra  rehearse.  I  think  it  needs  more 
wind  instruments. 

Mack — I'll  bring  our  electric  fan. 


New  Wonderful 

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Stays  on  Longer 

These  beautiful  Washington  Society  Debu- 
tantes use  MELLO-GLO  exclusively  be- 
cause it  stays  on  longer  and  prevents  large 
pores — conquers  shiny  nose — spreads  more 
smoothly  and  gives  a  youthful  bloom  un- 
known before.  These  marvelous  qualities  are 
due  to  a  new  French  process  owned  and  used 
by  MELLO-GLO  only. 

The  purest  face  powder  known !  MELLO- 
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Government's  chemists  before  it  is  used. 

MELLO-GLO  is  an  exclusive  powder  made 
for  and  used  by  beautiful  women.  Its  purity, 
smoothness,  softness  and  fineness  insure  you 
against  any  flaky  or  pasty  look  or  irritation. 
Use  this  truly  wonderful  Face  Powder  and 
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Your  favorite  store  has  MELLO-GLO  or 
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loveliness  for  one  dollar. 


Since  the  great  days  of  Mr.  and  Mrs.  Sidney  Drew  there  have  been 
no  fine  domestic  comedies  in  the  film  world,  but  now  Mr.  and  Mrs. 
James  Gleason  are  very  sure  they  can  fill  the  bill.  The  first  of  the 
series  of  talkies  will  be  "Meet  the  Missus."  The  conspirators,  left 
to  right:  Director  Gillstrom;  Mrs.  Gleason;  Al  Cohn,  supervisor 
and  author,  and  Jimmy  himself 


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Photoplay  Magazine — AovEnTisiNG  Section 


M    ! 


OREATff 
NAMES 

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rtecv  art 


09 


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BELL  Telephone  Laboratories — Western 
Electric  —  leading  producers  —  pro- 
gressive exhibitors — together  these  bring 
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Calling  upon  fifty  years'  experience  iu 
the  telephone  art.  Western  Electric  pro- 
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and  reproducing  Sound  Pictures. 

Producers  have  standardized  on  Western 
Electric   equipment   and  are  successfully 


Westerti 

SOUND 


meeting  the  technical  difficulties  natural 
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Discriminating  exhibitors,  eager  to  pro- 
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The  success  of  Sound  Pictures  is  history 
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1  Blackheads,  acne,  skin  troubles  ate 
likely  to  begin,  because  you  are 
rubbing  cold  cream  further  into  the 
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2  High  laundry  bills  and  ruined 
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the  worse  the  damage. 

HERE'S  a  new  way  to  remove  cold  cream 
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City. State 


PH-6 


The  Whip 


I  CONTINUED  FROM  PACE  47  ' 


There  will  be  no  one  but  mel  There  will  be 
only  me!" 

Maurice  rubbed  his  hands  together  and 
smiled.  His  idea  was  ripening  into  maturity. 
He  put  a  friendly  arm  around  Sibyl's  shoulders. 

".\nd  not  a  word  of  greeting  to  your  good 
producer,  eh?" 

"Greetings,  hell!"  But  she  followed  him 
into  his  private  oflicc. 

"Sit  down,  Sibyl.  Calm  yourself.  Act  like 
a  big  girl  (you've  put  on  ten  pounds  since 
I've  been  gone)  and  tell  me  all  about  it." 

Sibyl  told  him  all  about  it.  And  she  told 
him  things  about  Dona  Fleurs  that  only  one 
I-'rench  woman  could  invent  about  another. 

"But  hold  on  a  minute.  You  haven't  seen 
her  yet.  She's  a  nice  girl.  She  has  composure. 
She  has  charm.  She  looks  like  you — only 
prettier.    And  she's  younger  and  slimmer." 

IT  worked  like  a  charm.  Sibyl  became  a 
changed  woman.  Each  time  the  star  looked 
as  if  she  were  about  to  fly  into  a  rage,  FUnt 
mentioned  Dona,  ever  so  casually.  He  took 
Dona  on  the  set  the  first  day  Sibyl  started  her 
new  picture  and  told  Dona  loudly  that  she  was 
to  watch  every  gesture  of  the  star.  He  added 
to  Sibyl  that  Dona  was  there  just  in  case  any- 
thing went  wrong.  She  might  have  to  double 
for  her.  The  scene  was  the  type  of  thing  that 
Sibyl  thoroughly  disliked.  Sibyl  had  always 
objected  to  being  a  vamp,  and  had  often  said, 
for  publication,  "Why  don't  they  sometimes 
let  me  be  sweet,  in  a  picture  hat,  with  babies?" 
Her  director  invariably  came  to  Flint  after  a 
particularly  heavy  vamp  scene  and  swore  that 
he'd  have  to  get  a  new  director  for  that  impos- 
sible woman.  Sibyl  always  blew  up  on  the 
set  when  the  moment  that  she  must  lure  the 
young  of&cer  into  her  flat  arrived.  Today, 
with  Dona's  warm,  eager  eyes  upon  her,  she 
was  docile  as  a  "yes-man"  and  entwined  her 
whitened  arms  around  the  neck  of  the  leading 
man.    Sibyl  had  never  lured  as  well  before. 

The  thought  that  Dona  could  act  had  not 
occurred  to  Maurice  Fhnt.  He  had  paid  her 
$50.00  a  week,  a  meager  price,  for  his  peace  of 
mind.  She  was  to  be  a  whip,  merely  a  whip,  to 
Sibyl.  Her  presence  was  a  warning.  So  far  it 
hacJ  worked.  His  days  were  peaceful  and  his 
golf  game  improved.  Then  one  day  Clarence 
Hawley,  a  director,  persuaded  him  to  let  Dona 
have  a  small  part  in  a  picture.  Sibyl  grew 
more  worried  and  more  manageable.  Flint 
and  Hawley  watched  the  first  night's  rushes 
together. 

""Y"OU'VE  got  a  find,"  Hawley  said.     "This 

J-  Fleurs  dame  can  teach  Sibyl  a  few  num- 
bers. Let  me  start  her  out,  and  at  the  next 
picture  they'll  be  yelling  over  a  new  star." 

Maurice  Flint  discovered  that  he  was  not 
nearly  so  interested  in  leaving  the  studio  on 
Saturday  afternoon  as  he  was  in  watching 
Clarence  Hawley  direct  scenes.  This  guy 
Hawley  was  a  damned  fine  director  and  needed 
watching.  He  had  a  deft  touch.  What  he  did 
not  discover  was  that  he  was  more  interested 
in  the  scenes  in  which  Dona  played  than  in 
those  in  which  other  characters  mugged  at  the 
camera.  One  afternoon  he  came  to  the  set 
"on  urgent  business,"  just  in  time  to  wit- 
ness a  tender  love  scene  between  Dona  Fleurs 
and  Bertram  Drew.  The  lights  flashed  on  and 
Dona,  dressed  in  the  sweetest  pale  blue  frock 
he  had  ever  seen,  came  through  a  garden  of 
prop  grass  and  ready-made  roses.  Bertram 
entered  left,  came  behind  her  and  covered  her 
eyes  with  his  two  hands.  Her  scarlet  lips 
parted,  and  she  w'hispered  his  name.  They 
faced  each  other,  and  w-ith  a  Httle  cry,  as  soft 
as  a  zephyr  she  floated  into  his  arms. 

"Cut!"  said  the  director.  "One  more  like 
that  for  China." 

Maurice    Flint    discovered    very    suddenly 


that  he  had  never  liked  Bertram  Drew.  What 
right  had  a  sleepy-eyed  actor  to  kiss  Dona 
Fleurs  like  that?  And  he  did  it  like  he  meant 
it.  He  didn't  have  to  do  it  like  he  meant  it. 
A  good  actor  never  put  real  feeling  into  his 
scenes.  He  simply  gave  the  semblance  of  real 
feeling.  Well,  his  option  was  up  in  two  months. 
Maurice  Flint  had  never  Uked  him. 

Maurice  stopped  seeing  the  rushes.  He 
couldn't  stand  to  watch  that  sappy  Drew  guy 
paw  Dona  like  he  did.  And  then  one  day  he 
was  in  the  midst  of  a  story  conference  w  hen  it 
all  dawned  on  him.  He  forgot  that  his  highest 
paid  writer  was  telling  him  of  a  great  scene  in 
Sibyl's  next  starring  vehicle  that  would  only 
take  five  hundred  extras  two  weeks  on  locatioij 
in  the  High  Sierras.  He  forgot  and  O.  K.'d  it, 
and  remembered  a  piece  of  urgent  business  on 
the  lot.  Dona  was  wearing  the  sweetest  Hue 
fro:k  he  e-v'er  saw  when  he  found  her.  Flint 
didn't  mince  words.  He  took  her  by  the  hand 
and  led  her  behind  a  fiat  and  told  her  that  he 
loved  her  and  must  marry  her. 

TpHREE  weeks  later  his  secretary  announced 
-'-  "Miss  la  Mond  to  see  you!"  Flint  groaned 
and  said,  wearily,  "O.  K.    Let  herin!" 

Sibyl  arrived.  She  was  in  an  old  fashioned 
fury.  "And  what  do  you  suppose  that  dumb 
director  has  done  now?  I  am  having  the  great 
dramatic  scene,  and  he  says  that  this  silly 
little  fool  who  plays  my  sister  should  have  a 
close-up  just  after  I  speak  the  title.  I  told  him 
he  was  crazy,  and  he  will  not  listen,  and  he 
walked  off  the  set  and  told  me  to  direct  the 
picture.  Well,  I  could,  better  than  he,  but,  no, 
he  comes  back  and  says  he  will  see  you,  and  I 
told  him  to  go  ahead  and  see  yoir,  because.  ..." 

Flint  held  up  a  weary  hand.  "He's  wrong. 
She  shouldn't  have  a  close-up  there.  It  isn't 
in  the  script." 

"Of  course,  it's  not  in  the  script.  He  just 
wants  to  ring  her  in.  Between  you  and  me, 
Maurice,  I  think  that  he's  having  an  affair 
with  her,  but  I  won't  stand  for  it.  I  tell  you, 
I  won't.  She  won't  steal  a  scene  of  mine,  not 
as  long  as  my  name  is  Sibyl  la  Mond." 

"Which  it  isn't,"  Maurice  murmured,  and 
added,  aloud,  "You're  right,  Sibyl,  you're 
right." 

"And  while  I'm  here,  Maurice,  about  that 
orchid  dress.  It  makes  me  look  like  the 
mother  of  six.  I  won't  have  it.  I  tell  you, 
I  won't  have  it." 

"All  right,  all  right!" 

She  slammed  the  door.  His  secretary 
entered. 

"Mrs.  Flint  is  waiting." 

"Show  her  in!" 

DONA,  looking  beautiful  as  usual,  in  furs  and 
a  small  hat,  came  over  to  him. 

"Oh,  Main-ice,  darling,  I  have  just  been 
talking  to  Lucille  Lake,  Sam  Benjamin's  wife, 
and  she  says  there's  no  reason  in  the  world  why 
you  won't  let  me  act.  Sam  helps  her  all  the 
time.  He's  glad  she's  an  actress.  He's  proud 
of  her,  and  Clarence  Hawley  told  me  about  the 
sweetest  part  for  which  I'm  just  the  type,  in 
his  next  picture." 

IS'Iaurice  Flint  strolled  to  the  window  and 
looked  out  across  the  six  big  stages  that  com- 
prised the  studio.  He  thought  of  Paris.  Ht 
thought  of  his  idea.  It  had  been  born  there. 
It  had  ripened  to  maturity  in  HoUywood,  and 
now  it  had  died  of  old  age.  Dona  removed  as  a 
rival,  Sibyl  was  as  temperamental  as  ever  and 
bringing  him  in  just  as  much  money,  and  Dona, 
his  wife,  was  nagging  ,for  parts.  Was  life 
nothing  but  an  endless  cycle? 

He  turned  to  Dona.  "No,  Belle, — er — 
Dona.  For  the  last  time,  no!  You  can't  fo  on 
the  screen,  and  that's  straight!" 

He  shot  a  116  at  golf  and  drove  four  balls 
into  the  river  hazard  that  afternoon. 


Every  advertisement  In  PIIOTOPLAY   MAGAZINE  la  Buaranteea. 


Photoplay  Maoazinf. — AnvEinisiNG  Skciion 


1  I  I 


^et    AND  HBAfl 


>^»xr 


L 


Q/.5, 


e  JweetesT  Love  Story  ever  told 

THE  EPIC  DRAMA  oftL  ACE 


s?  . 


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I  12 


Photoplay  Magazine — Advertising  Section 


Jl  Seconds 


T/ILKIC 


Starring  Sue  Carol 
and  Nick  Stuart 

Fox  Film  Stars 


NICK ;  "  You  know,  lots  of  people  think  movie 
stars  aren't  as  pretty  in  person  as  on  the 
screen.  But  if  they  ever  saiv  you,  with  your 
beautifuleyesandyour  natural, ruby  lips..." 

SUE:  "Very  well  said,  Nick.  You're  as  nice 

a  lover  off  the  screen  as  on My  eyes 

are  my  oivn,  thank  you,  but  my  lips  are 
Tangee'd!  Here — this  is  my  Tangee  lipstick," 

NICK:  "Innocent  little  thing,  isn't  it?" 

SUE :  "It  is  not !  I  may  sound  like  a  press 
agent,  but  honestly,  Tangee  is  wonderful.  It's 
practical  ly  indelible,  and  while  you  put  it  on, 
it  blends  perfectly  with  your  own  natural 
coloring.' 

NICK:  "ni  say  it  does!" 

Demand  Tangee  Today !  One  lipstick  and 
rouge  for  all  complexions.  On  sale  every- 
where. Tangee  Lipstick  $L  Tangee  Rouge 
Compact  75fi.  Tangee  Creme  Rouge  SL  Also 
Tangee  Face  Powder,  clinging,  fragrant,  $1. 
Tangee  Night  Cream  SI.  Tangee  Day  Cream 
$L  Twenty-five  cents  more  in  Canada. 


ff  the  name  Tangee  does  not 
appear  on  the  package 
it  in  not  Tangee, 


~fJqN<3^^ 


Beauty  .  .  .  for  20  Cents 


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dddress . 


Ten  Years  Ago  in  Photoplay 


IT'S  the  silly  season  in  Hollywood,  as  in 
Medicine  Hat  and  Baton  Rouge,  and  the 
love-birds  are  tuning  up. 

Chaplin  has  just  donated  fifty  pairs  of  old 
shoes  to  hurl  at  the  newly  spliced,  and  the 
stores  along  the  Boulevard  report  a  rice 
shortage  and  thousands  of  laundrymen 
starving. 

The  Spring  moon  struck  Louise  Glaum,  the 
famous  vamp,  and  she  announces  that,  rain 
or  shine,  she  is  going  to  marry  her  producer, 
Mr.  Reid.  Director  James  Young,  divorced 
from  Clara  Kimball  Ditto,  is  determined  to 
make  Clara  Whipple  Spouse  No.  3. 

Big  William  Desmond,  king  of  the  serials,  is 
already  hitched,  the  party  of  the  second  part 
being  Mary  Mclvor,  once  his  leading  woman. 
Marjorie  Ranibcau,  of  stage  and  screen,  took 
unto  herself  Mr.  Hugh  Dillman,  leading  man. 
And  the  first  Mrs.  Doug  Fairbanks  has  yessed 
Mr.  James  Evans,  Jr.,  a  big  stock  and  bond 
man  from  Pittsburgh.  She  has  custody  of 
Doug,  Jr..  aged  eight.  Now  see  what  has  hap- 
pened to  Doug,  Jr. 

TJUT  horrors,  and  sobs!  What  is  this  bomb 
•'-'that  e.\'plodes  in  the  midst  of  moony  June? 

ICatherine  MacDonald  has  decided  she  can 
dispense  with  her  artist  husband,  Mr.  Malcolm 
Strauss,  and  is  taking  legal  steps. 

.Man  Forrest  is  breaking  the  chains  that  bind 
him  to  Ann  Little.  They  only  lived  together  a 
month. 

Little  Teddy  Sampson  says  she  can  do  with- 
out Ford  Sterling  in  a  matrimonial  way,  and 
has  decided  to  tell  her  woes  to  a  judge. 

June  evidently  works  both  ways,  as  far  as 
the  so-called  tender  passion  is  concerned. 
Well,  better  luck  ne.xt  time,  folks,  say  we! 

npHE  learned  Julian  Johnson  lists  the  events 
■*-  of  the  past  month.  Listen  to  how  strange 
they  sound. 

The  flashing  of  Viola  Dana  as  a  great  come- 
dienne, and  a  genuine  characterization  by 
Bill  Hart.  Comebacks  by  Rupert  Julian, 
George  Beban  and  Bill  Russell.  John  Barry- 
more's  first  serious  film  (it  was  "The  Test  of 
Honor")  and  a  good  performance  by  Madge 
Kennedy. 

Well,  from  the  reviewing  stand  of  1929,  there 
doesn't  seem  to  be  much  there  to  cable 
Downing  Street  about! 

npHE  Bill  Hart  picture  is  "The  Poppy  Girl's 
-L  Husband" — in  which  he  takes  off  his  cow- 
boy suit  and  plays  a  big-city  crook  .  .  .  Bebe 
Daniels  is  playing  opposite  Harold  Lloyd  in 
Rolin  comedies,  and  one  of  these  little  birds 
trills  that  she  may  be  his  leading  lady  for  life, 
the  min.\!  .  .  .  Jack  Sherrill  is  a  popular  lead- 
ing man  in  pictures  made  by  his  daddy.  .  . 
Director  Lois  Weber  has  a  broUen  arm.  .  . 
Charlie  Chaplin  was  the  first  air-minded  actor 
in  pictures.  .  .  In  1919  he  plots  a  plane  line 
from  Los  Angeles  to  Catalina  Island  with 
William  Wrigley,  Jr.,  the  choong  gum  king 
of  then  and  now.  .  .  Tex  Guinan  signs  for 
two-reelers. 

Our  hawk-eyed  readers  are  still  spotting  the 
directors'  dumb  bobbles,  and  getting  the 
giveaways  printed. 

Mr.  Linden  of  New  Rochelle  gets  one  on 


Wally  Reid.  "In  'The  Dub'  Wally  goes  riding 
in  a  ta.xi.  When  he  gets  out  the  meter  registers 
two  dollars  and  ten  cents.  He  hands  the  driver 
one  bill  and  gets  silver  change." 

Ah  there.  Linden!     Maybe  Wally  had  one 
of  those  1919  three-buck  notes! 

A  YOUNG  lady  in  Knoxville,  Tenn.,  writes 
-'*•  in  to  say  that  Harrison  Ford  is  the  most 
adorable  man  on  earth.  .  .  Monroe  SaUsbury 
is  also  a  big  shot  among  the  gals  this  season.  .  . 
We  have  a  long  story  about  how  ICdna  Pur- 


The  silly  season  hits  Hollywood, 
and  as  the  romantic  month 
dawns,  Louise  Glaum,  the  famous 
siren,  decides  to  marry  her 
producer,  J.  Parker  Reid.    Grrrr! 

viance  cheered  up  the  boys  during  the  war. 
What  a  blonde!  .  .  .  The  Studio  Club,  for  lonely 
movie  actresses,  is  booming,  and  among  its 
backers  are  Marjorie  Daw  and  Carmel  Myers. 
.  .  If  they  were  ever  lonely,  I'm  a  dense  mob.  .  . 
Of  the  thousands  of  extra  girls  who  asked  for 
work  at  Lasky's,  up  to  this  month  only  three 
had  been  given  regular  jobs  in  the  troupe — 
Julia  Faye,  Marcia  Manon,  and  Edna  Mae 
Cooper.  .  .  And  where  are  two  of  those  now? 
.  .  .  Ann  Little  says  she  just  must  have  Milk- 
weed Cream  on  her  face  at  times. 

JOAN  OF  ARC,  N.  Y.  C— Francis  X.  Bush- 
Jman  was  born  in  1885,  on  Jan.  10.  Theda 
Bara  is  NOT  dead. 

ROSE  THORN,  Ardmor^-Mary  Pickford's 
hair  is  naturally  curly.  Eugene  O'Brien 
isn't  married.  Ormi  Hawley  is  Caruso's  lead- 
ing woman.  Pearl  White's  new  serial  is  "The 
Lightning  Raider."  Dearie  me,  how  you  girls 
DO  go  on! 


Cut  Picture  Puzzle  Fans: 

The  first  set  of  pictures  in  PHOTOPLAY'S  annual 

$5,000  Cut  Puzzle  Contest  ■will  be  found  on  pages  4  and  5 

of  the  Rotogra-vTire  Section  of  this  issue.    Complete  rules 

of  the  Contest  are  on  page  39. 


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Photoplay  Magazine — Advertising  Section  i  i  3 


The  Passing  Show 
of  1929 


It's  a  show  that  changes  every  day.  Keeps  abreast  of 
the  times.  Always  up  to  date — ever  in  step  with  the 
mode,  or  a  little  ahead — turning  the  spotlight  for  you 
on  the  things  that  are  new,  smart,  stylish,  convenient — 
desirable. 

The  Passing  Show  of  current  times — the  advertise- 
ments in  this  magazine.  Packed  with  interest — alive 
with  the  vitality  and  surging  change  of  this  modern  day. 

The  advertisements  are  more  than  reliable  buying 
guides.  Indications  of  quality  they  are,  surely — for  to- 
day no  manufacturer  can  win  lasting  success  by  buying 
publicity  for  a  cheap  or  shoddy  product.  Advertising 
weeds  out  the  unfit.  But  more  than  that — advertise- 
ments are  the  fascinating  daily  record  of  progress  in  in- 
dustry— of  advances  in  the  world  of  goods  and  services. 
And  of  such  things  you  need  to  be  fully  informed — for 
you  are  the  ones  who  buy  them. 

Buy  intelligently — with  open  eyes.  Read  the  adver- 
tisements. Compare  values  .  .  .  know  what's  new, 
what's  better,  and  why.  When  you  start  out  to  spend 
your  money — be  informed! 


Make  it  a  habit  to  follow  the  advertisements. 
Every  day  there's  a  new  edition  of 
The  Passing  Show! 


U 


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114 


Photoplay  Magazine — Advertising  Section 


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Would  you  like  to  have  an  autopraphed  photograph  of 
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HOLLYWOOD  PARIS  LOS  ANGELES 


Gossip  of  All  the  Studios 


[  CONTINUED  FROM  PAGE  74  ] 


He  turned.  The  girls  laughed  at  their  am- 
bitious sister.  She  blushed.  So  did  Nils. 
Then  he  walked  back  and  talked  to  her  for. a 
irinu'e. 

"Why  did  you  give  her  a  break?"  asked  a 
friend. 

"She  feel  like  a  damn  fool.  So  did  I.  It  did 
us  both  good  to  say  'hello.'  " 

LIFE,  the  humorous  weekly,  re- 
members when  this  was  con- 
sidered the  last  word  in  nasty 
cracks. 

"Say — with  a  voice  like  yours,  you 
ought  to  be  in  the  movies!" 

OH,  what  these  talkies  do! 
It's  going  to  take  more  than  eye-roUings 
and  leg-exposing  to  put  some  of  them  over  now! 

Twelve  times  a  scene  was  retaken,  twehe 
hard  times,  because  Alice  Wliite  couldn't  re- 
member one  line. 

At  last  she  turned  to  the  director. 

"I'm  awfully  sorry,"  she  said.  "I  don't 
think  this  scene  is  right.  I  just  don't  seem  to 
get  the  feel  of  it!" 

THE  event  of  the  season  around  our  shop 
has  been  the  arrival  of  a  son  and  heir  at  the 
home  of  Frederick  James  and  Agnes  Smith, 
managing  editor  and  his  associate  editor  and 
severest  critic. 

As  soon  as  the  happy  mamma  was  able  to 
take  the  air,  Louella  Parsons,  the  newspaper 
woman,  gave  her  a  party,  rounding  up  all 
available  film  stars  for  the  occasion. 

Among  those  present  were  May  Allison, 
Doris  Kenyon  and  Estelle  Taylor.  A  gay  time 
was  had  by  all. 

Young  Smith,  a  month  old  as  this  is  written, 
has  already  plunged  into  journalism.  Asked 
for  a  caption  on  a  photograph  of  Clara  Bow, 
he  at  once  responded,  "Club,  glub,  glub," 
which  we  think  covers  the  ground  pretty 
thoroughly. 

HEARD  at  the  Rialto  Theater  in  New  York 
when  "Lady  of  tlie  Pavements"  was  being 
shown. 

Lupe  Velez  had  just  performed  some  of  her 
cute  little  drawing-room  antics,  which  ap- 
parently were  not  appreciated  by  the  flappers 
in  the  row  behind  me. 


One  of  them  pungently  remarked;  "She 
should  live,  but  she  shouldn't  make  a  habit  of 
it!" 

■poWINA  BOOTH,  feminune  lead 
-'—'in  "Trader  Horn,"  just  before 
leaving  for  Africa,  came  limping  into 
the  studio,  calmly  remarking: 

"Well,  I  am  all  shot  .  .  .  thor- 
oughly shot  .  .  .  inside  for  Typhus, 
Malaria  and  whatnot,  and  outside 
for  publicity." 

P  XTRY !  'Nother  Hollywood  E.xpose  Blows 
-'—'Up  as  Thousands  Cheer. 

Ever  since  Mary  Pickford  hurled  a  luncheon 
for  a  little  niece  at  Madame  Helene's  downtown 
tea  room,  the  place  has  been  giving  the  Mont- 
martre  a  hot  race  for  the  tourist  trade. 

Sally  Blane  gave  a  blowout  for  the  baby 
stars  there  a  few  days  ago,  and  a  visitor  in  the 
place  grew  all  pink  with  excitement. 

"Look,  mamma!"  she  whispered  loudly, 
"  Don't  tell  me  they  don't  drink.  Look  at  that 
party!  Every  one  of  those  girls  is  drinking 
port." 

Madame  Helene  overheard,  and  it  took 
Madame  and  four  strong  bus-boys  to  convince 
the  trippers  that  Sally's  gang  was  lapping  up 
mere  coffee  served  from  a  trick  Oriental  bottle. 

All  of  which  wrecked  another  Iowa  after- 
noon. 

TT  is  a  relief  to  get  away  from  these  talkie 
-'-stages  where  one  is  hushed  at  every  step  and 
%'isit  one  of  the  good  old  sort. 

Like  Lon  Chaney's,  where  that  great  star  is 
making  "Thunder,"  and  raising  it  as  usual. 

Lon  won't  talk  on  the  screen,  and  when  he 
says  he  won't  talk,  he  means  he  won't  talk. 

The  old  portable  organ  is  on  the  Chaney  set, 
and  the  star  and  Director  Nigh  sound  off  as 
often  and  as  loudly  as  they  please. 

"We're  old-fashioned  folks,"  says  Lon. 
"We're  not  arty  here.  We  still  beUeve  in 
making  our  noise  behind  the  camera  and  not 
in  front  of  it." 

HEART  throb  for  June. 
If  you  see  particularly  beauti- 
ful photographs  of  Dorothy  Mackaill 
any  day  now,  wink  and  cross  your 
fingers. 


The  newspapers  report  the  sale  of  Frances  Marion's  lovely  home, 
atop  one  of  the  highest  of  the  Beverly  Hills.  Frances  and  the  late 
Fred  Thomson,  her  famous  husband,  put  hundreds  of  thousands 
of  dollars  and  three  years  of  ideal  love  and  married  life  into  it.  They 
planned  and  worked  it  out  together.  It  was  one  of  the  most  beauti- 
ful homes  and  playgrounds  in  America.  It  was  surrounded  by 
gardens,  riding  rings,  swimming  pools  and  everything  to  make  life 
happy,  but  when  Fred  died,  Frances  could  live  in  it  no  longer  and 
disposed  of  it  to  a  Texas  oil  man  for  $150,000  less  than  it  had  cost 


Every  ;ulvrrtlsenient   in   PIIOTOTLAY  M.VGAZINE  Is  euaranteed. 


Photoplay  Magazine — Advertising  Section 


The  First  National  blonde  is 
walking  out  regularly  nowadays  with 
Henry  Freulick,  one  of  Hollywood's 
ace  portraitists. 

Good  luck,  Hen,  aver  we. 

\TI:R.\  GORDON,  Sophie  Tucker  and  a  few 
*    others  have  always  been  sliining  examples 
of  the  fact  that  avoirdupois  and  personal  charm 
need  not  be  separated. 

Now,  Mrs.  Joe  E.  Brown  and  Mrs.  Russell 
Simpson  and  Vera  are  proudly  walking  from 
table  to  table  at  the  Montmarlrc,  displaying 
the  places  where  the  fat  used  to  be,  all  of  them 
having  lost  from  eighteen  to  twenty  pounds. 
If  you  insist  on  following  their  CNample.  see 
Photopl.hy's  diet  department  for  further 
instructions. 

TT  isn't  just  the  mushroom  starlets  who  get  all 
-•-I he  breaks  and  story-book  dreams  in  Holly- 
wood. You'\e  heard  how  the  happy  waitresses 
at  Henry's  wouldn't  trade  with  baby  stars. 

Here's  another  for  the  romance  book. 

Harry  Rapf,  the  picture  executive,  has  a 
secretary  named  Mrs.  Anna  Robertson.  She 
is  the  mother  of  a  little  daughter  about  eight, 
by  her  first  marriage.  She  may  not  be  astound- 
ingly  beautiful,  though  a  good  looker,  but  she 
certainly  has  charm. 

While  Hollywood's  flappers  were  trying  to 
churn  far  enough  into  pictures  to  meet  some 
millionaires,  the  quiet  Mrs.  Robertson  sat  at 
her  desk,  tended  to  business,  and  won  a  rich 
husband.  She  has  been  successfully  wooed  by  a 
Mr.  Bernheimer,  a  millionaire  pottery  manu- 
facturer. 

.A.nd  what  do  the  flaps  on  the  lot  say? 

"  Her  diamond  solitaire  is  larger  than  Norma 
Shearer's." 

/  dearly  love  the  talkies — 

But  can  you  tell  me,  sweet, 
Why  eniiiipling  tissue  paper  soimds 

Like  ripping  up  a  sheet/ 

T)  IG  Victor  McLaglen  has  decided  he  hkes  us 
■'-'so  well  that  he  craves  to  be  an  American 
citizen,  and  has  taken  out  his  first  papers. 

His  wife  wants  to  take  up  with  Uncle  Sam, 
too,  but  as  she  is  here  only  under  a  permit,  she 
must  go  back  to  England  and  come  back  under 
the  regular  quota.  That  will  probably  take  a 
year.  And  Vic  must  wait  nearly  three  years 
for  the  second  set  of  papers  that  make  him 
a  full  citizen,  with  the  privilege  of  fighting  on 
the  -\merican  side  in  any  and  all  wars. 

Incidentally,  there  are  eight  McLaglen  boys. 
Recall  the  marines,  assemble  the  McLaglens, 
and  send  them  out  to  pacify  China. 

■p  VERYBODY  in  the  Fox  organization  con- 
-*— 'sidershimself"banished"\vhen  sent  to  work  , 
at    Fox    Hills    sound   plant,    situated    several 
miles  from  Hollywood. 

It  interferes  with  the  pleasurable  pastime  of 
shopping  and  lunching  on  the  Boulevard,  and 
making  mild  whoopee  with  one's  friends. 

So  the  Foxites  refer  to  the  Fox  Hills  Sound 
Studio  as  "The  Salt  Mines."  .Mso  they  call 
M.-G.-M.  "The  Culver  City  Branch." 

Returns  are  not  in  yet  from  M.-G.-M.,  but 
rumor  has  it  that  they  think  of  the  Fox  Studio 
as  the  Hollywood  branch. 

"D  EFORE  you  are  admitted  to  the  Clarence 
-'-'Brown  set  (if  you're  admitted  at  all)  you 
have  to  take  the  vow  of  silence,  wear  a  false 
moustache  and  salaam  eight  times. 

The  reason  is  that  Peggy  Wood  simply  can't 
bear  to  have  curious  eyes  grow  more  curious, 
my  deah.  She's  much  too  busy  putting  the 
wonder  in  "Wonder  of  Women." 

But  Peggy  doesn't  need  to  be  that  way.  The 
interest  on  that  set  is  not  Johnny  Weaver's 
wife.  It's  the  tin  ocean  that  was  invented  by 
one  of  the  boys  in  the  art  department. 

I  can't  begin  to  describe  the  thing  nor  how  it 
works.  Anyhow,  it  looks  exactly  like  a  real 
ocean  and  is  made  entirely  of  tin.  And,  if  I'm 
not  very  much  mistaken,  it's  going  to  steal  a  lot 
of  scenes  from  under  Peggy's  nose. 


deluxe 

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When  attendants  are  unusually  "thought- 
ful" and  the  way  short,  direct,  low  in 
altitude — through  a  region  of  absorbing 
interest,  it  is  not  surprising  that  patrons 
are  enthusiastic. 

Only  61M  hours  Los  Anceles-Chicago. 
Shortest  and  quickest  Chicago-San  Diego. 

Tickets  and.  reservations  at 

Hollywrcd  Ticket  Office.  6768  Hollywood  Boulevard,   Phones  Granite  1801-1802 

Los  Angeles  Ticket  Office.  212  West  Seventh  Slrett.  Phone  Metropolitan  2000 

B.  F.  Coons,  General  Agent,  Rock  Island  Lines 

809  Van  Nuys  Building,  Phone  Trinity  4574,  Los  Angeles.  Calil. 

Hugh  H.  Gray.  General  Agent  Passenger  Department 

Southern  Pacilic  Lines,  165  Broadway,  Phone  Cortland  4800 

°n  'i'r    I        Avenue  at  44th  Street.  Phone  Murray  Hill  8400.  New  York  City 

P.  W.  Johnston.  General  Agent,  Passenger  Department,  Rock  Island  Lines 

7-3  Knickerbocker  Buildine.  Broadway  and  42nd  Street 

Phones  Wisconsin  2515-0,  New  York  City 


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Photoplay  Magazine— Advertising  Section 


Sweetheart's 
Photo 

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you  may  wear  snapshots  of  your 
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mother  or  anyone  else's  picture 
you  wish. 

Hollywood  Bracelets  come  in 
different  styles,  finished  in  gold 
or  silver  plate,  enameled  or  set 
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They  are  made  in  styles  to  show 
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Our  beautiful  booklet  shows  the 
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|ID  you  ever  stop  to  think  how  many  real 
high  flyers  there  are  in  the  picture  business? 


We  mean  this  liteTally. 

For  instance,  take  Tay  Garnett,  the  Pathe 
director,  formerly  a  na\'y  aviator  mth  900 
hours  in  the  air.  Then  there  is  William  Well- 
man,  the  Paramount  director  andex-member  of 
the  Lafayette  Kscadrillc.  Being  a  member  of 
the  Kscadrillc,  he  is  sworn  to  secrecy  and  can- 
not discuss  his  war  record  or  flying  time. 

Reginald  Denny  of  Universal  was  100  hours 
in  the  air;  Wallace  Beery,  Lasky  star,  also 
100  hours;  Ben  Lyon,  100  hours  and  one  bad 
fall  in  which  he  cracked  up  a  crate;  Clarenc  e 
Brown,  M.-G.-M.  director,  350  hours,  and  the 
only  man  in  pictures  mth  a  full  transport 
license.  This  permits  him  to  fly  passengers 
either  for  fun  or  tor  pay,  to  haul  freight  or  to  do 
solo  work  either  straight  or  stunting.  During 
the  war,  Brown  was  a  flying  instructor.  And 
Howard  Hawks,  Fox  director,  with  Victor 
Fleming,  free  lance  director,  also  boast  of  their 
100  hours.  In  fact,  Fleming,  with  a  recent 
flight  almost  across  the  continent,  has  added 
another  30  hours  to  his  record. 

.\nd  now  all  these  folks  are  forming  a  flying 
club  with  William  Gibbs  McAdoo,  Jr.,  as  head 
man.  There'll  be  a  "Wing,"  or  branch  in  each 
studio.  Mebbe  in  another  five  years  there  ^^■lU 
l)e  more  flying  clubs  than  golf  clubs  in  Holly- 
wood. 

HERE'S  a  pretty  domestic  sight! 
At  the  curb  before  a  Santa 
Monica  market,  the  John  Barry- 
more  car.  In  the  rear  seat— Mrs.  B. 
sitting  demurely. 

Trotting  about  the  food  store  with 
bundles,   The    Great   Profile    itself, 
doing  the  family  marketing. 
The  chauffeur  grms.    So  do  I. 

A  HIGH-HAT  barber— that  is,  one  who 
gets  about  $5  a  barb— went  out  to  the 
Metro-Goldwyn  lot  recently. 

He  wanted  to  get  girls  to  pose  for  his  hair- 
;hingHng  act,  to  show  before  and  after  snipping. 

He  found  that  practically  none  of  the  ladies 
of  Culver  City  have  short  hair  any  more. 

Among  those  whose  locks  are  already  far 
down  on  the  neck  are  Anita  Page,  Dorothy 
Sebastian,  Raquel  Torres,  Gwen  Lee,  Jo- 
sephine Dunn  and  Leila  Hyams. 

EDDIE  NUGENT— is  there  no 
stopping  the  man?— reports  that 
the  noise  on  the  sound  stage  of 
"The  Green  Ghost"  is  terrific. 

All  the  EngUsh  actors  keep  drop- 
ping their  "h's." 

HARR"V  CAREY  has  the  title  role  in 
"Trader  Horn."  This  brings  on  more  talk. 
If  my  memory  doesn't  fail  me  completely,  at 
the  time  the  story  unfolds  the  trader  is  a 
young  and  gay  blade. 

Of  course,  he  is  white  bearded  when  he 
recounts  his  adventures,  but  not  when  they 
actually  happen.  Duncan  Renaldo,  the  boy 
who  played  one  of  the  twins  in  "The  Bridge  of 
San  Luis  Rey,"  is  Lilllc  Peru.  Duncan  is  a 
man  who  looks  about  twenty-two  or  three 
years  old,  yet,  in  the  book,  he  is  a  contempo- 
rary of  Trader  Horn. 

But  such  things  do  happen.  Remember  m 
De  Mille's  "The  Ten  Commandments"  that 
F.stelle  Taylor  played  the  part  of  Miriam  to 
Theodore  Robert's  Moses  when  The  Book- 
You'd-Take-on-a-Desert-Island  frankly  state'? 
that  Miriam,  a  girl  of  ten  or  so,  hid  her  baby 
brother  Moses  in  the  bull  rushes. 


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A  SHORT  time  ago  Harry  Oliver,  one  of  the 
cleverest  art  directors  in  the  motion  picture 
industry,  was  asked  to  join  the  Academy  of 
Motion  Picture  Arts  and  Sciences,  all  of  which 
costs  SlOO  in  coin  or  currency  or,  in  some  in- 
stances, by  check. 

In  response  to  the  in\'itation,  Harry  screwed 
up  his  eyes  quizzically  and  said,  "  No-o-o-o,  I 
don't  think  I'll  join.  "Vou  see,  I'd  rather  spend 
the  hundred  dollars  publishing  a  book  of  one 

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y^yy^yT^^Ty r^T^^*" » »  < 


A  SMART  FIGURE 

Y<Mi  too  CUT'  luivc  Mil'  wiH-<ifV<'lopfd  ligiiro 
II, Ht  thL.  now  fael.iouB  d.-mn.nd^  Don't  U-.-ni- 
bi.rraH.wd  by  skinny  ■irn.a,  hollows  in  the  fi.co 
and  [icck  andn  flm  rl.cat— U-c 

GROWDINA 

to  develop  thr  'imb!;  neck,  "^^f""  ^J';!"^;':^- 
A  -ciontific  tisstie  builder  di.-covrred  by  Mll<>. 
Koppcl.  famo.>H  P.-iri«  b<-«.,ty  c..ltun«t.  und 
Kimrniiteed  nb.inluKly  ^fe  ni'd  harmli-^.s. 
TcstimoniAlw  from  ivcry  pivrt  of  the  ^""n'ry 
m.bseribe  to  iIn  wonderful  r.-.sult-.  Con  fid,- nt  ml 
informntion  Bpoled  in  pliiin  wrapper  Bcnt  on 
request.     Write  now.  „.„__. 

MLLE.  SOPHIE   KOPPEL 
Suit*  711,  lOO  St.  Nicholas  Av«. ,  New  York 


Photoplay  Magazine — Advkhtisino  Skction 


hundred  sketches  of  sets  that  they  wouldn't 
lot  me  build.  1  think  that  would  do  the  motion 
picture  industry  more  good  than  for  me  to  join 
the  Academy." 

.\nd  Harry  is  one  of  those  fellows  who  won  ai 
honorable  mention  from  the  Academy. 

The  Markii's  crushed,  my  f,irt's  a^ pout. 
The  cook  has  quit,  llic  .i;/»  is  out. 
Oh,  cut  Ihc  chatter.'    Just  how  fair 
Arc  Pickford's  voice  and  shingled  hair:' 

p.VUL  BERN  tells  a  story  about  the  first  big 
-'-  break  Mae  Busch  had.  Paul  believed  that 
Mae  could  do  the  leading  riile  in  "The  Chris- 
tian" but  he  knew  he  would  have  a  diflicult 
time  selling  her  to  the  other  executives. 

He  took  her  aside  and  begged  that  she  put  on 
her  most  lady-like  manners  for  a  week  or  so. 
It  seemed  little  enough  to  ask. 

.\t  the  end  of  the  second  week  of  perfect 
decorum  Mae  found  Paul  and  said,  "For 
Gawd's  sake,  how  long  will  this  keep  up?  .\nd 
is  any  part  worth  what  I'm  going  through?" 

Paul  assured  her  that  it  was  and  begged  her 
to  stick  with  Emily  Post  for  a  few  days  longer. 

She  got  the  part  and  it  was  her  first  good 
break. 

JACK  'WARNER,  on  behalf  of  -War- 
ner Brothers,  was  presented  with 
one  of  the  shiny  new  statuettes 
awarded  as  symbols  of  honor  by  the 
Academy  of  Motion  Picture  Arts  and 
Sciences. 

Jack  hefted  it,  then  set  it  on  the 
comer  of  the  desk. 

"Leave  it  right  there,"  he  said, 
"it'll  make  a  fine  weapon." 

"PROPERTY  men  are  about  the  trickiest  ras- 
■*-  cals  in  Hollywood. 

Eor  instance,  when  you  see  a  swell  dinner 
party  on  your  pet  screen,  only  the  expensive 
principals  are  pecking  at  real  caviar.  The 
cheap  help  has  set  before  it  a  delicious  collec- 
tion of  birdshot  smothered  in  axle  grease. 

Caviar  is  too  e.xpensive,  and  extras  are  apt  to 
eat  it.  Once  a  property  man  had  to  use  the 
real  article,  so  to  protect  it  from  the  hungry 
help  he  covered  it  with  sand  until  time  for  the 
big  caviar  sequence. 

Lewis  Stone  will  have  to  die 
Some  day,  even  as  you  and  I. 

This  his  epitaph  can  he. 

Craven  large,  and  clear,  and  free — 

"Friend,  an  actor  lies  below 
Who  never  gave  a  rotten  show." 


117 


P.  and  A. 

The  new  Mrs.  Bryant  Washburn, 
formerly  Dahlie  Pears  of  Toronto. 
The  smiling  gentleman  beside 
her — the  one  with  the  lip  fuzz — 
is  just  the  groom 


Wanted:  Women  who  want 
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You  have  been  faithful,  oh  ladies, 
to  your  creams  and  to  your  un- 
guents and  your  fingers  are  clever  in 
the  ways  of  massage! 

But  still  blemishes  come  to  mar  the 
beauty  of  your  complexion  and  still  do 
you  sigh  for  the  skin  of  your  youth! 

■What  then,  have  you  left  undone? 
Where  have  you  robbed  your  creams 
of  their  power  to  beautify  .■*  Is  it  not 
that  you  overlook  that  true  beauty 
comes  more  from  within  than  from 
without? 

Most  emphatically  it  does.  And  the 
greatest  service  you  can  do  your  skin 
is  to  keep  free  from  constipation  and 
internally  clean  by  the  saline  method — 
with  Sal  Hepatica. 

Salines  are  the  modern  sesame 
to  beauty 

To  drink  salines  for  the  complexion's 
sake  has  long  been  the  custom  of 
fashionable  Europeans.  It  is  the  practice 
of  the  smart  women  of  the  continent 
to  regularly  visit  the  saline  springs — 
the  "cure  stations,"  "Vichy,  Carlsbad, 


At  your  druggist's 


^ALINES  are  the  mode  the 
<J  world  over  because  they  are 
wonderful  antacids  as  well  as  lax- 
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Weisbaden — where  they  freshen  their 
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Sal  Hepatica  is  the  American  equiva- 
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why  it  is  so  good  for  headaches,  colds, 
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Oal  Hepatica,  taken  before  breakfast,  is 
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does  it  fail  to  work  within  30  minutes. 

Get  a  bottle  today!  "Whenever  con- 
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take  \AOUK.  bctti 


HUKRY-UP  dressing  —  no  time  for  a 
refreshing  bath  to  make  your  skin 
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Dust  it  on  like  talcum !  Rub  it  under 
your  arms.  Dust  it  in  your  shoes  or  on 
your  feet.  Even  if  you  are  partly  dressed 
you  can  apply  enough  Deodo  to  prevent 
the  slightest  personal  offensiveness.  And 
it  remains  effective  all  day  long! 

Deodo  is  soothing  and  healthful  to 
the  skin.  Doesn't  clog  the  pores  or  harm 
clothing.  Excellent  on  sanitary  napkins. 

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Large  size  container  is  only  50  cents. 


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Amateur  Movies 


[  CONTINUED  FROM  PAGE  66  ] 


Gertrude  Millard  and  Myron  Cooper  In  a  love  scene  of  "Avarice," 

the   Photoplay    contest    entry    of    La    Jolla    Cinema  League  of 

La  Jolla,  Calif.    The  entire  finishing  of  the  film  was  handled  in  the 

league  laboratory 


cast  includes  Jane  White,  Prentice  Browning 
and  Gilbert  Carpenter.  W.  Melvin  Crook  is 
directing. 

The  first  amateur  serial  yet  recorded  is 
being  made  by  the  students  and  faculty  of 
Culver  Military  Academy  at  Culver,  Indiana. 
The  result  is  being  shown  to  the  students  in 
installments  on  the  weekly  program  with  the 
amateur-made  school  newsreel.  The  plot 
revoK'ed  around  a  very  red  Russian  who 
schemes  to  put  Culver  out  of  business.  Cap- 
tain Mather  is  directing. 


T^HE  newly  organized  Cinema  Club  of 
■*-  Toledo,  Ohio,  is  planning  its  first  production. 

Committee  heads  of  the  Cleveland  Federa- 
tion of  Women's  Clubs  were  entertained  at  a 
recent  meeting  of  the  Cleveland  Movie  Club. 
At  this  meeting  the  club  members  watched 
"The  Fall  of  the  House  of  Usher,"  the  much 
talked  about  amateur  film  made  by  J.  S. 
Watson  and  Melville  Webber. 

The  Photopl.vy  contest  entry  of  La  JoUa 
Cinema  League  of  La  Jolla,  Calif.,  entitled 
".Avarice,"  was  directed  by  R.  G.  S.  Rice  and 


Leonard  Clairmont,  maker 
of  the  contest  film  "Neme- 
sis." Mr.  Clairmont  acted 
also  as  studio  carpenter, 
make-up  man,  still  photog- 
rapher and  film  editor 

Every  advertisement  In  PHOTOPLAY  MAGAZINE  la  guaranteed. 


Richard  De  Pole,  in  the  title 
role  of  "Bonzabar  the  Beg- 
gar," a  story  of  old  London, 
submitted  in  the  Photoplay 
contest  by  the  Little  Screen 
Players  of  Boston 


photographed  Ijy  P.  II.  Adanis  from  a  slory  li>- 
R.  W.  V.  Adams.  The  cast  includes  vcle'raiis 
of  other  La  Jolla  films  and  numbers  Ivan 
Kite,  Gertrude  Millard,  Wvron  Cooper, 
Marjorie  \an  Antwerp,  Ray  Millard,  John 
Chisey  and  Edward  Stuart. 
^^  The  story  is  based  on  the  Biblical  quotation, 
"—for  whatsoc\er  a  man  soweth,  that  shall  he 
also  reap.'' 

A  Ta  recent  meeting  of  the  student  amateur 
»-mo\ie  club  of  the  University  of  \irginia, 
the  organization's  name  was  changed  from 
College  Topics  Productions  to  University 
Productions.  .\  thousand  foot  3.>  millimeter 
production,  "One  Week-End,"  is  half  com- 
pleted. This  satirizes  the  current  interpreta- 
tion of  college  life  given  in  Hollywood-made 
movies. 


Photoplay  Magazine— Advertising  Section 


The  Favorites  Pick 
Their  Own  Favorites 

I  CONTINUED  FROM  PACE  37  1, 


in  Hollywood)— because  she  pro\es  her 
brilliance  by  her  hatred  of  everybody. 

Herb  Somborn — because  in  Paris  he  tasted 
a  delicious  duck  and  has  tried  for  30  years  to 
reproduce  it.  Went  into  the  restaurant 
business  in  order  to  accomplish  his  purpose 
and  has  failed  to  find  a  chef  who  can  make  it. 
Complete  futility  made  more  complete  by  the 
fact  that,  after  tasting  so  many  duck  sauces, 
he  wouldn't  know  theoriginal  if  he  were  to  find  it! 
And  because  he  is  the  proprietor  of  "The 
Brown  Derby"  backed  by  Mizner  and  a  group 
of  other  sentimentalists  who  want  him  to 
continue  his  idyllic  search  for  the  duck. 

Erich  von  Stroheim — because  of  his  nose- 
thumbing  proclivities. 

Dr.  Thomas  Joyce — because  of  his  amazing 
work  as  a  dope  specialist  at  -Spadra. 

tirant  Clarke — because  he  wrote  "There's 
a  Little  Bit  of  Bad  in  Every  Good  Little  Girl," 
"•■\valon  Town"  and  "Weary  River." 

T  ILYAN  TASHMANT  looks  the  problem 
•'-'squarely  in  the  face  and  comes  back  with: 
Lionel  Barrymore — because  he  paints,  c(mi- 
poses  music,  sings,  plays  the  piano,  is  an  e.\pert 
draftsman,  directs  and  acts. 

Eric  Pedley  —  because  he  is  considered  by 
many  to  be  the  greatest  polo  player  in 
the  world  and  because  he  makes  a  business  of 
stocks  and  bonds.  Also  because  he  is  un- 
spoiled and  handsome. 

Adela  Rogers  St.  Johns— because  of  her 
colorful  life  and  her  refutation  of  the  old 
bromide  that  one  can't  make  a  success  of  a 
literary  career  combined  with  motherhood  and 
marriage.  Because  she  has  a  charming  knack 
of  commercializing  interesting  friendships. 

Bebe  Daniels— because  she  is  the  kindest 
person  Lilyan  has  ever  known.  Has  never 
done  or  said  anything  unkind  and  yet  doesn't 
know  how  charitable  she  is. 

Winfield  Sheehan — because  of  what  he  has 
made  of  the  Fo.x  organization.  Because  he  is 
a  multi-millionaire  and  doesn't  need  to  work, 
but  puts  in  fifteen  hours  a  day  on  his  job. 

Edmund  Lowe — becau.se  he  is  one  of  the 
best  actors  on  the  screen,  because  he  has  two 
university  degrees  and  never  mentions  them, 
and  because  1-ilyan  picked  him. 

Ronald  Colman  gives  a  neat,  concise  account 
of  himself  with  his  selection. 

Mary  and  Doug  (as  one  personality)- be- 
cause they  stand  for  ever>'thing  that  the 
picture  business  stands  for.  Because  of  their 
vivid  careers.  Because  they  were  born  of 
humble  parents  and  have  become  the  royalty 
of  the  screen. 

Gloria  Swanson — because  of  her  amazing 
dominance.  Because  she  was  once  a  Alack 
Sennett  bathing  beauty  and  is  now  a  star. 
Because  she  represents  the  color  of  the  in- 
dustry. 


White  Teeth 

deceive  4  out  of^ 

NOBODY'S  IMMUNE* 

*The    disease-of-Neglect    Ignores    Teeth, 
Attacks  Gums  — and  Health  is  Sacrificed 

AS  your  dentist  will  tell  you,  the  daily  brushing  of  teeth 
jr\ia  not  enough.  For  there's  a  grim  foe  that  ignores  the 
teeth,  even  the  whitest  teeth,  and  launches  a  severe  attack 
on  neglected  gums.  It  ravages  health.  It  often  causes 
teeth  to  loosen  in  their  sockets  and  fall  out.  And  it  takes 
as  its  victims  4  persons  out  of  5  after  forty  and  thousand? 
younger.    It  is  Pyorrhea. 

Don't  let  white  teeth  deceive  you  into  thinking  that  all 
is  well.  Provide  protection  now.  It  is  easier  than  relief. 
For  when  diseases  of  the  gums  are  once  contracted  onl\ 
expert  dental  treatment  can  stem  their  advance. 

Have  your  dentist  examine  teeth  and  gums  thor- 
oughly at  least  once  every  six  months.  And  when  you 
brush  your  teeth,brush  gums  vigorously.  Foradditioual 
prophylaxis  use  the  dentifrice  made  for  the  teeth  and 
gums  as  well . . .  Forhan's  for  the  Gums. 

Once  you  start  using  Forhan's  regularly,  morning 
and  night,  you'll  quickly  note  a  distinct  improvement 
in  the  condition  of  your  gums.  They'll  look  sounder, 
pinker.    They'll  feel  firmer. 

As  you  know.  Pyorrhea  and  other  diseases  seldom 
attack  healthy  gums. 

In  addition,  the  way  Forhan's  cleans  teeth  and  safe- 
guards them  from  decay  will  delight  you. 

Don't  wait  until  too  late.  To  insure  the  coming  years 


FORHAH  Ci 


WAV*  PRESS  FBOM 

a  NO  or  T«e  tub*. 


<^K=^r:3mj^ 


using 
a  tube 


against    disease,    start 
Forhan's  regularly.   Get 
from  your  druggist.  Two  sizes, 
35c  and  60c.   Forhan  Company, 
New  York. 


Forhan's  for  the  Gums  is  more 
than  an  ordinary  toothpaste.  It 
is  the  formula  ofR.  J,  Forhnn^ 
D.  />.  5.  /(  IB  compounded tcith 
Forhan 's  Pyorrhea  Liquid  used 
by  dentists  erery  irhere.  You 
in'//  find  this  dentifrice  especi- 
ally effective  as  a  gum  massage 
if  the  directions  that  come  \cith 
each  tube  are  foltoxced  flosely. 
It's  good  for  the  teeth,  It'm 
good  for  the  gums. 

*  r  f 

New  .  .  .  Forhan's 
Antiseptic  Refreshant 

/*'»  the  perfect  mouthteash.  It 
sweetens  breath  and  taste  and 
refreshes  mouth.  It  is  good  for 
sore  throat.  It  is  a  safe,  pleas- 
ant antiseptic  mouthwash^  that 
has    no    telltale   odor.     Try  iti 


When  you 


Forhan's 

FOR       THE       GUMS 

YOUR  TEETH  ARE  ONLY  AS  HEALTHY  AS  YOUR  GUMS 

writs  to  advertisers  please  mention  PHOTOPLAY  MAGAZINTl 


I20 


Photoplay  Magazine — Advertising  Section 


ite, 

ixrinp 

Skin^ 

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Spread  Nadinola  on  your  face,  neck  and 
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Get  a  jar  today  and  begin  tonight.  Watch 
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City  and  State.. 


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ITCHING 

I    quickly  relieve' 


RASHES 

quickly  relieved  and  often  cleared 
away  by  a  few  applications  of 

Resinol 


Sid  Grauman — because  he  is  the  best  show- 
man in  the  world. 

Professor  Robert  A.  Rlillikan,  of  California 
School  of  Technology— because,  while  we  are 
exciting  ourselves  over  the  petty  matters  of 
every-day  hfe  he  has  his  eyes  glued  to  a 
telescope  and  becomes  vitally  thrilled  over 
the  fact  that  some  obscure  planetary  body  is 
a  million  times  bigger  than  something  else. 
Because  with  all  our  talk  of  stars  and  craving 
for  stardom,  he  has  found  the  real  stars. 

Joseph  Schenck — because  he  has  retained, 
through  all  his  success,  the  sweetness  tliat 
t>'pilied  the  theatrical  profession  in  the 
early  days. 

CORINNE  GRIFFITH  speaks: 
James  Ford — because  he  is  wnolesome 
and  boyish  and  hitch-hiked  all  the  way  to  Cali- 
fornia to  go  into  pictures.  Because  he  has 
had  tough  breaks  and  they  haven't  spoiled 
his  sweetness.  And  because  she  discovered 
him. 

Howard  Kickenlooper  (Bob  O'Hara) — be- 
cause he  was  a  newsboy  on  the  lot  and  had  a 
healthy  curiosity  about  everything  that  was 
going  on.  Because  he  was  earning  $7  a 
week  and  supporting  his  grandmother  and 
because  he  isn't  a  bit  spoiled  since  he's  been 
playing  extra  parts  in  pictures. 

General  Watishevlav  Savitzsky — because 
he,  although  a  minister  of  war  of   Southern 


Russia,  a  man  Vithose  word  had  been  law,  a  real 
general  who  used  to  wine  and  dine  with  the 
greatest  men  in  Europe,  who  was  cited  again 
and  again  for  bravery,  is  gallantly  working 
as  an  extra  because  he  can  lind  nothing  better 
to  do  and  doing  it  uncomplainingly. 

Baron  Wilhelm  von  Hesse — because  of  his 
charming  personality  and  because  his  phi- 
losophy is  "What  do  I  care  about  money  as 
long  as  I  can  sing?" 

Norma  Shearer — because  of  her  complete, 
and  beautiful  poise. 

"DUT  it  remained  for  Jack  Gilbert  to  top 
■'-'them  all.  He  saw  me  in  his  dressing  room. 
He  had  been  given  a  week  to  think  over  this 
weighty  question. 

"How  many  do  you  want,"  he  asked;  "five 
or  ten?" 

"Ten  would  be  great,"  I  said,  amazed  at 
such  a  docile  manner. 

"O.K.,"  said  Jack  and  he  began  to  count 
them  off  on  his  fingers. 

"Carey  Wilson,"  he  said,  "because  he  is 
completely  unique,  because  what  to  everyone 
else  in  the  world  is  utter  tragedy  is  uproariously 
funny  to  Carey  and  what  to  every  sane  man  is 
laughable  is  high  tragedy  to  him." 

He  paused. 

"Yes,"  I  said,  "and  the  rest?" 

"The  other  nine  are  Greta  Garbo — for 
obvious  reasons." 


Carsey 
Billie  Dove  looking  over  her  collection  of  perfumes,  which  seems  to 
be  fairly  complete.  No  doubt  Bill  is  saying  to  herself,  "Have  some- 
thing yourself,  and  see  what  the  girls  in  the  bgck  room  will  have!" 
Her  present  picture  is  "The  Man  and  the  Moment,"  directed  by 
George  Fitzmaurice 

Every  advertisemcnl  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Phoioplay  Magazine — Advertising  Suction 


I  21 


Who's  Talking  for 
Who  in  Hollywood 

1  CONTINUED  FROM  PAGE  53  ] 


joining  apartment.  Imagine  my  astonishment 
the  other  night  on  hearing  him  sing  from  the 
screen — a  \eritable  diiclcadee,  tweet,  tucet. 

It  toolc  them  three  weeks  to  synchronize  his 
voice  with  the  singer's,  so  I  guess  that  won't 
keep  up  for  long.  I  could  mention  names  with- 
out doing  harm.  We'\e  known  all  along  that 
feats  of  daring  were  performed  for  the  fi\e- 
thousand-a-week  star  by  a  guy  getting  ten 
bucks. 

Some  of  the  best  acting  has  been  done  by 
the  directors  with  the  stars  copying;  the  wit 
is  the  sub-title  writer's,  and  even  the  beauty 
has  been  supplied  mostly  by  the  make-up  man 
and  the  electricians  who  know  how  to  mop 
out  wrinkles  with  flat  lighting. 

But  when  the  week  is  up  it  is  the  man  with 
the  ejes-nose-chin  who  gets  the  check  with 
the  most  ciphers. 

Of  course,  the  feminine  stars  have  to  con- 
tribute a  lot  more  than  a  face. 

They  earn  every  cent  right  down  to  their 
toes. 

Beauty  may  be  skin  deep  but  on  the  screen 
it's  ankle  length. 

If  I  seem  envious  it's  because  of  the  money 
bowl  episode  at  Betty's — just  when  I  thought 
the  source  of  supply  would  be  equal  to  the 
demand,  too ! 

npHERE'S  consolation  in  the  thought  that 
•*•  money  never  did  anyone  any  good  anyhow. 
At  the  Plantation  the  other  night  I  fell  into 
discourse  with  Fatty  Arbuckle. 

I  asked  him  why  high-salaried  stars  were 
always  unhappy. 

"  Because  they're  always  broke,"  said  Fatty. 
"Sure,  they  land  a  thousand  a  week  and  the 
first  week  they  go  out  and  buy  a  ninety 
thousand  \illa  and  hire  servants  to  rob  them. 
I  know  because  I've  been  through  it. 

"They  lounge  in  swell  sets  all  day  and  think 
they  rate  them." 

Fatty  lives  in  a  cottage  at  the  beach  during 
the  w  inter  and  moves  to  town  for  the  summer. 

"In  that  way  I  miss  the  gang  the  year 
round,"  he  said. 

He  had  an  alarming  experience  recently.  In 
the  dead  of  night — which  is  early  morning  for 
Fatty  after  his  Plantation  work — someone 
shouted: 

"Get  up!     Hands  up!     Bend  over!" 

"Say,  what  th'ell  kind  of  a  burglar  are  you 
anyhow?"  groaned  Fatty,  trying  his  best  to 
bend  over. 

He'd  forgotten  to  turn  off  the  radio,  and  the 
morning  setting-up  exercises  were  on. 

I  suppose  you  noted  the  dirty  \illain  in 
"Broadway  Melody"  named  Jack  Warner, 
same  as  one  of  the  Warner  Brothers. 

It  was  spelled  differently  but  pronounced 
that  way. 

The  night  I  attended  the  show  Jack  Warner 
was  there.  His  comment  was,  "I  guess  they 
thought  they  couldn't  put  over  a  talkie  without 
my  name." 

The  obser\-ation  was  charitable,  but  all  the 
same  I'm  looking  for  a  Warner  picture  with  a 
villain  named  Looie  P.  Mare. 

TWINED  at  Raymond  Hatton's  the  other 
■'-^night.  They  have  a  Swedish  culinary 
genius,  and  she  knew  that  Anna  Q.  Nilsson  was 
one  of  the  guests. 

Result,  the  food  was  something  to  write 
Gustavus  .\dolphus  about. 

Munching  candy  after  dinner  I  picked  up  a 
magazine  and  read  that  friend  Fanny  Ward 
reaches  for  a  Lucky  instead  of  a  sweet.  Hope 
I'm  as  manly  at  si.xty. 

Ray  Hatton  has  been  hot-skipping  between 
studios  since  his  "Caesar  Runs  a  Newspaper" 
for  Christie. 


Shampooing 

done  properly  .  .  adds  loveliness  to 

Your  Hair 

WliyOrdinary  Washing. .  fails  to  clean  thoroughly. 
Thus  preventing  the  .  .  Real  Beauty  .  .  Lustre, 
Natural  Wave  and  Color  of  Hair  from 


THE  beauty,  the  sparkle  .  .  .  the  gloss  and 
lustre  of  your  hair  .  .  .  depend,  almost 
entirely,  upon  the  way  you  shampoo  it. 

A  thin,  oily  film,  or  coating,  is  constantly 
forming  on  the  hair.  If  allowed  to  remain, 
it  catches  the  dust  and  dirt — hides  the  lile 
and  lustre — and  the  hair  then  becomes  dull 
and  unattractive. 

Only  thorough  shampooing  will . . .  remove 
this  film  .  .  .  and  let  the  sparkle,  and  rich 
natural .  . .  color  tones  ...  of  the  hair  show. 

W'ashing  with  ordinary  soap  fails  to  sat- 
isfactorily remove  this  film,  because — it 
does  not  clean  the  hair  properly. 

Besides — the  hair  cannot  stand  the  harsh 


showing 


effect  of  ordinary  soaps.  The  free  alkali, 
in  ordinary  soaps,  soon  dries  the  scalp, 
makes  the  hair  brittle  and  ruins  it. 

That  is  why  women,  by  the  thousands, 
.  .  .  who  value  .  .  .  beautiful  Lair  use 
Mulsified  Cocoanut  Oil  Shampoo. 

This  clear  and  entirely  greaseless  product, 
not  only  cleans  the  hair  thoroughly,  but  is  so 
mild,  and  so  pure,  that  it  cannot  possil)ly 
injure.  It  does  not  dry  the  scalp,  or  make 
the  hair  brittle,  no  matter  how  often  you 
use  it. 

Two  or  three  teaspoonfuls  of  Mulsified 
make  an  abundance  of  .  .  .  rich,  creamy 
hither  .  .  .  which  cleanses  thoroughly  and 
rinses  out  easily,  removing  with  it  every 
particle  of  dust,  dirt  and  dandruff. 

The  next  time  j'ou  wash  your  hair,  try 
Mulsified  Cocoanut  Oil  Shampoo  and  .  .  . 
just  see  .  .  .  how  reall}'  beautiful  your  hair 
will  look. 

It  will  keep  the  scalp  soft  and  the  hair 
fine  and  silky,  bright,  fresh  looking,  wavy 
and  easy  to  manage  and  it  will — fairly 
sparkle — with  new  hie,  gloss  and  lustre. 


For  Your  Protection 

Ordinary  Cocoanut  Oil  Shampoos  are 
not— "MULSIFIED."  Ask  for,  and  be 
sure  you  get— "MULSIFIED." 


Mulsified 


COCOANUT    OIL 
SHAMPOO 


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122 


Photoplay  Magazine — Advertising  Section 


fe^SsS 


WRINKLES  appear  when  the 
flesh  and  tissues  under  the  skin 
become  .soft  or  lifeless.  JBabies  and 
children'never  have  wrinkles;  their 
flesh  is  firp\  and  live.         / 

To  smooth  away  wrinkles,  the 
tissues  under  the  skin  must  be  nour- 
ished back  to  firmness.  Dr.  Charles' 
Flesh  Food  does  this  by  absorption. 
You  use  it  as  an  ordinary  night 
cream.  It  feeds '^he  tissues  and  tones 
them  up.  Wrinkles  and  sagging  flesh 
disappear.  It  is  also  invaluable  for 
rounding  out  hollows  in  the  neck 
and  shoulders. 

For  three  generations  women  have 
used  Dr.  Charles'  Flesh  Food.  50c 
the  box,  $1  the  jar,  at  any  druggist. 

DrCharles 

FLESH  FOOD 


This  coupon  will  bring  you  a  FREE  sample 
jar  of  Dr.  Charles  Flesh  Food. 
Dr.  Charles  Flesh  Food  Co.,  Dept.  P.  F. 
220— 36th  Street,  Brooklyn,  N.  Y. 


Z^^ 


h^-^ 


The  Drake  Hotel  is  wonderfully 
located.  On  the  lake,  yet  within  easy 
walking  distance  of  the  heart  of  down- 
town Chicago.  For  tempting  food  and 
remarkable  service,  The  Drake  isknown 
far  and  wide.  Rates  are  reasonable — as 
low  as  five  dollars  a  day  single  room 
with  bath,  six  double.  Special  discounts 
for  extended  stays.  Write  for  Illustrated 
Booklet,  Edition  6. 

Under  the  Blackstone  management 
kno'jin  the  world  O'jer 


The 


DCArE 


HCTEL       Chicago 


"Yep,  me  and  the  colored  folk,"  says  Ray. 
The  Christies  hired  a  troupe  of  colored  players 
from  a  Los  Angeles  theater  and  a  white  man 
had  to  be  engaged  to  tutor  them  in  Negro 
dialect.  I  guess  they'd  never  heard  of  Mammy. 
She's  in  the  cold,  cold  ground  so  far  as  they're 
concerned.  And  so  goes  another  illusion  with 
Santa  Claus. 

But  kids  nowadays  have  speakeasies  in 
which  to  drown  their  bursted  illusions.  When 
a  ju\cnile  speakeasy  was  raided  in  Bakersfield 
the  kiddies  said  they  thought  it  was  a  marsh- 
mallow  picnic. 

Evidently  the  kiddies  hadn't  reached  for  a 
sweet  in  a  long,  long  time. 

I  was  shown  o\'er  the  Metro-Coldwyn- 
Jlayer  lot  by  my  pal  Howard  Strickling,  proud 
of  the  new  edifices.  Marion  Davies  has  a 
bungalow,  Cecil  B.  De  Mille  has  a  bungalow. 
Jack  Gilbert  is  to  have  a  bungalow,  and  it 


looked  to  me  as  though  the  lot  would  soon  be 
a  bungalow  court. 

Met  Nina  ilay,  the  colored  star  of  King 
Vidor's  "Hallelujah." 

Nina  said  she  was  just  crazy  foh  a  write-up 
in  Photoplay.  Nina  shall  have  it  or  Ah'm 
a  no-good  jigg,  Ah  am. 

I  guess  it's  my  bedtime,  Jim.  I  just  heard 
a  rooster  crow.  But  maybe  it's  a  rooster's 
double. 

You  never  know  in  this  talkie  town. 

I'm  going  to  take  up  barking  and  do  arias  for 
Rin-Tin-Tin.  Sound  doubling  is  the  coming 
profession. 

Thank  God,  'cause  I  got  despondent  last 
night  reading  an  article  which  said  that  there 
were  getting  to  be  fewer  and  fewer  places  for 
the  best  minds  in  .'\merica. 

Yours  with  a  gay  tra-la  and  a  merry  heigh- 
ho! —  Herb. 


How  to  Make  Your  Dressing  Table 
Attractive 


\  CONTINUED  FROJI  PAGE  69  ] 


this  way  a  perfect  lighting  effect  is  achieved. 
The  flounce,  of  course,  conceals  a  multitude 
of  things;  hat  boxes,  shoe  boxes,  etc. 

Beautiful  in  its  complete  simplicity  is  the 
dressing  table  in  Bebe  Daniels'  home.  It  is  of 
dark  brown  wood,  in  early  Renaissance  design, 
the  only  modern  touch  being  the  plate  glass 
that  goes  over  the  top  and  keeps  the  real  lace 
cover  from  getting  soiled.  She  uses  a  little 
chair  with  only  half  a  back.  One  large  drawer 
extends  across  the  front  of  the  piece. 

One  of  the  most  unique  dressing  tables  is 
used  by  Mary  Duncan.  This  is  made  entirely 
of  mirrors,  a  full-length  one  that  extends  to 
the  floor,  double  side  mirrors  and  a  mirror  for 
the  make-up  shelf. 

Another  old-fashioned  girl  is  Claire  Windsor. 
She  has  done  a  nice  job  by  reviving  an  old- 
fashioned,  marble  top  bureau.  It  was  re- 
painted, decorated  in  modern  manner,  and 
serves  its  purpose  nobly.  The  onfi  new  touch 
is  the  large  oval  mirror  that  hangs  above  it. 
It  is  painted  cream  and  decorated  with  silver. 


Vilma  Banky's  dressing  table  would  satisfy 
the  soul  of  the  most  ardent  Parisienne.  It  is 
of  pale  blue,  trimmed  with  silver.  The  comb 
and  brushes  are  of  silver,  and  all  bottles  and 
powder  boxes  are  Lalique.  The  boudoir  lamp 
shades  are  blue. 

Vilma  keeps  all  the  make-up  tools  in  sight, 
right  where  she  can  find  them. 

So  does  Estelle  Taylor,  who  has  a  built-in 
dressing  table,  draped  and  flounced  with  rose- 
colored  taffeta. 

The  cretonne  covered  chair  is  also  in  rose, 
and  the  lamps,  set  right  into  the  mirror,  are 
placed  to  cast  a  correct  light. 

One  of  the  neatest  contrivances  is  a  little 
portable  dressing  table  that  Norma  Shearer 
carries  around  with  her  on  the  set.  When  it  is 
folded  up  it  resembles  a  tiny  blue  trunk.  It 
holds  all  her  make-up  equipment. 

Heaps  of  variety  here!  Choose  the  perfect 
dressing  table  for  your  own  personality — one 
that  will  charm  away  that  early  morning 
grouch. 


Mary   Duncan's   unique  dressing   table   is   fashioned   entirely  of 

mirrors.    Even  the  shelves  reflect  her  charm.    Note  the  convenient 

double  mirrors  at  each  side 


Ercr?  advertlsemeDt  In  PHOTOPLlAY  MAGAZINE  la  guaranteed. 


Photoplay  Magazine — Advehtising  Section 


Stepin's  High- 
Colored  Past 

[  CONTINUED  FROM  PACE  31  ] 


certain.  That's  the  only  ihinn  that  am  cer- 
tain. Ah  don't  worry  'bout  dyin",  understand 
what  Ah  mean — Death  is  just  the  besinnin'  of 
Glory.  What  worries  me  is  dyin'  full  of  im- 
purities ..." 

"  Full  of  which?"  asks  Ah.  startled. 

"  Full  of  impurities,  yes-suh.  .  .  .  You 
know — messin'  round  with  women  an'  all 
that  .  .  .  understand  what  Ah'm  talkin' 
'bout?" 

I  recalled  my  con\'ersation  with  a  bootblack 
that  day.  I  told  him  I  was  inter\-iewing  the 
famous  .Stepin  F'etchit. 

"Oh,  Ah  knows  him  well."  said  my  shoe 
masseur.  "Ah  used  to  go  with  the  girl  he  was 
engaged  to." 

Stepin's  eyes  bugged  when  I  told  him. 
"That's  right.  ...  Ah  knows  that  fella." 
Then  with  sad  incoherence.  .  .  .  "But  Ah 
ain't  engaged  no  more.  .  .  .  Oh,  I  dunno.  .  .  . 
Ah  say  it  wasn't  intended.  Marriage  isn't  foh 
me.  Ah  figures  .-Vh've  thrown  mah  life 
away.   ..." 

"  How  old  are  you?" 

"Twenty-si.\."  He  eyed  me  lugubriously. 
"  But  you  know  .  .  .  Ah'm  spoiled,  been 
sportin'  round,  foolin'  round  with  women,  Ijcen 
a  little  thug  .  .  .  understand  what  Ah  mean?" 

An  sympathized  deeply  and  there  was  a 
bond.  Stepin  unwound  and  leaned  over 
confidentially. 

"You  see  Ah'm  a  good  church  member.  .\h 
can't  be  marryin'  just  foh  pleasure.  When 
Ah  marries  it's  for  life.  An'  on  the  other 
hind,"  his  brows  tangled  and  his  hands  sawed 
t!ie  air,  "Ah  can't  be  goin'  round  committin' 
i..ipurities.  It's  hard,  it  sure  is  hard.  But 
nuthin'  is  impossible  to  the  Lord.  Ah  just 
came  from  sayin'  some  prayers  in  church. 
Ah'm  pure  now  .  .  .  but  will  Ah  be?  That's 
the  question.  Ah've  been  pure  before  but  Ah 
went  back.  If  Ah  goes  back  again  Ah'm  goin' 
to  marry.  ..." 

"Were  you  born  in  religion  or  are  you  a 
convert?" 

"Ah  was  born  in  another  religion."  Step 
leaped  up,  electrified  and  eyes  shinin'  hke 
bulbs.  ".Ah  converted  mahself.  You  know 
what  did  it?  The  .\postles'  creed,  yessuh. 
You  know  the  Apostles'  creed.  You  doi'  Go 
on  say  it  then." 

Our  discussion  grew  more  fervent,  waves  of 
religion  swept  us  higher,  and  finally  at  the 
hallelujah  pitch  I  shouted  sacrihcially  that 
Step  ought  to  make  that  personal  appearance. 

"Where  at  is  the  theater?"  cried  Step. 

"I'll  take  you  in  my  car,"  I  said.  But  no,  he 
shouted  for  his  boy.  .\  young  colored  chauffeur 
in  livery  escorted  us  to  a  gleaming  motor  and 
we  rolled  away  to  the  uptown  theater. 

The  personal  appearance  was  a  riot,  under- 
stand what  I  mean?  Stepin  confessed  openly 
that  if  it  hadn't  been  for  a  friend  sent  by  the 
Lord  an'  Photopl.w  M.\g.\zixe  he  ne\er 
would  have  been  there. 

When  we  parted  it  was  agreed  that  we  would 
continue  our  revival  meeting  at  his  hotel  on 
Sunday  .  .  .  "any  time  after  church." 

T^HE  Summerville  hotel  is  the  colored  Rilz, 
•'•  on  Central  .\venue,  Los  .\ngeles.  Step  was 
waiting  for  me  in  the  lobby.  He  was  in 
lavender  shirt  and  checks,  had  partaken  of 
communion  and  was  going  to  the  ball  game, 
but  he  never  got  to  the  ball  game  because  we 
got  to  talkin'  an'  singin'  an'  .  .  .  Swing  Low 
Sweet  Chariot! 

"Ah  always  had  a  beautiful  voice,"  said 
Stepin  without  any  coercion  from  me.  "Ah 
used  to  sing  foh  the  bishop  at  school." 

After  a  few  spirituals  had  sort  of  swung  us 
into  unity,   Stepin's  life  story  just   naturally 


0}^  woM  largest 
selling  TALCUM, 
AAA  ihe  worlds  finest  I 

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124 


Photoplay  Magazine — Advertising  Section 


Freckles 

Can  be  Secretly  Removedl 

"V^OU  can  remove  those  annoying, 
-^  embarrassing  freckles,  secretly 
and  quickly,  in  the  privacy  of  your 
own  home.  Your  friends  will  wonder 
how  you  did  it. 

Stillman's  Freckle  Cream  bleaches 
them  out  while  you  sleep.  Leavesthe 
skin  soft  and  white,  the  comptcxion 
fresh,  clear  and  transparent,  the  face 
rejuvenated  with  new  beauty  of 
natural  coloring.  The  first  jar  proves 
its  magic  worth.  At  all  druggists. 

Stillman's    . 

Freckle  Cream  Kf]( 

Removes  T  Whitens        If/'  / 

Freckles  1  The  SKin  C/t/  I 

I 
I 
I 


STILLMAN  CO. 
32  Rosemary  Lane 
Aurora,  Illinois 

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let  "Goodbye  Freckles". 


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unrolled.  He  paced  the  floor  gesticulating 
while  I  reposed  on  the  bed  (mah  feet  hurt) ! 

He  was  born  in  Key  West.  His  father  didn't 
'mount  to  much,  understand?  His  mother 
supported  him  and  his  two  little  sisters  with 
the  sewing  machine.  When  she  died  he  was 
adopted  by  a  colored  dentist  and  his  wife 
whom  Stepin's  mother  used  to  sew  for. 

"That  dentist  sure  was  smart,"  said  Step. 
"He  couldn't  read  nor  write  an'  he  had  a 
diploma  from  Columbia  University.  They 
was  friends  of  Booker  T.  Washington.  The 
last  dress  mah  mother  made  was  for  mah  step- 
mother to  attend  the  opera  as  guest  of  Booker 
T.  Washington,  yes-suh." 

Step  was  bad.  He  was  expelled  from  all  the 
schools  in  Tampa.  Finally  they  sent  him  to 
St.  Joseph's  College  in  Montgomery, 

"Ah  was  bright  .  .  .  Ah  was  terribly 
bright  .  .  .  but  Ah  never  studied.  Ah  wrote 
swell  compositions,  but  they  never  got  over 
'cause  of  mah  bad  reputation.  Understand? 
.\h  was  a  bad  example.  Ah  was  a  little  thug, 
alius  stcalin'." 

Step's  college  career  was  snapped  off  when 
his  stepfather,  the  dentist,  broke  a  man's  jaw- 
bone. Business  went  to  pieces  and  there  was 
no  money  for  tuition.  Maybe  Step  was  bad 
but  the  httle  Sisters  of  the  school  in  Tampa 
took  up  a  collection  for  him  and  the  Fathers  of 
St.  Joseph's  wanted  him  to  stay  without 
tuition. 

But  Step  went  to  work  at  a  soldiers'  hospital. 
It  was  war-time. 

"  It  was  a  hospital  foh  rich  soldiers  what  had 
shot  themselves  in  the  toes,"  e.xplained  Stepin. 
"Ah  got  a  reputation  singin'  and'  dancin'  foh 
them." 

T\  THEN  Diamond  Tooth  Billy  Arnte  came 


to   town   with   his   minstrel   show.  Step 


w, 

joined  and  was  billed  as  Rastus  the  Buck 
Dancer.  Later  he  was  billed  Jolly  Perry, 
Skeeter  Perry,  but  always  to  his  friends  he  was 
the  same  old  Slop  Jar. 

Diamond  Tooth  Billy — so  named  for  the 
gems  that  he  had  set  in  his  teeth — was  one  of 
those  biggety  guys.  He  threw  things  at  Step 
and  Step  quit.  Later  Diamond  Tooth  sent  his 
wife  to  vamp  Step  back. 

"She  pretend  she  was  in  love  with  me,  but 
Ah  wasn't  fooled."  Step  had  been  learning 
'bout  women. 

Step  joined  another  carnival  as  dancer  and 
stage  manager  besides  for  eighteen  dollars  a 
week.      They   advertised    him    as    the    buck 


champion  of  the  world:     $10,000  to  Anyone 
Dead  or  Ahve  Who  Can  Beat  Him. 

"That  is,  they  advertised  me  that  way  out 
in  the  woods,"  said  Step.  "In  the  towns  they 
didn't  say  nuthin'." 

A  LL  this  time  he  was  a  bad  egg — bad.  He 
-*»-had  joined  the  church  but  kept  right  on 
stealin'. 

"I  guess  you  weren't  praying  in  those  days 
when  you  stole,"  said  I. 

"Ah  certainly  was,"  said  Step.  "Every 
time  .Ah  went  into  a  store  to  swipe  somethin' 
Ah  prayed  the  Lord  to  get  me  out  of  jail  and 
He  always  did. 

"Why  do  you  know  ..."  Step  became 
ecstatic.  .  .  .  "Once  a  Mason  got  me  out  of 
jail.  Just  shows  how  the  Lord  works.  An'  the 
district  attorney  was  goin'  to  send  me  up  for 
ten  years." 

Step  hesitated.  "Ah  don't  know  as  Ah 
should  speak  about  it  .  .  .  But  no,  they 
couldn't  get  me  for  it,  Ah  \A'as  cleared." 

Step  and  his  girl  friend  had  been  thrown  into 
the  hoosgow  for  stealing.  They  gave  Step  the 
third  degree,  knocked  all  his  teeth  out.  He 
opened  his  mouth  and  showed  me  the  solid 
gold  backing  to  his  precious  set  of  ivories 
bridged  in. 

He  got  out  of  jail  by  offering  to  show  an 
officer  where  the  stuff  was  hid. 

"An'  it  wasn't  hid  any  of  the  time,"  said 
Step  gleefully.  "It  was  right  in  mah  beltl 
Huh?    Oh  just  some  little  old  diamond  rings." 

He  got  the  officer  to  escort  him  and  his  girl 
into  the  woods,  then  returned  the  rings.  All 
night  the  girl  and  Step  trudged"  through  the 
forest.  In  the  morning  they  caught  a  freight 
and  rode  four  hundred  miles. 

"She  sure  was  a  support  to  me,  that  little 
girl,"  said  Step.  "We  loved  one  another,  but 
she  was  married.  She  was  thirteen  years  old. 
Her  mother  married  her  off  to  a  grafter  when 
she  was  eleven.  If  Ah  ever  marry  it  will  be 
her.  But  a  lot  has  to  be  cleared  up  on  account 
of  mah  religion. 

"  Ah  told  her  not  to  fool  'round  carnival  guys 
no  more  because  some  of  those  jiggs  would  treat 
her  bad.  She  said  'all  right,'  and  went  back  to 
the  cotton  fields." 

Step  paused,  and  his  whole  face  took  on  the 
glow  of  his  smile.  "Do  you  know  what  Ah 
did  with  the  first  money  Ah  got  from  mah  con- 
tract? Ah  bought  two  wardrobe  trunks  an' 
filled  them  with  dresses  an'  sent  them  to  that 
httle  girl  down  in  the  cottonfields  of  Louisiana. 


Stepin  believes  in  depending  entirely  upon  the  Lord  rather  than 
saving  money  for  the  future.  "If  a  man  can't  depend  on  God  he 
can't  depend  on  no  little  old  silver  trinket,"  says  Fetchit.  "Mah 
three  automobiles?  Ah  tell  you  why  Ah  got  them.  Folks  will  go 
to  church  in  a  Cadillac  what  wouldn't  otherwise.  Mah  cars  are 
filled  every  Sunday" 


Even  advertisement  In  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


Ali've  sent  foh  mah  father  an'  sisters,  an' 
they're  comin'.  An'  Ah've  tried  to  locate  mah 
step-parents  but  Ah  have  never  been  able  to." 

CTEP  quit  the  carnival  for  a  year  to  become 
•^a  clersyman.     That   was  in  New  Orleans. 

".\h  fasted  for  a  week,  didn't  even  put  a 
tooth  brush  in  mah  mouth.  All  the  time  pray- 
in'  foh  unity,  understand." 

But  it  takes  years  of  study  to  become  a 
preacher,  and  Step  had  no  money.  He'd  gel 
jobs  but  they'd  always  fire  him  because  he  was 
always  going  to  church. 

"So  Ah  decided  Ah  could  still  be  good  and 
be  in  the  show  business  .  .  .  that  was  my 
alibi  foh  goin'  back,  understand?  But  yet  Ah 
still  thinks  Ah  can  do  good  and  be  in  the  show 
business.    Ah'm  tryin'.  .  .  . 


But 
hat 


I 


"nPHEY  tell  me  to  save  my  clippings.     Bu 

•'•  Ah  says,  '  It  ain't  what  you  was  but  wha 
you  now  am  is.' 

"Ah'm  goin'  to  be  a  great  success.  Ah 
wouldn't  be  surprised  if  Ah  would  be  the 
greatest  man  in  the  business.  Know  why? 
'Seek  ye  first  the  Kingdom  of  Heaven  an'  all 
things  will  be  given  thee.' 

"But  when  Ah'm  a  great  success,  \\hen 
Ah'm  way  up  on  top  Ah'm  goin'  to  walk  right 
out  and  leave  it  all. 

"You  know  who  Ah  want  to  be  like?  Ah 
want  to  be  like  Gene  Tunney  an'  Ramon 
Novarro.  They  don't  care  foh  success  an' 
pubhcity.  Ramon  Novarro,  he  is  a  shinin' 
e.xample  to  all  'cause  he's  on  the  right  side. 

"Another  thing.  Ah  ain't  never  goin'  to  get 
my  life  insured.  Ah  ain't  never  goin'  to  save 
a  dollar.  A  man  who  puts  a  dollar  in  the  bank 
depends  on  that  for  safety.  If  a  man  can't 
depend  on  God  he  can't  depend  on  no  little  old 
silver  trinket. 

"Mah  three  automobiles?  Ah  tell  you  why 
Ah  got  them.  Folks  will  go  to  church  in  a 
Cadillac  what  wouldn't  otherwise.  Mali  cars 
are  filled  every  Sunday. 

"You  see  that  white-ish  fella  what  stuck 
his  head  in  the  door?  He's  colored,  but  he  looks 
tt'hite  an'  that's  why  colored  wom.en  like  him. 
Well,  he  was  a  bad  jigg,  he  was.  Now  he  goes 
to  church  every  Sunday  in  mah  car  an'  he  ain't 
ashamed  to  be  good. 

"See  those  flowers  over  there?  Ah  buys 
them  from  a  colored  woman.  She  was  bad,  a 
confidence  woman,  walked  the  streets — under- 
stand what  Ah  mean?  But  she's  got  a  little 
girl  that's  good.  The  little  girl  has  an  in- 
fluence on  the  mother.  .  .  understand  what  Ah 
mean? — just  like  in  pictures,  huh?  She,  the 
mother,  wanted  to  be  good  but  she  didn't 
know  no  other  way  of  livin'.  Ah'm  encouragin' 
her  in  the  flower  stand.  That's  why  Ah  have 
those  flowers." 

"TF  there's  more  funniness  than  heart  in  my 
■'-story  of  Mr.  Lincoln  Perry  it  is  because  he 
wished  it  so.  He's  shrewd  beneath  his  happy 
negro  humor.  When  I  left  him  he  said,  "Ah 
talk  to  you  Uke  Ah  never  talks  in  the  studio. 
Make  it  light,  make  it  funny,  'cause  that's 
what  folks  want  from  me.  Ah  am  funny.  A 
colored  man's  greatest  gift  is  his  humor.  When 
he  tries  to  camoflag  an'  be  a  white  man  he's  no 
good. 

"But  what  he  must  learn  from  the  white 
man  is  that  glorious  courage,  that  die  for  one 
another,  that  cleanness  an'  respect  for  women 
that  we  haven't  got  yet.  ..." 

I  left  my  friend  Step  with  the  feeling  that  he 
is  the  whitest  man  in  all  our  motion  picture 
world. 

I  left  him  singing  to  myself  a  song  I  used  to 
hear  the  colored  soldiers  singing  over  there  in 
France : 

"It's  the  old  lime  religion, 
"It's  the  old  lime  religion, 
"It's  the  old  time  religion  an'  it's  good  enough 
for  me." 

And  at  the  street  corner  I  stopped  and 
bought  an  armful  of  flowers  from  a  colored 
woman  whose  smile  is  a  daily  benediction  to 
the  success  of  Mr.  Stcpin  Fetchit. 


H 


F^ 


125 


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126 


Photoplay  Magazine — Advertising  Section 


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A  Little  Deal  For  Dora 


[  CONTINUED  FROM  PAGE  63  ] 


house.     Brains  are  a  matter  of  geography, 
Spook,  and  we're  off  the  reservation." 

TO  get  back  to  thisrumduminLosAngeles," 
said  Mr.  Torrance,  assuming  a  dignity 
he  didn't  feel,  "it's  about  time  somebody 
took  him  over  the  bumps.  The  man  must 
need  his  greasecups  tiglitened,  anyhow.  Here 
he  is,  making  a  fortune  selling  jewelry  to  the 
public,  and  yet  he  wants  to  wreck  the  movies. 
Ihe  way  I  figure  it  is  that  a  star  has  an  edge 
on  the  rest  of  the  gals  when  it  comes  to 
grabbing  off  a  husband.  That  means  a  home 
and  children,  so  there's  more  potential  public. 
Understand,  I'm  theorizing.  The  children 
grow  up,  get  married,  and  then  they  have 
children — well,  you  see  how  it  is,  ]Mac,  the 
thing's  endless." 

"Fold  up,  will  you?"  requested  the  unfeel- 
ing ]\Ir.  McLeod.  "If  you  want  to  tangle 
with  this  Few  bird  in  the  name  of  this  Dora, 
j'ou've  got  my  permission.  And  as  for  that 
argument  of  yours,  it  sounds  more  like  the 
ballyhoo  for  a  rabbit  farm." 


E.\RLY  that  evening  a  decorous  scuffing  of 
footsteps,  followed  by  a  ring  at  the  bell, 
heralded  the  arrival  of  visitors.  As  the 
]'"ilipino  scampered  to  the  door,  Mr.  McLeod 
registered  uneasiness,  and  tensed  himself  for 
llight,  but  the  beaming  Spook  waved  him  to 
repose. 

"Nobody  but  little  Zoop,"  he  said,  peering 
cautiously  from  a  window,  "but  no,  hold  on — 
my  gosh,  Mac,  he's  got  women  with  him. 
Probably  real  movie  stars!  Straighten  that 
necktie  and  brush  the  ashes  off  your  vest. 
Act  like  you're  used  to  society." 

With  one  motion  he  swept  his  friend's 
pungent  pipe  to  temporary  obli\ion  and  ar- 
ranged some  financial  magazines  over  La  Vie 
Parisienne. 


Then  he  wheeled  to  greet  the  guests  who 
were  entering  the  room. 

"Charmed,  absolutely  charmed,"  said  Mr. 
Torrance,  assuming  the  mellow  tones  he  re- 
served for  the  white  collar  crowd.  "Delighted 
to  see  you,  Mr.  Zoop,  and  you, young  ladies." 
His  gaze  swept  lightly  over  a  fragile,  pastel 
tinted  blonde  and  a  disturbing  brunette  with 
a  sultry  mouth,  and  anchored  upon  a  dis- 
dainful damsel  with  slanting  green  eyes  that 
watched  him  attentively. 

'T'HE  three  stars  favored  him  with  gleaming 
■*-  smiles,  while  the  president  of  Stupefaction 
Pictures,  who  resembled  an  efficient  wood- 
chuck,  went  into  action  with  the  introductions. 

"Meet  Brenda  Berkeley,  who  will  make  six, 
maybe  seven  pictures  for  me  this  comink 
season,"  he  squawked,  in  the  manner  of  a 
street  salesman  demonstrating  a  self-threading 
needle. 

"Does  she  mean  heavy  profits  at  the  end 
of  the  fiscal  year?  Just  ask  me!  The  only 
kick  I  got  is  that  she  ain't  tmns.     She — " 

"I'm  here,  too,"  reminded  the  emerald-ej'ed 
beauty  with  cutting  emphasis. 

■X^R.  ZOOP  scowled,  but  appeared  not  to 
■'■ '•'■notice  her.  "And  give  a  glance  on  Rosie 
Redpath,"  he  advised,  indicating  the  brunette. 
"At  present  with  Blotts  Brothers,  may  Moses 
forgixe  her,  but  when  her  contract  expires 
she'll  lead  the  rest  of  her  film  life  with  me. 
And  oi,  but  will  it  be  a  shameful  existence. 
Step  around  to  the  box  office  if  you  wouldn't 
believe  me." 

"And  I'm  Dora  Delura,"  put  in  the  object 
of  ]Mr.  Torrance's  devotion,  "but  just  because 
I  work  for  Amazement  Pictures,  Abie's  too 
tight  to  give  me  any  recognition.  By  the  way, 
Mr.  Torrance,  do  we  look  like  beggars  to  you?  " 

"Far  from  it,"  responded  Spook,  negotiating 
a  courtly  bow.     "More  like  the  four  graces, 


As  the  result  of  making  a  short  talking  film  at  the  Paramount 
Studio  at  Long  Island,  James  R.  Quirk,  editor  of  PHOTOPLAY, 
now  has  more  tolerance  for  talking  actors.  He  may  look  well- 
poised  but  he's  really  scared  stiff.  You'll  see  his  talking  debut  as  a 
prelude  to  "The  Letter,"  starring  Jeanne  Eagels.  The  critical  gent 
in  the  chair  in  the  foreground  is  Director  Robert  Florey 

Every  advertisement  In  PnoTOPLAY  M.iG.iZINE  is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


127 


in  my  opinion.     I  always  believed  there  were 
four;  now  I'm  sure  of  it." 

Mr.  McLeod  K^pcd  at  this  display  of  social 
aplomb,  the  ladies  laughed  in  counterfeit  em- 
barrassment and  Mr.  Zoop's  moonface  became 
wreathed  in  smiles.  Maybe  that  niftick  new 
Tuxedo  did  make  his  figure  a  bit  more  like 
John  Gilbert's. 

"TUST  the  same,  we  arc  shamelessly  seeking 
/money,"  said  Miss  Berkeley,  edging  forward 
on  her  chair.  "You've  heard  about  the  scheme 
to  build  a  huge  clubhouse  for  the  extras  where 
they  can  live  decently?  Well,  we  three  girls 
are  on  the  Fund  Committee,  a  representative 
from  each  of  the  larger  studios.  We  want  to 
tell  you  about — " 

Mr.  Torrance  held  up  a  protesting  hand. 
"My  dear  young  lady,"  he  announced,  "you 
don't  have  to  tell  me  a  thing.  I  am  strongly 
in  favor  of  the  I-'und  and  I  take  the  utmost 
pleasure  in  donating  a  check  for  five  thousand 
dollars." 

He  fumbled  in  his  breast  pocket  for  a 
fountain  pen. 

".\nd  so,"  he  added,  beginning  to  write, 
"will  Mr.  McLeod." 

That  worthy  stared  increduously.  Then, 
being  considerably  nettled  by  the  drawing 
room  antics  of  his  friend,  he  came  to  life  and 
countered  neatly.  "Your  memory's  failing  in 
your  old  age.  Spook.  When  we  discussed  the 
matter  this  morning,  /  stipulated  ten  thou- 
sand." Whereupon  he  extracted  a  check  book, 
scribbled  hastily  and  passed  the  shp  to  Miss 
Berkeley. 

MR.  TORRANXE,  who  was  respectfully 
sounding  the  depths  of  Dora's  lakes  of 
chrysoprase,  bore  up  under  this  master  thrust 
with  all  the  indifference  of  an  elephant  being 
bitten  by  a  mosquito. 

"Ten  thousand,  absolutely,"  he  mumbled 
absently,  and  continued  to  stare. 

Miss  Delura  shifted  uncomfortably  and 
wondered  whether  she  could  manage  a  blush. 
Nice  looking  wren,  thought  Mr.  McLeod,  as 
he  followed  his  partner's  gaze,  but  bearing 
only  a  sketchy  resemblance  to  the  lamented 
Aggie.  His  recollections  of  that  brittle  speci- 
men, unclouded  by  sentiment,  unveiled  a  rust- 
haired,  raucous  young  Amazon  with  a  steve- 
dore's vocabulary. 

Privately,  he'd  always  felt  sorry  for  the 
favored  ventriloquist. 

But  this  movie  queen  was  certainly  worth  a 
second  look. 

Those  greenish  eyes  were  rather  a  magnet 
for— 

His  thoughts  trailed  to  an  end  as  Miss 
Berkeley,  intercepting  Spook's  line  of  sight, 
essayed  her  thanks. 

"I'm  sure  our  task  would  be  a  lot  easier," 
she  assured  him,  "if  everyone  \\as  as  liberal 
as  you  two  gentlemen.  Take  Mr.  Few,  for 
instance." 


■XyfR.  TORRANCE  emerged  from  his  trance. 
•'■''■'■"What  do  you  know  about  him?"  he  de- 
manded. 

"Why,  we  interviewed  him  yesterday,  all  of 
us." 

"Do  you  mean  that  he  made  those  insulting 
^remarks  I've  been  reacUng  of  direct  to  you 
ladies?" 

"He  certainly  did,"  throbbed  Miss  Red- 
path,  "and  he  was  perfectly  loathsome. 
Waddled  around  his  office  hke  some  horrible 
little  crab,  and  positively  foamed  at  the  mouth. 
Our  names  were  kept  out  of  the  newspapers  on 
account  of  unfavorable  pubhcity,  but  we  were 
all  lerrilied." 

"Indeed  we  were,"  chorused  Uie  others,  a.s 
Mr.  Zoop  leered  his  disbelief. 

"And  civilization  being  what  it  is,"  said 
Miss  Delura,  who,  at  present,  was  playing  in 
an  historical  picture,  "nothing  can  be  done 
about  it.  This  worm  reviles  defenceless  women 
and  gets  away  with  it!  In  the  olden  days  a 
lady  could  have  sent  forth  her  knight  boy 
friend  to  claim  revenge." 


SMART  /lam  ncwe^ 

NATURAL  GLEAM  I 


JUST  notice  the  nails  of  truly  chic 
women  .  .  .  never,  any  longer,  do  you 
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It  is  the  most  successful  make-up  for  the 
nails  .  .  .  because  like  other  successful 
make-up  it  is  artistically  natural. 

A  whole  week  —  a  silken  "nail  sheath" 

Tn    a    few    light    brush    strokes    Glazo 


gives  a  gleaming  "nail  sheath,' 
silk,  mirror-smooth,  radiant. 


thin  as 


And  this  shimmering  nail  sheath  lasts  a 
week.  Glazo  never  peels  or  shreds,  never 
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instantly,  with  none  of  that  thick  "var- 
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new  beauty — your  whole  hand  new 
grace.  At  all  toilet  goods  counters,  in 
clever  twin  bottles — Glazo  Polish  and 
Remover — 50c.  Glazo  Remover  in  single 
packages — 25c.  Or  send  six  cents  for 
generous  sample,  use  coupon  below. 


The  Glazo  Company,  55  i-jth  Ave. .New  York.N.  Y. 
I  enclose  6  cents.    Please  send  me  Glazo  Samples  Qxjiish 
and  polish  remover}.   Also  booklet  of  complete  mani* 
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128 


Photoplay  Magazine — Advertising  Section 


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"Hold  everything!"  cried  Mr.  Torrance,  in- 
stantly alert.  "An  idea — Miss  Delura,  will 
you  permit  me  to  be  your  knight?" 

npHE  siren  giggled  delightedly.  "Oh,  I  sup- 
■•■  pose  so." 

"Then,"  said  the  noble  Spook,  "I  have  a 
suspicion  that  Mr.  Few  will  be  made  to  bend 
the  knee,  or,  as  they  say  in  ruder  circles  he'll 
take  it  on  the  chin." 

"How  thrilling!"  gurgled  the  ensemble. 

Mr.  Torrance  rubbed  his  nose  to  a  ruby 
luster,  denoting  concentration  of  thought,  and 
suerved  to  another  tack.  "I'm  going  down 
to  Los  Angeles  day  after  tomorrow,  and  while 
I'm  there  I  e.xpect  to  buy  a  silver  tea  service. 
What  design  would  you  recommend?" 

Dora,  feeling  herself  the  center  of  attraction, 
considered  prettily  for  a  minute  or  two. 
"French  Colonial,"  she  tinkled  iinally,  "with 
a.  Jlcnr-dc-lis  motif." 

"Couldn't  be  better,"  glowed  Spook,  "and 
Few's  is  the  best  place  to  shop,  I  imagine?" 

"Why,  how  can  you  put  money  in  that  man's 
pocket  after  the  way  he's  behaved?"  The 
ladies  fluttered  with  indignation. 

"I  didn't  say  anything  about  spending 
money,"  reminded  Spook.  "There  are  other 
ways  of  getting  things,  if  yen  knov.-  how." 

Miss  Berkeley's  forehead  v.Tinkled  per- 
plexedly, and  she  rose  to  her  feet.  "Some 
mysterious  business  deal,  I  c.uppose,"  she 
remarked.  "Sorry,  I.Ir.  To  .ance,  but  we 
I--;  rest  of  the 


,  riris,  ana  tiiu—  : 
Hollywood    a    grc . 


must  make  our  appea'; 
neighbors.    Come  " 
gentlemen,    for    dc 
service." 

"Nothing  at  all,"  murmured  Spook,  watch- 
ing eagerly  for  Aliss  Delura's  smile  as  he 
bowed  them  ou..  When  the  door  closed  he 
turned  triumphar.ly  on  Mr.McLeod,  but  met, 
instead,  the  baleful  gaze  of  the  president  of 
Stupefaction  Pictures. 

"Monkey  business,  ha?"  inquired  the  suspi- 
cious Abie. 

Mr.  Torrance,  being  in  a  highly  malleable 
frame  of  mind,  merely  grinned. 

"Leave  me  tell  you  somethink,"  said  Mr. 
Zoop,  breathing  like  the  exhaust  on  a  steam 
shovel.  "For  a  quarter  million  you  can  have 
a  third  of  'Desire  in  the  Subway,'  our  newest 


special,  but  I  don't  want  no  silent  partner  with 
a  noisy  dame  in  tow.  Y'understand,  I  seen 
you  givink  Delura  the  eye,  and  that  means 
you'U  be  around  beggink  me  to  buy  her  off 
Amazement.    Well,  I  ain't  that  foolish." 

"Such  an  idea  never  entered  my  head," 
boomed  Spook,  "and  I  resent — " 

"It  ain't  worth  resentink,"  advised  the 
president.  "I  just  want  to  wise  you  up  on 
somethink  all  the  trade  knows.  This  Delura 
baby  will  be  ditched  when  her  contract  runs 
out  in  November.  Her  voice  is  as  squeaky  as 
the  beds  in  a  cheap  hotel,  and  that  lets  her 
out  for  the  talkers.  She  knows  it,  and  she's 
lookink  for  a  soft  spot,  see?  So  if  you're 
wamped,  don't  come  sobbink  on  my  shoulder." 
He  drew  a  sheaf  of  legal  forms  from  a  brief 
case  and  spread  them  on  the  table.  "And 
now  an  argument  about  the  percentage  we'll 
have." 

Less  than  an  hour  of  gesticulation,  aided  by 
numerous  glasses  of  liquid  gout,  served  to 
establish  Mr.  Torrance  as  a  cog  in  the  industry 
of  illusion.  After  Mr.  Zoop,  now  a  veritable 
windmill  of  gratitude,  had  departed  bearing 
an  impressive  cheque,  Spook's  visionary  gaze 
rested  on  his  companion. 

"T^QRA  DELURA!"  he  said  dreamily. 
-'-'^"Isn't  she  a  beauty,  Mac?  Isn't  she  Aggie 
all  over  again?" 

"They  both  got  two  eyes  and  a  nose,  if  you 
call  that  a  resemblance,"  admitted  the  other. 
"Wake  up.  Spook.  This  girl's  a  thoroughbred, 
and  your  old  Aggie  was  a  piece  of  tripe  along- 
side her." 

"What's  that!"  bawled  Spook,  dropping 
into  more  famUiar  accents.  "I'll  rap  you  in 
the  jaw,  you — " 

"A  piece  of  tripe,"  repeated  Mr.  McLeod 
firmly.  "Has  this  Delura  kid  got  streaks  in 
her  hair  from  juggling  the  dye?  Is  her  face 
all  flabby  from  carrying  a  load  of  shellac? 
Why,  she's  almost  converted  me  to  the  mo\ ies 
Say,  you  want  to  remember  you  haven't  seen 
Aggie  for  all  of  fifteen  years,  and  the  chances 
are  you  wouldn't  know  her  now." 

Mr.  Torrance  glowered,  then  his  eyes 
wavered.  "Well,"  he  said  defensively,  "maybe 
this  girl  looks  the  way  I'd  rather  think  of 
Aggie.    I  know  I  must  seem  like  an  old  man 


If  you  have  been  wondering  what  has  become  of  Mrs.  Wallace 
Reid,  stop.  She's  making  "quickies,"  and  making  money,  too. 
The  pretty  girl  in  this  picture  is  her  protegee,  Helen  Foster,  and 
they  are  discussing  whether  the  score  stands  forty  love  or  thirty 
mere  friendship.  Mrs.  Reid  thinks  Helen  is  a  find,  and  that  the 
child  will  go  far  in  the  films 


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to  the  youngster,  but  that's  okey  with  mc. 
I  don't  know  what  Zoop  was  raving  about, 
but  I  just  like  to  look  at  her;  she's  sort  of  an 
inspiration." 

"So  much  so,"  commented  Mac,  "that 
you're  going  to  take  a  clout  at  this  Few  person, 
hey?  Listen,  what  was  all  that  guff  about  a 
tea  set?  Since  when  have  you  been  gargling 
tea?" 

"That's  for  the  contact,"  said  the  ex- 
confidence  man,  brightening,  "and  I've  got 
an  idea  I  can  use  it,  anyway.  Everything  fits 
in  perfectly.  We're  going  up  to  San  Francisco 
tomorrow  to  see  that  fight,  and  while  we're 
there  we'll  pull  the  advance  tipoff.  Then 
we'll  be  back  in  L.A.  in  time  to  clean  up. 
Fm  anxious  to  see  if  we've  still  got  the  old 
touch." 

"But  we're  supposed  to  be  retired." 

"We  are,"  said  Mr.  Torrance.  "So  far  as 
sugar  for  ourselves  is  concerned,  we've  got 
enough,  but  this  is  sort  of  a  Boy  Scout's  good 
deed,  if  you  get  me.  I  figure  that  if  a  fellow 
can't  do  any  good,  he  shouldn't  do  any  harm; 
but  I  guess  it's  all  right  to  tear  oflf  a  little  harm 
in  order  to  do  a  lot  of  good.    You  see — " 

"Sing  the  chorus,"  advised  the  thirsty  Mac, 
disinterring  the  decanter,  "but  have  a  little 
gargle  of  this  first.  Just  close  your  eyes  and 
you'll  think  you're  in  Montreal — with  Dora." 


npWO  mornings  later  Mr.  Torrance  stood  in 
-'■  front  of  the  Los  Angeles  Biltmore  and  sur- 
veyed the  passing  parade  with  a  benign  smile. 
A  green  knockabout  slanted  jauntily  over  one 
eye,  a  carnation  blushed  modestly  from  his 
buttonhole  and  he  appeared  to  have  been 
poured  into  a  brown  herringbone  suit.  An 
excellent  breakfast  had  given  him  the  fortitude 
necessary  to  the  proper  execution  of  the  day's 
business,  so  Mr.  Torrance  offkeyed  a  tune 
and  whacked  himself  smartly  with  a  rosewood 
cane. 

"You're  sure  you  can  handle  this  okey?" 
asked  Mac  at  his  elbow.  "It's  been  some  time 
since  we  worked,  remember." 

Spook  lit  an  e.xpensive  cigar  and  watched 
the  ribbon  of  smoke  vanish  into  the  sunshine. 
"You  know  me,"  he  reminded.  -"I  can  quote 
Emerson  to  a  triple  chin  dowager  from  Boston 
or  sling  race  track  patter  with  the  Tia  Juana 
Red.  What  this  layout  needs  is  upstage  stuff. 
Few's  a  snob,  from  all  accounts,  and  won't 
respect  anything  but  a  bigger  one,  so  I'll 
outsneer  him.  Better  drag  yourself  upstairs, 
Mac,  and  flap  an  ear  for  that  phone  call." 

HE  executed  a  regimental  right  turn  and 
barged  serenely  along  Olive  Street,  to  all 
intents  and  purposes  a  thoroughly  stodgy, 
respectable  bulwark  of  all  that  was  Union 
Leagueish. 

After  a  short  stroll,  during  which  he  relished 
the  fragrance  of  his  cigar  and  bestowed  a 
few  scowls  of  disapproval  on  obese  matrons 
miscast  in  flappers'  clothing,  he  arrived 
at  the  green  marble  front  of  Few  and  Company. 

The  windows  were  arranged  with  that  pecu- 
liar disregard  of  the  public  which  is  supposed 
to  denote  distinction.  All  they  contained  were 
several  yards  of  purple  velvet,  on  which  re- 
posed some  bilious-looking  vases.  Mr.  Tor- 
rance snorted  contemptuously,  entered  the 
sanctuary  of  gleaming  mahogany  and  glass, 
and  stated  his  wishes  to  an  overly  creased, 
rat-faced  clerk. 

"French  Colonial,  sir?"  bowed  the  under- 
ling. "Most  assuredly.  Over  here,  if  you 
please."  He  led  the  way  to  a  wall  case  with 
shding  doors,  and  daintily  extracted  a  chastely 
engraved  creamer.  "Does  this  meet  your 
fancy,  sir?"  He  smirked  engagingly,  and  for 
the  first  time  looked  directly  at  his  customer. 

Spook  delivered  a  mental  uppercut  to  the 
other's  jaw,  and  reached  impatiently  for  the 
creamer.  The  clerk  quailed,  and  an  un- 
healthy pallor  crept  across  his  face  as  he 
watched  Mr.  Torrance  examine  the  shining 
silver.  For  fully  five  minutes  the  rejuvenated 
con   man   gave   au  excellent   imitation   of  a 


*  Awkward  to  discuss— 

but  I  must  tell  my 

sales  girls ' 

—Says  the  buyer  in  a  Fifth  Avenne  Shop 
about  this  phase  of  feminine  hygiene 


However  hard  it  is  to  tell  them, 
women  should  know  of  this  new  proc- 
ess which  ends  odor  in  this  sanitary 
pad— a  product  already  superior  in 
comfort  and  ease  of  disposability. 


A  CROSS  the  counter,  in  offices,  in  drawing 
XA.  rooms,  in  country  clubs— wherever  women 
meet  the  world,  they  are  in  danger  of  offend- 
ing others  at  times.  The  unhappy  self- con- 
sciousness which  used  to  follow  the  realization 
is  now  ended.  Kotex  scientists  have  found  (and 
patented*)  a  way  to  neutralize  all  odor  in  sani- 
tary pads.  This  cause  for  worry  is  entirely  dis- 
missed. Women  can  meet  any  social  emer- 
gency with  a  new  light-heartedness. 

Fear  of  self-consciousness  gone,  too 

A  certain  bulkiness  associated  with  old-fash- 
ioned methods  has  been  overcome,  too.  Each 
pad  is  rounded  and  tapered  in  such  a  way 
as  to  leave  no  evidence  of  sanitary  protection. 
Kotex  is  easy  to  adjust  to  suit  your  individual 
needs.  Cellucotton  absorbent  wadding  is  5 
times  more  absorbent  than  cotton  itself  There 
is  a  new  softness,  because  both  filler  and  gauze 
have  been  specially  treated.  Finally,  Kotex  is 
so  easy  to  dispose  of 

Buy  a  box  today,  at  any  drug,  dry  goods 


*Kotex  is  the  only  sanitary  pad    that  deodorizes 
by  patented  process.      (Patent   No.   1,670,587.) 


or  department  store  .  .  .  45c  for  a  box  of 
twelve.  Supplied,  also,  in  test-room  vend, 
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connoisseur,  squinting  at  all  five  pieces,  testinf; 
the  finish  with  his  breath,  balancing  them 
deftly  and  listening  for  their  melodious  ring 
as  he  flicked  them  with  a  well  manicured 
thumbnail.  From  the  corner  of  an  eye  he 
sensed  that  the  clerk  had  signalled  his  fellow 
grenadiers,  and  that  some  sort  of  activity  was 
taking  place  in  the  rear  of  the  store.  He 
wheeled  suddenly. 

"These  will  do  very  nicely,"  he  boomed. 
"Deliver  them  to  the  Biltmore  inside  an  hour. 
No  later,  you  understand,  ^\'hy,  what  the 
devil  do  you  mean  by  staring  at  me  like  that?" 

The  clerk  dropped  his  gaze  and  looked  more 
rodent-hke  than  ever.     "Name,  please?" 

"Torrance.    Room  732." 

AND,"  suggested  the  clerk,  with  a  faint 
sneer,  "you  wish  to  pay  by  check,  I  sup- 
pose?"  The  veneer  of  politeness  had  vanished. 

"I  don't  like  your  tone,  young  man,"  said 
Mr.  Torrance  with  asperity.  "By  check, 
certainly.  Eleven  hundred,  according  to  the 
tags."  His  pen  sizzled  across  the  narrow  blue 
oblong.  "I  don't  imagine,"  he  remarked  icily, 
"that  there  will  be  any  objection  to  a  check 
written  by  a  Torrance  of  Stupefaction  Pictures. 
That  would  be  most  amusing." 

The  clerk  pocketed  the  slip  of  paper, 
flashed  a  furtive  glance  behind  his  customer, 
then  raised  his  voice  in  triumph.  "All  right, 
boys,  grab  him!  Close  the  door,  Watkins; 
we  don't  want  anyone  walking  in  on  us. 
Where's  Mr.  Few?     Call  him,  somebody." 

Mr.  Torrance  felt  himself  seized  from  behind, 
and  nervous  hands  searched  his  pockets.  "He 
hasn't  a  gun,"  announced  a  reheved  voice. 

"How  dare  you!"  he  roared  in  ruddy-faced 
anger.  "What  manner  of  outrage  is  this? 
I  shall  see  the  police — " 

A  door  opened,  and  Mr.  Peabody  Few,  a 
waspish  little  man  with  a  head  like  a  sugar 
beet,  peered  forth.  "Bring  him  to  my  oflice," 
he  twanged,  and  the  seething  Spook  was  borne 
into  a  stuffy  room  that  reeked  of  musty 
leather,  mute  evidence  that  its  occupant  was 
not  on  congenial  terms  with  the  sunshine 
flooding  nearby  Pershing  Square. 

"Now  then,"  rasped  the  jeweler,  "I  think 
you'll  see  the  police  sooner  than  you  expect." 
The  clerk  tendered  him  the  check,  and  he 
shook  it  in  the  con  man's  face.  "A  piece  of 
effrontery!  Do  you  deny  that  you  intended 
to  swindle  my  firm  out  of  valuable  merchan- 
dise?" 

"I — ,  I — ,"  began  Mr.  Torrance  feebly. 

■W'R.  FEW  cackled  nastily.  "Yellow,  eh,  like 
•^  '  •'■aU  crooks  when  they're  caught.  There  will 
be  a  detective  here  in  a  moment,  my  man;  we 
had  ample  time  to  call  one  while  you  were 
admiring  my  silverware.  Such  damned  in- 
solence!" Apparently  Mr.  Few  was  as  sore  as 
a  broadcaster's  tonsils. 

"But — ,"  faltered  the  culprit. 

"Silence,"  ordered  the  jeweler.  "Let  me 
ask  you  one  cfuestion — were  you  in  San 
Francisco  recently?" 

"Well — yes,"  cfuavered  Spook,  "but  I  was 
only — ." 

l\lr.  Few  permitted  himself  a  liberal  sneer, 
and  continued,  "Yesterday  I  received  two 
telegrams  from  there.  One  referred  to  me  in 
scurrilous  terms  regarding  my  stand  on  motion 
pictures,  and  by  Jove!"  howled  the  jeweler, 
beginning  to  purple  at  the  thought,  "when  I 
find  out — well,  at  any  rate,  the  other  one  may 
be  a  revelation  to  you.  You  see,  Mr.  Swindler, 
we've  been  on  the  lookout."  He  spread  out  a 
sheet  of  yellow  paper,  and  Mr.  Torrance  read : 

PEABODY  FEW  AND  CO. 

LOS  ANGELES,  CALIF. 

WARNING  HEREBY  ISSUED 
AGAINST  BAD  CHECK  ARTIST 
STOP  HEAVY  SET  FLORID  FASH- 
IONABLY DRESSED  STOP  LEFT 
HERE  PRESUMABLY  FOR  LOS 
ANGELES. 
JEWELERS  SECURITY  ALLIANCE 

Mr.  Torrance  presented  a  pitiable  sight  as 
the  message  burned  into  his  brain.     His  eyes 


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^31 


stared  glassily,  his  lower  jaw  hunt;  slack  and 
liis  massive  frame  trembled  as  with  af,'ue. 

"My  time  is  valuable,"  snarled  Mr.  Few. 
"You  can  give  your  explanations  at  the  police 
station."  The  door  opened  to  admit  a  pudgy, 
blue  jowled  individual  who  surxcyed  the  group 
with  a  lackluster  eye.  ".And  here,  by  the  way, 
is  the  detective.    Am  I  correct?" 

"Soitinly,"  said  Blue  Jowl. 

"  A  RREST  this  fellow,"  said  the  jeweler,  and 
■''■plunged  into  a  terse  account  of  the  pro- 
ceedings. The  detective  listened  stolidly  until 
the  end. 

"But  you  don't  have  to — ,"  he  began 
heavily. 

Mr.  Torrance,  who  was  watching  cannily, 
joined  the  conversation.  "You  wouldn't  dare 
to  have  me  arrested,"  he  taunted.  "I've 
read  about  you  in  the  newspapers.  Why, 
you're  scared  of  actresses,  much  less  men." 

Mr.  Few  choked,  and  waved  his  arms  xvildly. 
"I  am,  eh?"  he  cried.  "I'll  show  you!  Lock 
him  up.  oflicer,  and  charge  him  with  an 
attempted  swindle.  Now,  you'll  read  about 
me  again,  you  scoundrel.  Hurry  now,  take 
him  out  the  rear  entrance." 

"Come  on,  you,"  growled  Blue  Jowl.  Once 
outside,  he  estimated  Mr.  Torrance's  running 
capacities.  "Do  I  have  to  call  the  wagon,  or 
will  you  walk  easy?     It's  only  six  blocks." 

"Let's  walk,"  said  Spook,  sniffing  the  air 
with  approval  after  jlr.  Few's  tomblike 
quarters.  Without  losing  the  pressure  of  the 
detective's  shoulder,  he  was  escorted  past  the 
Biltmore  and  down  to  the  grubby  P'irst  Street 
station. 

"I've  never  been  arrested  before,"  he  said 
apologetically.  "Does  my  name  and  all  the 
rest  of  it  go  down  on  the — they  call  it  the 
blotter,  don't  they?" 

"Sure,"  said  the  desk  man  obligingly.  "Sec, 
here  she  goes,  party."     He  wrote  vigorously. 

The  act  seemed  to  give  Mr.  Torrance  hearty 
satisfaction.  He  rifled  a  five  spot  from  a 
bloated  roll,  and  shd  it  into  the  detective's 
breast  pocket.  "Before  you  lock  me  up," 
he  requested,  "I'd  like  to  use  the  phone." 

"Why  not,"  said  the  other,  indicating  a 
nearby  instrument.  "Talk  your  head  ofif, 
buddy." 

Mr.  Torrance,  his  jauntiness  miraculously 
restored,  lit  a  cigar  and  executed  a  creaky 
buck  and  wing.  Then,  smiling  with  anticipa- 
tion he  lifted  the  receiver  and  called  the  wait- 
ing Mr.  McLeod. 


A  T  five  that  afternoon  four  men  sat  in  the 
-''■private  office  of  Mr.  Peabody  Few,  while 
the  hollow  ticking  of  a  clock  intensified  the 
heavy  silence.  On  Mr.  Few's  desk  lay  a  tele- 
gram which  he  regarded  with  extreme  antip- 
athy. Facing  him  sat  Messrs.  Torrance  and 
McLeod,  debonair  and  alert  to  a  marked  de- 
gree. The  other  man.  frozen-faced  and  watch- 
ful, bore  an  unmistakable  legal  stamp. 

"Well,"  said  Mr.  Few  at  length,  "there 
seems  to  have  been  a  regrettable  mistake.  I 
deplore  the  happenings  of  the  morning,  Mr. 
Torrance,  and  I  owe  you  my  humblest 
apologies."  He  mustered  a  sour  grimace  in- 
tended for  a  smile. 

"Really?"  inquired  the  urbane  Spook,  giv- 
ing him  the  mackerel  eye.  "I  think  you  owe 
me  something  more." 

Peabody  Few  writhed,  and  shot  a  glance  at 
the  frozen-faced  spectator.  "Perhaps,"  he 
faltered,  "if  you  would  care  to  accept  the 
silver  service,  this  unpleasant  matter  might 
be  forgotten." 

Mr.  Torrance  inspected  the  ceiling  with 
great  deliberation,  then  gazed  stonily  at  the 
speaker.  "Your  actions,  P'ew,  have  been  un- 
pardonable. Simply  because  I  am  of  generous 
figure  and  well  dressed,  you  immediately 
concluded  that  I  was  the  criminal  described 
in  that  telegram.  You  accused  me  of  trying 
to  swindle  you.  Since  then,  my  friend  McLeod 
came  to  my  rescue  and  forced  you  to  com- 
municate with  my  bank  in  San  Francisco. 
They  wired  you  that  the  check  I  offered  was 


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132 


Photoplay  Magazine— Advertising  Section 


l\ature 

herself  prescribes 

Pluto  ^ater 


Long  before  French  Lick  even  had  a 
name,  the  Indians  knew  the  laxative, 
curative  properties  of  the  springs  that 
were  to  become  famous  the  country 
over  as  the  home  of  Pluto  Water. 
Nature  herself  prescribed  the  waters 
of  these  springs  .  .  .  her  own  remedy 
for  mankind's  oldest  ailment— intesti- 
nal sluggishness.  And  now  that  same 
Pluto  Water,  bottled  at  the  springs 
where  it  bubbles  up  from  Nature's 
own  laboratory,  is  yours  wherever 
you  are. 

Pluto  Water  washes,  /lushes  the  elim- 
inative  tract  clean.  It  does  not  cause 
discomfort;  has  no  injurious  effects. 
It  gives  relief  in  the  most  stubborn 
case  in  from  thirty  minutes  to  two 
hours. 

Keep  yourself  fit  with  a  glass  of  Pluto 
Water    (diluted    in    plain    hot    water) 
every  morning  upon  arising. 
At  all  drug  stores  and  fountains. 


Ordinary  drinking  water 
WQuld  be  (he  ideal  remedy 
were  it  not  tor  the  fact  that  it  is 
thrown  off  by  the  kidneys 
before  it  reaches  the  intestines. 
Pluto,  with  its  natural  mineral 
content,  reaches  the  focus  of 
the   trouble — and    relieves    it! 


(t^mencds  Jaxaiwe  JMineral  ^^ater 


perfectly  negotiable.  Not  content  with  that, 
you  verified  it  by  telephone,  leaving  no  further 
room  for  doubt.  You  had  me  arrested,  and 
now  you'll  pay  for  it  with  the  silver  service — 
and  ten  thousand  dollars." 

"Preposterous!"  croaked  Mr.  Few. 

Mr.  Torrance  laughed  a  dirty  laugh.  "Is 
it?  Think  it  over,  Few.  False  arrest,  let 
me  remind  you,  is  one  of  the  most  dangerous 
things  one  citizen  can  do  to  another,  and  the 
record  of  mine  is  in  the  First  Street  station, 
for  anyone  to  see.  I  want  ten  thousand,  or 
ril  sue  you  for  twenty-five.  I  wouldn't  get 
that  figure,  of  course,  but  Fd  be  awarded  at 
least  the  ten,  while  you  would  get  some  mighty 
unwelcome  publicity." 

Mr.  Few  paled,  and  gestured  vehemently. 

"Because,"  continued  his  erstwhUe  cus- 
tomer, "the  papers  have  been  a  bit  irritated 
by  your  attitude  on  the  movies,  judging  from 
their  editorials,  and  they'd  jump  at  the  chance 
to  make  you  ridiculous." 

"You'd  better  write  that  check,"  advised 
Mr.  McLeod,  "and  ease  yourself  out  of  this 
mess.  If  you  don't  believe  me,  ask  your 
lawyer." 

THE  jeweler  eyed  him  bitterly,  then  swung 
around  to  consult  his  legal  crutch. 

"It's  your  own  fault,  Peabody,"  said  the 
frozen-faced  one.  "You  could  have  had  him 
held  on  suspicion,  without  causing  an  actual 
arrest." 

"Damn  it!"  spluttered  his  client.  "Am  I 
supposed  to  know  the  law  as  well  as  the 
jewelry  business?  Besides,  this  fellow  ex- 
asperated me  with  his  references  to  those  con- 
founded screen  people."  Mr.  Torrance  hid  a 
smile. 

"Pay  up,"  said  the  lawyer,  "and  forget 
about  it." 

Mr.  Few  seized  a  pen  and  ^vTote  hastily,  his 
features  contorted  with  fury.  Then,  ripping 
the  check  viciously  from  his  book,  he  fiung  it 
at  Mr.  Torrance. 

That  gentleman  studied  it  carefully,  then 
unlimbered  his  pen  and  scribbled  an  en- 
dorsement. "This  closes  the  matter,"  he  said 
rising,  and  then  for  a  moment  his  voice  grew 
husky  with  emotion.  "You  will  deliver  the 
tea  service  'to  Miss  Dora  Delura,  who,  I 
notice  by  the  afternoon  extras,  is  engaged  to 
marry  an  Albanian  prince.  Miss  Delura," 
declared  Spook,  trying  to  imitate  Mr.  Zoop, 
"is  one  of  those  gossamer  sprites  who  are 
touched  with  the  dew  of  beauty.  Just  think 
of  her  fairylLke  hands  hovering  about  your 
commercial  teapots." 

The  jeweler  opened  his  mouth  to  retort. 

"And  I  hope,"  said  Mr.  Torrance,  fore- 
staUing  him,  "that  you  mil  change  what  mind 
you  have  about  our  movie  actresses.  Think 
of  the  privilege  of  enlarging  the  garden  in 
which  such  flowers  can  bloom.  Superb 
creatures,  really.  Few.  Much  more  delectable 
than  the  flat  breasted,  anaemic  specimens  that 
creep  about  museums." 

YOU'RE  profane,  sir!"  screeched  Mr.  Few. 
"Leave  my  office  at  once.  Those  actress 
hussies  can  perish  for  all  the  aid  they'll  get 
from  me." 

The  effulgent  Spook  grinned  maddeningly. 
"I'm  going,"  he  assured  him,  "but  first,  I'd 
like  to  hear  just  how  you  are  on  profanity. 
Take   a   look   at   that,   you   miserable   httle 

•  VAT GPI 

He  thrust  forward  the  check  and  twitched 
it  under  the  jeweler's  inquisitive  nose. 

Mr.  Few  adjusted  his  glasses  and  peered 
spitefully,  then  frenziedly.  Across  the  back 
ran  Mr.  Torrance's  slapdash  signature,  and 
above  it,  "Pay  only  to  Motion  Picture  Extra 
Fund." 

The  enemy  of  women  threw  back  his 
head  and  fiUed  the  murky  air  with  deckle- 
edged  and  impotent  curses. 

"Not  bad  at  all,  Peabody,  old  chap," 
applauded  Mr.  Torrance,  and  softly  closed 
the  door. 

A  pleasant  buzz  of  conversation  filtered 
through  the  Ehzabethan  windows  of  Brenda 


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Photoplay  Magazine — Advertising  Section 


Berkeley's  so-called  cottage  as  the  guests 
began  to  disperse.  Mr.  Torrance,  standing  in 
llie  midst  of  a  cluster  of  females,  had  been 
the  lion  of  the  evening.  In  the  presence  of 
fasored  members  of  the  colony,  he  had  de- 
livered to  the  Fund  Committee  both  the 
check  and  a  considerably  puril'ied  account  of 
its  acquisition,  and  had  managed  to  keep  an 
admiring  but  mournful  eye  on  Dora  Delura. 
.\t  present,  that  young  lady  was  out  on  the 
lawn,  listening  to  an  earnest  plea. 

"CO  that's  how  it  is,"  finished  Mr.  McLeod, 
'-'tugging  at  his  collar.  "Old  Spook  ran  all 
that  risk  just  because  you  look  like  a  girl  he  was 
in  love  with  long  ago.  She  was  a — a  great 
singer,  and  she  gave  him  the  runaround  for  a 
lou — a  throat  specialist." 

"Is  that  right?"  yawned  Miss  Delura. 
"When  do  I  start  weeping?" 

"So  that's  the  kind  of  a  dame  you  arc!" 
shouted  the  irritated  Mac.  "No  heart  at  all, 
eh?  Well,  that's  the  way  I  had  you  lined  up. 
1  told  Spook  to  lay  off,  but  no,  he  had  to  sink 
a  quarter  million  with  Stupefaction  just  to 
be  in  the  same  racket  with  you,  but  anyhow, 
if  that  blows  up,  he's  got  as  much  more  in 
the  bank.  All  I — "  He  broke  off  suddenly 
and  stared  at  the  transformation  taking  place 
before  him. 

"Go  on,"  crooned  Dora,  suddenly  arrayed 
in  the  shining  robes  of  allurement.  "What 
were  you  saying,  Mr.  McLeod?"  She  came 
closer  to  him,  a  slim,  compelling  bit  of  ex- 
quisiteness. 

"Just  this,"  mumbled  Mac,  dimly  wishing 
he  were  free  from  this  fragrant  sorceress  so 
that  his  native  shrewdness  could  function 
again,-  "why  couldn't  you  give  old  Spook  a 
kiss  when  you  say  good  night?  He'd  treasure 
the  memory  all  his  Hfe  and  that  Prince 
I'oppolopis  of  Albania  needn't  know  anything 
about  it." 

Miss  Delura's  greenish  eyes  were  veiled 
with  guilt,  then  she  smiled  shamefacedly  at 
Mr.  iSIcLeod  and  nodded  maidenly  consent. 


AN  hour  later  Mr.  Torrance,  wearing  an  air 
ol  blissful  dizziness,  cantered  into  his  living 
room  and  beamed  happily  at  the  recumbent 
iMac,  who  was  busily  engaged  with  decanter 
and  book. 

"What's  the  idea  of  coming  in  here  walking 
on  your  heels?"  demanded  his  friend.  ".An 
old  guy  like  you.  How  many  times  have  I 
got  to  tell  you  about  blood  pressure?" 

"Mac,"  said  Mr.  Torrance,  his  countenance 
glowing  like  a  well  polished  saddle,  "Mac,  I — " 

"(Jh,  fold  up  and  let  me  read,  will  you?" 
asked  the  other.  "You  certainly  panicked  that 
roomful  of  skirts  tonight,  and  I  suppose  you've 
still  got  some  unused  words.  The  ne.xt  thing 
I  know  you'll  be  trying  to  tell  me  that  some 
dame  kissed  you."  He  grinned  to  himself  and 
w  aited  for  the  bashful  admission. 

"Better  than  that,"  whooped  the  slightly 
delirious  Spook.  "Some  lady,  as  I  prefer  to 
call  her,  is  going  to  marry  me.  Get  a  grip  on 
yourself  now,  Mac— it's'  DORA  DELURA! 
Imagine  that  if  you  can.  She  asked  me  to 
take  her  home,  and  the  first  thing  I  knew  she 
kissed  me,  and  then  began  to  cry.  She's  as 
lonesome  as  she's  lovely,  and  pretty  soon 
she'll  be  like  a  quiet  oasis  in  a  desert  of  squawk- 
ing pictures,  and  so  I — " 

"That's  very  nice  blank  verse,"  commented 
Mac,  "but  what  about  this  Prince  Pop- 
polopis?    Those  birds  usually  carry  a  knife." 

"There's  no  such  person,"  laughed  Mr. 
Torrance  u-ith  the  superiority  of  knowledge. 
"Just  publicity — a  little  way  we  have  in  the 
movies.  Dora's  ex-husband  gets  her  engaged 
three  times  a  year.  Why,  Mac,  old  sock, 
what's  the  matter?    You  look  terrible." 

Mr.  McLeod  groaned  dismally  and  poured 
himself  a  flagon  of  fruity  old  port.  "I've 
felt  this  thing  coming  on  for  some  time,"  he 
said  faintly.  "It's  the  same  ailment  you  were 
suffering  from  before  you  started  being  noble — 
a  severe  case  of  pain  in  the  neck." 


133 


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Home  Rules  for  Hollywood  Flappers 

[  CONTINUED  FROM  PACE  52>  ] 


pictures,  Alice  and  Marceline.  Irene  is  a  kid 
herself.  Her  babies  were  born  when  she  was  in 
her  teens  and  the  memory  of  the  humiliations 
heaped  upon  her  by  a  tyrannical  mother  still 
hurt. 

Irene  ran  away  from  home  when  she  was 
sixteen  and  got  married,  promising  herself 
that,  if  she  ever  had  children,  they  would 
have  the  happiness  she  had  missed. 

"When  they  come  to  me  and  say  they'd  like 
fur  coats,"  she  said,  "I  say,  ' Certainly,  buy 
fur  coats.  Buy  a  lot  of  fur  coats.  You'll  only 
pass  this  way  once.  You're  making  your  own 
money.    Make  the  most  of  it.' 

"I've  never  crossed  them.  I've  never  railed 
at  them.    I  use  other  methods." 

Marceline  came  to  her  mother  one  day  and 
said: 

"I  want  to  smoke  and  drink.  All  the 
other  girls  do." 

"Great!"  said  Irene. "That's  perfectly  great." 

She  poured  out  a  large  glass  of  thick,  sweet 
wine. 

"Drink  it  down  quickly,  all  in  big  gulps. 
That's  right.    Now  smoke  your  cigarette." 

TRENE  handed  her  one.  It  was  the  strongest 
-'-brand  on  the  market.  "Puff  fast.  Oh,  you 
must  inhale.  Drag  the  smoke  right  down  into 
your  lungs.    That's  right." 

The  result  was  as  instantaneous  as  it  was 
effective. 

.\nd  from  that  disastrous  day  until  this  very 
hour  Marceline  and  Alice  have  sipped  ice  cream 
sodas  and  had  gum  chewing  orgies. 

Irene  knows  every  heart  ache,  every  joy, 
every  secret. 

They  keep  nothing  from  her. 

Marceline  decided  she  wanted  to  live  away 
from  home.    Alice,  exercising  an  elder  sister's 


prerogative,  was  borrowing  her  clothes.  Irene 
didn't  want  the  three,  who  had  been  so  close, 
to  separate,  so  she  suggested  that  they  move 
into  an  apartment  and  each  take  separate 
rooms. 

It  worked  like  a  safe.  It  worked  like  every- 
thing connected  with  their  lives. 

Irene  doesn't  always  approve  of  her  girls' 
choice  of  sweethearts.  But  does  she  tell  them 
so?  Not  much.  "I  sometimes  hate  their  boy 
friends,"  she  said,  "but  I  greet  them  as  if  thty 
were  my  best  pals  and — as  they  are — my 
severest  critics." 

As  a  result  she  has  two  of  the  most  charm- 
ing, most  lovable  kids  in  town. 

A  NOTHER  wise  mother  is  Gladys  Moran.  A 
•'•■young  person,  with  calm  eyes,  brisk,  effi- 
cient sports  shoes  and  capable  hands. 

"It's  stupid  to  say  I  trust  Lois,"  she  said. 
"Every  mother  trusts  her  daughter.  I've 
heard  them  say,  '  I  know  my  girl  is  a  good  girl ' 
when  their  children  are  the  wildest  little  imps 
in  town. 

"You  can't  make  children  different  from 
what  they  are.  How  they  are  brought  up 
hasn't  anything  to  do  with  it.  Lois  is  a  nice 
person.  If  she  ever  went  haywire,  if  she  e^'er 
did  foolish  things  I  just  wouldn't  like  her  any 
more.  I'd  leave  her.  I  suppose  you  think  I'm 
the  original  hard-hearted  Hannah. 

"  Lois  does  as  she  pleases.  It  doesn't  matter 
to  me  what  time  she  gets  in,  but  when  I  wake 
up  and  am  worried  about  her  being  in  an  auto- 
mobile accident  (her  father  was  killed  that 
way)  I  send  her  a  thought  message  and  in  fi\e 
or  ten  minutes  she  calls  me  up  and  tells  me 
that  she's  all  right." 

"And  we  like  the  same  people,"  said  Lois. 
"We  like  to  play  in  the  dancing  room  here  in 


Sally  Eilers  was  brought  up  on  the  "clipping"  system.    It's  unique 
— but  it  seems  to  have  worked  well  in  Sally's  case 


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our  house.  Then,  somehow,  mother  is  such 
an  ideal  to  me  that  I  couldn't  do  what  was 
wrong.  She  sets  me  such  a  lovely  example  of 
sweetness." 

"Nonsense,"  said  her  mother.  "It's  just 
what  you  are  that  makes  you  like  you  are. 
And  I  like  you.  I  like  your  Httle  sister,  Betty, 
too.  Maybe  I'll  like  her  better  than  you. 
She'll  grow  up  to  be  a  stock  broker  and  brokers 
interest  me  more  than  actors. 

"Mother  love  is  the  bunk.  It's  only  for 
sentimentalists.  I  hke  Lois  as  she  likes  me — as 
a  person." 

VIGOROUS  restrictions  are  maintained  in 
Sally  Eilers'  home.  Her  father,  Peter  Eilers, 
did  not  approve  of  Sally's  going  into  pictures 
and  until  she  was  eighteen  she  was  not  allowed 
out  unchaperoned. 

Now  she  must  be  in  by  twelve  o'clock  and 
they  always  wail  up  for  her. 

Her  mother,  with  real  maternal  interest, 
comes  into  her  room  when  she  undresses  and 
asks  her  if  she  had  a  good  time  at  the  party, 
who  was  there,  what  they  did,  what  they  said. 

Only  occasionally  does  Sally  rebel,  such  as 
the  time  that  she  decided  to  lea\'e  home  but 
didn't. 

The  next  morning  she  found  one  of  those 
ubiquitous  little  clippings  stuck  in  her  mirror. 
That's  an  old  Eilers  custom.  Her  mother  clips 
mottoes  from  the  papers — the  ones  that  tell  of 
the  joys  of  being  a  nice  girl,  of  being  true  to 
yourself  and  what  rewards  are  in  store  for 
those  who  honor  their  parents — and  leaves 
them  on  Sally's  dressing  table. 

Even  now  that  Sally  is  engaged  to  William 
Hawks  she  must  still  give  an  account  of  her- 
self, she  must  still  be  in  or  telephone  by  a  cer- 
tain hour. 

She  is  never  allowed  to  stay  away  from  home 
over  night,  except  as  the  guest  of  Carmen  Pan- 
tages  or  Sue  Carol.  Only  once  was  she  per- 
mitted to  go  on  a  yachting  trip.  Jobyna 
Ralston  and  Dick  Arlen  chaperoned  and  that 
made  everything  all  right. 

Sue  Carol  is  restricted  via  long  distance, by 
her  mother,  Mrs.  Sam  Lederer,  who  lives  in 
Chicago,  but  commutes  to  Hollywood  to  keep 
her  eye  on  Sue. 

When  Mrs.  Lederer  is  in  town  she  goes 
wherever  her  daughter  goes,  knows  all  her 
friends  and  gives  her  approval.  Happily,  she 
hkes  Sue's  fiance,  Nick  Stuart. 

But  the  restraining  hand  is  felt  even  when 
Mother  Lederer  is  at  home.  She  calls  Sue 
long  distance  every  so  often  and  is  amazed  to 
find  her  daughter  away  from  the  house  at 
eleven  o'clock.  It  is  two  o'clock  in  Chicago 
and  seems  terribly  late.  She  can't  realize, 
although  Sue  has  told  her  in  no  uncertain 
terms,  the  difference  in  hours. 

But  Sue  is  well  chaperoned.  She  lives  with 
Charlotte,  a  nurse  who  has  been  in  the  family 
for  years,  and  Alice  Scannell,  her  secretary. 

npHE  rules  that  govern  Anita  Page's  life  were 
■'■  the  result  of  a  family  conference. 

When  Anita  made  such  an  amazing  success 
in  pictures  it  threw  the  household  into  pande- 
monium. Her  father,  M.  L.  Pomares,  was  a 
successful  business  man,  the  president  of  an 
electrical  engineering  plant  and  neither  he  nor 
his  wife  had  ever  had  a  theatrical  person  in  the 
family. 

When  Anita's  contract  was  signed,  Pomares 
came  out  to  join  his  family  and  reasoned  with 
the  kid  hke  this: 

"Now,  I've  been  able  to  support  you  and 
your  mother  and  support  you  well  for  a  num- 
ber of  years  and  I  can  do  it  again,  but  as 
long  as  you're  in  this  business  you're  going  to 
make  a  go  of  it." 

The  family  conference  was  called.  It  was 
decided  that  .Anita  was  so  young,  only  seven- 
teen at  the  time  she  signed  her  contract,  that 
there  was  plenty  of  time  for  her  to  play.  She 
must  have  her  health. 

She  must  be  fit  for  her  work,  so  it  was  all 
figured  out  scientifically. 

"We've  got  two  engineers'  charts — a  sleep- 
ing chart  and  a  weight  chart,"  said  Pomares. 


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•Address 


DO   YOU   REALLY   KNOW   WHAT    HAPPENS 


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"There's  a  scale  in  .Anita's  bedroom.  She  is 
weighed  every  Saturday.  Two  pounds  over 
means  going  light  on  sweets  and  starches  for 
awhile.    Two  pounds  under  means  building  up. 

"As  for  sleep  we  figure  back  nine  and  a  half 
hours.  If  Anita's  call  at  the  studio  is  for  nine 
in  the  morning,  then  she  has  to  get  up  at  si.-c, 
which  means  that  she  must  be  in  bed  at  eight- 
thirty.  If  she  doesn't  have  to  be  up  until  nine 
then  she  may  stay  awake  until  1 1  30.  On 
Saturdays  we  have  little  dancing  partiesat  the 
Biltmorc  and  Ambassador. 

"And  every  day  that  she  doesn't  work  I 
take  her  golfing  with  me." 

Anita  likes  the  movies.  She's  seen  "Broad- 
way Melody"  eight  times.  She  never  goes  out 
alone.  Her  father  is  always  with  her.  Not 
even  her  cousin  may  take  her  unchaperoned. 
It's  all  a  business  proposition.  It's  to  make  a 
success  in  pictures. 

And  Anita  is  satisfied.  She  knows  they  are 
right. 

JOSEPHINE  DUNN'S  father,  Richard, 
J  makes  every  argument  complete  with  "Jose- 
phine says.  ..."  For  him  it  is  ended,  but  her 
mother  has  other  ideas.  Jo  is  on  the  film 
llapper  restricted  list.  Her  boy  friends  are 
approved.  She  has  to  be  in  at  twelve  unless 
she  has  told  her  mother  where  she  is.  If  she 
comes  home  later  there  is  a  chilly  atmosphere 
(her  mother  always  waits  up) . 

".And  I  was  in  the  Follies  and  I  play  bad 
women  on  the  screen  and  I'm  still  treated  like 
a  child,"  wailed  Jo.  "But  mother  is  a  grand 
person.  Of  course,  we  have  our  moments. 
Moments  when  we  say  the  most  cuttingly  sar- 
castic things  to  each  other — and  how  cutting 
they  can  be!  For  we  know  each  other's  weak- 
nesses so  well. 

"Once  mother  said,  'The  trouble  with  me 
is,  I've  been  too  good  a  mother  to  you,'  and 
then  she  mentally  searched  for  something 
devilish  to  do.  There  was  a  cigarette  on  the 
table.  She  picked  it  up  with  a  grand  gesture. 
'I'll  smoke  it,'  she  said,  wildly.  And  she  did. 
Now  she  likes  cigarettes  and  smokes  after 
every  meal." 

A  strangely  unrebellious  little  person  is 
!Mary  Philbin.  She  lives  quite  in  a  world  by 
herself,  quite  outside  the  t>-pical  movie  life. 
Her  mother  doesn't  know  that  Mary  is  differ- 
ent from  the  other  girls  in  town.  The  close 
bond  that  exists  between  the  mother  and  father, 
John  Philbin,  and  the  only  child  makes  re- 
strictions unnecessary.  She  never  goes  out  at 
all  while  she  is  working.  Her  best  friends  are 
Barbara   Kent,    j\Iary   ]Mc.\llister   and   Beth 


I.aemmle.  Not  one  of  these  girls  smokes  or 
drinks  and,  most  astonishing  of  all,  neither  do 
the  boys  who  come  to  the  house. 

And  I  said  "come  to  the  house"  for  there  is 
where  the  social  hub  of  the  Philbin  family  is  to 
be  found.  They  play  "consequences" — not 
even  bridge.  Upon  these  occasions  the  mothers 
are  present.  It's  a  simple,  old  home  week 
affair.  Mary  never,  never  docs  anything  that 
might  cause  a  paternal  eyebrow  to  be  raised. 
And  she,  herself,  is  calmly  contented  with  her 
simple  pleasures. 

Mary  Brian  is  another  of  this  type.  She 
lives  with  her  mother,  Louise  Dantzler 
(the  name  Brian  is  now  legalized,  I  believe)  and 
her  brother,  Taurrence,  who  works  in  a  bank. 
The  three  are  often  out  together  and  go  in  for 
social  gatherings  of  people  mostly  outside  the 
profession.  When  she  is  working  it's  in  bed  by 
ten.    Otherwise  she  may  stay  out  a  little  later. 

June  Collyer,  coming  from  a  social  life  in 
New  York,  has  no  restrictions  placed  upon 
her  by  her  parents,  Mr.  and  Mrs.  Clayton  J. 
Heermance.  Mrs.  Heermance  doesn't  like 
being  a  chaperon.  She  resented  it  thoroughly 
when  it  was  necessary  at  '^'est  Point  dances. 

"I  trust  June  whether  I'm  with  her  or  away 
from  her,"  she  said.  "  She  is  always  the  first  to 
leave  a  party.  She  always  'phones  if  she's 
going  to  be  late.  And  she  has  judgment  about 
her  friends." 

Carol  Lombard,  once  a  Mack  Sennett 
beauty,  has  an  easy  friendship  with  her 
mother,  "a  perfectly  grand  person"  whom  she 
calls"  To  tsy." 

TEANETTE  LOFF  lives  away  from  home  but 
-'  is  still  close  to  her  mother  who  designs  all  her 
clothes.  Mrs.  Loff  remains  with  Jeanette's 
two  younger  sisters,  Irene  and  Myrtle. 

Betty  Bronson  has  broken  away  from 
family  restrictions  and  is  living  in  her  own 
apartment. 

It  is,  so  she  says,  because  it  is  m.ore  conven- 
ient when  she  is  working. 

Each  household  works  out  its  own  problem. 
Each  young  star  abides  by  a  certain  set  of 
rules.  Each  mother,  knowing  her  own 
daughter,  attempts  to  do  what  she  thinks  is 
best. 

There  will  be  rebellion  always — Hollywood 
or  Medicine  Hat — there  will  be  the  Mary  Miles 
Minters  and  the  Virginia  Lee  Corbins.  But 
there  will  also  be  the  Mary  Philbins,  the  Lois 
Morans,  the  Days  and  the  Anita  Pages. 

And  girls  will  be  leaving  hom.e  and  staying. 
And  other  girls  will  be  leaving  home  and  com- 
ing back  again. 


Gladys  Moran,  mother  of  Lois,  believes  that  "mother  love  is  the 
bunk,  fit  only  for  sentimentalists."    "I  like  Lois  as  she  likes  me — 
as  a  person,"  she  says 

Every  advertisement  In  PITOTorL.lT  MAGAZINE  l9  guaranteed. 


Photoplay  Magazine — Advertising  Section 


^7 


Vitamins  for  Beauty 
and  Health 

1  CONTINUED  FROM  PAGE  67  I 


are  the  sun  ray?  which  cause  sunburn  and  when 
applied  scientifically  are  of  value  in  the  treat- 
ment of  deficiency  and  skin  diseases.  The  im- 
plication is  that  the  vitamins  and  ultra-violet 
rays  are  interchangeable  terms,  which  is,  of 
course,  a  fallacy. 

Another  erroneous  suggestion  is  that  the 
vitamins  are  food  or  have  a  food  value  in  them- 
selves and  that  such  a  value  is  in  direct  ratio 
to  the  quantity  present  in  your  diet.  It  must 
be  emphasized  that  so  far  as  research  at  pres- 
ent indicates,  the  vitamins,  especially  A  and  1), 
are  merely  accessor)'  food  factors,  regulati\e 
substances,  agents  promoting  chemical  activi- 
ties in  the  body  on  which  all  life  depends  and 
their  presence  rather  than  the  quantity  present 
is  the  target  at  which  dietitians  should  aim. 

OF  the  live  vitamins,  E  and  B  may  be  said 
to  be  of  the  least  importance.  Vitamin  K 
iias  not  been  fully  studied  yet  but  appears  to  be 
a  factor  promoting  fertility  and  possessing  the 
property  of  causing  the  secretion  of  milk  in  the 
nursing  mother. 

Vitamin  A  is  found  in  whole  milk,  butter, 
cheese,  egg  yolk,  cod  liver  oil.  glandular  organs 
(especially  li\'er  from  animals  that  are  properly 
fed),  thin  green  leafy  vegetables,  yellow  corn, 
yellow  sweet  potato  and  carrots.  This  vitamin 
produces  tissue  building,  promotes  growth  and 
well-being  and  prevents  infection. 

A  deficiency  in  the  diet  of  vitamin  A  causes 
loss  of  appetite  and  retardation  of  growth  and 
development.  Physical  weakness  ensues  and 
the  susceptibility  to  disease  of  the  eyes,  ears, 
sinuses  and  kidneys  increases.  Unlike  D,  the 
sunshine  \-itamin.  it  appears  to  be  built  up  ex- 
clusively in  green  plants  and  to  be  concen- 
trated in  the  fat  of  animals  which  thus  derive 
their  source  of  this  factor  from  the  green  vege- 
tables they  consume. 

The  rich  stores  of  A  in  cod  liver  oil  are  de- 
rived from  the  minute  green  sea  plants  upon 
which  the  small  fish  eaten  by  the  cod  have 
lived. 

A  deficiency  of  A  not  only  retards  and  stunts 
growth  but  it  causes  a  lowering  of  resistance  to 
infective  disease  and  in  particular  an  affection 
of  the  eyes. 

Vitamin  B  is  highly  important,  increasing 
the  appetite,  promoting  digestion  and  growth 
and  stimulating  life  processes,  protecting  the 
l)ody  from  nerve  disease  and  increasing  the 
quantity  while  improving  the  quality  of  the 
milk  of  the  nursing  mother.  Owing  to  its 
relatively  \Wde  distribution  and  to  its  stability, 
deficiency  of  vitamin  B  is  not  likely  to  happen 
in  this  country. 

npHE  most  reliable  sources  of  this  vitamin  are 
-'-  whole  grain  cereals,  milk,  legumes,  vege- 
tables and  egg  yolk.  Absence  of  this  vitamin 
from  the  diet  will  produce  beri-beri,  forms  of 
neuritis  and  decrease  in  what  is  known  as 
lymphoid  tissue  throughout  the  body.  If  the 
diet  is  deficient  in  vitamin  B,  appetite  and 
digestion  are  impaired.  There  is  a  loss  in 
weight  and  \-igor.  There  is  an  increase  in  the 
size  of  many  organs  and  constipation  and 
emaciation  ensue. 

Beriberi  is  a  painful  nerve  disease  frequently 
followed  by  paralysis. 

This  disease  menaced  the  establishment  of 
the  Japanese  navy  in  1862. 

From  one-fourth  to  one-half  of  the  entire 
personnel  was  continuously  disabled  because 
the  diet  of  the  navy  consisted  of  meat  and 
polished  rice. 

A  Dutch  physician,  in  a  Java  prison  hos- 
pital in  1897,  accidentally  discovered  that  all  of 
his  cooped-up  chickens  were  suffering  from  this 
disease.  The  birds  had  been  fed  left-over 
cooked  polished  rice  from  the  hospital  kitchen. 


ANNA  Q.  NILSSON,  world  famed 
screen  celebrity,  noted  for  the  velvetj* 
beauty  of  her  skin,  as  she  appears  in 
"Blockade"  recent  F.O.B.  heart-thriller. 


At  right — as  she  appears  taking  the  first  step  to 

beauty — awakening  her  skin  with 

Boncitta  clasmic  pack. 


Famed 

Queens  o/ Beauty 

Now  Reveal  Their  Greatest  Help 


This  is  no  argument  against  creams  and 
powders,  or  other  forms  of  make-up.  We 
supply  ihem  all.  But  it  is  to  insist  that  you 
must  first  have  a  skin  clear,  clean  and  radiant. 
First  bring  out  your  natural  beauty  to  the 
limit.  That  is  your  chief  attraction. 

Women  Who  Win 
Do  This 

Apply  Boncilla  clasmic  pack  when  you  wish 
to  appear  at  your  best.  Rest  while  it  dries. 
You  will  feel  it  draw  from  the  skin  all  that 
clogs  or  mars  it.  The  dirt  and  grime,  dead 
skin  and  hardened  oil.  The  causes  of  black- 
heads and  blemishes.  All  that  interferes  with 
the  natural  skin  activities. 

You  will  feel  it  draw  the  blood  to  the  sur- 
face, to  nourish  and  revive  the  skin.  When 
you  wash  it  off  there  will  be  a  revelation. 

Then  you  have  a  natural  beauty,  a  natural 
glow.  You  have  a  skin  cleaned  to  the  depths. 


Build  up  on  that  as  you  wish.  But  your  skin 
will  deteriorate — very  fast — if  you  neglect 
this  major  help. 

A  Promise  to  Yon 

You  can  confidently  expect  Boncilla  clas- 
mic pack  to  correct  these  skin  faults:  black- 
heads, oily  skin,  dry  skin,  blemishes,  little 
lines,  crow's  feet,  pimples,  sagging  muscles, 
skin  pouches,  enlarged  pores,  sallowness. 

All  toilet  counters  supply  Boncilla  clasmic 
pack.  In  tubes,  50c  and  $1.00;  jars,  $3-50. 
Get  it  for  tonight  if  you  want  a  glorious 
evening.  Surprise  your  friends.  Or  send  the 
coupon  with  10  cents  for  an  introductory 
packet  .  .  .  four  glorious  beauty  aids  ...  a 
whole  week's  test.  Clip  coupon  now. 


This  photographic  testimonial  of  Miss  Nilsson 
shfiun  here  is  tendereti  by  her  voluntarily.  Boh- 
ciila  Laboratories,  Inc.,  welcome  interesting  tes- 
timonials but  neither  offer,  nor  pay, 
money  for  them. 


Professional  treatments 

in  smart  beauty  and 

barber  shops 

everywhere 


FOUR   BEAUTY   AIDS 

BONCILLA — Indianapolis,  Indiana 

Send  mc  your  four  quick  aids  to  beauty — the  pack, 
two  creams  and  powder.  I  enclose  a  dime. 


n 


Name. 


CLASMIC 

PACK   L_lfZ!L:::i::::::;z:ui3z:::z:::::::z:J 

you  write  to  advertisers  please  mectloD  PHOTOPLAY  MAGAZINE 


Photoplay  Magazine- 


George. K.ARTHtR 

M. CM. Stab 

ilt  CHIf«.«  UUUMU 


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You  Look  a  Winner 

— and  looking  a  winner  is  the  first  step 
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LA  BEAUTC  STUDIOS 
eS7-LS  HBtnllton    Torr..    Baltimor*.  Md. 


When  unpolished  rice  was  fed,  the  birds 
promptly  got  well.  Being  of  an  inquisitive 
turn  of  mind  he  fed  the  chickens  polished  rice, 
producing  the  disease,  and  cured  them  by 
feeding  unpolished  rice  or  rice  poHshings. 

He  ne.xt  produced  the  disease  in  prisoners  by 
feeding  them  polished  rice,  curing  them 
promptly  and  completely  by  feeding  them  the 

crude  rice.  ,.  ,     ■      . 

His  investigations  also  established  that 
wheat  germ,  rye,  barley  and  potatoes  pro- 
tected his  prisoners  and  his  fowls  from  beri- 
beri. 

DURING  the  Russo-Japanese  War  in  1905, 
there  was  not  a  single  case  of  beri-beri  in 
the  Japanese  navy  because  barley  was  sub- 
stituted for  part  of  the  rice  ration,  but  in  the 
army  there  were  200,000  cases. 

The  great  value  derived  from  the  \videly  ad- 
vertised yeast  cake  in  the  treatment  of  chronic 
constipation  must  be  largely  due  to  this  prin- 
ciple, vitamin  B,  lack  of  which  is  one  of  our 
most  common  dietetic  deficiencies. 

Vitamin  C  was  one  of  the  first  vitamins  dis- 
covered because  its  absence  from  the  diet  pro- 
duces scurvy,  a  disease  which  used  to  more 
than  decimate  the  crews  of  vessels  on  long 
ocean  voyages.  Absence  of  vitamin  C  from 
the  diet  will  not  only  produce  scurvy  but  it 
also  brings  on  fatal  collapse.  If  the  diet  is 
deficient  in  vitamin  C,  a  change  in  the  dis- 
position will  be  noticed.  The  appetite  will  be 
deficient,  there  will  be  weight  loss  and  physical 
weakness,  shortness  of  breath,  rapid  respira- 
tion and  heart  action.  The  blood  will  show 
changes.  There  will  be  a  tendency  to  hemor- 
rhage, the  teeth  will  grow  soft  and  the  bones 
more  fragile.  .        . 

The  most  reliable  sources  of  vitamin  L  are 
orange  juice,  lemon  juice,  tomatoes,  sprouting 
grains,  green  leafy  vegetables  and  milk  from 
cattle  on  summer  pasturage. 

Scurvy  is  a  constitutional  disease  character- 
ized by  great  weakness,  anemia,  a  spongy  con- 
dition of  the  gums  and  a  tendency  to  hemor- 

Its  seriousness  was  first  realized  when  long 
sea  voyages  were  undertaken  by  the  early 
discoverers. 

Vasco  de  Gama  achieved  his  pioneer  voyage 
around  the  Cape  of  Good  Hope  to  the  West 
Indies  at  the  cost  of  100  deaths  by  scurvy  out 
of  a  crew  of  160  men. 

In  1600  four  ships  left  England  on  an  expedi- 
tion to  establish  the  East  India  Company.  On 
three  of  the  four  ships,  one-fourth  of  the  men 
died  before  reaching  the  Cape  and  the  rest 
were  in  a  pitiable  phght. 

The  men  on  the  fourth  \essel  were  in  perfect 
health  throughout  the  voyage,  because  each 
man  was  ordered  to  take  three  tablespoons  of 
lemon  juice  daily. 

Eventually  the  order  was  established  that 
every  British  seaman  take  lemon  juice  every 
day. 

They  are  known  as  "lime-juicers  on  the 
high  seas  to-day  for  that  very  reason,  although 
the  substitution  of  East  India  lime  juice  for 
lemon  juice  caused  scurvy  again  to  become 
prevalent  in  the  British  navy. 

Scurvy  like  the  other  deficiency  diseases  can 
be  produced  rapidly  and  readily  in  experi- 
mental animals  and  is  promptly  cured  by  the 
addition  of  citrus  fruits  to  the  diet.  In  a  mild 
form  it  is  a  fairly  common  ailment  in  babies 
to-day. 

It  may  be  prevented  or  cured  by  giving 
small  amounts  of  orange  or  tomato  juice  with 
the  feeding,  a  custom  which  has  become  so 
common  during  the  past  few  years  that  it  is  no 
longer  considered  unusual.  No  doubt,  you 
have  often  wondered  why  little  brother  was 
ordered  by  the  family  doctor  to  have  the  juice 
of  a  whole  orange  every  day. 


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VITAMIN  D  may  be  said  to  be  the  sunshine 
vitamin.  It  seems  to  be  formed  by  the 
action  of  ultra-violet  li^ht  on  certain  fat-like 
elements  present  in  our  body  and  in  our  food 
which  arc  not  completely  known  or  under- 
stood.   It  is  the  factor  preventing  rickets  and 


? 


Fatigued  ?     Worried  ? 

.    .-..^^ ., _jii3jpQtion.  indiBCslion,  cold 

-Je'tXi  Ani.v  opollB  ond  bashfuljesa  are  caused  bv 
MFPur  PYMAUSTIOltl  Drviia,  Utn\c»  and  medjri^iFa  cannot  Ivplp 
SLt     ,i^t  «W     1^"U  l>o»-  to   remto  Vigor.  Coln.<.o»  and  Sell 

iSSon?'.  "end  2SC  lorthis  """VJSnS'BilLDlNC   NEW  YORK 
RICHARD  BtACKSTONE,  N-226,  FtATIRON  BUILDINC.  MEW  TOHR 


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though,  perhaps,  second  to  vitamin  A  in  vital 
importance,  as  far  as  children  are  concerned, 
it  becomes,  under  the  modern  artificial  condi- 
tions existing  in  towns  and  from  the  fact  that 
its  distribution  in  the  natural  foods  is  some- 
what restricted  relatively  to  the  others,  a  factor 
second  to  none  in  general  importance.  Vitamin 
D  is  interesting  in  that  it  appears  to  be  the  only 
one  of  those  five  known  which  can  be  built  up 
in  the  animal  body.  It  is  formed  in  the  fatty 
tissues  by  the  action  of  the  ultra-violet  light  on 
the  skin. 

That  vitamin  D  is  found  or  may  be  formed 
in  certain  vegetable  oils  is  due  to  the  presence 
of  fat-like  substances,  the  cholesterols.  It  must 
be  distinctly  noted  that  irradiation  with  ultra- 
violet light  is  useless  unless  these  cholesterols 
be  present. 

'W'lTAMIN   D  controls  the  body's  calcium 

»  equilibrium  and  regulates  tlie  utilization  of 
the  body's  needed  minerals.  It  is  a  specific 
against  rickets  which  will  ensue  in  an  absence 
of  this  vitamin  from  the  diet. 

Deformity  of  the  bones  in  young  children 
results  from  an  absence  of  this  vitamin  from 
their  dietary.  A  diet  deficient  in  vitamin  D 
causes  muscular  weakness  and  instability  of 
the  nervous  system.  Cod  hver  oil,  egg  yolk 
and  whole  milk  are  the  chief  sources  of  vitamin 
D. 

Of  all  the  vitamins  the  two  most  important 
are  vitamins  A  and  D. 

Vitamin  D  was  first  found  in  conjunction 
with  vitamin  A  and  until  recently  was  thought 
to  be  identical  nith  it. 

Rickets  is  a  disease  characterized  by  mal- 
development  of  bony  tissue  and  is  especially 
prevalent  in  the  slums  of  large  cities.  A  child 
is  afflicted  with  rickets  because  its  diet  is 
deficient  in  three  things,  vitamin  D,  in  mineral 
calcium  and  sunshine.  All  of  these  essentials 
are  lacking  to  the  children  brought  up  in  the 
poorly  lighted  tenements  or  narrow  dark  alleys 
to  whom  an  adequate  supply  of  milk  is  seldom 
available.  The  lack  of  milk  deprives  them  of 
the  anti-rachitic  vitamin  D  and  calcium,  while 
such  quarters  shut  out  the  sunshine.  However, 
this  disease  is  not  entirely  confined  to  the  poor 
but  is  sometimes  found  in  the  families  of  the 
well-to-do,  where  nursing  mothers  fail  to  eat 
properly  balanced  diets.  Recent  study  in- 
dicates that  children  may  be  born  with  rickets 
due  to  the  deficiencies  in  the  diet  of  e.xpectant 
mothers. 

T  H.WE  proved  this  to  be  the  case  in  my  own 
■'•  experience.  This  last  winter  I  handled  an 
obstetrical  case  in  the  family  of  a  prominent 
scenarist.  The  wife,  a  charming  girl,  the 
product  of  a  finishing  school,  has  neglected  her 
diet  for  many  years.  Her  first  baby,  before  it 
was  one  month  old,  exhibited  unmistakable 
signs  of  rickets.  A  deficiency  of  vitamin  D  in 
this  young  mother's  diet  prior  to  the  birth  of 
her  child,  made  it  necessary  to  put  the  baby 
immediately  upon  modified  milk. 

This  in  addition  to  cod  liver  oil,  the  adminis- 
tration of  fruit  juices  and  exposure  to  ultra- 
violet light  were  anti-rachitic  measures  which 
met  with  success. 

The  last  vitamin  to  be  considered,  vitamin 
E,  the  fertility  vitamin,  is  the  most  recently 
discovered  of  the  lot.  Its  function  has  not 
been  entirely  ascertamed.  It  is  known,  how- 
ever, that  among  other  things,  vitamin  E  is 
probably  concerned  with  the  way  in  which 
the  body  utilizes  the  iron  that  is  so  necessary 
for  the  individual's  well  being.  The  most  re- 
liable source  of  vitamin  E  is  whole  grained 
cereal,  milk  and  green  vegetables. 

This  is  the  reason  expectant  mothers  are 
advised  to  drink  a  quart  of  milk  a  day  and  to 
eat  plenty  of  the  leafy  green  vegetables,  hither- 
to merely  considered  a  fad  by  many  of  the  rank 
and  file  in  the  medical  field. 

You  have  often  heard  it  said,  "Man  cannot 
live  by  bread  alone." 

This  the  dietitian  emphasizes,  pointing  out 
the  need  for  vitamins,  though  he  does  put  a 
new  and  different  structure  upon  this  ancient 
Biblical  aphorism. 


139 


ot  even  a  thought 
of  embarrassment 

for  "Mum" prevents  all  body  odors 


Care-free  the  girl  who  has  se- 
lected Mum  as  the  guardian  of  her 
personal  daintiness.  No  matter 
how  exhilarating  the  dance,  nor 
how  close  the  atmosphere  of  the 
gay  crowd,  she  is  serene  in  the 
knowledge  that  no  subtle  odor  of 
perspiration  can  come  to  steal 
away  her  charm. 

For  she  knows,  as  millions  of 
girls  and  women  know,  that  the 
one  sure  way  of  preventing  the  in- 
evitable odor  of  perspiration,  with- 
out checking  perspiration  itself,  is 
to  use  Mum.  Just  a  fingertip  of 
Mum,  the  delicate  deodorant 
cream,  applied  to  the  underarm — 
and  perspiration  odor  is  com- 


pletely neutralized,  for  all  day  and 
evening. 

And  Alum  is  so  antiseptic  and 
soothing  and  so  entirely  harmless 
to  both  skin  and  clothing  that  for 
over  25  years  doctors  and  trained 
nurses  have  recommended  its  use 
with  the  sanitary  napkin.  In  this 
important  use,  fastidious  women 
agree  that  nothing  can  take  the 
place  of  Mum. 

For  complete  self-assurance 
make  Mum  a  regular  part  of  the 
daily  toilette.  You  will  find  Mum 
at  all  drug  and  department  stores 
in  35c  and  60c  sizes. 

MCM    MFG.   CO..   Inc.,  80  Varick   St.,  N.  Y. 


4» 


Mu 


m   IS 


th 


e  wo 


rd! 


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How  They  Manage  Their  Homes 


[  CONTINUED  FROM  PAGE  87  1 


with  three  dozen  of  everything,  a  housewife's 
delight. 

His  linen  is  plain,  but  of  the  finest.  No 
monogram  adorns  it. 

There  is  a  gay  little  breakfast  room  that  is 
never  used,  and  a  servants'  hall  beyond  the 
kitchen. 

"Kitchen  plenty  too  small,"  remarks  the 
cook,  "and  muches  hot  in  summer." 

Kono  is  the  only  servant  that  sleeps  in  the 
house,  the  rest  occupying  nice  quarters,  with 
bathrooms  galore,  over  the  garage. 

NOW  let's  go  upstairs — that  railed  staircase 
leading  from  the  organ  room  to  a  balcony. 
Here  a  cabinet  or  two  and  a  divan  lend  an  air 
of  comfort.  Charlie's  own  room  is  to  the  right 
— big,  airy,  masculine,  furnished  with  elegant 
simplicity. 

It  is  completely  carpeted  in  green-grey  with 
an  unobtrusive  pattern.  The  three-quarter 
bed,  dressing  table,  and  cabinet  of  drawers  are 
painted  a  golden  glow  yellow  and  decorated  by 
hand.  A  yellow  eiderdown  quilt  serves  for 
bedspread.  Beside  the  bed  a  booktable, 
loaded  to  the  gunwales,  books  and  magazines 
piled  high.  The  books  include  the  Bible,  and 
the  book  which  caused  Charlie  to  be  accused  of 
socialism — "Anarchy  and  the  Anarchists,"  by 
Capt.  Von  Schack,  a  history  of  the  Chicago 
riots.  Charlie  knows  it  backwards.  He  con- 
siders it  shows  much  dignity  and  courage  on 
the  part  of  the  accused  men.  But  Charlie  never 
could  be  a  Socialist  really,  for,  like  all  geniuses, 
he  is  naturally  imperial. 

Shelves  of  books  line  one  wall.  A  good  solid 
table  hides  an  unexpected  settee,  with  three 
jazzy  feminine  cushions  on  it.  One  suspects 
the  cushions  were  gifts,  which  Charlie's  kind 
heart  cannot  throw  out.  On  the  table  an 
autographed  photograph  similar  to  the  one 
Mary  and  Doug  have  in  their  living  room  "To 
Charlie  from  Dickie  and  Edwina  Mount- 
batten" — English  royalty,  you  see.  Nearby  a 
huge  Imperial  Dictionary  rests  upon  a  stand, 
open  .  .  .  Near  the  window  a  monster  tele- 
scope with  which  Charlie  can  scan  the  whole 
horizon  into  vast  distances.  The  windows  are 
draped  in  a  soft  green,  toning  with  the  green- 
grey  carpet. 

One  of  those  new  electric  belt  e.xercisers 
stands  near  another  window. 


Here,  too,  is  another  fireplace.  And  upon 
the  mantel,  directly  facing  Charlie's  bed,  stand 
four  smiling  photographs  of  Georgia  Hale  in 
various  poses.  (Oh,  dear — something  may  dis- 
turb the  serenity  of  this  masculine  household 
yet.     Kono  is  helpless  here!) 

And  at  a  certain  exact  spot  stand  a  pair  of 
bedroom-slippers,  soft  brown  leather  with  grey 
felt  cuffs,  awaiting  Charlie's  tootsies.  'The 
position  of  these  shoes  is  important.  He  took 
hours  to  explain  the  exact  spot  on  which  they 
should  stand — so  that  they  would  be  forever 
ready  to  receive  his  feet  when  he  turned  at  a 
certain  angle  in  rising  from  his  bed,  and  yet  not 
obtrude  too  much  into  the  room. 

Charlie  is  fussy  about  shoes — has  them  made 
specially  for  him  in  England.  Loves  one  pair 
of  old  patent  leather  ones,  wdth  grey  tops, 
which  he  declares  are  the  most  perfect  shoes 
ever  made.  All  sorts  of  formalities  have  to  be 
gone  through  before  he  puts  on  the  comic 
Chaplin  shoes  at  the  studio  for  business 
purposes. 

Charlie,  you  see,  has  perfect  feet — never  a 
corn  or  a  bunion  anywhere. 

(Also,  cnire  nous,  he  wears  B.  V.  D.'s — none 
of  these  new  flapper  vests  and  shorts.  But  he 
does  wear  pale-green  silk  pajamas.)  All  the 
same,  in  spite  of  a  dressing  room  Hned  with 
wardrobes,  he  has  comparatively  few  clothes 
for  a  man  in  his  position  and  is  no  fop  in  this 
regard. 

npHE  dressing  table  in  the  bedroom  is  adorned 
-'■  with  silver  brushes  and  combs,  but  the  one 
in  the  little  dressing  room  with  plain  ones  that 
any  ordinary  bachelor  might  use.  He  has  an 
old  pair  of  ebony  military  brushes  that  he 
declines  to  discard — the  first  "good"  ones  he 
could  ever  afford.  (His  dressing  room  at  the 
studio  is  also  a  model  of  Spartan  simplicity.) 

Charlie's  bathroom  is  all  white  mosaic  tile, 
with  a  half -sunken  bath.  The  scales  stand  here. 
Time  was  when  Charlie  kept  a  Bible  and  a  dic- 
tionary on  a  shelf  in  every  bathroom,  but  only 
the  guest  room  has  this  favor  now!  Then  there 
is  a  steam  room,  with  a  rubbing  table  and  a 
shower. 

In  this  bedroom  Charlie  starts  his  day.  He 
hates  to  rise  before  noon.  "People  are  so  un- 
interesting before  lunch,"  he  says.  Besides,  he 
keeps  pretty  late  hours.    So  breakfast  is  served 


A  view  of  the  Chaplin  living  room,  showing  the  bay  window.   This 
is  the  west  end  of  the  room  overlooking  Beverly  Hills  and  the  Pacific 


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in  bed — a  good  hearty  one,  fruit,  porridge, 
eggs,  bacon,  toast,  marmalade  and  English  tea. 
.\ftcr  that  he  reads  the  newspapers,  three  or 
four  of  them,  and  such  mail  as  he  has  decided 
might  be  personally  interesting;  makes  copious 
notes  for  use  in  his  work — and  feels  highly 


for  use  in  hi; 
industrious.  He  rarely  gets  down  to  the  studio 
before  1 — although  his  entire  staff,  actors  and 
all,  have  to  be  down  at  9  a.  m.  in  case  he  should 
feel  inspired  to  early  labor.  They  usually 
telephone  up  to  the  house  to  see  if  they  may 
leave  for  lunch.  Charlie,  having  breakfasted 
late,  doesn't  want  lunch  till  3,  4  or  5  p.  m. 
according  to  how  the  inspiration  goes  on  the 
picture.  (However,  all  the  staff's  pay  goes 
right  along  whether  Charlie  works  or  not. 
Sometimes  he  won't  work  for  weeks,  and  then 
want  to  work  24  hours  a  day  for  days.) 

T  UNCH  is  served  in  the  studio  bungalow  and 
■'^a  special  cook  is  in  charge.  This  cook  shines 
at  stews  ...  so  just  remember  that  Circuses 
and  Gold  Rushes  can  be  made  on  stew. 

Charlie  uses  perfume — but  it  is  a  special 
masculine  kind  that  he  buys  in  bulk  by  the 
ounce.  He  sprays  it  on  kerchief  and  hair.  He 
has  a  passion  for  handkerchiefs  and  owns  them 
by  the  gross,  fashioned  of  the  linest  fabrics. 
He  often  uses  several  a  day.  (His  laundry,  by 
the  way,  is  all  sent  out — Jap  servants'  clothes 
and  all,  and  costs  between  S8  and  $12  a  week, 
according  to  whether  they  have  had  company.) 

E.Kercising  is  an  important  business.  Out  on 
the  lawn  there  is  a  big  wheel,  with  a  place  to 
slip  the  feet  in.  The  hands  hold  on  to  lofty 
bars,  and  the  wheel  turns  over  and  over,  calling 
for  strain  on  every  muscle  in  Charlie's  body. 
It's  quite  a  feat  to  do  it  gracefully.  Then  there 
is  the  swimming  pool,  Charlie  being  a  fine 
swimmer  and  diver.  In  addition  to  that,  he 
will  often  leave  the  studio  in  shorts,  get  out  of 
his  machine  where  the  bridle-path  ends  at 
Beverly,  and  sprint  all  the  way  up  the  hill 
home.  One  can  see  lots  of  strange  sights  in 
magnificent  Beverly.  Anyway,  that  is  how 
Charlie  keeps  his  boyish  figure  and  can  face 
those  bathroom  scales  with  equanimity. 

There  are  three  automobiles — a  Rolls- 
Royce,  a  Locomobile  and  a  Cadillac.  Charlie 
gets  moods  for  certain  cars.  One  day  he  can't 
bear  the  sight  of  the  Rolls-Royce  and  snubs 
it  for  the  Locomobile  and  vice  versa.  Some- 
times he  sits  beside  the  driver,  sometimes 
behind  him.  Sometimes  he  drives  himself,  and 
seats  the  chauffeur  next  to  him.  Sometimes 
he  feels  nice  and  haughty,  dnd  sometimes 
playful,  frivolous  and  naughty.  Everyone  at 
the  studio  adores  him.  Sometimes  he  will 
blow  up  and  blame  the  nearest  person  for 
everything  and  anything — but,  although  he 
never  actually  apologizes,  he  otU  show  his  con- 
trition later  on  by  being  extra  sweet  to  the 
person  he  has  unjustly  scolded.  And  oh,  this 
Charlie  knows  how  to  be  sweet  and  winning — 
it  works  on  the  men  as  well  as  on  the  women. 
You  see,  he  is  a  very  superior  actor,  so  that  he 
can  be  fascinating,  haughty,  pathetic,  mourn- 
fully aloof,  or  mischievously  playful  at  will. 
Once  when  a  certain  "Eddie"  had  been 
wounded  by  unjust  reproach  from  Charlie  and 
decUned  to  be  mollified,  Charlie  cut  his  finger 
and  begged  Eddie  to  bind  it  up.    Eddie  bound. 

"NTOW  let's  peep  into  the  guest  room — which 
■'-^was  formerly  occupied  by  Lita.  (Only 
three  master  bedrooms  in  that  house.)  It,  too, 
has  a  three-quarter  bed  (not  twin  beds),  can- 
opied, with  white  and  gold  furniture  of  rich 
quality,  a  powder  blue  carpet  and  brocaded 
hangings,  with  a  touch  of  gold  in  the  design. 
Its  bathroom  is  plain  white,  but  everything 
superlative  as  to  quality  and  comfort.  A  writ- 
ing desk  and  well  placed  lights,  comfy  chairs 
and  the  finest  of  plain  white  linen,  make  of  this 
a  charming  room.  These  days,  while  Charlie  is 
working  on  his  next  picture  and  shutting  him- 
self away  from  his  friends,  it  is  often  occupied 
by  a  studio  associate.  But  all  the  same  it  is 
the  most  feminine  room  in  the  house. 

Then  across  the  hall — a  sad  httle  room. 
When  Charlie  built  this  house  he  called  this 
room  the  "flapper  bedroom."     He  had  no  end 


141 


Now  You  Can  Reduce 
2  to  4  Lbs.  in  a  Night 


Eat  what  you  please 

Wear  what  you  please 
Do  what  you  please 

Take  no  risky  medicine 

Send  the  coupon  for  your  first  three  Fayro  Baths 

Thousands  of  smart  women  have  found 
this  easy  way  to  take  off  2  to  4  pounds  once 
or  twice  a  week.  These  women  take  refreshing 
Fayro  baths  in  the  privacy  of  theirown  homes. 

Fayro  is  the  concentrate  of  the  same 
natural  mineral  salts  that  make  effective  the 
watersoftwenty-twohot  springs  of  America, 
England  and  Continental  Europe.  For  years  ' 
the  spas  and  hot  springs  bathing  resorts  have 
been  the  retreat  of  fair  women  and  well 
groomed  men. 

Excess  weight  has  been  removed,  skins  have 
been  made  more  lovely,  bodies  more  shapely  and 
minds  brigjiter. 

The  Hot  Springs  Are  Now  Brought  to  You 

A  study  of  the  analyses  of  the  active  ingredients 
of  the  waters  from  twenty-two  of  the  most  famous 
springs  have  taught  us  the  secret  of  their  effective- 
ness. You  can  now  have  all  these  benefits  in  your  own 
bath.     Merely  put  Fayro  into  your  hot  bath. 

It   dissolves   rapidly.     You    will    notice    and    enjoy    the 
pungent  fragrance  of  its  balsam  oils  and  clean  salts. 

Then,  Fayro,  by  opening  your  pores  and  stimulating 
perspiration,  forces  lazy  body  cells  to  sweat  out  surplus 
fat  and  bodily  poisons.  Add  Fayro  to  your  bath  at  night 
and  immediately  you  will  lose  from  2  to  4  pounds  in  an 
easy,  refreshing  and  absolutely  harmless  manner.  '  "^"T 

Consult  your  physician  and  he  will  tell  you  that  Fayro  is 
certain  to  do  the  work  and  that  it  is  absolutely  harmless. 

Fayro  will  refresh  you  and  help  your  body  throw  off  worn  out 
fat  and  bodily  poisons.  Your  skin  will  be  clearer  and  smoother. 
You  will  sleep  better  after  your  Fayro  bath  and  awaken  feeling 
as  though  you  had  enjoyed  a  week's  vacation. 

Lose  Weight  Where  You  Most  Want  To 

Fayro  reduces  weight  generally  but  you  can  also  concentrate  its 
effect  on  abdomen,  hips,  legs,  ankles,  chin  or  any  part  of  the  body 
you  may  wish. 

Results  Are  Immediate 

Weigh  yourself  before  and  after  your  Fayro  bath.  You  will 
find  you  have  lost  from  2  to  4  pounds.  And  a  few  nights  later 
when  you  again  add  Fayro  to  your  bath,  you  will  once  more  reduce 
your  weight.  Js  soon  as  you  are  the  correct  weight  for  your 
height  do  not  try  to  reduce  further.  No  need  to  deny  yourself 
food  you  really  want.  No  need  for  violent  exercise.  No  need 
for  drugs  or  medicines.  Merely  a  refreshing  Fayro  bath  in  the 
privacy  of  your  own  home. 

Try  Fayro  at  Our  Risk 

Theregularpriceof  Fayro  is  $1.00  a  package.  With  thecoupon 
you  get  3  full  sized  packages  and  an  interesting  booklet  "Health 
and  Open  Pores"  for  $2.50  plus  the  necessary  postage.  Send  no 
money.  Pay  the  postman.  Your  money  refunded  instantly  if 
you  want  it. 


HERE'S    PROOF 

Read  what  Fayro  Baths 
have  done  for  others 

"Three  Fayro  baths  reduced 
my  weight  tt  pounds  in  8 
days.  I  feel  beller  than  I 
have  felt  for  years." 

"I  weigh  16  pounds  less  and 
feel  younger  and  sleep  belter. 
Fayro  is  wonderful." 

"My  double  chin  vanished  in 
the  magic  of  Fayro  baths." 

"My  hips  were   always  too 

prominent  until  1  commenced 

Fayro  baths.     I  have  lost  12 

pounds," 

"Thank  you  for   Fayro.     I 

lost  14  pounds  in  three  weeks; 

feel  better  and  certainly  look 

belter." 

"Since   childhood    my  thick 

ankles   have   always  been   a 

source     of     embarrassment. 

Fayro    baths    have    reduced 

them  beautifully.   Thank  you 

very  much." 

For  obvious  reasons,  names 
are  not  quoted,  but  every 
letter  published  has  been 
authorized  and  names  and 
addresses  will  be  given  on 
request. 


fAYRO 


If  each  healthful  bath  of  Fayro  does  not 
reduce  your  weight  from  2  to  4  pounds,  we 
will  refund  your  money  withouta  question. 
You  risk  nothing.  Clip  the  coupon  and 
mail. 


Fayro,  Inc.  PH-6-29 

821  Locust  St.,  PIttsburfth,  Pa. 

Send  me  3  full  sized  boxes  of  Fayro  in  plain  package. 
I  will  pay  the  postman  $2.50  plus  the  necessary  postage. 
It  is  understood  that  if  I  do  not  get  satisfactory  results 
with  the  first  package  I  use.  I  am  to  return  the  other  two 
and  you  will  refund  all  of  my  money  at  once. 


Name. 


Address. 


City State 

If  you  live  outside  the  United  States  send  International 
Money  Order  with  coupon. 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE. 


142 


Photoplay  Magazine — Advertising  Section 


OTHINE 

Removes  This  Lgly  Mask 

There's  no  longer  the  slightest  need  of 
feehng  ashamed  of  your  freckles,  as  Othine 
— doul)le  strength — is  guaranteed  to  remove 
these  homely  spots. 

Simply  get  an  ounce  of  Othine  from  any 
drug  or  department  store  and  apply  a  little 
of  it  night  and  morning  and  you  should  soon 
see  that  even  the  worst  freckles  have  begun 
to  disappear,  while  the  lighter  ones  have 
vanished  entirely.  It  is  seldom  that  more 
than  an  ounce  is  needed  to  completely  clear 
the  skin  and  gain  a  beautiful  complexion. 

Be  sure  to  ask  for  double  strength  Othine 
as  this  is  sold  under  guarantee  of  money 
back  if  it  fails  to  remove  your  freckles. 


fkutfiamm 


/       ^  -IN  90  DAYS! 

}^y       Play  anything— ja^z  to  classical!  Even  if 
\  J-Ti^/V    y*^  know  nothing  abimt  piano  music- 

Ik         ^^    w' ,'       1  II  have   your  tinirers  diinciiiR  ovor  the 
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makinK  money.   . ,_... 

Without  puzzlinir  notes!  Wilhout 
practicing  tedious  ecaleel  I've 
found  the  way  to  brinp:  out  your 
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I  aystem  doca  away  with  years  of 
work.  YOU  WANT  THE  PROOF! 
I  I'll  send  it.  Write  me  now. 

D.M.  SUTTLE,  Diractor 

ILLINOIS  SCHOOL  OF   MUSIC 

|1801  Byron. 0ept.1213.Chlcaiio.lll. 


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of  fun  furnishing  it  with  all  the  gayest,  jazziest 
things  he  could  find — based  upon  a  foundation 
color  scheme  of  old  gold,  with  a  rose  velvet 
carpet.  It  was 'the  sauciest,  most  impudent 
room  you  can  imagine.  The  three-quarter 
bed,  its  bright  counterpane,  its  cheeky  cur- 
tains, its  sparkling  mirror,  its  dainty  toilet 
articles  and  all-ready-prepared  feminine 
negligees  gave  anticipation  of  a  dainty, 
youthful,  piquant  guest — 

But  later  it  was  to  assume  precious  responsi- 
bility— for  this  became  the  nursery  during  the 
Lita  interlude.  And  Charlie  did  love  his 
babies.  Never  a  night  passed  without  Charlie 
visiting  that  hallowed  little  spot.  Never  so 
temperamental  that  he  could  not  play  with 
liis  two  wee  sons  .  .  . 

But  that's  all  over  now  and  the  room  stands 
empty,  forlorn,  with  sheets  drawn  over  the 
chairs  to  protect  them  from  dust  ...  Its  once 
saucy  rose  carpet  bears  a  few  tell-tale  spots 
.  .  .  loving  memory-spots  .  .  .  And  yet  .  .  . 
that  bedroom  was  never  meant  for  a  nursery. 
It  did  its  gay  best — without  avail.  And  the 
nursery  wing,  which  Charlie  used  to  plan  and 
build  in  imagination,  was  never  even  started. 

THIS  brilliant,  temperamental  Charlie  was 
never  so  charming,  so  completely  fascinating 
as  when  he  was  talking  about  the  nursery  wing 
he  was  going  to  build  .  .  . 


But  after  all,  a  bachelor  household  suits 
Charlie  best.  One  cannot  imagine  him  a  regu- 
lation married  man.  He  will  try  again 
presently,  of  course,  but  that  house  was  made 
for  feminine  visitors,  not  residents.  One  simply 
cannot  conceive  of  a  bevy  of  in-laws  over- 
running it.  Besides,  Kono  is  a  marvelous 
housekeeper.  Everything  is  as  neat  and  clean 
as  the  most  exacting  housekeeper  could  wish — • 
all  the  time,  not  just  for  company.  I  went  up 
there  quite  unexpectedly  for  the  purposes  of 
this  story. 

"pVEN  the  garden  is  a  model  of  tidiness — 
-'—'children's  toys  and  mud  pies  would  mar  its 
bachelor  rectitude.  The  countless  little  wind- 
ing paths,  with  nary  a  hint  of  a  weed  anywhere, 
are  beloved  of  Charlie,  who  loves  to  walk 
alone   therein. 

The  huge  lawn,  in  all  its  velvety  gran- 
deur, is  for  well-dressed  grown-ups  in  their  best 
clothes.  The  very  swimming  pool  is  five  feet 
deep  at  its  shallowest  end.  There  isn't  a 
spot  that  looks  suitable  for  a  sandpile,  or  a 
place  to  keep  rabbits. 

But  Harry,  the  cook,  will  shyly  take  out  a 
little  snapshot  of  his  own  Japanese  baby.  I 
rather  think  Harry  regrets  the  empty  nursery, 
and  the  babies'  bottles  in  those  grand  refriger- 
ators .  .  .  but  goodness,  wherever  did  they 
hang  the  didies? 


Charlie  Chaplin  and  T.  Kono.     Their  relationship  of  master  and 

servant  has  stood  the  test  of  fifteen  years — a  tribute  to  Charlie's 

innate  kindness  and  Kono's  patience  and  discretion 

Brery  advertisement  In  PHOTOPLAY  MAGAZINE  18  euaranteed. 


Photoplay  Magazine — Advertising  Section 


H3 


Questions  &  Answers 

I  CONTINUED  FROM  PAGE  100  ] 

Mrs.  a.  J  ,  Portland,  Ore. — Patsy  Ruth 
Miller  was  the  leading  lady  in  "The  Hunch- 
back of  Notre  Dame."  Conway  Tearlc  did  not 
play  in  it. 

Charles  Wilson,  Decatur,  Ga. — Barbara 
Kent  was  born  in  Gadsby,  Alberta,  Canada, 
on  Dec.  16th.  1909.  Her  real  name  is  Barbara 
Cloutman.  She  is  four  feet,  eleven  inches  short 
and  weighs  103  pounds.  She  has  auburn  hair 
and  blue  eyes.  "Lonesome"  and  "The  Shake- 
down" are  her  most  recent  pictures. 

Ray  Von  Kolb,  Binghamton,  N.  Y. — You 
and  your  friend  are  both  wrong.  How  do  you 
like  that?  Paul  Lukas  was  born  in  Budapest, 
Hungary,  on  May  26th,  1896. 

Anna  of  Alabama. — .Mways  glad  to  help 
out  my  friends  who  have  scrap-books.  01i\e 
Borden  was  born  in  Richmond.  \'a.,  in  190". 
Florence  Allen  hails  from  East  Orange,  N.  J. 
Yakima  Canutt  first  saw  the  light  of  day  in 
I'enawawa,  Wash  ,  on  Xov.  29th,  1896.  Ben 
Bard  came  forth  from  Milwaukee,  Wis,  Sorry, 
but  he  does  not  tell  his  age  and  Johnny  Mack 
Brown  doesn't  tell  the  public  his  wife's  name. 
And  that's  that. 

John  Hanover,  Newport,  R.  I. — Nancy 
Carroll  was  born  in  New  York  City  on  Nov. 
19th,  1906.  Sue  Carol  is  20  years  old  and  is 
under  contract  to  Fox.  Anita  Page  is  18  years 
old  and  her  real  name  is  Anita  Pomares. 

Katherine  Muir,  Argentina,  S.  A.  — 
How's  the  weather  down  there?  Really  I 
think  your  art  is  quite  fine  but  the  picture 
didn't  look  a  bit  like  me.  Mary  Brian  was 
born  in  Corsicana,  Te.x.,  just  twenty  years  ago. 
She  is  five  feet,  two  inches  tall,  weighs  109 
pounds  and  has  brown  hair  and  blue  eyes.  Her 
next  picture  will  be  "The  Man  I  Love."  Betty 
Bronson's  next  will  be  "One  Stolen  Night." 
Joan's  name  is  pronounced  all  in  one  syllable. 
Jobyna  Ralston's  real  name  is  just  that — but  it 
is  spelled  Raulston. 

C.  S.  and  C.  H.,  Staltnton,  Va.— Hello, 
both  of  you.  To  begin  with,  Johnny  Mack 
Brown  was  born  on  Sept.  4th,  1904,  in  Gotham, 
Ala.  He  is  six  feet  tall,  weighs  165  pounds 
and  has  black  hair  and  brown  eyes.  Hugh 
Allan  is  twenty- live  years  old  and  his  latest 
picture  is  "AnnapoHs."  The  college  scenes  in 
"Varsity"  were  filmed  at  Princeton  Univer- 
sity. Gary  Cooper  and  Lupe  Velez  have  an- 
nounced their  engagement. 

Artie,  Baltimore,  Md. — Lt.  Col.  Charles 
G.  Rich  was  Irene's  first  husband.  They  were 
divorced  in  1920.  Her  second  husband  is  D.  V. 
Blackenhorn.  They  were  married  in  April. 
1927. 

F.  S.,  Mount  Union,  Pa. — I  can  see  that 
William  Collier,  Jr.,  is  your  big  favorite.  He 
receives  his  fan  mail  at  Warner  Brothers 
Studios,  5842  Sunset  Blvd.,  Hollywood,  Calif. 
Your  maid  was  right.  AHce  White  and 
Charles  Delaney  played  the  two  leads  in 
"Show  Girl."  Yes,  indeed,  William  Haines 
is  still  fancy  free. 

M.  J.  B.,  Harrisburg,  Pa. — Bebe  Daniels 
is  five  feet,  three  and  one-half  inches  tall, 
weighs  112  pounds  and  has  black  hair  and 
dark  brown  eyes.  Before  appearing  in 
"Senorita"  she  made  "Miss  Brewster's  Mil- 
lions." "The  Palm  Beach  Girl,"  "Stranded  in 
Paris"  and  plenty  of  others.  Her  latest  offer- 
ing is  "What  a  Night."  Renee  Adoree  and 
Dorothy  Janis  appear  with  Ramon  Novarro 
in  "The  Pagan."  I  hear  that  Eva  Von  Berne 
is  appearing  in  a  picture  in  Germany.  Now, 
is  your  mind  at  ease? 


To  Really  Get  Rid 
of  Arm  or  Leg  Hair 

So  It  Won't  Grow  Back  Coarse  and  Bristly 


Reappearatice  of  hair  is  slowed  amazingly  without  josleiing  coarsened  re-growth 

ANew  Discovery  That  Not  Only  Removes  Arm  or  Leg  Hair  Instantly 
But  That  Utterly  Avoids  Inviting  Bristly  Re-growth 


ANEW  way  of  removing  arm  and  leg 
hair  has  been  found  that  not  only 
removes  every  vestige  of  hair  instantly, 
but  that  banishes  the  stimulated  hair 
growth  thousands  of  women  are  charg- 
ing to  less  modem  ways.  A  way  that 
not  only  removes  hair  but  delays  its 
reappearance  remarkably ! 

It  is  changing  previous  conceptions  of 
cosmeticians  about  hair  removing. 
Women  are  flocking  to  its  use.  The 
discovery  of  R.  C.  Lawry,  noted  beauty 
scientist,  it  is  different  from  any  other 
hair  remover  loiown. 

WHAT  IT  IS 

It  is  an  exquisite  toilet  creme,  resem- 
bling a  superior  beauty  clay  in  texture. 
You  simply  spread  it  on  where  hair  is 
to  be  removed.  Then  rinse  off  with 
water. 
That  is  all.  Every  vestige  of  hair  is 


Neet 


Cream 

Hair  Remover 


gone;  so  completely  that  even  by  run- 
ning your  hand  across  the  skin  not  the 
slightest  trace  of  stubble  can  be  felt. 

And — //le  reappearance  of  that  hair  is 
delayed  siirprisinglyl 

Wlien  re-growth  finally  does  come,  it 
is  utterly  unlike  the  re-growth  follow- 
ing old  ways.  You  can  feel  the  differ- 
ence. No  sharp  stubble.  No  coarsened 
growth. 

The  skin,  too,  is  left  soft  as  a  child's. 
No  skin  roughness,  no  enlarged  pores. 
You  feel  freer  than  probably  ever  be- 
fore in  your  life  of  annoying  hair  growth. 

WHERE  TO  OBTAIN 

It  is  called  Neet — a  preparation  long 
on  the  market,  but  recently  changed 
in  compounding  to  embody  the  new 
Lawry  discovery. 

It  is  on  sale  at  practically  all  drug  and 
department  stores  and  in  beauty  parlors. 
In  both  $1  and  60c  sizes.  The  $1  size 
contains  3  times  the  quantity  of  the 
60c   size. 


ACTION!  CAMERA! 


$>iQ50 

IJ^F.O.B. 
IVPhlla. 


He  your  own  camera- 
inan  taking  actloD 
movies  of  parade: 
cvent.s.  etc.  Or  pltiy 
parts  yourself,  see liowwell  you  screen 
while  your  friends  "shoot"  you  in 
action. 

Vicam  Standard  MovleCaraeratake'^ 
25  ft  of  standard  film.  lOqulpped  with 
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The  Form— 

Developed  Quickly 
This  Beautiful  Woman  Says: 

■*/  hare  provn  that  any  ivomnn 
can  hav  a  hrautlful  form  if  shr  wflt 
only  use  your  m'thod.  Friends  enty 
mv    prrfect   ftoure."  (Name  on 

UeQUfSt.) 

Fi.ir  eighteen  years  this  inethcd 
hiis  heeii  u.sed  succe.-isfully — 
endorsed  l>y  physicians  of  niitlinml 
repiitatinn — praised  literally  hy 
thoiisjinds  who  have  beautified 
their  furtiiB. 

Send  your  name  and  nddrea'i  for 
this  valuable  Information  wit  h  ac- 
tual photographic   proof — nil  sent 
FREE 
THE  OLIVE  CO.        Dept.  20     Clarinda,  Iowa 


When  you  write  to  advertisers  please  mention  PHOTOPLAY  MAGAZINE, 


^44 


Photoplay  Magazine — Advertising  Section 


This  chic  afternoon  dress,  finely 
made  from  beautiful  silk  chif- 
fon and  copied  from  a  new  Paris 
model,  is  selling  in  New  York 
stores  for  ^32.00.  Get  one  at 
less  than  wholesale  price.  Be 
our  agent  and  sell  them  at  a 
handsome  profit  to  your  friends, 
who  will  admire  yours. 

The  mode!  illustrated  is  printed  chif- 
fon in  predominant  shades  of  rose 
combined  with  either  blue  or  green — 
in  plain  colors  it  can  be  furnished  in 
apple  green,  copen  blue,  red,  peach 
or  tan.  The  sizes  range  from  13  to 
17;  14  to  20;  34"  to  38".  Our 
illustrated  folder  shows  range  of 
models. 

Send  money  order  for  {(3.00,  stating 
size  and  color  and  the  dress  will  be 
sent  at  once  by  parcel  post  collect 
for  the  balance  of  311.75.  Money 
refunded    if   dress   is   not  satisfactory. 


CELE  DRESSES 

Est.  1885 

500  Seventh  Avenue 
New  York  City 


Eliminates 
All  Body  Odors 

A  DAB  OF  EVERSWEET  applied  un- 
■**■  der  the  arm,  between  the  toes, 
anywhere,  eliminates  all  embarrass- 
ing perspiration  and  body  odors. 
Eversweet  Is  invli^oratint^,  very  heal- 
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cient antiseptic. 


At  Dnig  ^^r* 

&Dept.  ZU^ 


Extra  large  jar  SOc 

-f.-    ^  ^  ^\^  Sample  jar  10c 

Mores 

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^^M'M'.f^^'^V'^y^-ysifi 


"Don't  Shout" 

"I  heat  you.      1  can  hear 
now  as  well  as  anybody. 
'How?    ffilh  the  MOULEY 
PHONE.  I've  a  pair  in  mv  can 
now.  but  they  are  invisible, 
would  not  know  I  had  them  in 

myself. only  that  I  hear  ailright." 

The  MORLEY  PHONE  for  the 


DEAF 


t  to  the  ears  what  glasiea 
are  to  the  eyes.      In- 
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caDadjusIlL    Over  100.000  sold.     Wrile  for  booklel  and  lesllnionials 
THE  MORLEY  CO..  Dept.789.10S.18th  St.  Phila. 


No.  58  •  New  \SK  whrte   frold 
weddlnir  rintr    with  S  bluo-whlta 
(liamonofl    will    come    for    16    day 
trial.  Pin  SI. 00  to  this  ad  and  atat«: 
Aire,    How    Innd    at    nddr.      .    " 
ployer:    Nature  of  work.     EvcrythlnB 
confidential.       Sstfafactioo 
refunded.    {1.86  an 


L.  W.  SWEET,  Inc 
Dept.      429-L 


1660  Broadway,  Ww  York.  N.  Y. 


:few«r.<!<i»i| 


lullfiGf  MADE  IN  9  SHADES 
AhHolutcly  hQrml*.MO.  Nl'T  A  HYE  Al.ls 
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Casts  of  Current  Photoplays 

Complete  for  every  picture  reviewed  in  this  issue 


•'.\NNE  AGAINST  THE  WORLD"— Rayart.— 
From  the  story  by  Victor  Tliorne.  Adapted  by 
Arthur  Hoerl.  Directed  by  Duke  Wornc.  The  cast: 
Aunt-,  Shirley  Mason;  Forbes,  Jack  Mower;  Eddie, 
James  Bradbury,  Jr.;  Teddy,  Isabel  Keith;  Folmer, 
Henry  Roquemore;  Emmelt,  Tom  Curran. 

"A  WOMAN  IN  THE  NIGHT"— World  Wide. 
— ■From  the  .storv  by  Countess  Barcynska.  Adapted 
by  V.  E.  Powell.  Directed  by  Victor  Saville.  The 
cast:  Tesha,  Maria  Corda;  Robert  Dobree,  Jameson 
Thomas;  Jack  Lenane,  Paul  Cavanagh. 

-BELOW  THE  DEADLINE"— Chesterfield.— 
From  the  scenario  by  Arthur  Hoerl.  Directed  by 
J.  P.  McGowan.  Photography  by  M.  A.  Andersen 
and  Jack  Jackson.  The  cast:  Claire,  Barbara 
Worth;  "'Beau"  Nash,  Frank  Leigh;  Donald  Corn- 
wall, Walter  Merrill;  Taggart,  J.  P.  McGowan; 
"Sandy,"  Mike  Donlin;  "Mother"  Biblow,  Virginia 
Sale;  Stella,  Lou  Gory;  "Tubby,"  "Tiny"  Ward; 
Festenberg,  Fred  Walton;  Johnston,  Bill  Patton; 
Police  Captain,  Chas.  Hickman;  Jimmy,  Arthur 
Rankin. 

"BLACK  WATERS"— World  Wide.— From  the 
play  "The  Fog"  by  John  Willard.  Directed  by 
Marshall  Neilan.  Photography  by  David  Kesson. 
The  cast:  "Tiger"  Larrabee.  James  Kirkwood;  Kelly, 
James  Kirkwood;  Charles,  John  Loder;  Elmer,  Hallam 
Cooley;  Randall,  Frank  Reicher;  Temple,  Lloyd 
Hamilton;  Darcy,  Robert  Ames;  Olaf,  Ben  Henricks; 
Jeelo,  Noble  Johnson;  Eunice,  Mary  Brian. 

"BLUE  SKIES"— Fox.— From  the  story  "The 
Matron's  Report"  by  Frederick  HazUtt  Brennan. 
Scenario  by  John  Stone.  Directed  by  Alfred  L. 
Werker.  The  cast:  First  Episode — Dorothy  May, 
{age  6)  Carmencita  Johnson;  Richard  Lewis,  (age  8) 
Freddie  Frederick;  Matron,  Ethel  Wales.  Second 
Episode — Dorothy  May,  Helen  Twelvetrecs;  Richard 
Lewis,  Frank  Albcrtson;  Nellie  Crouch.  (Matron) 
Rosa  Gori-;  Janitor,  William  Orlamond;  Richard 
Dayiforlh,  Claude  King;  tst  Asst.  Matron,  Adele 
Watson;  2nd  Asst.  Matron,  Helen  Jerome  Eddy. 

"BONDMAN,  THE"— World  Wide.— From  the 
novel  by  Sir  Hall  Caine.  Scenario  by  T.  A.  Ennis. 
Directed  by  Herbert  Wilcox.  Pholoeraphy  by  David 
Kesson.  The  cast:  The  Sicilian  Mother,  Dora 
Barton;  The  Manx  Father,  Edward  O'Neil;  Jason, 
the  Bondman,  Norman  Kerry;  Michael,  Donald 
MacArdle;  Greeba  Fairhrother.  Frances  Cuyler;  Mrs. 
Fairbrolher.  Florence  Vie;  Adam  Fairbrother.  Judd 
Green;  Father  Ferrati,  Henry  Vibart;  Testa,  H.  Saxon- 
Snell;  Capt.  of  the  Sulphur  Mines,  C.  Emerald. 

"BYE-BYE  BUDDY" — Supreme.— From  the 
stcry  by  Ben  Hirshfield.  Adapted  by  Berry  Bar- 
ringer.  Directed  by  Frank  Mattison.  Photography 
by  Robert  Cline.  The  cast:  Glad  O'Brien.  Agnes 
Ayres;  Dandy  O'Brien,  Fritz  Shanley;  Buddy  O'Brien, 
Bud  Shaw;  Marty  Monihan,  Dave  Henderson; 
Johnny  Cohen,  John  Orlando;  Major  Norton,  Ben 
Wilson;  Attorney,  Hall  Cline. 

"CHINA  BOUND"— M.-G.-M.— From  the  story 
by  Sylvia  Thalberg  and  Frank  Butler.  Continuity 
by  Peggy  Kelly.  Directed  by  Charles  Reisner.  The 
cast:  Sharkey  Nye,  Karl  Dane;  Eustace.  George  K. 
Artliur;  Joati,  Josephine  Dunn;  Sarah.  Polly  Moran; 
McAlister.  Carl  Stockdale;  Hard- Boiled  Officer,  Harry 
Woods. 

"CHRISTINA"— Fox.— From  the  story  by 
Tristram  Tapper.  Scenario  by  Marion  Orth. 
Directed  by  William  K.  Howard.  Photography  by 
Lucien  .\ndriot.  The  cast:  Christina,  Janet  Gaynor; 
Jan,  Cliarles  Morton;  Niklaas,  Rudolph  Schildkraut; 
Dirk  Torpe,  Harry  Cording;  The  Woman,  Lucy 
Dorraine. 

"COQUETTE" — United  Artists.— From  the 
stage  play  by  Jed  Harris.  Adapted  by  John  Grey 
and  Allen  McNeil.  Directed  by  Sam  Taylor. 
Photographj'  by  Karl  Struss.  The  cast:  Norma 
Besant,  Mary  Pickford;  Michael  Jeffery,  John  Mack 
Brown;  Stanley  ]Venlworth,  Matt  Moore;  Dr.  John 
Besant.  John  Sainpolis;  Jimmy  Besant,  William 
Janney;  Jasper  Carter,  Henry  Kolker;  Robert  IVent- 
worth,  George  Irving;  Julia,  Louise  Beavers 

"DESERT  SONG,  THE"— Warners.— From  the 
story  by  Otto  Harbach,  Laurence  Schwab.  Oscar 
Hammerstcin  2nd,  Sigmund  Romberg  and  Frank 
Mandel.  Scenario  by  Harvey  Gates.  Directed  by 
Roy  Del  Ruth.  The  cast:  The  Red  Shadow.  John 
Boles;  Mar  got,  Carlotta  King;  Susan,  Louise 
I^'azenda;  Benny  Kid,  a  reporter.  Johnny  Arthur; 
General  Birlieau,  Edward  Marti ndel;  Pasha,  Jack 
Pratt;  Sid  El  Kar,  Robert  E.  Guzman;  Hasse,  Otto 
Hoffman;  Clementina.  Marie  Wells;  Capt.  Fontaine, 
John  Miljan;  Rebel,  Del  Elliott;  Azuri,  Myrna  Loy. 

"DONOVAN  AFFAIR.  THE"~Columbia.— 
From  the  stage  play  by  Owen  Davis.  Scenario  by 
Dorothy  Howell.  Directed  by  Frank  R.  Capra. 
Photography  by  Teddy  Tetzlaff.  The  cast:  In- 
spector Killian.  Jack  Holt;  Jean  Rankin.  Dorothy 
Rcvier;  Cornish.  William  Collier,  Jr.;  Jack  Donovan, 
John  Roche;  Carney.  Fred  Kelsey;  Lydia  Rankin, 
.Agnes  Ayres;  Dr.  Lindsey,  Hank  Mann;  Porter, 
Wheeler  Oakman;  Mary  Mills,  Virginia  Brown  Faire; 


Captain  Peter  Rankin,  Alphonse  Ethier;  Nelson, 
Edward  Hearn;  Mrs.  Lindsey,  Ethel  Wales;  Dobbs, 
John  Wallace. 

"ETERNAL  WOMAN,  THE"— Columbia.— 
From  tlie  scenario  by  Wellyn  Totman.  Continuity 
by  Wellyn  Totman.  Directed  by  John  P.  McCarthy. 
Photography  by  Joseph  Walker.  The  cast:  Anila, 
Olive  Borden;  Hartley  Forbes,  Ralph  Graves;  Doris 
Forbes,  Ruth  Clifford;  Gil  Martin,  John  Miljan; 
Consuelo.  Nena  Quartaro;  Ovaldo,  Josef  Swickard; 
Mrs.  Forbes,  Julia  Swayne  Gordon. 

"GENTLEMEN  OF  THE  PRESS"— Para- 
mount.— From  the  play  by  Ward  Morehouse. 
Adapted  by  Bartlctt  Cormack.  Directed  by  Millard 
Webb.  The  cast:  Wickland  Snell,  Walter  Huston; 
Myra  May,  Katherine  Francis;  Charlie  Haven, 
Cliarles  Ruggles;  Dorothy  Snell,  Betty  Lawford;  Ted 
Hanley.  Norman  Foster;  Mr,  Higginbottom,  Duncan 
Penwarden;  "Red,"  Lawrence  Leslie. 

"GIRL  WHO  WOULDN'T  WAIT.  THE"— 
Liberty. — From  the  story  by  Leon  Abrams.  Directed 
by  Leon  Abrams.  Photography  by  C.  Edgar  Schoen- 
baum.  The  cast:  Judy  Judd.  Margaret  Livingston; 
Lynn  Kent,  Danny  O'Sliea;  Sam  Harper,  William 
Scott;  Detective,  Joe  Bennett;  Maizie,  Gertrude  Short; 
Warden,  Wilfrid  North. 

"GREYHOUND  LIMITED,  THE"— Warners. 
— From  the  story  by  Albert  Howson.  Scenario  by 
Anthony  Coldcway.  Directed  by  Howard  Brether- 
lon.  The  cast:  Monte,  Monte  Blue;  Edna,  Edna 
Murphy;  The  Rat,  Lew  Harvey;  Bill  Williams, 
Grant  Withers;  Mrs.  Williams,  Lucy  Beaumont; 
Limpy,  Ernie  Shields. 

"LAWLESS  LEGION.  THE"— First  National. 
— From  the  story  by  Bennett  Cohen.  Directed  by 
Harry  J.  Brown.  The  cast:  Cal  Stanley,  Ken  May- 
nard;  Mary  Keiver,  Nora  Lane;  Ramirez,  Paul  Hurst; 
Matson,  J.  P.  McGowan;  Flapjack,  Frank  Rice; 
Sheriff  Keiver,  Howdrd  Truesdell;  2''arzan,hy  Himself. 

"NEW  YEAR'S  EVE"— Fox.— From  the  story 
"One  Hundred  Dollars"  by  Richard  Connell.  Screen 
Play  by  D wight  Cummins.  Directed  by  Henry 
Lehrman.  Photography  by  Conrad  Wells.  The 
cast:  Marjorie  Ware,  Mary  Astor;  Edward  Warren^ 
Jr.,  Charles  Morton;  Larry  Harmon,  Earle  Foxe; 
Steve,  Arthur  Stone;  Landlady,  Helen  Ware;  Little 
Brother,  Freddie  Frederick;  Pearl.  Florence  Lake; 
Warren  s  Pal,  Sumner  Getchell;  Little  Girl,  Jane  La 
Verne;  Little  Girl's  Mother,  Virginia  Vance;  Land- 
lady's Son,  Stuart  Erwin. 

"NO  MORE  CHILDREN"— Cliff  Broughton 

Productions. — From  the  story  by  Albert  Kelly. 
Directed  by  Albert  Kelly.  Photography  by  Robert 
Martin.  The  cast:  Jimmy  Grail.  Lewis  Sargent; 
Mary  Grail,  Lillian  Bond;  Ma.  Ricca  Allen;  Detective, 
Tom  London;  Judge  Stanton.  Wilfrid  North;  Dr. 
Stanton,  J.  Franklin  Lyndon;  Mike.  Eddie  Chandler; 
Flo,  Vivian  Bay;  Family  Doctor,  Allen  Krauss. 

"PLUNGING  HOOFS"— Universal.— From  the 
story  by  Basil  Dickey  and  William  Lord  Wright. 
Adapted  by  George  Morgan.  Directed  by  Henry 
MacRae.  The  cast:  Rex,  King  of  Wild  Horses,  By 
Himself;  Parson  Jed  Campbell,  Jack  Perrin;  Nanette, 
Barbara  Worth;  Jim  Wales,  J.  P.  McGowan; 
"Squint"  Jones,  David  Dunbar;  Starlight,  The 
Wonder  Horse,  By  Herself. 

"POINTS  WEST"— Universal. — From  the  story 
by  B.  M.  Bower.  Adapted  by  Rowland  Brown. 
Directed  by  Arthur  Rosson.  Photography  by  Harry 
Newman.  The  cast:  Cole  Law  son,  Jr.,  Hoot  Gibson; 
Dorothy,  Alberta  Vaughn;  McQuade,  Frank  Campeau; 
His  Nibs,  Jack  Raymond;  The  Mother,  Martha 
Franklin;  Parsons,  Milt  Brown;  Steve,  Jim  Corey. 

"QUEEN  OF  THE  NIGHT  CLUBS"— Warners. 
— From  the  story  by  Murray  Roth  and  Addison 
Burkhart.  Adapted  by  Murray  Roth  and  Addison 
Burkhart.  Directed  by  Br\-an  Foy.  The  cast:  Tex 
Malone,  Texas  Guinan;  Don  Holland,  John  Davidson; 
Bee  Walters,  Lila  Lee;  Andy  Quinland,  Arthur 
Housman;  Eddie  Parr.  Eddie  Foy,  Jr.;  Phil  Parr, 
Jack  Northworth;  Cigola,  George  Raft;  Nick,  Jimmie 
Phillips;  .455/.  District  Attorney,  William  Davidson; 
Lawyer  Grant,  John  Miljan;  Crandall,  Lee  Shumway. 

"SALVAGE" — Supreme. — From  the  story  by  Jay 
Gelzer.  Adapted  by  Kathleen  Clifford.  Directed 
by  Frank  Mattison.  The  cast;  Jim  Harrington. 
Carroll  Nye;  Lillie  Marsh,  Mary  McAlister;  Captain 
MacDougal,  Anders  Randolf;  Louie,  Louis  Archer; 
Thorsen,  Fred  James. 

"SHE  GOES  TO  WAR" — Inspiration-United 
Artists. — From  the  story  by  Rupert  Hughes. 
Adapted  by  Fred  de  Gressac.  Directed  by  Henry 
King.  The  cast:  Joaji,  Eleanor  Boardman;  Tom 
Pike,  John  Holland;  Reggie.  Edmund  Burns;  Rosie, 
Alma  Rubens;  Bill,  Al  St.  John;  Katie,  Glen  Walters; 
Tom's  Mother,  Margaret  Seddon;  Yvette,  Yola 
D'.A.vril;  Joan's  aunt.  Evelyn  Hall;  Joan's  maid, 
Dina  Smirnova;  Major,  Augustino  Borgato;  Major's 
wife,  Yvonne  Starke;  Matron  of  Canteen,  Eulalie 
Jensen;  Major,  Capt.  H.  M.  Zier;  Top  Sergeant, 
Edward  Chandler;  Lady  Hostess,  Ann  Warrington. 


Every  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


Photoplay  Magazine— Advektisinc.  Section 


SHOW  BOAT"— Universal.— From  the  story 
by  Edna  Fcrbcr.  Continuity  by  Charles  Kenvon. 
Directed  by  Harry  Poliard.  The  cast:  Magnolia 
Laura  La  Plante;  Caylord  Ravcnal.  Joseph  Scliild- 
kraut;  Capl.  Andy  Hawks,  Otis  Harlan;  Parlhenui 
Ann  Hawks,  Emily  Fitzroy;  Julie.  Alma  Rubens; 
Windy,  Jack  McDonald;  Magnolia,  {as  a  child) 
Jane  La  Verne;  Kim,  Jane  La  Verne;  Schutlzy 
Neely  Edwards;  Joe,  Stcpin  Fetchit;  Queenir'. 
Gertrude  Howard.  Frologne:  Helen  Morgan.  Jules 
Bledsoe.  Aunt  Jemima  and  The  Plantation  Singers. 

■■.SIN  SISTER.  THE^'— Fox.— From  the  stor^- 
by  Frederick  Hazlitt  Brennan  and  Becky  Gardiner. 
Scenario  by  Harry  Belin.  Directed  by  Charle- 
Klein.  The  cast:  Pearl,  Nancy  Carroll;  Peter  \'an 
Dykeman,  Lawrence  Gray;  F.lhdyn  Horn,  Joscphim 
Dunn;  Joseph  T.  Horn,  Anders  Randolf;  Stsirr 
Burton,  Myrtle  Stedman;  Bob  Newton,  Riehanl 
Alex.inder;  Ship  Captain,  Frederick  H.  Graham; 
Ship  Mate,  George  Davis;  At,  David  Callis. 

"SOME  MOTHER^S  BOY"— Ravart.— From 
the  sto^^■  by  Arthur  Hoerl.  Directed  by  Duke  Worn.  . 
Photography  by  Hap  Depew.  The  cast:  The  Mother. 
Mary  Carr;  The  Boy.  Jason  Robards;  The  Girl. 
Jobyna  Ralston;  The  Son,  M.  A.  Dickinson;  The 
Salesman,  Henry  Barrows. 

"SYNCOPATION"— RKO.— From  the  novel 
".Stepping  High"  by  Gene  Markey.  Adapted  bv 
Frances  Agnew.  Directed  by  Bert  Glennon.  The 
cast:  Flo,  Barbara  Bennett;  Benny.  Bobby  Watson; 
lI'7ns/on.  Ian  Hunter;  Lew,  Morton  Downey; 
Hummel,  Osgood  Perkins;  Henry,  Mackenzie  Ward; 
Rita,  Verree  Teasdale;  Peggy,  Dorothy  Lee. 

"TRENT'S  LAST  CASE"— Fox.— From  the  stor^- 
by  Beulah  Marie  Dix.  Continuity  bv  Scott  Darling. 
Directed  by  Howard  Hawks.  Photography  b\ 
Harold  Rosson.  The  cast:  Philip  Trent,  Raymond 
Griffith;  Joshua  Cupples,  Raymond  Hatton;  Evelyn 
Manderson,  Marceline  Day;  Sigsbee  Manderson, 
Donald  Crisp;  Jack  Marlowe.  Lawrence  Gray; 
.Martin,  Nicholas  Soussanin;  Ollilie,  Anita  Garvin; 
Inspector  Murch,  Ed  Kennedy. 

"TRIAL  OF  MARY  DUGAN,  THE''- M.-G.-M. 
— From  the  stage  play  by  Bayard  Veiller.  Continuity 
by  Becky  Gardiner.  Directed  by  Bayard  Veiller. 
Photography  by  William  Daniels.  The  cast:  Mary 
Dugan,  Norma  Shearer;  Edward  West,  Lewis  Stone; 
District  Attorney  Galwey.  H.  B.  Warner;  Jimmy 
Dugan,  Raymond  Hackett;  Dagmar  Lome.  Lilvan 
Tashman;  Mrs.  Edgar  Rice,  Olive  Tell;  Marie 
Ducrot,  .-^drienne  D'.^mbricourt;  Feme  Arthur,  Marv 
Doran;  Police  Inspector  Hunt,  Dewitt  Jennings'; 
Judge  Nash,  Wilfrid  North;  Dr.  Welcome.  Landers 
Stevens;  Pauline  Agguero.  Man'  Dome;  May  Harris, 
Myra  Hampton;  Police  Capt.  Price,  Westcott  Clarke; 
James  Madison,  Charles  Moore;  Henry  Plaisted, 
Claud  Allister. 

■'VOICE  OF  THE  CITY,  THE"— M.-G.-M.— 
From  the  story  by  Willard  Mack.  Directed  by 
Willard  Mack.  Photography  by  Maximilian  Fabian. 
The  cast:  Doyle.  Robert  Ames;  Biff.  Willard  Mack; 
Beebe.  Sylvia  Field;  Wilmot,  James  Farle\-;  Wilkes, 
John  Miljan;  Johnny.  Clark  Marshall;  Mary.  Duane 
Tliompson;  Kelly.  Tom  McGuire;  Martha,  Alice  Moe; 
Betsy,  Beatrice  Banyard. 

"WHERE  EAST  IS  EAST"— M.-G.-M— From 
the  story  by  Tod  Browning  and  Harr>-  Sinclair 
Drago.  Continuity  by  Richard  Schayer.  '  Directed 
by  Tod  Browning.  "The  cast:  Tiger  Haynes.  Lon 
Chaney;  Toyo.  Lupe  Velez;  Mme.  dc  Siha.  Estelle 
Taylor;  Bobby  Bailey.  Lloyd  Hughes;  Padre.  Louis 
Stern;   Ming,   Mrs.  Wong  Wing. 

"WILD  PARTY.  THE"— Paramount.— From 
the  story  by  Warner  Fabian.  Adapted  by  E.  Llovd 
Sheldon.  Directed  by  Dorothy  .\rzner.  The  cast: 
Stella  .Ames.  Clara  Bow;  Professor  Gilmore.  Frederic 
March;  Faith  .Morgan.  Marceline  Dav;  Helen  Owens: 
Shirley  O'Hara;  George.  Jack  Luden;  .4/.  Jack  Oakie; 
Phil.  Arthur  Rankin;  Jimmy.  Lincoln  Stedman;  Em 
Tutt.  Joyce  Compton;  Ed.  Ben  Hendricks,  Jr.; 
Balaam,  Jack  Redmond;  Babs.  Adrienne  Dore;  .inn. 
Jean  Lorraine;  Tess,  Virginia  Thomas;  Thelma.  Kay 
Bryant;  Maisie,  Alice  Adair;  Jean,  Amo  Ingram; 
Janice,  Renee  Whitney;  Gwen,  Marguerite  Cramer. 

"WOMAN  WHO  NEEDED  KILLING.  THE"— 
Paramount. — From  the  story  bv  Margerv-  H. 
Lawrence.  Adapted  by  John  Farrow  and  Edward 
E.  Paramore.  Jr.  Directed  by  Rowland  V.  Lee. 
The  cast:  Tania  Gregory,  Baclanova;  Frank  Gregory, 
Clive  Brook;  Bobby  Gregory,  Neil  Hamilton;  Tubbs, 
Clyde  Cook;  Peter  Allerton.  Leslie  Fenton;  Chief 
Macheriz.  Snitz  Edwards. 


Talkie  Fans 

Suggestions  for  a  new  name  for  the 
Talkies,  submitted  in  Photoplay's 
contest,  are  being  carefully  checked 
by  the  judges.  The  winner  of  the 
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Slightly  higher  prices  abroad.  Insist  on 
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City  . 


L. 


The  Shadow  Stage 


[  CONTINUED  FROM  PAGE  57  J 


BYE-BYE  BUDDY— Supreme 

A  ONES  .-WERS,  once  a  sought-after  star, 
is  another  recruit  to  the  quickies.  This 
story  is  a  serious  effort  that  is  unintentionally 
funny.  It's  about  a  woman  who,  because  she 
is  the  proprietor  of  a  night  club,  keeps  herself 
unknown  to  her  son.  But,  at  heart,  she's  a 
good  mother,  as  you  could  tell  by  observing 
her  watch  him  through  a  gate  when  he's  going 
to  war. 


ANNE  AGAINST  THE  WORLD— 
Rayart 

BEING  the  sad  saga  of  a  musical  comedy 
cjueen  who  can't  decide  whether  to  play 
one  man  or  the  world.  She  marries  a  rich 
bachelor  who  believes  she  hooked  himfor  his 
doubloons,  so  he  plays  crook  to  see  which  way 
she  jumps.  She  really  loves  him,  b'jove,  and 
tries  to  get  her  job  back,  but  an  old  smear  of  a 
producer  black-balls  her  'cause  she  won't  give 
in.     Terrible.     But  Shirley  Mason's  lovely. 

THE  BONDMAN— World  Wide 

WHICH  celebrates  the  celluloid  debut  of 
Hall  Caine's  novel  of  brotherly  hate.  The 
effect  of  the  picture  is  almost  wrecked  by  poor 
photography.  Too  bad,  for  it's  a  foreign  film, 
made  on  the  Isles  of  Man  and  Sicily,  both  spots 
offering  a  wealth  of  pictorial  beauty.  Norman 
Kerry,  miscast,  but  convincing  in  the  role  of  a 
wronged  .brother,  is  starred.  The  balance  of 
the  cast  is  British. 


BLACK  WATERS— World  Wide 

MARSHALL  NEILAN  has  hired  a  fine 
posse  of  actors  and  made  an  all-talking 
picture  of  skullduggery  on  the  San  Francisco 
waterfront — fog,  a  mystery  ship  and  a  skulking 
fiend  named  Larabcc,  who  is  intent  on  killing 
off  practically  the  whole  cast,  dress  suits  and 
all.  Some  thrills  and  chills,  a  slow  lot  of 
mediocre  dialogue,  and  action  confined  almost 
entirely  to  the  cabin  of  the  ship.  Good  per- 
formances by  Robert  Ames,  Frank  Reicher, 
Jlary  Brian  and  especially  James  Kirkwood,  as 
the  arch-villain.  Even  a  theme  song,  "Black 
Waters,"  and  it  is  a  little  better  than  the  film. 


SOME  MOTHER'S  BOY— Rayart 

A  PITIFUL  attempt  on  the  part  of  a 
"quickie"  company  to  film  a  poignant 
story  of  a  crook  who  poses  as  the  runaway  son 
of  a  small  town  mother.  In  other  hands  it 
might  have  been  a  "Stella Dallas,"  but  these 
little  companies  have  only  a  few  thousand 
dollars  to  spend  and  a  few  days  in  which  to 
spend  them.  So  art  can't  be  considered.  Mary 
Carr  gives  a  sincere  performance  as  the  little 
mother. 


6-20    I 


THE  LAWLESS  LEGION— 
First  National 

NOW  we  know  why  Universal  signed  Ken 
Maynard  just  the  minute  they  had  an 
opportunity.  The  cowboy  that  can  take  the 
worn-out  story  of  the  cattle  rustler  and  keep 
you  breathless  on  the  edge  of  your  seat  is 
worth  having!  Maynard  and  his  horse, 
Tarzan,  are  at  their  best  in  this  silent  Western, 
and  it  will  be  a  great  boon  to  the  hundreds  of 
theaters  not  wired  for  talking  pictures.  Good 
entertainment  for  anybody. 


QUEEN    OF    THE    NIGHT    CLUBS— 
Warners 

WARNER  BROTHERS  made  this  to  ex- 
ploit Te.xas  Guinan,  the  big  blonde  who 
is  the  self-elected  and  publicity-made  head  girl 
of  New  York's  night  club  hfe.  A  trite  story  of 
skullduggery  in  cabaret  land  gives  her  a  chance 
to  lead  the  silly  revels  with  her  bass  voice,  and 
to  give  all  the  little  girls  big  and  audible 
hands.  Tex  does  what  she  has  to  do,  but  three 
stunning  performances  are  turned  in,  in  this 
all  talkie,  by  Eddie  Foy,  Jr.,  Jack  Norworth 
and  Lila  Lee.  A  stirring  comeback  for  Lila. 
A  film  as  phoney  as  the  life  it  portrays. 

THE  GIRL  WHO  WOULDN'T  WAIT— 
Liberty 

AN  artistic  picture  with  a  smoothness  which 
places  it  high  among  the  better  independ- 
ent productions  of  the  year.  This  tale  of  two 
youthful  lovers,  split  by  war  and  misunder- 
standing, has  a  climax  and  denouement  that 
will  deUght  the  most  blase  movie-goer.  The 
svelte  Margaret  Livingston  goes  hoodlum  with 
abandon.     Histrionically,  it's  her  picture. 

BELOW  THE  DEADLINE— 

Chesterfield 

BELOW  the  deadline — yeah,  and  beyond  the 
pale.  Really,  this  picture  is  too  awful  for 
words.  The  acting  is  utterly  puerile,  and  the 
poor,  misguided  producer  is  evidently  not  yet 
aware  of  the  fact  that  the  crime  picture  epi- 
demic is  under  control  and  has  been  for  some 
'time.  No  matter  how  you  dish  up  this  crook 
stuff,  Lord  Chesterlield,  it's  still  applesauce. 

NO  MORE  CHILDREN— 
Cliff  Broughton  Productions 

PICTORIAL  propaganda  on  birth  control 
which  defeats  its  own  purpose  through  con- 
sistent contradiction.  In  treatment,  it  is 
clumsy,  unintelligent,  and  sloppy  with  sex. 
Instead  of  a  dignified  discourse  upon  a  clinical 
problem,  it's  an  expos6  of  the  rather  nauseat- 
ing boudoir  conduct  of  an  over -exuberant 
male  and  his  ignorant  wife,  whose  nursery  is 
nearly  bursting  its  doors.  Entirely  too  stupid 
to  be  of  any  medical  or  academic  value — and 
it  most  certainly  does  not  belong  on  entertain- 
ment programs. 

THE  ETERNAL  WOMAN— Columbia 

THE  easy-to-look-upon  Olive  Borden,  and 
Ralph  Graves,  Harry  Cohn's  new  star, 
share  the  foreground  in  this  frenzied  society 
melodrama  which  wanders  bhthely  all  over  the 
western  hemisphere.  With  them,  the  audience 
must  endure  marital  infidehty,  mistaken 
identity,  murder,  rape,  shipwreck,  drowning, 
and  other  weird  pleasantries.  Forced  situa- 
tions and  the  baffling  irrelevancy  of  the  title 
are  liabilities  which  quite  outweigh  the  slender 
asset  of  adequate  acting. 

A  WOMAN  IN  THE  NIGHT— 
World  Wide 

THIS  English-made  production  is  an  uncon- 
scious tribute  to  American  pictures,  being 
the  faithful  copy  of  a  type  of  film  made  in  this 
country  ten  years  ago.  Maria  Corda,  who 
made  "Helen  of  Troy,"  is  starred.  She  has  the 
classic  hues  of  a  Greek  statue,  and  almost  as 
much  dramatic  ability.  The  story,  slow, 
laliored,  and  maudUnly  sentimental,  is  of  a  wife 
whose  desire  to  present  her  husband  with  a  son 
leads  her  to  the  most  amazing  extremes. 


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Photoplay  Magazine — Advertising  Section 
PLUNGING  HOOFS— Universal 


H7 


TD  EX  and  Starlight  arc  on  the  high  horse 
■'■^again.  They  lope  frequently  enough 
through  this  picture  to  detract  from  the  some- 
what boring  antics  of  the  supporting  cast. 
The  story,  of  distinct  Western  llavor  and  not 
too  savory,  concerns  a  dance-hall  girl  and  a 
serious  young  minister.  The  equine  stars  are 
up  to  their  same  old  tricks,  which  lose  novelty 
with  too  much  repetition.  But  you  may  like 
it  if  you're  crazy  over  horses. 

SALVAGE     Supreme 

nPHIS  really  brilliant  example  of  what  not  to 
■*•  do  with  a  picture  should  be  saved  as  a  text 
for  the  study  of  not  awfully  bright  producers. 
There  its  usefulness  ends.  It's  a  primitive 
version  of  the  antique  sea  story — two  men  and 
a  girl  in  a  boat.  The  hero  (?)  is  a  glutton  for 
punishment  and  takes  the  villain's  thrashings 
for  granted  until  the  last  reel,  when  the  former 
feeds  the  latter  to  the  sharks.  Frightfully 
ho-hum. 

THE  GREYHOUND  LIMITED— 
Warners 

"V\  WHETHER  or  not  this  picture  glorif.es  the 
^^  railroad  trainmen,  every  boy  will  get  a 
thrill  out  of  the  engine's  whistle  and  the  rail- 
road atmosphere  which  the  audible  lilm  accen- 
tuates, ilonte  Blue,  engineer,  and  Grant 
Withers,  fireman,  afford  delightful  contrast, 
with  Monte  trying  to  adjust  Grant's  romance 
with  a  waitress.  Edna  Murphy's  beauty  adds 
charm  to  this  role.  A  fast  moving  melodrama 
with  real  suspense  through  all  the  hokum  of 
wrecks,  rides  and  rescues. 

POINTS  WEST— Universal 

TXTHO  said  that  the  talkies  had  thrown 
'V  Westerns  on  the  junk  heap?  Here's  one 
of  Hoot  Gibson's  without  sound,  without  air- 
planes, or  motorcycles,  or  any  of  those  new 
fangled  ideas.  And  it's  good.  The  same  old 
formula  with  the  same  suspense,  the  same  old 
villain  and  the  same  ingenious  hero.  It's  like 
meeting  a  friend  from  the  home  town  on  the 
corner  of  Forty-fifth  and  Broadway.  Alberta 
Vaughn  is  the  love  interest. 


Bull 
The  latest  in  Lindberghiana. 
Anita  Page,  the  Metro-Goldwyn 
blonde  child,  wearing  the  Lind- 
bergh hair  ornament — rhinestone 
wings  across  the  front  hair,  and 
designed  for  evening  use.  Of 
course,  if  you  want  diamonds,  it 
may   be  a   little  more,   madame 


Famous  Feet 


how  they're  kept 
Tree  irom  corns 

LiNA    BaSQUETTE'S 
famous  "Beet 

"The  old  phrase  'to  have  and  to 
hold'  may  be  full  of  lovely  senti- 
ment . . .  but  not  where  corns  are 
concerned.  Not  with  Blue=jay 
to  bid  them  goodbye." 


Common  sense  asserts  that  Blue-jay 
is  the  sane  and  safe  way  to  remove 
a  corn  at  home.  That's  why  for 
28  years  it  has  been  the  leading  way. 
Self-paring  is  dangerous.  Blue=jay  is 
scientific.  Each  Blue=jay  is  a  stand- 
ardized treatment,  with  just  the  right 
amount  of  the  magic  medication  to 
end  the  corn.  In  an  improved  pack- 
age, with  new-style  creamy-white  pad 
...  at  all  drug  stores.  For  calluses  and 
bunions,  ask  for  the  larger  size  Blue- jay. 

Bluejay 

THE        SAFE        AND       GENTLE        WAV        TO        END        A        CORN 


©B.  c£B.,  1929 


You  never  lose  Ivory 
in  your  bath  — 
it  floats  ! 


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Brief  Reviews  of  Current  Pictures 

I  CONTINUED  FROM  PAGE   17  j 


SOUTH  OF  PANAMA— Chesterfield.— You've 
guessed  it.  It's  all  about  love  and  revolution  in  a 
Latin  republic.     (Jan.) 

•     SPEAKEASY— The  talkies'  first  melodrama  of 
the  prize  ring  and  the  under-cover  barrooms. 
Fast  entertainment.    {May.) 

SPEED  CLASSIC,  THE— Excellent.— An  auto- 
mobile racing  picture — and  just  like  all  the  others. 
(Feb.) 

SPIELER,  THE— Pathe.— Carnival  life,  as  it 
really  is.  And  Renee  Adoree  knows  her  atmosphere. 
A  good  show.    ( Dec.) 

SPIES  —  UFA.— Metro-Goldwyn-Mayer.—  Dull 
story  made  only  slightly  less  dull  by  fantastic, 
Germanic  treatment.      (Dec.) 

SPITE  MARRIAGE— Metro-Goldwyn-Mayer.  — 
One  of  the  best  that  Buster  Keaton  has  made, 
with  Dorothy  Sebastian  excellent.  Don't  miss. 
(April.) 

SQUARE  SHOULDERS— Pathe.— A  story  of 
father  love,  with  Louis  Wolheim  as  the  hard-boiled 
dad.     (March.) 

STICK     TO     YOUR     STORY— Rayart.— Fun 

among  the  reporters.  My,  what  a  life — and  what  a 
picture!     (Dec.) 

STOLEN  LOVE— FBC— A  quickie.  Try  the 
show  down  the  street.  (Dec.) 

STOOL  PIGEON— Colurabia.—Gang  melodrama. 
(Feb.) 

STRANGE  CARGO— Pathe.— Another  all-talking 
mystery,  this  time  on  board  a  yacht,  with  an  all-stage 
cast.    (April.) 

STREET  OF  ILLUSION— Columbia —Back- 
stage story  and  an  interesting  defense  of  the  Thespian 
ego.     (Dec.) 

W  STRONG  BOY— Fox.— Victor  McLaglen  in  a 
■"T"  rattling  good  comedy  drama,  with  the  star  as 
head  man  of  the  baggage  smashers.    (April.) 

SUNSET  PASS — Paramount.- Jack  Holt  in  one 
of  the  best  Westerns  in  montlis.  And  Jack's  a  sheriff. 
Dearie  me !     (A pril.) 

SWEET  SIXTEEN— Rayart.— Mild  but  fairly 
pleasing  story  of  a  modern  girl.  (Dec.) 

SYNTHETIC  SIN  —  First  National.  —  Colleen 
Moore  goes  through  her  usual  antics — but  the  story  is 
missing.     (Feb.) 

THAT  PARTY  IN  PERSON— Paramount —A 
talkie  with  Eddie  Cantor,  the  only  logical  contender 
for  Al  Jolson's  crown.    Come  again,  Eddie,     (Feb.) 

THIS  IS  HEAVEN— Goldwyn-United  Artists.— 
\'ilma  Banky  talks  and  it  is  charming!  But  the 
stnr> — Cinderella.   No.    123456789.    (May.) 


THREE  PASSIONS,  THE— United  Artists.— 
Rex  Ingram  produces  an  old-fashioned  story  of 
English  high  life,  with  Alice  Terry  still  an  ice  cake. 
(April.) 

THREE  WEEK-ENDS— Paramount.— It  has 
Clara  Bow,  but  that's  about  all  you  can  say  for  it. 
(Feb.) 

THROUGH      THE      B  RE  AKE  RS— Gotham.— 

South  Sea  Island  story — and  a  really  good  one.  (Dec.) 

TIDE  OF  EMPIRE— Metro-Goldwyn-Mayer.— 
Standard  pattern  story  of  Gold  Rush  but  acted  and 
directed  with  a  verve  that  puts  it  over.     (Dec.) 

TRACKED— FBC— Ranger,  the  dog,  in  a  picture 
that  is  better  than  most  human  efforts.     (Feb.) 

TRAIL  OFTHE  HORSE  THIEVES, THE— FBO. 

— Easy-going  Western,  with  Tom  Tyler  just  lopin' 
along.     Tom  and  Frankie  Darro  together.  (May.) 

TROPICAL  NIGHTS  —  TifJany-Stahl.  —  South 
Sea  Island  story  with  an  original  twist  to  the  plot. 
(March.) 

TROPIC  MADNESS— FBC— Turbulent  melo- 
drama of  England  and  the  South  Seas.     (March.) 

TRUE  HEAVEN— Fox.— A  poky  story  of  love  in 
the  secret  service,  with  Lois  Moran  and  big  George 
O'Brien.     (April.) 

TYRANT  OF  RED  GULCH— FBO.— Not  a 
Western,  in  spite  of  the  title.  Just  a  badly  bent  story. 
(Feb.) 

UNDER  THE  SOUTHERN  CROSS— Universal. 

— The  natives  of  New  Zealand  are  the  actors  in  this 
picture.  It's  different  and  it  has  primitive  charm. 
(March.), 

UNEASY  MONEY— Fox-Europa.— German  pic- 
ture, well  directed,  well  acted  and  original  in  theme. 
(Feb.) 

VEILED  WOMAN,  THE— Fox.— Hollywood's 
foreign  legion  in  a  not  bad,  not  good,  story.     (Feb.) 

VIKING,  THE  —  Technicolor-M.-G.-M.  —  How 
Lief  the  Lucky  discovered  America,  told  in  color  and 
with  plenty  of  whiskers.     (Jan.) 

VOICE  IN  THE  STORM,  THE— FBO.— Just  be- 
fore the  hanging,  mother.  The  old  one  about  the 
innocent  boy,  the  noose,  the  reprievel  (May.) 

WAGES  OF  CONSCIENCE— Superlative.— But 
where  was  the  conscience  of  the  producer  of  such  a 
picture?     (Feb.) 

•    WEARY  RIVER— First   National.— Barthel- 
mess'  first  talkie,  with  the  star  as  a  reformed 
convict.    A  popular  sensation.    (April.) 

WHAT  A  NIGHT!— Paramount.— Bebe  Daniels 
in  a  gaggy — and  gaga — newspaper  story.     (Feb.) 


Statement  of  the  Ownership,  Management,  Circulation,  etc.,  Required  by 
the  Act  of  Congress  of  August  24,  191 2, 

of  Photoplay  Magazine  Published  Monthly  at  Chicago,  Illinois,  for  April  1st,  1929 


Sute  of  Illinois.  1  _„ 
County  of  Cook/  ^• 

Before  me,  a  Notary  Public  In  and  for  the  State  and  county  aforesaid,  personally  appeared  Kiithryn  Doucherty. 
who.  having  been  duly  sworn  according  to  law.  deposes  and  says  that  she  is  the  biisiness  manager  of  the  Photoplay 
Magazine,  and  that  the  (oUowlnj;  Is,  to  the  best  of  her  knowlwli^e  and  belief,  a  true  statement  of  the  ownership,  man- 
aiiement  (and  if  a  dally  paper,  the  circulation),  etc..  of  the  aforesaid  publication  for  the  date  shown  In  the  above 
caption,  required  by  the  Act  of  Aupust  24,  1912,  embodied  in  section  411,  Postal  Laws  and  ReRUlations,  printed  on 
the  reverse  of  this  form,  to  wit:  1.  That  the  names  and  addresses  of  the  publisher,  editor,  managing  editor,  and  busi- 
ness mana^'ers  arc:  Publisher,  Photoplay  Publlshini,'  Co..  750  N.  Michigan  Ave..  Chicago.  111.  Editor,  James  R. 
Uuirk.  750  N.  Michiixan  Ave..  Chicago,  HI.  Manasint;  Editor,  F.  J.  Smith,  221  W.37th  Street.  New  York.  N.  Y. 
Business  ManaKcr,  Kathyrn  DouKherty.  750  N.  Michisan  Ave.,  Chicago.  III.  2.  That  the  owner  is:  (If  owned  by  a 
corporation,  its  name  and  address  must  be  stated  and  also  Immediately  thereunder  the  names  and  addresses  of  stock- 
holders owning  or  holding  one  per  cent  or  more  of  total  amount  of  stock.  If  not  owned  by  a  corporation,  the  names 
and  addresses  of  the  individual  owners  must  be  civen.  If  owned  by  a  Arm,  company,  or  other  unincorporated  concern. 
Its  name  and  address,  as  well  as  those  of  each  individual  member,  must  be  given.)  Estate  of  E.  M.  Colvln,  Chicago, 
111.:  R.  M.  Eastman,  Chicago,  HI.;  J.  R.  Quirk,  Chicago,  HI.;  Kathyrn  Dougherty,  Chicago,  III.;  Photoplay  Publishing 
Co.,  Chicago,  111.  3.  That  the  known  bondholders,  mortgagees  and  other  security  holders  owning  or  holding  1  per 
cent  or  more  of  total  amount  of  bonds,  mortgages,  or  other  securities  are:  (If  there  are  none,  so  state.)  None.  4 
That  the  two  paragraphs  next  above,  giving  the  names  of  the  owners,  stockholders,  and  security  holders,  if  any,  con- 
tain not  only  the  list  of  stockholders  and  security  holders  as  they  appear  upon  the  books  of  the  company  but  also. 
In  cases  where  the  stockholder  or  security  holder  appears  upon  the  books  of  the  company  as  trustee  or  in  any  other 
fiduciary  relation,  the  name  of  the  person  or  corporation  for  whom  such  trustee  is  acting,  is  given:  also  that  the  said 
two  paragraphs  contain  statements  embracing  affiant's  full  knowledge  and  belief  as  to  the  circumstances  and  conditions 
under  which  stockholders  and  security  holders  who  do  not  appear  upon  the  books  of  the  company  as  trustees,  hold  stock 
and  securities  In  a  capacity  other  than  that  of  a  bona  fide  owner;  and  this  afflant  has  no  reason  to  believe  that  any  otlior 
person,  association,  or  corporation  has  any  interest  direct  or  Indirect  In  the  said  stock,  bonds?  or  other  securities  than  as 
so  stated  by  her.  5.  That  the  average  number  of  copies  of  each  issue  of  this  publication  sold  or  distributed  through  the 
malls  or  otherwise,  to  paid  subscribers  during  the  six  months  preceding  the  date  shown  above  Is (This  informa- 
tion Is  required  from  daily  publications  only.) 

KATHYRN  DOUGHERTY. 

(Signature  of  Business  Manager.) 

Sworn  to  and  subscribed  before  me  this  28th  day  of  March,  1929. 
[SEAL]  M.  EVELYN  McEVILLY. 

(My  commission  expires  January  15,  1931.) 


Every  advertisement  in  PHOTOPLAY  MAGAZINE  Is  guaranteed. 


Photoplay  Magazine — Advertising  Section 


149 


WHEN  DREAMS  COME  TRUE— Rayart.— This 

has  been  going  on  for  years.  Bhie-grass  racing 
story,  with  Helene  Costello  and  Rex  Lease.  (May.) 

W  WHY  BE  GOOD?— First  National.— Colleen 
■^^  Moore  at  her  naughtiest  and  nicest.  Peppy  and 
entertaining.    (.1 /'*-(/.) 

WILD  BLOOD— Universal.— Rex.  the  wonder 
horse,  gets  a  rough  deal  in  a  particularly  childish 
Western.    (April.) 

•  WILD  ORCHIDS— Metro-Goldwyn-Mayer. 
— Greta  Garbo  and  Nils  Asther  in  a  story  that 
proves  that  tropical  heat  nu-lls  all  conventions.  The 
scene  is  Java — the  details  are  superb — and  the  picture 
is  a  riot  for  audiences.     (March.) 

WINGEDHORSEMAN,THE— Universal.— Hoot 

Gibson  gives  up  his  pony  and  takes  the  air,  with  Ruth 
Elder  his  flying  partner.     Vague  plot.  (May.) 

WOLF  OF  WALL  STREET.  THE— Paramount. 
— Whether  you  have  won  or  lost  money  inVVall  Street, 
or  haven't  played  the  stock  market  at  all.  George 
Bancroft  and  Badanova  will  give  you  one  of  the  most 
entertaining  talkies  so  far  made.  A  delightful  eve- 
ning.    (Feb.) 

WOLF  SONG — Paramount. — Mountains,  trees 
and  some  good  singing  by  Lupe  Velez.  But  not  such 
a  good  break  for  Gary  Cooper.     (March.) 

WOLVES  OF  THE  CITY— Universal— Action 
tliriller.  with  Bill  Cody  saving  Sally  Blane  from  the 
rascally  ransom-crooks.    (April.) 

WOMAN  I  LOVE,  THE— FBO.— Mad  husband 
sets  out  to  murder  man  for  making  love  to  wife. 
Excited?     Neitlier  are  we.   (May.) 

•  WOMAN  OF  AFFAIRS.  A— Metre -Gold  wyn- 
Mayer. — Greta  Garbo  and  Jolin  Gilbert  in 
what  is  none  other  than  Michael  Arlen's  "The  Green 
Hat."  Why  waste  space  urging  you  to  drop  everytliing 
and  see  this  one?     (Jan.) 

YELLOWBACK,  THE  —  FBO.  —  More  Royal 
Mounted  Police,  with  the  usual  help  from  the  scenery. 
(March.) 

YELLOW  CONTRABAND  —  Pathe.—  Dope 
smuggling  and  other  cute  modern  occupations.  (Dec.) 

YOUNG  WHIRLWIND,  THE— FBO.— Kid  en- 
tertainment, with  Buzz  Barton.  (Dec.) 


You*d  never  guess  who  this  is  in 
a  thousand  tries.  The  old  gent 
in  the  plug  hat  and  shawl  is  none 
other  than  Richard  Carle,  the 
veteran  musical  comedy  star, 
made  up  for  the  role  of  the  jolly 
blackmailer  in  **Madame  X,*' 
Metro-Goldwyn's  all-talker 


w  will  do 


^-i 


— ivhen  eyes  are  called  upon 
to  say  what  lips  dare  not! 

Re-create  your  eyelashes  into  dark,  rich,  dense  fringes  of 
shadowy  loveliness  and  your  eyes  will  become  newly 
brilliant,  amazingly  more  expressive  and  possessed  of 
exquisite,  irresistible  charm  and  inviting  depth. 
But — the  lashes  must  appear  not  only  dark,  long  and  luxuriant, 
but  naturally  so.  Genuine  Maybelline  accomplishes  this  exact 
effect — instantly,  harmlessly,  and  very  easily.  That's  why  millions 
of  women  in  all  parts  of  the  world  look  for  the  Maybelline  girl 
on  the  box  when  purchasing  an  eyelash  beautifier. 


'.^ijelash  ^enutifier- 


Jnlid  and  waterproof 
Liquid  Maybelline  are 
■made  from  secret  for- 
Tnutas— widely  imitated 
but  never  duplicated. 
Insist  upon  the  gejiuine. 
Esther  form  in  Black  or 
Brou'n~75e  at  ail  toilet 
goods  counters, 
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Ihe  cleansing,  healing  service 
of  a  soap  that's  meant  for  you 

Ciiticura  8oap 

■with  a  heritage  of  50  years  of 
highest  commendation. 

Sold  Everywhere.  Soap  25c.  Ointment  25c  50c. 


WRINKLES      V 

Parisian    Flesh    Food 

Lure  of  Hollywood 

Removes  all  lines.  Makes  thin 
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THE  LAKE  SHORE  DRIVE  HOTEL 
the  most  commanding  Hotel  in 
Chicago,  overlooking  Lake  Michigan 
on  Lake  Shore  Drive,  around  the 
corner  from  the  internationally 
known  upper  Michigan  Avenue,  has 
an  unobstructed  view  for  miles  and 
miles  of  the  beautiful  North  Shore. 
Impressive  in  its  period  design  and 
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TKe  Dining  Room 

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When  you  write  to  adrcrtisers  please  mention  PnOTOrL.\Y  MAGAZINE. 


50 


Photoplay  Magazine — Advertising  Section 

THE  GREATEST  GIFT 

of  the  Talking  Films 

SOUND  PICTURES" 
have  brought  no  greater 
gift  to  you  than  the  talking  comedies.  They  are  pure, 
joyous,  uproarious  fun  exceeding  anything  the  screen 
has  offered  before. 

Edueationnl^s  first  comedies  with  sound  marked  a  rebirth 
of  screen  humor.  And  the  MACK  SEXI^TETT  and 
CORONET  Talking  Comedies  brought  a  quick  and 
inspiring  response  from  audiences  everywhere. 

Now    JACK    WHITE,   famous   producer-director,  and 

LLOYD  HAMILTON  and  LCPINO  LANE,  for  years 

among  the  best  loved  of  stars,  are  also  contributing  to  the 

fun.  Have  you  heard  the  noises  of  the  circus  in  WHITE'S 

^^Xip!  Boom!  BangP^?  Barnum's  was  never  half  so 

funny.   And   there  are  many   minutes  of  joy   in 

HAMILTON'S  "Hi»  Big  Minute,  "While 

LANE  tops  a  glorious  career  with 


EDUCATIOIVAL  FILM  eXCHAIVCiE$i,lne.,J?x<>f>nrfr«> omrcs: 1 50 1  Broadway,IVewVork,IV.Y. 

E.  «V.  HAIH^IOJVS.  nrosident 

Ever;  advertisement  In  PHOTOPLAY  MAGAZINE  is  guaranteed. 


iwith  its 
precicus 
almcnd 
base  - 

PI^IWCESS 

pcmwder 
glorifies 


Supremely  beautiful  —  not 
merely  powdered  —  is  skin 
caressed  to  soft,. velvety  per- 
fection with  Princess  Pat. 
For  this  powder  truly  glori- 
fies .  .  .  coaxes  forth  hidden 
beanty  .  .  .  creates  the  illu- 
sion of  flawless  smoothness 
and  youthful  sparkle. 
Really,  you  may  ask — and  just 
how  is  almond  base  responsible 
for  so  much  more  beauty?  Well, 
you  see,  iisual  powders  are  fine 
particled — Princess  Pat  powder 
is  not  only  fine  but  soft.  There  is 
no  starch  in  Princess  Pat — hence 
no  stiffness. 

Textures,  and  consistencies! 
Therein  lies  the  secret.  The  tiny, 
invisible  particles  of  Princess  Pat 
are  soft — not  pebbly,  nor  harsh. 
When  you  apply  Princess  Pat 
powder,  the  magic  difference  is 
this:  each  tiny  particle  is  soft 
enough  to  "spread."  Thus  there 
comes  the  utter  smoothness  for 


which  Princess  Pat  powder  is 
famous. 

You  must  know  that  even  the 
most  perfect  skin  is  microscop- 
ically irregular,  as  to  surface. 
Merely  fine  powders — in  which 
the  particles  retain  certain  hard- 
ness—cannot smooth. 
You  dare  apply  Princess  Pat 
firmly — may  rub  it  on.  For  the 
precious  almond  base  is  of  bene- 
fit to  skin.  And  this  firmer 
application,  of  course,  gives  even 
distribution. 

Princess  Pat  powder — on  the 
skin — is  flexible.  Stiffer  powders 
fall   off.     Princess   Pat   adheres. 


FaKh'On\'!  Iparlprs  ev/ryrrhrrp  iirr  nnir  (Jevolpps 
of  Princess  Pat  pnwilfr.  Sinne  prefer  the 
reqular  weight  in  the  jftmiliar  ilrnwer  boj \ 
illustrated  here.  Others  are  enthusiastic  ooer 
the  lighter  weight  which  comes  in  a  round  box. 


Supreme  softness  makes  it  stay 
on  most  marvelously. 
Because  Princess  Pat  is  so  aristo- 
cratically beautiful,  it  is  fash- 
ion's favorite  powder.  You'll 
find  the  newest  shades  subtly 
interpreted.  Ochre  and  Olde 
Ivory  are  suggested. 
Try  Princess  Pat — of  famous  al- 
mond base — and  discover  just 
how  beautiful  this  diflferent  pow- 
der can  make  you. 


FREE 

Jiirr     fitiiidrr 
enanuleil  hiiT.  PIrniv  f<ir  <i  thorough  U 


Srrid  for  a  (jftifrous  frrr  .tam~ 

jtlf  of  Priiicrsn  Pal  almond  base 

purse     size 


PRINCESS  PAT 


PRINCESS     PAT,     LTD. 


CHICAGO,     U.  S.  A. 


Princess  Pat  Ice  AstrinKftit  is  (he  one  vanishinij  creunt  thai  acts  tike  ice  to  clo.^e 
and  refine  fhe  pore*t.  Ideal  as  Ihc  powder  base  —  effective  lonrjer  —  cool,  pleasant, 
refreshing  as  ice.    Prtvi  rtls  and  corrects  coarse  pores.    Always  use  before  powder. 


i'm\(;i;ss  i'\r.  i.rix 

2709  S.  W.'lls  SI..  Dept.  A-566,  Chicago 
Check    shade   yon    i>r('fiT    D  Hide    Ivory    C  Flesh 
r   \\  hit."         f     Uniiirllc         G  tkhre         G  Mauve 

Print 

Name 


Street.. 


(iily  mid  Stati* 

(Ine  sam|»le  frrr;  iidilit  iiiii:il  --,im|i|,  ,-   lll( 


I^lil 


)jeaaZy 

3IAriE   FOR  BRinES 


./ 


IHIS  alluringly  beautiful  service 
of  Communily  Plate  captivates 
every  bride's  affections. 
^_^.  ^  _.    Wliat  more  appropriate  for  ber 
wedding  gift  tban  this  richly  decorated  set 
of  Community  Plate  in  the  Bird  of  Paradise 
design?    How  often   she  will  rejoice   in  it 
during  those  "after-the-honeymoon"  months 
at  home,  when  all  the  world  comes  a-visitlng. 
And  how  delightful  that  there  are  equally 
beautiful  "service  pieces"  to  match:  sugars 
and   creamers,   cake  baskets,   tea   sets,  roll 
trays,  platters  and  vegetable  dishes  to  make 
her  "silver  trousseau"  complete. 

AAA****** 

Bird  of  Paradise  Design— six  Teaspoons  S3. 75  — Complete 
service  for  sis  S36.00-  For  eight  $47.50-  Roll  Tray  $7.50- 
Double  Vegetable  Dish  $17.50 -Sugar  and  Creamer  $10.00. 
Olher  designs  at  equally  modest  prices.  A  t  your  jeweler's. 
ONEIDA      COMMUNITY,      LIMITED 


COMMUNITY 


\TE 


^UU.  J(^L 


THE      CRESTS'  OOD      TRAY 

You  ivill  use  it  as  a  tveU'ordpred  sHvPrware  holder,  carry- 
ing complete  service  of  sixes  or  eights.  .  . 

You  will  use  it  as  a  convenient  serving  tray  to  hold  tea 
things  or  intriguing  drinks  in  tinkly  glasses . . . 

you  will  use  it  as  a  decoration  ..  .so  desirable  is  its  silvery 
beauty ...  it  tempts  you  to  buy  just  for  the  tray  alone. 


PN1993 

.P56         Photoplay. 

vol.35 

36 


Robert  L. 

LIPPERT 

Personal  Property